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

Decorative Painting, Mixed Media, Fine Art & More!

October 2020

Painting World

Issue 29

ÂŽ

magazine

$9.00 USA $11.50 Canada

Cover Artist: Deb Mishima

PAINTING WORLD MAGAZINE

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OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

Contents 5

A CHRISTMAS WAGON Annamarie Oke

CHRISTMAS PALETTE Marlene Fudge

CHICKADEE ORNAMENT Maureen J Baker

A ROSE FOR CHRISTMAS Linda O’Connell

CHRISTMAS TIME Elisabetta De Maria

Cover Artist

SHABBY CHIC POINSETTIA

Sandy McTier

CHRISTMAS GNOMES Alessio Meggiato

WOODLAND CHRISTMAS Nancy Scott

JOY TO THE WORLD Helena Andrejev

COTTON CANDY SANTAS Deb Mishima

OLD FASHIONED CHRISTMAS Diane Marie Kellogg

ANGELS AMONG US Jan Boettcher

ELF PAINTBRUSH DOLLS Elaina Appleby

THREE SNOWMEN Peggy Laurie

FAMILY CHRISTMAS Tracy Moreau

MORE GREAT ARTICLES

70 MERRY CHRISTMAS TRIO MaryJo Tuttle

43 46 72 76 76

ADVERTISERS INDEX

A Look into the Historical Florals of Decorative Painting Part 4

Passing the Paintbrush

The History of the Christmas Ornament

Directory of Artists

Directory of Suppliers

2 Tracy Moreau

45 Country Pathways

45 Bear with Us

78 Viking Woodcrafts

2 Pinecraft

49 DecoArt®

78 Plain & Simple Magazine 80 Dixie Belle Paints

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PAINTING WORLD MAGAZINE

FROM THE Editor Letter from the Editor

Isn’t it strange how when you are shut in that time just seems to go by so slowly you wonder if tomorrow can be any further off. Yet, when we are able to move freely about time goes by so quickly. It’s like that much needed vacation that fly’s by and you are departing thinking to yourself “I just got here”. This is how it has been for the past 5 months and now Fall is quickly coming with the Holidays around the corner, we have had to change how we do things and we have had to do a lot of catching up. We hope that this issue brings you painting inspiration and joy. We also hope you like all the additional designs we have put into it. Enjoy!

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!

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. PAINTING WORLD MAGAZINE (ISSN 2472-694X). October 2020, Volume 01, Issue 29 ©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.

OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

A Christmas Wagon By Annamarie Oke

Creativity has been always a part of my life for as long as I could remember...sewing,making dolls, jewelry...and most passionately has been painting! I have been designing and travel teaching for the past 26 years. I have my own studio in Corner Brook, NL Canada and teach weekly when I am not travel teaching. I am a Dynasty® Brand Specialist, DecoArt® Helping Artist and a Pebeo Product Specialist...So excited to be published in Painting World magazine! You may see my selection of brushes and pattern packets on my website www.annamarieokedesigns.com. Christmas has always been a special time of year for me...it’s the time that I get more creative. I love using textures, oils and acrylics all in one project. Have fun painting my Christmas Wagon!

SUPPLIES:

• 3/4-inch Angle Faux Sable

SURFACE: I used a cutout piece designed by Cupboard Distributing #SKU 31-L635 Jumbo Fat Teardrop Ornament...15x15. (You may use any surface you wish and size the drawing to fit your surface).

• Eye of the Tiger by Dynasty® (set of three size #10 flat, #4 round, 3/4-inch 635 glaze. All available on my website www. annamarieokedesigns.com).

PAINTS: DecoArt Americana® Acrylics: • Lamp Black DA667

• Snow (Titanium) White DA01

• DecoArt® Chalky Gesso Dark Grey CG28

Pebeo Vitrail Paint: • Crimson #12

• Greengold #22 • Black #15 • Pearl #39

• Lightening Medium BRUSHES: Dynasty® FM Brushes:

• 1-inch Faux Sable 172A • 3/4-inch Stencil Pro

• Black Gold #1

MISCELLANEOUS SUPPLIES: • DecoArt® Media Texture Paste DMM31 • Americana® Decor Soft touch Varnish ADM03 • Tracing paper and pen

• Palette knife (metal and triangular shape) • Empty bottle caps • Baby oil

• Wood glue

• Odorless mineral spirits (for cleanup) • Pebeo Creme Relief - Black 390000

• Bath salts (or any type of seed beads that you have) • DecoArt® Glamour Dust Gold DAS61 Greenery for top of ornament optional

• Stencil by Cupboard Distributing Christmas Words SKU 09-19012 OCTOBER 2020 ISSUE

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PREPARATION: Using the 1-inch faux sable, I base coated the front of the ornament with Dark Grey Chalky Gesso. While it was wet, I blended a small amount of White so you can see the blended lines. (Image 1). Basecoat the top attachment with Lamp Black. Let dry. Using the 3/4inch stencil pro and Black, I stenciled the Christmas words to the front of piece. (image 2).

IMAGE 1

IMAGE 2

Helpful Hint: When using the Dynasty® stencil pro, make sure that you fully load the brush and then squeeze most of the paint off in between a paper towel. This gives you a softer look and less chance of leakage. The IMAGE 3 Dynasty® stencil pro is such a great brush for stenciling. The bristles are thick and the top feels like velvet to touch...my fav!! Let dry and then attach the black top to the ornament using a wood glue. Apply a generous coat of the soft touch varnish. Let dry. INSTRUCTIONS: Trace off the Christmas wagon and florals. Use the white graphite so you can easily see the pattern. Applying the texture to the wagon and florals: Apply texture with the toe of the palette knife. I shape the wagon first and then shape the Poinsettias and leaves. I like to shape the florals starting from the right-hand side at 1 o’clock and work around. You will notice that I made sure OCTOBER 2020 ISSUE

that I went down over the side of wagon also. Make sure that you have ridges to separate the petals. The centers were just shaped after the petals and leaves but make sure that the paste is still wet. To shape centers, I went around with the tip of palette knife in a circular motion. (image 3). Shape the tires also. You will notice that the letters will show through...especially on the side of the wagon, this is perfectly fine! It adds a little character to your piece! While the texture is still wet, I drew the handle and attached metal parts with a pencil. Coming through the florals with the creme relief, add Black to the handle and metal parts. (image 4). Let dry. The texture takes about 30 minutes to dry depending on room temperature and how thick the texture IMAGE 4 is. You may use a hairdryer but make sure it is on the cool setting. Once dried, I shaded with Lamp Black around the edges of ornament, underneath the wagon and under the florals to add a IMAGE 5 bit of depth. Helpful Hint: I pour a small amount of baby oil in a small cup and use that for cleaning my brushes in between colors. I always dip my dry brushes into the baby oil before I use the oil paint. It keeps my brushes more manageable and moist.

IMAGE 6

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Remember not to do this with your acrylic brushes though!!! Adding the Pebeo Vitrail: Place each color in an empty cap and place on a styrofoam plate. With a cotton swab, dip each color and touch the plate next to the cap. This will tell which color is in the cap. Pebeo, once poured in the caps all looks dark and alike! (image 5). Using the large eye of the tiger brush, apply a generous coat of lightening medium over the textured area. (image 6). Pinch your brush in a paper towel to clean. Using the smaller flat eye of the tiger brush, I fully loaded it with Crimson and painted the wagon. Wipe your brush in between a paper towel and with Green gold, paint the leaves. I have the leaves marked on the outline drawing. It really does not matter if you happen to add a wrong petal or leaf! Add the Crimson with the smaller brush also. You will notice very quickly that the Pebeo Vitrail settles in the dips and valleys of the texture, IMAGE 7 making shades and slipping of the raised areas and ridges, making highlights. You have no control over where the paint goes. Always make sure that you add generous amounts of Vitrail to make your piece look more eye-catching! Apply the Black with the round brush to the centers as shown in Photo. (image 7) I added the bath salts to the black centers while it was wet. This acts as an adhesive for the bath salts. Add the White Pearl Vitrail to the tires. Helpful Hint: I purchased a bottle of bath salts and dumped them into a ZiplockÂŽ baggie. I shook a generous amount of the DecoArtÂŽ Glamour Dust Gold into the bag and shook. I added the bath salts to the centers with a teaspoon. The glitter is already done!! Pinch your brush off in between a paper towel and cleanup your oil brushes with the odorless mineral spirits.

FINISHING: Keep your piece flat and while the Vitrail is still wet, I outlined a few petals and leaves with the Black Creme Relief. I also outlined the tires of the wagon as well as areas of the wagon that are showing. It will take at least 4-6 hours for your piece to dry. But I would wait overnight until I hot glued the IMAGE 8 greenery to the top, just below the top attachment. The greenery is optional! (image 8). Enlarge to fit the surface you choose.

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

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PAINTING WORLD MAGAZINE

Christmas Palette Ornaments By Marlene Fudge CDA

Christmas ornaments are always so fun to paint! These little palette designs will add a splash of color for your own tree or for your favorite artist! It is so hard to believe that I have been decorative painting for over 25 years! I have had the pleasure of having my designs published in numerous magazines and e-zines. I am very proud to be a DecoArt® Helping Artist as well as a Dynasty® Designer/Artist. One of my proudest moments was earning my CDA in 2019 from the Society of Decorative Painters. My painting has given me so many wonderful opportunities and I have met the greatest friends along the way. • Snow White DA01

• Spiced Pumpkin DA310

• Summer Squash DA363 • Tomato Red DA169

MEDIUMS: • DecoArt® Vintage Effect Wash: White DCW02

• DecoArt® Dazzling Metallics: Glorious Gold DAO71

SUPPLIES: SURFACE: • Large Palette w/brush (Item #1335, Bear With Us, Inc) PAINTS: DecoArt Americana® Acrylics: • Asphaltum DA180 • Camel DA191

• Honey Brown DA163 • Lamp Black DA067 • Mistletoe DA053

• Ocean Blue DA270

• Plantation Pine DA113 • Primary Blue DA200

• DecoArt® Multi-purpose Sealer

• Minwax® Polycrylic Protective Finish - Clear Satin BRUSHES: Dynasty® Black Gold: • #5 & #14 Shader - 206S • #3 Round - 206R • 5/0 Liner - 206L

• Mezzaluna - Small MISCELLANEOUS SUPPLIES: • The Creative Coach Stencil - BCS-247 (lauriespeltz.com) • E6000™ Glue

• Drill (to make the hole in the top of the ornament) • Gold Ribbon

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PAINTING INSTRUCTIONS

Mix together equal parts of multi-purpose sealer plus Asphaltum and base coat the palette with #14 shader brush. Let dry well and lightly sand the surface and wipe off remaining dust. Add another coat of just Asphaltum and let dry. Using a slightly damp sponge, pounce the sponge into the vintage effect wash. Wipe the color onto the surface with horizontal strokes to IMAGE 1 give it a woodgrain effect. (Image 1) You want to see some of the background color show through. (Image 2) Let dry well and transfer the pattern, leaving off the pine needles for now. Pine branch: Use the liner brush to add the branch with Asphaltum. We will add the needles a bit later. (Image 3) Lights, Presents and Christmas Balls Base Coats: We are going to follow the colors of a painting palette for all the base coats using the #3 round: Red, Orange, Yellow, Green, Blue, Indigo and Violet. (Image 4) Red: Tomato Red, Orange, Spiced Pumpkin, Yellow: Summer Squash, Green: Mistletoe, Blue: Ocean Blue, Indigo, Primary Blue, Violet, Brilliant Purple. Red: Add a touch of Lamp Black to the Tomato Red. Using the #5 shader, shade along the bottom of the Christmas balls, presents and lights. Add a touch of White to Tomato Red and highlight the tops of the present and lights with the same brush. For the Christmas balls, use the small Mezzaluna brush to dry brush this color onto the centers. (Hint: when dry brushing, dip the dry brush into the color. Wipe most of the color off onto a paper towel. Scrub the remaining color onto the surface for a soft highlight). Orange: Shade along the bottom of the Christmas balls, presents and lights with Asphaltum using the #5 Shader. Add a touch of White to Spiced Pumpkin and highlight the tops of the present and lights with the same brush. For the Christmas balls, use the small Mezzaluna brush to dry brush this color onto the ornament.

Yellow: Shade along the bottom of the Christmas balls, presents and lights with Asphaltum using the #5 shader. Add a touch of White to Summer Squash and highlight the tops of the present and lights with the same brush. For the Christmas balls, use the small Mezzaluna brush to dry brush this color onto the ornament.

IMAGE 2

IMAGE 3

Green: Add a touch of Lamp Black to the Mistletoe and using the #5 shader, shade along the bottom of the Christmas balls, presents and lights. IMAGE 4 Add a touch of White to Mistletoe and highlight the tops of the present and lights with the same brush. For the Christmas balls, use the small Mezzaluna brush to dry brush this color onto the ornament. Blue: Add a touch of Lamp Black to the Ocean Blue and using the #5 shader, shade along the bottom of the Christmas balls, presents and lights. Add a touch of White to Ocean Blue and highlight the tops of the present and lights with the same brush. For the Christmas balls, use the small Mezzaluna brush to dry brush this color onto the ornament. Indigo: Add a touch of Lamp Black to the Primary Blue and using the #5 shader, shade along the bottom of the Christmas balls, presents and lights. Add a touch of White to Primary Blue and highlight the tops of the present and lights with the same brush. For the Christmas balls, use the small Mezzaluna brush to dry brush this color onto the ornament. Violet: Add a touch of Lamp Black to the Brilliant Purple and using the #5 shader, shade along the bottom of the Christmas balls, presents and lights. Add a touch of White to Brilliant Purple and highlight the tops of the present and lights with the same brush. For the Christmas balls, use OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

the small Mezzaluna brush to dry brush this color onto the ornament. (Image5) Lights: Add an extra highlight on the tops of the lights with White using the liner brush. Using the same brush, add the base of the lights with Lamp Black. (Image 6) Presents: Add the bows and ribbons on the presents with Glorious Gold using the liner brush. (Image 7) Christmas Balls: Using the Mezzaluna, dry brush an extra highlight of White on the Christmas balls. Add the ornament caps and hooks with Glorious Gold using the liner brush. (Image 8) Pine Needles: Add a touch of water to Plantation Pine to make an inky consistency. Use the liner brush to add the pine needles on the branches. (Image 9)

IMAGE 9

IMAGE 5

IMAGE 10

IMAGE 6

IMAGE 7

inky consistency. Use the liner to add the bristles. Shade the bristles where they meet the ferrule with Asphaltum. Add a thin line of Glorious Gold to separate the areas on the handle with the liner brush. Use the #5 shader to float a White highlight along the handle. (Image10) Snow: Use the Mezzaluna brush to pounce the snow on the branches and the end of the paintbrushes with White. (see page 8 images)

FINISHING: Paint the sides and back of the ornaments and brushes with Lamp Black. Varnish with 2-3 coats of Polyacrylic. Glue the brush onto the palette with E600â&#x201E;˘ glue. When dry, drill a small hole in the top of the ornament. Attach a 10â&#x20AC;? ribbon for the hanger. Enlarge to fit the surface you choose.

Stencil: Load the stencil pro brush with Lamp Black and wipe off the IMAGE 8 excess onto a paper towel. Line up your desired stencil centered into the middle. Brush over the stencil in a circular motion to add the words. If desired, use your liner brush to fill in the spaces in the letters. Paintbrushes: The lighter area on the brush handles is base coated with Camel using the #14 shader. The bristles are base coated in Honey Brown. Base coat the end of the handle and the ferrule with Lamp Black. Shade along the Camel area of the handle with Honey Brown using the #5 shader. Mix together equal parts of White plus Black to make a nice medium grey. Use the #5 shader to float the sections on the ferrule. Add a touch of water to Asphaltum to make an OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

Chickadee Ornament By Maureen J. Baker

This piece is a lovely ornament to add a sweet Chickadee to your collection. This piece is a looser style of painting. I put a lot of focus on creating some texture. Creating the texture in the background and then in the Chickadee. The color changes make the composition work well with all that texture. I have been creating all my life. In my youth I dabbled in painting, pottery, quilting and silver and gold jewelry designs. I began painting extensively in 1998 and have enjoyed painting and color immensely. After a few years of study with amazing teachers I began the journey to dedicate my professional career to painting. Teaching and exhibiting locally, while raising my family. I then expanded and began to travel teach and exhibit regionally and eventually nationally. My work focuses on florals and nature. Living on a Massachusetts great pond I am surrounded by inspiration.

SUPPLIES:

SURFACE: • Wood ornament available at Viking Woodcraft #207-0824 PAINTS: DecoArt Americana®: • Leaf Green DA051-3 • Burnt Umber DA064-3 • Evergreen DA082-3

• Yellow Green DA134-3 • Lamp Black DA067-3

• Burnt Sienna DA063-3 • Raw Sienna DA093-3

• Antique Gold DA09-3 • True Blue DA036-3

• Emperors Gold (metallic) DA148-3 MEDIUMS: DecoArt®: • Americana® Glazing Medium DS18-3 • Americana® Soft Touch Varnish DS123-3 BRUSHES: By Dynasty®: • Black Gold

• 8 Chisel Blender 206CB

• 12 Chisel Blender 206CB • ¾ FW ¾” Flat Wash

• 3/0 Liner Brush 206L • 8 Wave 206WV

Decorator Series: • 14 Dry Brush

MISCELLANEOUS SUPPLIES: • Water container

• Warm White DA239-3

• Palette paper

• Brilliant Red DA145-3

• Palette knife

• Pebble DA303-3

• Paper towels

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• Transfer paper • Stylus

• 220 Grit sandpaper

• An old bristle brush HELPFUL TIPS AND HINTS: Refer to your photos as you paint. A huge part of painting is about seeing. Base coat: This is the application of paint to establish a foundation of solid, opaque color to the object being painted. This often takes the application of two or more layers. Float: The application of transparent paint to bring value, dimension and depth to the object being painted. The paint is side loaded onto one side of the brush and blended on a palette to work the paint into the brush evenly. When the brush is properly prepared there should be a gradation in color from transparent paint to the absence of color on the other side of the brush. Stipple: Applied with a dry brush such as a short round sable. The paint is tapped into the dry brush and then the brush tapped on to a paper towel to remove excess paint. Gently tap onto the area of the painting and this will create a slight texture. Line Work: The damp liner is loaded with paint and water, so the paint has an “ink” consistency or the consistency of 1% milk. Load the liner by rolling the brush end between your thumb and pointer finger. Next you want to drag the paint out on your palette, so the paint is evenly in the brush with no overload on the sides. When painting line work, the amount of pressure applied to the brush will determine the thickness of the lines. The more pressure applied the thicker the lines.

Refer to image 1: With a dry 8-wave brush, dry brush Evergreen on the left side working towards the middle, then repeat with a bit of Burnt Umber. Clean your 8 Wave. Dry your brush completely, and tip into Yellow Green and dry brush on the upper right corner. Using an 8-chisel blender, basecoat IMAGE 1 the scroll top of the ornament with Lamp Black. Dry your ornament. Transfer your pattern. Refer to image 2: Basecoat the branches in with Burnt Sienna, dry. Side load your 8-chisel blender with Burnt Umber, chop in some shading on the left side of the side branch, and the bottom of the bottom branch. This is not an even float; you are going for some texture. Think of messy c strokes. Repeat this on the right side of the side branch, and the top of the bottom branch, with Raw Sienna. Load IMAGE 2 a liner with Burnt Sienna and basecoat in the four pine branches. This is a simple line, dry. Mix a puddle of Leaf Green and Yellow Green 1:2. Load your 8-wave brush with this mix. Do not apply a lot of paint, or a lot of pressure when your painting the pine needles. Start at the center and pull out lifting as you reach the outside edge of the pine needles. Be sure to overlap the needles on the branches.

PREPARATION: Sand lightly with 220 grit sandpaper. Wipe the ornament with a damp paper towel so it is free of dust. Dry completely. Using your ¾ flat wash brush base oat the ornament front, back and sides with Leaf Green. Dry completely.

Refer to image 3: Base coat the Chickadee as follows: the light areas of the bird in Warm White, the dark area on the head, breast, and claws in Lamp Black. Load your 8-chisel blender with Lamp Black. Stay on the chisel edge of the brush and chop in the wing areas. Clean your brush IMAGE 3 and repeat this with Warm White. Dry completely.

PAINTING INSTRUCTIONS: Creating the base of the painting.

Refer to image 4: Side load an 8-chisel blender with Warm White, chop in on the right side of the

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Developing form and texture:

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side branch and the top of the bottom branch. Load your liner with Yellow Green and pull lines into the pine needles, start at the branch, and pull towards the outer edge. Load your liner with Antique Gold, highlight the branches of the pines here and there. Load your 8-chisel blender with Pebble and paint in some of this into the upper middle of the wing. This is below the white area just below the head. IMAGE 4 Load the 8-chisel blender with Pebble and on the chisel edge of the brush pull some of this color on the wings and belly here and there. Repeat this with Burnt Umber and then with a mix of True Blue and Warm White 2:1. Paint the beak in Pebble. Let dry. Refer to image 5: Paint in the berries in Brilliant Red. Tip your 8-chisel blender brush into glazing medium and then into a mix of True Blue and Warm White 2:1 paint this on the tree branches here and there. This is going to appear grey. Load your 8-chisel blender with glazing medium, tip into Antique Gold, glaze the bottom of the breast and the left side of the white area below the head. Load a liner with Warm White and outline the eye about Âž of the way IMAGE 5 around. Shade the bottom of the beak with Burnt Umber. Reinforce the blacks in the wing using the 8-chisel blender. Stay on the chisel edge of the brush. Repeat this with Warm White. Dry completely.

black showing. Side load your 8-chisel blender with Warm White. Touch here and there on the branches to look like snow. Load your liner with Warm White and pull some additional hair on the Chickadee. Be careful to pay attention to the curve of the Chickadee feathers. Load Your dry bristle brush with Warm White and lightly spatter snow over the entire ornament. Dry completely. Refer to image 7: Load your chisel blender with Lamp Black and lightly paint in some black accents in the belly of the Chickadee. Load your IMAGE 7 liner with Warm White and refine the breast and wings as needed. Load your 14-dry brush with Emperors Gold and apply to the scroll top in a circular motion. Some of the under color will show through and look awesome. Dry brush into the edge of the ornament in the corners Load you 8-chisel blender with emperor gold and paint the outer edge of the ornament. Sign your ornament. Let dry for a couple of days. Varnish with DecoArt AmericanaÂŽ Soft Touch Varnish. Enlarge to fit the surface you choose.

Finishing up with an attention to detail:

Refer to image 6: This is the final phase of the painting. Take a lot of care in the strokes you pull and the pressure on your brushes. The more pressure the heavier the paint is applied. Load a 12-chisel blender with True Blue and paint the scroll at the top of the ornament here and there. Let dry and repeat this with Leaf Green. Leave some of the

IMAGE 6

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PAINTING WORLD MAGAZINE

A Rose for Christmas

By Linda O’Connell TDA Creativity has been an integral part of Linda’s life since Junior High when she won a state award for her pastel portrait. Painting has long been a passion after one class. She has been a student, a teacher and a designer. Having earned her Teacher of Decorative Arts (TDA) certification from the Society of Decorative Painters, Linda has taught her designs both domestically and internationally. She teaches at most regional conventions as well as travel teaches for groups. Linda paints in all mediums. She loves sharing her talents with students, getting such joy in helping them bring their piece to fruition. Linda has been published in magazines and has designed many painting packets. Linda is a DecoArt® Helping Artist, Dynasty® Brush Artist and ChartPak® Ambassador.

PAINT: DecoArt Americana®: • Warm White DA239

• Hauser Medium Green DA132 • Sand DA04

• Midnite Green DA084

SUPPLIES: SURFACE: • Wide Oval Lace Ornament #2584 available at Bear With Us (bearwithusinc. com) DYNASTY® BRUSHES: • Black Gold #206 Shader- #2

• Black Gold #206cb Chisel Flat #14 • Black Gold #206 Liner -10/0

• Decorator Series 400 – ¼” Mop

• Decorator Series 200- #4 Drybrush • Series 361- ¾” Wash

• #1827 Faux Squirrel Rigger #2 OCTOBER 2020 ISSUE

• Hauser Light Green DA131 • Olive Green DA056

• Traditional Burnt Sienna DA223

• Traditional Burnt Umber DA221 • Tomato Red DA169

• Antique Maroon DA160

• Spiced Pumpkin DA310

• Cadmium Yellow DA010

• DecoArt® Extreme Sheen Vintage Brass DPM05 MISCELLANEOUS SUPPLIES AND MEDIUMS: • DecoArt® Media Matte Medium DMM20 • Dark Graphite

• Fine Grit Sandpaper

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TO BEGIN:

Using a ¾ wash brush, base coat the ornament with Warm White. After the initial basecoat dries, lightly sand the ornament. Slip slap the surface with Warm White and Vintage Brass. To slip slap, use the ¾” flat. Pick up a generous amount of paint and apply in random areas of the surface in an “x” motion. Pick up the next color and repeat in random areas blending into the first color. Wipe the brush often. Transfer pattern with dark graphite paper. BASE COATING: When base coating, base with two coats of thin paint, allowing to dry between coats. Use a #2 flattened rigger to basecoat. Basecoat the leaves Hauser Medium Green. Base coat the flowers Sand. (Image 1)

IMAGE 1

LEAVES: Shade the leaves Midnite Green. Shade the base of each leaf. The base is the end closest to the flowers, or the bunches of berries. Shade the separations of leaves. Refer to the shading chart. IMAGE 2 (Image 2). Drybrush the center of each leaf Hauser Light Green. Add Olive Green to the brush and reinforce the highlight Olive Green covering a smaller area on the top leaves only. IMAGE 3 (Image 3). This will give you more depth to your leaves. Use a sable drybrush when you want a softer look. Using the brush dry, load paint and softly wipe excess paint off IMAGE 4 on your paper towel wiping on the side of the bristles. When you are dry brushing on your surface again, use the side of the brush and brush softly.

You will get a beautiful well blended drybrush. Highlight the tips of the back leaves Hauser Light Green. Highlight the tips of the front leaves Olive Green. Refer to the chart. (Image 4) Float center veins of each leaf Midnite Green starting at the base of the leaf. Tint the edge of some of the leaves Tomato Red. THE FLOWERS: Touch up the flowers if you need to after painting leaves. Shade petals Traditional Burnt Sienna at the base and the petal separations. When shading the petals, refer to the shading chart. (Image 5) Highlight the top of each petal with Warm White. Where a petal falls over another that is also a top edge of the petal. (Image 6) Reinforce the shading in the deepest areas IMAGE 5 with Traditional Burnt Umber. Do not reinforce all the areas shaded in the initial shading. By shading just the deepest areas, you will have added areas of depth. With a liner IMAGE 6 and thinned Traditional Burnt Umber, stroke crease lines, lightly from the base of each petal. (Image 7) Stroke stems of the two back flowers Midnite Green pulling from the flower. Base IMAGE 7 the center of the front flower Traditional Burnt Sienna. Shade all edges of the center Traditional Burnt Umber, you may need to do half, and then when it dries float the other half. BRANCHES AND BERRIES: Stroke branches with thinned Traditional Burnt Umber with a liner. Always stroke from the base outward to the tip so that the thickest part of the branch is at the base. (Image 8) Paint berries Tomato Red. You can use a stylus just do not make them too thick. Shade the bottom of each berry Antique Maroon. The bottom of the berry OCTOBER 2020 ISSUE

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is the side that is facing IMAGE 8 the large open flower. Highlight the top edge of each berry with Spiced Pumpkin. Reinforce the top of some berries with Cadmium Yellow. By reinforcing just some of the berries, they will appear closer so that there is not a bunch of flat berries. To add the shine to the berries the surface needs to be wet. Wet the surface enough to see a nice shine but do not have puddles. Work two or three berries at a time rewetting the surface as needed. Using a liner with a bit of Warm White, add a dot to the highlight side of each berry. Because the surface

is wet, the paint should spread and soften. If it does not, use a small mop the soften. This is not a big shine. HINT: If your paint spreads too much your surface is too wet. If your paint does not spread your surface is not wet enough.

FINISH UP:

Allow your piece to dry for 24 hours. Erase all visible graphite. Brush the painted area with a coat of Matte Medium. When the Matte Medium is dry, paint the top and bottom lace area with Hauser Medium Green. The matte Medium will protect your painting, and it will dry with a matte finish so you can add to your design if you want. The matte medium will allow you to easily remove any green from the area as you paint the lace and sides.

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Christmas Time

By Elisabetta De Maria

Dearest painting friends, My husband loved to create supports for me and he had built some a few years ago ... they had remained in a drawer and I thought it was time to paint them and share this treasure of mine with you ... “The decorated house and the mother who prepares the Christmas lunch while the boy makes a snowman waiting for the gifts to arrive“ I hope you enjoy… Happy painting my dear friends!

SUPPLIES:

SURFACE: Wood Ornaments: • Large triangle cm 30 x 16

• Medium triangle cm 16 x 27 • Small triangle cm 11 x 13

PROJECT SUPPLIES: • Ball stylus (Fine) • Lint free cloth • Paper towel • Wet palette

• Water containers • Tracing paper

• Graphite paper • Paper palette

• DecoArt®Dazzling Metallics Splendid Gold • Decoart® Snowpen

• Decoart® Snow- Tex

PAINTS: Decoart Americana® Acrylics: • Buttermilk DA03 • Blue Chiffon

• Burnt Umber DA064

• Cadmium Yellow DA010 • Camel DA191

• Cocoa DA259

• Fiery Red DHS4

• Hauser Dark Green DA133

• Hauser Light Green DA131 • Hauser Medium Green DA132 • Olive Green DA056 • Pebble DA303

• Raw Sienna DA093 • Slate Grey DA068 • Soft Black DA155

• Titanium White DA01 • True Red DA129

• Uniform Blue DA086 • Warm Beige DA078

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

• DecoArt® Light Satin Varnish

BRUSHES: • Liner Brush Black Gold 5/0 • Pointed Flat 6/0 Micron Dynasty® Brush • Detailer 5/0 Micron Dynasty® Brush

• Flat Brush Black Gold 4, 10 Dynasty® Brush 206s • Angular Brush for Floating Black Gold 3/8, ¼, 1/8 Dynasty® Brush

• Mop Brush to Blend and Soften Color 3/8 Dynasty® Brush 400

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PAINTING TECHNIQUES:

Basecoat: Opaque application of background color on surface or component. Shading and Highlighting: Load a small amount of paint in the corner of an angle brush, stroke the brush back and forth on the palette paper until most of the paint is out of the brush. It is important that the color be worked in the brush until it is completely transparent. Apply as if walking out a float of color. Repeat if necessary and use the mop brush to blend the color. Drybrush: I use brushes that are dome shaped, rounded, and have shorter hairs. Dip the brush into the paint, and then wipe the brush on a dry paper towel, rotating the brush until only a residue of paint remains. Move to the surface; use a light pressure and begin “scrubbing” the paint out of the brush, slowly, in a small circular motion. Work the paint outward, allowing it to diminish so that there is a gradation of color. INSTRUCTIONS: Use the brushes you are most comfortable with (I used a flat brush Black Gold n 10). Apply a coat of DecoArt® Gesso and let it dry. Sand with fine sandpaper and dust with a soft cloth. Heaven for all three ornaments:

Basecoat the surface with Winter Blue and flat brush Black Gold n 10. Place the pattern on the surface and transfer it with graphite paper leaving out details. FIRST ORNAMENT Home:

Wall: Basecoat with Camel using a flat brush Black Gold n 4. Paint the wall lines with Raw Sienna and liner brush Black Gold 5/0. With angular brush Black Gold 1/4 shade with Raw Sienna and highlight in the center with Cadmiun Yellow. The ground floor: Columns near the door, upper and lower edge of OCTOBER 2020 ISSUE

the wall and Scallop on the door: Basecoat with Williamsburg Blue and a pointed flat 6/0 micron. With an angular brush Black Gold 1/8, shade with Uniform Blue and highlight with Winter Blue. External Columns, Upper Part of the Central Columns, Center of the Wall and External Part of the Door: Basecoat with Titanium White and pointed flat 6/0 micron. With an angular brush Black Gold 1/8 shade with Slate Gray. Internal panels of the door and cross in the wall: Basecoat with True Red and pointed flat 6/0 micron. With an angular brush Black Gold 1/8 shade with Burnt Umber and highlight with Fiery Red. Garland on the door and on the columns: Work with detailer 5/0 micron in the following sequence: Hauser Medium Green, Hauser Dark Green, Hauser Light Green and Olive Green. Red bows and balls: Paint the bows with True Red and detailer 5/0 micron. With angular brush Black Gold 1/8 shade with Burnt Umber. Paint the balls with stylus and True Red. Staircase and Upper Basecoat of the Columns: Basecoat with Burnt Umber and pointed flat 6/0 micron. With angular brush Black Gold 1/8 highlight with Cocoa and shade with Soft Black. Illuminate the Flakes, Garlands, Door Panels and Crosses with DecoArt® Dazzling Metallic Splendid Gold and liner brush Black Gold 5/0. The first floor:

Shutters and Crescent over the Window: Basecoat with True Red and pointed flat 6/0 micron. With Angular brush Black Gold 1/8 shade with Burnt Umber. Edge over the Crescent: Basecoat with Williamsburg Blue and detailer 5/0 micron With angular brush Black Gold 1/8 shade with Uniform Blue and highlight with Winter Blue.

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Columns, Curtain and Grid: Basecoat with Titanium White and pointed flat 6/0 micron. With angular brush Black Gold 1/8 shade with Slate Gray. Glass: Paint with Burnt Umber and detailer 5/0 micron. Garland above the window and on the columns: Work with detailer 5/0 micron in the following sequence: Hauser Medium Green, Hauser Dark Green, Hauser Light Green and Olive Green. Red bows and balls: Paint the Bows with True Red and detailer 5/0 micron. With angular brush Black Gold 1/8 shade with Burnt Umber. Paint the Balls with Stylus and True Red. Illuminate the Flakes, Garlands, Shutters, Crescent and Glasses with DecoArt速 Dazzling Metallic Splendid Gold and liner brush Black Gold 5/0. The second floor: Window structure: Basecoat with True Red and detailer 5/0 micron. With angular brush Black Gold 1/8 shade with Burnt Umber. Grid: Paint with Titanium White and liner brush Black Gold 5/0 . Glass: Paint with Burnt Umber and detailer 5/0 micron. Garland: Work with detailer 5/0 micron in the following sequence: Hauser Medium Green, Hauser Dark Green, Hauser Light Green and Olive Green. Red bows and balls: Paint the Bows with True Red and detailer 5/0 micron. With angular brush Black Gold 1/8 shade with Burnt Umber. Paint the Balls with Stylus and True Red. Roof Scallop: Paint with Williamsburg Blue and pointed flat 6/0 micron. With angular brush Black Gold 1/8 shade with Uniform Blue and highlight with Winter Blue. Chimney pots: Basecoat with True Red and pointed flat 6/0 micron. With angular brush Black Gold 1/8 shade with Burnt Umber.

Beam and Basecoat Chimneys: Paint with Burnt Umber and pointed flat 6/0 micron. With angular brush Black Gold 1/8 highlight with Cocoa and shade with Soft Black. Illuminate the Garlands, the window structure and the glass with Dazzling Metallic Splendid Gold DecoArt速 and liner brush Black Gold 5/0. Bushes near the Staircase: Work with detailer 5/0 micron in the following sequence: Hauser Medium Green, Hauser Dark Green, Hauser Light Green and Olive Green. Street: Paint the street with the Angular cutting brush Black Gold 3/8 Black Gold and Williamsburg Blue and Titanium White. With an angular brush Black Gold 3/8 shade with Williamsburg Blue. Ground: Work with angular brush Black Gold 3/8 and Titanium White; give motion with Winter Blue, Slate Gray and Pebble. With the same brush brighten highlight with Titanium White and shade with Williamsburg Blue. Sky: With angular brush Black Gold 3/8 highlight with Blue Chiffon and shade with Williamsburg Blue. Sun: With the angular brush Black Gold 3/8 paint the sun creating a circle with Cadmiun Yellow. Snow: Looking at the photo, put the snow in with DecoArt速 Snowpen and with a Palette Knife and DecoArt速 Snow-Tex. With a stylus and Titanium White paint the falling snow.

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SECOND ORNAMENT Sled:

Seat: Basecoat with True Red and pointed flat 6/0 micron. With angular brush Black Gold 1/4 shade with Burnt Umber and highlight with Fiery Red Edge: Paint with Camel and detailer 5/0 micron Delinate with Burnt Umber and liner brush Black Gold 5/0. Sled structure: Paint with Burnt Umber and detailer 5/0 micron. Tree: Work with detailer 5/0 micron in the following sequence: Hauser Medium Green, Hauser Dark Green, Hauser Light Green and Olive Green. Blue Gift Box: Basecoat with Williamsburg Blue and pointed flat 6/0 micron. With angular brush Black Gold 1/8 shade with Uniform Blue and highlight with Winter Blue. Ribbon: Paint with Camel and detailer 5/0 micron. With angular brush Black Gold 1/8 shade with Raw Sienna and highlight with Buttemilk. Green Gift Box: Basecoat with Hauser Medium Green and pointed flat 6/0 micron. With angular brush Black Gold 1/8 shade with Hauser Dark Green and highlight with Hauser Light Green. Ribbon: Paint with True Red and detailer 5/0 micron. With angular brush Black Gold 1/8 shade with Burnt Umber Yellow Gift Box: Basecoat with Camel and pointed flat 6/0 micron. With angular brush Black Gold 1/8 shade with Raw Sienna and highlight with Buttermilk. Ribbon: Paint with True Red and detailer 5/0 micron. With angular brush Black Gold 1/8 shade with Burnt Umber Candies: Paint with True Red and Titanium White and detailer 5/0 micron. Garland: Work with detailer 5/0 micron in the following sequence: Hauser Medium Green, Hauser Dark Green, Hauser Light Green and Olive Green. Red bows and balls: Paint the Bows with True Red and detailer 5/0 micron. With angular brush OCTOBER 2020 ISSUE

Black Gold 1/8 shade with Burnt Umber. Paint the Balls with stylus and True Red. Light up the bows, garlands, balls and sleigh with Dazzling Metallic Splendid Gold DecoArt® and liner brush Black Gold 5/0. Bushes: With the liner brush Black Gold 5/0 paint the bushes with Raw Sienna, Burnt Umber and Hauser Medium Green. With the stylus and True Red paint the berries. Ground: Work with angular brush Black Gold 3/8 and Titanium White, give motion with Winter Blue, Slate Gray and Pebble. With the same brush brighten highlight with Titanium White and shade with Williamsburg Blue. Sky: With angular brush Black Gold 3/8 highlight with Blue Chiffon and shade with Williamsburg Blue. Snow: Looking at the photo, put the snow with Snowpen DecoArt® and with a palette knife and Snow-Tex DecoArt® trowel. With a stylus and Titanium White paint the falling snow. THIRD ORNAMENT Child:

Face: Paint with Warm Beige and detailer 5/0 micron. Coat: Basecoat with True Red and flat brush Black Gold 4. With angular brush Black Gold 1/8 shade with Burnt Umber and highlight with Fiery Red. Hat and Gloves: Paint with Hauser Light Green and detailer 5/0 micron. With angular brush Black Gold 1/8 shade with Hauser Dark Green. Pants: Basecoat with Williamsburg Blue and pointed flat 6/0 micron. With angular brush Black

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Gold 1/8 shade with Uniform Blue and highlight with Winter Blue.

Enlarge to fit the surface you choose.

Shoes: Paint with Burnt Umber and detailer 5/0 micron. Snowman:

Paint the snowman with Titanium White and flat brush Black Gold 4. With angular brush Black Gold 1/8 shade with Slate Gray. Nose: Paint with Raw Sienna and liner brush Black Gold 5/0. Eyes, Arms and Buttons: Paint with Burnt Umber and liner brush Black Gold 5/0. Hat: Paint with Burnt Umber and detailer 5/0 micron. With angular brush Black Gold 1/8 shade with Soft Black and highlight with Cocoa. Ground: Work with angular brush Black Gold 3/8 and Titanium White, give motion. With Winter Blue, Slate Gray and Pebble. With the same brush brighten highlight with Titanium White and shade with Williamsburg Blue. Sky: With angular brush Black Gold 3/8 highlight with Blue Chiffon and shade with Williamsburg Blue. Snow: Looking at the photo, put the snow on with DecoArt Snowpen. With a palette knife, apply DecoArt Snow-Tex. With a stylus and Titanium White paint the falling snow.

FINISHING:

Varnish as desired. I hope you enjoy painting this as much as I did! Happy Painting, Elisabetta

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Shabby Chic Poinsettia By Sandy McTier

I adore shabby chic décor! The soft pinks and soft blues along with white are so tranquil and pretty, don’t you think? Change the color of the poinsettia to Red, and it will be a little more traditional. PAINTS: DecoArt® Media Products Fluid Acrylics: • Titanium White DMFA39 • Titan Buff DMFA38

• Quinacridone Magenta DMFA35 • Sap Green DMFA07

• Green Gold DMFA14

• Raw Umber DMFA37

• Paynes Grey DMFA20

DecoArt® Products:

• Multi-Purpose Sealer DS17

• Soft-Touch Varnish DMM26

• Vintage Effects – Turquoise DCW12

SUPPLIES: SURFACE: • Large Arched Top Gift Tag – Item #2070521 (www.VikingWoodcrafts.com) STENCIL: • Bouquet Masking Stencil (TracyMoreau.net) STAMPENDOUS®: • Joy to the World Stamp (available at www. Stampendous.com)

BRUSHES: Dynasty®: www.TheBrushGuys. com (use promo code sandymc for an additional discount): • 3/4” Flat Wash 206FW • #8 Shader 206S • #0 Liner 206L

• 1/2” Stencil Brush MISCELLANEOUS SUPPLIES: • Paper towels • Baby wipes

• Water basin • Heat gun

• Transfer paper

• Staz-On® ink pad – Black • Sanding pad

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PREPARATION:

Using the 3/4” brush, paint the ornament with DecoArt® MultiPurpose Sealer and let dry. Lightly sand and wipe away any dust. With the 3/4” brush, paint the ornament with Vintage Effects – Turquoise. Lightly sand if necessary.

INSTRUCTIONS:

Load the stencil brush with Titanium White and wipe almost all of the paint off the brush. Using a circular motion, lightly brush over the stencil. I was going for a soft, subtle look with nothing too solid. Let dry, and then transfer the pattern. Load the #8 with Titanium White and basecoat the design in. Let dry. Do not worry about full coverage. This is just a base for our colors to be layered on top of. POINSETTIA: Load the #8 with Quinacridone Magenta and Titan Buff and mix on the palette. We are looking for a soft/pale pink color. Paint the petals. Load the liner brush with the mixture and a touch of Titanium White and lightly outline the petals. This will help you see each separate petal. Move on to the holly leaves while the petals are drying. Load the #8 with Sap Green and Paynes Grey and paint in the holly leaves. Load the #8 with the mixture and add a touch of Titanium White. Brush mix and then wipe quite a bit of the paint off on a paper towel. Lightly dry brush the color on the petals. Try to leave some of the petal color showing as well. We are not going for full coverage – just lighter strokes on each petal. Load the brush with Titanium White and paint the scroll strokes. Sit on the corner of the brush, push, pull, slide and lift to the chisel edge to finish. This will give a little

“airiness” to the design. Load the toe of a slightly damp 3/8” angle brush with Quinacridone Magenta and shade at the base of the petals, as well as where the petals meet each other. Refer to the picture for details. Load the liner brush with inky Quinacridone Magenta and paint fine vein lines on the petals as shown. While the petals are drying, let’s go back to the holly leaves. Load the #8 with Sap Green and Paynes Grey and repaint the holly leaves. Wash out the brush, dry off and load with a touch of Sap Green, a touch of Green Gold and a touch of Titan Buff. Mix on the palette. Wipe brush across a paper towel to get rid of the excess paint. Brush the lighter color on the side of the holly leaves. Load the liner brush with inky Sap Green and paint vein lines on the leaves. Load the liner brush with the Sap Green and Paynes Grey mixture and outline the darker side of the leaf, adding a little curl at the tip. Load the toe of a slightly damp 3/8” Angle brush with Paynes Grey and shade underneath one side of the holly leaves to raise them up a bit OCTOBER 2020 ISSUE

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from the background. Dip the end of the liner brush into the Sap Green and Paynes Grey mixture and dot the center. Wipe off the brush, load with Green Gold and Titanium White and paint a smaller dot on the dots previously painted. Let dry. Load the toe of the 3/8” angle brush with Raw Umber and shade around the base of the flower center. Wrap a baby wipe around your index finger and load the tip of your finger side to side with Titanium White. With your hand on the inside of the surface, run your finger around the inside edge of the surface. This will give it a “frosted” look. Load the liner brush with inky Titanium White and loosely outline the petals on one side only. Load a very wet #8 with Titanium White and tap the middle of the handle over the handle of another brush to add splatter here and there, but not everywhere!

Load the stamp with ink and stamp in place. Let everything dry and then paint the entire ornament with SoftTouch Varnish. Add a pretty organza ribbon and add to a gift, hang it on the tree or on a wreath! Happy Holidays!

Enlarge to fit the surface you choose.

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Christmas Gnomes

By Alessio Meggiato

Hi! I’m Alessio Meggiato! I was born in a small town near Venice. 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 Terrye 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®. From now on, you’ll be able to find my projects within the pages of this magazine, where I’ll share with you what I love the most. Often, my heart speaks through my hands. Creativity and fantasy may be my daily “addiction” ... or the best care I‘ve ever experienced. Hugs, Alessio

SUPPLIES:

• Lamp Black

SURFACE: • The shapes can be purchased through Sheila Landry at www.tolepaintingdesigns.com

• Matcha Green

PAINTS: DecoArt Americana®: • Burnt Sienna

• Marigold

• Prussian Blue • Sand

• Slate Gray

• Chartreuse Yellow

• Soft Black

• Dark Chocolate

• Tropical Blue

• Country Red

• Titanium White

• Eucalyptus Leaf

• Warm Beige

• Graphite

DecoArt® Dazzling Metallics:

• Hauser Green Dark

• Champaign Gold

• Hot Shot Fiery Red

• Shimmering Silver

• Honey Brown

• Splendid Gold

• Indian Turquoise

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DecoArt® Galaxy Glitter: • Gold Shooting Star • Aqua Meteor

DecoArt® Extreme Sheen: • Aquamarine

OTHER SUPPLIES: • Multi- purpose sealer

• DecoArt® Triple Thick Glaze • DecoArt® Liquid Glass • Tracing paper

• White and black graphite paper • Palette • Stylus

• Makeup Sponge

In applying the base coats, I use round brushes, shaders, or filberts (depending on the size of the area). Use what is most comfortable for you. The base coats have to cover well. This will take several coats. When float shading, use an angular or flat brush of various sizes (I use Black Gold from Dynasty®) again, depending on the size of the area you are working. Prepare the base: Sand the entire surface with thin sandpaper, remove the dust with a damp cloth. Give a hand of Multipurpose sealer (optional). When dry, sand lightly and remove the dust with a damp cloth. Re-trace the main lines of the pattern, if necessary. The basic colors: Fill the color fields as follows; Gnome with ball: Country Red hat. When dry, make wide vertical and horizontal lines using a

• Swarovski® crystals • Snowflake stamp

BRUSHES: Dynasty® Black Gold: • Rounds: n 6 206R

• Filberts: 4 and 6, 206FIL (for base coating) • Half Moon: Medium and large brush • Liner Brushes: 5/0 206L

• Shader Brushes: 2 and 16 206S • ½ “, ¾” brush 206FW

• Maxine’s Mop Brushes: 270 series - ½ and ¾ flat brush n 2 and thinned Soft Black paint. Thin lines in between the washed lines are Lamp Black. Thin lines inside the washed lines are Titanium White. Use a liner for these. The hat band is Sand. The ball is Indian Turquoise, and then when dry, spread DecoArt® Extreme Sheen Aquamarine. The top of the ornament on the ball is Slate Grey. When dry, apply Shimmering Silver. The hook is Lamp Black. The Beard and eyebrows are Slate Gray. The face and hands are Warm Beige. The coat is Dark Chocolate. Gnome with tree: The hat is Indian Turquoise. When this has dried, a stamp with snowflakes is used with Titanium White for the pattern. Use a make-up sponge to apply the paint to the stamp OCTOBER 2020 ISSUE

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and carefully make the impression. The hat band and coat are Dark Chocolate. The tree is Green Matcha. The trunk is Honey Brown. The star is Marigold. When the star is dry, add a layer of Splendid Gold. The beard and eyebrows are Slate Gray. The face and hands are Warm Beige. Shading: Using the float technique, shade the various backgrounds as follows: Gnome with ball: Shade the hat with Soft Black close to the cap and going up a bit on the right and left sides and on the curl. Shade the cap with Honey Brown close to the eyebrows and the two sides right and left. Shade the face with Burnt Sienna on the whole upper part near the hat band. Also, shade behind the nose towards the eyes. Shade the ball with Tropical Blue along the

entire perimeter. Shade the cap of the ball with Graphite. Shade the dress with Lamp Black close to the ball. Gnome with tree: Shade the hat with Tropical Blue close to the cap and climbing a little on the right sides and left and on the curl. Shade the face with Burnt Sienna, on the whole upper part near the hat and behind the nose towards the eyes. Shade the tree with Eucalyptus Leaf. Shade the trunk with Soft Black. Shade the bottom of the star with Burnt Sienna. Shade the dress with Lamp Black behind the tree. Further Information: With the float technique, deepen the previous shading as follows: Gnome with ball: Shade the hat with Lamp Black close to the cap. Shade the ball with Prussian Blue along

the entire perimeter. Shade the cap of the ball with Lamp Black. Gnome with tree: Shade the left side of the hat with Prussian Blue and also on the folds with the same. Shade the tree with Hauser Dark Green. Shade the bottom of the star with Burnt Sienna. On both gnomes: shade the face where it meets the beard and also the nose where it meets the ball with a mix of Country Red + Sand. Highlights: Gnome with ball: Dry brush the center of the face, little hands, and center of the cap with Titanium White. Float to highlight the hat with Hot Shot Fiery Red. Highlight the middle

finger of the litter hands, the upper part of the nose, the central part of the ball, the center of the hook with Titanium White. On the top of the hook make a back to back float to highlight. Make semicolon on the nose and on the ball with a liner and Titanium White. Add some light touches to the center of the ball and on the hook collar and on the hook with Titanium White using a liner. Gnome with tree: Dry brush to highlight with the Titanium White on the center of the face and the center of the hands. Dry Brush the trunk starting from the end and pulling inward using Marigold. Float highlights with Titanium White on the hat on the top and on the tip, the middle finger of the little hands, the upper part of the nose, and the upper part of the star. Highlight the coat with Honey Brown. Highlight the tree with Chartreuse Yellow against the back in the central areas of the main branches of the tree. Make semicolon on OCTOBER 2020 ISSUE

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left of the ball and on the gnome’s hat with the tree. When the work is perfectly dry, apply the DecoArt® Triple Thick Glaze on the ball. Apply a drop of DecoArt® Media Liquid Glass to the eyes. Allow it to dry flat to prevent it from moving. Add some Swarovski® crystals on the tree (optional to be done instead of the crystals, make small dots with the back of the brush using the colors in your palette). Happy Painting! Thank you for choosing to paint with me, for more clarifications contact me. the nose and on the star with a liner and Titanium White. Beard, Eyebrows, and hatbands: Using a filbert rake brush loaded with Sand, paint the entire area of the beards with slightly rounded brush strokes. When dry make a second pass with Titanium White. Using a crescent brush loaded with Titanium White tap on the eyebrows of both gnomes. Shade the beard and eyebrows with Graphite. Using a crescent brush loaded with Sand, tap the gnome’s (with the tree’s) cap. When dry, make a second pass with Titanium White in

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the central part. Shade the hatband with Dark Chocolate. Details: Paint the eyes and eyelashes with Lamp Black. When dry make the highlights with Titanium White. Spread the Gold Shooting Star over the star. Spread the Aqua Meteor on the OCTOBER 2020 ISSUE

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Woodland Christmas Ornaments By Nancy Scott, CDA

I love creating on special “finds” such as these given to me by a colleague. These are tiny metal trays used as ornaments, but the designs could easily be enlarged and painted on those small metal trays available from the dollar store. Just prep them the same way and you are ready to paint sweet little treasures for friends and family! I have been painting for over 30 years and teaching for more than 20. I enjoy travel teaching and teaching at conventions. I have taught at National, New England Traditions, World of Color and OKC Painting Palooza. I received my CDA from the Society of Decorative Painters and enjoy learning from the many amazing teachers out there!

SUPPLIES:

SURFACE: • Metal tray(s) measuring 7.5” x 4.5” (this includes the handles). Painting surface is 5.25” x 3.25”. Again, easily enlarged to fit any rectangular surface. PAINTS: Deco Art Americana®: • Antique Maroon DA160 • Deep Burgundy DA128

BRUSHES: Royal & Langnickel® Aqualon™ Series • R2700 Wash size 1/2” • R2160 Angle sizes 1/8”, 1/4”, 1/2” • R2250 Round sizes 1, 2, 4 • R2595 Liner sizes 0, 1

• Bittersweet Chocolate DA195

MEDIUMS: • DecoArt® Chalky Gesso Grey

• Burnt Umber DA064

MISCELLANEOUS SUPPLIES: • Paper towels

• Grey Sky DA111

• Lamp Black DA067

• Charcoal Grey DA088 • Raw Sienna DA093

• Cinnamon Drop DA308 • Scarlet DA345

• Colonial Blue DA334 • Warm White DA239

• Water basin

• Grey graphite • Paper towels

• Palette paper

• Tracing paper • Stylus

• Spray varnish of choice (I use Krylon® Crystal Clear #1303). OCTOBER 2020 ISSUE

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HELPFUL HINT: Both woodland animal’s fur is painted with lots of liner strokes. To paint fine lines, it is important to thin your paint (with water) and stay right up on the tip of your brush to avoid lines that are too heavy or thick. I am always going back into my water as I keep reloading my brush with paint in order to keep it the right consistency. If you dribble a few drops of water onto your palette in close proximity to the paint color you are using, it’s easier to pick up the water you will need instead of having to reach back and forth into your water basin.

Warm White with a touch of Raw Sienna. This is fur, so keep the edges a bit scruffy. Use the round brush for this, choosing the size appropriate for the area you are working. (Image 1)

PREPARATION:

Darker and lighter fur lines are added to the face and body. The darker areas have lines of Lamp Black stroked in the middle of the face above the nose going up towards the hat. Stroke some of these Lamp Black lines under the scarf. The light areas, on the face, have bright Warm White lines at the outside edges and slightly darker white lines of Warm White with a tiny touch of Charcoal Grey on the inside edges (Image 1 again). On the body, add some lighter fur lines with Burnt Umber and Burnt Umber brush mixed with Raw Sienna.

Begin by painting your metal surface with the Chalky Gesso and let dry. Do not thin the gesso, use it the consistency that comes from the bottle. PAINTING: Base coat painting surface with Grey Sky. The inside frame is painted Cinnamon Drop. The outermost frame is Deep Burgundy. The raised edges are Cinnamon Drop. Trace pattern and transfer to surface with grey graphite leaving off any tiny details. RACOON ORNAMENT: The dark areas of the raccoon are painted with Charcoal Grey. The light areas are painted with

In the nose area, paint a Lamp Black oblong nose. (Image 2) Add a small, Grey Sky comma highlight. In the eye area, paint a Lamp Black oval (leaning more to a roundish shape). Float a Grey Sky highlight on the left side. Add a Grey Sky line slightly under the eye from about 9 o’clock trailing off at about 5 o’clock. Add a Warm White dot in the upper right. (Image 3)

The scarf is base coated with Deep Burgundy. Divide the knitted rows with a line of Antique Maroon, keeping the line a little on the thicker side. Within those rows, divide again, with a finer line of Antique Maroon. (Image 4) Using the #1 round, paint knitted stitches of Cinnamon Drop. (Image 5) Add a few brighter, red stitches with Scarlet keeping those more in the middle of the scarf. (Image 6) The hat is painted with Deep Burgundy. Paint the hatband the same way that you did the scarf. The top of the hat has floated shading of Antique Maroon where it comes out from under the hatband and in a little divot on the left side. Float a brighter red highlight at the top of the hat and below the divot with Cinnamon Drop. Add pompom with fine lines of all the reds. The tree is painted with Burnt Umber. With a liner, add darker texture lines of Bittersweet Chocolate. Add lighter texture lines with Raw Sienna. Paint Warm White snow drifts on many of the branches.

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BUNNY ORNAMENT: The bunny is base coated with Raw Sienna. Like the raccoon, the edges are a bit choppy. With the liner, begin adding lighter lines of fur with Raw Sienna/Warm White (1:1). (Image 7) Add some even lighter fur towards the front of his body by brush mixing in some more Warm White into the first light mixture. (Image 8) Now add some darker fur lines using Burnt Umber. There are less of these darker lines. Finally, deepen some of the dark with floats of Burnt Umber. These go under the scarf, around the haunch of his back leg and at the bottom of his body to nestle him into the snow. (Image 9) See (Image 10) for a close up of painting the ears. The eye begins with a shape of Burnt Umber. Add a dark, Lamp Black pupil. Finally, a dot of Warm White in the upper right. Stroke Warm White lines of fur along the right-side blending into the face. (Image 11) His nose is Bittersweet Chocolate. Paint his scarf the same way you did with the raccoon. Add Antique Maroon shading (floated color) on the back section of the scarf, behind the bunny and at the front of the scarf to form the front flap. Float Warm White snow around and under the bunny. Paint a bare, branch bush and a few sprigs of grass with the liner using Bittersweet

Chocolate. Add some Warm White snow drifts on most of the branches. Add stylus dots of Cinnamon Drop for berries. Both ornaments have falling snow done with the tiny end of your stylus or the tip of a liner using Warm White. When everything has dried, varnish with your favorite spray sealer. Hang with a ribbon.

Enlarge to fit the surface you choose.

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Joy to The World By Helena Rizzaro Andrejev

Christmas brings a great sense of comfort, peace, and gentleness into our hearts. Even the cold air outside gives us a warm feeling inside. At this time of the year the winter breeze graciously whispers sweet musical notes around us, and the Christmas songs fill our souls with happiness. Joy to the World is a lovely Christmas song announcing that the Lord is coming and with Him peace and joy will be with all, united in the world.

This project was painted with oils and pens on vellum paper. In the past, vellum was commonly used to create cards, ornaments, etc. I am now turning the old tradition into a new design. Vellum has a soft translucency providing a very elegant finish. Oils have been my favorite medium; it is so forgiving, and any mistake can be easily removed to start fresh again. With this project you will learn how to: paint on vellum paper, blend with oils, rouging technique, and use a technical pen for artistic calligraphy and details. When completed, this lovely piece can be used for your Christmas tree, or be displayed on a door, accent wall, etc. It can also be used as a card, which will definitely impress someone

SUPPLIES: SURFACE: • Vellum Paper 12” x 12” from Bazzill®

• Canvas paper Canson® 12 x 16

BRUSHES: • Sherry Nelson Brushes – Bright series 303 size 0, 2 and 4

• Princeton Select - Flat Wash

E.L.F.® Makeup Eyeshadow Brush

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special. Whatever you decide to do with it, do it with all your heart. Enjoy your painting! I am originally from Brazil and have been living in the US for longer than in my own country.I learned to paint with oils and fell in love with it, truly love at the first blending. Several of my projects have been published in instructional magazines and some won awards. I had the privilege to be selected as Artist of the Year for the Society of Decorative Painters convention and have an original painting at the Library of Congress in D.C. I live in Southwest Florida with my husband and furry baby girl, and I love every minute of it.

PALETTE: Delta® Ceramcoat Coastline Blue 02574

Winsor & Newton Oil Colors: • Titanium White (TW) 644 • Naples Yellow Hue (NYH) 426 • Oxide of Chromium (OC) 459

• French Ultramarine (FUM) 263 • Magenta (MA) 380

• Purple Madder (PM) 543 • Brown Ochre (BO) 59

MEDIUMS AND PENS: • Sharpie® Permanent Marker Fine Point Sky 32083 • Sharpie® Permanent Marker Fine Point Silver Metallic – 39108P • Pigma® Micron Pen 01 Blue

• Pigma® Micron Pen 05 Royal Blue • Uni-Ball® Impact Bold Point Gel White- Signo UM-153 • Weber Turpenoid Natural • Krylon® Crystal Clear – Acrylic Coating 1303

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MISCELLANEOUS SUPPLIES: • Paper towels • Pencil

• Kneaded eraser • Tracing paper

• Canson® disposable palette • Clear ruler

• X-Acto knife • Scissors

• Fiskars paper edger scissors Victorian • Tracing paper

• Alvin flexible curve

• EK® Tools 3D-Dots 1/8” thick

• EK® Tools Chisel Tip glue pen

• Recollections™ 5/8” Paper Puncher – Snowflake • Recollections™ Foil Paper – Silver • Water bin

• Cotton balls HELPFUL TIP: Before starting, make sure your hands are free from lotion so it will not stain the Vellum paper. Prior to tracing the design, wipe the carbon side with a clean and dry paper towel. Do it from different directions to remove the excess carbon so your lines will not be super dark. I would recommend using the kneaded eraser since it also helps correcting and removing any small painting mishaps. Knead the eraser into a point for that and when that point gets dirt from paint, just remove it, or knead again to another fresh clean point. If you make a mistake while painting with oils, just wipe it off and start again. Oils are forgiving. The painting, calligraphy and embellishment will be completed on the front of the vellum. The canvas paper will be painted with acrylic color. Once finished, the vellum paper will be attached to the canvas paper. It will allow for more dimension and firmness. If you are righthanded you might want to start working from left to right and if you are left-handed going in the oppose direction. This will protect your painting from becoming smudged. The flexible curve can be substituted for any curved ruler if desired.

If so, make sure to trace the lines well prior to using the pen. If you want a free design just go free hand, making sure to trace well and always focus on the line ahead. The E.L.F.® makeup eyeshadow brush can be substituted for another similar brush. I really love this one for its shape, softness, and inexpensive efficiency. It will be used to rouge. The Recollections® foil paper Silver, can be substituted for any metallic paper of your choice. Instead of using the paper punch for the snowflake shape and the metallic paper, you can substitute with sticky snowflakes with gems and glitter instead. The final project can also be embellished with bling stickers strass or similar adorns. If desired, glitter can be added to the finished project, as around the edges and/or use glitter glue for the snowflakes that are falling. Always read the product labels and follow manufacturer’s instructions.

PREPARATION:

The vellum paper as well as the canvas paper do not need any preparation. Tracing: Use light pressure during tracing so it will not dent the Vellum. After tracing the entire design, spray lightly with Krylon® Crystal Clear following manufacturer’s instruction.

PAINTING INSTRUCTIONS:

Please refer to color placement chart. Always use a very small amount of oil paint. When changing colors, wipe the brushes well on paper towel and do not use the cleaner until the end of the day. I prefer to start with the lighter colors first, then add the medium value and finally the darks. When blending the colors, wipe the brush well and use a very light pressure where the colors meet. Blend gently without overdoing it to avoid a muddy effect. Rouging is the process I used to create dimension for the ornament. It is achieved by applying a small amount of oil color to the edges and then with the eyeshadow brush gently pulling the paint using circular motion until the color fades out – it should create a gradation effect from color to non-color. If you notice too much oil paint was applied, use the cotton ball, also in circular motion, to remove the excess without leaving brush marks. If the color becomes stronger than OCTOBER 2020 ISSUE

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desired, you can use the kneaded eraser flat, pressing in on the painted part and pulling it straight up, without any motion. If the color is not deep enough then gently spray it with the Krylon® Crystal Clear and apply more paint over it. ORNAMENT BALLS: For the front ornament ball, start by applying a small amount of TW for the highlight. Mix MA with a touch of FUM for the medium value of the ornament. For the dark areas, use a touch of MA and for the accent use a touch of FUM. Blend gently then add more TW to the highlights. For the ball on the back, start by applying a small amount of TW for the highlight. Mix FUM with a touch of MA and use on the medium value of the ornament. For the dark areas, use a touch of FUM and for the accent use a touch of MA. Blend gently then add more TW to the highlights. For the metal holding part, apply NYH with a touch of TW. For the dark part on the top of the metal, as well as the strings, use a mixture of TW + NYH + OC + with a very small touch of PM. Ornament bells: For the front bell ornament, apply TW for the highlight. Fill the medium value of the bell with a mix of FUM and a touch of MA. For the dark areas, use a touch of FUM and for the reflective light use a touch of MA. Blend gently then add more TW to the highlights. For the bell on the OCTOBER 2020 ISSUE

back, start by applying a small amount of TW for highlight. Mix MA with a touch of FUM and use for the medium value of the ornament. For the dark areas, use a touch of MA. For the reflective light, use a touch of FUM. Blend gently then add more TW to the highlights. For the golden metal parts apply NYH. Add a touch of TW for highlights. For the bottom hollow part of the bells as well as the string, use the same mix as the ornament balls string use a mixture of TW + NYH + OC + with very small touch of PM. For the berries start with the TW highlight light part. Then mix PM + TW and a touch of MA to fill the medium value. Blend gently and for the dark areas add PM. Leaves: Start with the highlighted part with TW. Then add a mixture of TW + OC and fill the medium value of each leaf. Blend gently. Add more TW for the highlight. Use the same mixture for the medium value of the leaves and draw the center vein. Use a mix of MA and TW for the accent color. Nativity: For Mary’s head scarf start with the highlight with TW. Fill the medium value with TW and a touch of MA + FUM. On the top of the head

use a very small amount of FUM and to the drapes on the bottom use MA. Blend gently. Strengthen the light area with TW. For her coat, start with a small amount of TW then fill the rest with TW + FUM and a touch of MA. Blend well. For the back part add a little more of the MA and for the front add a small amount of FUM. For Joseph’s headband start the highlight using TW. Add FUM + TW for the medium value. Blend and strengthen the darks on the top and where it folds down with FUM. For his coat start with TW and use the same mixture as the headband to fill out the medium value. Blend well. Strengthen the darks with FUM.

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Over his shoulder and on the bottom of his legs, add a very small amount of MA. For faces, hands, and feet, add a mixture of TW and NYH for the highlighted areas. For the medium value use NYH. For the dark areas, use a very small amount of NYH + BO. Blend well. For Jesus’s crib and Joseph’s staff, mix OC + NYH and a touch of TW. For the dark parts add BO. Jesus’s head uses TW and NYH for the highlight, NYH for the medium value and NYH and BO for the darker value. Blend gently. For the snow below them use the rouging technique applying pure TW and gently blend it down with the E.L.F.® Makeup eyeshadow brush. Repeat if necessary. Music notes and lines: For the music lines use the Sharpie® Permanent Marker Fine Point Sky color and for the musical notes use the Pigma® Micron Pen 01 Blue. Written music: Make sure that each letter is clearly traced using the clear ruler for straight lines. I prefer to work on each letter, with the pen, from beginning to finish before moving to the

Light beams: Use the Bright brush #4 with pure TW, wiping off the excess on a paper towel. Hold the ruler from the center of the star out and follow the ruler with the brush, applying more pressure from the center and less as it goes away from it. Repeat this step all around the center as the light is reflecting out. Change brushes to the eyeshadow brush and using the same ruler and angles brush it over the paint already applied. It will create a softer effect. Repeat if necessary, after spraying lightly. For Jesus’ halo use the Bright brush #2 with TW and the ruler. Since it is a very small area there is no need to use the eyeshadow brush here. Ornament Dimension: For this step turn the project onto the reverse and use the rouging technique. It will give dimension to the ornament. Apply a very small amount FUM with the Bright brush size 4 only on the inside edges of the ornament. Work in a limited area then move to the next to avoid stains. For the top and the bottom parts make sure to leave the center without any

paint. Change brushes and with a clean and totally dry eyeshadow brush, start to rouge the area.

next one. I draw the straight lines and then I work on each curve and detail. At this point, I spray the project lightly with the Krylon® Crystal Clear. Star, snow, and halo: Now we will use the white pen Uni-ball®. Use a scrap paper to test the pen and to allow the ink to flow. Use the clear ruler to draw the star. Apply single dots for the snow. For the halo, use the ruler straight and curve.

Ornament details: Use the Sharpie® Permanent Marker Fine Point Silver Metallic to draw the outside edge of the ornament as well as the crossed lines. If you placed these lines prior to painting the project it will need to be reinforced, since the spray takes the shiny metallic effect away.

FINISHING:

Cut the top inside part of the vellum paper with the X-Acto® knife. Using the Fiskars Paper Edger Scissors Victorian, carefully cut around OCTOBER 2020 ISSUE

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the outside edge leaving some space between the silver line out. Use the paper punch to cut a snow flake out of the metallic paper. Glue it in the middle of the star. To add dimension to it, apply the EK® Tools 3D-Dots 1/8” thick on the back of the paper, behind the center of the star. For the canvas paper, apply a couple of coats of the Delta Ceramcoat® Coastline Blue color with the flat wash, letting it dry between each coat. Trace the outside line of the ornament, where the silver line is, and the inside space for the top. Cut around the edges on top of the lines with scissors and for the inside area use the X-Acto® knife. Align the painted vellum paper over the painted part of the canvas paper. Apply glue to the painted canvas top part around the opening and a few drops around. Let it dry. Now that it is completed, you can use an attractive bow to hang this project as an ornament. If desired, use it as a card. Write a beautiful message on the back of it and give to a special someone. Or, you can do both, write the card and still hang it as a special ornament. Either way it shall bring Joy to the World. Enlarge to fit the surface you choose.

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Cotton Candy Santas

By Deb Mishima Santa collectors will be captivated by a new palette for our favorite fella! Sprinkled with winter magic, this trio of Cotton Candy Santas is painted using just a whisper of soft color. Each Santa is whimsically embellished to coordinate with the quote on his banner. Or, if you prefer, the banners can be personalized with the name of your favorite holiday “elves”. Appearing for the first time in Painting World, Debbie is a self-taught painter who began her artistic journey only five short years ago. She credits the books of the late Terrye French, as her introduction to this magical form of creativity. Debbie, a DecoArt® Helping Artist, has taught at several Canadian and American conferences and she has been invited to teach at 2021 Las Vegas Creative Painting convention. Debbie attributes her success in part, “to the encouragement and guidance she received from many well-regarded industry artists.” Married for 35 years, Debbie and her husband Ross, live in beautiful Penticton, B.C. Canada.

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SUPPLIES:

SURFACE: • Cotton Candy Santas #SLDPK718, Sheila Landry Designs, www.tolepaintingdesigns. com PAINTS: DecoArt Americana® Acrylics: • Aloe DA364

• Antique White DA058

• #10 Flat #206S

• 3/8” Rake Brush #206RK • 10/0 Liner #206SL

• Assorted Dry brushes Mop Brushes and Scrumblers MISCELLANEOUS SUPPLIES: • 1 ¼” Blizzard Snowflake SKU 31-L046 available at www.cdwood.com

• Black Plum DA172

• 1 1/8” Primitive Stars SKU31-L204 available at www.cdwood.com

• Desert Sand DA077

• Pigma® Micron .01 black pen

• Fawn DA242

• Chalk pencil

• Heritage Brick DA219

• Wood glue

• Light Buttermilk DA164

• Cardboard tag 1 ½” x 2”

• Mississippi Mud DA094

• Silver bell

• Natural Buff DA311

• Jute string

• Sugared Peach DA354

• Pompom (for bottom of toque)

• Bleached Sand DA257

• Small star stencil (your choice or freehand)

• Dried Clay DA356

• Paper towels

• Hauser Medium Green DA132

• Glue gun

• Lamp Black DA067

• Ball stylus

• Light Sage DA358

• 4, 1/8” small buttons (your color choice)

• Mocha DA060

• 5/8” paper or fabric snowflakes

• Snow White DA01

• Thin white wire

• Warm White DA239 • Wild Berry DA362

MEDIUMS: DecoArt® • Chalky Finish, Timeless ADC04

• Glamour Dust Ultra Fine Glitter Paint, Silver Bling DGD02 • Galaxy Glitter Clear Ice Comet DGG18

• Galaxy Glitter Champagne Stardust DGG14 • Glamour Dust Sprinkle on Glitter Crystal DAS37 • Snow Tek DA59

BRUSHES: Dynasty® • ¼” and ½” Angular Shaders Series 206A • ¼” and ½” Flats 206FW

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HELPING TIPS AND HINTS: To achieve the soft tone in this and all my designs, I coat each surface with Chalky Finish, Timeless. I brush on each coat semi-transparently. The parts I want to be opaquer, I will brush on extra light coats until I get my desired look. After each coat is dry, I will lightly brush over them with a paper towel (kind of like a very, very light sanding). Each shading, highlighting and dry brushing coat is also done very softly and lightly. I will add extra coats as needed. Dry brushing is also done very softly. After the piece is finished, I will then go over areas here and there adding a little more shading or highlighting as needed.

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PREPARATION:

Based on the surface you are using, if necessary, sand surface until smooth. Apply Multi Purpose Sealer and lightly sand again to knock down any raised grain.

PAINTING INSTRUCTIONS:

Basecoat all surfaces with Chalky Finish, Timeless. Lightly dry brush with Warm White. Trace on the details.

All Santa faces: Basecoat with Natural Buff. Trace on the face details. Shade Mocha softly around the face, eyes, (except under the eyes), moustache and around the outside of the nose. Highlight Warm White around the inside of the nose and under the eyes. Shade the nose in a ‘C” stroke just in from the left-hand edge with Mocha and then again with Wild Berry. Very lightly add a little dry brushing of Heritage Brick. Dry brush Warm White between the eyes and in the middle of the nose. Dry brush the cheeks with Wild Berry and then again very softly with a little Heritage Brick. Basecoat the eyes with Lamp Black. Dry brush lightly with Warm White. Dot the eyes with Snow White. Line the lashes with Lamp Black. Dot the nose with Snow White. Line the hair with Bleached Sand and again with Snow White. (Do this after the toques are painted.) Beards: Basecoat with Bleached Sand. Shade under the nose and moustache with Desert Sand. Deepen the shading with Fawn. Using the Rake brush and Snow White, stroke on the beard area first and then the moustache. Add a little more shading of Mississippi Mud under the moustache and nose. Using the 10/0 liner and Snow White, add some defined highlight lines (hairs) throughout. MAKIN’ A LIST SANTA: Basecoat the top part of the toque with Light Sage. Shade Aloe in the crease, along the top and above the brim. Highlight Bleached Sand along the left side and on the top of the crease. Deepen the shading softly with Hauser Medium Green. Dry brush with Warm White. Line the stripes with Snow White. Dot and shape the hearts with Wild Berry. (To form the hearts, dot two dots side by side and gently pull down from

each dot and meet in the middle). To paint the brim: Basecoat the wide pink stripes with Sugared Peach. Shade Mocha along the bottom, walking the color upwards. Highlight along the top with Warm White. Deepen the shading with Wild Berry. Shade again very lightly here and there with Heritage Brick. Dry brush a little here and there with Warm White. Basecoat the green stripes with Light Sage. Shade Aloe along the bottom and the left side of each stripe. Softly dry brush with Warm White. Line the thin stripes on opposite sides with Fawn. Line around the top of the brim with Snow White. (Now you can line the hair). Embellishment tag: Basecoat the tag with Chalky Finish, Timeless. Basecoat again with Desert Sand. Shade around the edges with Fawn. Dry brush in the middle with Warm White. Line the stitching with Lamp Black. Dot with Aloe and Wild Berry. JINGLE ALL THE WAY SANTA: Basecoat the stripes as follows: Green stripes: Basecoat with Light Sage. Shade Aloe. Highlight Bleached Sand opposite of the shaded side. Deepen the shading softly with Hauser Medium Green. Dry brush with Warm White.

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STEP BY STEP PHOTOS:

Base coated

Highlight and Dry brushing

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Shading added

Details added

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Pink stripes: Basecoat with Sugared Peach. Shade with Mocha. Highlight the opposite side with Warm White. Deepen the shading with Wild Berry. Shade again very lightly here and there with Heritage Brick. Dry brush with Warm White. Line the stripes with Snow White. Sandy stripes and brim: Basecoat with Bleached Sand. Shade Antique White. Highlight the opposite side with Warm White. Dry brush with Warm White. Dot with Aloe and Wild Berry. (Now you can line the hair). Embellishment: Jingle bell: (bottom of toque) Brush the silver bell with Warm White. While still wet sprinkle with Glamour Dust Sprinkle on Glitter in Crystal. Shake off excess. Allow to dry. HE SEES YOU WHEN YOU ARE SLEEPING SANTA: Pink Stripes and Sandy coloured stripes are painted the same as Jingle All the Way Santa. On the Sandy coloured stripes add thin stripes with Hauser Medium Green. Basecoat the brim with Light Sage. Dry brush with Warm White. Stencil or freehand the stars with Bleached Sand. Shade around the stars and brim with Aloe. Highlight along the top of the brim with Warm White. Line here and there around the brim with Snow White. (Now you can line the hair). Embellishment: Snowflake: (bottom of the toque). Basecoat Snow White. Apply Snow Tek. BANNERS: All banners: Basecoat with Desert Sand. Dry brush with Warm White. Shade down the sides and above the bottom border with Fawn. Line the lettering with Micron .01 Black pen. Makinâ&#x20AC;&#x2122; a list banner: Basecoat the green stripes with Light Sage. Shade along the bottom and

left side with Aloe. Highlight the opposite side with Warm White. Deepen the shading with Hauser Medium Green. Line sides with Wild Berry. Basecoat the Sandy stripe with Bleached Sand. Shade along the bottom and left side with Antique White. Highlight the opposite side with Warm White. Dot with Snow White and form hearts with Wild Berry. Embellishment: Stocking: Basecoat semitransparently with Heritage Brick. Shape the heel by painting it with an extra coat of Heritage Brick. Line the stripes with Snow White. Shade Black Plum around the stocking and the inside edge of the heel. Basecoat the top of the stocking with Light Sage. Shade the top and sides with Aloe. Highlight the bottom edge of the cuff with Warm White. Deepen the shading with Hauser Medium Green. Jingle all the way: Basecoat the pink stripes with Sugared Peach. Shade the bottom and left side with Wild Berry. Highlight the opposite side with Warm White. Deepen the shading with Heritage Brick. Basecoat the green stripes with Light Sage. Shade along the bottom and left side with Aloe. Highlight the opposite side with Warm White. Deepen the shading with Hauser Medium Green. Line with Snow White. Embellishment: Bells: Basecoat with Light Sage. Shade around the edges with Aloe. Drybrush in the middle with Warm White. Deepen the shading with Hauser Medium Green. Allow to dry. Dot the ringer at the bottom with Snow White. Line the bow with Lamp Black. He sees you when you are sleeping: Basecoat the pink stripes with Sugared Peach. Shade the bottom and left side with Wild Berry. Highlight the opposite side with Warm White. Deepen the shading with Heritage Brick. Line with Snow White. Basecoat the sandy area with Bleached Sand. Shade along the bottom and left side with Antique White. Highlight the opposite side with Warm White. Dot with Hauser Medium Green and Wild Berry. Embellishment: Stars: Basecoat with Warm White. Shade the left side with Antique White.

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FINISHING:

Glue the tiny buttons onto the snowflakes and then glue onto the toques and tag. See line drawing for placement. Glue the tag onto the Makin’ A List Santa toque. Now let’s make some magic by brushing on Galaxy Glitter, Champagne Stardust onto the sandy area of the toques for he sees you when you’re sleeping and jingle all the way, and the two primitive stars for He sees you when you’re sleeping banner. Brush on Galaxy Glitter, Clear

Ice Comet onto the heel and toe of the stocking for makin’ a list banner. Brush on Glamour Dust, Ultra Fine Glitter Paint, Silver Bling onto the bells for jingle all the way banner. Brush Snow Tek onto the snowflake. When dry, brush on Galaxy Glitter, Clear Ice Comet. Make a jute bow out of the string and glue onto the stocking for makin’ a list. Brush Galaxy Glitter, Clear Ice Comet onto the bow. Glue all the embellishments onto the coordinating Santas. Attach the banners to the Santas using the thin white wire.

Enlarge to fit the surface you choose.

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A Look into the Historical Florals of Decorative Painting By Diane Marie Kellogg Our journey so far has taken us back in history for a look at some fascinating floral styles of painting that have helped shape our modern-day painting styles. This next segment on our 5 part series will take us to Russia for a look at Zhostovo painting. Zhostovo is a traditional Russian painting style that originated in the village of Zhostovo in the Moscow Oblast early in the 19th century. The villages of Ostashkovo, Khlebnikovo, and Troitskoe also contributed. Painting lacquered items made of paper mache soon led to painting on the metal trays made popular by the Vishnyakov brothers. They had been making paper mache items including trays when they decided to forge the trays out of metal. Traditionally, Zhosotovo painting is done with oil lacquer, oil paints, and linseed oil. The backgrounds are commonly black although red, blue, and green are also used. Field and garden flowers are often used, realistic yet with a touch of fantasy to decorate the centers of the trays while often

a gold, floral pattern is used around the hand-formed edges of the trays. Leaves and berries are also used in some designs. The popularity of these trays has led to manufacturers in Russia such as the Zhosotovo Factory of Decorative Painting who employ and teach artists to paint the trays, schools where students are taught the techniques, and even museums that display the treasured art such as Zhostovo Decorative Art Manufactory.

Part 4

on to study at art college. After that, she began painting her first trays at the Zhostovo factory. Her first attempts were copies which the chief artist of the factory told her “You must have your own style and your own brushstroke.” After much perseverance and experience, she achieved that goal. In 1980 she received her first award, a silver medal from an exhibition of young artists in Moscow. This inspired her and then she achieved what she considers the pinnacle of her

I had the pleasure to ‘interview’ Larissa Goncharova, an authentic Zhostovo artist. She was born in Zhosotovo and still lives there today. Part of an artistic family with a love of music and art, her mother was even a decorative artist at the Zhostovo factory. Inspired and taught by her mother, she went Hand-painted Zhostovo Tray by Larissa Goncharova

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Larissa believes that “each new work begins with an idea.” She is influenced by many things. It could be a movie she saw or a sunset, it could even be a surface that inspires what she paints. She is a 5th generation Zhostovo painter and believes that the techniques of Zhostovo painting Hand-painted Zhostovo Tray by Larissa Goncharova can only be success, the title of ‘Honored reserved by teaching others. Artist of Russia’, signed by She has been teaching for over Russian President V. Putin in 30 years ad in 2000 she built a 2003. studio/workshop in Zhostovo. There she teaches the history and artistry of the Zhostovo style. It has even become a family affair as her son helps her with her work. He created her website and runs her YouTube channel. He also helps clean the trays. While Larissa excels with Zhosotovo painting on trays, she also likes to experiment and paint items she finds interesting. Larissa’s Art Studio

Examples of Zhosotovo Painting from Larissa.

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She lists bags, shoes, a lamp, and a table among the many items she has painted. She does add this “Previously, they did not do this in Zhostovo. Only the trays were painted.” An evergrowing world brings about innovation, yet the tray remains the tradition. For Larissa, this is her passion. Be sure to watch the next issue of Painting World Magazine for the conclusion of this series, which will bring us a look at how all these wonderful art forms have evolved into today’s decorative painting world.

Larissa Goncharova

Links for Larissa – facebook.com/ZhostovoArtStudio instagram.com/ZhostovoArtStudio youtube.com/c/ZhostovoArtStudio Photos 1-5 ©Larissa Goncharova My sources https://russian-crafts.com/craftshistory/zhostovo-trays.html Russian Crafts – Zhostovo Metal Trays https://zhostovo.ru Zhostovo Art https://en.wikipedia.org/wiki/ Zhostovo_painting Zhostovo Painting

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PASSING THE PAINTBRUSH... By Teri Walker

AVOIDING THE COVID-19 BLUES As the corona virus crisis continues, many artist friends have expressed their lack of motivation and inability to find new ideas to paint. If you are suffering from the “shut in blues,” I will show you how to come up with new ideas and hopefully, that will bring back your motivation. One of the greatest sources for subjects to paint is lying quietly in your memory. The following story is a favorite from my childhood. As you read, try to visualize in pictures what I am describing in words. As I voice these word pictures, you should be able to “see” in your imagination, various images that could potentially become painting subjects. Later, you will understand how to use your own memory to develop paintings. You could begin by doing what I am: writing your memory on paper. Then go back and highlight some of the more vivid images that could be developed into a painting project. If you can see it, you can do it. Ok, here we go. I cannot remember a time when I was not passionately in love with the arts. My grandmother taught me to OCTOBER 2020 ISSUE

paint, draw, sculpt with clay, embroider, and do countless other crafts. She found beauty in everything. Even a tightly crushed ball of aluminum foil became a prism in the sunlight. I knew about color before I could write, because she was always pointing out the shapes and colors of things around us. I saw life through her eyes. Maw-maw taught me to realize how green grass is after a steady rain, or the different colors of the sky on sunny and stormy days. In the fall, we would take long walks where she would point out the various colors, shapes, and textures of the dying leaves. I learned that death was as much a part of life as living and that we should appreciate every single moment that we are given. Nothing was ever taken for granted with her. She would say everything on earth has its own beauty and purpose, good or bad. My grandparents lived in the small pocket of a large lake, just off the main channel. A small bayou lay a short distance from our longest wooden pier and was my favorite place to explore. In Louisiana, a small

flat-bottomed, wooden boat is called a “pirogue,” and it is maneuvered by a small oar which is called a paddle. After finishing swimming lessons one summer, my grandfather gave me a green pirogue of my own. I was eight years old and it was the gift of a lifetime. I paid no attention to the peeling paint or the roughness of the old weathered wood. The flaws did not matter because I loved my pirogue. Riding in it was like sitting on a flying carpet, as it glided over the surface of the water. It gave me the freedom to go anywhere I wanted if I wore my lifejacket and did not stray out of Maw-maw’s line of sight. Cotton’s Bayou was a marginal strip of green, swampy water that flowed between two long parallel narrow banks. Just wide enough for one boat to go through at a time, a person could enter on one end on foot from dry land while the other end opened into the main lake. Some people would fish on the banks, but I never got out of the boat because of my intense fear of snakes. Water moccasins loved to sun on the Cypress covered, mushy ground. My time in the

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bayou was spent watching beavers, squirrels, nutrias, turtles, and snakes going about their normal day. I loved to drop anchor and sketch the awesome nature that surrounded me. Occasionally, I would fish. My Pawpaw gave me a small cane pole with a red and white bobber and barbed hook attached. Our worm beds offered plenty of bait, which I would scoop into an old rusted orange juice can. A small blue tackle box included a stringer, more hooks and bobbers, extra fishing line, band-aids, and various other gear. Maw-maw would always provide a sack lunch and thermos of sweet tea. With everything situated safely in the boat, I would put on my lucky straw hat, orange life-jacket vest and shove the little pirogue off the bank with a bare foot and a promise to return before supper. Mawmaw would tell me to stay out of the bayou, so that is exactly where I would head. Inside the bayou, I was surrounded by a peaceful silence, broken only when a fish would jump, or a turtle would fall off a log into the slimy water. I loved to drop an anchor and sit quietly with my sketch pad and pencils, trying to capture the beauty of the awesome nature around me. Evidently the many animals that called the bayou “home,” knew I meant no harm because they virtually ignored me completely as I sat and watched. Even the sound

of pencils scratching on the drawing pad went unnoticed. I sensed everything around me. Mere words could never convey the sense of peace and belonging that I found in that little bayou. In the spring and summer months, the local Yacht Club held Sunday sailboat races in the deep channel. My grandmother would make a picnic lunch and we would sit on the end of the pier with our feet dangling in the water, watching the beautifully colored sails glide effortlessly across the lake. Sunlight sparkled on the waves like shimmering diamonds. Tall cypress trees stood firm as water birds perched on the branches and big green turtles lay lazily on floating logs. I well remember the smell of sticky cypress resin and the feel of sunlight on my face. An occasional summer breeze felt like a blessing on those hot days. Life was always magical. As the years have passed, I still treasure those memories and yearn for bygone days. It was a time when innocence was pure, the world was still amazing, and I was safe and loved in the arms of a grandmother who was the center of my life. Now we come back to the present, how many images did you visualize as you read? Could you see a little barefooted girl rowing her tiny boat on a big lake? Or a doting grandmother watching sailboat races with her granddaughter on the end of a pier? Did you

see the animals in the bayou or catch a glimpse of the sun glistening on the water’s surface? Did you hear the turtle fall off a log or see the fish jump out of the water or how about the snake sunning on the marshy bank of the bayou? So many pictures could be found in the few paragraphs I described. You are limited only by your own imagination. Take a few minutes to reflect on some of your fondest memories. Jot down a few lines about what you remember, then go back and pick out some of the more vivid images. I guarantee you will find new things to paint from searching your own memories. Do not worry about making the painting perfect. Only photographs do that. When painting a memory, use all your senses by asking yourself what you saw, heard, smelled, tasted, and most of all how it made you feel inside. Then pick up a pencil and try to roughly sketch some of those images on paper. I believe the more you do this, the more material you will find to paint. Remembering something deeply enough to commit to paper in words or pictures will help you discover things about yourself. The greatest art is art rendered out of passion because it gives life to your creation. Art is how a society defines itself. Whether it is good or bad, is dependent on the eye beholding it. Some will love what you make while OCTOBER 2020 ISSUE

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others will not. We are a combination of all our experiences and feelings and that influences how we perceive our world. When you are creating, try not to worry about the opinion of others because that brings on self-doubt and as I have said many times before, self-doubt will kill your talent.

to have someone say unkind things about something you have worked hard to make is just wrong on many levels.

Make your art pleasing to you. Go deeply inside your mind and pull out something you feel passionate about. A memory, a song, a cultural opinion, or even a strong feeling can bring you fresh subject matter for your art. You are your own best advisor.

If you do not like art projects that are offered, then I suggest you design your own. Using your memories, feelings and talents is a great way to change the things you do not like. Being critical accomplishes nothing. Being helpful, kind, considerate of others’ feelings and offering your knowledge and designs are great ways to Pass the Paintbrush to others who are also searching for new ideas. As the saying goes, “Be the change you want to see in the world.”

By nature, many of today’s artists are notoriously judgmental and critical of each other. Whether it is in an art league, workshop, magazine or gallery, some artists always feel the need to complain about other artist’s works. This is mean spirited, hurtful and a waste of time. Instead of being rude, I try to be like my grandmother and look for the beauty in our world. Every artist creates from the heart and

Painting, drawing, sculpting, or writing a memory you feel strongly about, is sharing a piece of your heart and soul with the world. As you render your memories through your art, you are Passing your Paintbrush to the present as well as generations not yet born. Your memories are your legacy and sharing them with the world is giving the future a priceless gift to be treasured. Photos by: Teri Walker

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Old Fashioned Christmas By Diane Marie Kellogg SUPPLIES: SURFACE: • 3 flat wooden ornaments 3 ¼” across – I got mine from Laurie Speltz at convention but any size and shape ornaments will work. • DecoArt Americana® Decou-page Napkin Medium DS126

• DecoArt® Glamour Dust Gold DS61

• DecoArt® Galaxy Glitter Clear Ice Comet DGG18

• DecoArt Americana® Matte Spray DAS13 • Tim Holtz™ idea-ology Collage Paper – Forest #TH93776 Scrapbook.Com

Mitform Castings – Mitform.Com:

• 1 ½” Candle - ŚWIECZKA_CHOINKOWA CHRISTMAS TREE CANDLE_1_STE • 1” Star 1 - GWIAZDA_STAR_1.1_1.2_STE

• 1” Star 2 - GWIAZDA_STAR_2.1_2.2_STE

• 1” Snowflake - ŚNIEŻYNKA_SNOWFLAKE_1.1_1.2_STE

• E6000® Glue

• Flat plastic ruler • Ribbon

PALETTE: DecoArt® Media Fluid Acrylics: • Diarylide Yellow 11 • Phthalo Green-Yellow 25 • Viridian 44

• Cerulean Blue 06

• Quinacridone Red 33

• Quinacridone Burnt Orange 31

• DecoArt Americana® Acrylics: Burnt Umber 64 • DecoArt Americana® Dazzling Metallics: Rich Espresso 245

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BRUSHES: Royal Langnickel®: • 1” Wash Brush 3060 Combo

• 20/0 Mini Majestic Spotter 4200 Series • 20/0 Mini Majestic Liner 4200 Series

• #4 Mini Majestic Angular Shader 4200 Series

DIRECTIONS:

Give the ornaments a light sanding with a paper bag to remove any rough edges. Wipe with a lintfree cloth to remove any dust. Cut pieces close to size for each ornament from the collage paper. Choose your layout as you want it to appear on the ornament. Apply the napkin medium to the wood ornaments using the wash brush, place collage paper carefully over the surface of the ornament, and use the edge of a plastic ruler to smooth out the paper to the edges. Allow the paper to dry thoroughly. Once dry, use an emery board to sand off the excess paper on the edges of the ornament. Carefully sand the edges from the front to the back, using a slightly downward angle.

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PAINTING INSTRUCTIONS:

You are basically ‘coloring’ in the design that is on the paper. The fluid acrylics flow nicely and give a professional look to your project. You can choose to go lighter or heavier with the colors as you paint, similar to watercolor. Ornament #1: Use the Phthalo Green-Yellow and the Viridian on the pine needles, using the Viridian to shade and add depth. For the holly leaves, use an equal mix

done with the brown mixture used on the pinecone in ornament #1. All three ornaments are then shaded using the Burnt Umber acrylic paint, shading around each design, and also around the outer edges. The caps of the ornaments are based first with Burnt Umber acrylic then again with the Rich Espresso Metallic paint. There are then shaded using the Burnt Umber acrylic. Next, put some of the Galaxy Glitter Clear Ice Comet on your palette and mix in a sprinkling of the Glamour Dust Gold glitter, stirring well. Use this to go over the painted areas as shown in the photos and on the ornament caps. After this dries, spray all pieces with the matte spray. Once dry, use E6000® glue to attach metal castings (charms) to the ornaments. Add some of the glitter mixture to each of these. Once completely dry, thread with the ribbon of your choice, hang and enjoy! Merry Christmas!

of Viridian and Diarylide Yellow. The design of the paper itself helps give the shaded look. Ornament #2: Use a mix of equal parts Cerulean Blue, Diarylide Yellow, and Quinacridone Red to create your brown. Use this to paint the pine cone. The needles are done with just the Phthalo Green-Yellow. The branches are done with an equal mix of the brown you created for the pinecone and the Viridian. Ornament #3: The berries are done with the Quinacridone Red and shaded with the Quinacridone Burnt Orange. The pines are done with the Phthalo Green-Yellow and the branches are OCTOBER 2020 ISSUE

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Angels Among Us By Jan Boettcher

I have always had a fascination for angels. I collect angels in all shapes, sizes, and mediums. Angels are especially important to me at Christmas time. It was the angels that sang the “Good News” of the birth of Jesus. So, when I was choosing what shapes to paint for this article, it was easy to decide to paint these three angel shapes. The style of painting is Norwegian Rosemaling in the Rogaland and Telemark styles. They are painted in oils on wooden shapes which is traditional for this folk art. I hope you enjoy painting these three angels. “God Jul”

My interest in Rosemaling began 40 years ago when I saw it for the first time. I instantly loved it and said that is what I want to learn to do. My heritage is Norwegian, so it was a natural fit for me. After retiring from my nursing career, I began painting full time and traveled to take classes in Norway and at Vesterheim Norwegian Museum. I have studied examples of this artform at museums here and in Norway. It has been a journey of love! OIL PAINTS: I use Rembrandt® paints. I have studied with many wonderful teachers and I • Prussian Blue paint 12 different styles along with Nisse painting. • Alizarin Crimson Nisse are Norwegian’s name for gnomes. Many of • Burnt Umber the churches and wooden objects are painted in • Cadmium Red Light this style and have angels painted with or within the Rosemaling. Churches commonly had angels • Burnt Sienna painted on a dark blue ceiling, which they felt gave • Yellow Ochre the people a feeling of being close to the heavens. • Titanium White I now have my own studio at my home where I teach and paint. • Cadmium Yellow Light

SUPPLIES:

• Unbleached Titanium White

• Ivory Black SURFACE: • Wooden ornaments available at www.etsy.com/ • Pearl • Winsor Newton™ Gold shop/TurnofthecenturyShop BACKGROUND PAINT: Jo Sonja Acrylic • Soft White (numbers are missing) • Warm White

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• Optional: Krylon™ Gold Leaf Pen

MEDIUM: Archival Odorless Lean

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BRUSHES: Scharff (www.artbrush.com) • Small teardrop brush, sable #426 • #2 & #3 cat’s tongue, syn-sable #429 • #2 flat brush syn-sable #130

• Scharff Champagne handle #6/0 Scroller or Raphael #2 synthetic liner #8829 MISCELLANEOUS SUPPLIES: • Brush cleaner for oils

• Tracing, transfer, & palette paper

• Matte & Satin finishing spray (available at www.hofcraft.com) • Stylus

• Palette knife • Paper towel

• Plastic wrap

• Sponge brushes (for background work)

PALETTE: BLUE: • Dark mixture – Equal parts Prussian Blue + Burnt Sienna + Burnt Umber

• Middle mixture – Add Titanium White to small amount of dark mixture • Light mixture – Add Titanium White to small amount of middle mixture

WHITE: • Dark mixture - Yellow Ochre

• Middle mixture – Unbleached Titanium White • Light mixture – Titanium White

YELLOW: • Dark mixture – Burnt Sienna

• Middle mixture – Yellow Ochre

• Light mixture – Yellow Ochre + Titanium White + touch of Burnt Umber GREEN: • Dark mixture – Same as dark blue mixture

• Middle mixture – Add Cadmium Yellow Light to Ivory black a small amount at a time to achieve a nice moss green. • Light mixture – Same as light blue mixture

RED: • Dark mixture – Alizarin Crimson + Burnt Umber, equal parts

• Middle mixture – Cadmium Red Light + Burnt Sienna, equal parts. • Light mixture – Cadmium Red Light

FLESH: • Dark mixture – Burnt Sienna

• Middle mixture – Cadmium Red Light + Titanium White + touch of Yellow Ochre

• Light mixture – Add small amounts of Titanium White to small amount of middle mixture.

INSTRUCTIONS: TELEMARK ANGEL #1 Background: Paint the ornament, both sides with Soft White, sanding between and after each coat. Once the ornament is dry and sanded, apply a coat of Pearl to the dress and wings and allow it to dry completely. Using the #4 cat’s tongue, paint the lower head area to mid-way up. Do this by loading with Flesh and side loading with Burnt Sienna. If needed you may darken with a small amount of Burnt Umber. Re-load with Flesh and paint the rest of the way to the top of the head. Once dry, spray the ornament with light mists of matte finishing spray. When the spray is completely dry, trace and transfer the design to the ornament. Using the cat’s tongue, load with Yellow Ochre and side load with Burnt Sienna. Paint the lower edges of the yellow apron, pressing and blending as you paint. Re-load with Yellow Ochre and paint the mid-section of the apron 2/3 of the way up, leaving the leaves, flowers, and ribbons unpainted. Load brush with Yellow Ochre and paint upward, pressing and blending as you paint. Using the #2 cat’s tongue, loaded with Flesh and the dark mixture side loaded, paint the hands, and outline them at the darker edge. OCTOBER 2020 ISSUE

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Paint the leaves, painting from side to side with the 3 shades of green, blending as you paint. Outline the dark side with thinned dark green paint and the light side and veins with thinned light green. Paint the blue section above the apron with the 3 shades of blue. Outline the lower edge with thinned dark blue and the crosshatch and dots with thinned light blue. Roses: The roses are painted from side to side with the #2 cat’s tongue or flat. Start at the base, paint each section blending as you paint upward. Middle red, side loaded with dark red at the base. Middle red next, then light red. Blend as you paint so the colors look like they are lightening from base to upper edge. Once the upper edge is painted, use the #2 cat’s tongue and middle yellow. Paint one stroke directly on top of the last red stroke to soften. Using the #2 cleaned cat’s tongue, paint a Yellow Ochre stroke right next to the last stroke, then blend strokes of Unbleached Titanium almost up to the upper edge. Re-load with Unbleached Titanium and side load with light white. Paint the rounded petal rounds at the top of the white bowl. You may want to outline these strokes with thinned light white. Using either the #2 or #4 cat’s tongue, load the brush with slightly thinned Unbleached Titanium. Touch the brush into the middle red just lightly. Place this edge on the outer edge of the red bowl of the rose. Press, blend, and paint the outer edges of the petals. These may be outlined with thinned light white. Using the liner brush, load with thinned middle white. Paint the center fold of the red bowl upward and to the edge. Place random thinned light white dots onto the white bowl and falling outward in a casual manner. Wings: Are painted by painting some middle blue lightly to the upper edges of the wings. This is about two brush widths of color. Starting at the base of the wings, paint upward from the lower edge of the wings with slightly thinned middle white. Let the color fade into the blue at the top of the wings. Paint these strokes following the contour of the wings, and softly fill in as you continue to paint each wing. Using the same brush, load with slightly thinned light white, lightly paint on top of each of these strokes to fade into OCTOBER 2020 ISSUE

the middle white. This should be and accent appearance. Scroll feathering: Load the #2 cat’s tongue and paint small strokes of middle blue at the base of each of the feathering. This should be soft and about one brush stroke wide. Feathering on the blue scrolls: Load the #4 cat’s tongue with a mixture of thinned middle and light white. Lightly wisp each stroke into the blue. Try to keep the shading soft and pretty. Outline with the liner and thinned light white paint. With the liner and thinned white mix, paint a line to form the inside arms next to the wings. The scrolls are painted with 3 shades of blue using the cat’s tongue or flat brush. Paint the middle blue first, then the dark side. Load the brush with middle blue and side load with dark blue. Paint the dark edge, blending as you paint. Re-load the brush with middle blue and side load with light blue. Paint and blend the lighter inside edge of the scrolls. Outline the dark side with thinned dark blue and liner brush and the light side with thinned light blue. The smaller inside scrolls are painted pressing and blending with the 3 blue shades. Paint the blue ribbon going to the roses. Paint the small red flower using the #2 flat with dark at the base of the petal and light at the outer edge of the flower. If needed outline to define the petals. Center is middle yellow and the dots for the flower are thinned middle white mixture. Paint the teardrops by loading with thinned light blue mix and tipping the point of the brush into a time touch of dark blue. The teardrops will look variegated. Hair: The hair is painted using the #4 cat’s tongue. Load with Burnt Sienna. Paint the strokes that form the hair. Lightly paint a soft middle yellow mixture stroke on top of each stroke, blending. Lightly wisp a stroke of light yellow on top of the middle yellow stroke. Keep the

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blending soft and distinct. Outline the strokes of hair with thinned light yellow. Eyes cheeks, and mouth: Paint the eyes with the liner and thinned dark blue in a “c” stroke shape. Paint the mouth in with dark blue as well with the small cat’s tongue. The cheeks are painted by loading the flat with flesh and add a touch of middle red on the upper edge of the brush. Lightly paint and blend the cheeks just under the eyes. Accents: Paint the red dots with a stylus, and, also the yellow dots as shown in the photo. Allow the ornament to dry completely. When dry, paint the outer edges of the ornament with the Gold Leaf pen. Clean any smudges, marks, or tracing lines and spray with light mists of Satin finishing spray. TELEMARK ANGEL #2 Background paint the front and back of your ornament soft white, sanding between and after coats. Once dry and sanded, spray with light mists of matte finishing spray. Wipe the entire surface of the with a light coat of medium. Using a clean piece of paper toweling, dip the paper into clean brush cleaner. Just enough to moisten, not dripping wet. Dip the towel into a small amount of dark blue mix and wipe it liberally over the pointed area of the ornament and a thicker amount on the bottom round area. Using a piece of plastic wrap, pat it down onto the surface and press. Lift the plastic up and wad it up again. Bounce the surface, mostly on the pointed section and less on the lower rounded area. You will want a definite contrast between both

areas. Allow this paint to dry completely. Once dry, spray with light mists of matte finishing spray. Trace and transfer the design onto the ornament. Angel head and hands, and baby Jesus head: Paint the head, the head, and baby Jesus head in the same manner as the first angle. Dark shading of flesh mixture toward the neck area. The hands in the same manner with the dark at the bottom. Blue lower skirt: Paint the section with the three shades of blue from side to side, Dark at the waist area and light toward the hem of the skirt. Paint and blend well. Do the same with the bodice and the sleeves. Both are painted from side to side. Outline as needed to differentiate the sleeves and to outline the lower hem. Use thinned paint when outlining areas. Wings: The wings are painted in the same manner as angel #1. Start by painting the upper shoulder area of the wings with middle blue. From the bottom of the wings, paint upward with Unbleached Titanium, ending with shading into the blue shaded area. Using the cat’s tongue #4, paint the light white accent strokes over the middle white for high light. Outline the dress and wings with the liner brush and thinned light white paint. Dots are applied with the stylus and thinned “dot soup” light white dots. Scrolls: Paint the scrolls using the flat or cat’s tongue brush. Use 3 shades of blue. Middle blue down the center of the scroll, then load the brush with middle blue and side load with dark blue for painting the dark side and light blue for painting the light side. Outline the scrolls with thinned dark or light blue. Teardrops are the same as OCTOBER 2020 ISSUE

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described for the first angel. Linework is light blue as well as the dots. Gold accents are the halo, the gold beams, and star above Jesus’ head. The hair is three shades of yellow. Use the Gold Leaf pen for the edges of the ornament. ROGALAND ANGEL #3 Prepare the background with Warm White sanding between and after each coat. When dry spray with light mists of matte finishing spray. Antique the ornament being careful not to paint the outer edges of the ornament. Clean these edges if mix gets onto the edges. Pounce the area until you achieve the “look” you like. Let that dry completely. Once dry, spray again with light mists of matte finishing spray. Trace and transfer the design to the ornament. Paint the angel head and hands in the same manner as the other 2 angels. Paint the collar and outline the antiqued area with thinned gold paint using the liner brush. Outline the lower edge of the collar with thinned dark blue. Leaves: Paint the leaves using the three shades of green, blending as you paint the dark side and the light side of the leaves. Outline with thinned dark blue on the dark side and thinned light blue on the light side. Paint the vein lines with the light blue as well.

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Flower Petals: Following the step three photo, paint the flower petals using the #4 flat brush. Start by loading the brush with middle white and side load with middle blue. Paint the area at the base of the petal with the blue and blend as you press and paint from side to side. Re-load the brush with middle white. Continue to paint and blend upward. Re-load the brush with middle white and side load with light white. Paint upward to the upper petal edge, rounding and blending as you paint the petal. Outline the outer edge all around the petal with thinned light white. Paint a second line of thinned light white, just inside the edge following the shape of the petal. Using the liner brush, paint a line on each side of the petal with thinned light white. Paint two teardrops just inside each of these lines. Load the teardrop brush with thinned light white paint, touch the tip of the brush into the middle blue and paint the teardrops. There should be a nice variegation of color. Place thinned white dots with the stylus for the dots in the center of the petals. Also place dots between the two painted lines of the petal. Center of flower and accents: Using the flat brush, paint the center of the circle with middle blue leaving the outer edge of the circle unpainted. Re-load the brush with middle blue and side load with dark blue. Paint all around the edge of the circle, blending well to give a nice soft dark outer edge. Using the liner and thinned light white paint, paint a rounded line from peta juncture to petal juncture. Paint the short white lines in these areas and dot with thinned light blue

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between the petals. Place a dark blue dot in the center and thinned yellow dots around that dot. Paint the band on the sleeve with dark blue, outline in thinned middle yellow and crosshatch with thinned light blue. The gold dots are applied with the stylus and thinned gold paint. Thinned white dots are placed on the outer collar edge. Hair and face: Paint the hair with the 3 shades of yellow, highlighting with the lightest yellow. Outline the sections of hair and paint a gold halo with dark blue edges. The eyes, eyebrows and mouth are painted with dark blue and a liner brush. Place gold dots as shown in the hair and on the halo. Let the ornament dry completely and spray with Satin finishing spray.

Enlarge to fit the surface you choose.

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Elf Paintbrush Dolls By Elaina Appleby

Creating things, that’s what I do! I started making things as early as I can remember by mixing flour and water to make paste. My Grandmother would save supermarket trays so that I could paste things like moss, pinecones, and bark to make little scenes. In the 1970s I painted ceramics with my Mother. Then in early 1990s I learned to Tole Paint from my friend. That led me to the exciting world of the decorative arts and creating design. I’ve been writing books and publishing in magazines for many years. I also taught in store studios for many years. Now l feel blessed to be working from my home studio in Missouri where my husband and I have restored an old “salt box” house and made a cozy place to retire. We love to travel though, so traveling and teaching the arts are exiting! Especially painting conventions… Maybe I will get to meet you at one of them!

SUPPLIES: SURFACE: • Three each 1” Chip Brushes from most any hardware or craft store

• Mini Leaf Holly cutout #2818, chip brushes also from “Bear With Us Inc”

• Thin cardboard to cutout the ears about 4”x 4” PAINTS: DecoArt Americana® Acrylic Paint: • Holly Green DA048 • Irish Moss DA312

• Santa Red DA240

• Cool White DA240

• Sable Brown DA061 • Coral Blush DA292

• Warm Beige DA078 • Lamp Black DA067

• DecoArt® Glamour Dust: OCTOBER 2020 ISSUE

• Gold Glitz DGD01

• Sizzling Red DGD03 • Emerald DGD06

• Ice Crystal DGD09

DecoArt® Dazzling Metallics: • White Pearl DA117

DecoArt® Craft Twinkles: • Silver DCT2

• Crystal DCT1

Brushes:

Dynasty® Black and Gold: • 206S #8 Shader • 206L #0 Liner

• 206M 20/0” Mini Script Liner • 204A 1/4” Angular

Mezzaluna Small by Dynasty: • Small dry brush

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MISCELLANEOUS SUPPLIES: • DecoArt® Sealer/Finisher DAS13 • DecoArt® Paint Adhesion DS39

• DecoArt® Decou-page DS106 (for gluing embellishments)

• Tiny 3/4” black bow, tiny 3/4” metallic gold bow • Small gold jingle bell

• Tiny, medium, and large craft gemstone assortment

• Three each 1 1/2” red craft Santa hats (can get sets at most craft stores)

• 1 1/2” pin backs, optional or string for hanging • Glue gun (for gluing the hats)

• Wedge Sponge (for stenciling)

• 1/16” checkerboard stencil (for the green doll handle) • Large bobby pin • Clothes pins • Stylus

• Tweezer

• Heat dryer

• Paper towels • Pencils

• Palette

• Water bin

• Tracing paper

• Transfer paper HELPFUL HINT: Feel free to change things up. You can use the supplies you have stored in your stash of craft things to dress the Elf’s. Make it fun! I like to gather all my craft supplies before I start. Tie little bows, set out the gems, etc. Refer to the photos to help find placement for the details.

PREPARATION:

To style the Elf’s hair (the bristles) wet them just damp with water. Take a large Bobbie Pin and clip it to the front half of the bristles and curl it under. Use the clothes pins to hold it in place. Lit it dry well, it could set overnight. You can use a heat dryer to help it along. But it is real hair so be

careful not to burn it. Once the hair is set and dry take the pins out. Trace the pattern drawings to tracing paper and set aside. Trace and transfer the ear drawing three times onto the thin cardboard, cut them out and set aside. Apply a coat of Paint Adhesion Medium to the mettle ferrule. Let It dry.

PAINTING INSTRUCTIONS:

Red Elf is Jeff - White Elf is Clarence – Green Elf is Marty (my brother’s names) Each Elf has a different skin tone and neckline shape. So, we will take one at a time. Pick a chip brush for each Elf and draw or transfer the different neckline to each one. Elf Jeff’s face: Basecoat Jeff’s face and a set of the cardboard ears with a mixture of 4 parts Warm Beige, 1-part Sable Brown and 1-part Coral Blush. Let dry. Dry brush his cheeks and a little around the face with Coral Blush. Start the eyes with Cool White. You can dip-dot to get nice round circles but be careful to let them dry between steps. The pupil is Lamp Black. Then a dot with Cool White. Line the eyelashes and eyebrows with Lamp Black. Finish the eyes with a touch of the Emerald Glamour Dust in the pupil. Let dry. Start the nose with Cool White. Line it with Santa Red. Shade and line with just a little Black Lamp. High light the red with a little touch of Sizzling Red Glamour Dust. Base the mouth and line the corners with Lamp Black. Line inside of the mouth with Santa Red. Paint the heart shaped tong with Coral Blush and highlight it with Sizzling Red Glamour Dust. Dot each corner of his smile with Cool White.

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PAINTING WORLD MAGAZINE

Elf Jeff’s body: Basecoat the handle with Santa Red. Paint the wiggly lines down the handle with Lamp Black, then Cool White and finish with Emerald Glamour Dust. Dots along the wiggly lines are done in sets of three with Cool White and one in the centers with Irish Green. Basecoat the holly piece with Holly Green. Highlight the holly with Irish Moss. Line the veins and shade the holly with just a little Lamp Black. Apply the Emerald Glamour Dust to one side of each leaf. Let dry. Finish Elf Jeff: Apply some ice Crystal Glamour Dust to his hair and the tips of the ears. Let dry. Paint strips on the hat with Cool White and then Emerald Glamour Dust. Let dry. Finish him by gluing the ears onto the backside of the ferrule and bend them around the sides. Glue on the holly, gems, and hat. Elf Clarence’s face: Dry brush across the center of the face with Coral Blush. Transfer the face on. Basecoat the eyes and nose with Cool White. Line under the eyes with Coral Blush to define the cheeks. Base the iris with Irish Moss. Base the pupil with Lamp Black and dot with Cool White. Line around the eyes, lashes, and eyebrows with Sable Brown. Line the nose with Santa Red. and shade nose very lightly with Lamp Black. Highlight with Sizzling Red Glamour Dust. His mouth is based with Lamp Black. His tongue is Santa Red and touched with a dot of Crystal Craft Twinkles.

Elf Clarence’s body: Basecoat Clarence’s face and cardboard ears with a mixture of, 4 parts OCTOBER 2020 ISSUE

Warm Beige and 1-part Sable Brown. Paint the handle with White Pearl Dazzling Metallics. Transfer the belt and collar lines on. Base in the belt and line it with Lamp Black. Base in the collar and place the dots with Santa Red, line it with Lamp Black. Apply some Crystal Craft Twinkies to the collar, hair, and the ears. Let it dry. Apply some Silver Craft Twinkies to the little black bow and a stripe around the pom-pom on the hat. Let them dry. Finish Elf Clarence: Glue the ears onto the backside of the ferrule and bend them around the sides. Glue on the hat, craft gems and bow. Elf Marty’s Face: Basecoat Marty’s face and ears with a mixture of, 4 parts Warm Beige, 1-part Sable Brown and 2 parts Coral Blush. Dry brush the cheeks with Santa Red. Transfer the face pattern. To achieve the eyes I used the end of a large paint brush handle, dipped into Lamp Black this is called a (dip - dot) Set it in place and pull the paint down just a little and lift it off. That set the background of the eyes. I also did a dip-dot to paint the nose with Cool White this time I did not pull the paint down. I just dipped, dotted, and lifted off. That is how to get a nice round circle. Let this dry well. Now we are going to dip-dot his eyes again with Cool White stay just inside the black leaving just a black line around the outside. Dry well and do it again with Lamp Black. Let that dry and put the last dot of Cool White on the black iris. When that’s dry paint in the bottom of the iris with Emerald Glamour Dust. The candy nose is lined in with Santa Red then highlight with Sizzling Red Glamour Dust. Basecoat the mouth, line around the nose and line the lashes and eyebrows with Lamp Black. Paint the tongue with Santa Red then highlight with Sizzling Red Glamour Dust. Paint the teeth with Cool White. Paint the ear tips with Emerald Glamour Dust and apply a little Crystal Craft Twinkle. Let dry.

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Elf Martyâ&#x20AC;&#x2122;s Body: Basecoat the handle with Holly Green. Transfer the belt lines. Paint the belt with Santa Red. Apply a coat or Emerald Glamour Dust to the top half of his outfit. At the bottom stencil, the checks with Cool White. Let dry. Paint a line with Gold Glitz Glamour Dust on the right side of each square of the checks and the nick line. Elf Martyâ&#x20AC;&#x2122;s Hat: I painted the cuff of the hat with Holly Green (saturated it). Painted polka dots with Holly Green then applied Emerald Glamour Dust to the dots. Let It

dry. Cut the cuff to create the spikes then turn it up and tack it with glue. Finish Elf Marty: Paint all of the line work on his outfit with Lamp Black. Glue the ears to the backside of the ferrule and bend them around the sides. Glue the bell and bow to the hat. Glue on the craft gems and the hat.

FINISHING:

Spray a very light coat of varnish over all three elves. Now you can decide if you want them to be pins or if you want them for hanging ornaments! Whatever you choose have fun!

Enlarge to fit the surface you choose.

OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

Three Snowmen By Peggy Laurie

These snowmen ornaments would be good for an ornament exchange or gifts. Names could be painted on the bottom of the ornaments instead of the stencils for kids’ gifts.

SUPPLIES: SURFACE: FROM CDWOOD.COM • Bracket Tags SKU: 31-9389 • Stencil Oranmania 3 #09-19180

PAINT: DecoArt Americana® Acrylics: • Lamp (Ebony) Black DA67

BRUSHES: • Mezzaluna small by Dynasty®

• Mezzaluna medium by Dynasty® • 12 Flat

• ¼ Angular

• 3/8 Angular

• Shoreline DA365

• 5/0 Liner

• Light Cinnamon DA114

• 4-Liner

• Warm White DA239 • Santa Red DA170

• Purple Rain DA327

• Midnite Blue DA85

• Neutral Grey DA095

• Mermaid Tail DA373

• Orange Flame DA315

• Dioxazine Purple DA101-1 • Black Plum DA172 • Teal Mint DA332

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• ¼ Stencil brush OTHER SUPPLIES: • Grey graphite paper

• Black permanent marker • Tracing paper • Stylus

• Ribbon • DecoArt Americana® DuraClear Satin Varnish D521

PAINTING WORLD MAGAZINE

INSTRUCTIONS:

Trace pattern on tracing paper with a black permanent maker. Lamp (Ebony) Black: Paint all three ornaments. Shoreline: Using a large flat brush, paint long continuing strokes down board. Let some of the black show. Lamp (Ebony) Black: Using a 4-liner brush loaded with paint, roll brush on its side, on the edges of the board to make the rough edges. Transfer pattern on with grey graphite paper with stylus. No details. SNOWMEN: Warm White: Using a small Mezzaluna brush stipple the heads of all the snowmen. Using a medium Mezzaluna brush stipple all the snowmenâ&#x20AC;&#x2122;s bodies. Light Cinnamon: Paint all arms on snowmen. Midnite Blue: Shade around outside of all the snowmen. Shade inside all the snowmen. Neutral Grey: Shade all the snowmen again over the Midnite Blue. Float highlights on all arms. Lamp (Ebony) Black: Shade all snowmen arms. Paint all the eyes, eyebrows, and mouths. Orange Flame: Paint on noses. Santa Red: Float inside mouth and bottom of nose. Stipple cheeks lightly using the Mezzaluna small brush. Paint all the hearts on snowmenâ&#x20AC;&#x2122;s chest. Black Plum: Shade all the hearts on snowmen chests. Warm White: Paint highlight dots with stylus on eyes, mouth, and cheeks. Paint highlight dots on hearts. SCARVES & HATS ON ALL THREE SNOWMEN: Rejoice Snowman: Santa Red: Paint scarf.

Black Plum: Shade scarf.

Orange Flame: Float highlights on scarf. Paint dots and stripes on scarf. Fringe on scarf: Paint Black first, then Santa Red, then Orange Flame. Lamp (Ebony)Black: Paint hat. Mermaid Tail: Paint hat band. Midnite Blue: Shade hat band. Teal Mint: Paint stripes on hat band. Float highlight on hat band. Orange Flame: Paint stripes on hat band. Warm White: Float highlight on hat. Hope Snowman:

Purple Rain: Paint scarf. Brush mix a little Warm White with Purple Rain to float highlights on scarf. Santa Red: Paint hat and stripes on scarf. Paint mitten. Black Plum: Shade hat and mitten. Dioxazine Purple: Shade scarf. Paint fringe. OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

Orange Flame: Float highlight on hat. Neutral Grey: Base in fur on hat and fur on mitten. Warm White: Stipple fur on hat and mitten.

Enlarge to fit the surface you choose.

Peace Snowman:

Purple Rain: Paint hat. Dioxazine Purple: Shade hat and paint on fringe. Midnite Blue: Shade scarf and paint on fringe again. Teal Mint: Float highlights on scarf. Neutral Grey: Base fur on hat and ball on hat. Warm White: Stipple fur on hat and ball on hat. Paint snowflakes on scarf. Paint a wash of Midnite Blue over the snowflakes, to tone it down. Stencil the words on the bottom of the ornaments with Lamp (Ebony) Black. I used a ribbon ¼” and 7 3/4” long for ornament to hang.

OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

Family Christmas By Tracy Moreau

The Holiday season means “Family”, the gift giving, the food and the parties. It is all about family and friends and mak-ing sure that those we love are close at hand. This year the holidays are going to be very different from years past. Let’s face, it nothing is the same as it was just a few months ago. That does not mean we cannot make it a special time for family, those near to us and those afar. These simple ornaments are all about our love of family. Enjoy these easy to paint and uniquely elegant ornaments!

OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

SUPPLIES: SURFACE: • www.vikingwoodcrafts.com 3 Ornament Plaques #207-0899 4.5 x 5.25 PAINT: DecoArt Americana®: • Lamp Black DA067 • Warm White DA239 • Asphaltum DA180

• DecoArt® Extreme Sheen 24 K Gold DPM04 • DecoArt® Matte Spray DAS13

• DecoArt® Glamour® Dust Glitter DAS37-3

DecoArt® Media Fluid Acrylics: • Cobalt Teal Hue DMFA10 • Primary Cyan DMFA27

• Cobalt Blue Hue DMFA08

• Media White Gesso DMM18 BRUSHES: www.thebrushguys.com • Dynasty® Faux Squirrel 1827 Brushes:

• 1/2 Angular Shader, 1/4 angular shader, 10/0 Rigger, #0 Rigger • Dynasty® Encaustic 1” Oval MISCELLANEOUS SUPPLIES: Stampendous® Stamps:

• Vintage Note Stamp CRP249 • Snowflake Stamps CRS5069

www.tracymoreau.net

• 1/8 polka dot Stencil 6 x 6 M2-21 • Snowflakes Stencil 6 x 6 M2-42

• Uniball® Signo .38 Black Gel Pen • Tracy Moreau Stencil Brush ½ • Wire

• Ribbon or lace of choice • Small Brayer

• White or grey transfer paper • White stamp pad (optional)

OCTOBER 2020 ISSUE

TO BEGIN:

For these ornaments it is ALL about the background!! This is a fun way to jazz up a pretty basic design and it can be done using three colors in the same family (three shades of green or three shades of pink). You can create all kinds of looks with a very short color list. Relax and have some fun with it!!

PREPARATION:

Apply two light coats of Lamp Black to the surface. Let it dry and sand lightly. THE BACKGROUND: On the palette: Warm White, Lamp Black, Asphaltum, Cobalt Teal Hue, Cobalt Blue Hue, Primary Cyan. Dry brush the entire surface from the top down using the Stencil brush loaded with Warm White. The resulting finish should be dry looking, a bit streaky and not quite fully opaque. Some of the background Black should be showing through in places. Let it dry then, sand lightly to smooth the surface and expose a few more areas of the black. Wipe free of dust. Using the stamp and the stamp pad, press the image of the script over the background. Repeat to fill the surface, or in just a few places, the choice is yours. Let it dry well. Apply washes of the following colors in patches: Primary Cyan, Cobalt Teal Hue and Cobalt Blue Hue (three), keeping the darkest value to the outside edges. Let the colors overlap slightly. (I use the fast-drying glaze to move the color around easily). Let it dry. Apply the Snowflake stamp using White paint or a white Stamp pad, (if you have one). I used just a few. Three-four is plenty. Use a small Brayer to roll out a thin layer of White paint on the palette and then apply the paint to the stamp with the brayer. Use the 1/8 polka dot stencil, and the stencil brush to apply Warm White polka dots to the surface. They should be fair-ly irregular and imperfect and randomly distributed on the surface. Age the edge of the ornaments with a float of thinned Asphaltum. Load a rigger with thinned Lamp Black then roll it along the edges to create

PAINTING WORLD MAGAZINE

OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

an irregular pattern resembling chipped paint. Let the surface dry and then apply a light wash of thinned Asphaltum vertically over the entire surface (this should just subdue the colors a little bit, not bury them). Use a liner to apply a fine irregular line of White to highlight the chipped paint edge. Let it dry, then trace and transfer the letter-ing to the center of each ornament. THE LETTERING: Trace and transfer the lettering to the surface using Grey or White Graphite paper. On The palette: Warm White, Asphaltum, 24KT Gold Metallic. Use the #2 rigger and thinned Warm White to paint in the lettering. Let it dry then shade the right side of each letter (on the background) with the darkest value facing the edge of the letter. Once the lettering is complete, add a little bling to your ornaments with the vintage note stamp and DecoArtÂŽ Extreme Sheen 24 K Gold. Roll the paint onto the stamp with the brayer and then press the stamp onto the surface, (yes, you can overlap the lettering) keep it light, incomplete, and imperfect, just a little in a couple of places. THE TEXTURED SNOWFLAKES: Position the snowflake stencil on to the surface and select one or two. Apply a thin layer of White Gesso over the snowflake(s) of your choice and then carefully remove the stencil. Repeat this in just a couple of places. While the gesso is still wet, sprinkle liberally with DecoArtÂŽ Glamour Dust.

OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

FINISHING UP:

Lightly spatter all the ornaments with thinned Warm White. Let it dry well. Use the gel pen to add a fine line (shadow) to the right side of each letter. Let the ink dry, then mist the ornaments with two light coats of matte spray. Enlarge to fit the surface you choose.

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

OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

Merry Christmas Trio By MaryJo Tuttle Paint this trio quickly for last minute gifts or for craft shows. The plaid background is easy to do with a stencil and adds a fun farmhouse touch. I began painting in oils with a beginner class offered at a local hardware store. After a short break I came back to painting and everything was in acrylics and I have not stopped since. I retired from the best job a painter could have as Product/ Project Manager for the Artist’s Club 3 years ago. We have enjoyed traveling, spending time at our beach house and watching our granddaughter Jemma grow!

SUPPLIES:

• Sugared Peach DA354

SURFACE: • 2” X 7” Ornament Set of 3 from Pinecraft.com

• Watermelon Slice DA324

PAINTS: DecoArt Americana® Acrylics • Asphaltum DA180 • Black Plum DA172

• Cinnamon Drop DA308 • Dried Clay DA356

• Foliage Green DA269 • Lamp Black DA067

• Leaf Green DA051 • Macha Green DA386

• Mocha DA060 • Moody Blue DA389

• Neutral Grey DA095 • Oyster Beige DA313

• Persimmon DA293 OCTOBER 2020 ISSUE

• Warm White DA239 • Neons Fiery Red DHS4

MEDIUMS: • DecoArt Americana® Spray Sealer/Finisher – Matte DAS13 BRUSHES: • I don’t use a specific brand of brushes, as long as I have a ¾” Wash Brush, 5/8” Angular Shader, #4 & #8 Shader, 6/0 Script Liner Brush, a sprung flat for stippling and a couple Mop Brushes, I’m good to go MISC. SUPPLIES: • PP#207 Small Buffalo Check Stencil www.PlumPurdy.com • 19 Gauge Wire

PAINTING WORLD MAGAZINE

PREPARATION:

Sand and spray seal the ornaments with Americana® Spray Sealer/Finisher. Basecoat the ornaments with Cinnamon Drop – I like to do 2 coats sanding between coast for good coverage. With the Small Buffalo Check Stencil, stencil the plaid onto the ornaments with Lamp Black.. Transfer the main pattern lines for the Santa & Snowman, With Black Plum, shade around the outside edges of all ornaments, and around the Santa & Snowman. Basecoat as follows:

• Mocha – Santa’s face

Shade the Snowman & snow area with Moody Blue. Stipple with Warm White. Blush the cheeks with Watermelon Slice. Base the nose with Persimmon, shade with Black Plum and highlight with Fiery Red. Shade the scarf with Leaf Green and highlight with Macha Green. The arms are Asphaltum tipped in Warm White. Outline as desired and add mouth line with Lamp Black. Line the snowflake & add the dots with Warm White.

FINISHING:

Finish with several light coats of Americana® Spray Sealer/Finisher. Add wire for hanging.

• Oyster Beige – Santa’s Beard, stipple snowman, stipple ground snow • Cinnamon Drop – Santa’s hat & suit • Neutral Grey – Stipple Santa’s fur

Enlarge to fit the surface you choose.

• Foliage Green – Santa’s mittens, Snowman’s scarf (stripes are Cinnamon Drop)

PAINTING INSTRUCTIONS:

Transfer the lettering and holly leaves. The lettering is done with Warm White. Base the leaves with Foliage Green, shade the base with Leaf Green and highlight the tips with Macha Green. Outline with Lamp Black. The berries are Watermelon Slice highlighted with a small dot of Warm White. Shade Santa’s face under the hat & above the nose with Dried Clay. Blush the cheeks & bottom the nose with Watermelon Slice. Highlight the eye area & top of the nose with Sugared Peach. The eyes are Lamp Black. The eyebrows are Warm White. Add small Warm White highlight dots to the eyes & cheeks. Shade the beard under the hat, around the mustache & around the curls with Asphaltum. Highlight the mustache & beard with Warm White. The stitches are Asphaltum. Shade the hat & suit with Black Plum and highlight with Fiery Red. Shade the mittens with Leaf Green & highlight with Macha Green. Stipple the fur with Warm White & shade with Neutral Grey. Shade the snow area with Moody Blue and stipple with Warm White. Add the tree with Asphaltum & add the needles with Leaf Green & Macha Green then add a little snow with Warm White. Outline as desired with Lamp Black.

OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

The History of the Christmas Ornament By Diane Marie Kellogg

Photo Credit - Danny Castaneda - Unsplash

OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

The glistening beauty of a tree festooned in lights and baubles. It is a sight that to many speak of Christmas and the holiday season. Have you ever wondered about how the first ornaments came to be? Travel back in time, to a spot well before the celebration of Christmas. Ancient Egyptians used to decorate evergreen boughs during the winter solstice. They shared a tradition similar to other pagan winter solstice practices of the Druids, the Romans, and the Vikings. The Christmas tree originated in 16th century Germany. Often decorated with candles, berries, nuts, and apples, they were first used in churches, and then as time passed they were seen in private homes during the holiday season. This tradition soon spread across Europe and was introduced to America by German immigrants starting in the 18th century. After using natural decorations for so long, in the 16th century, a rather enterprising gentleman named Hans Greiner created the first glass blown ornaments. Garlands and tin figures were also added as decorations for the tree. In the 1850s Justin Von Liebig added swirled silver nitrate to the blown glass ornaments, which were then capped and hand-painted. As these wonderful ornaments made their way to the states it wasn’t long before wealthy Americans adopted the tradition of decorating the tree. Soon wise businessmen realized the potential earning power of selling ornaments. By the 1890s Woolworth’s department store had sold more than $25 million in imported German ornaments of handblown glass and lead. In the New York of 1870, William DeMuth created the first American glass ornaments. Soon after followed Dresden die-cut fiberboard ornaments, which were popular with families with small children.

Photo Credit – Bundo Kim - Unsplash

The Japanese and Eastern Europeans soon began mass-producing ornaments and imports to the United States totaled over 250,000 by the mid1930s. Fast forward to more modern times and Hallmark introduces their ‘Keepsake’ ornaments in 1973, which they still sell today.

OCTOBER 2020 ISSUE

PAINTING WORLD MAGAZINE

During the Victorian era, painting china and porcelain ornaments were the in-vogue avocation of the Victorian lady. In contemporary times, comes the average craftsperson, at first creating ornaments seems to be a gifting thing. Lovingly hand-painted ornaments are made to give to friends and family. Then the desire for hand-painted ornaments became more tangible and selling the ornaments at arts and crafts shows became popular. Surfaces have included wood, paper, clay, and more. Today’s ornaments run the gambit, from simple country styles to ornate Victorian, from massproduced to hand made. Anything goes. Santa’s snowmen, animals, and more. Have fun painting the ornaments included in this issue of Painting World Magazine!

Photo Credit - Phil Hearing - Unsplash

Happy Holidays! Sources

https://theculturetrip. com/europe/germany/ articles/a-brief-history-ofthe-christmas-ornament-3/ https://en.wikipedia.org/ wiki/Christmas_ornament

Photo Credit – Tante Tati - Pixabay

OCTOBER 2020 ISSUE

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harvest your creativity update your furniture with Chalk Mineral Paint

photo courtesy of click 2 restore

find a dixie belle paint retailer at www.dixiebellepaint.com