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

June 2020

Decorative Painting, Mixed Media, Fine Art & More!

Painting World

Issue 27

ÂŽ

magazine

$9.00 USA $11.50 Canada

Cover Artist: Chris Jeanguenat

PAINTING WORLD MAGAZINE

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Contents YOU MAKE MY HEART BUBBLE

HERON BOX

8 Sherry Waldman

14 Rosemary Barrett

PAINTING WORLD MAGAZINE

GERANIUM WATERING CAN

18 Nancy Scott

23 Michael Cheek

FULL MOON COTTAGE

Cover Artist

UNCLE SAM THE ROCKET MAN

32 Linda Hollander

DECORATIVE CUTTING BOARD

39 Effie Carayannis

OCTOPUS PORTHOLE

46 Chris Jeanguenat

ITALIAN BEACHES

50 Anita Campanella

More Great Articles 39 56 69 77 78 SWEET GIRL GREETING CARDS

Passing the Paintbrush

A Look into the Historial Florals of Decorative Painting Part 2

Find your Creative Spirit

Directory of Artists

Directory of Suppliers

64 Ursula Wollenberg

ADVERTISERS INDEX

2 Bear with Us

47 Tracy Moreau

7 Country Pathways

71 DecoArt

7 Smooth Cut Wood 7 Plain & Simple Magazine

47 Pinecraft

74 Plain & Simple Magazine 80 Dixie Belle Paints

73 Viking Woodcrafts

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Calling all Artists

WE WANT YOU!

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FROM THE Editor Letter from the Editor

We were off to a wonderful year. Winter was behind us and spring had sprung, and we were all looking forward to planting and watching our beautiful flowers and gardens grow. Then, with the outbreak of Covid-19 we lost a whole season. Spring passed us by as we were shut in our homes and things around us closed down. Now as things slowly start to open back up, we enter into summer! We need to go forward as we settle into the “new normal”. We have bigger and brighter things in store for you this year and we cannot wait to share them with you!

Kole

Who We Are Painting World Magazine is owned and operated by Loon Publishing, LLC., which is an independent publishing company. We are completely dedicated to the joy of creating delivered to our readers! We select only the best articles from the top designers in the industry and will be featuring all the hottest new techniques, products and artists. Together with top designers, photographers, outstanding writers and a passionate readership, our team is absolutely in love with this industry and entirely committed to helping it grow while always feeding the artistic love of our readers! ORDERS FOR BACK ISSUES WILL PAY ACTUAL COST TO GET THEM

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. PAINTING WORLD MAGAZINE (ISSN 2472-694X). February 2020, Volume 01, Issue 25 ©Loon Publishing, LLC. Painting World Magazine is published 6 times per year by Loon Publishing, LLC., 205 South State Street, Waseca, MN, USA. US Subscription price $38.00 per year, shipping included. POSTMASTER: Please send address changes to Loon Publishing, LLC., 205 South State Street, Waseca, MN 56093. All rights reserved on entire contents of magazine. We are not responsible for loss of unsolicited material. We reserve the right to edit and publish correspondence unless specific commentary and/or name and address are requested to be withheld. Reproduction of editorial or advertising contents in any way whatsoever without the written permission of the Publisher is strictly prohibited. The instructions in this magazine are published in good faith and have been checked for accuracy; however, no warranty, either expressed or implied, is made nor are successful results guaranteed. Subscription rate $38.00 includes S&H for 6 issues. Distributed in the United States, Canada and worldwide. Printed by Quality Print, Waseca, MN.

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CONVENTIONS , EVENTS &TRADE SHOWS OKC Painting Palooza October 17-24, 2020

https://okcpaintingpalooza.com/

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New Book

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

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YOU MAKE MY HEART BUBBLE

By Sherry Waldman

My students love this process. It is a fun and easy way to paint Through the use of washes and undertones, youâ&#x20AC;&#x2122;ll learn how to easily get the depth you would see in the shell and skin of a sea turtle. Sherry Waldman has been painting and teaching internationally for over 3 decades. Her favorite surface is a surfboard, piece of furniture, wall or funky finds she recreates into functional art. Sherryâ&#x20AC;&#x2122;s love for the beach and all things coastal show in her work and her studio projects. Her Palm Coast Florida studio is not only filled with paints and brushes but with all things beach such as surfboard, sea glass, seashells and driftwood.

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SUPPLIES: SURFACE • 3 Foot wood surfboard Supplier: Sherry’s Art Studio PAINTS - DECOART© AMERICAN ACRYLIC • Buttermilk DA03 • Mermaid Tail DA373

• Spiced Pumpkin DA310 • Lamp Black DA067 • Snow Shite DA01

• Traditional Burnt Umber DA221 • Neutral Gray DA095 OTHER PRODUCTS • 8 oz Artist Resin Supplier: Sherry’s Art Studio

• Glass flat back bubbles Supplier: Sherry’s Art Studio • Plaid© Floating Medium 898

• White Graphite Paper

BRUSHES – PLAID© FOLK ART • 3 brush package – ¾ flat, #12, #2 liner 1171 • Feather Brush 1293 • 1 ½ Flat 50557

INSTRUCTIONS TRACE PATTERN Pattern needs to be enlarged 200% to fit the 3-foot wood surfboard. Using the white graphite paper, trace pattern onto the surfboard. Keep in mind they are all the way to the left side of board. BASE COAT Lamp Black 1 1/2 Flat, base coat surfboard solid black. Using ¾ Flat and #12, depending on what you feel comfortable with, base coat Gunner and Gerti with Buttermilk. Do not base coat solid. Let some of the black come through. We will use the perfectly imperfect base coating to help us get all that depth in the turtle’s skin and shell. When base coating the faces, leave a black border line of base coat where the Buttermilk areas hit each other. The eyes that fade into the water, put a faint line of Buttermilk as shown. This process is going to look messy and perfectly imperfect. Don’t worry about it! “Trust the process…!” There is going to be lots of layers of paint to get these two love birds to have all this depth. Fig 1

MISCELLANEOUS SUPPLIES • Water Basin • Paper Plates

• Paper Towels

Helpful Hints:

This project is so simple it’s silly. Don’t over think it. It is a lot of shading, color washing with medium, and use of the surface base coat coming through base coated of faces.

FIG 1

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So simple it’s silly! You can’t make a mistake. Using the feather brush and Traditional Burnt Umber, feather straight lines leaving the back of the shell, leaving Buttermilk coming through. If you feel you made it too dark, just put the Buttermilk base coat back over. You can’t do this wrong and there is always an “out” to fix it! Have fun and “trust the process...! Gerti shade with Mermaid Tail:

Load 3/4 flat with floating medium. Side Ioad with Mermaid Tail and shade all around the two shells on the upper head, then wash it through the middle head shell. Clean brush and reload to do the same shade on the upper check, right side cheek and under the shell. Load #12 with medium and Mermaid Tail and wash color in center of all small shells, under the nose, right side of the body and the center muscle around the eye. Load Mermaid Tail in the feather brush and pull a hint through back shell.

Shading with Traditional Burnt Umber Gerti:

Use the brush you feel most comfortable with for size,3/4 flat or #12. Load brush with medium and side load Traditional Burnt Umber. Shade all around all shell areas. With medium and Traditional Burnt Umber Wash, color over right cheek on right side pulling ¾ toward center face and center left cheek. Gunner:

Same as Gerti, as well as under and over lower chin, under back shell, left body, under mouth and smile. Fig 3

Gunner shade with Pumpkin Spice:

Same as above but with Pumpkin Spice, but this time do lower chin and under smile line. Fig 2

FIG 3

Shade both turtles with Lamp Black

Load 3/4 flat with medium and side load Lamp Black. Shade upper center head very dark so it fades into background and do the same on upper back shells. Same as above, shade behind the heads on the body, under mouth, under eye muscles and behind upper and lower nostril. Gerti’s right cheek and Gunners left cheek, shade dark and fade into background. Fig 4 FIG 2

I know it looks dark but trust the process…..! ¾ Flat load brush with floating medium, side load Snow White and highlight upper mouth. Using the feather brush and Buttermilk, soften the smile line with light brush stroke. Fig 5

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FIG 4

FIG 6

FIG 7

FIG 5

Are you ready for the magic? Letâ&#x20AC;&#x2122;s make Gunner and Gerti come to life! Using #2 Liner and Buttermilk add all the lines, following the picture. Let some black show through. Fig 6 & 7 FIG 8

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#2 Liner and Buttermilk add all the lines … follow picture. Let some black show through….. Using the #2 Liner and Neutral Gray, paint vein like lines on chins of both Gunner and Gerti from lower chin up to smile line, curving outward and coming in toward the middle and on the body under the shell. FIG 9

EXTRA: For a little extra bling, you can even add rhinestones. RESIN Lay down a protective cover on your work surface. Elevate your board on something to lift it, but that stays underneath so resin doesn’t drip down onto lt. Follow manufacturer’s instructions for resin.

Look at all that depth we got by using the layering of color. Fig 8 I hope you enjoy painting Gunner and Gerti

Eyes and Nose

With the Liner, outline eye around black of eye. Using #12 load with medium and side load Snow White. Float a half circle on the lower inner eye. Using the same technique do sideways tear drop in nostrils. With #2 Liner put 3 dots in the shape of a triangle in upper outer eye and dots for nose. Fig 9 Bubbles

Make simple bubbles by using the same technique as the float in the eye, but do a full circle, using both the 3/4 flat and #12 to give you two different sizes. Start between Gunner and Gerti an taper them out as they float to the left of the surfboard. Using the #2Liner and Snow White, put a small comma stroke on left side of each bubble. Place the glass bubbles where you want them.

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FIG 10

“You Make My Heart Bubble…” as much as I had creating them. The process of bringing lots of dept a painting by using the under colors and washes is a simple yet fun way to teach students so they are not intimidated and makes painting faster so you can sell more. Living here in Florida, I sell and teach lots of ocean and beach themed paintings. My students are learning to “trust the process” and are loving the confidence it brings them. Feeling blessed, living “Life in Flip Flops and Paint” .

All supplies needed for this project are sold at Sherry’s Art Studio www.sherrysartstudio.com -Sherry Waldman

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

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

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Heron Box Rosemary has spent most of her years in the fine art arena. Coming from a family that recognized the importance of art and lineage it made for a natural course of expression. As a teacher and inspirational driver she has moved into the realm of decorative painting with the encouragement of her sister Janice Cormier of Country School House, Huntington, MA. Janice has been in the business for many years teaching in her studio and throughout the country. It is a joy to share the knowledge that I have acquired and I hope to inspire others to feel satisfaction and acknowledgement of their talents.

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By Rosemary Barrett

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SUPPLIES

PAINTING INSTRUCTIONS

PALETTE: DECOART® AMERICANA PAINTS • Deep Midnight Blue-DA166

BIRD: The shadow of the bird is painted with Deep Midnight Blue. Use a #8 round to achieve coverage quickly.

• Soft Black- DA155 • Black- DA067

• Snow White- DA01

• Asphaltum- DA180 • Sapphire- DA099

• Blue Harbor- DA283 • Graphite- DA161

• Warm White- DA239

• Ultra Deep Blue- DA100 • Antique Gold- DA09 • Pebble- DA303

• Spicy Mustard- DA284 MISCELLANEOUS SUPPLIES: • Water based varnish

• Transfer paper (Saral-White) • Stylus

Using Warm White, base in the white areas with a #6 round. Always stroke in the direction of the feathers, from the head to the tail, in long strokes (practice this a little). Nothing is written in stone and the beauty of paint is that you can change it if you’re not satisfied. The building up of color and strokes is what gives this bird life and dimension. The back feathers and top of the head are in Ultra Deep Blue. Using a #3 round, stroke in the direction of the feathers. Shadow the dark feathers with Graphite in a wash, building up gradually. Highlight these feathers with Blue Harbor. Paint in the dark feathers on the back and bottom with Graphite and highlight with a wash of Soft Black and Pebble, building gradually in the direction of the feathers.

• Blue tape

• Paper (for practice) BRUSHES: • #2, #4 Liner-Loew Cornell® • #4 Filbert- Loew Cornell® • 1” Flat Scharff 44

• #6, # 1, #3, #8 Rounds Red Sable Scharff SURFACE: I used a wooden file box measuring 12” X 8 1/2” X 4”, but really any surface that holds the design will work nicely.

PREPARATION

After you have sanded and panted your box or surface, paint with Sapphire. Sand and add another coat of Sapphire. You are now ready to transfer the design. Tape down with Blue tape, using the White Saral Paper, and transfer using a stylus. JUNE 2020 ISSUE

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Add a wash of Pebble on the right side of the chest, all the way to the bottom of the bird. Highlight the white chest with a wash of Snow White, covering the Pebble wash that you just laid down, but let it show through somewhat. BEAK: Using a #3 round, base in with Asphaltum. Use a wash of Black in the shadows. Highlight in a was of Antique Gold, Pebble and bright highlights with Snow White. EYE: Base in the eyeball with Marigold, highlighting the outer ring with Spicy Mustard. Surround the eye with Soft Black and paint the pupil with Black. Then add a highlight dot with Snow White.

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LEGS: Base paint with Pebble and shadow in Graphite. Highlight with washes of Warm White, building washes until you achieve the brightness that is the same as the white chest of the Heron. Ripples in the water, near the legs in a wash of Blue Harbor and highlight with Snow White.

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Geranium

Watering Can By Nancy Scott, CDA

Geraniums are the ultimate “Summer” flower, so colorful and bright! This is a wonderful and easy way to decorate a watering can, a flowerpot or any outdoor vessel. I have been painting for almost 30 years and whether I am designing something new or painting a design from a favorite artist, I thoroughly love the painting process. My favorite aspect of decorative painting, though, is teaching. Hearing a “thank-you” from a student who have just learned a new technique or an easier way to do something is my greatest “painting” joy!

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SUPPLIES SURFACE: Metal watering can 6 3/4” high (not including handle). Look for watering cans at any garden/ hardware store. I found mine at Marshall’s®. PALETTE: DECOART® AMERICANA ACRYLICS • Aloe- DA364 • Golden Straw- DA168

• Hauser Dark Green- DA133

Helpful Hint:

I find it easier to paint all the leaves first. Then, I can pull the strokes for the Geranium petals, coming from slightly over the leaves. It’s easier than trying to float the shading on the leaves up next to, and around, the geranium petals.

PREPARATION:

• Rookwood Red- DA097

Prime the watering can with the metal primer, following all manufacturer’s instructions. Allow to dry thoroughly. If not using a metal surface, paint your surface with Lamp Black acrylic. Trace pattern and transfer just the lines for the general shape of the Geraniums and leaves.

• True Red- DA129

PAINTING INSTRUCTIONS

• Hauser Med Green- DA132 • Lamp Black- DA067

• Lt. Buttermilk- DA164 • Scarlet-DA345

BRUSHES: ROYAL & LANGNICKEL® AQUALON™ SERIES • R2150 Shader size 10 • R2160 Angle sizes 3/4”, 1/2”, 1/4” • R2170 Filbert size 6

• R2250 Round size 2 • R2595 Liner size 1

• RBOBBIE Mop-size small MISCELLANEOUS SUPPLIES: • Paper towels • Tracing paper

• White transfer paper • Stylus

• Water basin

• Palette paper

• Varnish of choice (l used Krylon® Satin Finish #1323)

• Metal primer (spray on) of choice (l used RustOleum® Painter’s Touch® 2X Ultracover Paint &Primer in flat Black)

PAINTING LEAVES: First, base coat with Hauser Medium Green, using the #10 flat brush. Float shading at the base of each leaf with Hauser Dark Green using the 3/4” angle brush. (figure 1) Paint a “back-to-back” float, sometimes referred to as a “flip float” with Hauser Dark Green, down the center of each leaf using the 1/2” angle brush. (figure 2) Use a mop to soften as necessary. Float Aloe along the outside edges of the leaves using the 1/2” angle brush. (figure 3) With the liner and thinned Aloe, paint fine vein lines. (figure 4) GERANIUMS: Using the #10 flat, “fluff’ in Rookwood Red to form the shape of each flower. It’s preferable to keep the edges fuzzy, as compared to smooth) within the pattern lines. It will take 2 coats of Rookwood to get adequate coverage. (figure 5) Using the #6 filbert and True Red, begin forming the petals in a relatively random fashion. You can see an entire blossom in some places and just partial blossoms in other places. Refer to the picture and step-by-steps. There is no absolute

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order as to the placement of the blossoms. Just try to fill up the entire flower with the True Red blossoms, pulling the color with your filbert from a little bit outside the edge of the Rookwood Red base coat. Let dry. (figure 6)

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Using the 1/4â&#x20AC;? angle, float a brighter red of Scarlet along the outside edge of most of the petals. The smaller of the 2 main flowers in the center of the design (the one on the right) only gets the brighter Scarlet color from about the center on out, to the right Do the same thing

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with the small flower on the far right. Again, refer to the finished picture to see where the lighter petals are. (figure 7) FILLER FLOWERS: Using Lt. Buttermilk and the #2 round brush, form the little filler flowers. You really donâ&#x20AC;&#x2122;t need a pattern for this. Just pull little onestroke petals in a circular spoke formation to form the little flowers. Add a stylus dot of Golden Straw in the center of each. (figure 8) The vertical green stripes are painted with Aloe. Float a shade of Hauser Medium Green down the right and left sides of all the stripes. The 2 handles, top of the watering can, and

spout are painted with Aloe leaving the spout and the raised edges black. The horizontal border trim is painted Lt. Buttermilk.

FINISHING:

After allowing adequate drying time (overnight)finish with spray varnish of choice following all manufacturerâ&#x20AC;&#x2122;s instructions. If you will be leaving your watering can outside, consider a nonyellowing polyurethane topcoat. When spraying, it is always better to do 2-3 light coats (drying well in between) rather than one heavier coat that might run or drip.

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FULL MOON COTTAGE

By Michael Cheek

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

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SUPPLIES SURFACE: • 16 X 20 canvas PALETTE: BOB ROSS® SOFT OIL COLORS: • Ultramarine Blue • Turquoise

• Alizarin Crimson • Burnt Sienna

• Cad Yellow Light • Titanium White

BRUSHES: • Artist Loft™ / flat bristle (Brushes come in a package of 12, purchased at Michael’s Arts & Craft Stores®) • # 12, 9, 6, 2

• Bob Ross® #2 Script Liner OTHER SUPPLIES AND EQUIPMENT: • Soft Washcloth • Chip brush or sponge roller • Paper Towels

• Odorless Thinner

• White Graphite Paper (for tracing) • Stylus, Pencil or Pen

CANVAS PREPARATION: • Michaels Kanvas Koat

PREPARATION

Using a chip brush or sponge roller, apply 2 coats of Michaels Kanvas Koat (black) to the canvas, allowing plenty of drying time between coats. Using White graphite paper, transfer the pattern to the canvas. (NOTE): Michaels Kanvas Koat is not available in any art or craft store. It is only available by ordering from Michael’s website. When using Kanvas Koat, you will not need the use of any oil medium to make the paint move, spread or blend. This happens automatically, right on the canvas!

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Helpful Hints

When transferring the pattern to the canvas, only transfer basic lines. For instance, it will be difficult to paint around objects such as trees, bushes etc. Instead of cleaning the brush in thinner each time, use a paper towel to pinch the paint out of the bristles. This allows some color to remain in the bristles, causing more variety of color tones when loading the next mixes.

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

SKY AND MOON: Using a #12 flat bristle, load a mix of Alizarin Crimson and a touch of Titanium White. This will be a medium to light pink tone. Using long horizontal strokes, paint in the glow area about half-way up. Pick up Ultramarine Blue in the same mix. This will now become a blue-lavender tone. Paint in the rest of the sky area, again using long horizontal strokes (Note: Try to leave some of the Black canvas showing through the sky area!) Using a #2 flat bristle, load a mix of Titanium White with a touch of Alizarin Crimson, (just enough to tint the white) and paint the moon using a circular motion. BACKGROUND TREES: Using a #12 flat bristle, load a mix of Ultramarine Blue and a touch of Alizarin Crimson. This will be a dark mix. Starting at the bottom of the water line and working off the corner of the brush, use downward strokes to paint the trees. As you progress the top of the trees, work for a light and airy look. Using a #9 flat bristle, load a mix of Turquoise and a touch of Cad Yellow Light on the bottom left corner of the brush. This will be a medium to dark green tone, not too bright! Turn the brush over so the paint is now on the top right corner of the brush. Working off the top right corner, push upward working in a circular motion to highlight the trees. Work in clusters! Pick up a touch more Cad Yellow Light in the mix, (this should be a bit brighter than what was just used) and highlight the tree behind the cottage in the same manner as just described. Again,

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work in clusters! Using a #2 script liner, thin down Burnt Sienna with a touch of Titanium White and paint in the tree trunk and a few limbs. WATER: Using a #12 flat bristle, load a mix of Alizarin Crimson and a touch of Titanium White. This will be a medium to light pink tone. Using horizontal strokes, paint in the glow area about half-way down in the water, leaving some of the black canvas showing through. Pick up Ultramarine Blue in the same mix. This will now become a blue-lavender tone. Paint in the rest of the water using horizontal strokes, again leaving some of the black canvas showing. Pick up a bit of the dark tree mix, used earlier, and use a downward stroke to reflect in the water. Using a #2 flat bristle, load a mix of Ultramarine Blue and a touch of Titanium White. This will be a medium blue tone. Use the flat of the brush and paint in a few water lines horizontally. Using a #6 flat bristle, load a mix of Titanium White with a touch of Alizarin Crimson. Paint in the reflection of the moon in the water using a downward stroke. COTTAGE: (Note): In painting the cottage, let the black of the canvas be the shading! Bristle flats: #6, #2, script liner #2 CHIMNEY: shadow side â&#x20AC;&#x201D; Burnt Sienna / highlight side Titanium White +Burnt Sienna ROOF LINES, OVER HANGS, WINDOW AND DOOR: Black of canvas SHADOW SIDE WALL: Ultramarine Blue +Titanium White HIGHLIGHT SIDE WALL: Titanium White + Burnt Sienna + Alizarin Crimson ROOF: Burnt Sienna +Titanium White

HIGHLIGHTED WINDOWPANES: Ultramarine Blue + Titanium White HIGHLIGHTED DOOR: Ultramarine Blue + Titanium White PATH: Using a #6 flat bristle, load a mix of Burnt Sienna and a touch of Titanium White. Using the flat of the brush, paint in the pathway using horizontal strokes. Use a bit more -Titanium White and brighten the path where the light is striking! GRASSES: Using a #6 flat bristle, load a mix of Turquoise and a touch of Cad Yellow Light. This will be a medium green tone. Use short, downward strokes with the flat of the brush and paint the grasses around the path and cottage. Add a bit more Cad Yellow Light and a touch of Titanium White to the mix and brighten a few of the grasses around the cottage. FLOWERING BUSHES: Using a #9 flat bristle, load a mix of Ultramarine Blue and a touch of Alizarin Crimson. This will be a dark mix. Base in all the flowering bushes around the path, back side of the cottage and the ones on the right side. Work off the bottom corner of the brush and use downward strokes, working in a circular motion. Also, use this same mix to pull down reflections from the bushes on right side, into the water. Using a #6 flat bristle, load a mix of Turquoise and Cad Yellow Light on the bottom left corner of the brush. This will be a medium to light green tone. Turn the brush over so the paint is now on the top right of the brush. Working off the right corner of the brush, push upward, working in a circular motion to create the highlighted bushes. Work in layers or clusters! Clean the brush and load a mix of Alizarin Crimson and a touch of Titanium White. This will be a medium to light red tone. Loading the brush as described and using the same technique, paint in the red flowers. Pick up a bit more Titanium White in the mix and brighten up just a few where the moonlight may be striking. Donâ&#x20AC;&#x2122;t highlight all of them! JUNE 2020 ISSUE

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FOREGROUND TREE: Using a #6 flat bristle, load a mix Ultramarine Blue and a touch of Burnt Sienna. This will be a dark tone. Using the flat of the brush vertically, base in the trunk of the tree. Pick Burnt Sienna and a touch of Titanium White. Working off the corner of the brush, highlight the right side. A bit more Titanium White can be added for brighter highlights here, and there, on the trunk of the tree. Clean the brush and load a mix of Turquoise and Cad Yellow Light. This will be a medium green tone. Working off the corner of the brush, tap in the foliage, working back and forth across the tree trunk. Pick up a bit more Cad Yellow Light with a touch of Titanium White in the same mix and brighten a few of the leaves. Using a #2 script liner, thin down Burnt Sienna with a touch of Titanium White and weave a few limbs in and out of the foliage. A bit of reflected light can also be added to the left side of the tree trunk by thinning down Ultramarine Blue and a touch of Titanium White. ROCKS: Using a #2 flat bristle, load a mix of Ultramarine Blue and Burnt Sienna. This will be a dark tone. Using the flat of the brush, paint in a few rocks around the water banks. generally, paint humpshapes. Pick up Burnt Sienna and Titanium White and highlight the rocks on the right side. You can have as many or as few as you want. BIRDS: Using the #2 script liner, thin down Ultramarine Blue and Burnt Sienna and paint in a few birds in flight around the moon, using a long “M” shape. FINAL DETAILS: After the painting is dry, you may want to re-instate some of the highlights where the moonlight is striking, such as the cottage, grasses and the foreground tree trunk.

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EXPLANATIONS FOR IMAGES “Full Moon Cottage”© 0017 - Starting the sky, use long horizontal strokes 0018 - Painting the rest of the sky area 0019 - Starting the moon, use a circular motion 0020 - Base in grasses, use short, downward strokes 0021 - Tapping in the highlight for grasses 0022 - Base in bushes 0023 - Highlighted bushes, push upward, then release the brush downward 0024 - Base in pathway, use horizontal strokes 0025 - Highlighted pathway, use horizontal strokes 0026 - Base in foreground tree trunk 0027 - Highlight tree trunk using short, downward, choppy strokes 0028 - Tapping in the branches over tree trunk 0029 - Tapping in the highlight over the branches

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FIG 20

FIG 21 FIG 17

FIG 22

FIG 18

FIG 23

FIG 19

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FIG 25

FIG 24

FIG 26

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FIG 27

FIG 28

FIG 29

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

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Combining clay and paint is one of my favorite things to do! I love creating whimsical figures from air dry clay and using my painting skills to bring the characters to life. The upcoming presidential election inspired me to create a pull toy with a patriotic theme.

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Uncle Sam the Rocket Man SUPPLIES

• Rocket Pull Toy Kit from www.jbwood.com Item #2198 • Polyform Model Air Porcelain Clay

• Polyform Sculpey 11 pc. Essential Tool Kit or substitutions for clay roller, needle tool, rubber tip shaper, and super slicer blade. • Styrofoam ball: 1” • Wood bead 3/4” • Cork ¾”

• Star Stencil (optional) from www.StencilEase. com Item # SCR0057 • String or cord (natural color or off white) • Silver tinsel chenille stems (optional) PAINTS: DecoArt® Americana:

• Bleached Sand DA257 • Blush Pink DA355 • Graphite DA161

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By Linda Hollander

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

• Grey Sky DA111

• Prussian Blue DA138

• Snow (Titanium) White DA01

Brushes:

• Sugared Peach DA354

• Royal Aqualon®

• Uniform Blue DA086

• Shader Series R2150 - #2, 6, 12

• Shimmering Silver DA070-1

• Royal mop

• Tuscan Red DA265

• Round Series 2250- #1, 20/0

DecoArt® Dazzling Metallics:

• Glaze/Wash Series R2700-1”

Mediums:

• Series 4999-#4

• DecoArt®: Multi-Purpose Sealer

• DecoArt® Americana Sealer/Finisher DAS13 Matte • DecoArt® DecoMagic Brush and Stencil Cleaner (optional)

MISCELLANEOUS SUPPLIES: • Graphite paper • Stylus

• Fine grit sandpaper JUNE 2020 ISSUE

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• ¼” Painter’s tape • Paint cubby

• Sponge pouncer or make-up sponge (for stenciling) • Aluminum foil

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

• Toothpicks

• White glue

• E6000 or similar strong glue • Serrated kitchen knife • Ruler • Drill

CLAY NOTES: Polyform® Model Air Porcelain Clay is watersoluble air-dry clay. It is very light and easy to manipulate. It has a soft texture like marshmallow or fondant.

FIG 1

in palms or on your work surface. Locate flat part of ball and press onto work surface to flatten. Insert toothpick halfway into opposite end of ball (neck area). Roll a 1/8” ball of clay and press onto toothpick at base of head for neck. Use Rubber Tip Shaper to blend top of neck into head. Use wet paint brush to smooth clay as needed. Nose:

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

Roll a 1/16” ball of clay and press onto center of face. Use the Rubber Tip Shaper to blend top of nose into the wet clay then use a wet paintbrush to smooth.

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

Eyes:

Use water on fingers or a paint brush to smooth clay as needed. If too much water is used the clay will become mushy and stick to your hands and tools. Set it aside for a few minutes or knead it until it comes UNCLE SAM: Sam’s head:

Use serrated knife to cut a small slice off the Styrofoam ball to make a flat side for hat to rest on. Pinch off a 1” ball of clay and roll out into a sheet of clay approximately 1/8” thick (insert Fig. #1). Use Super Slicer to lift clay sheet. Press clay sheet onto flat part of ball. Systematically press clay and cover the entire ball pushing out air pockets as you work. Pleat and remove excess clay with craft knife. Smooth clay by gently rolling JUNE 2020 ISSUE

Use the large end of the ball stylus to make indentations where eyes will sit. Roll two tiny balls of clay for eyes and gently press into the indentations. Roll two pieces of clay the size of rice for eyebrows and attach above eyes. Ears:

Roll a 1/16” ball of clay then cut in half. Place the flat side of the ear onto the side of the face. Use the stylus to indent the front of the ear. Repeat for the other ear. Mustache: Roll a 1/16” ball of clay into a 1” log. Gently taper ends of log then place the log under the nose. Use the edge of the Rubber Tip Shaper to indent the center of the mustache. Use your fingers to carefully shape the ends of the mustache as desired.

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Beard:

Roll a 2/16” ball of clay for the beard. Roll the ball into a cone shape. Use the Rubber Tip Shaper to press top of beard onto face under mustache. Use the chisel edge of the tool to texture top half of beard. Set head aside to dry several hours. I like to insert the end of the toothpick into a scrap piece of Styrofoam to hold the head until it is dry. Stovepipe Hat:

Roll a 1” ball of clay, then roll out into a sheet large enough to cover sides and wide end of cork. Use the super slicer to cut a piece of clay to cover sides of cork (Insert Fig. #2). Wet the cork then attach clay to sides. Use craft knife to trim excess clay. Roll in palms to push out air pockets. Cut a piece of clay for the wide end of the cork and press on. Use finger pressure to smooth into sides of hat. Roll a ½” ball of clay into a circle for the brim. Press top part of hat firmly onto enter of brim. Apply a thin layer of glue to the top of the head then press hat on. Set aside to dry.

FIG 3

Body:

Cover the shaft of rocket with aluminum foil and tape to secure. Insert the rocket dowel into the base but do not glue at this time. Roll a 1 ¼” ball of clay, then form a cone shape. Place atop the rocket shaft in desired location. The bottom of the cone should make good contact with the rocket’s shaft. Press the top of the cone forward slightly. Use the Needle Tool to make a hole in the top of the cone to accommodate toothpick/head assembly (Insert Fig. #3). Collar:

FIG 2

Hair:

Apply a thin layer of white glue with a brush to the hair area. Press small bits of clay onto head. Use the Rubber Tip Shaper to shape hairline and to flatten the top edge of the hair just under the hat’s brim. Use the chisel edge of the tool to make hair detail.

Roll a ¼” ball of clay into a log. Flatten slightly with roller then cut one end on a diagonal. Lift clay with Super Slicer then wrap around top of body for a collar. Mark the other end of the collar, remove clay, and cut the other end also on a diagonal. Carefully wrap the collar around the top of the body. Insert the toothpick (head) into the neck hole for fit. Adjust the collar as needed to cover neck and not interfere with beard. Legs:

Form a 1” ball of clay then cut into 2 equal parts. Roll each half into 2” logs. Flatten one end of each log for Sam’s pant cuffs. Cut a tooth in half and insert the pointed ends into the center of each cuff leaving approximately ¼” sticking out (you will attach the shoes to these posts). Use the side of the Needle Tool to indent the pant JUNE 2020 ISSUE

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PREPARATION:

Apply Multi-Purpose Sealer to all clay and wood parts except axels. Let dry then sand lightly. Insert axels into holes to check for fit. If they are difficult to insert, sand the axel dowels until they can be easily inserted but fit snuggly.

PAINTING INSTRUCTIONS: FIG 4

cuffs. Carefully press the top of the leg onto the body. Hold in place with light pressure until the clay adheres. Repeat for the other leg. Bend legs gently at the knees (Insert Fig. #4). Arms:

Form a ¾” ball of clay and cut in two equal parts. Roll each half into logs 1 1/2” long. Slightly flatten one end of each arm. Use the side of the Needle Tool to indent a thumb and four fingers for hands and a cuff just beyond the hand. Press onto the top of the body and hold until secure. Bend the arm gently and use light pressure to push hand onto rocket. Repeat with the other arm. Use the side of the Needle Tool to indent some creases on the inside of the elbows. Shoes:

Roll a ¾” ball of clay then cut in 2 equal parts. Form each half into egg shapes then flatten the sole areas. Use the side of the Needle Tool to indent the heels and soles. Gently press the shoe onto the post in the bottom of the pants then remove the show and set aside to dry. When clay is dry, carefully remove figure from rocket. Remove tape and foil from the rocket shaft. The center of the body may still be uncured. Set aside overnight to dry thoroughly.

PAINTING NOTES:

Use appropriately sized brushes unless otherwise noted. Use the mop brush to soften floats as needed. JUNE 2020 ISSUE

UNCLE SAM: Base coat the crown of the hat Snow (Titanium) White. Use Tuscan Red to paint top of crown and 6 evenly spaced vertical stripes. Use Uniform Blue to base the hatband, brim and vertical pinstripes. Use Uniform Blue + Snow (Titanium) White (2:1) to drybrush the hatband and brim. Use the end of a paintbrush and Snow (Titanium) White to make a dot on the hatband (under one of the blue pinstripes). Make one star at a time. While the paint is still wet use the tip of the liner to pull 5 arms to form a star. It is helpful to think of a clock. Pull the top arm at 12:00, and the upper arms at 2:00 and 10:00. Pull the lower arms at 4:00 and 7:00. Let dry thoroughly. Brush a light coat of sealer on the hat to protect it while you paint the head. Head/Hands:

Use Sugared Peach to base skin areas. Use a small amount of Blush Pink to drybrush cheeks, nose and ears. Use Snow (Titanium) White to base eyes. When dry use the stylus to add a dot of Graphite in the center of each eye. Let dry then add a small dot of Snow (Titanium) White highlight. Use Grey Sky to base the hair, mustache, and beard. Let dry. Drybrush highlights with Snow (Titanium) White Shirt:

Use Grey Sky to under-coat the shirt. When dry use Tuscan Red to base the shirt. Use Snow (Titanium) White to base the cuffs, collar, and stripes. Use the stylus and Shimmering Silver to add three buttons to the first of the shirt. Jeans:

Use Uniform Blue to base the jeans. Use Uniform Blue + Snow (Titanium) White (2:1) to drybrush highlights on the jeans. Use the same mix to

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paint two back pockets, a waistband, and seams running down the outside of each leg. Use Prussian Blue to float shading along seams, under waistband, and around pockets. Use Snow (Titanium) White to paint tiny stitches on waistband, pockets, seams, and cuffs. Use the stylus and Shimmering Silver to add studs to the upper corners of the pockets. Shoes:

Use Graphite to base shoes. Use Graphic + Snow (Titanium) White (4:1) to drybrush shoes. Add white glue to the posts in the pant legs then insert post into shoes. WOOD BASE: Mix Bleached Sand + Titanium White (2:1) and store in a paint cubby. Use this mix to base coat the wood base until opaque. Blue Field:

Measure 2 ¼” from one end of the base and tape off. Use Uniform Blue to base coat until opaque. Use Prussian Blue to float shading along the lower inside edge. Transfer lettering. Use the Bleached Sand Mix to base the lettering and paint stitches along the shaded edge. Red Stripes:

Use the ruler to find the center of the striped area and tape off 5 stripes ¼” wide on the top and sides of the base. For best results burnish the tape down well with finger pressure then apply a thin coat of Multi-Purpose Sealer. Let dry. Use Grey Sky to underpaint the stripes. Let dry. Use Tuscan Red to base the stripes. Remove tape. Use the chisel edge of a shader to clean up any paint that may have bled under the tape. Tip: Rubbing alcohol or hand sanitizer works well to remove dried paint. Touch up light stripes with the Bleached Sand Mix as needed. Wheels and Rocket:

Use Uniform Blue to base wheels and rocket cone until opaque. Line up the star stencil on one side of the wheel then use the pouncer or make-up sponge and with a small amount of Bleached Sand Mix to pounce over the stencil. Hold the stencil in place and use a blow drier to dry the first coat. Repeat until opaque. Repeat for the

other 3 wheels. Stencil smaller stars on each facet of the rocket cone. If using the pattern for the stars, transfer the patterns and use the Bleached Sand Mix to basecoat. Use Prussian Blue to float shading around the stars on the wheels and on the rocket cone. Use the Bleached Sand Mix to paint stitches along the outer edge of the wheels. Paint the hub caps Tuscan Red. Use Grey Sky to under paint the rocket shaft. Use Tuscan Red to paint the shaft until opaque. Rocket post and wood fuse:

Use Grey Sky to under paint the post and fuse. Let dry then base again with Shimmering Silver. Paint the end of the fuse Tuscan Red. Optional Sparkly Fuse:

Cut two chenille stems in thirds. Gather all six pieces and twist at one end. Secure twisted end with a dab of white glue. Wood Bead:

Use Uniform Blue to base until opaque. Use sandpaper to distress edges of wheels and rocket as desired.

FINISHING:

Use Sealer/ Finisher to seal wood parts and clay figure. ASSEMBLY: Attach wheels to base. Drill a small hole in the center of the blue end of the base for eyelet and screw in. Cut string and tie to eyelet. Thread the other end of the string into wood bead and make a knot. Glue rocket’s post into base. Glue fuse into blunt end of rocket shaft. Slide figure onto rocket from the cone end. Decide where the figure fits best and apply strong glue to the rocket shaft. Hold figure in place until secure. JUNE 2020 ISSUE

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Enlarge or reduce to fit your surface.

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Passing the Paintbrush... By Teri Walker

Want vs. Need It is a well-known fact among writers that to produce a good story, the hero should have something he/she wants that is in direct conflict with what he/she really needs. The relationship between want vs, need, provides drama, conflict and eventual resolution. It’s the same way with artists in real life. We often want something badly enough to sacrifice for it, only to find that the original goal wasn’t what we really needed. When you struggle to reach a goal, your life will change. Think of all the famous people you hear about who sacrificed their childhood and health for fame and fortune, only to

lose it all to substance abuse, broken relationships and even criminal acts. Many don’t survive because they never realized that what they wanted, was not what they really needed. The struggle may have brought financial success, but the physical and emotional changes that followed came at a tremendous cost. Artists struggle. It’s a fact of life. No matter what you make or how skilled you are, you are going to face challenges. And eventually, you will reach that dark moment of total dissatisfaction when the thing you want most seems impossible to attain. The creative well runs dry and ideas

are as elusive as picking winning lottery numbers. Not only is this frustrating, but it can be paralyzing. When frustration turns into self-doubt, many art careers take their last dying gasp. But dissatisfaction can become a tremendous turning point, if you choose to persevere. Persistence and determination are powerful allies, if you understand the basic difference between want and need and you refuse to give up. As an artist, you probably want recognition, appreciation, admiration, financial success, and so on. All are noble and attainable goals. But stop and

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ask yourself why you want these things? What need do you have that your artwork satisfies? Iâ&#x20AC;&#x2122;ll venture a guess... Like the heroes in every story, the greatest need we humans share, is the need to be loved. We spend our lives cultivating the acceptance of others. Love gives us a sense of value. Everyone needs to be needed and appreciated by someone else. We base our self-worth on how valuable we believe we are to those who matter to us. We create art from a place deep down in our souls and sharing it with others is like giving a part of ourselves to the world. This can be frightening because we crave approval, not rejection. We want our art to be successful so that our need for

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acceptance (i.e. love) is met. Setting and achieving goals moves society forward. Itâ&#x20AC;&#x2122;s how we progress each generation. As an artist or writer, you should have attainable goals, but I urge you to give some thought to your specific needs as well. For example: you want to paint a project to sell at a craft fair to make money because you need to pay your rent and buy groceries. See the difference? So, you paint your project and the person who buys it is thrilled and praises your talent. Wants met. Needs met. Winwin situation. Not all buyers will actually love you but desiring your work enough to pay for it will provide financial success, encouragement, enthusiasm and motivation to continue what you love doing.

Figuring out what you personally need from your art is the first step toward success. Keep your wants and desires in line with your real needs and you will never suffer artist lock. You have the ability to open new worlds of creativity by pursuing things that bring you joy. Some people will not like your work, no matter what. But there are a lot more who will love it. There is a huge generation of future artists and writers in this world who need your inspiration and encouragement. I urge you to Pass your Paintbrush, every time the opportunity to share presents itself. The greatest gift you can give another, is your time. If your basic need is to be loved, then sharing art with others will always satisfy.

Decorative Cutting Board

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This unique design was inspired by my admiration of Mandala and geometric art. Made up of two elements, the first is a small full flower design which is surrounded by the second element, a large garland with only half of it in sight. The elements are subtly separated by a circle of rings, allowing the woodgrain background to show through them.

By Effie Carayannis Iâ&#x20AC;&#x2122;m a passionate artist and designer, living in Melbourne, Australia. I specialize in decorative painting, fine art, and mixed media. Creativity has given me a means to escape, fulfilling my days with fun, happiness and relaxation. It continues to pull me into a whirlpool of color. Iâ&#x20AC;&#x2122;ve shared my love of art over many years through numerous publications in Australian and international art and craft magazines. I teach at conventions and have conducted decorative painting classes in the community and at major craft shows.

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SUPPLIES

MISCELLANEOUS SUPPLIES: • Fine grit sanding pad or sandpaper

SURFACE: Crofton- Acacia Wood Board. Approximate size 21.5 Inch x 10 Inch (Measurements include handle) Any wood cutting board is suitable of similar dimensions.

• Medium grit sanding pad or sandpaper (if required)

DecoArt® AMERICANA ACRYLIC PAINTS: • Wild Berry- DA362

• White Transfer paper

• Blush Pink- DA355

• Alizarin Crimson- DA179 • Lamp Black- DA067

• Electric Pink- DA231

• Warm White- DA239 • Shoreline- DA365

• Desert Turquoise- DA044

• Deep Midnight Blue- DA166 • Cool White- DA240 • Dark Plum DA172

OTHER DECOART® PRODUCTS: • Americana Gel Stains Oak- DS30-3 • Glazing Medium- DS18-3

• DecoArt® Americana Matte Spray Sealer- DAS13-7 BRUSHES BY LOEW CORNELL®: • Americana Painters Series 1” inch Glaze/Wash • Golden Taklon #10/0 Liner Brush- LC7350-10/0

• Golden Taklon ¼ Inch Angular Shader- LC7400-1/4 • Golden Taklon ½ Inch Angular Shader- LC7400-1/2 • Golden Taklon #2 Ultra Round Brush- LC7020-2

• Golden Taklon #4 Ultra Round Brush-LC7020-4

• Golden Taklon #4 Filbert- LC7500-4

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• Dry cloth

• Clean lint free cloth • Paper towels • Stylus

• Water bin • Ruler

• Eraser

• Tracing paper

Tip:

The piece is designed for decorative purposes only. Using it as a functional cutting/chopping board will damage the surface. Feel free to change the colors to suit your décor.

PREPARATION: BEFORE YOU BEGIN: If you are using a store bought “ready for use” cutting board like I did, you will need to sand it using a fine grit sandpaper to remove its previous finish. A “pre-loved” wood board would require a medium grit sandpaper to remove any deep scratching and wear from use; then follow with a fine grit sandpaper for a smooth finish. Sand the surface until smooth. Then wipe the surface with a dry cloth to remove the sanding dust. Apply a coat of Gel Stain using the 1-inch base coating brush, in the same direction of the grain. Then, wipe back with a clean lint free cloth, allow it to dry then re-apply the stain as before and wipe back again with the same cloth. Apply a coat of Glazing Medium, this will protect the background from mistakes and accidental splashes while painting the design.

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TRANSFERRING: Trace the pattern onto tracing paper, then, transfer the major outlines using the transfer paper and stylus. The remaining detail will be transferred later as you move through the pattern.

inch angular shader. Then, deepen the shade with Alizarin Crimson. Add a little watery Black Plum to the dirty brush and deepen the shade once more. Float to highlight with Warm White, side loaded on the same clean brush. Then, strengthen the highlights with the same color.

PAINTING INSTRUCTIONS:

Next, paint the smaller pink petals in the section beforehand (moving inwards again) by following the same instructions.

The brushes listed and mentioned throughout the instructions are only a guide; they are what I use and what work best for me. When painting the design, use the brush that you are most comfortable with and best fits the area you are painting. Always allow drying time between coats. SMALL FULL FLOWER DESIGN: Helpful Tips:

Tip 1: Begin painting the petals within the furthest section of the design, then move inwards to the next section of petals. Paint the blue flower next, leaving the center of the design until last. Tip 2: If you feel more comfortable base coating all the elements before you begin adding their detail, then do so. Work with the system that feels best for you.

Base the blue flower petals with the #2 round brush, loaded with Warm White, to a solid coverage. Float to shade with Shoreline side loaded on the ¼ inch angular shader. Then, deepen the shade with Desert Turquoise. Deepen the shade once more, with Deep Midnight Blue. Float to highlight with Cool White, side loaded on the same clean brush. Base the circle in the center with Cool White to a solid coverage. Transfer or freehand using a ruler to divide the circle into six equal sections, then paint each alternating section with the #2 round brush loaded with Lamp Black and let it dry. If required apply a couple more coats to a solid coverage. Fig 1

Base the narrow-elongated petals with a couple of coats of Wild Berry, using the #2 round brush. Add the highlight in the center, by placing a comma stroke with Blush Pink. Float to shade with Alizarin Crimson, side loaded on the ¼ inch angular shader. Then, deepen the shade with Alizarin Crimson + Black Plum (3:1). Add a small amount of watery Black Plum to the brush to deepen the shade a little more. Subsequently, transfer (or freehand) the crosshatch detail from the tracing paper, then paint it with the liner loaded with Lamp Black and let it dry. Float to highlight with Electric Pink, side loaded on the ¼ inch angular shader. Then, strengthen the highlight with Blush Pink. Base the broad pink petals using the #4 filbert with Blush Pink, to a solid coverage. Float to shade with Wild Berry, side loaded on the ¼

FIG 1

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LARGE GARLAND: Helpful Tips:

Begin painting the large “tulip shaped” petals within the furthest section of the design. Then move inwards and paint the pink petals in the following section. Next, paint the blue elongated oblong detail, followed by the black and white leaf like design. The section combining the two elements will be left until last. Base the large “tulip shaped” petals with Wild Berry, using the #4 round brush to a solid coverage. Transfer the remaining details from the tracing paper onto the “tulip shaped” petals, and then base the pink oblong shape with several coats of Blush Pink to a solid coverage. Paint the crosshatching with the liner, loaded with Lamp Black and let it dry. Float to shade with Alizarin Crimson, side loaded on the ¼ inch angular shader. Then, deepen the shade with Alizarin Crimson + Black Plum (3:1). Using the same mix loaded on a small round brush, paint the small section at the base of each petal. Add a small amount of watery Black Plum to the ¼ inch angular shader to deepen the shade a little more. Float to highlight with Electric Pink, side loaded on the ¼ inch angular shader. Then strengthen the highlight with Blush Pink. You may need to touch up some of the crosshatching after the shading and highlighting is completed. Fig 2

Next, base the pink petals in the section beforehand (moving inwards again), using the #4 filbert with Blush Pink, to a solid coverage. Float to shade with Wild Berry, side loaded on the ¼ inch angular shader. Then, deepen the shade with Alizarin Crimson. Deepen the shade once again with Alizarin Crimson + Black Plum (3:1). Add a little watery Black Plum to the dirty brush to add a final shade. Float to highlight with Warm White, side loaded on the same clean brush. Then, strengthen the highlights with the same color. Base the blue oblong shaped areas with the #4 round brush, using Shoreline, to a solid coverage. Base the leaf shaped design, with Cool White, to a solid coverage. Transfer the remaining details from the tracing paper, and then paint each alternating section (refer to the picture for placement) with a couple of coats of Lamp Black, using the #2 round brush. The finer detail is painted with the liner. Fig 3 FIG 3

FIG 2

Fill in the section between the leaf shaped design and the outer segment of the rings (moving inwards again) with the #2 round brush, using Desert Turquoise. The segment where the rings JUNE 2020 ISSUE

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FIG 4

adjoin with the small full flower is painted with Deep Midnight Blue. Using the same brush, pick up a small amount of Desert Turquoise and Deep Midnight Blue simultaneously; blend the colors a little on your palette and lightly dry brush the area where the colors intersect around the rings to create a smooth transition. The enclosed area of the circles is left unpainted, exposing the woodgrain finish in the background. Fig 4

EDGE: Carefully paint the edge around the board with a couple of coats of Shoreline + Cool White (1:1). Fig 5

FINISHING:

Float to shade around the outside of the large garland with the Â˝ inch angular shader, side loaded with the gel stain. This will give the design a sharper finish. Side load the Âź inch angular shader with the stain and float around the inside of the rings to enhance the woodgrain in the background. When dry, erase any transfer lines, then apply several light coats of Matte Spray Sealer, allowing drying time between coats.

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Octopus Porthole

By Chris Jeanguenat

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

Imagine you are on an antiquated sea vessel, looking through the porthole, hoping to spot a mermaid. Alas, not a mermaid, but a curious octopus appears! I have a love of sea stories, and live in a beachy area, so sea creatures turn up in my paintings often. This is one that I particularly enjoy. It is also one of my great pleasures, using objects in different ways. This porthole is made from a large, 24â&#x20AC;? clock.

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SUPPLIES: SURFACE: • 24” Round Clock

• Rust-oleum® Chalked Serenity Blue

DecoArt® AMERICANA: • Navy Blue- DA035 • Blue Harbor- DA 283

ANNIE SLOAN™: • Old White

• Duck Egg Blue

ADDITIONAL SUPPLIES: • Artist’s Marker Faber-Castell® Soft Brush, Black • Compressed Graphite

• Small to medium flat brush • Small brush

SUBSTITUTES: • Vintage White K515 • Pencil

PREPARATION:

For this painting, choose a round clock that can be disassembled, and the hands removed. You can choose any sized clock that you prefer. Remove the hardware and glass. Remove any decorative paper that sometimes is glued in. Remove the clock hands, and fill with wood putty or any putty that dries hard and will stick to the surface. I’ve found wood putty to work just fine, on plastic and metal, for this small hole. Tape a small piece of paper to the back of the clock where the hole is, which will keep the putty from falling out or seeping out as it dries. Allow to dry completely, then sand if necessary. Using a medium chalk paint brush, paint two coats of Serenity Blue over the entire surface of the rim if there is one, allowing paint to dry between coats. Any light blue chalk paint or acrylic paint can be substituted.

SKETCHING:

I prefer compressed graphite, to sketch out designs because mistakes can be wiped away easily, but a pencil works great too. Sketch the outline of the octopus, beginning with the head. As you sketch your tentacles, it is helpful to number them as you go. No one wants a seven or nine-armed octopus! Your octopus tentacles can be as curvy and intertwined as you like. Do not sketch in the suction cups- that will come last. After your outline is complete, draw in the line in each arm, separating the blue area of the body, from the white, tentacled area. Lastly, sketch in the eyes.

PAINTING:

With a medium sized flat brush, paint the Octopus’ body, using Blue Harbor, mixing in Old White towards the center of the Octopus’ head and main body. Paint the rest of the arms. Use a small brush for the tapered parts of the arms if necessary. Let dry. Paint the white areas, and eyes, and let dry completely. With a small brush, paint the blue of the eyes using a mixture Duck Egg and Old White. Let dry. To add more depth and color, dab thinned out Blue Harbor on to the eyes, and dab with a paper towel to lift any excess paint. Then, let dry completely. Add in dabs of watery Blue Harbor to the outside of the tentacles to give shadows and depth. Continue to use your paper towel to lift any areas that are too wet. Let completely dry. OUTLINING, AND SUCTION CUPS: With an artist’s marker, outline your entire octopus, defining all the tentacles. Now you can add the circles, drawing them in, two by two. Outline the eyes and fill in the black iris of the eyes as well. Once your octopus is finished, reassemble your clock that has now been transformed into a porthole!

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ITALIAN BEACHES

By Anita Campanella I live in a small village in Puglia, on a hill near the sea, located in southern Italy. I have been painting since I was still a child. I have attended many painting courses with famous international artists: Bobbie Takashima, Kim Hogue, Maxine Thomas, Holly Hanley, Jamie Mills Price, etc. But I must admit that my absolute teacher is Alessio Meggiato, who still encourages me and follows me with many tips. I have my own line of patterns that are present on various sites in the USA. I regularly exhibit at craft fairs in my country. I have the wonderful opportunity to collaborate with Painting World Magazine and Iâ&#x20AC;&#x2122;m really very excited. Welcome to my world.

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Summer is approaching, the days are getting longer and the desire to go to the beach grows more and more. Painting on fabric with this technique is very relaxing. You will notice how the colors mix easily with each other, giving life to very soft and light shades. Making a nice beach bag will be quick and easy. What do you have to do? Follow my suggestions step by step. What are you waiting for? Here we go.

SUPPLIES

• Fabric bag 15”x 18”

PAINT BY DecoArt® AMERICANA : • Mocha- DA060 • Raw Sienna- DA09

• Antique Maroon- DA160 • Rookwood Red- DA097 • Antique Rose- DA156 • Soft Black- DA155

• Light Buttermilk- DA164 • Lamp Black- DA067

• Black Forest Green- DA083 • Raw Umber- DA130 • Cora- DA346

• Bright Blue- DA351

• Green Lagoon- DA372 • Leaf Green- DA051

• Country Red- DA018

• Neon Light Pink Explosion- DA340 BRUSHES BY DYNASTY®: • Dry Brush Series 200, n. 6

• Mop Series 400, n. 3/4, 1/2 • Black Gold Round n. 4

• Black Gold Liner n. 10/0, 20/0 Black Gold Angle n. 1/2 , 1/4

MISCELLANEOUS SUPPLIES: • Ball Stylus • Tracing Paper

• Black Graphite Paper • Paper Palette

• DecoArt® Fabric Painting Medium DAS 10

PREPARATION:

Wash the bag with mild detergent and let it dry well. Iron, once dry. Mix well, in a small glass jar, water and DecoArt ®Fabric Painting Medium l: l . Make sure that the jar has a lid with a good closure, so that you can put it in the fridge if your mixture is in excess. Moisten the entire face of the girl with the Medium, previously prepared. The shadows along the entire perimeter of the face are with a 1/2 Angular Brush and Mocha. Reinforce the shadows with Raw Sienna, when it is still wet. With the same technique and the same color changes are the shadows on the rest of the child’s body: on the neck close to the face; on the shoulders close to the braces of the swimsuit; along the entire length of the arms, on both sides; along both sides of the belly; on the belly close to the starfish; along both sides of the legs; on the legs close to the swimsuit and at the base of the feet. Fig 1 The lines on the swimsuit are with a Round Brush n. 4 and a mix of Antique Maroon and Rookwood Red l: l. Leave to dry, well. Once the lines are dry, moisten the entire area of the swimsuit with the

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FIG 1

medium and immediately apply a very light coat of Antique Rose. Fig 2 Do not let dry and follow with the shadows on the swimsuit with Antique Maroon. The light on the Antique Rose lines are with a 20/0 Liner Brush and Neon Light Pink Explosion. Leave to dry, well. The flounces of the swimsuit are with the Angular Brush 1/2 (dry) and Light Buttermilk. Add a few touches on the flounces with the Neon Light Pink Explosion. The details of the eyes, nose, lips and eyebrows are with the Liner Brush and Soft Black. The iris is a mix of Black Forest Green and Raw Sienna 3: l. The pupil is Lamp Black. The light is Light Buttermilk. The shadow on the nose is Raw Sienna. The lips are Antique Maroon, the light, Light Buttermilk. The shadows at the base of the

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FIG 2

eyebrows and the shadow inside the ear are Raw Sienna. The cheeks are a Dry Brush with Antique Rose. Fig 3 Moisten the entire hair area with the Medium. The shadows on the hair are Raw Sienna. When the area is still wet, reinforce all shadows with Raw Umber. If necessary, always when the area is still wet, highlight the light on the hair with strokes of Light Buttermilk. With the Angle Brush positioned vertically, pull strands of hair here and there. Fig 4 Moisten the starfish area with Medium. Place the Coral on the ends. Shadows are with Antique Maroon. Still with the Angle Brush, place strokes of Bright Blue where it is to your liking. Highlight the darkest areas with Raw Umber. Leave to dry. Fig 5 The points of light on the starfish are with the

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FIG 3

FIG 4

Liner and Light Buttermilk. The shadow on the sea close to the child’s knees is with an Angle Brush 1/2 and Raw Umber, always after having moistened the whole area with the medium. With the same technique and the same color is the shadow under the starfish. Leave to dry, well. The sea is a Dry Brush with various colors: Green Lagoon, Bright Blue, Raw Sienna. Highlight the movement of the sea with light strokes of Light Buttermilk and the ½ Angular Brush, dry. Repeat if necessary. The writing is with a Round Brush n.4 and Soft Black. The flag is Leaf Green, Light Buttermilk and Country Red. Fig 6 Leave to dry for 12 hours. Iron inside out to fix colors. I really hope you enjoyed painting with me. Happy summer!

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FIG 6

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A Look into the Historical Florals of Decorative Painting By Diane Marie Kellogg

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Welcome back. Part One of our series started in England and continued into France. Taking a loving look at the arts of canal boat painting, vardo painting, and tole painting. Now our journey continues into both the Netherlands and Norway for a fascinating look at both Hindenloopen and Rosemaling. The next stop on our floral filled trip is the Netherlands. Informally known as Holland, this is a country that brings to mind tulips and windmills, which have become symbols of this beautiful country. Is it any wonder that we find the origins of Hindenloopen here? Named after a harbor village from Friesland in the Netherlands, it began in the 17th century as a form of wood carving. The paint was added and created a colorful and recognizable style of design. Eventually, the designs were just painted, not carved. (See photo on page 56).

A portion of the painting, De Heer heeft gegeven, de Heer heeft genomen by Christoffel Bisschop, (1828-1904) used to show examples of the Hindeloopen style. I highly recommend a search for more of Christoffelâ&#x20AC;&#x2122;s art, more than one piece shows the Hindeloopen style within his paintings. Originally influenced by oriental art brought home by Dutch travelers, they mimicked porcelain by painting similar designs on wood. Acanthus scrolls and small flowers form the basis of the designs, with flowers such as poppies, daisies roses and, of course, tulips. Traditional colors include greens, blues, and reds. Pieces are also painted in different shades of a single color. The sides and bottoms of pieces were often painted using a marbleized effect. Birds and scenery are also used, the bird is meant to scare off evil spirits while the scenery is often painted very simply.

Photo Credit â&#x20AC;&#x201C; Public Domain Pictures, Pixabay.com

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This form of art would suffer a decline in the 18th and 19th centuries only to experience a revival in the late 19th century, where new forms developed including the Roosje and Huttinga styles. From here we head on to Norway and the very popular art of Rosemaling. Rosemaling translates to ‘rose painting’. A form of decorative painting, usually done on wood, that uses C and S strokes, along with scroll and line work to create a plethora of florals. Both subtle and vibrant colors can be used. The carved scrolls of Viking boats have been suggested as the precursor of rosemaling. Heddal Bygdetun is an open-air museum in Notodden, Norway that displays buildings from old farming communities that date back to the late 1800s. While there are many styles of rosemaling, three of the main styles are named for the locations where they originated, Telemark, Hallindal, and Rogaland. Each has a unique take on rosemaling. Telemark uses a Rococo style with flowing, disproportionate designs, and translucent backgrounds. Hallindal uses a Baroque style with Photo ‘ Rambergstugo at Heddal Bygdetun’ by Lisa Amalie Elle

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Stave Church photo by Micha L. Rieser

PAINTING WORLD MAGAZINE

strong colors and proportional design. Rogaland uses an oriental style with darker backgrounds, latticework, and more realistic florals. Beginning in the mid 18th century, rosemaling was a 2-D adaptation of the Baroque and Rococo artistic styles that were introduced into rural civilization. Poorer members of society trained then traveled, painting churches and homes. Regional styles developed as they moved from one place to the next. Norwegian immigrants

brought this beautiful style of painting to the United States, often seen on the painted trunks they carried their belongings in. In 1860, rosemaling suffered a decline in popularity but it experienced a revival in 20th century America, with Norweigen-Americans becoming interested in their ancestorâ&#x20AC;&#x2122;s art. Per Lysne is often credited with the revival, trained in Norway for rosemaling, he worked in the states as a wagon painter. When business slowed during the Great Depression, he started rosemaling again.

An example of the Raudsaumsmalingin style, painted by Jan Boettcher. Photo Credit â&#x20AC;&#x201C; Jan Boettcher, used with permission. This design is a non-traditional style, created by Bjorg Kleivi, painted on a non-traditional surface.

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An example of the Telemark style, painted by Jan Boettcher. Photo Credit â&#x20AC;&#x201C; Jan Boettcher, used with permission.

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I interviewed Jan Boettcher, a painter, and teacher who started her journey into rosemaling in 1980. With a heritage of Norwegian, Danish, and German she followed in her Norwegian-American ancestor’s footsteps, looking to paint as earlier ancestors had. Her grandmother’s family had come to the states from the Valdres area of Norway. Since her first class, she has continued to learn, taking classes at Vesterheim and in Norway. Jan uses oils, following tradition. She does, however, also paint on non-traditional pieces. She studies old pieces for ideas and possibilities, she may use one aspect of the piece to work out a new design. She points out that many aspects of rosemaling are symbolic, referencing the original painting of churches and that even the strokes have a ‘meaning or a symbolism’. She plans to write a book on Rosemaling in the future. As a teacher, she not only teaches the painting but also the history of rosemaling. She has graciously given us two Hallindal designs to use in our own art. See pages 62-63. I highly recommend you learn more about Rosemaling and Jan from her website and social media pages.

Contact Jan Boettcher

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

Classes she recommends:

• www.artfulwebinars.com, an online class in October. • She will also be teaching at Fletcher Farm, www.fletcherfarm.com in August 2020. • She also recommends online classes at www.oilpaintingexpressions.com.

SOURCES •

Aretezan.Com, ‘Hindeloopen’, Traditional Folkart

•

Wikimedia Commons, Public Domain, De Heer heeft gegeven, de Heer heeft genomen by Christoffel Bisschop, (1828-1904)

•

Aretezan.com, ‘Rosemaling’, Traditional Folkart

•

Wikipedia.com, ‘Rosemaling’

•

Jan Boettcher, www.turnofthecentury-in.com

•

Pixabay.com

•

WikimediaCommons.com

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Hallindal designs ÂŠ2003, compliments of Jan Boettcher, used with permission. Note to reproduction companies/stores: The bearer of the original color magazine has full rights to have this drawing reproduced and enlarged one time for personal use. This notice has been printed in red ink for verification of authenticity.

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SWEET GIRL GREETING CARDS By Ursula Wollenberg

Ursula lives in Springfield, Mo and has been painting and teaching for over 20 years. Watercolor has always been my favorite medium, although I do enjoy acrylics and mixed media. I love to share my knowledge and passion, sharing what I have learned with others. My work has been displayed in galleries, numerous publications and I teach online classes, and in person workshops.

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SUPPLIES A fun little reminder to be creative and always play hard!

• 140 lb. Watercolor paper cut into card size 5 x 7 or, Strathmore Blank Greetings cards • Tracing paper

• Grey graphite paper

• Butterfly print or sticker of choice

• Sakura® Gelly Roll 08 white pen • Glue stick

• Mechanical pencil • Paper towels • Water basin

• Palette for watercolors WATERCOLOR BRUSHES • 1/2 “ Grumbacher Wash Brush #4624 Goldenedge • #1/4 Dynasty® Kalel • #0 Dynasty® Kalel

• # 2 Dynasty® Kalel • # 4 Dynasty® Kalel DecoArt® AMERICANA • Flesh Tone Da078 WINDSOR NEWTON™ WATERCOLOR PAINTS: • Cobalt Blue • Naples Yellow • Paynes Grey

• Rose Madder

• Transparent Orange • Winsor Green

• Winsor Green (Blue Shade) • Van Dyke Brown

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PAINTING INSTRUCTIONS

Both girls’ skin is applied with a very light coat of diluted Flesh Tone, Arms and Face. While moist, apply Rose Madder to cheeks. TERMS: A wash of color refers to a layer of color the is somewhat transparent and applies with diluted paint. CREATIVE SOUL: Moisten background and wash in Rose Madder to edges of background. Add a few petals flowers with Rose Madder. Splatter background while moist. Allow to dry. At any point apply Lettering with glue stick. WORKING FROM TOP TO BOTTOM: Bird is washed in with Cobalt Blue first and then add a little Naples Yellow. Paint Brushes: Wash both bristles and handle with Van Dyke Brown.

Finish all detail with pencil and White Gelly Roll Pen to background, flowers, brushes, bird, scarf, and bracelets. Add white dots and details to all with White Gelly Roll Pen. Play Hard: Apply Butterfly of choice and lettering with glue stick. Moisten Background with clear water. Paint edges with Rose Madder. (A little heavier than Creative Soul). Slant card upside down and around to allow paint to run. Apply more if necessary. While moist, add a small amount of Naples Yellow above butterfly. Splatter with Rose Madder and Cobalt Blue into background. With a paper towel, dab off paint here and there for a more mottled appearance to the background. Repeat all if necessary. Wash a small amount of Cobalt Blue around “Play Hard” lettering. Apply Van Dyke Brown to stick. Hair: Apply washes of color to areas of hair separately. Naples Yellow, Rose Madder, Winsor Green (Blue Shade) and Windsor Violet.

Add a small amount of Paynes Grey under paint bristles.

FLOWERS IN HAIR: Apply dots of Rose Madder and Winsor Violet.

Hair: Wash in areas with Winsor Violet, Winsor Green (Blue Shade), Winsor Green, Rose Madder and Naples Yellow.

Dress: Apply wash of Rose Madder to red areas of bodice and onto the skirt. Shade with same and allow some colors to run. Bodice stripes are placed on with Cobalt Blue, leaving some white showing. Add a small amount of Cobalt Blue to lace area of skirt.

Fabric areas on Head: See Photo for Placement

Wash in Winsor Violet, Rose Madder and Winsor Green. Shade with same color of each. Dot ends with Winsor Green. Winsor Green on the leaf. Scarf: Wash in areas of Transparent Orange, Winsor Green (Blue shade) and Winsor Violet. Shade with same color of each.

Dress: Dress is loosely washed in with Winsor Green. Leaving White areas exposed. When dry, add with a small amount of separate Winsor Violet and a small amount of Transparent Orange. Bracelets are lightly washed in with color of choice. Splatter wet paint to dress.

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Finish off with pencil and Jelly Roller Pen. Adding flowers and or hearts into the background. Line hair, flowers, dress with Gel Roller. Add crisscross marks of white and dots to lace area of the dress. Cutouts:

• Creative Soul • Play Hard

Enjoy!

Ursula

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FIND YOUR By Tracy Weinzapfel

Creative Spirit

I have taken a couple years off to find and define my new creative self. I needed time to re-group and find my inspiration again. And last year, my dear friend who is battling cancer, asked me to paint some pillowcases for her. Those would go to her while she was in the hospital. I picked up my paint brushes and decided it was the least I could do with the battle she had ahead of her. A couple of weeks later I delivered those two pillowcases.

Then we sat down and talked about my lack of energy to create and how much I missed it. She got me thinking about what was holding me back. I went home and grabbed an art journal and a Sharpie. Why not just create for me? Find my own purpose again. Sometimes we lose sight of why we create. In those months after I filled a book of ideas and in the process re-ignited my spirit to create and share. No end game in mind but for the therapy of just putting my thoughts and feelings down on paper. In that same time period, I lost my very special aunt to cancer rather quickly. She had always reminded me to go for it and keep going. She was the aunt who cheered on everyone, whether it was in the stands at sporting events, or over the phone for those pick me up calls. She lived and shared herself with the world. It was another reminder to stop holding back and go for it. I traveled to be with my family and had my art journal in hand. I returned to nature and hiking finding inspiration along the way. I started regularly taking myself on inspiration field trips to local farmer’s markets, flower stands, wineries and places lit up with color! Those trips are

for me and along the way I took my journal along to sketch and take in a sunset. I also reminded myself what my basic favorite tools are and packed them in a bag to be easily transportable. This time was for me. But along the way I started to open up and share my pages to a heartwarming response. It was funny as everyone said it was nice to have me “back”. I realized that through those pages I was sharing myself again. I was sharing a very personal side of me and could not be more excited to share that side of myself. So, for those of us creatives who lose the route or inspiration along the way this is a reminder to start with the simple things. Challenge yourself to keep a journal handy to paint when you can. I do not waste the time I have, and I am regularly found sketching and drawing every chance I get. I return to my studio and use all those fun art supplies we amass but mother nature is my personal Studio. I paint outside with the sound of hummingbirds and the warm breeze. It was from my art journals that Your Artful Journey has sprung to life. I will be sharing from JUNE 2020 ISSUE

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start to finish my method of art journaling. To get my Five Keys of Art Journaling visit: https://www.yourartfuljourney. com/5keysfreebie I realized that all those journal paintings for “me” can be taken to much larger surfaces. I started painting wine barrels and cutting them in half for planters to cultivate more flowers in my own yard (and now selling them). I am not limited by the size of the art journal. It has just opened me up to a much more colorful world and reminded me to stop and smell the roses. I hope this encourages you to do the same. Tracy Weinzapfel

ABOUT TRACY WEINZAPFEL:

Hi I am Tracy! What you see, is what you get…. I put it all out there every day. I am the mom of three kids (22 old son & boy/ girl 18-year-old twins). I am a freelance painter and mixed media artist who draws my inspiration from nature. I live life with a creative edge and know that sharing my passion to inspire others is my calling. I am a published multi-medium artist and have worked as an Art Educator with a variety of art manufacturers. I have had the honor of teaching all over the USA and internationally. My work and art studio has been featured in multiple publications such as Better Homes & Gardens, Painting World Magazine, Home Depot Online Room Inspirations, Creating Keepsakes, Simple Scrapbooks, Just Mixed Media, Simply Crafts and I am a proud member of the Association of Creative Industries and Society of Decorative Painters. I am proud to be on of the Founders of Your Artful Journey (www.yourarftuljourney.com) where I share my passion for all things art. You can also find me on Facebook @tracyweinzapfelstudios. JUNE 2020 ISSUE

CELEB R ATING

of YEARS 35

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Looking for Adventure? Do you feel an urge to create? Would you like to share your talent ? Painting World Magazine Blog is looking for

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Hitting the web with 3 issues every month, we can offer you the chance to see your work in “print”! A great way to share your designs, whether you are new at it or a pro, PWM Blog has a place for everyone.

Our editorial calendar covers all the holidays, no matter which one you like to paint. We also run special issues that, for 2020, include steampunk, day-of-the-dead, home décor and picnics! Add everyday projects and the sky is the limit. As for medium, we encourage all submissions...acrylics, oils, watercolours...mixed media, colored pencil, charcoal...the list is endless. We want to look at painting and drawing, stenciling and more. For those who don’t design, but are looking to learn a bit more about all of the above, you will want to check out the blog’s great projects and informative articles. Each issue we feature an artist with an awesome design, just for you. Articles can range from a short art history lesson to how to size your patterns. Former topics have included the future of painting, conventions and the occasional creative challenge. Join our blog/newsletter now! Sign up at paintingworldmag.com

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Viking Woodcrafts is proud to announce that we are going to be unveiling a new website soon. But that is not allâ&#x20AC;Ś We will not only have updated inventory but we will be rolling out new designs in the year to come. We have teamed up with some great artists and designers. Painting World Magazine will offer a new painting subscription box that will feature a Viking Viking will s Woodcraft surface. sale in itâ&#x20AC;&#x2122;s hoisoton rybe featuring the biggest cleara

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Artists contact Viking about your next book!

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Directory of Artists Sherry Waldman sherrysartstudio@gmail.com www.sherrysartstudio.com

Chris Jeanguenat acjeanguenat@gmail.com

Rosemary Barrett

Linda Hollander paintingfool@live.com

Effie Carayannis effiecarayannis@gmail.com effiecarayannis@optusnet.com.au

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rbarrettstudios@gmail.com

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JUNE 2020 ISSUE

PAINTING WORLD MAGAZINE

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JUNE 2020 ISSUE

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June Issue 2020 Painting World Magazine

Articles inside

UNCLE SAM THE ROCKET MAN

DECORATIVE CUTTING BOARD

HERON BOX

FULL MOON COTTAGE

OCTOPUS PORTHOLE

GERANIUM WATERING CAN