December 2019 Issue Painting World Magazine by Loon Publishing, LLC.

Decorative Painting, Mixed Media, Fine Art & More!

December 2019

Painting World

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magazine

Issue 24 $9.00 USA $11.50 Canada

Cover Artist: Nancy Scott

PAINTING WORLD MAGAZINE

Wood Surfaces, Pattern Packets and More...

Your ad could be here! Artwork by Sue Boerman

Artwork by Laure Paillex

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www.jbwood.com PO Box 3081 • So. Attleboro, MA 02703 • (508) 222-5790

DECEMBER 2019 ISSUE

Contents THE CHRISTMAS HELPERS

ROSE’S CHRISTMAS

8 By Anita Campanello

14 By Chris Jeanguenat

PAINTING WORLD MAGAZINE

WE THREE KINGS

ST. NICK N‘ SANTINI

28 By Effie Carayannis

CHRISTMAS LAMPSHADE

58 By Terry Holte

18 By Cindy Mann Vitale

Cover Artist

36 By Jan Boettcher

CHRISTMAS “PEACE” TREE

HIDING IN THE PINES

44 By Nancy Scott

51 By Sammie Crawford

COWBOY SANTA

More Great Articles 49 Colors of Christmas

56 Artists helping artists

SNOWY NIGHT

66 By Tricia Joiner

How to make $$$ with your art

Directory of Artists

Directory of Suppliers

ADVERTISERS INDEX

2 Smooth Cut Wood

7 Bear With Us

73 DecoArt®

6 New England Traditions

7 Plain & Simple Magazine

79 Viking Woodcrafts

2 JB Wood Products

7 Annette Dozier Book 57 Tracy Moreau

74 Quality Print

DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

Call For Artists

WE WANT YOU!

Be featured in Painting World Magazine’s printed edition

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

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

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

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

WWW.PAINTINGWORLDMAG.COM DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

FROM THE Editor

Letter from the Editor

Painting World Magazine and it’s staff would like to wish you all a very Happy Holiday Season and a wonderful New Year. This is the last issue for 2019. As the new year comes in, it is a time of reflection of the prior year. We have so many things to be grateful for including each of our subscribers, artists and the team that makes this magazine possible. We thank each and every one of you and look forward to our journey in the coming year.

Kole

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

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About the Magazine Painting World Magazine publishes six times per year: six issues that arrive at your door every two months! US Subscriptions are $38 per year shipping included. Canadian and International subscriptions are available! Please visit our secure website online at www.paintingworldmag.com for full details and prices for international subscription shipping.

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. PAINTING WORLD MAGAZINE (ISSN 2472-694X). August 2019, Volume 01, Issue 22 ©Loon Publishing, LLC. Painting World Magazine is published 6 times per year by Loon Publishing, LLC., 205 South State Street, Waseca, MN, USA. US Subscription price $38.00 per year, shipping included. POSTMASTER: Please send address changes to Loon Publishing, LLC., 205 South State Street, Waseca, MN 56093. All rights reserved on entire contents of magazine. We are not responsible for loss of unsolicited material. We reserve the right to edit and publish correspondence unless specific commentary and/or name and address are requested to be withheld. Reproduction of editorial or advertising contents in any way whatsoever without the written permission of the Publisher is strictly prohibited. The instructions in this magazine are published in good faith and have been checked for accuracy; however, no warranty, either expressed or implied, is made nor are successful results guaranteed. Subscription rate $38.00 includes S&H for 6 issues. Distributed in the United States, Canada and worldwide. Printed by Quality Print, Waseca, MN.

DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

CONVENTIONS , EVENTS &TRADE SHOWS New England Traditions presents

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

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

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

Creativation Phoenix, Arizona January 16-20, 2020 http://www.afci.global/eweb/ Pin It Canada Pin It Canada – Ontario London, Ontario June 12-13, 2020 Pin It Canada- Quebec http://www.pin-itcanada.com Creative Painting Las Vegas Las Vegas, Nevada Feb. 16-21, 2020 http://vegaspaint.com/

DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

New Book

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

DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

Roseâ&#x20AC;&#x2122;s

Christmas

I refined this technique because I wanted something quick to make with good results. This design allows you to create a special gift for your loved ones. Paintings, postcards, boxes or vintage panels, they all work.

By Anita Campanella

I live in a small town in Puglia, located in the south of Italy. I have been painting since I was a child. I attended many painting courses with famous international artists such as Bobbie Takashima, Kim Hogue, Maxine Thomas, and Holly Hanley. I must admit that Alessio Meggiato has been a big help, sharing so many tips. He still encourages me. I recently created my own line of patterns that I also exhibit at craft fairs here in Italy. I have this wonderful opportunity to work with Painting World Magazine and I am very enthusiastic. Welcome to my world.

DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

SUPPLIES:

Wooden support or surface - dimensions: 8”x 6” PAINTS BY DECOART® AMERICANA : • Buttermilk DAO3 • Medium Flesh DA102 • Asphaltum DA180

• Raw Sienna DAO93

• Lamp Black DAO67

• Heritage Brick DA219 • Uniform Blue DAO86 • Zinc DA304

• Snow White DAO1

• Primary Yellow DA201 • Leaf Green DAO51

• Country Red DAO18 BRUSHES BY DYNASTY : • Black Gold Shader DYNASTY n.20

other. Once dry, transfer the guidelines with black graphite paper. Floating is the technique I used for facial shadows. Wet the face area with an old brush (the area must be moist; the water must not float on the surface). With the 1/2 angular or flat brush, depending on how comfortable you are, and a mix of Medium Flesh (discontinued color but can be obtained with a mix of Warm Beige and a pinch of Burt Orange) plus Asphaltum 1:1, go and position the first shadows of the face: along the entire hairline, at the base of the chin moving towards the ear, along the eyebrow arch, along the sides of the nostrils, at the base of the nostrils moving to the right, just below the lower lip, at the base of the eyes, along both sides below / above the eyelid line, on the neck close to the chin (first along the entire separation line and then reinforcing starting from the end of the chin, on the right side, towards the ear), and along the lobe and inside the ear.

• DYNASTY Dry Brush Series 200 n. 6

• DYNASTY MOP Series 400 n. 3/4 and 1/2 • Black Gold Round DYNASTY n.4 and n.8 • Black Gold Liner 10/0 and 20/0

• Black Gold Angle/Flat Wash 1/2, 1/4 and 3/4 MISCELLANEOUS SUPPLIES: • 400 grit sandpaper • Tracing paper

• Black transfer paper • Paper palette

• Decoart® Multi-Purpose Sealer DS-17

• Decoart® Americana Matte Spray DAS-13

PREPARATION:

Sand the wooden support. Remove the dust with a damp cloth and coat with the multi-purpose sealer using an old brush. Allow to dry well and sand again, remaining very light. Remove the dust with a damp cloth. Give at least three coats of Buttermilk with a flat brush n.20. Allow to dry well between one hand and the

Every shadow is softened with the use of a mop brush. Depending on the area, use a size of mop that fits best. Starting with the mop brush, tapping very lightly, always from the outside of the floating, where the color is lighter and flatter, move the brush inward. In this way the shading will be very light. With the liner brush and a mix of Asphaltum and water 1:1, place the eyebrows, starting from the DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

bottom upwards. Donâ&#x20AC;&#x2122;t always follow the same line, otherwise they will seem unnatural. Fill the nostrils, using the liner brush and the same color (not lengthened with water). Add a tip of Heritage Brick to Asphaltum and always, with the liner, draw a line (not well defined) to separate the upper lip from the lower one. With the Lamp Black and the liner brush, outline the eye contour. The upper line of the eye is more pronounced

towards the center, lighten the color. At the center of the mouth, there are no lights positioned. Then blend well the color and let the basic color be seen in the center. If necessary, clean the brush with water, dab on a dry cloth and remove excess color. This does not take away, that if you consider it necessary, you can position the lights, using the same technique and Buttermilk, after having thoroughly dried the previous color. Place the eyelashes with the liner and Asphaltum. With the same brush and the same color, place the freckles with small touches: along the upper part of the cheeks, on the nose and on the forehead. With a 1/4 angular or flat brush and the Lamp Black, bring a very light floating along the upper arc of the eyes. Load the dry brush with Heritage Brick. Work the color onto the paper palette so that the color enters the bristles, then unload onto a dry paper towel and place the cheeks. Try your charge on a test panel, only when the color that the brush releases on your palette will be of the right intensity. Pass on to your painting. Stay very light. Dampen the entire landscape area with an old brush. With a round brush # 8 and a mix of Uniform Blue and Zinc 1:1, go and position the sky. Start from the top, close to the support frame, and pull the color down. Do not use the mop

than the lower one. Prepare a color mix with Lamp Black, Buttermilk and Raw Sienna 1: 1: 1 and with the liner brush, mark commas starting from the inside of the iris, outwards to give life to the pupil. The iris is Lamp Black. Strengthen all facial shadows with a mix of Medium Flesh, Asphaltum and Raw Sienna 1:1:1. With the round brush n.4, lengthen the Heritage Brick color with water 1:1 and position more decisively along the corners of the mouth. As you move DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

brush. Allow to dry. With the same technique but with a smaller brush n.4 and the Zinc much elongated with water, going to delimit the boundaries of the walls of the ancient buildings. The same for the windows and the lantern, with the Primary Yellow and for the snowy roofs instead, use a mix with Buttermilk and Snow white 1:1. Already with this step, you will have placed the color more intensely, where later, we will proceed with the shadows. Let it dry.

carriage. Pull the color down and remain very light with the intensities. When the area is still wet, with the same brush and the same color, tap on the bottom of the road to highlight the furrows left on the snow by the carriage. Allow to dry. The back of the carriage is divided into three parts. With the round brush n.4 and a mix of Zinc, Lamp Black and water 1:1:1, delimit the upper part, leaving out the window, which is Asphaltum. The lower part is made in the same way, only with the Lamp Black very elongated with water. The central section is instead a floating, on the right thinner, on the left wider, done with the small angular brush and Zinc. The left side of the carriage is Zinc. The axle and the wheels are with the round brush n.4 and the Lamp Black. Lanterns are always with the same brush and Primary Yellow. Once they have dried well, they are shaded with Raw Sienna. The details are Lamp Black. Always with the same brush and Raw Sienna stretched with water 1:1, is the coachmanâ&#x20AC;&#x2122;s jacket. The hair is Asphaltum and the hat is Lamp Black. The man looking at the window is the same technique and has the Asphaltum jacket, the Zinc trousers and shoes, the Lamp Black

With an angular or flat brush and the Zinc, place the shadows with the floating technique on the walls of ancient buildings. (Do not wet the area, otherwise you risk taking away the previous work.) With the same technique, place the shadows inside the windows with a mix of Primary Yellow and Raw Sienna 1:1. Wet the area of the road with an old brush and with a round brush n.4 and the very elongated Zinc with water. Place a floating underneath, close to Roseâ&#x20AC;&#x2122;s hair (on the right a more intense floating, on the left just mentioned), and at the foot of the DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

hat and the hair is a mix of Asphaltum and Lamp Black 1:1. (Donâ&#x20AC;&#x2122;t dwell much on these details, as you can see in photo 4, they are mentioned). The flag on the carriage is Leaf Green, Snow White and Country Red. The auction is Lamp Black. Place the snow on the cornices of the buildings and on the carriage with the round brush, n.4 and Snow White. Once this passage is dry, proceed with the glazing technique. This technique is necessary to make the background muffled, soft with mist, typical of days with lots of snow. Dampen the entire area with water and with a flat brush n.20 and a mix of water and Buttermilk 3:1. Cover the entire area evenly. The color must be very transparent. When still wet, place the snowflakes with the n.4 round brush and the Snow White. Roseâ&#x20AC;&#x2122;s hair is shaded with the floating technique,

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with an angular or flat 1/2 brush and Asphaltum. Once this first pass is dry, proceed with the same lengthened color with water and a 1/4 brush. Place the brush vertically and pull some strands. Follow the direction of the hair. Repeat and alternate these two techniques until you reach the final result. As you go to reinforce, do so only in more limited areas and only in the shadiest points. If necessary, strengthen the shadows of the face: under the chin, in the recess of the ear and along the entire hairline. With the liner and the same color, pull a few hairs at your leisure. With a brush, angular or flat 3/4, go and place the shadows all along the perimeter, close to the frame of your support with Asphaltum. Protect work with the Americana Matte Spray. I hope you enjoyed yourself.

PAINTING WORLD MAGAZINE

Drawing is actual size. 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.

DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

The Christmas Helpers 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.

DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

SURFACE:

16” x 20” stretched canvas ANNIE SLOAN CHALK PAINT: ANTOINETTE PAINTS:

Annie Sloan Chalk Paint: • Old White • Emperor’s Silk Substitutes: • Folk Art Conch Shell (pink) 6447 • Vintage White K515

• American Scarlet DA345 For Antiquing Effect: • Burnt Sienna DecoArt DCA11

PREPARATION: BACKGROUND CANVAS PREP: Paint your entire canvas in an even coat of a soft pink, using a chalk paint brush, or a 1”-2” flat brush. I used Annie Sloan’s Antoinette, but any pale pink acrylic or chalk paint can be substituted. Let your canvas completely dry. If you see any areas that need to be touched up, spot fix those, and let dry.

SKETCHING:

I’ve found compressed graphite or chalk works great for sketching on canvas and can easily be wiped away with a damp cloth, should you need to make any corrections. With your compressed graphite, or chalk, sketch in the lines that create the two hills. The hill begins on the left side, about three inches from the top. The second hill begins about 8.5” from the top left corner, sloping upward to about six inches from the top right corner. Sketch the outline of the largest trees first, which would be the large triangle tree (above the two Scottie dogs, and the tapered tree on the far bottom right). Make sure to leave about 3” of space beneath the tree on the left for the two Scottie dogs. Sketch the outline of the two large trees, closest to the ones you previously sketched. The tapered large tree, left of center, and the far-right tree (with the red trunk and green leaves) are the two you are working on. Now you can sketch in the smaller surrounding trees, closest to the larger trees you have sketched. Sketch in the remaining trees below the second line dividing the hills. Now you can sketch in the trees above the second line (in the background) as well as the house. Draw in your two Scottie dogs carrying Christmas gifts. For the details on the Christmas trees, you can create your own ornament designs or create the same ones in the painting. Sketch in the leaves, ornaments and stars for the trees.

Artisti’s Tip

A trick for anyone who doesn’t have a large brush handy, you can apply the paint with folded paper towels! Pour a generous (but not too generous) amount of paint directly on to the canvas. Using your folded paper towels, “brush” your poured paint, covering your canvas completely. This also works well for the edges.

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PAINTING WORLD MAGAZINE

PAINTING:

With a small/medium angled flat brush, paint the hills with sweeping motions. You can use a small brush for any narrow spaces between branches. Using a small/medium brush, paint all white sections of the various Christmas trees, and the doorway and windows to the little house. Next, paint the red trees, parts of trees, ornaments and stars, as well as the house. The lighter green trees, leaves and ornaments can be painted, then, the darker green trees and ornaments. Lastly, the pale pink details can be painted in. Now that your Christmas trees are done, you can paint the two Scotties and their gifts. You can add polka dotted paper or whatever pattern you like for the presents or paint these as shown in the painting. Finish up with black paint and a small brush for the Scotties.

For more of an aged, antiqued look, water down a small batch of brown paint and a small batch of black paint. Using a paper towel, wipe down your painting using these two colors over the entire painting. Work quickly, using a damp paper towel to wipe back off any excess and lighten up the painting, leaving just a hint of color behind. This will allow your painting to show through, but leave a thin layer of wash, aging your painting.

Once this has all dried, with a fine paint brush, you can paint the white garland and white ornaments that do not have an outline. OUTLINING: For this next step, you’ll need a clean, medium fine brush and water. Trace all the graphite lines with a wet brush (but not dripping wet). It’s important to go over all these lines with water for the next step. Once the traced lines have dried, you can trace over the graphite lines using any artist’s marker. Make sure to use a light hand so the lines are even and not too thick. SHADOWING AND ANTIQUING: I wanted some shaded areas in the snow, so I watered down a mixture of black and white paint to create a grey wash. Once I had the color I liked, I went in with a medium brush to shadow under the trees and behind the dogs’ paws. This isn’t necessary, but an added touch if you like the shadows. To mix, have a dab of white paint, adding a brush of black paint to the white, and mix with water to thin out the wash. For shadowing, use a wet brush dipped with a very small dab of grey paint to add shadows.

DECEMBER 2019 ISSUE

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

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Please adjust this size of the line drawing to fit the surface you choose. Enlarge by 400% to match the artist’s surface size of 16”x 20”.

PAINTING WORLD MAGAZINE

St. Nick n‘ Santini

The inspiration for this design dates all the way back to my third-grade classroom during the Christmas holiday. My seat was in the front row with a great view of the cardboard Santy cut-out hanging across the top of the chalkboard. I still remember the stern look on my teacher’s face when she noticed that I was sketching Santy instead of listening to the lesson! This design is painted on wood, using DecoArt Americana acrylic paints and mediums. Feel free to paint this design to sell in gift shops, at craft shows, or to give as gifts.

By Cindy Mann Vitale

While living in Plymouth, Massachusetts, I happened upon a group of ladies that were demonstrating the technique of tole painting on black tin. Eight years later I found an opportunity to take a tole painting class and I haven’t stopped painting since. I’ve been blessed to author instructional books, and magazine articles, as well as to design home décor and fabrics. My hope is to continue creating and painting for many years to come.

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PAINTING WORLD MAGAZINE

SUPPLIES:

• 14-inch Wooden Tray: Item No. 219010, Supplier Info: , Pine Craft Inc., 16085 S.E. Webster Road, Milwaukee OR 97267, Douglas Fredrickson, 503-653-8266, pinecraft@yahoo. com • Sawtooth hanger, available at hobby or craft stores

PAINTS BY DECOART® AMERICANA®: • Snow White: DA01 • Warm White: DA239 • Grey Sky: DA111

• Lamp Ebony Black: DA067 • Baby Pink: DA031

• Alizarin Crimson: DA179 • Dragon Fruit: DA300

• Cranberry Wine: DA112 • Banana Cream: DA309

• Light Buttermilk: DA164 • Fawn: DA242

• Light Mocha: DA241 • Cocoa: DA259

• Light Cinnamon: DA114 • Burnt Umber: DA064

• Mint Julep Green: DA045 • Pistachio Mint: DA253 • Leaf Green: DA051

• Foliage Green: DA269

• Plantation Green: DA113 • Sapphire Blue: DA099 • Navy Blue: DA035

• Whispering Turquoise: DA305 • Teal Green: DA107

MEDIUMS/OTHER PRODUCTS: • DecoArt® Americana® Dura Clear Ultra Matte™ brush-on varnish: DS-60

• DecoArt® Multi-Purpose™ Sealer: DS-17

• DecoArt® Americana® Matte Spray Sealer/ Finish: DAS-13

• DecoArt® Deco Magic Brush Cleaner: DS-3 ROYAL® AND LANGNICKEL ™ BRUSHES • Rounds: 2250 Series: No. 2, 5, 12 • Liners: Series 2595: No.1

• Glaze/ Wash: 2700 Series: 1 inch MISCELLANEOUS SUPPLIES: • Pencil and eraser

• Tracing paper and grey transfer paper • Wet palette, or coated paper plates • Water bin

• Paper towels

• Fine grit emery cloth

• Permanent black ink pen, .005 • Spatter tool or old toothbrush

Artist Note:

Sadly, I was never able to master the side-load shading technique. In my attempt to clean up my mess, I decided to try softening those hard edge lines by using a damp round brush. What a happy accident! I was so pleased with the results, I completely gave up side loading, and began applying the shading with the damp round brush. Even though the results are a little mottled with the first application, adding a few more layers of the paint and water shading mixture produces a soft watercolor effect.

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WOOD PREPARATION:

Sand lightly and wipe away dust to clean the surface. Seal the surface with the Multi-Purpose sealer. Allow to completely dry.

hat. Do not transfer the small polka dots on the mitten; and the floral design in the mitten inset. Santini, the Snowy Man: • Face, nose, hat, (including the ball at the top of the hat and tulle trim) tulle collar, rose and leaves; pink stripes down the front of the suit; cuffs, legs, boots with pom-poms, and the harlequin squares on the hat and suit. Do not transfer the facial details, stripes on the ball on the top of the hat, ribbons and pom-poms; buttons on the suit and cuff; interior details of the rose and leaves; polka dots on the mittens; interior details on the tulle trim and collar; and the stripes on the arms and legs. NOTE FOR BASE COATS: Base coat colors are sometimes mixed with Snow White in a 50-50 ratio when indicated in the instructions. If a different ratio is used, the details will be provided.

STEP ONE TRANSFERS: Transfer only the outlines of the design elements as follows: Outside Edge of the Tray: • Berry Clusters and oval insets. Do not transfer the white posies and greenery; and the berry garland greenery. St. Nick: • Face, mustache and beard area, and hair. Do not transfer the hair strands on the forehead, mustache, beard, eyebrows, eyes, or the nose. The mouth can be transferred now or later. • Stripes, holly leaves, and berries on the hat band and cuff; aqua polka dots on the hat; harlequin ball at the end of the hat, including the harlequin squares and aqua stripes; and the stripes on the mittens. Do not transfer the polka dots in the green insets on the hat band and cuff; veining on the holly leaves; stems, and highlights, on the berries; and the snowflake design in the polka dots on the DECEMBER 2019 ISSUE

NOTE ABOUT SHADING: Shading applications are created by mixing water and paint in a ratio of at approximately 75% water to 25% paint. Ratios can vary depending on the intensity of the base color. Lamp Black would be an example of creating a shading mixture in a ratio of 95% water and 5% paint. For lighter shading results, one or two applications would be adequate. For a deeper effect, three, four, or possibly five, shading applications may be needed. Apply the shading washes to the base coat with a damp round brush. Allow each application to thoroughly dry before adding another layer. I suggest practicing on watercolor paper to become familiar with the technique. There are several areas in which I applied a first layer of shading with one color and finished with a second, and possibly a third shading color to create more intensity.

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PAINTING INSTRUCTIONS: BASE COATING AND SHADING: NOTE: The following details will be added with the pen after the varnishing and antiquing have been completed: All outlining for the design elements; swirls in the center of the white posies, lines on the posy petals; veining on all greenery; strand detailing for St. Nick’s eyebrows, hair, mustache and beard; a few interior pen strokes in St. Nick’s irises; and a few pen strokes on St. Nick’s lip; interior detailing for Santini’s tulle pom-poms and collar; and eyebrows. The Outside Edge of the Tray: Base coat the background with Grey Sky. Shade with diluted applications of Lamp Black until the desired level of intensity is achieved. Base coat the outside edges of the ovals with Baby Pink and Snow White. Shade some of the edges with Dragon Fruit and Alizarin Crimson mixed in a 50-50 ratio. Base coat the inside of the oval with Whispering Turquoise and Snow White. Shade part of the interior area with Teal Green. Transfer the white posy and the greenery. Base coat the posy petals with Snow White. Shade at the top of the petal, and for some petals, partially down along one side with Leaf Green and Foliage Green in a 50-50 ratio. Base coat the posy center with Banana Cream and Snow White. Shade with diluted Light Cinnamon on one side only to retain contrast. Add dots around the outside edge of the posy center with the tip of a liner brush using Grey Sky and Lamp Black mixed in a 50-50 ratio. Base coat the greenery with Foliage Green and Snow White. The shading colors are Leaf Green and Plantation Pine. Use the color alternately, either by just shading with Leaf Green, or just Plantation Pine, or with a 50-50% mixture of the two colors. This will give a little variation to each leaf.

Base coat the berries with Baby Pink and Snow White. Begin the shading process with Alizarin Crimson and Dragon Fruit in a 50-50 % ratio. Apply a second application of shading with a mixture of Alizarin Crimson and Cranberry Wine to deepen part of the berry. Transfer, or freehand, the stem. Paint on the stem with Lamp Black. Add a highlight of Snow White. Base coat the greenery the same as given above for the white posy greenery, as well as the same method of alternating the shading colors, and/or, a combination of colors to provide variety. The shading colors are Teal Green, Leaf Green, and Plantation Pine. THE CENTER DESIGN BACKGROUND: Paint the aqua area down to the around the tulle trim on Santini’s hat with Whispering Turquoise and Snow White in a 50-50 ratio. Paint in the remaining background area with Baby Pink and Snow White in a 50-50 ratio. Shade the aqua area with diluted Teal Green. Shade the pink area with Dragon Fruit and Alizarin Crimson mixed in a 50-50 ratio. The results should be varied in colors from very light (as in almost white, to the deeper shades of the Teal Green shading and the Alizarin Crimson/Dragon Fruit shading. RAISED RED TRIM: This is a three-dimensional piece of wood trim, that divides the center panel from the outer edge. Paint trim piece with several coats of Dragon Fruit to build the intensity of color. Allow each application to thoroughly dry in between coats. When the paint is completely dry, float a thin coat of slightly diluted Cranberry Wine over the surface to deepen the effect. Since I am a messy painter, I find it helps to create safeguards to help with the inevitable clean-up process. For this design, I applied two coats of varnish to the trim piece when the surface was completely dry. DECEMBER 2019 ISSUE

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Iâ&#x20AC;&#x2122;ve discovered that if I check often for mistakes, itâ&#x20AC;&#x2122;s much easier to clean wet paint from a varnished surface than trying to sand and patch later. ST. NICK: Base coat the face area with Light Mocha. Begin shading around the outside edges of the with Light Mocha, Cocoa and Light Cinnamon in equal parts. Adjust to be lighter, or darker, if needed. Use the shading mixture to create the outline of the nose, wrinkles above and below the eyes, as well creating the furrows between the eyebrows. More than one shading application will be needed to create the darker areas. Shade the cheeks and the end of the nose by creating a mixture in approximate ratios of Light Mocha (30%), Alizarin Crimson (60%) and Light Cinnamon (10%). The mixture should have the appearance of a deep, warm, rosy flesh tone. If the mixture seems too dark, or too brown, adjust by adding more Light Mocha and/or more Alizarin Crimson. I applied the shading mixture in several layers on the cheeks, in the area next to the mustache. For the nose, two applications of the shading mixture should be adequate. Apply a highlight of Light Mocha across the top of the nose. Paint in the eyes with Snow White. Transfer, or freehand, the pupils and irises. Paint in the pupils with Grey Sky. Shade with Lamp Black. Paint in the irises with a mixture of Sapphire Blue and Snow White. Add small streaks of Navy Blue and add a few small streaks of Snow White. Add highlights on each side of the pupil in a semicircle; and a streak of Snow White across half of the top of the eye. Finish with a few dots of Snow White on the left side of the eye in the iris area. Paint on the lip with Baby Pink and Snow White. Use the same shading mixture as given to shade the cheeks to shade the lip. Use the mixture to shade just the corners of the lip. Add a little more Baby Pink in the center if needed as a highlight. Paint on a few light vertical streaks of the shading mixture over the DECEMBER 2019 ISSUE

highlighted area to resemble folds in the lip. Base coat the hat band, and cuff, with Snow White. Shade with Fawn. Add a third shading color of diluted Burnt Umber along the outside edges. Paint on the pink stripes with Baby Pink and Snow White. Shade with Dragon Fruit and Alizarin Crimson in a 50-50 ratio. Paint in the green inset areas with Mint Julep Green and Snow White. Shade with Foliage Green and Plantation Pine in a 50-50 mixture. Transfer, or freehand, the polka dots. Paint on with Snow White. Float a small amount of the shading mixture over the polka dots to soften. The shading should be focused only at the edges for all three stripes, leaving the center areas light. Base coat the hat with Baby Pink and Snow White. Shade with Dragon Fruit to define the shaded areas. Refer to the photo to assist in placement. Apply a second shading application with a mixture of Alizarin Crimson and Cranberry Wine. Shade around each polka dot to create the effect of depth. Three to four applications of shading were applied to create the correct intensity. Base coat the polka dots with Whispering Turquoise and Snow White. Shade with Teal Green. Transfer, or freehand, the snowflakes. Paint on with Snow White. Float a small amount of diluted Teal Green over the snowflakes to soften. Paint the harlequin ball at the end of the hat as follows: The white areas with Snow White. The pink areas with Baby Pink and Snow White. Shade the pink areas with Dragon Fruit. Add a second layer of shading with Alizarin Crimson and Dragon Fruit. Several layers of shading were applied to create the intensity. Float some of the shading mixture over the white areas to soften. The aqua stripes with Whispering Turquoise and Snow White. Shade with Teal Green, leaving the center area lighter.

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The hair, eyebrows, mustache, and beard should be finished last. Base coat with Snow White. Work in small grids at a time. While the base coat is still wet, begin creating strands of hair with a liner brush, by pulling a mixture in the following ratio: Grey Sky (80%) and Lamp Black (20%) ratio through the wet base coat. Rinse out brush and reload with Snow White. Pull more Snow White through the mixture to blend. Allow to dry. If the result is too dark, paint on more strands of Snow White randomly over the dark areas to highlight. Repeat the process until all areas are completed. Pull a few strands of mustache hair over the lip area. And pull a few strands of hair around the end of the hat. Base coat the berries for St. Nickâ&#x20AC;&#x2122;s hat the same as given for the tray edge. The holly leaves are painted with Pistachio Mint and Snow White. Paint the leaf edges with Light Buttermilk. The shading colors for the inside areas of the leaves are Teal Green and Leaf Green. Alternate the placement of the colors, so each leaf is slightly different. Shade only part of the leaf to maintain contrast with the base coat. Allow some of the shading mixture to float over part of the Light Buttermilk edging. Paint on the veining with Leaf Green. Base coat the mitten with Mint Julep Green and Snow White. Shade with Foliage Green. Add a second layer of shading with Foliage Green and Plantation Pine in a 50-50% ratio to deepen. Transfer, or freehand, polka dots. Paint on with Lamp Black and Grey Sky in a 50-50% ratio. Base coat the pink stripes with Baby Pink and Snow White. Shade with Dragon Fruit and Alizarin Crimson in a 50-50% ratio. Apply several layers of shading to achieve intensity. Base coat the inset with Whispering Turquoise and Snow White. Shade with Teal Green. Transfer the white posy design. Follow the same instructions as given for the white posy and greenery on the outer edge of the tray.

SANTINI, THE SNOWY MAN: Base coat the face with Snow White. Shade with Sapphire Blue and Snow White. Base coat the nose with Tangerine and Snow White. Shade with Tangerine and Georgia Clay mixed in 50-50 ratio. Transfer, or freehand, the hair curl. Paint on with Grey Sky. Pull Lamp Black over the curl to create strands. Transfer, or freehand, the eyes and mouth details. Paint on with Grey Sky. Deepen with a wash of Lamp Black. Add shading around all facial details with Sapphire Blue and Snow White. Pat on cheeks with diluted Alizarin Crimson with the tip of a small liner brush. I applied two layers to create a deeper effect. (The eyebrows are added on later with the pen.) Paint on the ball at the top of the hat with Baby Pink and Snow White. Shade with Dragon Fruit. Two applications may be needed. Transfer, or freehand, the stripes. Paint on with Snow White. Float a little shading over the stripes to soften. Paint the harlequin design for the hat and coat as follows: Base coat the white areas with Snow White. Base coat the black areas with Grey Sky. Shade with Lamp Black. Allow some of the diluted Lamp Black to float over onto the white areas to soften. Paint the white inset on the front of the jacket, the cuffs, and the arms and legs, with Snow White. Shade with diluted Lamp Black. For the cuffs (around the edge), arms and legs, transfer the stripes. Paint on with Grey Sky. Shade with diluted Lamp Black. For the jacket, transfer, or freehand, the buttons. Paint on with Grey Sky. Shade with diluted Lamp Black. Paint the two stripes with Baby Pink and Snow White. Shade with Dragon Fruit. Transfer the ribbons and pom-poms coming out of the hat. Base coat the pom-poms, and ribbons, with Snow White. Begin the shading process on the ribbons with Baby Pink. Add a second shading layer with Dragon Fruit. Tap Dragon Fruit into the wet base coat of the pom-poms to create the effect of texture. Add more Dragon Fruit, or Snow White, as needed. DECEMBER 2019 ISSUE

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Use the same technique as the pom-poms on the hat to create the tulle trim on the jacket hem, pom-poms on the boots and the area between the double ruffle on the collar. Paint on the collar with Snow White. Shade the area around Santiniâ&#x20AC;&#x2122;s face with Dragon Fruit. Paint streaks of Snow White over the shading to give a ruffled effect. Create a double ruffle by patting Alizarin Crimson along the edges. Base coat the boots, and mittens, with Baby Pink and Snow White. Shade with Dragon Fruit. Add a second application of shading to the mittens, and to the boots, with Alizarin Crimson. For the mittens, transfer, or freehand, the polka dots. Paint on with Snow White. Float a thin application of diluted Alizarin Crimson over the some of the dots to soften. Paint on the swirly rose with Snow White. Shade with Baby Pink. Transfer, or freehand, the swirl design. Paint on the swirl design with Dragon Fruit. The leaves are painted with Foliage Green and Snow White. Shade with diluted Leaf Green. Paint on the design with Leaf Green.

Progression of the shading process

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VARNISHING: Allow all painting and shading applications to thoroughly dry. Dilute varnish approximately 50-50 with water. Brush varnish evenly over the entire surface. Allow the first application to completely dry then apply a second coat. Brush on the second coat in a different direction to ensure adequate coverage.

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ANTIQUING: Antiquing provides a soft ‘aged’ affect and gives a good ‘prepped’ surface for the inking step. My color choice for antiquing is Burnt Umber. Use a ratio of approximately 5 % paint to 95 % water. When the surface is completely dry, apply the antiquing by filling just the tips of a damp wash brush with the antiquing mixture. Begin in a corner of the surface, working the mixture down along the edges of the surface. To avoid harsh edge lines, feather the mixture out toward the center of the design until the brush is empty. Keep the center of the design light. If there is too much antiquing mixture in the brush for the surface area, wipe out the excess on a paper towel. INKING: When the antiquing has completely dried, draw on the inking details as given above. SPATTERING: This design was spattered with Warm White. Snow White would work well, also. If the paint seems too thick, dilute very slightly with a few drops of water. Test spatter pattern before applying. Cover part of St. Nick’s face with a piece of paper to avoid too much spattering around the eyes. Spatter the surface lightly. FINAL FINISHING INSTRUCTIONS: For a final protective finish, spray on a light coat of DecoArt® Americana® Matte Spray Sealer/ Finish following manufacturer’s instructions. Allow to dry and repeat. Attach a saw tooth hanger on the back of the tray to display.

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Enlarge by 125% for recommended surface. Enlarge or reduce the size to the surface of your choice.

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We Three Kings Many, many years ago three Kings set out on an expedition to find a young Messiah. They followed a bright star which led them to Bethlehem; there they found a newborn Jesus sheltered in a stable. Over 2000 years later we still celebrate that moment in history. This project will teach you how to paint the bright shimmering star, along with tips for making brighter colors “pop” when painted over a dark background.

By Effie Carayannis

I’m a passionate artist and designer living in Melbourne, Australia. I specialise 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. I’ve shared my love of art over many years through numerous publications in Australia’s best-selling art and craft magazines. I teach at conventions and have conducted decorative painting classes in the community and at major craft shows. I can be contacted at effiecarayannis@gmail.com or effiecarayannis@optusnet.com.au

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SUPPLIES SURFACE: 7.8 Inch x 11.5 Inch MDF Home Sweet Home Plaque by Kaisercraft W054. Design is suitable for alternative surfaces of similar dimensions. DECOART AMERICANA ACRYLIC PAINTS: • Deep Midnight Blue DA166 • Ocean Blue DA270 • Red Violet DA140

• Desert Sand DA077

• Bittersweet Chocolate DA195

• DecoArt Drying Time Extender Medium DAS1 • DecoArt Americana Matte Spray Sealer DAS13

BRUSHES BY LOEW CORNELL: • America 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

• Sable Brown DA061

• Golden Taklon #4 Ultra Round Brush LC7020-4

• Yellow Light DA144

• Golden Taklon #6 Filbert LC7500-6

• Warm White DA239

• Golden Taklon #4 Filbert LC7500-4

• Pink Chiffon DA192

• Maxine’s Mop: 270 -½ Inch

• Foliage Green DA269 • Blush Pink DA355

• Wild Berry DA362

• Payne’s Grey DA167 • Warm Beige DA078 • True Ochre DA143

• Traditional Burnt Sienna DA223 • Dioxazine Purple DA101 • Yellow Green DA134 • Light Lime DA348

• Snow (Titanium) White DA01 • Brilliant Purple DA353 • Cool White DA240

• Hauser Medium Green DA132 • Mistletoe DA053 DECOART DAZZLING METALLICS: • Emperor’s Gold DA148 • Splendid Gold DA263

OTHER DECOART PRODUCTS: • DecoArt Gesso White DMM18

MISCELLANEOUS SUPPLIES: • Paper towels • Tracing paper

• Black and white transfer paper • Stylus • Water bin

• Fine sanding pad • Eraser

Helpful Tips:

Tip 1: When painting a design over a dark background, I prefer to undercoat all the elements with white before base coating them. A base coat over white or a very light color produces a better and more vibrant result. Tip 2: If you feel more comfortable base coating the main elements for all three kings before you begin adding their detail, then do so. Work with the system that feels best for you.

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PREPARATION:

Apply two coats of gesso using the 1inch flat brush, allowing it to dry and sanding well after each coat.

Add a small amount of Red Violet here and there with the filbert.

PAINTING 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. BACKGROUND: With the 1inch flat brush, basecoat the entire painting surface with Deep Midnight Blue to a solid coverage, allowing each coat to dry and sanding well between them. SKY: With the 1inch flat brush, pick up Deep Midnight Blue and Ocean Blue simultaneously (without blending the two colors), then, paint the sky in a streaky manner by keeping the strokes horizontal as you move the brush back and forth. Begin at the top of the surface while progressively adding more Ocean Blue to the brush to lighten the color of the sky as you move closer to the horizon, then, let it dry thoroughly.

DESERT: Trace the pattern onto tracing paper then transfer (or freehand) the horizon using the transfer paper and stylus (the remaining detail will be transferred later throughout the pattern). Base coat the sandy ground with a couple of coats of Desert Sand, using the 1inch flat brush. Load the brush with Desert Sand then side load it with Bittersweet Chocolate, then, using horizontal strokes, add the shading in the background. Load the same brush with Desert Sand, then side load it with Sable Brown and gradually lighten the color as you move towards the center of the ground. The highlights in the foreground are painted in the same manner with mixes of Desert Sand, Warm White and Yellow Light. TRANSFERRING: Transfer the main outlines from the design using the transfer paper and stylus; omitting the facial features, hands, gifts and the embellishments on the clothing (these will be transferred later as you move through the pattern). Then undercoat the design with one or two coats of Warm White.

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1ST KING: Cassock: Base with Pink Chiffon to a solid coverage. Transfer the spots from the tracing paper, and then paint the spots with a couple of coats of Foliage Green. Float to shade the garment with Blush Pink, using the angular shader. Then, deepen the shade with Wild Berry. Float to highlight with Warm White side loaded on the same brush. Cloak: Base the cloak and sleeve with Wild Berry to a solid coverage. Next, transfer the remaining elements onto the garment. Paint the scrolls with Deep Midnight Blue, using the liner, and the tiny leaves with Foliage Green, using the tip of the liner just touching the surface. Float to shade the cloak with Red Violet, using the angular shader, then, deepen the shade with Payne’s Grey. Mix Wild Berry + Yellow Light (1:1), then float to highlight. Add Yellow Light to the mix and strengthen the highlights, then strengthen them once more with Yellow Light. Face: Base with a couple of coats of Warm Beige, then transfer the facial features. Float to shade with Sable Brown, side loaded on the angular shader. Deepen the shade with a small amount of Bittersweet Chocolate. Float to highlight with Warm White, side loaded on the clean angular shader. Using the liner, paint his eye with Warm White. Outline the eye with a small amount of watery Bittersweet Chocolate, then with the same color, insert the iris by placing a dot with the stylus. Let it dry thoroughly before placing a highlight with Warm White, using the tip of the liner.

Beard: Base with one coat of Bittersweet Chocolate. Mix Warm White + Bittersweet Chocolate (1:1) with a little water to resemble an ink like consistency, then gradually begin adding the direction of his whiskers with the liner using short, fine strokes. Add Warm White to the mix to lighten it and apply another layer. Keep adding Warm White to the mix and apply in the same manner, allowing each layer to dry before adding the next. Subsequently add the final highlights with Warm White only. The moustache and eyebrow are painted with tiny, short strokes of Bittersweet Chocolate, then add Warm White to Bittersweet Chocolate to lighten and repeat. Add a final highlight with Warm White. Headband: Base with several coats of Wild Berry. Float to shade with Red Violet, then, deepen the shade with Payne’s Grey. Dampen the filbert and remove excess water by dabbing on a paper towel, then pick up a brush mix of Wild Berry + Yellow Light (1:1) and add a highlight by lightly dry brushing the color onto the centre of the headband. Add a little Yellow Light to the dirty brush, then strengthen the highlight. Crown: Undercoat with two coats of True Ochre. Then base with two coats of Emperor’s Gold. Next, transfer the remaining detail. Float to shade with Traditional Burnt Sienna, and then deepen the shade with a little Dioxazine Purple. Subsequently float to highlight with Splendid Gold. Place a dot with the stylus on the tips of the arches with Emperor’s Gold. Let it dry thoroughly before adding a highlight with a smaller dot of Warm White. Use the stylus with Foliage Green in the same manner to create the green jewels, then highlight them with Warm White. Float to shade beneath each jewel with a small amount of Payne’s Grey. Veil: Base with Pink Chiffon to a solid coverage. Float to shade with Blush Pink, using the angular shader. Then, deepen the shade with Wild Berry. Let this dry before adding the narrow crinkles with a tiny amount of Wild Berry just on the tip of the angular shader (you may use the liner if you are more comfortable). Add a final shade with Red Violet, and then float the highlights with Warm White. Transfer the detail onto the edge of his veil and paint it with Wild Berry using the DECEMBER 2019 ISSUE

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liner. Use the stylus to add the dots along the edge with Pink Chiffon. Transfer the hand and the gift from the tracing paper. Gift: Undercoat with two coats of True Ochre. Then, base with several coats of Emperor’s Gold. Next, transfer the remaining detail from the tracing paper. Float to shade with Traditional Burnt Sienna, side loaded on the angular shader. Deepen the shade with a little Dioxazine Purple. Then highlight with Splendid Gold. Add additional highlights with tiny comma strokes of Warm White, using the liner. Hand: Base with a couple of coats of Warm Beige. Float to shade with Sable Brown, side loaded on the angular shader. Subsequently deepen the shade with a little Bittersweet Chocolate. Add the highlight with Warm White side loaded on the same brush, then, strengthen the highlight with same color. Shoe: Base with Bittersweet Chocolate, then mix Bittersweet Chocolate + Warm White (1:1) and lightly dry brush the highlights using a small filbert. Lighten the mix with Warm White, then strengthen the highlights. Paint the highlight on the side of the shoe with the liner and Warm White. With the same clean brush and Deep Midnight Blue, place a shadow under the shoe while gradually reducing the shadow to a fine line as it continues beneath his clothing. 2ND KING: Cassock: Base with several coats of Yellow Green + Light Lime + Snow (Titanium) White (1:1: touch) to a solid coverage. Next transfer the curving stripes and paint them with the liner using Brilliant Purple, then, add another stripe just below each of these with Foliage Green. Float to shade the garment with Foliage Green using the angular shader. Then, highlight with Yellow Light. Add an additional highlight with Cool White + Yellow Light (2:1). Cloak: Base the cloak and the sleeve with Foliage Green to a solid coverage. Float to shade with DECEMBER 2019 ISSUE

Hauser Medium Green + Mistletoe (1:1), then, deepen the shade with a small amount of watery Payne’s Grey. Next, highlight with Yellow Light. Do not paint the fur at this stage, this will be added later in the pattern. Transfer the hand and the gift from the tracing paper. Next, paint the face, hand and the beard by following the same instructions as the 1st King. Crown: Undercoat with two coats of True Ochre, then, base with Emperor’s Gold. Next, transfer the remaining detail. Float to shade with Traditional Burnt Sienna. Deepen the shade with a little Dioxazine Purple and then add the highlights with Splendid Gold. Add additional highlights with tiny comma strokes of Warm White, using the liner. Veil: Base with a mix of Yellow Green + Light Lime + Snow (Titanium) White (1:1: touch) to a solid coverage. Transfer the swirl design and paint it with Wild Berry using the liner. Float to shade the veil with Foliage Green using the angular shader. Add the narrow folds with a small amount of the same color just on the tip of the angular shader (you may use the liner if you are more comfortable). Then float to highlight with Yellow Light. Add an additional highlight with Cool White + Yellow Light (2:1). Fur: Note: When painting the fur, don’t clean the brush between color changes, just dampen it when required as a dirty brush gives a gradual color transformation. While building up the fur, allow each color layer to dry before applying the next. With Payne’s Grey watered down to an ink like consistency and using short, fine lines with the liner, begin forming the direction of the fur around the brim of his crown, and around the

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opening of the sleeve and the cloak. Repeat the process in the same manner using the following colors in the same order; Payne’s Grey + Warm White (1:1), Payne’s Grey + Warm White (1:3), Foliage Green, Hauser Medium Green + Mistletoe (1:1), Yellow Light, and then Warm White. If you want fluffier fur, repeat the sequence once more. Subsequently add the final highlights with Snow (Titanium) White. Gift: Undercoat with two coats of True Ochre. Then base with Emperor’s Gold. Next transfer the remaining detail. Float to shade with Traditional Burnt Sienna. Deepen the shade with a little Dioxazine Purple. Then highlight with Splendid Gold. Add additional highlights with tiny comma strokes of Warm White, using the liner. To finish, add a strap hanging over his hand with Dioxazine Purple; then highlight the strap using the dirty brush and a little Warm White. Paint the shoe by following the same instructions as the 1st King. 3RD KING: Cassock: Base with Blush Pink to a solid coverage, then, transfer the remaining detail. Float to shade the folds with Wild Berry using the angular shader, and then deepen the shade with Red Violet. Float to highlight with Pink Chiffon then strengthen them with Warm White. Cloak: Base the cloak and sleeve with Brilliant Purple to a solid coverage. Next, transfer the remaining elements onto the garment

and paint them with Deep Midnight Blue using the liner. Float to shade with Dioxazine Purple, then highlight with Brilliant Purple. Add Warm White to Brilliant Purple to lighten the color, then strengthen the highlights. Next, paint his face, beard and veil (in this order) by following the same instructions as the 1st King. Crown: Undercoat with two coats of True Ochre. Then base with Emperor’s Gold. Transfer the remaining detail and paint the purple sections with Brilliant Purple, using the round brush. Mix Warm White with Brilliant Purple to a lighter purple, then add the highlights with the tip of the damp brush. Float to shade around the crown with Traditional Burnt Sienna using the angular shader, next, deepen the shade with a little Dioxazine Purple. Highlight the gold sections with Splendid Gold. Place a dot with the stylus on the tip of the crown with Emperor’s Gold. Let it dry thoroughly before adding a smaller dot with Warm White.

Transfer his hand and the gift from the tracing paper. Gift: Undercoat with two coats of True Ochre. Then base with Emperor’s Gold. Next, transfer the remaining detail. Float to shade with Traditional Burnt Sienna. Deepen the shade with a little Dioxazine Purple and fill in the opening where the handle sits with the same color. Highlight with Splendid Gold then add additional highlights with tiny comma strokes of Warm White. DECEMBER 2019 ISSUE

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Paint his hand and shoe by following the same instructions as the 1st King. STAR Transfer the main star, then brush the area with a thin coat of Extender. While it is still wet, place a small amount of Warm White in the center of the star and gently mop the color outwards with the mop brush; keeping the brush dry by wiping it on a paper towel after every few strokes. Dry thoroughly, and then repeat the process once more. Using the round brush with Warm White begin forming the direction of the beams of light coming from the center of the star. Then, referring to the picture for placement, paint the most prominent beams using the same color. Create a wash with Red Violet and apply over the star. Next, begin in the center of the star and working in a circle around the star, paint fine choppy strokes with the round brush and Yellow Light. Let it dry then repeat this step. Next, mix a little Warm White with Red Violet and paint fine lines creating an outer circle around the previous. Come in over the yellow area, so a gradual change of color is created from the pink outer circle to the yellow inner circle. Create another circle surrounding the pink with Ocean Blue, again following the same process as before; this time create a gradual change of color from the pink inner circle to the blue outer circle. Then, work around the previous layer

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with brush mixes of Ocean Blue + Deep Midnight Blue using the same process except this time blend the outer color in with the sky. Redefine the beams with a mix of Warm White + Red Violet (2: touch), keeping the paint transparent so you can just see the layers beneath. Next stipple a touch of Wild Berry + Yellow Light (1:1) in the center of the star to brighten. Repeat with a light stipple of Emperorâ&#x20AC;&#x2122;s Gold. SMALL STARS To create the smaller stars, place small dots randomly over the sky with the stylus and Warm White. Add tiny rays on a few of the stars by dragging some of the paint from the dots. Let them dry thoroughly. Create a wash with Deep Midnight Blue and paint over the smaller stars to create some distance. EDGE Paint the edge around the plaque with a couple of coats of True Ochre. Then paint over this with a few coats of Emperorâ&#x20AC;&#x2122;s Gold. FINISHING When dry, erase any transfer lines, then apply several light coats of Matte Spray Sealer allowing drying time between coats.

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CHRISTMAS

“ Peace” TREE

By Jan Boettcher DECEMBER 2019 ISSUE

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It is always fun to find a small little Christmas decoration that fits right into a cozy spot in your home. This little tree is a fun project to paint, has a beautiful meaning, and can be tucked away for storing by removing it from the base and packing it away to display year after year. It is also a wonderful size for a gift to be given to that special someone! I have been Rosemaling for over 40 years. I traveled to Norway to learn about this wonderful art form. I have loved Norwegian Rosemaling since I first laid eyes on it in the early 1980’s. It is a very special part of my heritage and it holds wonderful memories for me. This is true, especially at Christmas time. We celebrated our heritage with Norwegian goodies and family traditions, and I still hold these special times dear to my heart. It is fitting to offer this sweet little Christmas “Peace” Tree. It is painted in the Rogaland style of Rosemaling in Christmas greens, whites, and reds. Happy Painting, and God Jul (Merry Christmas)! Boettchert1@aol.com | www.etsy.com/shop/TurnofthecenturyShop

SUPPLIES SURFACE: This wooden Christmas tree may be purchased on Etsy. www.etsy.com/shop/ TurnofthecenturyShop. It is 10 inches high with base and 8 inches wide. The base is removable for ease of painting and for storage. The base is hand turned from basswood, and the tree is Baltic Birch. The tree is smooth and ready to paint on both sides. DELTA CERAMCOAT ACRYLICS: • Red Iron Oxide • Pine Green REMBRANDT OILS: • Cinnabar Green Deep • Burnt Umber

• Cadmium Red Light • Titanium White • Burnt Sienna

• Yellow Ochre • Raw Sienna • Pearl

• Gold

GRUMBACHER OILS: • Unbleached Titanium White • Alizarin Crimson

• Chromium Oxide Green • Pthalo Yellow Green BRUSHES:

Scharff Brushes • Small Teardrop Brush, Red Sable #426

• #2 & #4 Shader, Syn-sable #130 (I refer to this brush as a flat)

• #2 Cat’s Tongue, Syn-sable #429 (I refer to this brush as a filbert) • #6/0 Champagne Scroller #482

• OR Raphael Liner, Synthetic #2, #8829, available at Hofcraft MISCELLANEOUS SUPPLIES: • Odorless brush cleaner for oils

• Walnut Oil Alkyd OR Archival Odourless Lean. Both are available at Dick Blick Art Supply • Tracing, transfer, & palette paper • Plastic wrap

• Blair Finishing Spray, matte & satin. Available at Hofcraft • Medium & fine sand paper

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• Palette knife & stylus • Paper toweling • Baby wipes

• Green kitchen scrubby • Pen & pencil

• Sponge brush for back grounding

Hint:

I keep baby wipes handy at all times. They are wonderful for keeping your hands clean as you paint. I even use them if I get some paint on my clothes. Wipe the area well, allow it to dry, and put your clothing item in the washer. It usually takes all the paint out. PAINT PALETTE:

GREEN: • Dark mixture: Equal Parts Cinnabar Green + Burnt Umber • Middle mixture: Chromium Oxide Green • Light mixture: Raw Sienna (for leaves)

• Light mixture: Pthalo Yellow Green (for scrolls)

• Outlining mixture: Equal parts Yellow Ochre + Titanium white +touch of Burnt Umber WHITE: • Dark Mixture: Chromium Oxide Green

• Middle mixture: Unbleached Titanium White • Light mixture: Titanium White

RED: • Dark mixture: Equal parts Alizarin Crimson + Burnt Umber. Add ¼ part Cadmium Red Light. • Middle mixture: Equal parts Cadmium Red Light + Burnt Sienna • Light mixture: Cadmium Red Light

• Outlining mixture: Yellow Ochre + ¼ part Titanium White YELLOW: • Middle mixture: Yellow Ochre

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• Light mixture: Equal parts Yellow Ochre + Titanium PREPARATION OF THE TREE: Using the medium sandpaper, lightly sand the entire surface of the base and tree, wipe clean. Base coat the tree and lower part of base and bead Pine Green, 2 coats sanding in between. Base coat the upper part of the base Red Iron Oxide, 2 coats sanding in between. Sand both pieces using the green kitchen scrubby to smooth. Spray both pieces with light mists of matte finishing spray. Antiquing the base and the tree: I did the front side first and the back side when the front was dry. Wipe the surface of the tree with a light coat of Walnut Oil Alkyd using a piece of toweling. Using a clean piece of toweling, dip the toweling into clean brush cleaner, not dripping wet. Dip the damp toweling into Chromium Oxide Green and spread onto the entire tree surface. With the same piece of paper, dip into the Pthalo Yellow green, pounce randomly onto the surface. Place a piece of plastic wrap onto the surface and press and push to remove air bubbles. Lift the wrap upward, straight up from the surface. Wad the plastic up in a ball and pounce the antiquing until you achieve the look you like. If you wish to soften further, use a clean piece of paper toweling and pounce more to soften. I have softened the front quite a bit, but I left the back more “mottled” to look like branches. The red part of the base is antiqued using the dark green mixture from your palette in the same manner used to antique the tree. Instead of pouncing, wipe and rub the antiquing mixture with a dry paper towel, to give an old appearance.

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Tracing and transferring the designs: Place the tree onto the tracing paper and draw around the entire tree using a pen. Cut the tree shape out and place on top of the design. With a pencil, trace the design. Put transfer paper between the tree and the design. Transfer the design with the stylus.

INSTRUCTIONS: Scrolls: Using the #4 flat brush, paint a stroke of middle green down the center of each scroll. Leave the outer edges unpainted. Wipe the brush and re-load with middle green, side load with dark green. Paint, press, and blend the dark side of the scrolls. Wipe and re-load with middle green, side load with Pthalo yellow green. Paint, press, and blend as you paint the outer edges of the scrolls. Using the scroller brush, load with outlining mixture that has been thinned with medium. Outline the entire outside of the scrolls. This stroke will pull some of the green along with it as you paint. It should look a bit blended. Wipe the scroller and re-load with thinned dark green mixture. Outline the inner edge of the scroll. *See the step by step. Leaves: The leaves are painted in the same manner using the #2 filbert brush. Use the thinned Raw Sienna for the light side of the leaf. The outlining is done with thinned dark green for the dark edge and thinned outlining mixture for the light edge. Using the teardrop brush, load the brush with thinned light yellow mixture. Tip the point of the brush into the dark green. Paint 2 teardrops onto the tip of the leaf. Paint it as though the teardrops are drooping from the end of the leaf. *See the step by step. Center White Flower: Begin by using the #4 flat brush. Load with middle white and side load into Chromium Oxide Green, not too much. Painting from side to side at the base of each petal, paint and round the stroke as you blend it upward on the petal about 1/3 of the way. Wipe and re-load the brush with

middle white. Painting from side to side and rounding the stroke, blend the color upward toward the top of the petal. Wipe and re-load the brush with middle white and side load with light white mixture. Paint the entire edge of the petal, starting at the base and rounding to the base of the other side of the petal. Using the scroller brush and thinned light white mixture, outline the entire petal. Re-load the brush with thinned light white mixture and paint the inner petal line. Place 3 dots up the center of the petal using thinned light white mixture and the stylus. The center is painted using the #4 flat brush. Load with middle red mix and side load with dark red mix. Paint the center with the dark outward, blending as you form a nice circle. Wipe the brush and re-load with light yellow mixture. Paint the very center of the circle so it looks shaded. Using the scroller brush and thinned light yellow mixture, paint the center circle lines. They will be painted starting at one juncture, skipping the next juncture, and ending at the next petal juncture. Repeat this all the way around the center circle. Re-load as needed. Place a light yellow dot in the center. White tulip: Using the #2 filbert, load with middle white mixture. Paint a stroke down the center of each of the 3 petals. Wipe the brush and reload with middle mixture, side load with middle green mixture. Paint the dark side of each petal, pressing and blending as you paint the stroke. Wipe the brush and re-load with middle white mixture, side load with light white mixture. Paint and blend the strokes on the light side of each petal. *See step by step. Using the scroller and thinned dark white mixture, outline the dark sides of each petal. Wipe and re-load with light white mixture. Outline the light sides of each petal. Re-load with thinned light white mixture, tip the point of the brush lightly into the middle green mixture. Paint the long teardrops, 3 on the center petal and 2 of each of the side petals. Paint these teardrops following the contour of the outer edge of the petals. Using the teardrop brush, load with thinned light white mixture and tip the point of the brush into the dark green mixture. Paint 2 teardrops at the points of the petals. Paint them as though they are drooping DECEMBER 2019 ISSUE

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down from the petal. Using the #2 flat brush, paint the 2 green cups at the base of the tulip, dark toward the flower and light outward. Using the #2 flat, paint a middle red dot at the base and dot with light yellow mixture. Using the scroller, load with the thinned light yellow mixture. Paint the rounded lines beneath the tulip between the 2 scrolls. Place thinned dark red dots on each line, top to bottom. Upper red flower: Using the #2 flat brush, load with middle white mixture, side load with middle green mixture. Painting from side to side, paint from the narrow part of the flower bowl upward about halfway. Press and blend as you paint the strokes. Wipe and re-load the brush with middle white mixture and side load with light white mixture. Paint upward from the first strokes. Round and blend as you form the upper part of the flower bowl. Outline the bowl with thinned light white mixture using the scroller brush. Using the scroller brush, load with thinned light white mixture, tip into the middle green mixture. Using just the tip of the scroller brush, paint the 3 short teardrops at the base of the bowl. Place dots around the top of the bowl using the stylus and thinned light white paint. The side petals and the side cups are painted using the 3 shades of red, the dark to the outer edges of the side petals and also to the base of the cups at the side. Re-load with middle red and side load with light red mixture. Paint and blend the inner edges of the side petals and the outer edges of the side cups. Outline with yellow outlining mixture on the side cups and also for the 2 curved lines on the side petals. The green cups at the base of the flower are painted with the #2 flat brush. Load with middle green and side load with dark green. Paint the 2 cups with the dark facing the flower. Outline the green cups with thinned outlining mixture. Place a thinned Yellow Ochre dot at the base of the flower, using the stylus. Using the stylus and thinned light yellow mixture, place dots all the way around the center dot, making the dots larger at the top and smaller as you paint them downward. *See step by step. Lower round red flowers: Paint a ring around the center of the round flower DECEMBER 2019 ISSUE

using the #4 brush and middle red. Leave the middle unpainted. Wipe the brush and re-load with light yellow mixture. Make a smaller circle in the middle, blending outward as you paint. Using the #4 flat brush, load with “slightly” thinned middle white mixture. The petals are painted by setting the tip of the brush down on the surface at the edge of the red circle. Don’t pull or move the brush, but just “plop” it down onto the surface. Press down a bit as you paint the petal and lift the brush directly up once the petal has formed. Repeat for each petal, wiping the brush well in between each petal. Place a middle red dot at the center. Place Yellow Ochre dots around the outer edge of the yellow center, and 2 white dots between each petal. Small red flowers, dot flowers, and line work: Using the #4 flat, paint the center of the flower with middle red. Using the scroller brush and thinned light white mixture, paint the outer petals in an “s” stroke of each side. It is desirable to have some shading pulled from the red. Dot the top of the flower with 3 light yellow dots. The tiny dot flowers are thinned light white mixture with a middle red dot in the center. The line work is done using the scroller and thinned paint. Load the brush with thinned light yellow mixture. Tip the point of the brush into the middle green. As you paint the strokes, the green and yellow will become shaded nicely. The 5 teardrops at the base of the main flower are painted using the scroller brush loaded with middle red and tipped into the light yellow mixture. Make sure to have the center teardrop the longest and the side teardrops descend in size. Base of the tree and branch points: I painted the base using the #4 flat. First, paint the middle yellow, across the middle of the base, the width of the brush. Wipe the brush and reload with middle green and paint the bottom of the base. Wipe the brush and re-load with middle red. Paint the upper section of the base. Using the stylus and thinned dark red mixture, place dots across the yellow section. Paint the diagonal double lines using the light yellow mixture and the scroller.

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The point of the tree branches are painted with a mixture of Light white + Pearl, equal parts. Thin the paint and place the dots at the branch points and the top of the tree. The outer edge of the entire tree is painted with dark red. I used a piece of paper toweling, wrapped around my finger. Dip it into the medium and then the paint. Wipe it onto the edges. Clean any stray paint from the front and back of the tree. Back of the tree: I have painted the word Peace using the #2 flat brush. Load with middle white mixture. Paint each of the “thick” sections of the letters. Hint: It helps to hold the brush at an angle rather than straight upward or flat, as you paint each stroke. Outline with thinned gold paint and thinned dark green mixture. *See step by step for line placement. Place dots at each tip of the branches with the white/pearl mixture. I have outlined the entire tree with this same mixture. Tree base: Using the scroller brush, load with thinned middle yellow. Paint “s” strokes around the upper red area of the base. Allow the tree and stand to dry completely. Once the paint is dry, clean any stray marks, smudges, or tracing lines from the surface. Spray with light mists of satin finishing spray until you are satisfied with the appearance of the finish. If it gets too shiny, “lightly “mist with matte spray to soften.

Happy Painting! Jan

Don’t forget to sign your work! DECEMBER 2019 ISSUE

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Line drawing is actual size.

DECEMBER 2019 ISSUE

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Hiding in the Pines By Nancy Scott, CDA

I have enjoyed decorative painting for almost 30 years and earned my CDA with the Society of Decorative Painters in 1994. I prefer painting in oils and teach a beginner’s “learn to paint in oils” class every year at New England Traditions convention. I design mostly in acrylics, because that’s what most students want. I love teaching beginning students. It’s so important to learn the basic techniques of decorative painting the correct way to help insure future painting success!

Owls have been a popular painting subject lately and this little guy is no exception! The limited palette makes him easy to paint and this piece works up quickly. Lovely to display all winter long. DECEMBER 2019 ISSUE

SUPPLIES SURFACE: • 8.5” x 12” metal tray available from Dollar Tree stores DECOART AMERICANA ACRYLICS: • Antique Gold DA09 • Antique White DA058 • Black Green DA157 • Calico Red DA20

• Charcoal Grey DA088

Helpful tip:

A large part of this painting is the pine branches. It’s important to stroke in very thin, fine, long pine needles. To be able to achieve that, you must start by thinning down your paint to an inky consistency. When going to your piece with the brush loaded with thinned paint, stroke the needles with very little pressure on the surface. Keep the handle of your brush pointed up to the ceiling and with light pressure, paint your pine needles. Pressing too hard with your brush will flatten out the bristles and “fatten” up your needles!

• Cocoa DA259

• Espresso DA271

• Lamp Black DA067

• Light Avocado 106DA • Olive Green DA056

• Traditional Burnt Umber DA221 OTHER DECOART PRODUCTS: • Chalky Gesso-Grey BRUSHES • Royal & Langnickel Aqualon Series • R2700 Wash-size ¾”

• R2250 Rounds-size 2, 3, 4 • R2160 Angle-size ¼”

• R2585 Script liner-size 5/0 • R2595 Liner-size 1, 2 MISCELLANEOUS SUPPLIES: • Paper towels • Water basin

• Tracing paper

• Dark transfer paper • Palette paper

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

PREPARATION:

Prime the tray to receive the paint by first painting it with 2 coats of Chalky Gesso, drying well between coats. Use the ¾” wash brush for this.

PAINTING INSTRUCTIONS:

Basecoat the flat surface (where the design will be painted) with Antique White. The rim of the tray is painted Cocoa. The raise relief border on the outer edge of the rim is painted Espresso. Use the #2 or #3 round for this. Use very light pressure and paint over just the raised area trying to preserve the decorative nature of the trim. Trace design and transfer to surface. OWL: Using a #3 or 4 round, stroke in the right wing and the top of his head (extending the strokes to both the right and left sides) with Espresso. These 2 areas should have rather solid color. Using Espresso, paint some strokes to start filling in the rest of the face and the left side of his body, but leave much more of the Antique White background showing through. With Cocoa, on a smaller round or liner, stroke some finer, lighter lines curving over the inside of his face and on the left side of his body. (Fig.1) With Charcoal Grey, on the liner, paint in some darker markings on the left side of his body, up on

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mix Warm White with Antique White and paint fine lines of feather just below the shading under the eyes, across the top of the beak and curving out over the “cheeks”. (Fig3) Paint an Antique Gold eye under and up the sides of the eyeball. Add a tiny comma highlight in each black eyeball with Charcoal Grey/Warm White. With Warm White side loaded on the ¼” angle, stroke in brighter white markings on the right wing. Float a choppy Charcoal Grey shading to separate the wing from his body and under the head. Touch up the feathers on the face with Cocoa, bringing it down over the shading. (Fig.4)

his forehead, between the eyes and on the inside of his face. Paint in the eye and the beak with Lamp Black. Float Charcoal Grey down and around the sides and across the bottom of the eyes, using the ¼” angle. Dry brush a Charcoal Grey/Warm White highlight down the middle of the beak with the #2 round. (Fig.2) Using the liner, add tiny little Warm White feathers to the top of the head and a heavier application of Warm White feathers across the top of the eyes bringing them down between the eyes. Brush DECEMBER 2019 ISSUE

PINE BRANCHES: Using the #2 or 3 round, paint the branches with Espresso. Streak some darker value along the underside of the branches with Traditional Burnt Umber. Stroke a lighter value along the tops of the branches with a brush mix of Espresso and Warm White and a touch of Cocoa. Paint the snow on the branches with Warm White using the #3 or 4 round. (Fig.5) Leave the branches alone for now until after the pinecones are painted. PINECONES: Basecoat the pinecones with Espresso leaving the outside edges choppy. Float Traditional Burnt around the outside edges. Using the # 3 round, paint comma strokes of Cocoa for the scales of the pinecones. Brush mix some Warm White with Cocoa for a slightly lighter value and using the

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#2 round, stroke in a highlight to just some of the scales focusing on those in the middle of each pinecone.

(Fig.7)

With the #2 round add Warm White snow to the pinecones.

Paint the berries Calico Red with the #2 round. Float a little darker value of Calico Red/Traditional Burnt Umber on one side. With the liner, add Warm White snow to the tops of the berries.

(Fig.6)

(Fig.8)

Before adding the berries, weâ&#x20AC;&#x2122;ll paint in all the pine needles.

FINISHING:

PINE NEEDLES: We will be using 3 values of green, starting with Black Green. Referring to my painting tip at the beginning of this article, begin painting in Black Green needles.

Allow adequate drying time and make sure to erase any pattern lines. I used a spray varnish on pieces such as these. I find it is neater than brushing on varnish, especially around the raised relief border. Spray in a well-ventilated area following all manufacturersâ&#x20AC;&#x2122; instructions.

The deep, dark green around the branches and pinecones is achieved by floating Black Green in these areas after lining in the Black Green needles. Then paint lighter green needles with Light Avocado and Olive Green.

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Due to the size of this painting, the drawing has been reduced by half. Enlarge 200% for full size painting. Enlarge or reduce the size to the surface of your choice.

DECEMBER 2019 ISSUE

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The Colors of Christmas,

the SPARKLE of the Season By Diane Marie Kellogg

Christmas is a festive time, from the time the first decoration is hung till well into the New Year. We, as painters, dwell into the joyfulness of the season way before the first snowflake flies. Those who paint for shows or gifts know they have to start playing with those wonderful colors well in advance of the holiday. Shades of reds and greens, so often these are the colors that come to mind when contemplating the yule tide season. Add white and you have the perfect trio of festive colors. Go a little further and add the silver and gold that a certain snowman sang about, and the holiday season has arrived. For those looking for something a little less traditional, glorious purples and royal blues await. Let’s take a look at the colors of Christmas, the embellishments that twinkle. Red is an emotionally intense color. For Christmas, it puts forth a feeling of energy, of power. It also denotes a whimsical feeling. In lighter shades, it brings about a joyous feeling. The perfect color to put jolly old St. Nick in, it brings out his cheerfulness and charm. The regal nutcracker tends to appear in red quite often.

Green is next on our holiday list, the color of nature. It brings about a feeling of freshness and harmony, the color of safety, the color of money, even of health. In many designs for Christmas, we see green in the trees, the pine boughs, and the florals. Olive green is often seen as a symbol of peace, quite often a popular theme for the holidays. White is the color of purity. White gives us light, goodness and innocence when used in the Christmas palette, a freshly painted snowfall, the trim on Santa’s suit, an angel’s wings. Gold is another color that signifies purity, along with faith. Success, triumph and well-being are feelings brought about by a bit of gold trim. Gold is often a positive color, uplifting, it relays a feeling of generosity and happiness. Gold is often considered a masculine color. Silver is the color of truth, a higher self, a spirituality. Both silver and gold are considered symbols of wealth and riches. Silver puts forth a feminine energy. Gold and silver are often used as trimming or detailing colors in

the festive season. The scroll work on a sled, the intricate design on a glass ornament. Purples used often provide a sense of royalty, of opulence. Blues represent strength and wisdom. Often used in darker, more solemn tones, these colors are used to represent the more holy sense of the season, the robes of an angel, the uniform of a soldier, the sky on a snowy night. So we have looked at the colors of Christmas, now let’s look at all that glitters. Glitter has been used since prehistoric times. It’s been with us for quite a while. Glitter comes from the Old English word gliteren. Thirty thousand years ago mica flakes, made from rocks, were used in cave paintings. They also used a glitter made from hemotite, a mineral.

Mica – Image by Mark Pascual – Pixabay.com.

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Twenty-two thousand years later, galena, a form of lead, was added to paint to make it glittery. From 40,000 BC to 200 BC, Eygptians used a glitter like substance made from crushed beetles and ground malachite crystals. Mayan temples have been found to have used glitter paint made from mica dust. Modern glitter was invented in 1934. Glass glitter became popular during the second world war. It would seem our romance with glitter is a long standing one. Today, we are very fortunate to have an amazing array of glitter products available to us. From mica flakes to micro glitter, we can find so many types and colors of glitter. Our paint companies keep

bringing us new paints with glitter, that cover so well and help us sparkle! Textured snow is another great product we have, along with a multitude of mediums at our disposal: from those that help create texture, to those that allow us to paint on multiple surfaces. We mustn’t forget the other adornments available to us. As mixed media is fast becoming more than just a trend, we need to look at the ornamentation available there. From charms and metal trinkets, to word and shaped cut-outs, a trip to the scrap booking section can find many delights worthy of decorating our precious painted pieces. A trip to the jewelry section can supply jewels and chains, rhinestones

and more. Of course, for our holiday painting, we don’t want to forget old favorites like the jingle bell and the cinnamon stick, pinecones and poinsettias. Blending the painted and dimensional create a whole new look. When we combine the colors, the sparkle in the frosting, we are ready for the festivities to begin. May the colors of the season be yours to paint! Happy holidays! Sources – https://www.colormeanings.com/ Color Meanings – All About Colors and Symbolism https://en.wikipedia.org/wiki/ Glitter Glitter

Santa by Ractapopulous from Pixabay.

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Christmas Lampshade

By Sammie Crawford

Sammie Crawford is a professional teacher known as the Fairy GourdmotherÂŽ and is a member of the American Gourd Society and the Society of Decorative Painters. Her gourd addiction began when she painted that first gourd in 1998 and she finds them as fascinating today as when she first began. Her designs have been published in craft magazines and the twelve books she has authored. She has designed gourd ornaments for the White House three times, as well as for the Library of Congress and the Smithsonian. She can be contacted at gourdfairy@aol.com. DECEMBER 2019 ISSUE

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Introduction

I have made anything and everything from gourds over the thirty years I’ve worked with them, but it was only recently that it occurred to me to try lampshades. I’ve always said I can make anything from gourds except soup! Who knows what the next thing will be? Any suggestions?

Artist ’s Tip

Due to the heat generated by ordinary bulbs, be sure to only use LED bulbs with your gourd shades. You don’t want to blister your paint or set fire to your shade!

SUPPLIES: PALETTE – DECOART ® AMERICANA: • DA017 Georgia Clay • DA129 True Red

• DA229 Jack-O-Lantern

• Series 7300 #12 flat

• Series 7000 #4 round

• Series 7350 10/0 liner • #275 ½” mop SUPPLIES: • Minimum 6-7” dia. cannonball gourd

• DA163 Honey

• Drill & bit

• DA240 Cool White

• DAP Fast n’ Final lightweight spackle

• DA131 Hauser Lt. Green

• Lamp (new or used)

• DA133 Hauser Dk. Green

• DecoArt ® DAS1 extender

• DA191 Camel

• Sandpaper

• DA168 Golden Straw

• Wood glue

• DA132 Hauser Med. Green

• DecoArt ® DAS12 spray gloss varnish

• DA043 Raw Sienna • DA148 Emperor’s Gold

• DA014 Cadmium Orange • DA149 Silver Sage

• DA240 Cool White

• DA154 Pansy Lavender • DA172 Black Plum • DA032 Lilac

PREPARING THE PIECE:

Find a gourd scrap that is the same diameter as the neck of the shade you are replacing and cut a 1 ½” collar to fit inside the lamp. Cut the cannonball in half and set it down on a flat surface. Place the collar on top and draw around it.

• DA01 White

Cut a hole and fit the collar inside. Glue in place and let dry overnight.

• DA286 Terra Coral

When dry, spackle the joints and let dry overnight, Sand smooth. Drill holes in the collar where the screws will go to hold it in place.

• DA310 Spiced Pumpkin • DA190 Winter Blue

• DA309 Banana Cream BRUSHES – LOEW-CORNELL: DECEMBER 2019 ISSUE

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PAINTING THE PIECE:

After I applied the pattern, I painted all my reds first, then orange, purple, yellow, etc. and kept going, until it was all filled in. There is no right or wrong way to do this, but I found it easier to get the colors spaced so you donâ&#x20AC;&#x2122;t wind up with all one color on one side. Gumballs: Red - True Red. Black Plum shade, White highlight Orange - Spiced Pumpkin, Georgia Clay shade Purple - Pansy Lavender, Black Plum shade, Lilac highlight Yellow - Banana Cream + Cool White 3:2, Golden Straw shade Green - Hauser Med. Green, Hauser Dk Green shade, Hauser Lt. Green highlight Fireballs: True Red, Black Plum shade, Terra Coral Candy Canes & Stripes: White with True Red stripes, Black Plum and shade on red, Winter Blue and shade on White. Fruit slices: Green - Hauser Lt. Green, Hauser Dark Green shade Yellow - Banana Cream + Cool White 3:2, Golden Straw shade

Orange - Spiced Pumpkin, Georgia Clay shade Hard Candies: Wreath - Jack-O-Lantern + Camel 3:2 for stripes with Raw Sienna shade, Hauser Medium Green wreath, True Red bow Tree: (a) HMD edges & tree, HDG shade, True Red outline and stripe (b) HNG tree & circle, J-O-L + Camel 3:2 stripes, Raw Sienna shade Star: True Red, J-O-L + Camel 3:2 stripes, Winter Blue shade on white parts Holly: True Red edges & berries, Hauser Dark Green leaves, Black Plum shade Ribbon Candy: True Red and HMG stripes, Winter Blue shade on the white parts, White flip float across the center for shine. Leave the random spaces between candies White if they are small. Paint large spaces with any color.

FINISHING:

Paint the inside of the shade White or some highly reflective metallic color. Finish with several light coats of spray varnish allowing drying time between coats. DECEMBER 2019 ISSUE

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Pattern is actual size. 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. DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

Passing the Paintbrush... By Teri Walker

ARTISTS HELPING ARTISTS - The Gift of Mentorship Do you remember the first time you picked up a paintbrush? You probably experienced a myriad of emotions. Did you have doubts about your ability to paint or did you push that fear aside and challenge yourself? Were you afraid of rejection or did you paint only to please yourself? Artists experience many feelings every time they create. That’s why it is important to find a mentor and a supporter. If you’re lucky, they will be one and the same. All artists benefit from encouragement, acceptance and praise from others whose personal opinion matters. Many years ago, I was lucky enough to find both a mentor and supporter. She believed in my ability, when I did not. She is the one who made me realize just how much self-doubt will kill your talent. Not only did she teach me to paint, but she also taught me to believe in myself and have the courage to step out of my comfort zone to try new things. My mentor and lifelong friend is Norma Dee Hickman, a self-taught artist who lives in north Louisiana. After a career as a professional singer, she picked up a paintbrush and for the rest of her adult life, has painted professionally. Norma created “Bayou Artists Ltd.,” and taught painting to students from many states. It was an honor to be admitted to her group. In the early years of her career, Norma was offered membership in the prestigious “American Masters,” but family obligations kept her from accepting. Norma Hickman has an eerie ability to bring out hidden talents in others. Under her leadership, the members of B.A.L. formed a kinship that went DECEMBER 2019 ISSUE

beyond merely learning to paint. Norma guided us through all the ups and downs that life brings and although everyone painted different subjects, each stroke of the brush was made with emotion. Norma taught us that the canvas always reflects one’s innermost feelings, good or bad because art is the truest expression of the soul. Being a mentor is a divine legacy, because it gives one the power to influence another person’s life. Norma changed our lives with her patience, encouragement and loving heart. She never gave up, so we didn’t either. I hope you have someone in your life that has helped you on your artistic journey. And if you have the opportunity, I encourage you to share your passion with the younger generation. Don’t let the knowledge you’ve spent a lifetime acquiring fade into the forgotten pages of yesterday. Schools are mainly focused on technology, therefore pushing handson art even further in the background. Art is vitally important, for it defines a culture. Mentors are vitally important, for they define the artist. Norma Dee Hickman’s works of art can be found in many private collections throughout the United States, but I believe her greatest legacy will always be her students, for through them, her influence will “Pass the Paintbrush,” to generations not yet born. And so, can yours. Note: Norma Dee Hickman can be reached at: normahickman21@gmail.com for more information. See a gallery of Norma Dee Hickman’s work on page 57. Note: Serenity by Norma Dee Hickman is from the private collection of Farris Baughman.

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DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

Cowboy Santa By Terry Holte

My Brother belongs to the Real Bearded Santa group here in California. He enjoys being Santa and has gone out of his way to help people in the area have a better Christmas. I am very proud of him. I had several photos of him and this was my favorite one to paint of him. He is not your “Traditional Santa” with a pom-pom on his red hat but, a Rootin, Tootin Cowboy Santa, ready to ride into your home and bring some Christmas Cheer.

I have been painting for about 40 years now. I belong to several SDP chapters here in Southern and Coastal Central California and am a member of DecoArt Helping Artists Program. You may contact me via email at tholte@mac.com.

SUPPLIES:

• Camel DA191

SURFACE: • Artist panel is 10” X 20” purchased at Hobby Lobby

• DecoArt Neon Hot Shots Fiery Red DHS4

PALETTE: • DecoArt Americana Acrylics • Lamp Black DA067 • Tomato Red DA169

• Asphaltum DA180 • Soft Black DA155

• White Wash DA02

• True Ochre DA143 • Slate Grey DA068

• Warm Beige DA078 • Eggshell DA153

• Grey Storm DA328 • Titanium White

DA01

• Hauser Lt Green DA131

• DecoArt Dazzling Metallic Glorious Gold DA071

OTHER PRODUCTS REQUIRED: • Christmas Music Tissue Wrap – Hobby Lobby • DecoArt Media Modeling Paste DMM21 • Dophee Brass Decorative Corners from Amazon • DecoArt Decoupage Matte DS106 • E6000 Glue • Washi Tape • Drawer Pull

• Patricia Rawlinson “Believe in the Magic” Stencil • Sharpie Metallic Gold Paint Pen

• Red Alert DA301

BRUSHES: • Assortment of your favorite dry brushes, liners, rounds, angles and flats, a palmer brush and an older large flat for decoupaging

• Grey Sky DA111

MISCELLANEOUS SUPPLIES: • Water Bin

• Heritage Brick DA219

• Deep Midnight Blue DA166 • Honey Brown DA163 • Dark Chocolate DA065

• Paper Towels DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

• Tracing Paper • Graphite Paper • Pallet Knife • Ruler • Pencil • Fingernail File (paper not metal)

PREPARATIONS:

Decoupage your board as stated above. Paint the edges of the board with black paint. When dry, use your favorite Washi Tape on the edges of the board… the tape is sticky but has a tendency to lift, so use some glue when you apply it to the edge. Let the board dry. Mix some modeling paste with Tomato Red paint and leave some of the white paste marbled into the mix. Using the Stencil, paste mix and palette knife, apply this to the upper half of the board (see picture for placement). Lift your stencil and clean up any edges with a flat wet brush. Let it dry. Measure off a ¼ inch line all along the edge of the board and mark it off with the Metallic Gold Paint Pen. Clean your stencil while the paste is still fresh. I found some metal corners on Amazon and glued them on to dress up the corners. See Pic #1. Trace the pattern onto the board. I like to begin by base coating everything except the packages and the tree stump. See Pic #2.

INSTRUCTIONS:

Helpful Hint:

I like to measure off the tissue paper (larger than the board) and glue one side of the paper to the side edge of the board and let it dry. The tissue paper is delicate and easily ripped. This method helps to anchor the paper and allows you to gently lay it down and smooth out air bubbles and wrinkles. Apply a generous amount of decoupage to the top of the board and then roll the tissue paper up and hold in one hand, bringing over the top. The other hand will have the Palmer Brush in it, gently brushing the paper, smoothing it out, back and forth as you slowly unroll the paper, laying it on the wet decoupage. I let this dry and then gently rub the finger nail file right on the edge of the board to remove the excess tissue paper.

bag is pulled in with a wide, washy stroke of Deep Midnight Blue, and then thin lines of White Wash. Reinforce the Soft Black shade areas. CHAPS Basecoat with Asphaltum. Dry brush here and there with Soft Black and the lighter areas are dry brushed with Dark Chocolate and then some Honey Brown. The highlight is done with a dry brush of Eggshell. Place a black stripe on the bottom of the chap where the fringe attaches on the left leg and use Eggshell on the right chap. The fringe is pulled in with a liner brush and Asphaltum, Soft Black, Dark Chocolate and Honey Brown. See the final picture for placement.

COAT AND PANTS Base Tomato Red. First shade with Heritage Brick and do it again in the darkest areas with Deep Midnight Blue. Highlight first with Red Alert and repeat with Hot Shots Fiery Red. The buttons on the coat are Glorious Gold.

HAT, BELT AND BOOTS Basecoat with Soft Black. Shade with floats of black and highlight with Slate Grey. The stitching on the boot is done with White Wash. Then do a wash of Soft Black over the top of that when dry, to set it back a little, so it is not so prominent. The Belt Buckle is Glorious Gold.

TOY BAG Base with Tomato Red. Shade all the folds, pleats and creases in the bag with Soft Black. Dry brush here and there with Red Alert. The plaid on the

SPUR STRAPS Basecoat with True Ochre. Spur straps and spur stitching is lined with black as well as the spur itself is black. Do a wash of Dark Chocolate over

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the strap and when dry, highlight with a mix of Honey Brown and Eggshell (1:1). The right strap has a Glorious Gold Buckle on it. BARREL Basecoat with Grey Storm. It is dry brushed first with Slate Grey, and then place the pattern on. The metal straps are painted with Grey Sky. The straps are highlighted with Warm White and the top of the strap has a Grey Storm edge. The barrel staves are separated with some soft black lines. It is highlighted some more with Eggshell with a little Honey Brown here and there. Shade the darkest areas with Grey Storm. Shade again with Soft Black behind the packages and bag. Add a little dirt/dust to the top of the barrel next to where Santa is sitting, with Honey Brown.

GLOVES Basecoat with White Wash. Shade between the fingers and under fur with Deep Midnight Blue. Highlight the fingers with Snow White. FUR Basecoat with Eggshell. Stipple a little Grey Storm in the shaded area of the fur, and then stipple some White Wash over the entire fur area and highlight with Snow White. FACE Basecoat with Warm Beige. Rosy up his cheeks and lips with some Tomato Red. Shade both sides of his nose and a little over the eyes with Honey Brown. Paint the eyes White Wash and place a blue Iris with a little mix of Deep Midnight Blue and Slate Grey. The pupil is black. Place a

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highlight in the Pupil with Snow White and on the bottom lip. The eyebrows are pulled in with little strokes of Snow White and some Slate Grey. Pull the frames of his glasses in with Metallic Glorious Gold and line the inside of the frame with black.

BEARD AND HAIR Basecoat with Slate Grey. Pull in some strokes of Eggshell, then White Wash and end with Snow Whiteâ&#x20AC;Ś. With a light shade of Grey Storm, shade under the nose on the mustache, under the mustache on the beard and under the hat on the hair. PACKAGES Basecoat with White Wash, Heritage Brick, Hauser Light Green, and Camel. The Camel is shaded with Dark Chocolate and highlighted with White Wash. The Hauser Lt Green is shaded with Forest Green. The Heritage Brick is shaded with Soft Black. The White Wash is shaded with Slate Grey. The ribbons are Hauser Lt Green and Tomato Red trimmed in Gold and White Wash. BACKGROUND Apply washy floats of Dark Chocolate to the right of Santa, around the stump, barrel and bag on the ground. Reinforce the darkest areas with Soft Black. TREE STUMP Basecoat with Dark Chocolate. Do some circular dry brushing on the top of the stump with Honey Brown and then just a touch of Eggshell. Dry brush the side of the stump with some Dark Chocolate and then some Soft Black. Add a few dry brush marks with Eggshell. Pull in some weeds with Eggshell around the base of the stump. FINISHING Lastly, I used a spray varnish on the board to seal it. I measured off the top of the board to find the center and marked the hole needed for the handle. Using my handy, dandy Dremel, I drilled the hole on top and added the decorative handle to finish the piece off.

Enjoy!

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For artistâ&#x20AC;&#x2122;s surface size, enlarge 130%. 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. DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

HOW TO MAKE MONEY

With your Art

By Thelma Hamilton Whether your studio is a table and chair in the corner of your dining room, a desk on a porch, a she shed or a full-fledged store front, once or twice a year you should have an Artist Studio Tour. This is a great way to introduce yourself to possible buyers for your art or to gain students for your classes. Why would you want people to come to your studio? It is great for several reasons • You draw visitor’s attention one on one. This is a tremendous way to sell your finished art. DECEMBER 2019 ISSUE

• You receive the opportunity to educate a potential customer/student in your method of creation. • You attract a whole new clientele.

• It is a wonderful way to advertise…my normal open studio days and hours are (fill in the blanks) OR I am only open by appointment as I am a working studio. Don’t hesitate to include other studios, within a short driving distance, on your tour. Yes, you can solo it or you can

gain momentum by including additional artists. Artists include jewelers, quilters, seamstresses, glassblowers, metal welders and cooks, to name a few. Artists are a group of creatives that are a unique brotherhood. Where there is a concentration of like-minded people, there is a concentration of energy. That energy will attract people to your door. Some visitors will come out of curiosity. (What do you do in an art studio?) Some will be envious of your talent. (I have always wanted to paint.)

PAINTING WORLD MAGAZINE

Some will come to engage with the artist vibe. (How do you come up with an idea to do this?) Just remember, they are all potential customers in the end. Let’s set the stage for a successful Artist Tour: Ready your studio. Clean up the messes…but not too much, they are coming to see where and how you create. I take this opportunity to pick up all the non artist items & put them back in my house. Clear out the extra cardboard boxes or flatten them down and store them out of sight. Clean up the paperwork, the orders and the customer information. You want to make your space inviting & informative, not scary & overwhelming. Next look outside the door. Does your entrance say, “There is an artist who works here”? What would you like it to say?

This is a great time to make a sign to hang on your door or paint a chalk board to prop up on the wall, announcing the artist is at work! Perhaps you would like to paint the entire wall with chalkboard paint, now is the time to do this. Give them something to talk about. That is a marketing tool that I feel is underutilized. When people talk about your “over the top” entrance or exit, they are spreading the word about your business. So, let’s give them something to talk about! Send out a press release to the local newspaper, radio and television stations 30 days prior to the artist studio tour. They are always looking for stories. In your announcement on social media, be sure to ask your friends to share your event on their pages. Send flyers to local schools and artist guilds, ask them to spread the word.

If you are including other artists in your tour, a brochure with a map of locations will be greatly appreciated. Include a brief description of each person’s art and possibly a photo of their art. Placing portable signage with balloons at your roadside, on the day of the tour, will let people know they have arrived at the artist location. In your studio, put out a light snack of bottled water, lemonade or hot mulled cider and small cookies to energize your guests. Pass out a flyer of your work, include your website. Set up a notebook to collect emails. Encourage your guests to sign up for future sales and open houses. On the day of the event, play soft music to set the mood, dress comfortably and be at ease. You got this!!!

DECEMBER 2019 ISSUE

PAINTING WORLD MAGAZINE

Snowy Night

By Tricia Joiner

Tricia Joiner has taught seminar, convention and online decorative painting classes for over 40 years in the U.S., Canada, Japan, Australia, New Zealand, Taiwan, and Europe. Her publications include five books, numerous articles and hundreds of instructional packets. As a teacher, she is known for breaking complicated painting techniques into understandable steps while maintaining the traditions of the original style. She established a Zhostovo Certification Program and an online introductory class (http://www.tricias.com/ecourses.html) to maintain the traditional techniques and is the recognized American authority on that style. Tricia currently has a major exhibit of Zhostovo painting at the Museum of Russian Icons (Clinton, MA). For a more extensive biography and additional information, please contact Tricia at triciald@aol.com or visit her website www.tricias.com.

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This ornament teaches the three stage Zhostovo technique that I developed in acrylics to replicate the traditional oil methods used in the factory. There are no strokes involved - just color book base painting, transparent glazes and liner brush details. In this project, I have separated the shading into two stages and the highlighting into two stages to make them clearer. It’s fun, easy, makes a great gift and starts the student on the way to learning the Zhostovo style. This simplified and miniaturized version was adapted from a larger winter scene.

SUPPLIES:

• Small piece of glass with beveled edges 8” by 10”, tile or other hard surface • 2 Clear water jars - one large, one very small

PAINTS:

Americana Acrylics by DecoArt: • Background color - Zinc - DA304

• Blue shop paper towel

• Black Green - DA157

• Tracing paper

• Cherry Red - DA159

• #600 sandpaper

• Ultra Blue Deep - DA100

• Deli wrap for palette - helps keep paint damp

• Burnt Umber - DA064

• Transfer paper - white

• Forest Green - DA050

• Kneaded eraser • Stylus

• Large flat brush (for backgrounding) SURFACE: • Russian dome shaped ornament cut out (approx. 4” by 4”) • Available by email - TriciaLD@aol.com

Helpful Hint: If you are using new graphite paper, place it on a flat surface and wipe off some of the graphite to help keep your transferred lines from being too strong.

• White Wash - DA02 • Winter Blue - DA190 DecoArt Extreme Sheen Metallic Paint: • Pink Tourmaline - DPM15 • Sterling Silver - DPM07 BRUSHES: Brushes are available through my website www.tricias.com • Scharff 910 Aqua Flow Filbert Size 8 • Dynasty Black Gold Liner Size 5/0

• Yarka #2 Round Pure Kolinsky Sable MISCELLANEOUS SUPPLIES: • Final Coat Semi-Gloss Varnish

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PAINTING INSTRUCTIONS: PREPARATION: Sealer is not necessary for these smooth ornaments. Using your favorite flat base coating brush, paint one coat of Zinc as smoothly as possible on your surface. Allow to dry. Sand well. Apply a second coat of Zinc in the same manner. Allow to dry. Sand lightly. If thinned paint was applied, add a third coat. A well base coated background is essential to this technique.

STAGE ONE: BASE PAINTING Palette - Winter Blue, Burnt Umber, Forest Green, Black Green, Zinc

Trace the design’s main lines onto tracing paper. Tape the design onto the surface so that it will not move and distort the form and shape lines. Carefully slide the graphite paper under the tracing. Lightly transfer the design onto the ornament. Refer to the transferred design photo to see how much detail is necessary. Also, refer to Stage One base painting photo. This will show where the solid base coat will simply cover the detail to make it unnecessary. Save the background color so the same paint can be used if repairs or clean-up is necessary.

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Helpful Hint: The base painting should be flat and opaque. It will take at least two layers of paint depending on how much water is added to the paint and how transparent the particular color is. Brush over the wet paint to smooth out any ridges. This is the foundation of your painting and it is very important to do a good, smooth job of this stage. Otherwise, the transparent glazes in the next two stages catch on thick ridges and prevent the paint from laying on the surface smoothly. Snow, roof tops, clouds and moon Using the #2 round brush flattened, base paint the moon, largest cloud formation, roof tops and snow with Winter Blue. Leave the path unpainted. Don’t clean the brush. Add a very tiny touch of Zinc to slightly darken the color. Stroke in the birch trees. Don’t clean the brush.

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Buildings Brush mix a small amount of Burnt Umber into the Winter Blue still in your brush to create a medium value of brown. Paint the front of the small house and the entrance way to the church (around the door) using this mix. Donâ&#x20AC;&#x2122;t clean the brush. 1. Brush mix in a small amount of Burnt Umber to darken the value. Paint the face of the church, the front of the steeple and dome and the fence. Donâ&#x20AC;&#x2122;t clean the brush. 2. Add more Burnt Umber to the mix already in the brush to create the darkest value. Paint the side of the small house, the side of the church entrance way, the side of the church and the side of the steeple. 3. Using full strength Burnt Umber, paint in the church door. Four values of brown have been used. Trees 1. Brush mix Forest Green and Black Green to make a medium value. If it is too transparent and does not cover, add a TINY touch of Winter Blue to make it more opaque. Casually stroke in the pine trees. Make certain they are straight. 2. Starting with the tallest, lightest tree next to the church, load the brush with Winter Blue and a touch of Zinc. Paint in the outside edge of the tree. Brush mix in a bit more Zinc and paint the center of the tree blending the two colors together. 3. Use the same procedure to paint the next tree to the left. Make each tree to the left a little darker until the one on the outside edge has no highlight. STAGE TWO: DARK SHADING Palette - One unifying darkest value - Black Green 1. Use the filbert to apply a thin layer of water. The filbert stays flat even with water in it. A round brush naturally wants to go back to its point without the paint in it, to help hold its flat shape.

Helpful Hint: Moisten each area before painting with a clean, damp filbert brush. To moisten - load the filbert with a tiny amount of water and stroke over the area several times to make the water sink into the surface - not sit on the top in bubbles. Tilt the work so that the lights shines onto it. The water should look like satin varnish. Fully load the flattened #2 round brush with the darkest shading color - Black Green. Lay a stripe or strokes of the darkest value of shading in the deepest shadow areas. Soften the edge of the color away from where the shadow needs to be the strongest with a clean, damp filbert. Paint one area at a time, keeping the surface moist. NOTE: If you use floated color techniques instead of this wet on wet method, you will not achieve the same look. The strokes should always be pulled towards yourself. Turn the surface as often as necessary to make this possible. Remember also - the darkest value of shading is painted into the smallest area. The next lighter value of shading (which is a transparent glaze) covers the darkest color and expands into a slightly larger area. This creates a transition from the shading back to the middle value used in the base painting and softens the darkest value. DECEMBER 2019 ISSUE

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2. Using the flattened round brush like a shovel, pick up a small amount of paint and move it to a clean place on the palette. Load the brush with a small amount of transparent paint - not paint thinned with water - full strength paint loaded thinly on the brush. 3. Moisten the area about to be painted again. The first layer of water sinks into the surface. The second layer will stay moist. 4. Using the #2 round brush flattened, apply Black Green to the outside edges of the design, the left and right side of the snow, the bottoms of the trees, the top and bottom edges of the birch trees, the lower part of the moon and the backs of the roof edges. Add moisture, as needed, using the filbert brush. 5. Soften the transition edge - where the paint should fade back into the base painting - so there is a gradual transition. There should be no distinct harsh lines visible. STAGE THREE: SHADOW GLAZING AND TINTING Palette - Cherry Red, Ultra Blue Deep, Burnt Umber - all transparent colors

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Using the same procedure as for applying the dark shading, add the color tints. Apply water first with the filbert and paint with the #2 round brush. Refer to the photo for color placement. These colors are darker than the base painting. They can be used as a medium value shading color, to carry out and balance colors and to add interest to the painting. Start with the red in the sky as it will need to be applied twice. Glaze under the buildings next, on the path, a touch on the roofs, and on the clouds. When dry, repeat the sky. Try to make the color stronger close to the tree tops. STAGE FOUR: HIGHLIGHTING Palette - White Wash, Winter Blue, Burnt Umber 1. Using the liner brush, add touches of Burnt Umber spots on the birch trees. 2. Brush mix Burnt Umber and Winter Blue to create a medium value. Paint tiny round circles (log ends) on the house, church and steeple.

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3. Brush mix White Wash and a bit of Winter Blue. Referring to the photo, add snow - on the trees, roof tops, birch tree spots, on the clouds, tops of trees behind the buildings, the fence and along the path. STAGE FIVE: DETAILS Palette - White Wash, Burnt Umber, Cherry Red 1. Using the liner brush and thin Burnt Umber, add windows, and log lines. Also, add some branch lines in the background trees. Brush mix in a touch of White Wash to lighten the color. Loosely paint in branch lines holding the leaves over the fence. Brush mix Cherry Red, a touch of Burnt Umber and a small amount of White Wash. Paint a few tiny leaves attached to the stem lines. These carry out the red from the rest of the design.

FINISHING:

To give the ornament a little more sparkle and shine, add a thin glaze of the Extreme Sheen Tourmaline Pink over the red sunset. Add Sterling Silver over the brightest snow areas. If desired, spatter lightly with the silver. Apply 6 or more coats of your favorite gloss varnish. My favorite is Final Coat - Semi Gloss. Paint several. They will make great stocking stuffers. From Russia With Love! Enjoy!! NOTE: For more information on brush use and palette set up watch the FREE videos on my YouTube channel. Search for Tricia Joiner.

2. Load the liner with thin White Wash. Add final highlight details to the clouds, moon, tops of background trees, roofs, path and center fronts of pine trees.

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Pattern is actual size. Enlarge or reduce the size to the surface of your choice.

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with

DecoArt® Traditions™ & Galaxy Glitter™ Our affordable, artist-quality Traditions™ paint has a bold new look, now in tubes! Our new Galaxy Glitter™ paint is out-of-this-world! Available at fine retailers and online at DecoArt.com Snowflake Snuggles by Holly Hanley. Visit our website for step-by-step instructions for how this piece was created.

DECEMBER 2019 ISSUE

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Directory of Artists Anita Campanello

Nancy Scott, CDA

anita.campanella@libero.it

Chris Jeanguenat acjeanguenat@gmail.com www.facebook.com/ wanderlustandart/

Cindy Mann Vitale

http://www.nancyscottcda.com/

Sammie Crawford gourdfairy@aol.com.

Terry Holte

tholte@mac.com

cindymannvitale@gmail.com

Effie Caraynannis

Tricia Joiner

effiecarayannis@gmail.com effiecarayannis@optusnet.com.au

triciald@aol.com www.tricias.com

Jan Boettcher Boettchert1@aol.com www.etsy.com/shop/ TurnofthecenturyShop

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Directory of Suppliers Annie Sloan® Chalk Paint www.anniesloan.com/ annie-sloan-products/ chalk-paint +44 (0) 1865 770061 MailOrder@AnnieSloan.com DecoArt® www.decoart.com 606-365-3193 Delta Ceramcoat® www.plaidonline.com/ brands/delta/delta-ceramcoat 1-800-842-4197 Dick Blick® Art Supplies www.dickblick.com 1-800-933-2542 Dollar Tree® www.dollartree.com

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

Doug Fredrickson pinecraftinc@yahoo.com

Hobby Lobby www.hobbylobby.com

Royal Langnickel Art.royalbrush.com 219-660-4170

Hofcraft www.hofcraft.com 1-800-828-0359

Scharff Brushes http://artbrush.com/shop/ home.php

Kaisercraft www.kaisercraft.com.au

Tricias www.tricias.com Tricia Joiner 603-425-7869 TriciaLD@aol.com

Lowe Cornell Brushes www.lowe-cornell.com 866-227-9206 Pine Craft, Inc. 16085 SE Webster Milwaukee, OR 97267 503-653-8266

PAINTING WORLD MAGAZINE

Viking Woodcrafts is proud to announce that we are going to be unveiling a new website soon. But that is not allâ&#x20AC;¦ We will not only have updated inventory but we will be rolling out new designs in the year to come. We have teamed up with some great artists and designers. Painting World Magazine will offer a new painting subscription box that will feature a Viking Woodcraft surface. Artists contact Viking about your next book!

vikingwoodcrafts.com DECEMBER 2019 ISSUE

St. Nick nâ&#x20AC;&#x2DC; Santini By Cindy Mann Vitale