SUMMER - 2017
Butterfly in white Playing with sponging paint, spraying with water, and allowing the paint to drip. by LIZ MILLER
CDA
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Pre si d e n t’s L e t t e r Dear fellow SDP members,
Official publication of the Society of Decorative Painters
In recent years, we have experienced a lot of change – so much that this is not the first time I am addressing it. Changes the Board of Directors and staff have made are all in the best interest of the membershipat-large and the health and longevity of our community. Despite the manner of doing things differently, it’s important to remember the staples that make the Society of Decorative Painters what it was and what it always will be.
SDP BOARD OF DIRECTORS EXECUTIVE COMMITTEE Kathy Swigon President
CDA
Kaye Singer Vice President/President Elect Linda Sharp CDA Recording Secretary Susan Herr Treasurer Wendy Watson Past President
ADP
BOARD MEMBERS-AT-LARGE Marilyn Corners MDA Michele L. Heiser Toni M. Hoffer Pat Marler Jeanie Miller Susan Phillips See page 4 for board member contact information. SDP PUBLICATIONS STAFF MANAGER, MAGAZINE & GRAPHIC DESIGN Sheryl Born (ext. 119) sheryl@decorativepainters.org ASSISTANT EDITOR Nanette Hilton DP EDITOR EMERITUS Mary Jo Leisure mda, tda SDP STAFF EXECUTIVE DIRECTOR Shelly Cannady (ext. 109) shelly@decorativepainters.org MANAGER, MARKETING & PUBLIC RELATIONS Kristen Farrell kfarrell@afci.global MANAGER, CONFERENCE & MEMBER SERVICES Miho Halsey (ext. 121) miho@decorativepainters.org COORDINATOR, CONFERENCE & MEMBER SERVICES Jordan Southern (ext. 104) jordan@decorativepainters.org ADVERTISING SALES Darlene Ryan darlene@fwpi.com (800) 344-0559 / (315) 789-0458 THE DECORATIVE PAINTER Issue Date: May 2017 Volume XLVI/Summer The Decorative Painter is published quarterly. Printed in the USA PUBLISHER Society of Decorative Painters 1220 E. First St. Wichita, KS 67214-3907 (316) 269-9300 / fax (316) 269-9191 sdp@decorativepainters.org www.decorativepainters.org PRINTER Fahy/Williams Publishing, Geneva, NY USA ON THE COVER Butterfly in White Liz Miller cda Photo/Steve Gerig DECORATIVEPAINTERS.ORG
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One staple that we anticipate and enjoy every year is our convention. In May, many of us will travel to Daytona Beach, Florida to paint, shop, share ideas, develop skills, explore, and gather at many social events, including our Annual Meeting. You will elect new Board officers, voice your opinions, and hopefully get involved to support the growth and future of our membership. Another staple is The Decorative Painter – your source of inspiring, educational, fun, and beautiful projects designed by fellow members. Whether a project is traditional or contemporary, whimsical or strokework, oil or acrylic, it is an individual’s artistic expression that is shared to teach and inspire – something we encourage and appreciate. A third and most importantly, we are a community for painters and aspiring artists widely represented by our members and chapters located throughout the United States and the world. Our members are often ambassadors of decorative painting and excel by serving their neighbors through service and friendship. Change is inevitable, but our mission and values will always be at the forefront of everything we do. It is hard to believe my term as president is coming to an end. I am looking forward to staying involved, like many of you are, by being active in my chapter, attending conventions, sharing my thoughts, and continuing to paint.
Sincerely,
Kathy Swigon cda SDP President, 2016-2017 MISSION
We are a global community for painters and aspiring artists to share ideas, develop skills and participate in a fun, creative environment. We recognize diversity and excellence in all styles of painting. The Decorative Painter • SUMMER 2017
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The Decorative Artist’s Ultimate Information & Creative Source
ON THE COVER Butterfly in White Liz Miller cda
PROJECTS & LESSONS
16
41
16
Tuscan Holiday Acrylic—Diane Trierweiler
23
Butterfly in White Acrylic—Liz Miller cda
28
Silver and Strawberries Still Life Oil—Mary Kingslan Gibilisco cda
36
Signs of Spring Acrylic—Avis Poyhonen cda
41
Surprised! Caught in the Act Color Pencil—Paula Leopold cda
47
The Raven Mixed Media—Willow Wolfe
51
Posy Puzzle Acrylic—Elaina Appleby
57
Melt My Heart Oil—Helena Rizzaro Andrejev
65
Flip Flop Fiesta Acrylic—Judy Westegaard-Jenkins cda
74
Angel Weather Vane Oil—Mary Jo Leisure mda Acrylic—Prudy Vannier cda
79
Bellona Metalmark and Wild Orchids Oil—Sherry C. Nelson mda, tda
87
Her Majesty Watercolor—Catherine Bonnie Jones
The Society of Decorative Painters is an organization whose membership of approximately 10,000 stretches across the United States and through nearly fifty other countries around the globe. More than two hundred affiliated chapters actively promote decorative painting in its many forms by incorporating it into community service projects, organizing painting-related activities, and raising general awareness of the art form. SDP publishes the industry’s leading magazine, The Decorative Painter, and hosts the world’s largest annual decorative painting show. Visit us online at WWW.DECORATIVEPAINTERS.ORG.
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The Decorative Painter • SUMMER 2017
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Contents S U M M ER 2017
47
FEATURES 1
President’s Letter
5
Society Update Make the Most of Your Membership Upcoming Conferences
7
Show and Tell Barbara Bunsey Sandy Aubuchon cda
SDP NEWS 4
Board of Directors
8
Chapter Happenings
10
In the Teacher’s Corner
11
Certification Corner
12
Business Corner
13
Fundamentals of Decorative Painting
14
In Memory
15
Skill Builder—Prudy Vannier cda
16
Projects
92
New Products
96
Advertisers Index
57
87 Issue Date—May, 2017: The Decorative Painter (ISSN 1096-3278) (USPS 015-823) is published quarterly by the Society of Decorative Painters, 1220 E. First St., Wichita, KS 67214-3907 • Periodical postage is paid at Wichita, KS, and additional mailing offices. POSTMASTER: send address changes to The Decorative Painter, 1220 E. First St., Wichita, KS 67214-3907, phone (316) 269-9300, fax (316) 269-9191. Allow six weeks. CANADIAN SUBSCRIPTIONS: Canada Post Agreement Number 7178957. Send change of address information and blocks of undeliverable copies to The Decorative Painter, 1220 E. First St., Wichita, KS 67214-3907. SDP@DECORATIVEPAINTERS.ORG • COPYRIGHT © 2017 Society of Decorative Painters. The Decorative Painter is a membership benefit of the Society of Decorative Painters and is its official publication. It is not for sale to nonmembers. $40 of member dues is for an annual subscription to The Decorative Painter. • Designs in this book are for use by SDP members and may be used for personal fun, teaching, and pin money. Attention photocopy retail personnel: Permission is granted to photocopy and/or enlarge the designs in this magazine for teaching and personal use. Any other mechanical reproduction in whole or in part is permitted only with written consent of an authorized representative of The Decorative Painter. • The Decorative Painter is not responsible for errors and/or omissions in columns, projects, articles, and/or lesson text. • Trademarked names appear throughout this magazine. Rather than list them and the entities that own them, or insert a trademark/registration symbol with each mention of the trademarked name, the publisher states that it is using the names only for editorial purposes and to the benefit of the trademark owner with no intention of infringing upon that trademark. • Obtain information about The Decorative Painter content, advertising, circulation, and membership from SDP, 1220 E. First St., Wichita, KS 67214-3907, (316) 269-9300, fax (316) 269-9191, email SDP@DECORATIVEPAINTERS.ORG. DECORATIVEPAINTERS.ORG
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When Witches
go riding &
Black Cats are foseen,r It’s almost time
OKC Painting Palooza
& Halloween
BOARD OF DIRECTORS
October 23-28, 2017
Kathy Swigon CDA
Kaye Singer
President 207 S. Woodlynne Ave. Tampa, FL 33609 KSWIGON@YAHOO.COM
Vice President/President Elect P.O. Box 1460 Pahrump, NV 89041 KAYESDP@KJS-ASSOCIATES.BIZ
Marilyn Corners MDA
Michele L. Heiser
Linda Sharp CDA
Recording Secretary 8957 Frasure Falls Ave. Las Vegas, NV 89178 LINDASHARPCDA@GMAIL.COM
Susan Herr
Treasurer 338 East Lakeshore Dr. Sunrise Beach, TX 78643 SKHERR09@GMAIL.COM
CONTACTS: DARLA - 405.203.0991 JANETTE - 405.642.0603 OKCPAINTINGPALOOZA.COM
Os Seminar at Vesterheim, Decorah, Iowa
July 22-26. 2017 Several Os project to choose from. Contact Vesterheim @ (563) 382-9681
#179 Numedal Cream Carafe
1763 S. Leyden St. Denver, CO 80224 MARILYN.CORNERS@GMAIL.COM
604 Lazy Ln. San Marcos, TX 78666 KIKIRAINE@EARTHLINK.NET
Toni M. Hoffer
1400 Old Bartow Eagle Lake Rd. #1214 Bartow, FL 33830 DOLLFIN27@MSN.COM
Pat Marler
6525 W. Fairfield Ave. Boise, ID 83709 PAT.MARLER1@GMAIL.COM
Packet: $8.00 Wood: $48.00
#350 Numedal Spindle Tray Packet: $8.00 Wood Tray 10 x 16: $39.50
Jeanie Miller
6512 N. 28th St. Phoenix, AZ 85016 JLOUPAINTER@GMAIL.COM
Susan Phillips
18333 W. Denton Ave. Litchfield Park, AZ 85340 ONESUZZYQ@YAHOO.COM
Wendy Watson ADP
Past President 143 U.R. Lost Rd. Blanco, TX 78606 WENDYSREDDOOR@EARTHLINK.NET
Gayle’s Art Enterprises Gayle Oram, 541-726-8093 gayle@gayleoram.com www.GayleOram.com
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The Decorative Painter • SUMMER 2017
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society update
Linda Sharp, CDA, Presents
MAKE THE MOST OF YOUR MEMBERSHIP
Up, Up and Away Online E-Course
Are you taking full advantage of your benefits? New opportunities add over the past two years to increase the value of your membership are:
Come fly with me! Let’s get away to a time gone by and do some whale watching from a hot air balloon.
ACCREDITED DECORATIVE PAINTER (ADP): This new entry-level track to
our Certification Program to give more members the ability to learn and become a certified artist. ONLINE VIDEO LIBRARY: New content was added, consisting of everything from one-minute tip videos to demos and complete lessons with instructional material, to give members exclusive access to more projects and education. DISCOUNTS: New discounts, including discounted rates to subscribe to Interactive Artist Magazine, and on hotel rooms through HotelStorm. View the full discount list in the member-only section of our website. CHAPTER TOOL KIT: New tools were added and resources for chapters to help them grow locally. More resources are currently being developed to add to the Tool Kit soon. THE DECORATIVE PAINTER: The magazine was given a refreshed look and includes member-requested artists. A readership survey will be conducted this fall to get more input from the membsership on how we can continue to improve the publication. The society wants to encourage it’s members to send their recommendations on how we can improve the value of your membership, please email them to sdp@decorativepainters.org.
Includes video instruction and full written tutorial.
Linda Sharp CDA • lindasharpcda.com • 925-784-2530 linda@lindasharpcda.com • facebook.com/lindasharpcda
Painter’s Palette Art School Fine Art Supplies Classes for Adults & Children Workshops with Award Winning guest Artists 205 Public Square • Berryville AR 72616 painterspaletteartschool.com Lynne@painterspaletteartschool.com 479-586-4868 Cell • 870-505-4064 Store
Lynne Crow Artist/ Instructor
LINE ART ONLINE!
Did you know the individual Step-by-Steps and line art of all projects in The Decorative Painter can download from our website for free? Log in to the members-only section at decorativepainters.org to view our digital edition and download the materials you need to paint.
ANNUAL MEETING
Our Annual Meeting will take place on Thursday, May 18, 2017, from 9 a.m. – Noon at the Ocean Center Convention Center in Daytona Beach, Florida. Gather with your fellow members from all over the world and vote for new Board officers. Board candidate information was published in the last issue of The Decorative Painter and is also available on our website. Remember to bring your membership card printed out or show us the electronic version saved on your smartphone to receive a ballot.
DECORATIVEPAINTERS.ORG
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society update
UpcomingCONFERENCES
Mark your calendars and make your plans!
Thank you for your support in 2016! Acrylic Painting Bee Heart of Ohio Tole Chapter, Inc (Hoot) OKC Painting Palooza
SAVE THE DATE
Join our various chapters and partners at one of our upcoming conferences near you: 5/16/17 – 5/20/17 45TH ANNUAL SOCIETY OF DECORATIVE PAINTERS INTERNATIONAL CONFERENCE & EXPO “OCEANS OF COLOR” Ocean Center Convention Complex — Daytona Beach, Florida 8/14/17-8/19/17 HEART OF OHIO TOLE CHAPTER’S 37TH CONVENTION “COOKING UP SOME PAINTING FUN” Arena Hyatt Regency Columbus Hotel & Greater Columbus Convention Center Columbus, Ohio 9/13/17 – 9/17/17 RAINDROP CHAPTER’S DECORATIVE PAINTER’S CONVENTION AND EXPO Holiday Inn, Portland Airport — Portland, Oregon 1/18/18 - 1/22/18 CREATIVATION Phoenix Convention Center — Phoenix, Arizona 5/8/18 - 5/12/18 46TH ANNUAL SOCIETY OF DECORATIVE PAINTERS INTERNATIONAL CONFERENCE & EXPO “BACK TO THE BEACH” Ocean Center Convention Complex — Daytona Beach, Florida
SDP has
moved
Ocean Center Daytona Beach Daytona, Florida
Back to the Beach Lor
46th Annual
Society of Decorative Painters International Conference & Expo
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REMEMBER OUR NEW HEADQUARTER’S ADDRESS
Mail your requests for all projects, patterns, and anything else you are sending to our office to our new address. As of this summer, we will have been in our new location for one year, which means mail sent to our old address will no longer be forwarded to our new address.
OUR ADDRESS IS: 1220 E. First St., Wichita, KS 67214-3907.
The Decorative Painter • SUMMER 2017
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&Tell
Show
New England Traditions
BARBARA BUNSEY DEMONSTRATES “COUNTRY TIN PAINTING” Painting on tin and interpreting the designs created by the artists in the families of the tinsmiths of the 19th century is one of Barbara Bunsey’s favorite things to do as well as share it with others whenever she can. The St. George Tucker House, in Colonial Williamsburg, is an original 18th Century home and a hospitality house for donors to the colonial capital where artisans share their skills several times a week. About 12 years ago, Barbara asked if they might be interested in her demonstrating country tin painting” and they said “Yes!” Every year, when she visits in December, she takes several hours out of her day to do a demo. Barbara has met some very interesting people from around the world who have asked great questions and have been so kind and interested in our artform. In 2016, Barbara had the honor of painting an ornament for the Christmas tree at the DeWitt Wallace/Abby Aldrich Rockefeller Folk Art Museum, which is covered with folk art ornaments. Mrs. Rockefeller was a collector of contemporary and folk art and the museum was started with part of her collection.
TEACHING DECORATIVE PAINTING IN CHINA
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Our 19th year!
Join us for New England’s premiere decorative painting experience... Great Teachers, Great Classes, Great Shopping, Fall Foliage & more!
Several years ago Sandy Aubuchon cda had the opportunity to teach decorative painting in Beijing, China. Never in her life did she believe this would happen to her. The painters in China have more stroke painting practice and this made Sandy feel that this was going to be challenging but, but it ended up being fun. Students came from all over China, interested to learn new techniques from Sandy. Questions came from all directions. This group was excited to learn. All her students were beautiful stroke painters and caught on to new techniques quickly. Chinese stroke painting is very different than U.S.; they use a very soft bristle round brush. Many of the brushes we use, in the U.S., such as synthetic, flats, filberts, fans, etc., were totally new to them. Sandy’s students were hard workers, working from morning til evening. Second best would not do, but working on a new stroke or technique until they perfected it was their habit. Toning down a color was difficult for them because the Chinese love bright, brilliant colors. Many painters wanted to apply for the Society’s Certification program immediately. One of Sandy’s students passed her CDA in two years.
DECORATIVEPAINTERS.ORG
October 3–8, 2017
NEW for 2017 ALL UNDER ONE ROOF! Shop in your slippers! Painters: Free ONLINE eCATALOG! Join, Like & Share us on Facebook! Businesses: Reserve your premium spot! Teachers: Thank you for your creativity and dedication to NET!
NewEnglandTraditions
.org
All inquiries to Robin Prout, NET 2017 Chair chair@newenglandtraditions.org Sponsored by the New England Chapters Council, Society of Decorative Painters 2017 artwork by Lynne Andrews ©2016 NECC
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We are
EXCITED about the wonderful happenings of our SDP chapters. Please let us know about your programs. Send information and photos to: SDP@DECORATIVEPAINTERS.ORG
Chapter Happenings COMMUNITY SERVICE
The Brushing Violets Decorative Painters – Clinton, New Jersey
The Brushing Violets painted cloth bags and filled them with coloring/ activity books, crayons, colored pencils, and pens along with various other items donated by chapter members. The bags were presented to the Children’s Specialized Hospital, one of the nation’s largest pediatric rehabilitation and specialty hospitals renowned for its excellent outcomes and compassionate care. The members began painting the bags with fun age-appropriate designs at their March meeting,six months before delivering them to the hospitla, with the chapter providing a pizza lunch for those in attendance. It made for an even more rewarding day when the painters learned that one of their member’s husband had been treated in this hospital as a boy.
LOU WALSH, 90 YEARS OLD – ACTIVE AND ALWAYS INSPIRING OTHERS
In June of 2016, two chapters, Orange Blossom Decorative Artists (OBDA) and Hudson Valley Decorative Tole Painters (HVDTP), celebrated Lou Walsh’s 90th birthday. Lou has been an active member since the inception of OBDA and is also an active founding member of HVDTP. She means the world to each and every chapter member. Lou Walsh Having held many board and committee positions over the years, Lou has been the HVDTP co-president as recently as 2013. That same year she introduced a program of monthly art talks, which proved informative and enriching. She is the liaison with the Town of Cornwall and secures the meeting space for its regular meetings as well as special occasions. Lou continues to frequently share information that helps members of both chapters keep abreast of art news, events, exhibits, painting tips, and special techniques. It has become a tradition for Lou to open the annual luncheons for both the Orange Blossom Decorative Artists and the Hudson Valley Decorative Tole Painters with an inspirational message that ties in with the luncheon themes. Lou Walsh is a pillar of support for both SDP chapters. We are very grateful and honored for her membership, her abundance of kindness and encouragement, her knowledge, and her wonderful sense of humor and are honored because Lou Walsh is our friend.
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Jean Hansen Publications
SHARING THE LOVE OF PAINTING Rocky Mountain Hi Chapter – Denver, Colorado
The Rocky Mountain Hi Chapter of the Greater Denver area has recently been given an opportunity to share our love of painting with a wonderful group of people. The Brain Injury Alliance of Colorado, a nonprofit organization which offers various assistance and support to those suffering from brain injuries, aligned with our chapter to teach painting classes to any of their clients who are interested. It has turned out to be a wonderful win-win situation for both BIAC, their clients, and the Rocky Mountain Hi chapter members. Currently we are teaching at the BIAC facility twice a month on a strictly voluntary basis, with up to six members giving their time to assist, coach, and encourage the clients. Our class limit is 10 students, and the range of client disability runs the gamut from some who are barely able to hold a brush or pencil to those who are very capable and amazing artists. It is such a thrill for us to witness the joy exhibited by these wonderful people when they paint and their excitement with their finished products. Regardless of the student’s amount of detail and refinement, or lack thereof, they are delighted. Their appreciation is abundant and their eagerness for “more” is energizing for our members. We absolutely love spending time with them. Our first lesson was making Shrinky-dink name tags, using patterns from a myriad of sources, such as coloring books, magazines and pattern books. Some of the clients drew their own designs and some of our members drew designs for them, using their suggestions. They used colored pencils and the results were awesome. We suggested they leave the name tags in the classroom, but they were so thrilled with their work, they wanted to take them home for show and tell. One of our lessons involved using oil pastels on black construction paper. Our members had previously drawn flowers, using Elmer’s glue as a resist outline. The students filled in the petals and leaves with their own choice of colors and blended the chalks to create a dramatic painting. We slipped these into mats and they suddenly became masterpieces! It was so much fun. Another lesson was a perspective painting, again using oil pastels, to create a desert scene with sky and clouds, hills and cactus. This lesson allowed the students a lot of individuality and creativity. It also offered information and insight about how to create a picture showing distance, background, mid and foreground. The Rocky Mountain Hi chapter has, through the years, engaged in various make-it take-it classes with residents of assisted living facilities and at local libraries. These have been fun and rewarding experiences for our members and the participants, but our current involvement with BIAC is proving to be our most fulfilling endeavor so far.
DECORATIVEPAINTERS.ORG
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Your source for all your stenciling needs
The Peony No. 119
Available in 5 x 7, 8 x 10, 11 x 17, 18 x 24
www.jeanhansen.com (603)986-6646
The Decorative Painter • SUMMER 2017
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In the Teacher’s Corner
Share Your Passions - Teach
CHERI ROL MDA Teaching is a passion. Your passion may be reading, math or woodworking, where mine is painting. You will most likely never get rich at it, but sharing what you love with others will fill your heart with blessings and students will become your friends. Teaching turns into a learning experience for both teacher and student. Getting started is the biggest hurdle. I remember worrying about the students asking questions that I didn’t have the answers to. It doesn’t hurt to acknowledge that you don’t know the answer. Just assure the student you will have an answer by the next class. Start small and be friendly. Your students will spread the word and your classes will grow. Treasure the students that gather; make them feel welcome and always be encouraging. Keep your palette simple, especially for beginners. I use six basic colors. Among a few colors a rainbow of colors exists. I organize my palette with pure colors across the top in the order they appear on the color wheel. Encourage the students to work on a palette pad made for oil paints. I suggest to my students they cover their palette at the end of the session with clear plastic wrap. When the student has finished the project I recommend they cover the palette and put it with their notes for further reference. Mixing paints can be a challenge for your students, but with the use of a palette knife with a bend in the handle, (I recommend a Langnickel P-1) the task is much easier. When it comes to brushes, you want each student to have his/her own. A few good brushes, which cost a little more, will always give better results than a bunch of inadequate brushes. Nothing discourages a student faster than a brush that is not capable of doing the task you want it to. Basically there are three types of brushes in many different styles. For example: blenders, droplets, and mops. There are a few specialty brushes that are designed for use with special projects. Your beginner class needs to be easy. High success rate for first time painters is a must, especially when you want them to come back. In choosing a project for your class, decide what they need to learn: ■ How to prep a smooth surface ■ How to seal a wood surface ■ How to work on a light colored acrylic prepped surface ■ How to work on a dark colored prepped surface ■ How to work on a stained-wood background ■ How to make a stain using your oil paints ■ How to antique or create value change with the stained background
■ How to transfer a design using white or grey transfer paper ■ How to use a C-thru ruler ■ How to create and blend colors
If you use another artist’s designs, be sure to get the artist’s permission. Everyone’s copyright rules are different. Always teach your students to respect another’s artwork. When I focus on teaching beginners I like to include lessons on basic shapes. This goes along with my idea of my students being able to apply this information to other projects. Everything around us begins with a sphere, a cone, a cylinder, a cube, or a combination of these. So a beginning lesson of a flower in a round (sphere) vase seems simple, but with this lesson your students will learn how to shade a sphere so it takes the shape and looks dimensional. Value change is the key to making an object look real. Inspiration is all around you. Drawing your own designs is a wonderful way to learn. Look around at the things you collect or display in your studio or home; these are your favorite things. This is the best place to get ideas that create passion and inspire you. Your teaching space doesn’t need to be big, pretty, or expensive. It should to be clean with good lighting. Also, it should have comfortable chairs and reasonable table space for each student. If you don’t have good ceiling lights, have each student bring an Ott light. My classroom was built by my husband, Larry. It was designed with my students in mind. It also has a camera system that projects what I’m painting onto a flat screen TV mounted to the wall. This system is especially good when there are many students. For a small class I still like to sit in a circle with them up close and personal. Regardless of how you teach – at an easel, on camera, etc. – it is a good thing to invite your students to come and watch over your shoulder. Also, interaction with your students is very important. Walk around the room so you can see their work from their perspective. When a student asks a question about their painting, ask them what they think. “What do you like? What don’t you like?” Then make a suggestion such as: “If it were mine I’d – or – why not try?...” Remember, everyone’s tastes, likes, or dislikes are different, so no two paintings will be exactly the same. The best advice to a student is that they go home and paint the lesson again on a different surface. Repetition is the best way to learn something.
TEACH AT OUR 46TH ANNUAL SOCIETY OF DECORATIVE PAINTERS INTERNATIONAL CONFERENCE & EXPO! SAVE THE DATE! May 8-12, 2018 at the Ocean Center in Daytona Beach, FL Teaching a class at our annual conference is an opportunity for you to reach engaged artists and painters of all interests and skill levels. Benefits include free conference registration, increasing the exposure of your teaching services and more! To submit a class and for more information, contact Miho Halsey, Manager, Conference and Member Services, at (316) 269-9300 x121 or MIHO@DECORATIVEPAINTERS.ORG.
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Certification Corner
Life Happens! Don’t Quit! MARIAN JACKSON MDA It took me a long time to get my Master Decorative Artist (MDA). Why? Well, life happens. I passed my Certified Decorative Artist (CDA) in 1981. I was working part-time and teaching six classes a week. I tried the Master Floral and did not pass. Time crept by and before I knew it, it was 1989. I had always enjoyed learning and realized I was not stretching myself, so I took a year and painted only strokework pieces, entering the Master Stroke Tray. I passed the first time. Sadly, later that year, my husband died and life came to a screeching halt as I struggled to survive with no family in this country. My painting family/friends stepped in to help. Fast forward seven years! I’m married to a wonderful man with two small children. We moved. Oh my, moving sure does bring to light the hidden stashes. John patiently packed and unpacked all my stuff, then wondered why I was NOT painting. So I plunged into the Master Floral again, and passed this time. Just one to go! I ordered the designs every year and even started a still life one year. I didn’t finish it because I got shingles in my shoulder and right arm and couldn’t hold a brush. There were other reasons/excuses I didn’t enter. Some years I didn’t like the design. What foolishness! Looking back, there was always something. A dear friend pointed that out to me and I realized how very true it was. Losing momentum often leads to quitting, but that need to learn and challenge myself was still strong, so I buckled down, put in some serious study time and determined to put myself at the top of the list instead of the bottom. I was getting older, but time was going to pass whether I entered or not so I vowed to enter every year, whether I liked the design or not (after all, it’s just shapes when you break it down!) and no matter what life threw at me, I was going to send in a board. That meant allowing more time for a start. I planned during the summer and by December had my color scheme and center of interest worked out. I knew exactly where I was going to go. (A bit like a road map on a journey.) I painted three years in a row getting a 65%, 70% and finally, passing with 80% in 2005. The really interesting thing was that with the guidance of the critiques and maps, each year it was easier. I hadn’t realized the importance of not losing momentum and building skills by study and practice. I was never a quitter but I lost sight of the goal now and again. The learning process was exciting and the Certification Program pushed me far beyond my comfort level but I could see growth after each entry. We paint what we like, and we take seminars to learn and grow but it must be used and practiced to maintain growth. So if I can convey anything, it’s don’t wait. Start now and just do it. We have a series of videos for you to study, numerous eZines containing lots of articles, and photos of boards to study with helpful comments to help you see. There’s still time and I can’t begin to tell you the feeling of satisfaction and accomplishment when your name is announced. So, what are you waiting for? Stop by the Certification booth at Conference and we will be happy to answer any questions you have about our program.
❝Never too late! Frieda Lefeber, now 101, got her first-ever solo art exhibit at 100. Frieda began taking art classes at age 76 and earned a degree from the Pennsylvania Academy of the Fine Arts at age 83. ‘I had no idea I could paint,’ she says.❞ — Growing Bolder DECORATIVEPAINTERS.ORG
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Join the Quest for Excellence 2017 Certification
Call for Entries
The Certification Committee invites all SDP members to explore their artistic potential and their passion for decorative painting, while developing and learning the skills needed to enhance the art form.
MASAMI YAMADA MDA — MDA Floral 2015
LEVELS CERTIFICATION
ACCREDITED DECORATIVE PAINTER
designation is the first step.
CERTIFIED DECORATIVE ARTIST
designation is the second step.
MASTER DECORATIVE ARTIST is the
third step. After an applicant has received a CDA designation, he or she may submit artwork for an MDA. Call (316) 269-9300 for more information on the Certification program.
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Business Corner
Life on the SDP Exhibit Hall by Prudy Vannier CDA
A
Email: KATIE@BEARWITHUSINC.COM Website: WWW.BEARWITHUS.COM 1331 Green Forest Ct. #16 Winter Garden, FL 34787 T: (407) 347-5939 F: (407) 369-8353
The Bear With Us warehouse is open to the public when they aren’t on a trade floor somewhere. The booth comes back to the warehouse after each show and is set up until the next trip. If you are in the Winter Garden neighborhood, be sure to stop in. Call to make sure they are home – (407) 347-5939.
nyone who has been at an SDP Conference knows the anticipation and thrill of opening day on the trade floor. As the line lengthens and doors open to allow vendors into their booths, we peer in, hoping for a sneak peek of new products and locations of our favorite booths. The anticipation is unbearable! When the clock strikes the hour, we surge through, going left or right, taking in all of our favorite exhibitors. This article is about what it’s like to have a booth space in the SDP Conference Expo. In describing life on the trade floor and what it takes to get there, I’m featuring one of everyone’s favorite long-time SDP businesses, Bear With Us, Inc., owned by Katie and Bob Van Horn. Bear With Us’ home base is in Winter Garden, Florida. Bob Van Horn works to provide unfinished wood turnings, wood cutouts and ornaments either by scroll saw, laser cutting, or importing. They have plates, candlesticks, brass charms, and pattern packets from some of your favorite SDP teachers and artists, just to name a few of the irresistible items in their inventory. Every visitor to the trade floor winds up in the Bear With Us booth at some point. No one can resist! Bear With Us, Inc. began in 1983 in Missouri by Bob and his dad. Their first SDP Conference was in Dallas in 1988 with three cutouts: a bear, a
gingerbread man, and a goose. Since then, they are a familiar sight each year, usually located at the side or end of the trade floor where their four to five booth spaces can be accommodated in a neat, long row. Bob and Katie estimate they have produced and sold over 35 million cutouts in their years of business at conventions. Bob drives his vast inventory in a large box truck, putting about 25,000 miles on it each year. Katie goes with him when possible, but for the longer treks she stays home to operate the business and then flies to catch up. They hire four to six people who join them at shows, taking two full days to set up, and after the show opens, at least three people oversee customer check out while Bob handles inventory and questions. At day’s end, it’s dinner and bed, although a couple of evenings are always reserved for a pizza party or ice cream social with other SDP exhibitors, who have become close family over the years.
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Invaluable Values PART 2 OF A 2-PART SERIES by Nanette Hilton
T
here are many ways to create value change in your paintings, depending on your medium. For example, “grisaille” is a centuries-old technique for creating a painting entirely of grayish values and was employed by Old Masters, like Italian Renaissance painter Giotto di Bondone, in their oil paintings as an undercoat to transparent layers of color. The concept is of particular interest since it underscores the value of value. (Yes, it’s easy to get tripped up in terminology so stay on your toes!) Painting techniques for creating value change include brush blending, which is highly achievable with slow-drying oil-based mediums and less so with fast-drying water-based mediums. Layering of value is another successful technique used in all mediums. Layering techniques for water-based mediums include a common decorative painting term: sideloading, (a.k.a. floating) which means to apply a differing value atop an underlying value so that on one edge of the brush there is significant paint as it bleeds to nothing but water on the opposite
Email: nanettehilton@gmail.com Website: nanettehilton.com Facebook: www.facebook.com/ nanette.hilton
side of the bristles – usually done with a flat or angle brush, but sometimes with a filbert. Water vs. paint management is the key to success with sideloading. My design, “Magnolia Swan,” in the previous issue of The Decorative Painter, employs this technique. Over the past 15 years or so, dry-brushing has become a more popular layering method for creating value change in decorative art. Since it doesn’t require the tricky water-paint balancing act, many painters find it easier than sideloading when using water-based mediums. Very little paint (dry brush) of graduating value or amount is “scrubbed” onto the area of focus in less and less area to achieve value gradation – usually done with a mop or round blender brush. This is the technique traditional stenciling employs. Stippling, crosshatching and smudging are also age-old techniques for creating value change. These are good practice techniques for you to use when studying the basic principles of value placement. Stippling uses dot distribution to create value change. As we work toward the future, enjoying our creative process while adding to the world’s cache of hand-painted treasures, may we each strive to keep our values in order. Example of stippling
Magnolia Swan, by Nanette Hilton published in The Decorative Painter, Spring 2017. DECORATIVEPAINTERS.ORG
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In Memory Robin Agriesti, an SDP member since 1982, passed away in 2016. She resided in San Jose, Calif. Shirley Bauhaus, an SDP member since 1988, passed away in 2016. She resided in Santa Barbara, Calif. Joyce Brundage, an SDP member since 1986, passed away July 13, 2016. She was a member of the Indy Decorative Artists and served as president and held many other positions. She resided in Fairborn, Ohio. Kymberie DaMet, an SDP member since 2001, passed away in 2016. She resided in Palm Harbor, Fla. Julia Dunkman, an SDP member since 1979, passed away December 8, 2015. She was a member of the Indy Decorative Artists and was a much loved teacher. She resided in Wanamaker, Ind. Brenda Jansen cda, passed away on December 13, 2016. She was a member of the Gateway Decorative Artists of Greater St. Louis chapter. Brenda was the former owner of Creations Unlimited. She authored several instructional books and traveled around the world teaching. Her work was internationally known and won several awards. Elizabeth Maguire, an SDP member since 2011, passed away in 2016. She resided in Naples, Fla. Kimberly Norman, an SDP member since 2010, passed away in 2017. She resided in Naples, Fla. Harriett Parrish, a member of SDP since 1976, passed away February 16, 2016. She was a longtime member of the Middle Tennessee Decorative Artists chapter. She resided in Hendersonville, Tenn. Terry Perniciaro, an SDP member since 1974, passed away in 2017. She resided in Lawrenceville, N.J. Marie Sakellarion, an SDP member since 1987, passed away in 2017. She resided in New Salem, Mass.
Bobby Schultz, an SDP member since 1992, passed away on April 2, 2016. She was a charter member of the San Gabriel Valley Tole and Decorative Artists (SGVTDA). Bobby touched many people through the years and was a very memorable personality to say the least. If you had the chance to paint with Bobby or join her at HOOT or any of the other seminars and conventions she attended you would likely remember her. She had a laugh that filled the room. She loved to wear cute, silly hats and could be counted on to wear jewelry appropriate to the holidays. Over the last 25 years, Bobby was an active member, board member, and tireless volunteer for SGVTDA. She was always generous and donated her time, painted objects, and donated money for causes to support the chapter. She led our programs to teach us new techniques, one of which was her beautiful roses. Everyone wanted to learn how to paint “Bobby’s” sweet little roses. She coordinated displays in local libraries to promote the art of decorative painting and put on the craziest themed events for member rewards parties. The beautiful painting supplies that were such a part of Bobby’s life have been shared with our members through the generosity of her family. We will miss you dearly, Ms. Bobby. She resided in Arcadia, Calif. Martha Shipman, an SDP member since 1977 and founding member of the Middle Tennessee Decorative Artists chapter, passed away January 19, 2016. The very first meeting of MTDA was held at Ms. Martha’s shop. She resided in Lebanon, Ohio. Jane Wittes, an SDP member since 1993, passed away August 30, 2016. She lived in Ohio for many years before relocating to Las Vegas, Nev. and joining the Silver State Tole and Decorative Painters chapter. She resided in Las Vegas, Nev.
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SKILLBUILDER
STEP 1
CREATING FAUX METAL
by Prudy Vannier cda Metal – whether tin, brass, silver, or another – is a traditional surface for decorative painters. A metal piece is also a common addition to a still life setup. In this issue, you will find Mary Jo Leisure’s Angel Weather Vane on page 74. The original surface for the apple design is an aged metal weather vane. Metal has a base color depending on what it is, but also lots of subtle colors that come with age and use. You can even float in colors that create dents and abrasions. All of these subtleties make metal an interesting surface for decorative art, or a subject that’s part of an overall design. Below, you will see how that look was duplicated on the angel-shaped wood piece.
Email: PRUDYSSTUDIO@YAHOO.COM Facebook: WWW.FACEBOOK.COM/ PRUDYSSTUDIOART
STEP 2
PALETTE
DECOART AMERICANA DÉCOR METALLICS Copper Zinc Rose Gold DECOART AMERICANA ACRYLICS Lamp (Ebony) Black
BRUSHES
STEP 3
Large flat to apply paint and Mops to blend
STEP 1
Slip-slap areas of Lamp (Ebony) Black and Zinc to cover the surface. I use plenty of paint so that it is moveable and only clean my brush by wiping. Work fast so that the paint stays wet. If the surface is too large to do this, paint small areas at a time. When both colors are applied, mop so the edges blend together.
STEP 2
Wipe your brush and add Copper, as much or as little as you like, blending with the mops. I especially like it in the Angel Weather Vane because it picks up the orange colors in the apples. (See the Angel Weather Vane project on page 74.) When doing the background for your own design, keep this in mind. Repeating a color in your design palette in the background is a classic technique. Doing it with some of the new metallic colors updates it. STEP 3
Add a little Rose Gold to brighten it and add highlights. Mop to soften. There are 14 colors in metallic paint, so any metal is easy to recreate. You can use them transparently or solid. Sand between coats for a smoother finish and higher sheen.
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A CRYL I C
TUSCAN HOLIDAY
DIANE TRIERWEILER
PR E PA R ATION
Use a large palette knife to spread a thin coat of DecoArt Media Modeling Paste over the entire canvas. While the paste is still wet, use the no. 8 long petal brush to create brushstrokes over the canvas. Slip-slap the brush over the paste like little X’s. Let dry and apply the basic pattern lines with graphite.
LET ’ S PA I NT
SKY: Use the no. 8 long petal brush to stumble in the sky colors with Baby Blue and Blue Chiffon. Make sure to keep the lighter value toward the horizon. With a dirty brush, add a little Uniform Blue to the top portion of the sky. Still using your dirty brush, add a little Opaque White to the brush and fluff in the clouds. Lay the brush flat and make circular motions back and forth to paint in the clouds. Let dry and tint the bottom of the clouds with Wasabi Green, then with Bahama Blue and then again with Naphthol Red.
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Painter’s Checklist SURFACE Polyester canvas, 16" x 20" (40.64 x 50.80 cm) PALETTE DECOART AMERICANA ACRYLICS Antique Gold Cadmium Yellow Antique Maroon Country Blue Avocado Evergreen Baby Blue Forest Green Bahama Blue Olive Green Black Green Soft Black Blue Chiffon Torrid Orange Neon (optional) Burnt Sienna Uniform Blue Burnt Umber Wasabi Green DECOART TRADITIONS ARTIST ACRYLICS Indian Yellow Opaque White Naphthol Red Vermilion BRUSHES LOEW-CORNELL Series 798 3⁄4" flat glaze Series 7500 nos. 2 & 6 flat DIANE TRIERWEILER'S SIGNATURE BRUSHES No. 8 Long Petal (long handle hog bristle tongue) No. 4 Long Petal (long handle hog bristle tongue) 3 ⁄8" Landscape (long handle hog bristle foliage) Petal set (2, 4, & 8 red sable tongues, short handle – optional) SUPPLIES Basic painting supplies (page 96) DecoArt Media Modeling Paste DecoArt DuraClear Gloss Varnish Table easel SOURCES Canvas and Diane Trierweiler’s Signature Brushes are available at DIANETRIERWEILER.COM
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UNDE R PA I NTI NG
This will be your first layer of color on the canvas and then we will come back and paint the details. HILLS: Use the no. 4 or no. 8 long petal brush with Wasabi Green and Opaque White in a wet-on-wet method. Add shadows with Avocado. Where the shadows are the deepest, add a second shade with Evergreen. You may need to use a little Black Green to further deepen the shadows. Dry-brush with Forest Green here and there. Add backlights with a dry-brush of Country Blue in the shadows. HOUSE AREAS: The ground is wet-on-wet Forest Green and Opaque White. Add shadows of Avocado. GOLD AREAS: Use the no. 8 long petal brush in a weton-wet method using Antique Gold and Cadmium Yellow. DARK GREEN AREAS: This is at the bottom of the canvas where the flowers will be. Paint this area wet-onwet with Evergreen and Black Green plus a little water.
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STEP-BY-STEP HILLS STEP 1
STEP 2
STEP 3
GOLDEN GROUND AREAS
CYPRESS TREES STEP 1
STEP 2
STEP 3
STEP 4
PA I NTE R ’ S TI PS
■ To achieve an impressionistic look, use
long-handled brushes. Painting upright and at the end of your brush handle creates a looser look to the painting.
■ Scumble means to slip-slap two colors
together to create a third color; it also creates texture.
■ Tinting is a mix of 10-20% paint to 80-90%
water. This is usually placed using a soft brush, not a bristle brush. The colors are applied in a hit and miss method. These colors indicate reflected colors or accents to make a more interesting painting.
GOLDEN TREE STEP 1
STEP 2
STEP 3
■ Backlighting is usually done with a laven-
der to purple color that indicates reflected light or highlights for the shadows.
■ Wet-on-wet is simply that: painting one
color and then painting another color into that wet color and then blending the two.
GOLDEN TREE STEP 1
STEP 2
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STEP 3
STEP 4
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DETA I LS
SMALL VILLAS: The dark sides of the villas are
filled in with Soft Black+Opaque White (3⁄4 : 1⁄4) to create gray. The light walls are filled in with Opaque White. Roofs are filled in with Vermilion and Naphthol Red in a wet-on-wet method. Add shadows with Antique Maroon. Fill in the windows and doors with the gray mix. Use the 3⁄8" landscape brush to stipple in the trees and bushes. This is done with Evergreen and Olive Green. Shade at the bottom of the shrubs with Soft Black. Drybrush some shadows in with Burnt Umber. Add backlights in the shadow areas using Country Blue. HILLS AND FLAT GREEN AREAS: The three hills in the background need to recede. This is done with a 90% water and 10% paint mix of Opaque White. Wash over the villas and the hills with this mixture. Let dry. Use your palette knife to spread some of the DecoArt Media Modeling Paste here and there on the highlight side of the hills. Let dry. Tint the hills with tiny bits of Naphthol Red, Indian Yellow and Bahama Blue. You may need to add a second highlight with a dry-brush of Opaque White. Tint the flat areas with Indian Yellow. Another good green mix for highlights is Olive Green+Cadmium Yellow+Opaque White (1:tch:tch).
TR E E S
CYPRESS TREES: Use the landscape brush and face the
bristles upside down to paint in the cypress trees. Begin
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with Evergreen and highlight with Olive Green. Shade a little on the dark sides with a wash of Black Green. Highlight with a tint on the light sides with Indian Yellow. When dry, add backlights of Country Blue. OTHER TREES: The other trees have Burnt Umber trunks. You can use the landscape brush or the no. 4 long petal to paint in the greens. This is done with Evergreen, Avocado and Wasabi Green. The lightest edges of the foliage is Forest Green+Opaque White (1:tch). Let dry and add shadows of Burnt Umber and highlights of Opaque White. Tint with Indian Yellow and Burnt Sienna. Backlight the dark areas with Country Blue. Some of the trees in the forefront have tints of Naphthol Red. GOLDEN TREE: The golden tree is dabbed in with Antique Gold, Indian Yellow and Cadmium Yellow. Add Opaque White to the Cadmium Yellow for the lightest areas. Add shadows of Burnt Umber and Burnt Sienna. Tint with Naphthol Red and Vermilion. GOLDEN GROUND AREAS: Use a palette knife with the DecoArt Media Modeling Paste and add a little Cadmium Yellow to it. Pull your knife horizontally through these areas adding more texture. Do not cover the background paint. Let dry, and add shadows of Indian Yellow, Burnt Sienna and Antique Maroon. Tint with Naphthol Red and Vermilion. Backlight the dark areas with Country Blue. VILLAS IN THE FOREFRONT: These villas should have more detail. Add highlights of Cadmium Yellow to the
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roofs and tint with Vermilion. Add a Soft Black line of shadow under the roof lines. The brownish bushes and trees next to these villas are dabbed in with Burnt Umber and Antique Gold. Tint with Indian Yellow. Second-shade with Burnt Sienna. Backlight the shadows with Country Blue. GREEN LEAVES UNDER POPPY FLOWERS: Use the no. 8 short petal brush to paint in the leaves. Add a little water to the paint as you move along. Use Avocado, Forest Green and Olive Green. Tint with Indian Yellow and then with Burnt Sienna here and there. Add a few Country Blue leaves in the shadow areas. When dry, wash Black Green over the bottom area of the leaves. FLOWERS: Use the no. 4 long petal brush to paint in the flowers. Use Antique Maroon to paint in the dark values. Brush-mix Vermilion and Naphthol Red and paint in the light areas, blending as you go. Let dry, and tint with Indian Yellow. Add shadows under the flower areas with washes of Black Green. Tint here and there with Antique Maroon.
Highlight the areas where the flowers are located on the golden-colored meadows with Cadmium Yellow. I used a neon color called Torrid Orange to add extra brightness to the tops of the flowers. This is optional. If you use the Torrid Orange, be sure to add it in a couple of other places on the painting so that the palette is carried throughout. Use the no. 8 short petal brush to dry-brush some Country Blue into the darkest areas of the flowers.
FI NI SH I NG
Stand up and step away from your painting to get a better perspective of the color. You may need to do additional tinting of colors into the clouds, hills and trees. When everything is dry, varnish with DecoArt DuraClear Gloss Varnish. One coat is usually enough. This will bring out the colors and protect your painting for future years. It won’t be too shiny.
artist’s sketch Diane Trierweiler has been painting for about 40 years. She first started painting in oils in the fine arts. Her love of painting evolved into watercolors and acrylics. Diane enjoys teaching people how to paint, so 32 years ago she opened a shop called The Tole Bridge in Norco, Calif. She teaches classes all year long in her shop and has a full line of painting supplies. Diane also teaches decorative painting. She has published books, magazines, packets and DVDs, and travel-teaches throughout the United States and Canada. The joy of painting has allowed her to meet many wonderful people and to share her passion for the arts. You may reach Diane at 1875 Norco Dr., Norco, CA 92860, (951) 272-6918, or TOLEBRIDGE@AOL.COM. Her website is DIANETRIERWEILER.COM.
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Design is 25% of original. Enlarge 400% for actual size.
For a free design at actual size, affix two first-class stamps to a #10 SASE and send to: The Decorative Painter Attn: TUSCAN HOLIDAY SUMMER - 2017 1220 E. First St. Wichita, KS 67214-3907. Allow four weeks for delivery.
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A CRYL I C
Butterfly in white
LIZ MILLER CDA
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Painter’s Checklist SURFACE The Artist Panel by Ampersand, 12" x 12" (30.48 cm) PALETTE DECOART AMERICANA ACRYLICS Bahama Blue Ocean Blue Peacock Teal Snow (Titanium) White Soft Black DECOART MEDIA MISTERS Primary Cyan Primary Magenta BRUSHES SCHARFF BRUSHES INC. Series 550 1" Golden Taklon Champagne Handle wash Series 429 no. 4 Syn-Sable, filbert Series 455 no. 1 Golden Taklon Dresden liner SUPPLIES Basic painting supplies (page 96) Waxed palette Spray bottle for water Water container 4" paint roller Large sea sponge with lots of texture DecoArt Soft Touch Varnish DecoArt Americana Glazing Medium SOURCES The Artist Panel is available at Jerry’s Artarama; WWW.JERRYSARTARAMA.COM.
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This painting emerged as I was experimenting. I wanted to play with the technique of sponging paint, spraying with water, and then allowing the paint to drip. What fun it was watching the paint create texture and drips! I first used my DecoArt Americana Acrylics and then decided to accent with the new Media Misters. Each time the paint created a new variation. To me this background appeared as a misty field of flowers calling for the foreground flowers and butterfly. I love using analogous colors and decided to use primarily blues and blue greens. For your painting you could use any analogous colors, three to five colors beside each other on the color wheel, to create a pleasing color harmony. Have fun trying different analogous colors.
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STEP-BY-STEP STEP 1 BASECOAT
STEP 4 REPEAT STEP 2 WITH OTHER COLORS
STEP 3 SPRITZ AND DRIP HOLD VERTICAL
STEP 2 SPONGE
STEP 5 PAINT BUTTERFLY AND FLOWERS
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PA I NTI NG TI PS
Read through the instructions before beginning. There are lots of tips in the instructions as well. This technique is a little messy so you will need plenty of paper towels and will probably want to wear an apron. I use several paper towels folded in half to place under the bottom edge of my surface to catch dripping paint as the surface is lifted vertically. I will ask you to drizzle paint onto your palette. This means not just a single spot. This facilitates picking up paint with your sponge, distributing paint across the sponge and not only one spot. When loading your sponge, tap it into the paint and tap a couple more times to distribute the paint. Too much tapping will remove too much paint. Values help us to create depth within a painting. The butterfly and flowers are painted in values of white. Snow (Titanium) White+Glazing Medium are used to create value changes in the flowers. The more glaze, resulting in more transparency, fades the stroke closer to the background in value. With less glaze in the brush and more paint, the stroke stands out from the background. Experiment with the Media Mister on a test surface. Try shallow pumps and deep pumps to determine the type of spray it delivers.
PR E PA R ATION
Basecoat surface with Soft Black using the 4" roller. Dry and repeat.
LET ’ S PA I NT BACKG ROUND
Wet the sea sponge and squeeze out most of the water. On your waxed palette, drizzle out some of the Ocean Blue. In a separate space drizzle Peacock Teal, and a separate drizzle of Bahama Blue. Pre-dampen the entire surface with water using the 1" wash brush. With the surface flat on the table, pick up some of the Ocean Blue on the sea sponge and pounce lightly on the surface leaving open space between taps. Immediately, while the paint is wet, tilt the surface almost vertical allowing the bottom edge of the surface to sit on the layers of paper towels which will catch drips as you spritz with water. The water will cause your paint to drip down the surface leaving dots or spots of paint. Lay your surface flat and let dry. Repeat with Peacock Teal, dry, and then repeat with Bahama Blue. Dry. It is important that your surface is allowed to dry completely between colors. You may repeat any of the colors as you desire. Have fun! You can rotate the sponge between colors for less color mingling on the sponge, or pick up each color on the same area of the sponge for more mingling. Leave some areas of Soft Black to show through your sponging and drips. Making sure that your surface is completely dry, hold your surface almost vertical and spritz with Primary Magenta Media Mister in a few areas. Then repeat with the Primary Cyan Media Mister. Do not spray with water. Dry.
BUTTE R FLY A ND FLOWE R S
When the surface is completely dry apply the pattern for the butterfly and flowers, placing them to complement your background. You can move the butterfly around as needed.
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Pull flower stems with the no. 4 filbert loaded with Peacock Teal, moving from the flower head and fading out toward the bottom of stem. With the dirty brush pick up Bahama Blue and lighten the left side of stem. Using the no. 1 liner loaded with thinned Peacock Teal+ Bahama Blue pull the individual flower stems. Load more thinned Bahama Blue to pull the stems that are closer to the front of the flower head. FLOWERS: Using the no. 4 filbert loaded with Snow (Titanium) White+DecoArt Americana Glazing Medium form four to five petal flowers. See Stepby-Step on page 25. Use more glazing medium to let petals fade into the background and less DecoArt Americana Glazing Medium to bring the petals forward. Add a few very transparent petals in the lower background for filler flowers. BUTTERFLY: Using the no. 4 filbert loaded with Snow
(Titanium) White+DecoArt Americana Glazing Medium stroke in wings, pulling from the outside of wing toward the body, starting on the top and allowing paint to fade as you near the bottom of each wing. Add a few pulls outward from near the body. With thinned Snow (Titanium) White sketch in the outside edge of wings. Add dots on wings with Soft Black+DecoArt Americana Glazing Medium. Sketch in the body, legs, and antennae with the no. 1 liner and thinned Snow (Titanium) White. The eye is Soft Black outlined with Snow (Titanium) White.
FI NI SH I NG
Dry overnight. Apply several coats of DecoArt Soft Touch Varnish allowing each coat to dry before adding the next. Enjoy!
artist’s sketch Liz Miller CDA became interested in art and painting as a child, seeking out opportunities to learn and create. She discovered decorative painting in the 1980s and has enjoyed sharing her love for art, teaching all levels of acrylics in the Raleigh, N.C. area since 1985. Liz has owned a decorative painting studio and shop, Artful Endeavors, in Raleigh since 1995 where she teaches weekly classes and workshops in acrylic, watercolor, and mixed media, as well as hosts seminars with some of decorative painting’s finest national teachers. Liz became a member of SDP and joined the local chapter in 1988, serving as president for CADANC and in various offices over the years. She has taught at the SDP conference and for her local chapter as well as driving distance travel-teaching. Her online classes are offered at Creative Workshops. Trained as a creative arts therapist, Liz considers the creative process as promoting individual well-being and awareness in the world around us. “Our classes are about sharing our love for art and the fellowship that comes from sharing a common interest.” You may reach Liz at her studio/shop: Artful Endeavors, 200 Sawmill Rd., Suite 201, Raleigh, NC 27615 or ARTFULENDEAVORS@ RALEIGH.TWCBC.COM. Visit her web site at WWW.ARTFULENDEAVORS.NET. Online classes: WWW.CREATIVEWORKSHOPS.NING.COM.
Design is 50% of original. Enlarge 200% for actual size.
For a free design at actual size, affix two first-class stamps to a #10 SASE and send to: The Decorative Painter Attn: BUTTERFLY IN WHITE SUMMER - 2017 1220 E. First St., Wichita, KS 67214-3907. Allow four weeks for delivery.
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&STrawberries Strawberries STILL LIFE
Silver SILVER
OIL
MARY KINGSLAN GIBILISCO
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CDA
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Painter’s Checklist
STEP-BY-STEP
SURFACE Portrait canvas surface 9" x 12" (22.86 x 30.48 cm)
STAGE 1
PALETTE GENESIS HEAT-SET ARTIST OILS Black – Mars or Carbon Burnt Umber Genesis Orange (optional) Genesis Red Genesis Yellow Phthalo Blue 01 Quinacridone Crimson Raw Sienna Titanium White Ultramarine Blue BRUSHES KINGSLAN & GIBILISCO™ BRUSHES BY ROYAL Nos. 2–12 filberts No. 10/0 liner
STAGE 2
SUPPLIES Basic painting supplies (page 96) Glass palette Gray graphite transfer paper Glazing gel Viking Gloss Brush On Varnish Mona Lisa Paint Thinner Genesis Heat Set Gun or home oven SOURCES Canvas, supplies, brushes and paints available from Kingslan & Gibilisco at WWW.KINGSLAN.COM; (402) 306-7660.
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STAGE 3
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STEP-BY-STEP STRAWBERRIES STEP 1
Place values.
Value Scale
STEP 2
STEP 3
Blend. Plot seed spacing.
STEP 4
Set in the seeds.
STEP 5
STEP 6
Place a shadow on the seeds. Add shine in upper right of each seed.
STEP 7
STEP 8
STEP 9
Add a honeycomb shine in the upper Add reflected light on the left using right side of the berry. the blue tint.
Add the leaves.
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VALUE PLACEMENT GUIDE
PR E PA R ATION
Trace the design in pencil onto tracing paper. With gray graphite under the tracing paper, transfer the outline of each object.
PA I NT PL ACE M E NT A ND BLE NDI NG
Paint all strawberries and leaves using this Value Placement Guide. DARK DARK
MEDIUM
LIGHT MEDIUM
DARK
DARK
DARK
MEDIUM LIGHT
MEDIUM
First identify the light source — it is coming from the upper right slightly in front. Each object in the still life can be classified as a form. The proper use of value creates the form. If an object can be viewed as a form, it is very easy to paint because we paint the effect of light on forms — not the objects. Refer to the Value Placement Guide for location of the values. Using a filbert that seems slightly too large for the area, place the medium value first. The medium value is the local color, mass tone, the color that the eye perceives as the color of the object. Then add the light value. Blend the medium and light together. Hold the brush at a 33-degree angle to the surface while blending. Take short pulling strokes using virtually no pressure to blend the two values together. The brush should be straddling the two values. Blend until there is no longer a line between the values. Add the highlight, dark and low dark values repeating the steps as previously outlined. Reference the first stage photo on page 30.
BRUSH MIX OF MEDIUM+DARK
STAG E 1 HOW TO USE TH E CODE S ON TH E VA LUE PL ACE M E NT GUIDE S Each object is placed using one, two, or three steps. The first step is the form, the second and third are embellishments. Initially reference the Step-by-Steps on page 31. The codes for the values are: ......
= Light (L) and/or building up to Highlight (HL)
/////
= High Dark (HD) and/or going down to Dark (D)
xxx
= Low Dark (LD)
blank = Medium (M)
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BACKGROUND: The light enters the
composition from the right and travels in a straight line. Therefore the right side of the background is dark and the left side is lighter. The foreground is light on the right and becomes darker as it recedes from the light source. Reference the Value Placement Guide and place the background using mixes on page 33. Paint around the still life objects. Warm White: Titanium White+Genesis Yellow (1:tch) Blue Tint: Titanium White+Phthalo Blue 01 (1:tch)
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COLOR M IXE S BACKGROUND
TABLECLOTH
SILVER PITCHER STRAWBERRIES
LEAVES
Highlight
M IXI NG FOR MUL A S
You will find that the mixes for the hue are given first. This is followed by a color that will raise or lower the value. Once the value and color are mixed, the next addition usually is meant to either brighten or dull the color. Finally, a color may need to be mixed into the pile that will adjust the temperature.
Light
Medium
Dark
Low Dark
BACKGROUND:
Medium: Titanium White+Genesis Yellow+ Ultramarine Blue+Burnt Umber Light: Medium+Titanium White Dark: Medium+Black TABLECLOTH:
Medium: Titanium White+Raw Sienna Light: Medium+Titanium White Dark: Medium+Black Dry the painting with either a Genesis Heat Set Gun or by placing in your home oven at 265 degrees for 7-10 minutes. SILVER PITCHER:
Refer to placement guide and place the mixes as listed below. All details will be added after the object is dry. Medium: Titanium White+Black+Raw Sienna Light: Medium+Titanium White Highlight: Light+Warm White Dark: Medium+Black Low Dark: Dark+Black STR AWBERRIES: Refer to placement guide on page 32 and Step-by-Steps on page 31. Place using the mixes as listed below. All details will be added after the berry is dry. Medium: Genesis Red Light: Medium+Genesis Yellow+Titanium White Dark: Medium+Quinacridone Crimson Low Dark: Dark+Ultramarine Blue
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GREEN CALYX LEAVES: Refer to placement guide and place the mixes as listed below. Medium: Ultramarine Blue+Genesis Yellow+ Titanium White+Raw Sienna Light: Medium+Titanium White Dark: Medium+Black Dry the painting with either a Genesis Heat Set Gun or by placing in your home oven at 265 degrees for 7-10 minutes.
STAG E T WO
Reference the second stage photo on page 30.
REFLECTION INTO THE SILVER PITCHER:
Refer to the Silver Pitcher Color Mix on page 33. Transfer the reflection onto the pitcher. Add the reflection of the tablecloth with Medium Value from the Tablecloth scale. Add the illusion of a window with Blue Tint. Create the illusion of a figure with Burnt Umber+Raw Sienna. Add the strawberry using the Strawberry and Calyx value scales. Add shadow of berry on the tablecloth with Black. Dry the painting.
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STAG E TH R E E
Reference the painting final photo on page 30.
GLASS BOWL:
Transfer outline of bowl. Shade the left side of the bowl, painting over the berries, with a glaze of Black. Use glazing gel with a small amount of Black in the mix. Add Warm White shines as depicted in the final photo. REFLECTED COLOR:
Place accents to resemble reflected color on the outside edges of the Silver Pitcher – reference final photos. Use Medium Value of nearby object to create this effect. SHINES:
Shines are effective when they progress from transparent to opaque. Load the brush very lightly with Warm White, wipe the brush and place in the lightest area. Diffuse the edges of the shine to make it transparent. Next load with more Warm White and set your brush down in the same spot as before and coax the paint almost to the edge of the first application. Finally, apply more Warm
White following the same steps. There are many interior shines caused by reflections of objects and light outside the picture plane. These are indicated with Blue Tint and building from transparent to opaque. SHADOW WORK:
Shadows are transparent and are added last. Shadows fall opposite of the light source so all shadows will fall to the left. Shadows are cooler than the receiver (the table). Thin Black with Mona Lisa Paint Thinner and place overall shadow. Shadows are darker closer to the object causing the shadow. Increase the value of the shadow with Black that has not been thinned. The shadow, the object and the table need to be all the same value to create the illusion that the objects are united with the table.
FI NI SH I NG A ND VA R NI SH I NG
Varnish with Viking Gloss Spray Varnish following the manufacturer’s instructions.
artist’s sketch Mary Kingslan Gibilisco CDA, BFA has had a lifelong interest in art. She began studying art formally in 1979 at the University of Nebraska and in 1984 graduated Magna Cum Laude with a degree in Fine Art and a minor in Art History. After several years in the fine art world, Mary turned her full attention to decorative art in 1986. In 1989 she received her CDA distinction from the Society of Decorative Painters. Mary served three years on the SDP Teacher’s Committee with two years as the chair. She was elected to the SDP Nominating Committee. Mary received the Silver Palette from SDP in 2013 – the highest award for noteworthy and exceptional contributions in furthering the purposes of SDP. She is the past chair of SDP’s Education Committee. In 1998, she worked on Nebraska’s Governor’s Mansion restoration project, supplying four original paintings that are now a part of the permanent collection of the mansion. Mary teaches in her Omaha, Neb. studio as well as across the United States, Canada, Europe and Asia. She has created over 100 instructional DVDs, written for all of the major art publications, and published eight books along with her mother Ann Kingslan MDA.
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Design is 50% of original. Enlarge 200% for actual size.
For a free design at actual size, affix two first-class stamps to a #10 SASE and send to: The Decorative Painter Attn: SILVER AND STRAWBERRIES STILL LIFE SUMMER - 2017 1220 E. First St., Wichita, KS 67214-3907. Allow four weeks for delivery.
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Photos/Steve Gerig
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A CRYL I C
SIGNS OF
SPRING AVIS POYHONEN CDA
PR E PA R ATION
Sand and clean the vase with a tack cloth. Using a 1" wash brush, basecoat the sides with Bleached Sand+DecoArt Americana Multi-Purpose Sealer (1:1). Allow to dry. Repeat, if needed, for full coverage with Bleached Sand, sanding lightly between coats. When dry, light your candle and hold the knife in the flame to produce smoke. Hold the vase over the smoke rising from the flame to smudge onto the vase sides. The less expensive the candle, the better it will smoke. Blot with paper towel so it does not smudge and spray lightly with Krylon Matte Spray. The front and back of the vase are painted with a mix of Cashmere Beige+Sea Glass+Cool White (1:1:1). This is the formula for Cool Neutral, which has been discontinued. Or paint the entire vase with Bleached Sand. The background will be a lighter value than what I used. Transfer the design.
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Painter’s Checklist SURFACE ArtMinds wooden vase PALETTE DECOART AMERICANA Bleached Sand Burnt Umber Cashmere Beige Charcoal Grey Cool White Grey Sky Hauser Dark Green Hauser Medium Green Lamp (Ebony) Black
ACRYLICS Light Avocado Moon Yellow Mulberry Neutral Grey Olive Green Poodleskirt Pink Sea Glass Snow (Titanium) White Warm White
BRUSHES LOEW-CORNELL La Corneille Golden Taklon Series 7350 no. 00 liner Series 7450 no. 8 chisel blender Series 7500C no. 6 filbert Series 7050 no. 1 script 1" wash SUPPLIES Basic painting supplies (page 96) DecoArt Americana Multi-Purpose Sealer DecoArt Americana DuraClear Varnish Strathmore 300 canvas paper Inexpensive candle Knife Krylon Matte Spray SOURCES ArtMinds wooden vase is available at Michael’s Craft Store.
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LET ’ S PA I NT PUS SY WI LLOWS
Using the no. 8 chisel blender, float Grey Sky to form the pussy willow, keeping the color toward the center of the pussy willow, pivoting around in an oval shape. Shade in the center with the no. 8 chisel blender sideloaded with Neutral Grey. Thin Warm White with water to an ink-like consistency. With the no. 1 script pull hairs over the float, helping to shape the pussy willow. Float Snow (Titanium) White in the upper right section of the pussy willow with the no. 8 chisel. Add a tint of thinned Poodleskirt Pink on the no. 8 chisel to the center of the pussy willows. Strengthen the edges of the pussy willows using the no. 1 script with thinned Snow (Titanium) White hairs if you lose the edges.
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STEP-BY-STEP
PUSSY WILLOWS, BRANCHES, AND LEAVES STEP 1
STEP 2
STEP 3
STEP22 STEP
STEP STEP 3 3
BUTTERFLY STEP 1
BR A NCH E S
Basecoat the branches using the no. 00 liner with Charcoal Grey and the bud shell with the no. 6 filbert. Float a little Charcoal Grey to strengthen the base of the pussy willow by the bud shell with a no. 8 chisel blender. Add a float of Neutral Grey on the no. 8 chisel blender to highlight the branches and buds. Strengthen the highlight at the bottom of the shell buds with a float of Grey Sky on a no. 8 chisel.
LEAV E S
Basecoat the leaves using the no. 6 filbert with Light Avocado or Hauser Medium Green. Shade the leaves at the base with a float of Hauser Dark Green on the no. 8 chisel. Highlight the leaf tips with a float of Olive Green on the no. 8 chisel. Add a touch of Snow (Titanium) White to the Olive Green and add extra highlight to some of the tips with the no. 8 chisel. Thin this mixture with water and, using the no.
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1 script, pull a center vein and side veins on all leaves. Add a float of Mulberry to the shaded base of the leaves with the no. 8 chisel.
BUTTE R FLI E S
The butterflies are painted the same way on the canvas paper as on the vase. Using the no. 6 filbert, basecoat the canvas with Warm White. Transfer the pattern lines or freehand the markings of the wings. Change to the no. 00 liner and basecoat the body of the butterflies and the top wing edges with Charcoal Grey. Float Poodleskirt Pink inside the top edges on both sections of the wings with the no. 8 filbert. Continuing with the no. 8 filbert, float Moon Yellow on the bottom edges of the butterfly sections of the wings. Add a float of Mulberry to the top wing sections over the Poodleskirt Pink area with the no. 6 filbert. Thin Charcoal Grey with water to an ink-like consistency. Using the no. 1 script liner add section lines and dot details on the wings and antennae.
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Place a dot of Moon Yellow inside the top dot on the upper wing. Highlight tips of the top wing sections with a float of Grey Sky with the no. 8 filbert. Float Charcoal Grey using a no. 8 chisel to create the shade next to the body. Add Burnt Umber+ Snow (Titanium) White sideloaded on a no. 8 chisel to form sections on the body. Shade these sections with the no. 8 chisel and thinned Lamp (Ebony) Black. Highlight head and body with a float of Grey Sky or use your liner to add the highlight to the left side of the body.
The lower left butterfly on the vase and the reverse side of the canvas butterflies are painted with softer floats of color.
FI NI SH I NG
Apply DecoArt Americana DuraClear Varnish following the manufacturer’s instructions. Cut out the canvas butterflies and attach to the twigs or the vase to add dimension.
artist’s sketch Avis Poyhonen CDA has been an avid painter and teacher for more than 25 years. She has authored many design packets, books, and projects for national magazines, and has been a proud participant in projects for the National Museum of Decorative Painting, the Smithsonian and the White House. An SDP member since 1985, Avis lives in Wisconsin, where you may write her at 3232 Leahy Ave., Stevens Point, WI 54481 or email her at AVISSTUDIO@MSA.COM.
Design is 50% of original. Enlarge 200% for actual size.
For a free design at actual size, affix two first-class stamps to a #10 SASE and send to: The Decorative Painter Attn: SIGNS OF SPRING SUMMER - 2017 1220 E. First St. Wichita, KS 67214-3907. Allow four weeks for delivery.
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CO L O RED P ENCI L
SURPRISED! CAUGHT IN THE ACT PAULA LEOPOLD
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Painter’s Checklist SURFACE Mi-Teintes Paper, Felt Grey 7" x 12" (17.78 x 30.48 cm) or Stonehenge Paper, White PALETTE PRISMACOLOR PREMIER COLORED PENCILS Beige Beige Sienna Black Cobalt Turquoise Cool Grey 10% Cool Grey 30% Chestnut Chocolate Cream Dark Umber Henna Light Aqua Light Peach Nectar Sand Warm Grey 50% White SUPPLIES Basic painting supplies (page 96) Masonite panel 11" x 14" (27.94 x 35.56 cm) Scotch tape Dusting brush Odorless paint thinner or rubbing alcohol Aqua Brush (optional) White Gelly Roll pen SOURCES All supplies are available at WWW.PAULALEOPOLD.COM or email PAULA@PAULALEOPOLD.COM.
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I took this photo of my little great-granddaughter when she had just turned 3. She had discovered that she could open the front door by herself and was ready to escape but got caught in the act! I hope you will use this project to encourage you to try a photo of your loved one. Start with a good photo on glossy photo paper. Then make a very accurate and detailed tracing to capture the most exact likeness of the person onto a clear transparency with a permanent marker. Trace your design onto a light Mi-Teintes color of paper using the smoother backside, or use white Stonehenge paper. TRACING: I always like to trace onto the smoother back side of the Mi-Teintes paper because it allows you to have a more well-blended finished appearance. TRANSPARENCY: It is very helpful when drawing facial details to make a transparency to have to constantly compare the accuracy of the facial features. This allows you to capture the correct likeness of the person.
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STEP-BY-STEP STEP 1
STEP 2
TI PS FOR SUCCE S S
Always start building each area with a light coverage of pencil knowing that you need to add many additional layers to create the detail. You can go to my website, www.paulaleopold.com, and under “Links” watch some of my colored pencil techniques on YouTube on how to get beautiful blended results. It is important to keep your pencils sharpened for the accuracy of the tiny details, so use a battery sharpener.
FACE, A R M S, A ND FE ET
Begin by placing the lightest areas using Light Peach with a light to medium touch. Soften around the Light Peach areas with Beige, stopping short of where next shading values will appear. Use little circular strokes with a light touch to blend one value into another. There will still be a lot of pores of the paper showing through. Pores are the little specks of color from the background showing through the colored pencil coverage. Build up layers slowly. Apply Beige Sienna next for first stage of shading and warm with Nectar using the little circular strokes, picking up on your pressure as you come nearer to the last color. You can always go back to a previous color to blend if you have a hard line. We will add more shading after facial features are placed in. Basecoat open mouth with Chocolate and darken with a little Dark Umber. The lips will be Nectar. The iris of the eye is Dark Umber and darken the pupil
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area with Black. White areas in the eyes are Cool Grey 10% and shaded with a little Cool Grey 30%. White highlight glints can be placed in with a sharp tip of White colored pencil. Add just a dot of stronger light with a White Gelly Roll pen. If it gets too bright simply go back with your fingertip while wet and dab. Top lashes are added with Dark Umber and softened with Nectar. Bottom lashes are Chestnut and softened with Beige Sienna. Under the eyes use Chestnut and soften with Nectar and Beige Sienna using a breath of pressure. Eyebrows are Chocolate softened with Beige Sienna. The neck coloring is Chestnut with a highlight of Beige Sienna. Darken with a little Dark Umber. Warm with a little Henna – use a light touch as it is a very strong pigment. Before adding the final shading colors I like to place in the hair color as it will help you establish the correct shading values. Ear is placed with Nectar and shaded with Chestnut.
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HAIR
Place in just a few highlights with Beige Sienna to preserve waves in the hair. Next, fill in darkest shadow areas using Dark Umber with medium pressure. Fill in remaining area with Chocolate. The hair can be completed now or after you go fine-tune all of the detail in the face. In the finishing stages of the hair simply use a heavier pressure of these same colors. Also add a few cool highlights with Cool Grey 30%. Add a few tints of Chestnut to warm.
FI NE -TUNI NG FACIA L FEATUR E S
Now go back and add final shading values with Chestnut and a little Henna using a very light touch. Children’s facial features are very refined and soft, so soften with Beige Sienna or Beige as needed. Notice the little highlights under the bottom eyelashes. Add these with a very sharp point of the Light Peach pencil. At this time be sure all areas are completely filled in with no paper showing through the skin color. This technique is called burnishing where you bind color to color and color into the pores of the paper using a heavier pressure with a sharp pencil point. Use “like” colors in each area. By this I mean whatever color you used in any given area, that is your burnishing color.
R I BBON I N H A I R
Use Cool Grey 30% to pressure folds of ribbon. Add White highlights. Darkest shading is a Warm Grey 50% placed in with a light pressure. Use the little tiny circular strokes to blend and soften colors together. Warm with a little Cream.
BLOUSE
Place wrinkles and folds in very lightly with Cobalt Turquoise. Place in highlights with White using the side of the pencil. This color does not need to meet up at this time with the Cobalt Turquoise color. Soften wrinkles using Cool Grey 10% and Light Aqua. Add a few darker areas with Warm Grey 50%. Remember you can use any of these colors now going back and forth until you are pleased with the soft flow of the fabric.
SKI RT
Very lightly place folds and wrinkles of fabric in with Warm Grey 50%. Place in White highlights and soften with Cool Grey 30% and Cool Grey 10%. Add a few warm tints with Cream. Also add a few reflective tints with Light Aqua and even a little Nectar.
TE DDY BEA R
Begin by placing Chocolate on graphite lines to preserve the ear, arms and legs. Very loosely fill in with Beige using little X-strokes and slash marks. You will still have paper showing through this color. Using the same loose stroking technique, add Cream, Beige Sienna and Sand. Add additional shading with Chocolate and a little Warm Grey 50%. Be sure to soften with colors as you place them in with the small circular light strokes to get wellblended areas. Add White highlights using the same X-strokes. Reapply any of the fur colors to completely cover at this time.
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Final shading is done with a little Chocolate and Dark Umber softening with Warm Grey 50%. On the nose of the teddy bear, place in the White highlight first and soften with Beige. Shade with a little Chocolate and soften with Sand. The eyes, nose and mouth are placed in with Black, adding a little White for highlight.
H A NDS, A R M S A ND FE ET FI NA L STE PS
Refer to beginning for basic steps. Fine-tune fingers with shading between fingers and on knuckles using Chestnut softening with the Beige Sienna. Create warmer areas in hands with Nectar and Henna using a light touch when applying these colors. Around the fingernails use Chestnut. Fingernails are Light Peach. Darken between fingers as seen with a little Chocolate. Arms have some warmer colors just as the face did using Beige Sienna and Nectar. You can very lightly add a little Henna. Shade with a little Chestnut and Chocolate. Feet are shaded with Chestnut and Chocolate. Warm with Henna and soften with Nectar. Shade between feet with Dark Umber and touches where toes are bending.
SH A DI NG UNDE R NEATH FE ET
Use Warm Grey 50% and soften with Cool Grey 30%. Further soften and fill in with Beige and Beige Sienna. I find that using a little odorless paint thinner (or rubbing alcohol) helps to quickly fill in the pores. You can use an Aqua Brush, paintbrush or even a cotton swab to apply a little solvent to help blend. This technique will only work if you have enough pencil coverage. If too much paper still shows through while using the solvent just go back and apply more of the pencil while the paper is still damp from the solvent. I will even go back and use a small amount of solvent on the skin or fabric if I still see pores showing through my pencil coverage. Don’t use this technique on the teddy bear or you will lose the texture.
FI NI SH I NG YOUR PROJECT
I do not like to spray my colored pencil projects penciled on paper but just simply matte them and frame under glass. Thanks so much and happy penciling! Please visit our website for more great colored pencil projects and techniques.
artist’s sketch Paula Leopold has been sharing her love for painting by teaching others to paint for over 40 years. She teaches weekly classes in the Denver metro area in oils, acrylics, watercolors, and colored pencils. She also travel-teaches around the country for several major conventions and SDP chapters and other private groups, teaching her beautiful style of colored pencils. Paula’s husband of 48 years, Bill, travels to conventions with her now that he is retired, truly making it a wonderful family affair. Her beautiful family of three children, seven grandchildren and four precious little great-granddaughters has been a blessing and a source of inspiration for her art. She has been recognized by the Society of Decorative Painters with her Certified Decorative Artist award and is a member of several painting organizations as well as the Colored Pencil Society of America. Please contact Paula at PAULALEOPOLD.COM or PAULA@PAULALEOPOLD.COM to schedule a time for her to come and teach your local group.
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Design is 65% of original. Enlarge 154% for actual size.
For a free design at actual size, affix two first-class stamps to a #10 SASE and send to: The Decorative Painter Attn: SURPRISED! CAUGHT IN THE ACT SUMMER - 2017 1220 E. First St. Wichita, KS 67214-3907. Allow four weeks for delivery.
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MI X ED MEDI A
the raven WILLOW WOLFE
PHOTOS/BRIAN GOULD
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Painter’s Checklist SURFACE Art Mechanique Hobnail Large Round Bezel, Bronze PALETTE ROYAL TALENS AMSTERDAM ACRYLIC PAINT Titanium White Yellow Ochre COBRA WATER MIXABLE OIL COLOURS Ivory Black Turquoise Blue Prussian Blue Ultramarine Titanium White REMBRANDT OIL COLOR Indigo BRUSHES PRINCETON ARTIST BRUSH CO. 3950FS, no. 4 Velvetouch flat shader 3950CB, no. 2 Velvetouch chisel blender 3950AS Velvetouch mini angle shader 3950OM 1⁄8" mini mop (it is available) 3950FB, no. 0 mini filbert 3950FS, no. 0 mini flat 3750MM, 20/0 monogram SUPPLIES Basic painting supplies (page 96) Cobra Painting Medium Canson Disposable Palette, 9" x 12" Canson Foundation Series Tracing Paper 9" x 12" Susan Lenart Kazmer ICE Resin SPEEDBALL ART PRODUCTS Gold Metal Foil Metal Leaf Adhesive Metal Leaf Sealer WILLOW WOLFE WILLOW WONDER TOOL (tool with both a stylus and firm rubber paint scraper) Brush cleaner Gray transfer paper Medium-grit sandpaper Multi-purpose sealer Small palette knife Soft cloth Toothpicks Vinegar Water basin SOURCES Hobnail Bezel, ICE Resin and Willow Wonder Tool available from Willow Wolfe, WWW.WILLOWWOLFE.CA. Paints, brushes and other supplies available at your local fine art retailers Note: Follow all manufacturers’ label instructions for proper product usage.
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I discovered Valentine Rouge jewelry during a trip to Toronto, Ontario, Canada. Jenna Ianelli, the designer and owner of Valentine Rouge, creates stunning works of art in gold vermeil and semi-precious stones. We met over coffee at her home studio and I did a little shopping; she now finishes all of my handpainted works of art in gold and semi-precious stones. You may finish your Raven any way you wish.
PR E PA R ATION
Note: Follow all manufacturers’ label instructions for proper product usage. Clean the surface with a mixture of vinegar and water (1:1), and wipe with a soft, damp cloth. Sand with mediumgrit sandpaper. Wipe with a damp cloth. Basecoat the area to be painted and the balls with two coats of multi-purpose sealer, allowing the surface to dry between applications. Background of the painting surface: acrylics are used in this step only. Use the no. 4 flat shader to basecoat the surface with several light coats of Titanium White+Yellow Ochre (1:tch). Let dry. Trace the pattern onto tracing paper, and transfer the main pattern lines onto the surface using the stylus end of the Wonder Tool and gray transfer paper. Transfer details as needed. Apply Metal Leaf Adhesive to the outer rim, inner rim of the bezel, and the balls. Let dry for one hour. Apply Gold Metal Foil to the inner rim and outer rim; burnish with a mini mop brush. In order to get into the areas surrounding the balls you may need to use an old flat brush to press the metal foil into the crevices. Apply a coat of Metal Leaf Sealer and let dry.
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STEP-BY-STEP RAVEN LEAVES AND VIOLET
EGGS
PANSY
STEP 1 Basecoat.
STEP 2 Paint the pupil. Apply shadows and highlights.
STEP 3 Blend.
STEP 4 Brighten highlights. Deepen shading. Blend. Detail with the monogram liner.
LET ’ S PA I NT
Note: The remainder of the project is done with Cobra Water Mixable Oil Colors only. If a thinned color is called for in the instructions, use water or Cobra Painting Medium for thinning. Use the size brush that best fits the area in which you are working. When blending use a no. 2 chisel blender or the no. 0 mini flat or mini filbert or no. 0 chisel blender to basecoat an area; use any of these brushes to blend. Wipe the brushes between color applications and blending.
R AV E N EYE: Use the monogram liner to basecoat the iris with
Turquoise Blue. Basecoat the pupil with thinned Ivory Black. Use the monogram liner to highlight the iris with small dots of Titanium White. Apply the final highlight dot with the 20/0 monogram liner and Titanium White.
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TECH NIQUE S
Note: The definitions below apply to this project and to my painting techniques, and may differ from other artists’ methods. DRY-WIPE (WIPE): A technique used to clean the brush without using solvents. Place the brush between the folds of a paper towel, press down, and gently pull the brush out. BRUSH MIX: Mix two or more colors together using the brush instead of a palette knife. A “+” between colors indicates a brushmixed color. Each time you load the brush, the color may be slightly different; this adds variety to the painting. CHISEL-BLENDING: Apply a sparse amount of paint to the surface. An excess amount will become sloppy and move around too much, causing the colors to become muddy. Blend only where two values or colors meet. Gently wiggle the brush from side to side between the two values using soft strokes. Dry-wipe the brush frequently to avoid too much of one value being pulled into the other.
HEAD AND NECK: Use the small chisel blender to basecoat the head with equal parts Prussian Blue+Indigo+ Ultramarine Blue. Use the no. 0 chisel blender to apply Ivory Black above the cheek, around the eye, back and neck. Wipe the brush and chisel-blend. Highlight the cheek, crown, neck and back of the head with Titanium White+Turquoise Blue (1:tch). Wipe the brush and chisel-blend. Brighten highlights with Titanium White, wipe the brush and chisel-blend. Use the 20/0 monogram liner and thinned paint to add final highlights. BEAK: Basecoat with equal parts Indigo and Ivory Black. Use the small chisel blender to highlight on the upper portion of the beak with Titanium White. Wipe the brush and streak the color to blend. Shade under the upper beak with Ivory Black and streak to blend. Use a liner to paint the nostril with Ivory Black. Highlight around the nostril using a liner with Titanium White.
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FI NI SH I NG
The pendant is finished with an incredible product called ICE Resin, which is a jeweler’s-grade two-part finish that is crystal clear and leaves a beautiful dome finish on your jewelry. If you choose not to use ICE Resin, your pendant can be finished with multiple coats of satin or high-gloss varnish. It is essential to have equal parts of Part A Resin to Part B Hardener. To ensure accurate measurements, make two marks on your measuring cup with a permanent marker. One line is for the Part A Resin measurement and the other is for the Part B Hardener. Snip off the top of the dispensing caps, and put them on the hardener and resin bottles. First, measure Part A Resin to the first line that you drew on your measuring cup. Make note where it is on the
line as it settles and try to be exact. Add Part B Hardener to the second line that you drew on the cup. Mix well, yet gently, by scraping the bottom and sides with the craft stick for at least two minutes. Mix until all striations are mixed in. When all striations are mixed in, put the mixed resin aside for five minutes for the bubbles to settle. Use the craft stick to drip ICE Resin from the craft cup into your bezel or gently pour it into your bezel. Doming refers to a raised center to the resin when it dries (like a dome has formed on the top). To dome the resin, use the craft stick to carefully add drops of resin until you see a dome appear. Allow 6 to 12 hours to fully dry.
artist’s sketch Award-winning artist and author Willow Wolfe, has become known in the art and hobby industry for her approach to art education. She appears in a variety of trade shows, lectures, and seminars each year, and has published a small library of books and painting kits internationally, as well as articles in prominent industry magazines.In addition to teaching, writing books, and painting, Willow is the spokesperson and designer for Princeton Artist Brush Co., one of the largest artist brush suppliers in North America. She assisted with the development and design of Princeton’s Select Artiste brushes, which became one of the continent’s best-selling brush lines. Visit Willow’s website at www.WILLOWWOLFE.CA.
Design is 90% of original. Enlarge 111% for actual size.
For a free design at actual size, affix two first-class stamps to a #10 SASE and send to: The Decorative Painter Attn: THE RAVEN SUMMER - 2017 1220 E. First St. Wichita, KS 67214-3907. Allow four weeks for delivery.
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A CRYL I C
POSY
PUZZLE ELAINA APPLEBY
PHOTO/STEVE GERIG
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Painter’s Checklist SURFACE 3 block turn puzzle PALETTE DECOART AMERICANA ACRYLICS Lamp (Ebony) Black DECOART MEDIA FLUID ACRYLICS Blue Green Light Primary Cyan Cadmium Orange Hue Primary Magenta Cadmium Red Hue Pyrrole Orange Cobalt Blue Hue Pyrrole Red Dioxazine Purple Sap Green Green Gold Titanium White Hansa Yellow Medium Viridian Green Hue Phthalo Turquoise Yellow Oxide BRUSHES Dynasty brushes, faux squirrel Series 1827A ½", ¾" angle No. 6 shader No. 10/0 rigger No. 8 round ¾" flat, an old brush for découpage SUPPLIES Basic painting supplies (page 96) DecoArt Media Gesso DecoArt Texture Crackle DecoArt Decou-Page Matte DecoArt Black Shimmer Metallic Luster DecoArt Sealer/Finisher Spray Matte DecoArt Wood Glue Tim Holtz printed tissue paper, Postal Totally Tracy Dear clear stamps, TT15004, TT15005, TT15006, TT15007 Sakura Black Identi-pen no. 44101 Scrapbook Paper (your choice of four different colors to match each posy) Scissors Fiskars Paper Edgers (scissors with decorative edges such as scalped or torn edge cuts) SOURCES Brushes are available at WWW.THEBRUSHGUYS.COM. Tissue paper is available at Michaels. Stamps are available at WWW.DARE2BARTZY.COM.
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When designing this project, I was inspired by a piece made for children. We all love puzzle games and flowers! This one would be nice for your work desk or as home décor. Inspiring words and a new bouquet every day! I love using the mix of ink, paint, paper, etc., and the adventure of creating. This mixed media puzzle is fun and everyone will want a turn.
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STEP-BY-STEP BACKGROUND STEP 1
PA I NTI NG TI PS STEP 2
■ Do not be alarmed with
STEP 3
cracks in this wood as they are natural in a 4" x 4" pine block. If there are cracks in the wood blocks, they will be filled in and covered with paper and texture medium. Do not glue the puzzle together as it is much easier to work on in separate pieces.
■ Découpage is fun and easy! RED POSY STEP 1
PURPLE POSY STEP 1
PINK POSY STEP 1
ORANGE POSY STEP 1
Follow instructions on the DecoArt Decou-Page Matte bottle, but it is okay to have a little water in the brush as it helps to smooth things down. Work from the center of the paper pushing air bubbles toward the edge.
■ When choosing your scrapSTEP 2
STEP 2
STEP 2
STEP 2
STEP 3
STEP 3
STEP 3
STEP 3
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book paper remember to use some of the same colors that are found in the posy for a nice balance.
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PR E PA R ATION
Apply a coat of DecoArt Media Gesso over each block on all sides. The gesso needs to dry 24 hours. Transfer the pot patterns and their trim onto the scrapbook paper, cut them out and set aside. Basecoat the cap and feet with Lamp (Ebony) Black. Set aside to dry. Tear up strips and pieces of the printed tissue paper.
DÉCOUPAG E
Apply the torn printed tissue to the blocks using DecoArt Decou-Page Matte and an old flat brush. Follow the instructions on the bottle. You may want to keep a little water in your brush; it’s okay for the DecoArt Decou-Page Matte to be a little diluted. Keep layering the tissue until all the blocks are covered. Let them dry completely.
TEXTUR E CR ACKLE
The instructions on the bottle say to seal before applying the crackle, but the completed Decou-Page step is sufficient. Apply the DecoArt Texture Crackle with random wipes with the palette knife. Spread thin coats leaving some of the tissue paper in view. Let it dry completely.
BACKG ROUND
Using the no. 8 round brush, wash in blotches of very thin layers of Phthalo Turquoise leaving areas for Hansa Yellow Medium to finish filling in. Let this dry well.
STA M PI NG ON PATTE R N
Lay the blocks in a row going up and down. Push blocks together tightly so the stamp lines match up well. RED POSY 1: From the stamp group TT15006, stamp the posy petals. From the stamp group TT15005, stamp the stem and leaves. When dry turn the three blocks to the next side. PURPLE POSY 2: From the stamp group TT15005, stamp the posy petals. From the stamp group TT15004, stamp the stem. When dry turn the three blocks to the next side. PINK POSY 3: From the stamp group TT15007, cover the center circle of this posy with a little piece of paper or wash off the ink from the center circle before stamping, then stamp the posy petals. When this is dry, draw the small heart with Sakura Black Identi-pen. From the stamp group TT15005, stamp the stem. From the stamp group TT15007, stamp the leaf. When dry turn the three blocks to the next side. ORANGE POSY 4: From the stamp group TT15007, stamp the flower petals. From the stamp group TT15007, stamp the stem. When dry turn the three blocks to the next side.
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LET ’ S PA I NT
RED POSY 1: Paint the outside tips of the petals with Pyrrole Red. Moving inward, wash in a little Cadmium Red Hue leaving some room to finish with a little Hansa Yellow Medium. Next, petal edges and center are Sap Green then fill in with Hansa Yellow Medium. The stem is three colors of green: to the left side is Sap Green, center is Viridian Green Hue, right side is Green Gold. Finish by lining on the right side with Cadmium Red Hue. The leaves are a light wash of Viridian Green Hue in the center with Hansa Yellow Medium on the outsides. The veins are Cadmium Red Hue. Let this dry. PURPLE POSY 2: Paint the outside tips of the petals with Dioxazine Purple, streaking color lightly to the center. Wash in a little Cobalt Blue Hue then a wash of Titanium White to blend. The center is Hansa Yellow Medium with large dots of Titanium White. The stem and the rims of the posy are Sap Green highlighted with Hansa Yellow Medium and a little Dioxazine Purple. Let dry. PINK POSY 3: Paint the outside tips of the petals with Titanium White. The inside of the petals are Primary Magenta with lightly washed streaks pulled into the white to make pink. Wash the center petals with Hansa Yellow Medium+Primary Cyan. The center heart is Titanium White. The petal rims are Hansa Yellow Medium and Green Gold. Dots on the petals are Green Gold. The stem is Sap Green. Shade the left side with Primary Magenta, the right side with Green Gold, then line stripes with Primary Magenta. The leaf is Green Gold. Wash the center around the hearts with Primary Cyan. The heart tips are Primary Magenta and tops of the hearts are Titanium White mixed a little to make pink. Let dry. ORANGE POSY 4: Lightly wash the petals Cadmium Orange Hue. Darken the petals from the center outward with Pyrrole Orange. The center and a layer of the petal rims are Hansa Yellow Medium. The other outer rims are Yellow Oxide. The dip dots are Blue Green Light. The stem and leaves are Blue Green Light, highlighted with Pyrrole Orange. Let dry.
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POTS: Glue each pot and their trims down with DecoArt
Decou-Page Matte using the old brush. Shade the red pot with Pyrrole Red and highlight with Hansa Yellow Medium. Shade the purple pot with Dioxazine Purple and highlight with dots of Hansa Yellow Medium. Shade the pink pot with Primary Magenta. Shade the orange pot with Pyrrole Orange and make highlight dots with Hansa Yellow Medium. WORD STAMPS: From all the stamp groups use the inspiring words of your choice. Stamp the top of the stack and the rest of the blocks in random spaces. Let all of the ink dry very well. PEN WORK: Use the Sakura Black Identi-pen to add detail. Pen over the stamped lines. Use the pictures and patterns as a guide. When you add more lines to the petals, fill them in with the corresponding palette of color. Let this dry.
FI NI SH I NG
Give the whole project a coat of DecoArt Sealer/ Finisher Spray Matte and let dry well. Glue the dowel into the bottom block hole and stack the blocks lined up. Glue the cap and feet on. When everything is in place and dried very well, apply the DecoArt Black Shimmer Metallic Luster to the cap and feet. Make sure everything is sealed.
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artist’s sketch In school, during the 1970s, Elaina Appleby took every art class possible including private lessons in ceramics and floral design. Coming from an industrious and creative family, she learned to make most anything into some kind of art piece. In Eastern Washington State, where she grew up, flowers grew abundantly. Elaina and her family would harvest the flowers and create bouquets for sale. She continued a floral business after getting married and having a family. When she took her first decorative painting class, in the 1990s, it didn’t take long before she was out of the flower business and into the painting business! She has made lasting friendships over the last 30 years of crafting, opened three successful studios, and taught hundreds of students. She has been published in books and magazines. Currently she has an in-home studio. The creative arts are her world so be watching for new and upcoming designs in her printed and online magazines where she’ll be using old and new techniques. Paint on!
Design is 50% of original. Enlarge 200% for actual size.
For a free design at actual size, affix two first-class stamps to a #10 SASE and send to: The Decorative Painter Attn: POSY PUZZLE SUMMER - 2017 1220 E. FIRST St., Wichita, KS 67214-3907. Allow four weeks for delivery.
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OIL
MELT MY HEART HELENA RIZZARO ANDREJEV
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Painter’s Checklist SURFACE Heart Box with Swivel Top 6 1⁄2" (16.51 cm) PALETTE DECOART AMERICANA ACRYLICS Antique Maroon Cool Neutral WINSOR & NEWTON ARTISTS’ OIL COLOURS Alizarin Crimson Brown Madder Ivory Black Olive Green Oxide of Chromium Purple Madder Raw Sienna Titanium White BRUSHES SHERRY C NELSON Series 303 nos. 2, 4 & 6 Pure Red Sable Series 312 no. 1 Pure Red Sable Mix Round LOEW-CORNELL AMERICAN PAINTER Series 4550, 1" and ¾" wash SUPPLIES Basic painting supplies (page 96) Adhesive dots – small Fine grit sandpaper Krylon Matte Finish Spray – optional Marvy Uchida DecoColor Premium Gold Leaf Pen, medium Masking tape Ribbon of choice for bow Strathmore Canvas Paper Strathmore Paper Palette Tack cloth White Stain Sealer Winsor & Newton Brush Cleaner & Restorer Winsor & Newton Artist’s Matt Varnish SOURCES Heart Box is available at WWW.IDEALWOODPRODUCTSINC.COM. Sherry Nelson brushes are available at WWW.SHERRYCNELSON.COM. J.W. Etc. White Stain Sealer is available at WWW.JWETC.COM.
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This project will demonstrate step-by-step how to paint with oils on an acrylic background. I have tried many mediums and the one close to my heart is definitely oil. This project will provide you a chance to use different techniques from blending to strokes. Since oils are always very forgiving, it is easy to change anything you want, whether the oil is still wet or after it is dry. There will be lots of tips and references to be used so you can go back to any part of your painting effortlessly. Once finished, this lovely box can be a gift to a special someone or just a gift to yourself. So, let’s relax, paint and enjoy some chocolate along the way.
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STEP-BY-STEP ROSES
STEP 1 BASECOAT
STEP 2 TOP PETALS
Grid Line
STEP 1 STEP 1
Grid Line
Grid Line
STEP 3 TOP AND CENTER PETALS
STEP 4 OPEN PETALS Top
Bottom Center
Outside Bottom
CHERRIES STEP 1 BASECOAT
STEP 2 BLENDING
STRAWBERRIES STEP 1 BASECOAT
STEP 2 BLENDING
CHOCOLATE STEP 1 BASECOAT
CHOCOLATE STEP 1 BASECOAT
Lower Outside
STEP 2 BLENDING
STEP 2 BLENDING
SEEDS BON BON STEP 1 BASECOAT
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STEP 2 BLENDING
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H E LPFUL TI PS
WOOD BACKGROUND PREPARATION: If the wood is not properly prepared for painting, the results of the finished project might be frustrating. There is nothing worse than spending hours, days, and sometimes weeks working on a project to realize at the end that the imperfections of the wood underneath are visible on your final painting. Each step of preparation is as important as the painting itself, from sanding following the wood grain, to cleaning it by removing the dust and applying the sealer – which assures better adhesion of paint to the surface, increases paint durability, and provides additional protection for the wood. I don’t like surprises on my projects, and I want to make sure after all that labor of love my piece will look as professional and last for years to come. Another important point regarding the wood is to not buy any unfinished wood with knots in it. I have tried many products for preventing the knots from bleeding through the paint and yet I have not found one that is truly effective and, with time, it will stain your painted project. PRACTICING: If you have never painted stroke roses before I suggest some practice first. I like to practice on canvas paper. Paint the background color using the acrylic paint, so you can adjust the color as you practice. It is also a good idea to try several roses on the board first so you can see which strokes work best. You can then save the board for future reference. I love to use boards and I have several of them, some with learning mistakes and some with happy endings. They are very helpful before and after. KRYLON MATTE FINISH SPRAY: It is listed as optional but I recommend using it if you want to dry your project quickly. It can be used at the end of painting and prior to varnishing or between each step. I like to work as much as possible wet-on-wet first, and then after the paint is dry I work on the details. Then I just varnish it. PALETTE BOX FOR OILS: To keep the oils fresher longer, I suggest a palette lock box. There are several on the market; just an inexpensive plastic one will be perfect. I absolutely love them! There are rectangular ones where the palette paper can fit perfectly inside, and there are round ones with the same palette papers sold together to fit them. You can also use parchment paper (the kind used as a liner for baking) and cut it according to the shape or size needed. A palette box keeps the oil paint fresh for a long time, ensuring nice and easy blending. You also will be able to save a lot of money from using much less paint. TRACING: I learned from many mistakes in the past that tracing is another important step for beautiful results. Before I use any graphite paper I wipe the tracing paper with
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a paper towel to remove the excess lead and to avoid extreme dark lines that might appear later. After that, I still test it before I make the final tracing on my project. Last and definitely not least, using a light pressure to trace the design lines is essential to make sure that no marks will be left indented on the wood surface. If the pressure is too heavy, it will show up on the final painting. CREATING HARMONY WITH COLORS: To create a more interesting painting, some leaves are painted with warm tones and some with cool tones. Some of both leaf tones – cool and warm – have accents. The accent color is pure Alizarin Crimson, applied in a very small amount only at some edges of the leaves to create color harmony.
TECH NIQUE S
GENERAL PAINTING TECHNIQUE: Always use a
small amount of paint when working with oils. When you change color, gently wipe the brush on a paper towel, removing much paint as you can. Only use the cleaners at the end of your painting day. For the entire project start by blocking in the colors from the mixing brush technique. Blend the colors using a wet-on-wet technique. When the painting is all finished use the dry-brush technique to reinforce the darks, the highlights, and the accent colors. VALUES: When placing the colors on each subject beginning with mid-value, then adding the light and the dark values next to each other, we can judge well if there will be contrast between them. Once the colors are blended, only where they meet, another value is added. This helps to create dimension, interest, and harmony within the painting as well. SIDELOAD BRUSH TECHNIQUE: In this project I only use this technique for the petals on the roses. After placing the colors for the background of the entire rose, as described later, do not wipe the brush at all. Use only one side of the brush – the upper side where the highlight will be – picking up a small amount of Titanium White. On a practice board draw a small stroke lightly just to take the excess of the Titanium White off. You can always highlight it later. Make sure you do not lose the dark colors on the other side of the brush. MIXING BRUSH TECHNIQUE: Pull the first color down from a puddle. The plus sign (+) means to pick up more of the color described into the same mixture. Do the same with the next color and mix them with your brush. The first color described for the mixture is the predominant one. The next colors use a smaller amount and the last color described uses just a touch of it.
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WET-ON-WET TECHNIQUE: Used when the basic values are applied. Blend the basecoat colors together. Use very soft motion only where the end of each color touches each other. This technique allows the value tones to be well defined. The entire project is done with this technique. DRY-BRUSHING TECHNIQUE: It is used to strengthen the darker and lighter values when the paint is finished and dry, and also to add accent colors. Use a very small amount of the color needed, wiping any excess off on a paper towel. The brush needs to be dry. Strengthen the values by using a circular motion to blend them together. I like to move from the darkest color to the lightest. The pressure of the brush is also important so on the darkest part I apply more pressure on the brush and then slowly I release the pressure for a softer look.
TE R M I NOLO GY
BACKG ROUND PA I NTI NG
Paint the entire box first with Cool Neutral, let dry. Then apply a second coat. After the paint is completely dry (overnight is suggested), tape the bottom of the box with masking tape leaving ½" for painting the edge. Apply two coats of Antique Maroon to the bottom of the box as well as to the bottom of the lid. Also apply two coats on the inside of the box. Let it dry between each coat. Remove the tape carefully.
TR ACI NG TH E DE SIG N
Be sure that the design line is in alignment with the background painted edge and then attach the tracing paper with tape. The graphite paper can be loose between the tracing paper and the wood so it can be moved, allowing you to see what has been traced already and not miss any lines.
BLENDING: Using light pressure on the brush, move it in short strokes mixing the blocked colors only where they meet. VALUE: It is defined as the relative lightness or darkness of a color. It creates contrast and dimension, allowing the painting to have depth and not appear flat. By blocking the colors with three values – light, medium and dark – and then blending each one only where the colors touch each other, it can create more values between them. Highlights and darkest colors can be applied with the dry-brush technique, finalizing the format, shapes and dimensions of each element. ACCENT COLOR: The accent color is used to create harmony on the overall painting. It is the mid-value of one object used randomly on another object to bring balance within the colors. It should be used only in a few areas of the painting with the dry-brush technique. COOL AND WARM COLORS: Without getting into the theory of colors with color temperature, simply put, warm colors have some yellow within the mixture and cool colors have blue instead of the yellow in the mixture. They give dimension to the painting.
Olive Green (1:tch:tch). RIGHT PART: Use Purple Madder+Brown Madder (1:tch).
PR E PA R ATION
PETA L ROLLS DIV I SION
Sand the wood in the direction of the grain. Dust it with the tack cloth so all dust can be removed to prepare the wood for painting. Apply one coat of the J.W. Etc. White Stain Sealer letting it dry to seal the wood. It assures better adhesion of paint to the surface, increases paint durability, and provides additional protection for the wood. Let it dry well.
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LET ’ S PA I NT RO SE S
BACKGROUND COLOR PLACEMENT: Use a no. 6
sable brush. Place the three colors side by side dividing the round shape of the rose in three, as if it is a pie cut in three slices. These colors do not need to be blended. They will play a major role in the depth of the petals.
L A RG E RO SE
TOP PART: Use Titanium White as highlight where the
back petals will be placed
LEFT PART: Use Purple Madder+Alizarin Crimson (1:tch). RIGHT PART: Use Purple Madder+Brown Madder (1:tch).
SM A LL RO SE
TOP PART: Use Titanium White as highlight where the
back petals will be placed.
LEFT PART: Use a mix of Purple Madder+Brown Madder+
These will be the guidelines for the placement of the petals. It will help create the dimension of the rose. Wipe off the no. 6 brush and, using the chisel of the brush, draw straight lines over the color placement on the background of the roses. Draw a straight vertical line at the center. Then draw two horizontal parallel lines spacing them equally.
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A DDI NG PETA LS
All petals are painted with sideload technique described in the Step-by-Step on page 59. These petals are the top as well as the back row of the roses; therefore they should fade toward the back. By using light strokes close to one another, some might disappear – which in this case is a good thing. This effect will help the other petals to come forward. Do not lose the dark shading for the background. It will create the dimension necessary for the petals. All petals can be retouched later. As much as you may be tempted, do not try to complete the rose at this point. This is the time only to arrange the placement of the major petal structure. Follow the pictures for the correct placement. TOP PETALS: Starting with small strokes going from the center toward the top or outside, wipe the excess off the brush gently but do not load the brush with Titanium White again. The Titanium White is placed on the top corner of the brush – where the highlight will be. This will help the petals to blend between themselves. BOTTOM CENTER PETALS: Wipe the brush. Sideload again with Titanium White and wipe off excess. Start from the center and move toward the lower part, using close strokes for these petals. OPEN PETALS: Wipe the brush. Sideload again with Titanium White and wipe off excess. Start from the outside parts, left or right as preferred, then paint the bottom part of the rose. At this point take a step back and look at the rose. If the center is crooked, or if you see some oddly shaped petals, this is a great time to adjust them, while the paint is still wet. If you lose some of the petals do not worry. Not all petals should be totally defined and that creates the effect of a real rose. Also you can later detail the petals and bring them back. OTHER PETALS: Without wiping the brush, fill any empty space with light strokes to add more petals.
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SMOOTHING THE PETALS: Wipe the brush. Using a
smaller size brush, blend the major petals, checking the Step-by-Steps on page 59 to emphasize the dimension of the rose structure. Gently blend the side petals creating the transition from one roll to another. Then gently blend the center. With the same brush, stroke a few more petals toward the center, then let them fade. Make sure to keep the darkest part of the center for depth. Use more darks to strengthen the depth and Titanium White for the highlights. CENTER: Using the no. 1 round, apply the seeds with Raw Sienna and then add Titanium White for their highlights.
CH E R R I E S
Mid Value Basecoat: Purple Madder+Brown Madder (1:tch) Light Value: Mid Value+Titanium White (1:tch) Dark Value: Mid Value+Purple Madder (1:tch) Blend where colors meet. Highlight: Titanium White Very Dark Value: Dark Value+Ivory Black (1:tch) Stem: Use values of the warm leaves. Accent with Purple Madder.
STR AWBE R RY
Mid Value Basecoat: Purple Madder+Alizarin Crimson Light Value: Mid Value+Titanium White (1:tch) Dark Value: Mid Value+Purple Madder Blend where colors meet. Highlight: Titanium White Very Dark Value: Dark Value+Ivory Black (1:tch) Green Top: Use the same values as the warm leaves. Seeds: Raw Sienna+Titanium White (1:tch) Highlight seeds with Titanium White. For the shadow use Purple Madder+Ivory Black+Titanium White (1:tch:tch).
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CHO COL ATE - COV E R E D CH E R R I E S, STR AWBE R RY A ND BON-BON Mid Value Basecoat: Brown Madder+Purple Madder+ Titanium White (1:tch:tch) Light Value: Mid Value+Titanium White (1:tch) Dark Value: Mid Value+Purple Madder (1:tch) Blend well where colors meet. Highlight: Titanium White Very Dark Value: Dark Value+Ivory Black (1:tch)
ICI NG TOPPI NG BON-BON
Mid Value Basecoat: Titanium White+Purple Madder (1:tch) Light Value: Mid Value+Titanium White Dark Value (Shade): Darkest value of the Bon-Bon Highlight: Titanium White
LEAV E S CO OL LEAV E S
Mid Value Basecoat: Oxide of Chromium+Titanium White Light Value: Mid Value +Titanium White Dark Value: Mid Value+Ivory Black Blend where colors meet. Highlight: Titanium White Very Dark Value: Dark Value+Ivory Black (1:tch) if needed
WA R M LEAV E S
Mid Value Basecoat: Olive Green+Raw Sienna+ Titanium White (1:1:tch) Light Value: Mid Value+Titanium White Dark Value: Mid Value+Ivory Black Blend where colors meet. Highlight: Titanium White Very Dark Value: Dark Value+Ivory Black (1:tch) if needed
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NEW RELEASES
V E I NS
All the leaves follow the same process to paint the veins. Use the chisel of the brush to apply a mix of the Light Value while the leaves are wet. The veins are placed over the Dark Value above the center of the leaves. Pull the color from the base of the leaves starting from the stems to the tip. Add shade by using the chisel of the brush and apply the darker value next to the veins. After dry, strengthen values using the dry-brush technique.
Down Roads Less Traveled Vol 10 - Bill Bayer Double Dash of Christmas - Haughey & Speltz Fall & Frost - Antonick, Hanley & Cotton #BeInspired - Sandy McTier Upcycled Glass Doodling - Christy Hartman 800-328-0116 • viking@vikingwoodcrafts.com
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FI NI SH I NG
Allow the paint to dry completely. Apply two coats of Winsor & Newton Artist’s Matt Varnish following the manufacturer’s instructions. Let dry between each coat. Use the DecoColor Premium Gold Leaf Pen, following the manufacturer’s instructions, on the contour on the outside edges of the Antique Maroon color. If you are good at making bows, go for it! But since I am not, I have found an easy way to create them. I cut a small piece of the ribbon and made a very simple bow first. I glue it to the middle and set aside. I then create two more exactly alike and glue each one individually. I place them, then glue the center of each one on top of another, overlapping them to create a full bow. After that, I make a small center by simply rounding a very small piece together where the edges touch one another and then glue
that part on the top. After the bow is down and completely together I attach it to a 10" long ribbon. The finished ribbon with the bow will be glued to the inside of the lid with a glue dot. The easiest way to place the ribbon on top of the lid is to place it loosely on the front of the box to decide where exactly it should go. Then on the inside of the lid place a glue dot to attach the ribbon without having to glue it to the front of the box. This box could be filled with your favorite chocolate, used as a jewelry box, perhaps as a treasure box with your most memorable objects, or anything else your heart desires. You can also place a special photograph cut into a heart shape to fit the bottom and add a lovely message. Whatever you decide to do with it, make sure it is filled with love and let your heart melt …
artist’s sketch Helena Rizzaro Andrejev is a decorative painter and a designer working mostly with oils for over 25 years. Her favorite subjects are flowers, fruit, and birds. She has worked with several mediums and styles – oils being her favorite – from graphite portraiture to glass painting with pen and ink. She is an active member of the Society of Decorative Painters and the American Society of Portrait Artists. Her artwork has been published in several painting magazines, and she has also won awards as well as painting competitions. Her artwork has been chosen to be the theme of a convention for the Society of Decorative Painters. Helena has an original painting at the Library of Congress in Washington D.C. She had the opportunity to teach several classes in her homeland of Brazil as well as in the USA. Helena has a great passion for all animals. Her pets have also been her models for pet portrait drawing and paintings. You may contact Helena at HELENARAH@GMAIL.COM.
Cool Leaf
Design is 30% of original. Enlarge 333% for actual size.
Cool Leaf Ribbon Placement
Cool Leaf Warm Leaf
Cool Leaf Cool Leaf For a free design at actual size, affix two first-class stamps to a #10 SASE and send to: The Decorative Painter Attn: MELT MY HEART SUMMER - 2017 1220 E. First St., Wichita, KS 67214-3907. Allow four weeks for delivery.
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The Decorative Painter • SUMMER 2017
Icing Chocolate
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A CRYL I C
FLIP FLOP FIESTA JUDY WESTEGAARD-JENKINS CDA
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Painter’s Checklist SURFACE Tempered Masonite 9" x 12" (22.86 x 30.48 cm) PALETTE DECOART AMERICANA ACRYLICS Alizarin Crimson Lavender Antique White Light Avocado Asphaltum Olive Green Bahama Blue Payne’s Grey Bleached Sand Primary Yellow Buttermilk Prussian Blue Calypso Blue Raw Sienna Coral Blush Sand Dioxazine Purple Santa Red Hauser Dark Green Snow (Titanium) White Khaki Tan Yellow Ochre Lamp (Ebony) Black BRUSHES DYNASTY BLACK GOLD Series 206FW 3⁄4" flat wash Series 206R nos. 2 & 4 rounds Series 206L no. 1 script liner Series 206L no. 10/0 liner Series 206A 1⁄4" & 1⁄2" angled shaders Series 206FL nos. 8 & 12 filberts Series 206WO 1" oval wash DYNASTY DECORATOR Series 400 1" mop Series 400 3⁄8" mop Large flat blender DYNASTY IPC (INK-PASTEL-CHALK) Large flat blender DYNASTY PALMER 2" taklon brush SUPPLIES Basic painting supplies (page 96) DecoArt Americana Multi-Purpose Sealer DecoArt Americana Drying Time Extender DecoArt Americana Soft Touch Varnish Kneadable eraser Stylus, fine-tipped Toothbrush for spattering White graphite paper
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The Decorative Painter • SUMMER 2017
It’s a painting party at the beach! Grab your flip flops and paint brushes and enjoy creating a funky “Boho Chic” beach scene. You may want to find a seashell or two to actually decorate with paint. You may even wish to paint this on a t-shirt for SDP’s 45th Annual Conference & Expo: Oceans of Color.
PR E PA R ATION
Sand the panel. Remove sanding dust with a soft cloth. Seal with DecoArt Americana Multi-Purpose Sealer. Dry. Lightly sand and remove the sanding dust. Trace the pattern. Transfer only the border, flip flops, waves, starfish, shells and sand to the surface using a stylus and white graphite paper.
BA SECOATS
I use a combination of the round brushes and filbert brushes to basecoat. Use as many coats as needed for opaque coverage allowing sufficient drying time between coats.
LET ’ S PA I NT SKY
STEP 1: Use a water-dampened paper towel to lightly
moisten the sky area. Load the toothbrush with thinned Calypso Blue+Payne’s Grey (1:tch). Spatter the top third of the sky. Allow to dry.
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STEP-BY-STEP SKY
STEP 2
STEP 1
Spatter the sky.
Deepen shading at top of sky.
STEP 2
Add clouds. Soften with a mop.
WAVES
FEATHERS, STRING AND BEADS STEP 1
STEP 3
STEP 3
STEP 1
STEP 2
STEP 3
SAND STEP 1
STEP 2
STEP 3
STARFISH STEP 1
STEP 2
STEP 3
RIGHT FLIP FLOP DECORATION STEP 1
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STEP 2
STEP 3
COLOR KEY
Sky: Bahama Blue Border: Olive Green, Coral Blush, Buttermilk Distant Waves: Prussian Blue+ Bahama Blue (1:1) Waves Near Shore: Prussian Blue+ Bahama Blue+Snow (Titanium) White (1:1:tch) Left Flip Flop Sole: Alternate stripes using Lavender and Antique White Sole Edge: Antique White Straps: Olive Green Sand Dollar: Bleached Sand Right Flip Flop Sole: Olive Green Sole Edge: Antique White Straps (upper sections): Yellow Ochre Straps (lower turned sections): Raw Sienna Hibiscus: Coral Blush Pointed Leaf: Light Avocado Split Leaf: Hauser Dark Green+ Prussian Blue (1:tch) Sand: Khaki Tan Starfish: Coral Blush Conch Shell: Sand Scallop Shell: Buttermilk The Decorative Painter • SUMMER 2017
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STEP 2: Extend the sky area using the IPC large flat
blender. Deepen the top of the sky and the left sky area where it falls behind the border using a 3⁄4" wash brush and Calypso Blue+Payne’s Grey (1:tch). Walk the wash about 2" to 3" down from the top. Soften with a large mop. STEP 3: Extend the area where clouds will be placed. Softly pat Snow (Titanium) White in the desired shapes using a no. 12 filbert. Soften with a mop.
FEATH E R S A ND STR I NG PI NK FEATH E R
STEP 1: Paint the string with thinned Payne’s Grey using
the no. 1 liner. Add transparent, flowing curved strokes of Alizarin Crimson to establish the shape. Add a few strokes of Corl Blush. STEP 2: Highlight the string with Snow (Titanium) White and add a fine line to the center shaft. Add lines with thinned Coral Blush+Snow (Titanium) White (1:1) allowing the original lines to show. STEP 3: Extend the feather. Shade along the center shaft using the 1⁄4" angle brush with Alizarin Crimson+Dioxazine Purple (1:1). Add more Snow (Titanium) White and Coral Blush lines.
BLUE FEATH E R
STEP 1: Paint the string with thinned Payne’s Grey using
the no. 1 liner. Add transparent, flowing curved strokes of Prussian Blue to establish the shape. Add a few strokes of Prussian Blue+Snow (Titanium) White (1:1). STEP 2: Highlight the string with Snow (Titanium) White and add a fine line to the center shaft. Add lines with thinned Snow (Titanium) White+Prussian Blue (4:1) allowing the original lines to show. Shade along the center shaft using the 1⁄4" angle brush and Payne’s Grey. Add more Snow (Titanium) White+Prussian Blue (4:1) and Snow (Titanium) White lines.
BEA DS
Basecoat the beads with a no. 2 round. Shade and highlight as listed: BLUE: Basecoat with Calypso Blue, shade with Prussian Blue. Highlight with Calypso Blue+Snow (Titanium) White (1:1). LIGHT GREEN: Basecoat with Olive Green. Shade with Hauser Dark Green+Olive Green (2:1). Highlight with Snow (Titanium) White+Olive Green (1:tch). DARK GREEN: Basecoat with Hauser Dark Green+ Olive Green (2:1). Shade with Hauser Dark Green. Highlight with Snow (Titanium) White+Olive Green (3:1).
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PURPLE: Basecoat with Lavender. Shade with Dioxazine
Purple. Highlight with Snow (Titanium) White+Lavender (3:1). CORAL: Basecoat with Coral Blush. Shade with Alizarin Crimson. Highlight with Snow (Titanium) White+Coral Blush (3:1). STAR: Basecoat with Snow (Titanium) White+Primary Yellow (2:1). Highlight with Snow (Titanium) White. Add reflection dots to all the beads using Snow (Titanium) White.
WAV E S
STEP 1: Paint the long curled waves near the top with
Bahama Blue. Float along the right flip flop, around the curled wave and above the lower waves using a 3⁄8" angle brush and Prussian Blue. STEP 2: Highlight the Bahama Blue waves with Snow (Titanium) White. Highlight the remaining wave tips using a 1⁄4" angle brush loaded with Snow (Titanium) White+Prussian Blue (1:tch). Deepen the shading with Payne’s Grey. STEP 3: Strengthen all wave highlights with Snow (Titanium) White. Dry-brush highlights onto the water areas using a no. 8 filbert loaded with Snow (Titanium) White+Prussian Blue (1:tch).
SA ND
STEP 1: Shade above all the sand lines using a 1⁄2" angle
brush loaded with Asphaltum. STEP 2: Highlight the top edge of each sand section using a 1⁄2" angle brush loaded with Bleached Sand. Spatter the sand area using a toothbrush loaded with thinned Bleached Sand then with Snow (Titanium) White. STEP 3: Continue spattering the sand using Sand, then a small amount of Asphaltum. Allow to dry. Coat the sand area with DecoArt Americana Drying Time Extender. Make a wash of thinned Bleached Sand. Apply the wash to the entire sand area using the 1" oval wash. Soften with a mop.
FOA M
STEP 1: Coat the area with DecoArt Americana Drying
Time Extender. Pat Bahama Blue+Snow (Titanium) White (1:1) on the shore area using a no. 8 filbert. Soften with a mop. STEP 2: Load the no. 1 liner with Snow (Titanium) White. Add soft, random dots at the top and center of each foam area.
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STA R FI SH
STEP 1: Load the ⁄2" angle brush with Santa Red. Shade 1
along the flip flop, behind the sand and in the areas between the arms. Deepen shading with Alizarin Crimson. STEP 2: Dry-brush Coral Blush+Snow (Titanium) White (2:1) on the middle and down each center line of the arms. Randomly add speckles to the arms, along the top and along the left edge with “smushy” dots of Coral Blush+Snow (Titanium) White (1:1) using the no 1. liner. Add a few more dots using the same mix plus more Snow (Titanium) White. STEP 3: Coat the starfish with DecoArt Americana Drying Time Extender. Load the 1⁄2" angle brush with Alizarin Crimson+Dioxazine Purple (1:1). Deepen the shading along the right and bottom edge.
ing with Payne’s Grey. Pull Snow (Titanium) White lines from the edges toward the center vein area. Use the 10/0 liner brush loaded with Snow (Titanium) White+Olive Green (1:tch) to add the vein line.
SPI KE S
STEP 1: Load the no. 10/0 liner with thinned Hauser
Dark Green to add a few spikes.
STEP 2: Continue adding spikes in the same manner
using Olive Green. STEP 3: Add additional spikes using more Olive Green, Olive Green+Sand (1:1) and Hauser Dark Green.
SA ND DOLL A R
STEP 1: Use the tip of a no. 2 round brush loaded with
LE FT FLI P FLOP SOLE
STEP 1: Float Dioxazine Purple+Payne’s Grey (1:tch)
shading along the edge of the sole and above the sand with the 3⁄8" angle brush. Deepen shading with Payne’s Grey. STEP 2: Extend the center of the sole below the sand dollar area. Pat Snow (Titanium) White in the center of each Antique White stripe. Pat Snow (Titanium) White+Lavender (4:1) to the Lavender stripes in the same manner. Soften with the large mop. STEP 3: Highlight the edge of the sole with Snow (Titanium) White.
thinned Khaki Tan to add the five petal shapes. Add the small slit openings with thinned Asphaltum. STEP 2: Use the tip of a no. 2 round loaded with Snow (Titanium) White to dab highlights between the five petals and on the center. Float Khaki Tan+Asphaltum (2:1) shading around the outside edge of the sand dollar with the 1⁄4" angle brush. STEP 3: Pat a transparent wash of Snow (Titanium) White over the entire sand dollar using the no. 8 filbert. When dry, load the 10/0 liner with Snow (Titanium) White and tap tiny, random spots around the outer edge.
SM A LL BR A NCH E S
STEP 1: Load the 10/0 liner with thinned paint and paint
STR A PS
STEP 1: Load the ⁄2" angle brush with Payne’s Grey. Float 1
shading on each strap where it falls behind the decoration and along the area where the straps turns to the inside. STEP 2: Highlight the top of each strap by patting with Snow (Titanium) White+Olive Green (1:1) along the turn. STEP 3: Paint the hole around the area where the strap enters the sole using a no. 1 liner loaded with Lamp (Ebony) Black.
LE FT FLI P FLOP DECOR ATIONS L A RG E LEA F
STEP 1: Shade the leaf using the 1⁄4" angle brush loaded
with Hauser Dark Green.
STEP 2: Pull Hauser Dark Green lines from the vein line
toward the leaf edges. STEP 3: Load the 10/0 liner with Snow (Titanium) White+ Olive Green (2:1) and add the vein line. Deepen the shad-
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the small branches. Paint the top two branches using Khaki Tan and the lowest branch with Asphaltum.
FEATH E R
Paint the feather using the same colors and technique as the previous pink feather.
PA LETTE CH A R M
STEP 1: Basecoat the palette with Raw Sienna and the
thumb hole with Lamp (Ebony) Black. Shade the lower right edge with Asphaltum. STEP 2: Highlight the upper left edge with Sand. STEP 3: Add paint puddles with Coral Blush, Primary Yellow+Sand (1:1), Olive Green+Prussian Blue (1:1), Lavender, and Olive Green. STEP 4: Load the no. 10/0 liner with thinned Payne’s Grey and establish the string. Highlight the string with Snow (Titanium) White. Basecoat the beads with
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Dioxazine Purple, Alizarin Crimson+Snow Crimson (Titanium) White (1:1), and Prussian Blue+ Snow (Titanium) White (1:tch). STEP 5: Extend the beads. Highlight the purple bead with Lavender, the red bead with Alizarin Crimson+Snow (Titanium) White (1:1) and the blue bead with Calypso Blue+Snow (Titanium) White (1:tch). Add reflection dots with Snow (Titanium) White.
R IG HT FLI P FLOP SOLE
STEP 1: Load the no. 2 round with thinned Snow (Titanium) White. Add evenly
spaced polka dots on the sole. STEP 2: Load the 1⁄2" angle brush with Light Avocado+Hauser Dark Green (1:tch). Float shading along the edge of the sole. Deepen shading with Payne’s Grey. Coat the bottom third of the sole with DecoArt Americana Drying Time Extender. Shade the area from bottom of the straps to the sand by patting a small amount of Hauser Dark Green in the area so that it is quite transparent. Soften with a mop. STEP 3: Highlight the edge of the sole with Snow (Titanium) White, avoiding the shadowed areas.
STR A PS
STEP 1: Load the 1⁄2" angle brush with Asphaltum. Float shading on each
upper strap where it falls behind the decoration and on the top edge of the lower strap. STEP 2: Highlight the top of each upper strap using the no. 8 filbert loaded with Snow (Titanium) White White+Yellow Ochre (1:1) along the turn. STEP 3: Paint the hole around the area where the strap enters the sole using a no. 1 liner loaded with Lamp (Ebony) Black.
R IG HT FLI P FLOP DECOR ATION BRUSH E S
STEP 1: Basecoat the left brush handle with Calypso Blue and the right handle
with Lavender. Shade the blue handle with Prussian Blue and the purple handle with Dioxazine Purple. Basecoat the ferrules with Snow (Titanium) White+Lamp (Ebony) Black (6:1). Allow to dry. Shade the right ferrule sides with Payne’s Grey. Load the no. 2 round brush with thinned Khaki Tan and basecoat the bristles. When dry, load the 1⁄4" angle brush with Asphaltum and shade the bottom and right bristle sides. STEP 2: Load the no. 1 liner with Snow (Titanium) White and highlight the center of each brush handle section. Highlight the left edge of each ferrule using the 1⁄4" angle brush loaded with Snow (Titanium) White White. Load the 10/0 liner with thinned Raw Sienna to define the bristles. STEP 3: Load the 1⁄4" angle brush with Payne’s Grey and deepen the shadows on the blue handle. Deepen the shading on the purple handle with Dioxazine Purple+Payne’s Grey (1:1). Strengthen the ferrule and handle highlights with Snow (Titanium) White. Use the no. 1 liner to further define the brush heads by adding a few highlight lines of Raw Sienna Sienna+Sand (2:1) and Coral Blush+Snow (Titanium) White (1:1). Add dark bristles using both Lamp (Ebony) Black Asphaltum. and Asphaltum
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SPLIT LEA F
STEP 1: Coat with DecoArt Americana Drying Time Ex-
tender. Load the 1⁄4" angle brush with Prussian Blue and shade the leaf. Pat in a faint highlight using Hauser Dark Green+Avocado (1:tch). Soften with a mop. STEP 2: Extend the leaf. Pat Olive Green+Hauser Dark Green (1:1) highlights on the leaf tips and the widest side of the leaf using a no. 8 filbert. STEP 3: Deepen the shading with Payne’s Grey. Load the 10/0 liner brush with Snow (Titanium) White+Olive Green (2:1) and add the vein line.
POI NTE D LEA F
STEP 1: Extend the leaf. Load the 1⁄4" angle brush with
Light Avocado+Hauser Dark Green (1:1) and shade the leaf. Soften with a mop. STEP 2: Pat Olive Green+Snow (Titanium) White (1:1) highlights on the widest side of the leaf using the no. 8 filbert. STEP 3: Load the 10/0 liner with Snow (Titanium) White+Olive Green (2:1) and add the vein line. Add an accent to the leaf tip using the 1⁄4" angle brush loaded with Alizarin Crimson.
H I BI SCUS FLOWE R
STEP 1: Extend the flower. Load the 1⁄4" angle brush with
Santa Red and shade the petals. Deepen the shading with Alizarin Crimson while the first shading is still wet. Soften with a mop. STEP 2: Complete this step while the DecoArt Americana Drying Time Extender is wet. Deepen the shading with Alizarin Crimson. Soften with a mop. Load the 1⁄4" angle brush with Coral Blush+Snow (Titanium) White (1:1) and highlight the petals, turns and ripples. Allow to dry thoroughly. When dry, use a no. 2 round brush to paint the pistil with Snow (Titanium) White. STEP 3: Deepen a few shaded areas with Alizarin Crimson+Dioxazine Purple (1:1). Strengthen the highlight areas with Coral Blush+Snow (Titanium) White (2:3). Add a few tints of Primary Yellow to petal edges. Add a Payne’s Grey+Snow (Titanium) White (2:1) shadow to the bottom half of the pistil using a no. 1 liner. Add pollen dots to the pistil end using Alizarin Crimson, Asphaltum and Primary Yellow+Snow (Titanium) White (1:tch).
SM A LL -LEA FE D BR A NCH
Paint the branch and leaves using a 10/0 liner loaded with thinned Hauser Dark Green+Prussian Blue (1:tch).
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PA LM FROND
STEP 1: Basecoat the frond using a no. 2 round brush
loaded with thinned Light Avocado+Prussian Blue (4:1).
STEP 2: Load the 1⁄4" angle brush with Hauser Dark
Green and shade the upper half of each of the frond sections. STEP 3: Load the no. 1 liner brush with Light Avocado+ Olive Green (1:1) and highlight the frond sections.
FEATH E R
Paint the feather using the same colors as the flamingo feather.
STROM BUS SH E LL
STEP 1: Extend the shell. Load the 1⁄4" angle brush with
Khaki Tan and shade around the shell opening. Shade the top edge with Raw Sienna. Shade the left side of each of the spiral top sections with Asphaltum. Pat a highlight in the middle of the large center area using the no. 8 filbert loaded with Bleached Sand+Snow (Titanium) White (1:1). Load the no. 2 round with Bleached Sand. Paint the stroke on the upper edge of the opening. Float Bleached Sand along the rippled edge on the bottom of the opening. Pat Coral Blush into the opening with the no. 8 filbert. Soften with the small mop. STEP 2: Extend the shell. Deepen the shading on the top edge of the shell with more Raw Sienna. Randomly place Asphaltum spots on the main body of the shell using a no. 2 round. Soften with a mop. Load the 1⁄4" angle brush with Bleached Sand. Highlight the right edge of each of the spiral sections. Deepen the shading on the top of the opening with Alizaron Crimson. STEP 3: Strengthen the middle of the large center area highlight by patting with Snow (Titanium) White. Highlight the stroke at the upper edge of the opening with Snow (Titanium) White. Strengthen the highlights on the right side of each spiral top section.
SCA LLOP SH E LL
STEP 1: Use the no. 1 and 10/0 liners to basecoat in the
colors on each rib following the color placement guide.
STEP 2: Float Khaki Tan shading between the vertical
ribs using the 1⁄4" angle brush. Deepen the shading with Asphaltum. Pat a Snow (Titanium) White highlight in the center of each rib using the no. 8 filbert. STEP 3: Highlight the coral bands with Coral Blush+ Snow (Titanium) White (1:1), blue bands with Calypso Blue+Snow (Titanium) White (1:1), and the purple
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band with Lavender+Snow (Titanium) White (1:1). Place a Snow (Titanium) White stylus dot in the center of each red diamond. Add Calypso Blue dots to the middle of each rib below the red diamonds. Add an Olive Green+ Hauser Dark Green (1:1) stripe on either side of the lowest Coral Blush band. Shade the wing along the right rib with Coral Blush. Deepen shading with Santa Red. Highlight the ribs on the wing with Snow (Titanium) White. Allow to dry. Float Payne’s Grey on the scallop where it falls behind the strombus shell.
FL A M I NG O FEATH E R ( On Sa nd )
Paint the feather and beads on the sand using the same colors as the pink feather and beads hanging in the sky area.
SH A DOWS
Extend the areas to be shaded in the sand area. Load the 1⁄2" angle brush with Asphaltum and add shading to the left of the starfish, around the shells and underneath the feather. Soften with a mop.
FI NI SH I NG
Remove any tracing lines with a kneaded eraser. Use the 2" taklon brush to apply several coats of DecoArt Americana Soft Touch Varnish, allowing sufficient drying time between coats.
“HOME SWEET HOME” Product #148-A (Price $9.00 for paper packet; $7.00 for E-packet) Contains three different designs of brown rabbits. The pattern packet includes several pictures – step-by-step instructions, painting supplies, line drawings and general painting instructions. Information is for intermediate to advanced painters.
This pattern is also available as an E-packet as well as a paper packet.
Dorothy Whisenhunt, CDA DWhiz@DWhizDesigns.com (325)695-1549 • dwhiz@dwhizdesigns.com
Join us for our Fourth Session of great projects by your favorite teachers!
artist’s sketch
Judy has worked professionally as an artist, art director, licensed designer for the craft and gift industry and as a company spokesperson and educator in the arts. Her work has been published in numerous magazines. With over 25 books and videos to her credit, she offers a variety of painting pattern packets. Judy’s artwork, especially her holiday designs, can be found in many private collections as well as in the National Museum of Decorative Painting, the Society of Decorative Painters’ Permanent Collection, the Library of Congress, the White House, the Smithsonian Institute and in several presidential libraries. She received the CDA designation in 1983. Her newest book “Chalk It Up!” features chalking techniques for lettering and decorative painting. Judy’s most recent work is a mix of painting, chalk techniques, unusual background textures, embellishment and a variety of other experimentation. Her work is strongly influenced by nature, anything vintage, antique or repurposed. Her designs can be found at WWW.JUDITHWESTEGAARDDESIGNS. com; or you may contact her at JKWESTEGAARD@AOL.COM.
We are also featuring our new “Oil Basics” videos for those who would like to learn oils and those who want to “brush up” on their oil painting skills. Join us at your convenience, in your own home, and enjoy the best seat in the class! Visit our website for more info. www.oilpaintingexpressions.com
Pat Parker • patparkerpaints.com • patparkerpaints@gmail.com
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For a free design at actual size, affix two first-class stamps to a #10 SASE and send to: The Decorative Painter Attn: FLIP FLOP FIESTA SUMMER - 2017 1220 E. First St. Wichita, KS 67214-3907. Allow four weeks for delivery.
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Angel
Weather vanE ORIGINAL BY MARY JO LEISURE MDA ADAPTED TO ACRYLIC BY PRUDY VANNIER CDA
In 1983 Mary Jo Leisure mda published her book “Apples – An Apple a Day is the Painter’s Way.” The works are beautiful and timeless. For 25 years, the general rule for a decorative artist was you were either an acrylic painter or an oil painter. Period! Now, years later, with teaching skills honed, quality of paint and brushes improved, duplicating a project in a different medium is entirely possible, in fact, fun. This point is illustrated in the feature, In The Teacher’s Corner, page 10 of The Decorative Painter, Spring 2017, which Cheri Rol and I collaborated on. Mary Jo Leisure’s apples go a step further. In the following pages, you’ll find directions in oil and acrylic for this piece. The original weather vane is metal. The shape was reproduced in wood and is slightly smaller than the original to make it more manageable. It is faux-finished using DecoArt Americana Décor Metallic Acrylics. Find the Step-by-Step directions in the Skills Builders article on page 15. Be sure to have it darkest in the apple design area. The project was a fun challenge. Regardless of the medium, you need to review the instructions and dissect the colors. Oil painters apply paint and blend. Acrylic painters layer paint starting with a basecoat.
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LET ’ S PA I NT – OIL M IXI NG SYM BOLS
+ = blend colors together – = dry-wipe and pick up next color ( ) = use maybe or a small amount “mix” = use a dirty brush but dry-wipe first Mary Jo Leisure brush-mixes her colors.
A PPLE S
Refer to the oil Step-by-Step on page 77. Transfer the pattern. There are four steps in painting the apples: 1) Block in; 2) Blend lightly connecting colors; 3) Dry and shade; and 4) Highlight and tint. When applying highlight, lay it across the fat part of the apple first. Blend lightly to develop shape. Add shine going with the contour. Dark: Alizarin Crimson Yellow+Ivory Black Buff: Alizarin Crimson+Raw Sienna+(Cadmium Orange) and Alizarin Crimson+Yellow Ochre Pale DECORATIVEPAINTERS.ORG
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A CRYL I C / O I L
Light: Alizarin Crimson+Cadmium Orange+(Cadmium Yellow Light+Titanium White Dry and detail, using a small amount of paint. Shade: Alizarin Crimson+Ivory Black+(Ultramarine Blue) Highlight: Cadmium Yellow Light+Titanium White– Titanium White Tint: Ivory Black+Titanium White Note: If you need more contrast, use (Alizarin Crimson) +/or (Alizarin Crimson+Cadmium Orange) as an accent between light and dark areas.
LEAV E S
There are three steps in painting the leaves: 1) Basecoat; 2) Dry and detail, shade; 3) Highlight, tint and accent, vein. Basecoat the leaves a variety of values and temperatures, showing position of the leaf in the design. Use a basecoat of Cadmium Yellow Light+(Yellow Ochre Pale)+Ivory Black+(Titanium White). Use more yellow in warmer leaves and more white in the cooler leaves as you are basecoating. DECORATIVEPAINTERS.ORG
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Warmer Leaves: are in front. Use Cadmium Yellow Light+ Yellow Ochre Pale+Ivory Black+Ultramarine Blue – Titanium White. Dry and detail. Shade: Mix (Cadmium Yellow Light) (Yellow Ochre Pale)+ Ivory Black+(Ultramarine Blue)+(Alizarin Crimson). The Parenthesis ( ) means that color is a choice in different leaves. Highlight: Mix+(Cadmium Yellow Light+Ivory Black + Titanium White–Titanium White. Mix+(Cadmium Yellow Light)+Titanium White–Titanium White Tint: Ivory Black+Titanium White Accent: Alizarin Crimson+Yellow Ochre Light+ Cadmium Orange
WATE R DROPS
Outline shape with a liner brush using Titanium White+ (Cadmium Yellow Light) if there is yellow in your painting anywhere. Soften the line by blending. Shade underneath and one side. Inside waterdrop place light next to dark and a little color on the opposite side, softly blend. Add a light, clean dot using Titanium White. The Decorative Painter • SUMMER 2017
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Painter’s Checklist SURFACE Plywood weather vane, 10" x 27" (25.40 x 68.58 cm) PALETTE – OIL WINSOR & NEWTON ARTISTS’ OIL COLOURS Alizarin Crimson Raw Sienna Cadmium Orange Titanium White Cadmium Yellow Light Ultramarine Blue Ivory Black Yellow Ochre Pale BRUSHES Nos. 2 – 10 flat shader with sharp chisel (Red sable or synthetic) Round brush with a good point for line work Shorter bristle brush with some spring for dry-brush blending PALETTE – ACRYLIC DECOART AMERICANA ACRYLICS Alizarin Crimson Lamp (Ebony) Black Antique Maroon Light Avocado Antique Rose Marigold Black Green Plantation Pine Burnt Orange Warm White Hauser Light Green BRUSHES PRUDY’S BEST BRUSHES Mops Floater Liner SCHARFF BRUSHES INC. Series 155 ¼" & ¾" angulars Series 480 scroller SUPPLIES FOR OIL AND ACRYLIC Basic painting supplies (page 96) DecoArt DuraClear Soft Touch Varnish – satin or matte SOURCES Plywood weather vane is available from Bear With Us, Inc., 1331 Green Forest Ct. #16, Winter Garden, FL 34787; (407) 347-5939. Prudy’s Best Brushes available at PRUDYSSTUDIO@ YAHOO.COM; or (248) 921-4952.
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LET ’ S PA I NT – ACRYLIC PR E PA R ATION
Transfer the pattern. Basecoat the apples Burnt Orange using a large angle brush. Basecoat the front leaves Light Avocado using Prudy’s Best floater. Basecoat the back leaves with Plantation Pine.
A PPLE S
Refer to oil Step-by-Step on page 77. Shade with Alizarin Crimson. Sideload the large angle brush (slightly damp) and pat the shading into the areas as seen in the illustration. Deep shade with Antique Maroon using the same technique. Use a smaller angle brush to make the stem end with Antique Maroon+Lamp (Ebony) Black (1:tch). Use Antique Rose to lightly tint the highlight area. When dry, tint this area softly with Marigold. Add shine marks by lining with Warm White.
LEAV E S
Front leaves are shaded with floats of Plantation Pine using Prudy’s Best floater. Add vein lines with thinned Light Avocado or Hauser Light Green where it might be necessary to go lighter. Deep shade under folds and somewhat around vein lines with Black Green where necessary. Highlight some folds with Hauser Light Green+Warm White (1:tch). Line edges in the highlight areas with this mix. Add more Warm White to the mix for some detail.
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STEP-BY-STEP OIL APPLES STEP 1
Block in.
STEP 2
Blend lightly connecting colors.
STEP 3
Dry and shade.
LEAF, WATER DROPS, AND SHINE MARKS STEP 1
STEP 2
STEP 3
STEP 4
Highlight and tint.
LEAF Basecoat OIL: Dry and detail, then shade. ACRYLIC: Shade by floating. Highlight, tint and accent, vein. WATER DROPS Use a light highlight color to form the drop shape. Shade under and at one side. Add more of the highlight and shade for more definition. SHINE MARKS OIL: Titanium White+Cadmium Yellow Pale ACRYLIC: Warm White
ACRYLIC APPLES STEP 1
Basecoat Burnt Orange and first shade Alizarin Crimson. STEP 3
Paint stem end Antique Maroon+Lamp (Ebony) Black (1:tch).
STEP 2
Deep shade Antique Maroon. STEP 4
Highlight is Antique Rose, Marigold, Warm White*.
*When applying highlight, lay it across the fat part of the apple first. Blend lightly to develop shape. Add shine going with the contour.
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Back leaves are shaded with Plantation Pine and Black Green floats. Highlight areas are Light Avocado and/or Black Green+ Warm White (1:tch). Detail edges with this same mix. Add a tiny amount of Warm White if necessary. Add tints to some leaves (see photo) with soft floats of Burnt Orange. As with any floats, use the mop brushes to soften them if necessary.
WATE R DROPS
Use Warm White. Refer to the acrylic Step-by-Step on page 77.
TE NDR I LS
Use thinned Hauser Light Green and/or Light Avocado. Add a little Warm White for highlight areas. Use the tip of the scroller brush for long, graceful tendrils. Use Mary Jo’s pattern or make sure tendril ends curl back toward the design so your eye doesn’t wander off the focal point.
artist’s sketch Mary Jo Leisure MDA, is a charter member of SDP. She has touched the hearts of decorative painters around the world with her timeless designs and painting techniques. Today she enjoys grandchildren and a great grandchild, and is still active in her passion for painting. Browse through her website at www.MARYJOLEISURE.COM.
Prudy Vannier CDA, grew up loving art, but found her real passion when she discovered decorative painting. She enjoys teaching, designing, learning and sharing in the decorative painting world. You can see samples of her art on Facebook as well as keep track of her teacher and travel schedule. She welcomes students of any age and level of painting.
FI NI SH I NG
Erase pattern lines and apply DecoArt DuraClear Soft Touch Varnish. Done! Many thanks to Mary Jo Leisure for so kindly sharing her design and techniques.
Design is 40% of original. Enlarge 250% for actual size.
For a free design at actual size, affix two first-class stamps to a #10 SASE and send to: The Decorative Painter Attn: ANGEL WEATHER VANE SUMMER - 2017 1220 E. First St., Wichita, KS 67214-3907. Allow four weeks for delivery.
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OIL
Bellona Metalmark and Wild Orchids SHERRY C. NELSON
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MDA , TDA
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Bellona Metamark butterfly
Kim Garwood, butterfly guide, photographing butterflies on the Rio Barbas
Painter’s Checklist SURFACE Hyacinth Basket with 6.75" x 10.75" MDF lid (17.14 x 27.30 cm) PALETTE WINSOR & NEWTON ARTISTS’ OIL COLOURS Burnt Sienna Raw Sienna Cadmium Yellow Pale Raw Umber French Ultramarine Blue Sap Green Ivory Black Titanium White Phthalo Turquoise ( Winsor Red DELTA CERAMCOAT ACRYLICS (for Background Prep) Dark Victorian Teal Laguna Blue Cactus Green BRUSHES SHERRY C. NELSON BRUSHES Series 303 nos. 0, 2, 4, 6 & 8 Red Sable Brights Series 312 no. 1 Red Sable Round SUPPLIES Basic painting supplies (page 96) Sponge roller #330 wet/dry sandpaper Liberty Matte Finish Krylon Spray Varnish, #7002 Krylon Matte Finish, #1311 Artist’s graphite paper, dark, oil soluble Odorless thinner Cobalt siccative (optional) Palette pad for oils Paper towels, Viva SOURCES Hyacinth Basket, SKU# 3473096, with 6.75" x 10.75" MDF lid, available from Painter’s Paradise, WWW.PAINTERSPARADISE.COM; Jo Lutness, 302-798-3897; JODECART@AOL.COM. Brushes available at WWW.SHERRYCNELSON.COM.
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Photos by Sherry C. Nelson MDA, TDA Wild Orchids in Reserva Mesenia, Colombia
I have traveled extensively in South America with butterfly expert and guide Kim Garwood. Here you see her dedication to getting a perfect photo for her field guides to the butterflies of the tropics. Traveling with Kim and learning about these remarkable creatures has been wonderful, and given me a huge reference file of great stuff to paint from. These field photos were shot in Colombia, in some beautiful remaining areas of rainforest. Both the orchids and the butterfly reside in similar habitats, along the river shown. As you might guess, the patience required to get beautiful tropical butterfly and floral images to paint from is considerable. All butterflies and moths belong in the family of Lepidoptera. That word, translated from the Ancient Greek, comes from the roots “lepido” and “opteryx’ meaning “scale-winged.” The scales, which cover the wing membranes, are arranged in rows like shingles on a roof; thousands present on the two forewings and two hindwings of each creature. Our challenge, as artists painting this beautiful Bellona Metalmark, is to mimic the amazing iridescence of the scaled-wing by using varied thicknesses and texture of our oils. When the rich oil paint is applied carefully and not overworked, it does a better job than any other medium of creating true iridescence. Enjoy the challenge!
PR E PA R ATION
BACKGROUND PREPARATION: The original is painted on a Hyacinth Basket lid. It’s an appropriate woodsy choice for this rainforest scene, and the MDF lid is easy to prep. Refer to step 1 on page 82.
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Basecoat both sides of the painting surface with Dark Victorian Teal using a sponge roller. Let dry. Sand well with #220 wet/dry sandpaper. Recoat with Dark Victorian Teal. Drizzle a couple of inches of Laguna Blue in the central part of the painting surface and, using the same roller, blend a bit to brighten up the darker value of teal. If you like you can also add a little Cactus Green as I did, to give the surface a few softly blended areas of lighter value. Let dry. Sand again. Spray with Krylon Matte Finish. TIPS FOR WET-ON-WET ACRYLIC BACKGROUNDS:
Remove lids of new bottles of acrylic and fill to bottom of neck with water. Replace lid and shake well. This will reconstitute paint to original consistency. Add enough water to bring partially used bottles to the same consistency. TRANSFERRING THE DESIGN: Use the inked design to transfer to the painting surface. You can use either light graphite or dark graphite on this value of background. Place inked design on painting surface and place according to dotted line at top of design, which goes to the edge of the routed lid. Lay a piece of tracing paper on top of design to protect original during transfer and to make a seethrough copy to use during painting process. Tape stack into position. Then slide graphite paper under the design/ tracing paper stack. Transfer design completely and carefully, such as all section lines on butterfly’s wings and detail on body, and exact flower shapes as well, making transfer as accurate as possible. Check during process to make sure design is coming off on surface clearly. If too faint, change to a newer piece of graphite. Use artist’s graphite for oils, not the papers created for acrylics that are water soluble. USING A DRIER: Cobalt siccative, a drying agent, may be added in fractions of a drop to each patty of oil paint on your palette to speed drying time. I use it every time I paint. If color does not remain workable on a palette for at least 8 hours, you are simply using too much. Dip palette knife into drier, bleed off excess against side of bottle, then touch knife tip next to each patty of paint. If too much comes off knife, do not mix entire amount into paint. Mix each tiny “freckle” into paint patty using clean palette
knife. Drying time is 6 hours to overnight, depending on particular pigment and relative humidity. UNDERSTANDING THE PAINTING PROCESS: The Step-by-Steps on pages 82 and 84 are to be used as a guide along with the written instructions. Read the written instructions carefully, then work in the sequence given, referring to the multiple step sequence shown in the photos to determine actual color placement, amount of blending to be done and so forth. Instructions are written in the sequence in which I painted the piece; work in that order and finish each element before going on to another. The initial step for each element shows how the basecoat areas should appear, while later steps normally indicate the first blends, as well as application of additional darks and lights. The final steps usually include the finished painting, as well as steps leading up to it. BRUSH LOADING AND BLENDING BASICS: Color should be loaded onto the brushes from a loading zone, a strip of sparse paint pulled from a patty of paint down on the palette. Mixtures are made by moving from one loading zone to another, working back and forth, to achieve a mix of two or more colors. Wipe brush on a paper towel after applying paint to surface, but before beginning to blend. Blend colors where they meet, using a dry brush and short strokes. Don’t blend randomly over the entire area; just blend on the line where colors come together, creating a new value and hue with the process of blending. To blend overall will cause loss of values and clarity. BRUSH SIZES: Use the smaller brush sizes, nos. 0, 2 and 4 for the smaller areas and elements of the design. But within that range, choose the largest size that is comfortable to achieve the detail necessary. In addition, I always keep my no. 8 bright brush handy; while I don’t often paint with that size, I use it dampened with odorless thinner for clean up, because I find the larger bristle base gives better pressure for removing any messy paint or graphite lines around the edges of the design. Once a brush is listed in the instructions, stay with that size until it says to change to a different size.
Colors are listed and laid out with most frequently used colors in order in the bottom row and those less used in the top row. Top row, L-R: Sap Green, Cadmium Yellow Pale, Winsor Red, French Ultramarine Blue, and Phthalo Turquoise Bottom row, L-R: Ivory Black, Titanium White, Raw Sienna, Raw Umber, and Burnt Sienna PALETTE SETUP:
R EA DI NG TH E COLOR Ivory Black (B) Titanium White (TW) Raw Sienna (RS) Raw Umber (RU) Burnt Sienna (BS)
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(SG)
(B)
(CYP)
(TW)
(WR)
(RS)
(FUB)
(RU)
(PhT)
(BS)
Sap Green (SG) Cadmium Yellow Pale (CYP) Winsor Red (WR) French Ultramarine Blue (FUB) Phthalo Turquoise (PhT)
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STEP-BY-STEP STEP 1
STEP 2
STEP 3
STEP 4
STEP 5
STEP 6
STEP 7
STEP 8
STEP 9
STEP 10
STEP 11
STEP 12
STEP 13
STEP 14
STEP 15
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LET ’ S PA I NT
STEP 1: Prepared the background, sprayed with Krylon
Matte Finish as detailed on page 81.
STEP 2: Tranfer the inked design to the painting surface.
Carefully follow instructions as detailed in “Transferring the Design” on page 81. Note the use of the all-important tracing paper overlay so that you can tell how exact you are duplicating the pattern and what parts you still haven’t done. STEP 3: When finished remove all layers of materials from surface. Put dark graphite away, tuck original pattern out of the way and keep the tracing paper overlay sheet handy for steps. Remember, a perfect transfer goes a long way toward a perfect finished painting. STEP 4: Using the no. 2 bright, basecoat sections of wing as shown with a mix of Cadmium Yellow Pale+ Winsor Red loading last in the Winsor Red to give a slightly richer orange. STEP 5: Lay orange base mix+a bit of Titanium White for highlight on top edge of each small orange section using the chisel of the no. 0 or 2 bright. Don’t overwork. Basecoat Dark Mix on forewings using no. 4 with Ivory Black+French Ultramarine Blue+Phthalo Turquoise (1:1:1). STEP 6: Lay tracing paper overlay gently on the wet paint, placing evenly over the painted sections. Using a ballpoint pen, draw the section lines into the wet paint as shown, including the small division lines in the orange sections. STEP 7: When pattern is removed, you can easily see the division lines in the wet oil basecoat that you will need to follow as you complete the sections. STEP 8: Basecoat the remainder of the sections in for wings with Dark Mix+a bit of Titanium White mixed to a medium value. The left wing shows how the unblended sections of the lighter value should appear after basecoating. Then, using chisel edge blend the outer edges of the lighter sections toward the margin of wing away from the body, into the surrounding dark mix, following the growth direction of the wing. See right wing for the way they should look when finished. Finally use your best no. 2 or 4 chisel edge held at a 45-degree angle to lay in the two section lines in the orange markings with Dark Mix. STEP 9: Flatten the tip of the no. 1 round for the next step. Load a little of the mix to be used, dry-wipe between folds of paper towel, then squeeze to flatten between your fingernails. This gives a
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sort of “filbert” that, when loaded into a sparse, evenly distributed loading zone, gives a very useful tool to apply the stippling that creates the iridescent look to the wing. STEP 10: Stipple on top of the lighter value sections with Phthalo Turquoise+Titanium White using the flattened tip of the no. 1 round to tap in successive rows of dots on lighter sections as shown. Then, in the same, soften a few of the stippled strokes on the edges of lighter sections to encourage a bit of transition between them and the dark wing. Add some stippling on long sections (left wing) and soften those with the wiped dry no. 1 brush to blend and soften a bit (right wing). At the outer edge of the wing, make a short series of zig-zag strokes with rounded tip of the no. 1 round using same mix (left wing). Right wing shows those zig-zag strokes softly blended, with chisel edge of the no. 0 or no. 2 bright (see next image). STEP 11: Angle the no. 2 bright, working with the growth direction of the wing, to soften the zig-zag strokes. STEP 12: Cover any unneeded section lines with a bit of Dark Mix+a hint of Titanium White to just barely indicate a few faint divisions between sections. STEP 13: Add chisel lines of sparsely loaded Ivory Black+ Phthalo Turquoise using your best no. 4 bright. Hold brush at 45-degree angle and tap to get a perfect line to divide sections of stippled highlighting. Neat, clean lines are important so take your time and practice a bit first. STEP 14: Basecoat remaining dark areas including the body using no. 4 with the original Dark Mix of Ivory Black+ French Ultramarine Blue+Phthalo Turquoise. Basecoat lighter value sections with Mix+tad of Titanium White as on forewings. Work close to, but not into, the orange sections. STEP 15: Lay tracing paper overlay on wet paint and mark in remaining section lines, including separation from wings and body, as shown.
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STEP 16
STEP 17
STEP 18
STEP 19
STEP 20
STEP 21
STEP 22
STEP 23
STEP 24
STEP 25
STEP 26
STEP 27
STEP 28
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STEP 16: Highlight sections with Phthalo Turquoise+
Titanium White using flattened tip of no. 1 round brush, tapping gently to create rows of iridescent color. Add two zig-zag strokes of same mix, using rounded tip of no. 1 at outer margin of hind wing between each section line (left wing). Tap with tip of brush to blend at both ends of sections to soften the zig-zag strokes as before (right wing). STEP 17: For final highlights on hind wing sections, apply a few sparkles of Titanium White with flattened tip of the round (left wing). Soften the sparks of Titanium White with a dry-brush tapping of the flattened round (right wing). Add dirty brush+Titanium White highlights on body with no. 0 bright. STEP 18: Blend to soften the highlights on body and head. Add detail lines with chisel to accent. Thin Dark Mix with a bit of odorless thinner and apply antennae with no. 1 round, pointed now to hold shape. Cover remaining section lines with Dark Mix+just a bit of Titanium White if needed to give a suggestion of separation between sections. STEP 19: Basecoat all darks on orchid petals and sepals with no. 4 with Burnt Sienna. Ignore my practice petal (always a good idea, to make sure the mixed works with the the background colors.) STEP 20: Basecoat light values on all orchids with Cadmium Yellow Pale+Winsor Red. Vary percentage of red and yellow in mix as shown to create some areas of slightly richer orange and some of a bit yellower mix. Need less intensity? Apply colors more sparsely, as on bottom flower. STEP 21: Blend with dry-wiped chisel of no. 4 where values meet in each petal or column (the part that forms the attachment for the yellow lip). Follow natural growth direction of petals and sepals for a more realistic look. STEP 22: Highlight orchid petals and sepals as well as the one column based on right, using a mix of Cadmium Yellow Pale+a tad of Winsor Red+a bit of Titanium White. Don’t get too much Titanium White in the mix so lights appear chalky against the strong rich intensities of the oranges. Load from sparse loading zones to control amount of paint.
STEP 23: Again, blend on the line where values meet
in each individual element. Carefully now, so you don’t muddy or overwork. STEP 24: Stems: Dark/Ivory Black+Sap Green mixed to a dark, but still greenish hue. Light/Sap Green+Titanium White (easy – not too much Titanium White!) Basecoat lips and other columns with these mixes: Dark/ Burnt Sienna. Medium/Winsor Red+Cadmium Yellow Pale (orange). Light/Cadmium Yellow Pale+just a tad of Winsor Red for a rich deep yellow. STEP 25: Blend columns and lips where values meet, following natural growth direction. Do most of the blending with the chisel of the no. 4 bright so you achieve a little texture and natural veining. Lay on Raw Umber division lines in buds with no. 2 bright. Highlight buds where needed with a bit of Cadmium Yellow Pale+ Winsor Red+optional Titanium White. Blend stems where values meet, and highlight down the center of each with Sap Green+a bit more Titanium White. STEP 26: Highlight lips with Cadmium Yellow Pale+ Titanium White using a no. 4. Highlight columns with Cadmium Yellow Pale+Winsor Red+Titanium White. Use tracing paper overlay to find the bottom of the center column on main flower and mark in the two stamens. Lift out a bit of underlying paint with corner of no. 8 dampened in thinner so pattern is easy to see. STEP 27: Again, blend where values meet. Add more Titanium White+Cadmium Yellow Pale highlight when dry if desired. Blend the final highlights on stems to soften. Add stamens on center flower with Titanium White. Lift out deeper indents and frilled edges on a few lip areas using a brush dampened in thinner, to make them a bit more fancy. Shade buds with Raw Umber+Burnt Sienna. Highlight antenna tips with a bit of Titanium White to accent them visually. STEP 28: Final beauty shot of Bellona Metalmark with Wild Orchids.
artist’s sketch
Sherry C. Nelson MDA is known throughout the United States and across the world for her paintings of realistic wildlife, which she teaches with skills refined over her 46 years of teaching. Seminars taught in 46 states and six foreign countries have given her the opportunity to share her love of birds and butterflies and other creatures along with her techniques for painting them. Field work combined with painting seminars bring the opportunity to many to share in the excitement of creating the world of nature with brush and paint. Sherry has been an active member of the National Society of Decorative Painters since its inception. The National Society recognized her painting skill when she was awarded the Master Decorative Artist certification. She is a past president of the organization and received the prestigious Silver Palette Award in recognition of her promotion of decorative painting worldwide. Sherry has 16 instruction books for the decorative artist currently in print. For information about her books and packets and painting supplies, as well as details on the current seminar season, go to her website at WWW.SHERRYCNELSON.COM. You may email Sherry at BIRDLADY@SHERRYCNELSON.COM.
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Design is 60% of original. Enlarge 167% for actual size.
For a free design at actual size, affix two first-class stamps to a #10 SASE and send to: The Decorative Painter Attn: BELLONA METALMARK AND WILD ORCHIDS SUMMER - 2017 1220 E. First St., Wichita, KS 67214-3907. Allow four weeks for delivery.
2017 Seminars Michele Walton • June 23, 24, 25 Heather Reddick • September 22, 23, 24
Home of quality wood products 2677 N. Old Trail, Shamokin Dam, PA 17876
heirloomstudio@pa.net www.heirloomsfromtheheartstudio.com Ph: 570-743-4141 • Toll Free: 866-772-2667 86 DPM2_2017b.indd 86
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W AT ERCO L O R
Her Majesty CATHERINE BONNIE JONES
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Painter’s Checklist SURFACE Kilimanjaro Watercolor Paper, Natural White 140 lb. cold pressed, approximately 11" x 15" (27.9 x 38cm) PALETTE AMERICAN JOURNEY WATERCOLOR PAINTS Alizarin Crimson Bumblebee Yellow Burnt Sienna Cobalt Blue Hooker’s Green Dark BRUSHES GOLDEN FLEECE WATERCOLOR BRUSHES ¾" flat No. 8 round SUPPLIES Basic painting supplies (page 96) SOURCES Paint, paper and brushes are available at Cheap Joe’s Art Stuff; www.cheapjoes.com; (800) 257-0874 (U.S. & Canada) or (828) 262-0795 (International).
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PR E PA R ATION
Lightly transfer design to the watercolor paper using a lightbox or wax-free graphite paper. Use a no. 8 round for the rose and the leaves and ¾" flat for most of the background, but some areas around the rose and leaves were easier using the no. 8 round.
LET ’ S PA I NT RO SE – LIG HT VA LUE
Mix two separate puddles, one a medium value Alizarin Crimson and one a light value Alizarin Crimson. The petals will be painted with a wet-on-wet technique, which in this case means to wet one petal at a time and drop in the color to shape the petal. Lay the color on the wet petal where it will be the darkest and blend out to the edge of the petal. Going around the rose, paint each petal this way – just don’t paint next to a wet petal or they will blend together and you will lose definition. Refer to the Step-by-Step on page 89.
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STEP-BY-STEP ROSE, LEAVES, AND BACKGROUND STEP 1
STEP 2
Note: This is the photo I took while in California. The rose bush was very big and yes, I was standing looking up to capture it. I was very lucky, it was a perfect shot of the rose and I had to paint it.
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LEAV E S
Mix a medium value green using Hooker’s Green Dark. You do not have to wet the leaf first, just paint them in. Referring to the Step-by-Step on page 89 as a guide, paint the leaves and stem of the flower. Paint one side of all the leaves and then come back and paint the other side. This will give the leaves a variety of color and the line down the center will look more realistic. You can add some Bumblebee Yellow and/or Burnt Sienna to your green to give the leaves even more variety of color. Mix a darker value green by adding a touch of Burnt Sienna, and when the leaves are dry go back and paint this color on the leaves under the rose. Also, paint over the stem with this darker color.
BACKG ROUND
When your painting is dry, mix a large puddle of Cobalt Blue for the background. Mixing a large puddle will help keep hard lines from forming if you have to stop to mix more paint. Start at the bottom left corner and paint in the Cobalt Blue going around the top to the right side and down right side. You can paint over the leaves at the top left. Just go across them with the blue; do not go back over them or they will fade out too much. Also, paint over some of the leaves at the bottom with the blue. This will push them back under the rose.
RO SE – DA R K VA LUE
Mix a dark value pink to separate the petals. To darken the color just use more paint and less water. Now paint in the dark areas of the petals with a wet-on-dry technique. This means to place the color on dry paper where it will be the darkest, then quickly rinse out the brush with clean water. Place the brush on a paper towel to get out the excess moisture – you want just a damp brush. Now blend out the paint to keep from having a hard edge. You may have to do this a couple of times. Refer to the Step-by-Step on page 89 to determine where to place this dark color.
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FI NI SH I NG TOUCH E S
After the painting is dry go back over some of the petals across the middle with a light value of Bumblebee Yellow, and a light value of Cobalt Blue over some of the petals at the bottom of the rose. Also, if you need to mix a blue-green, combine Cobalt Blue and Hooker’s Green Dark, and add some of this color to the leaves at the bottom of the rose. This will make the rose stand out a little more. Now look at your painting and if you like what you see, you are done. Sign and enjoy.
artist’s sketch Bonnie Jones was born and grew up on the Golden Isles of Georgia. Her love for nature has inspired her to paint in watercolors. While Bonnie is mostly self-taught she has studied under several well-known artists, as well as attending Crealde School of Art in Winter Park, Fla. She is published in several magazines and has made several DVDs. She has been a member of SDP since 1994. Bonnie spends much of her time traveling and teaching workshops with her husband, Tom Jones, who is also a watercolor artist. Check out her website for paintings, pattern packets and greeting cards at WWW.CBONNIEJONES.COM. To schedule a workshop, contact her at CBONNIEJONESARTIST@GMAIL.COM, or 100 Rio Grande, Edgewater, FL 32141, (407) 619-0476.
Design is 30% of original. Enlarge 333% for actual size.
For a free design at actual size, affix two first-class stamps to a #10 SASE and send to: The Decorative Painter Attn: HER MAJESTY SUMMER - 2017 1220 E. First St., Wichita, KS 67214-3907. Allow four weeks for delivery.
Timeless Art Designs
Packets include paint list, line drawing, general instructions, and colored picture. 1. “Old Lace and Lilacs” for tabletop or lazy Susan, $7.00 2. “Early Princesses” wall mural with Cinderella, Castle, garden path, plant trellis, Snow White, and Seven Dwarf’s cottage. Adjust mural length from 9 to 12 feet long. Mural height about 4 ft. $30.00
Place orders: timelessartdesigns.com or at (978)688-1054
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the hottest NEW PRODUCTS for painters Heart of Ohio Tole Chapter’s 37th Decorative Painting Convention, “Cooking up Some Painting Fun,” is scheduled for August 14-19, 2017. The convention catalog will be available online after March 1, 2017 at heartofohiotole. org. Or mail $10 U.S./$17 International (U.S. funds only) to: Heart of Ohio Tole Chapter P.O. Box 626 Reynoldsburg OH 43068-0626 614-863-1785 hoot26@wowway.com The Blue Snowman Gourd is 22" tall and features a great pattern. The finished gourd is also available. Art Creations Plus 619-440-3320 donjocarpenter@sbcglobal.net
Rosemary West’s Mini Gingerbread Tray uses a 14" double-scroll frame #2870 and the feet are 1 and ¼" ball knobs #1320. This adorable little tray is perfect to setting out to look at! Bear With Us, Inc. • 407-347-5939 • bearwithusinc.com
Gloria, painted on an 8" x 8" printed background, is an online class with Patsy Schultis CDA. You have a lifetime access to the class. PatsySchultis.com • estsy@comcast.net DecoArt Patent Leather allows you to create a custom shiny, slick look on worn-out leather and vinyl accessories, and home decor items. Ideal for shoes, boots, belts, purses, and more; its superior flow and leveling formula makes achieving a professionally finished look easy. This waterbased formula cleans up quickly with soap and water. decoart.com
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Support your SDP Business Members!
Made from an advanced, finely-pigmented formula, DecoArt Extreme Sheen is the brightest, water-based, acrylic metallic paint on the market. Offered in a variety of trendy and classic colors, you are guaranteed a uniform, metallic shimmer from the ultra-fine, reflective pigments. decoart.com
Cupboard Distributing’s new surfaces and Chris Haughey Pattern Packets feature today’s trending shapes and unique designs. The one-stop shop makes creating these fun projects quick and easy. 937-652-3338 • cdwood.com This pin cushion box is a Michele Walton design ($28) and the rooster cabinet is a Rose Mary West design ($75). Big or small, we make them all. Each product is sanded and ready for painting. Heirlooms From The Heart 570-743-4141 or 717-444-3876
This new Maxine Thomas design us a great way to celebrate fall. It can be painted on many different surfaces to fit your individual needs. Contact Smooth Cut Wood to see new designs and wood products. 888-982-9663 • smoothcutwoodproducts.com Oil painting is easy to learn with the Oil Basics Brush Ups Series. Watch and paint along with short online class tutorials featuring eight outstanding artists. Even accomplished oil painters can add valuable oil techniques to their skill set! Visit oilpaintingexpressions.com or contact jeanne@oilpaintingexpressions.com. Jeanne Downing • 970-667-1006 • rosecote.com
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the hottest NEW PRODUCTS for painters Viking Woodcrafts drawing and stamping supplies include pencils - charcoal, graphite and colored, various drawing and multimedia paper, erasers, stamps, and more, in addition to their wide variety of products and surfaces for decorative painting. Viking Woodcrafts Inc. 800-328-0116 vikingwoodcrafts.com
Designs of Value introduces Blending in Oils, an online video class. Learn how to load your brush correctly, dry wipe your brush to keep it newer longer, and correct mistakes. Tips and tricks are included, plus a PDF with directions, practice sheets and term definitions, for unlimited study at your convenience. DesignsofValue.com
Princeton Velvetouch brushes are comprised of a multiple-filament, luxury synthetic blend for excellent color-holding capacity, precision tapering and resilient spring. You’ll love their smooth, velvet red handles and the variety of bristle shapes. Enjoy introductory savings of 50% off! Hofcraft The Painterʼs Source 800-828-0359 hofcraft.com
Scottie’s Bauernmöbel Bavarian Folk Art Furniture, Book 6 features 100 pages of beautiful florals and scenic designs on 14 pieces of full-size, painted furniture including two large Schränke (armoires), a headboard, tables, chair, mirrors, bench and more. Also includes scenes such as Heidelberg, Neuschwanstein, St. Bartholomä, Maria Gern, plus step-by-step color pages loaded with flowers, faux finishes and scenes! Scottieʼs Bavarian Folk Art 800-808-5585 bavarianfolkart.com
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The Elegant Peony on Silk (#119) is an older design that’s been given a fresh new look, just in time for spring. Stenciled scarves continue to be very popular, and the 18 x 24 pattern is shown on the scarf featured here. Also available in 5 x 7, 8 x 10, 11 x 17, 11 x 24, and as a Mini Combo in the 4 x 5 format. Jean Hansen Publications 603-986-6646 • jeanhansen.com
The new Celtic Sundial features a beautiful design that also looks nice on square surfaces. The e-Packet is $6.50, includes photos, line drawing, scan of dial, and instructions by Vicki Allwardt CDA. Studio of Decorative Art 530-527-7449 folkhearts.com
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Support your SDP Business Members!
General’s MultiPastel Chalk Pencil Set features 36 vibrant colors, including 12 new colors. The MultiPastel formula is made with pure artist-grade pigment for smooth, blendable, acidand oil-free colors. Made in the USA. GeneralPencil.com
The Bob Ross Master Paint Set includes eight Bob Ross oil colors, liquid white, four brushes, a knife, written instructions and a 60-minute “Getting Started” DVD featuring Bob Ross. Paint like TV’s favorite artist with this great learning tool, packaged in a clean, new design with the same great Bob Ross style. 1-800-262-7677 bobross.com
The Helix Angle Circle Maker is a 360-degree compass, protractor and circle template. It’s a vital tool for creating mandalas, and versatile for all artists, with many applications. Sandy Phillips Artist 315-451-3897 EAIeducation.com
It’s never too early to start painting for Christmas! Paint this NEW Noel Collection in the comfort of your own home. Develop your knowledge and painting skills as you have time. No cutoff date for completion! Online classes include video instruction, full written tutorial, step sheets, photos and pattern. Linda Sharp CDA 925-784-2530 lindasharpcda.com • linda@lindasharpcda.com
The Hordaland Tray and Plate Packet (#467) includes photographs, instructions and line drawings for a 10" x 13" wood tray and 8" plate. This remake is a great size and suitable for beginner painters interested in Hordaland, which uses hearts in the design. Gayleʼs Art Enterprises • 541-844-5519 • gayleoram.com DECORATIVEPAINTERS.ORG
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This is an actual license plate, not just a license plateshaped surface! A little dented, a little dinged, a little rusty here or there – but such a unique surface, adding loads of character to projects. Pick from the license plate patterns available or adapt a design. Just Fine Designs • justfinedesigns.com The Decorative Painter • SPRING 2017
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Advertisers at a Gl an c e
This Issue’s Supporters Art Creations Plus ........................................... 72 Bear With Us Inc. ............................................ 46 BEARWITHUSINC.COM Bob Ross, Inc. . ............................................... 56 BOBROSS.COM Cupboard Distributing ..................................... 35 CDWOOD.COM DecoArt Inc..................................................... BC DECOART.COM Designs of Value ............................................. 72 DESIGNSOFVALUE.COM Dux’ Dekes Decoy Company ............................. 5 DUXDEKES.COM DWhiz Designs................................................ 72 DWHIZDESIGNS.COM Folkhearts ...................................................... 73 FOLKHEARTS.COM Gayle’s Art Enterprises ...................................... 4 GAYLEORAM.COM General Pencil Co. .......................................... 50 KISSOFF.COM Heart of Ohio Tole Chapter .............................. 86 HEARTOFOHIOTOLE.ORG Heirlooms From the Heart ............................... 86 HEIRLOOMSFROMTHEHEARTSTUDIO.COM Hofcraft ......................................................... 46 HOFCRAFT.COM Interactive Artist Magazine............................. IBC INTERACTIVEARTISTMAGAZINE.ORG Jean Hansen Publications .................................. 9 JEANHANSEN.COM Jeanne Downing Decorative Art Designs ............ 5 ROSECOTE.COM Just Fine Designs ............................................ 45 JUSTFINEDESIGNS.COM Linda Sharp CDA................................................. 5 LINDASHARPCDA.COM Lynn Andrews Folk Art .................................... 22 LYNNANDREWS.COM Masterson Art Products ..................................... 9 INFO@MASTERSONART.COM New England Traditions ..................................... 7 NEWENGLANDTRADITIONS.ORG Painter’s Palette Art School................................ 5 PAINTERSPALETTEARTSCHOOL.COM
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Painting World Magazine ................................IFC PAINTINGWORLDMAG.COM
Scottie’s Bavarian Folk Art............................... 45 BAVARIANFOLKART.COM
Pat Parker Paints ............................................ 72 PATPARKERPAINTS.COM
Smooth Cut Wood ........................................... 58 SMOOTHCUTWOODPRODUCTS.COM
Patsy Schultis CDA ............................................ 73 PATSYSCHULTIS.COM
Timeless Designs ............................................. 91 TIMELESSARTDESIGNS.COM
Raindrop Chapter of Portland .......................... 40 RAINDROPCHAPTER.ORG
Turtle Hollow Inc. .............................................. 4 TURTLEHOLLOWARTISTS.COM
Sandy Phillips ................................................. 73 PIXELATEDPALETTE.NET.COM
Viking Woodcrafts, Inc. ................................... 63 VIKINGWOODCRAFTS.COM
Scheewe Publications ...................................... 34 PAINTING-BOOKS.COM
Wood Items & More. ....................................... 73 WOODITEMSANDMORE.COM
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BASIC PAINTING SUPPLIES At The Decorative Painter, we recommend that you have a set of basic painting supplies on hand that are specific to your medium. In the Painter’s Checklist of each project we publish, readers will find the entry basic painting supplies. Below are the specific items, broken down by medium, that are included under that umbrella term. ACRYLICS: Brush cleaner, palette knife, scissors, palette paper, paper towels, fine-point (.05) mechanical pencil, small containers, stylus, tracing paper, transfer paper (both light and dark), sandpaper, gray graphite, and water basin. OILS: Graphite paper (white and gray), one-inch drafting or artist’s tape, palette knife, palette paper, paper towels, small containers for water and medium, stylus, fine-point (.05) mechanical pencil, tracing paper, scissors, and sandpaper. WATERCOLORS: Drafting or artist’s tape, cotton swabs, eraser (kneadable, white vinyl, etc.), masking tape, non-
wax graphite paper (gray and white), palette, paper towels, fine-point (.05) mechanical pencil, scissors, spray bottle, stylus, tracing paper, sandpaper, and two water containers. Electric eraser, electric pencil sharpener, eraser (kneadable, white vinyl, etc.), non-wax graphite paper, one-inch drafting or painter’s tape, paper towels, scissors, stylus, sandpaper, and tracing paper. COLORED PENCILS:
PASTELS: Chamois cloth, paper towels, blending stumps, eraser (kneadable, white vinyl, etc.), non-wax graphite paper, tracing paper, and razor blade for sharpening. DECORATIVEPAINTERS.ORG
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