Decorative Painting, Mixed Media, Fine Art & More!
May - June 2019
Painting World Issue 21
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Cover Artist: Leslie Smith
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Contents
PAINTING WORLD MAGAZINE
Cover Artist
THE TREEHOUSE
10 By Chris Jeanguenat
LAKE WALLENPAUPACK
40 By Marlene Fudge
CACTUS GARDEN
15 By Linda Hollander
46
LADY IN PARIS
By Diane Trierweiler
TOOTIE AND THE BLOWFISH
20 By Leslie Smith
51
HARBOR SUNSET
By Michael Cheek
SAMANTHA AND BUTTERFLY
30 By Sherry C. Nelson
HEAVENLY HOLLYHOCKS
56 By Barbara Bunsey
More Great Articles!
A SHY SEAGULL
12 By Elisabetta De Maria
37 39
Painting Animal Hair and Fur
61 78
Artist Katherine Kean Captures Nature’s Soul
By Sherry C. Nelson, MDA, TDA
Passing the Paintbrush... By Teri Walker
By Nicole Borgenicht
Directories of Artists, Advertisers and Suppliers
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Samantha and Butterfly
By Sherry C. Nelson, MDA, TDA
My life outside of painting revolves, as much as possible, around traveling to see and photograph the exciting wildlife and flowers to be found, not only in the United States, but all over the world. And once I’ve had the good fortune to personally meet amazing creatures that inspire my brush and encourage me to paint them - my thoughts immediately go to how best to share those discoveries with my painting students through their artwork. My work always begins with photography, since creatures such as this dramatic feline (and most other natural elements) are complexly patterned and impossible to remember in perfect detail without good reference. So, a good camera and hours spent learning about the creature, marked the beginning of this design as it does for so many others. JUNE 2019 ISSUE
I always paint in oils because they are such a forgiving medium and allow me to help my students, even beginners, to achieve a finished work in which they can take great pride. Important to the finished piece here, is that I use very sparse amounts of excellent artist’s oil color to achieve the level of detail required for the furlike texture and the other elements to turn out as realistically as possible.
PAINTING WORLD MAGAZINE
The story of Samantha is worth telling.
Cody, our 2-year-old Mackerel tabby, drew attention to the window one day, ‘talking’ to something outside. That’s when we first discovered a thin half-grown teenage kitten, trying its best to catch a meal. Each day, Cody would watch for it and so naturally we began putting food out, noticing how, after a meal, it dashed ‘home’, where it lived on the neighbor’s hay rolls and could be seen huddled there even in downpours of rain. It took about a month for her to lose her fear of us, for us to discover ‘it’ was a ‘she’ and to get her to the vet for shots and spaying. Now SamSam has become a part of the family, with Cody’s approval. Her days of butterfly watching at such close range are over, but she definitely seems to prefer her new home to a hay bale. When painting animals, it’s our job to create realistic fur texture and pattern. Not a simple challenge. For suggestions, see page 37, Painting Animal Hair and Fur, that I wrote to give you some encouragement and tips for making it easier.
SUPPLIES PALETTE Colors are listed in order of placement on palette. See photo. WINSOR & NEWTON ARTIST’S OILS: • Ivory Black (B) • Titanium White (W) • Raw Sienna (RS) • Raw Umber (RU) • Burnt Sienna (BS) • Sap Green (SG) • Cadmium Yellow Pale (CYP) DELTA CERAMCOAT ACRYLICS FOR BACKGROUND PREP • Village Green • Forest Green • Red Sable Brights, www.sherrycnelson.com, Series 303, #0, 2, 4, 6, 8. • Red Sable Round, www.sherrycnelson.com, Series 312, # 0 liner SURFACE The original is painted on a hardboard surface, 12” x 9”. A canvas of the same size could be substituted.
BRUSHES: • Sherry C. Nelson Series 303, # 0, 2, 4, 6, 8. • Series 312, # 0 round. MISCELLANEOUS SUPPLIES FOR BACKGROUND PREP AND TRIM: • Sponge roller, to apply background acrylic color • #220 wet/dry sandpaper, for sanding between coats of acrylic • Krylon Matte Finish, # 1311 (to spray the prepared background before applying design) • Krylon Spray Varnish, # 7002 (for final finish on entire piece) SUPPLIES FOR PAINTING: • Tracing paper • Artist’s graphite paper, dark, oil soluble • Ball Point Pen • Odorless Thinner • Cobalt Siccative (optional) • Palette Pad for oils • palette knife • Paper towels, Viva • Small piece of cheesecloth (optional)
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When dry, brush on another layer of Decoupage. When dry, turn upside down onto glass and cut away excess paper with an Xacto knife. You can use a sanding pad for any “fuzzies� on the edges. Wash over entire surface with White Wash. Make this as light or dark as you prefer. Trace on oval; base Soft Black. Using dry Mezzaluna brushes, dry-brush Grey Storm, then a little Slate Grey here-and-there on the background. Trace on pattern. For both the leaves and flowers, I let the background serve as my main shadow color and layered colors, lighter and lighter, to create the highlights, etc. LEAVES Begin by floating Light Avocado on lightest areas, walking color down toward shadow area; left side of stem, light areas on edges of leaves, one side of center vein, light areas on bud; repeat, not walking down as far, adding Foliage Green to dirty brush and adding more highlights; repeat as above, adding Yellow Green to dirty brush; repeat, adding Margarita, then Chartreuse Yellow, to brightest areas. Add a touch of Bleached Sand to dirty brush for very bright areas. Especially the bud and stem. VEINS Add a brush-mix of Light Avocado + Foliage Green (approx. 1:1) with liner; adjust the color as necessary so it shows. Be sure to pull a few small veins from the side veins. Add a touch of Margarita to centers of each vein.
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SHADE By floating Avocado on opposite sides of each area; repeat, adding Evergreen; repeat, adding Soft Black to dirty brush. Be sure to add these shading colors at base of each leaf, top and bottom of stem, opposite side of center vein. FLOWERS Float a brush-mix of Grey Storm + Slate Grey (approx. 1:1), walking color down toward shadow area (mostly from outside edge of petal toward center, leaving shaded areas dark); repeat, adding more Slate Grey to brush, not walking down as far; repeat, adding Bleached Sand to dirty brush; repeat, adding more Bleached Sand
PAINTING WORLD MAGAZINE
just to brightest areas; repeat, adding Cool White to dirty brush; finally adding more Cool White to very brightest areas only. Some of these highlights will need to be floated, i.e. where petals curl, etc. Add a little color in the shadow areas, pulling lines into petals with the chisel edge of your brush, with Slate Grey; repeat, adding Grey Storm to dirty brush. Some of these shadows will need to be floated, i.e. to separate petals, under curls, etc. Add a liner of Bleached Sand, then Cool White, to center and bottom flowers to simulate curls and be sure to add some shading underneath. CENTER Using dry Dynasty brush, pick up Vivid Violet and tap into center area of each flower. Also, use Vivid Violet and the chisel edge of your brush to pull lines into petals. These are the first color and need to be the longest. Tap a bit of Soft Black back into the very center of your flower. Add more “lines” with the chisel edge of your brush with Red Violet. Add a few more “lines” and float some shading around the center with Antique Maroon; repeat, adding Soft Black to dirty brush; repeat, adding more Soft Black. Starting next to center, pull out some “lines” with the chisel edge of your brush and Grey Storm next to color in center of flower. Add Slate Grey “lines” if you need to add more color. STAMEN Pick up Dark Chocolate in dry #4 Dynasty brush, take out excess on palette, and stipple on; repeat, adding Espresso to dirty brush, starting at end, walking in toward, but not into center; repeat,
adding True Ochre to dirty brush (I added this twice); repeat, adding Chartreuse Yellow to dirty brush (I added this twice); repeat, adding Banana Cream to dirty brush, again adding twice. FINISHING TOUCHES Add touches of Margarita, Banana Cream, and Chartreuse Yellow to a few petals; add touches of Red Violet and Antique Maroon to some leaves. Add a liner of Matte Metallics Vintage Brass around oval and add to edges of plaque. CANVAS Using one of the Fleur de Lis stencils, add to corners, about 3/4” from outside edge, using palette knife and Modeling Paste. I “smeared” a few of them into the background and also “smeared” some paste next to these areas. Be sure to dry well. Base two coats Antique Maroon, then two coats Red Violet; wash over with Vivid Violet. Dry-brush Vintage Brass over stenciled areas and at corners and along edges of canvas. Pick up Rose Gold in dirty brush and add a bit more color to stenciled areas and add Jacobean Floral stencil to background, moving stencil around to suit your taste. Be sure to keep this light. If it gets too bright for you, wash over with one of the background colors. FINISHING Glue plaque onto canvas. Varnish with satin spray varnish.
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PAINTING WORLD MAGAZINE
A ShySEAGULL
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PAINTING WORLD MAGAZINE
By Elisabetta De Maria Dearest painting friends, here I am again with you with a project always painted on a piece of wood ... but this time a piece of old and split wood! As soon as I saw it, I thought that he was perfect for the project I wanted to propose ... a shy seagull that looks behind his big wing ... I love painting birds and especially seagulls. Whenever I meet one, I stop to look at him, enchanted ... I hope that this work of mine will please you as it has made me happy ... Happy Painting my dear friends!
SUPPLIES
• Mississippi Mud DA094
SURFACE : • Wood Surface
• Sapphire DA099
PROJECT SUPPLIES : • Ball Stylus • Fine Sandpaper • Lint Free Cloth • Paper Towel • Wet Palette • Water Containers • Tracing Paper • Graphite paper to transfer the design • Paper Palette PAINTS DECOART AMERICANA ACRYLICS: • Antique White DA058 • Buttermilk DA03 • Blue Chiffon DA193 • Burnt Orange DA016 • Butterscotch DA295 • Eggshell DA153 • Graphite DA161 • Lamp Black DA067+^
• Raw Sienna DA093 • Slate Grey Da068 • Soft Black DA155 • Titanium White DA01+^ • Traditional Burnt Umber DA221 • Winter Blue DA190 MEDIUMS MULTIPURPOSE DECOART: • Drying Time Extender DecoArt • Light Satin Varnish DecoArt BRUSHES : • Flat Brush Kalel n 1/4,1/2, 1 7000 WCF Dynasty Brush • Round Brush Black Gold n 1 • Liner Brush Black Gold n 5/0 • Shader Flat 2/0 Micron Dynasty Brush • Angular Brush for Floating Black Gold 3/8 , ¼ , 1/8 Dynasty Brush • Brush for Dry-brushing Mezzaluna XLarge, Small Dynasty Brush • Mop Brush to Blend and Soften Color ½ Dynasty Brush 400
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