June 2019 Summer Issue Painting World Magazine

Decorative Painting, Mixed Media, Fine Art & More!

May - June 2019

Painting World Issue 21

SUMMER ISSUE

$7.99 USA $10.35 Canada

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magazine

Cover Artist: Leslie Smith

Wood Surfaces, Pattern Packets and More...

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

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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PAINTING WORLD MAGAZINE

Call For Artists

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Be featured in Painting World Magazine’s printed edition

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

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FROM THE Editor

Letter from the Editor

I want to thank you for the very warm welcome into my new position as your editor. Transitions can be difficult but thankfully to all of you, it has been a wonderful time of meeting new friends. All the help that has been extended by everyone and even by those who do not know me, has warmed my heart.

The dedication and love for the art in this industry is something to be admired. Your work reflects your passion and it is then that we see amazing things blossom and great contributions of new techniques are realized among support and encouragement from one another.

When we stand alongside one another, we are a team striving for the same purpose, far beyond selfadvancement; we stand to teach and pass on an art that is flourishing in a new direction with trend and time.

Kole

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. PAINTING WORLD MAGAZINE (ISSN 2472-694X). June 2019, Volume 01, Issue 21 ©Loon Publishing, LLC. Painting World Magazine is published 6 times per year by Loon Publishing, LLC., 205 South State Street, Waseca, MN, USA. Subscription price $29.99 per year + $5.19 S&H. POSTMASTER: Please send address changes to Loon Publishing, LLC., 205 South State Street, Waseca, MN 56093.

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CONVENTIONS & EVENTS New England Traditions Painting Convention “An Autumn Garden”

October 8–13, 2019 Best Western Royal Plaza Marlborough, Massachusetts 100+ classes, special events, and the best decorative arts shopping experience in the Northeast. Thank you, painters, teachers, business partners, and volunteers! Get registered: www.newenglandtraditions.org

Join Us!!

For the 39th Annual HOOT Convention The FINAL HOOT Convention Help Us Say "Thanks for the Memories!"

Sunday through Thursday July 15-19, 2019 Visit our website for the latest information: www.heartofohiotole.org Contact us at 614-394-8028 By email at hootconvention@gmail.com On Facebook: HOOT Chapter

Heart of Ohio Tole, Inc. P.O. Box 580 Westerville, OH 43086-0580

PAINTING PALOOZA Oct 19 - 26, 2019 Sheraton Hotel / Reed Center 5750 Will Rogers Road Midwest City, OK 73110 (405) 455-1801 www.okcpaintingpalooza.com WORLD OF COLOR EXPO 2019 November 4-9, 2019 Washington Dulles Hilton Hotel Herndon, Virginia PIN IT CANADA LONDON June 21-22, 2019 Fanshawe College, London, Ontario www.pin-itcanada.com/london--on

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Happy Summer!

JUNE 2019 ISSUE

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PAINTING WORLD MAGAZINE

The Treehouse This painting is all about the adventures we have as young girls, in our forts and treehouses.

By Chris Jeanguenat

Chris Jeanguenat paints whimsical woodland creatures, paintings for children, and all things found in a secret garden. Her studio (Wanderlust Gallery) is located in “Old Town� Suffolk, Virginia, where she lives with her husband, youngest son, and two sweet pit bulls. She shows her work in Blue Skies Gallery in Hampton, Virginia and HIP Boutique in Newport News, Virginia.

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SUPPLIES: Surface:

• 11” x 14” canvas

Annie Sloan Chalk Paint: • Antoinette • Old White • Emperor’s Silk • Florence

Substitutes for Annie Sloan Chalk Paint: • Folk Art: Conch Shell 6447 • Americana: White Wash DAO 2-3 • Deco Art: Scarlet DA345

work together, so you can use them both, with no problem. Paint the entire canvas and sides in chalk paint or acrylic, in a soft blue. For my canvas, I used Rustoleum Chalked, Serenity Blue, using a large brush. Let completely dry.

Helpful trick:

If you don’t have a large brush, you can use folded paper towels as your “brush”. Pour a small amount of paint directly on the canvas and use your paper towels to smooth out the paint in an even layer. This also works well for the sides of your canvas.

• Folk Art: Adrift 6460 • Deco Art Sour Apple DA275 • Deco Art Saffron Yellow DA273 • Deco Art Burnt Sienna JA943 • Deco Art Pure Black K479

Brushes:

• Medium flat brush • Small brush • Large brush for prepping canvas

Miscellaneous Supplies:

• Artist’s marker such as Faber Castell Brush Pen (black) • Compressed graphite for sketching • Paper towels • Water

PREPARATION: PREP THE CANVAS I often like to use upcycled old paintings (from thrift stores and second-hand shops) to paint over, with my own new image. It adds texture and character. If using a previously painted second hand canvas, remove the frame if there is one, and save for later.

My paintings are done in chalk paint, for the most part, but acrylics work just as well. They also

SKETCHING: Once your canvas is completely dry, begin sketching the outline for your painting using compressed graphite, directly onto the canvas.

Don’t worry about any mistakes. They can quickly and easily be erased using a damp paper towel.

Once you’ve wiped away your mistake, allow the damp area to dry before making corrections.

First, begin sketching the two largest trees. The limbs can be exactly as shown, or you can create your own tree limbs. The curvier and twistier, the better! Next, draw the land, connecting the green area on the left, to the right area, with the rocky land.

Now, you can draw the sailboat between the land and then the waves up to about the middle of the tree trunk on the right.

Sketch in the wagon, with the bear and books inside. Add other toys, etc. to your wagon if desired. Draw in different stones, of varying sizes or exactly as shown.

Add the treehouse, doorway, and window. Next, draw the girl and her cat.

Lastly, draw the island in the background and the three trees.

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PAINTING: For the trees, (using a medium flat brush for the trunk, a small brush for the limbs), I use Annie Sloan’s Florence, but any turquoise chalk paint, or acrylic paint can be substituted. Folk Art acrylic paint in “Adrift” is a great choice. While you have your small brush, dipped in turquoise, go ahead and paint some of your waves and the stones in turquoise.

For the tree house, I used Annie Sloan’s Emperor’s Silk, but a good substitute is Deco Art “Scarlet”.

Use a medium flat brush for the tree house. (Save the white trim on the tree house for later). Using a small brush, paint the wagon, boat, flag, and treehouse red.

For the sail, I used Annie Sloan’s “English Yellow” but any bright yellow will also work well such as “Saffron Yellow” by Deco Art. Use your medium flat brush for the sail. This yellow is also for some of the stones and the books in the wagon. Use a small brush for these. I chose to make my girl’s hair “blonde”, using this yellow, and a dab of white, but your girl can have any color you wish!

For the green land, (the island in the back, and the land by the tree on the left), paint with your small brush, using Sour Apple with dabs of white. You can use this same paint for some of the waves and stones. This can also be used for the greenery between the branches of the trees.

Next, paint her dress a pale shade of pink using your small brush. Mine is done in Annie Sloan’s Antoinette. A good alternative is Folk Art “Conch Shell”. Use this same color for rocks.

For the treehouse trim, use a small brush with any white acrylic or chalk paint. I used Annie Sloan’s Old white. Paint the boat’s mast white, as well as the ladder, varying waves and stones. I painted my teddy bear white, but feel free to paint yours with a color you choose.

For the sky area, I used a combination of white and a soft blue. I used “Sea Glass” by Deco Art. Dab your brush in Sea glass, and paint in sweeping, up motions. Alternate between the white and sea glass, letting them blend a bit in areas. A small or medium brush can be used for this.

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OUTLINING: For this next part, you’ll need a clean, medium fine brush and water. Trace all the graphite lines with a wet (but not dripping wet) brush. It’s important to trace these in water for the next step.

Once the graphite lines have dried, trace them with an artist’s marker. Brush pens work very well.

Be sure to use a light hand so the lines are not too thick.

SHADOWING AND ANTIQUING: To create some shading and antiquing, use a medium brown paint, adding water to thin it out, creating a “wash”. With a small brush using your wash, dab at the edges of the outlined areas (such as the yellow sail). Dab and mute the paint with a dry paper towel. The waves and tree house all have the wash, to create depth.

For the trees, create a wash using watered down black paint. With a small brush, dab darkened areas of shadow within the limbs and trunk. Use your paper towel to mop up any areas that are too wet.

OPTIONAL: If you want your painting to have an even more antiqued look, (like an old children’s book illustration) water down a small batch of brown paint, and a small batch of black paint. Using a paper towel to wipe down your painting using these two colors over the entire painting. Working quickly, use a damp paper towel to wipe back off any excess and lighten the painting up, till you reach your desired effect. This will allow the painting to show through, but leave a thin layer of wash, aging your painting.

CONTACT INFORMATION: Wanderlust Gallery 620 W Washington Street Suffolk, VA 757 774 3679 acjeanguenat@gmail.com https://handletteringobsessively.blogspot.com/ https://www.facebook.com/wanderlustandart/

PAINTING WORLD MAGAZINE

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

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JUNE 2019 ISSUE

PAINTING WORLD MAGAZINE

Cactus Garden

By Linda Hollander

I have been painting, drawing, and crafting since a child but my art supplies had been collecting some dust while I was busy raising my 3 active boys. It wasn’t until 1999 that I discovered the world of decorative painting while flipping through some magazines on the newsstand. Back then, we had so many publications to choose from. I bought them all and poured over them daily with renewed excitement! I used the instructions to teach myself most of the techniques until I could get to seminars and conventions. I chose vintage furniture as my substrate…go big or go home, is my mantra! Collecting vintage pieces like this tea set is half the fun of painting. Garage sales and flea markets are hard to pass as my 3 boys will attest to.

I heard many groans from the back seat as I pulled over to take a quick look at another sale. I am not above picking up curbside treasures on trash day. The things people throw away simply amazes me! Painters are fortunate to have all the wonderful new mediums and paint formulas that we have today. There is virtually nothing that can’t be painted … as long as it doesn’t move too fast!

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The new DecoArt Americana colors inspired me to paint cacti and succulents which have become so popular in-home décor today. Floating, drybrushing, and color washing are the main techniques used here. This design is very versatile and could be applied to many different surfaces such as canvases, Paper Mache, tin, and even fabric for tote bags and pillows. Be sure to use fabric medium along with the paints listed if you plan to launder the project.

The American southwest is my favorite vacation destination. I have always adored the rocky landscapes and vegetation there. Once, on a trip to Zion in Utah, I got a lucky shot of snow on a

prickly pear cactus!

SUPPLIES SURFACE: • 10” x 10” Wood Panel from Walnut Hollow Item # 29840

• Shader Series 2150 #8

PAINTS: DecoArt Americana:

• White Blending Mop Series SG1400 ½”

• Aloe DA364 • Dried Clay DA356 • Graphite DA161 • Midnight Green DA084 • Periwinkle DA366 • Magenta DA368 • Raw Umber DA130 • Sand Grey DA361 • Shoreline DA365 • Sugared Peach DA354 • Summer Squash DA363 MEDIUMS: • DecoArt Americana Acrylic Sealer/Finisher DAS13 Matte • DecoArt Americana Multi-Purpose Sealer BRUSHES: • Royal Aqualon • Liner Series R2585 10/0 • Round Series 2250 #3 • Angular Series R2160 ½” • Glaze/Wash Series R2700 3/4” JUNE 2019 ISSUE

• Royal Soft Grip • Fitch Deerfoot SG393 1/8” • Miscellaneous Supplies: • Old piece of grey graphite paper • tracing paper • stylus • art eraser • fine grit sandpaper • spatter tool or stiff toothbrush (I like using denture brushes to spatter paint) NOTES: • Use appropriate sized brushes unless otherwise noted.

• Where “sheer” floats are called for: Thin paint with clean water then load for a float as usual.

Walk the color out on the palette to be sure it is transparent.

• Use the mop brush to soften floats as needed.

• Dry brushing: Begin with a clean, dry brush loaded with a small to moderate amount of paint. Offload the excess paint from the tip of the brush onto a paper towel. Hold the brush more parallel to the surface than usual and lightly stroke the brush over the area to be highlighted.

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PREPARATION:

lightly over ground area. Let dry.

Use DecoArt Americana Multi-Purpose Sealer to seal the wood panel. When dry sand lightly.

INSTRUCTIONS: Base coating: Use Sand Grey to basecoat. Repeat until opaque. Sand lightly if needed to achieve a smooth painting surface.

FOREGROUND: Make a tracing of the design. Use pattern to lightly mark horizon. Use the wash brush and clean water to moisten area from horizon to the bottom of the panel. Sideload Raw Umber + Sand Grey and apply color to the horizon. Walk the color downward and allow it to fade as you do so. Load the toothbrush with thinned Raw Umber. Spatter FIGURE 1

TRANSFER THE DESIGNS: Use the graphite paper and stylus to lightly transfer the design omitting the graphic bands on the pots and the details on the cacti. Use the art eraser to lighten any lines that may show through the color washes of the plants.

CLAY POTS: Use the shader and Dried Clay + Sugared Peach (1:1) to base pots. Use the angle brushes and Raw Umber + Dried Clay (1:1) to float first shading.

Figure 1 Deepen the shading with sheer floats of Raw Umber. Use the round brush and Dried Clay to shade the pot’s rims. Figure 2

FIGURE 2

FIGURE 3

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Use Sand Grey to drybrush a highlight on the front of the rims. Use the shader and Sand Grey to drybrush highlights on the pots. Drybrush touches of Shoreline here and there is the shaded areas. Figure 3 Transfer the bands onto each pot but do not transfer the graphic design at this time. Use Sand Grey to base the bands until fairly opaque. Lightly transfer the graphite designs. Use water to thin the colors for the band details.

ROUND POT: Use Periwinkle to paint every other diamond shape. Paint the alternating diamond shapes with Shoreline.

TALL POT: Use Periwinkle to paint the upper wave design and Shoreline to paint the lower area.

WIDE POT: Use Magenta to paint the upper triangles and Shoreline to paint the lower triangles.

Float sheer Graphite over sides of pots including the painted bands. Use the liner and thinned Graphite to lightly outline the bands and graphite designs. Allow the brush to skip here and there as slightly broken lines add more interest. Use the round brush and Sand Grey to drybrush a highlight across the center of the bands.

CACTI AND SUCCULENTS: Use clean water to moisten one section or several small sections at a time. Use thinned Aloe to wash over dampened areas. Use the mop to soften as needed but don’t be concerned with some variation of color. The various intensity of color will add interest to the plant. Figure1 Premoisten one area at a time with clean water.

Use the round brush and Summer Squash to add warm highlights. Use the photo as a guide for placement. Let dry, then repeat with touches of Magenta. Paint flowers on the saguaro with thinned Magenta. Figure 2 Use sheer Midnight Green to float shading on all cacti and succulents. Use Magenta to float shading on saguaro flowers. Moisten one area JUNE 2019 ISSUE

at a time and use the liner and thinned Midnight Green to add details to the saguaro, prickly pear, and aloe plants. Moistening the areas first will help diffuse the sharp lines and soften the effect.

Let dry. Define the outer edges of all plants as needed with thinned Midnight Green. Figure 3 SOIL: Use the round brush and Raw Umber to base the bottom of the soil area.

Load the deerfoot stippler with Raw Umber then load the toe of the brush with a small amount of Sand Grey. Lightly stipple soil in front of the saguaro and prickly pear.

ROCKS: Use the round brush and a brush mix of Sand Grey and Graphite to block in the rocks. Slip slap the brush to give the rocks an uneven, mottled look. Do not over work this step or you will end up with one lighter shade of gray. If this happens simply allow the paint to dry and begin again.

Figure1 Use Raw Umber to float shading.Figure 2 Use the round brush and small amounts of Sand Grey to add highlights here and there. Drybrush a touch of Shoreline in some of the shaded areas.

Figure 3 SHADOWS: Use Graphite + touch of Raw Umber to wash shadows on ground under pots and rocks.

FINISH: Erase any remaining graphite lines. Spray with several thin coats of DecoArt Americana Acrylic Sealer/Finisher DAS13 Matte CONTACT: Linda Hollander 146 Chamberlin Drive Buffalo, NY 14210 paintingfool@live.com

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

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Tootie and the Blowfish

By Leslie Smith Thirty plus years of painting - and it’s still fun. And, I’m still learning. I hope it never ends. I live in paradise and I love love love painting. I love oils, acrylics, watercolors, mixed media, and colored pencils. I love painting seriously on a canvas or silly on a gourd. What more can I say?

The movement of the waves… the shimmer of a mermaid’s tail… and the glisten of the bubbles from a friendly blowfish… all are created with acrylic paints layered on top of a simple mud line drawing…

Can you hear them giggling?

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SUPPLIES: SURFACE: • Heart approximately 11”X15”, available from Tom Mingolello 727-45-5539 woodbytom@ aol.com in both pine and MDF in varying thicknesses.

PAINTS: • DecoArt Americana unless otherwise specified: • Spa Blue DA277 • Whispering Turquoise DA305 • Light Lime DA348 • Wild Orchid DA233 • Light Cinnamon DA114 • Mocha DA060 • Hauser Medium Green DA132 • Evergreen DA082 • Buttermilk DA03 • Pumpkin** DA013

single #4 Papillon Round. I can flatten it to get a filbert; I can use the very tip with little pressure and have a liner. If I work it sideways, it does the job of a flat.

MISCELLANEOUS SUPPLIES: • Fine grit sandpaper • Transfer paper, stylus, etc.

• c-through Ruler • Circle Template including circles of 3/8”, 1/2”, 5/8”, 3/4”, and 1” in diameter • optional: circular object 4.5” in diameter or a compass (for inside of tail) • Standard painting supplies (palette, water container, etc.)

Some theory stuff:

Mermaids are mythical and magical. They aren’t real.

We want to convey that “other worldly” aspect in our painting. So, the colors will be a little “off.” Her proportions will be a little “off.”

• Citron Green DA235 • Laguna DA350 • Snow White DA01 • Lamp Black DA067 ** I learned that Pumpkin was being discontinued as I was writing this pattern. Jack O’ Lantern is a tiny bit brighter and a little more transparent. It will make a tolerable substitute if you don’t have Pumpkin.

MEDIUMS/OTHER PRODUCTS BY COMPANY NAME: • DecoArt Americana All-purpose Sealer DS17 • DecoArt Americana’s Soft Touch DS123 • Mud Kit - available from http:// www.margotclark.com/proddetail. php?prod=mmmkt or basic supplies to use and apply Mud BRUSHES BY COMPANY NAME: • 1/2” Flat to basecoat • Most of the actual painting was done with a

PREPARATION:

Woodfill, sand, seal, and re-sand.

PAINTING INSTRUCTIONS: BACKGROUND: We’ll start by painting the background, which is water. It is not a solid color because we want it show movement. The surface is heart shaped, i.e., curbed.

Her tail is curved; her hair is tangled in curving strands. The bubbles are circles. The blow fish is a circle. Almost everything in the design is a graceful curve. So, the streaks you add to the background should also be curved and mimic the other elements of the design.

Basecoat with Spa Blue, but while the paint is still wet, add curving, graceful streaks of Whispering Turquoise and Light Lime. Light Lime will almost appear to be yellow. Because Wild Orchid is too strong for the background (but we want some of it in our background), make a mixture of Wild Orchid and JUNE 2019 ISSUE

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Spa Blue approximately 50:50. Add a few streaks of this mixture (be stingy with this). Let dry.

Using your favorite method, transfer line drawing, including the guidelines for putting mud on her tail and tail fin. The Blowfish’s body, the curve of Tootie’s tail, and the bubbles are perfect circles.

Use the line drawing to locate where they should be but use a stencil or template to draw their outlines. His body is a circle of 1 3/8.” Transfer only the bubble in front of her tail now (3/4” diameter), to avoid mudding that area.

CREATING THE UNDERLYING TEXTURE: Note: The Mudding steps are optional. You could just skip them; the piece without the dimensional texture is very nice. However, I had the pleasure of mudding with the Queen of Mud, “Margot Clark,” at the 2018 SDP conference and fell in love with the process.

If you are unfamiliar or need a refresher, go to Margot’s videos on Youtube. Because we are going to paint over the mud, there are some things about this project that are more relaxed than Margot’s exquisite projects. (1) You can be messy. We are building texture and perfection isn’t necessary; (2) you can lay down transfer lines. They won’t show in the end, because we are going to paint over the mud. (3) You can do repairs. You can wash off areas and not worry about residue. If you get a glob while pulling a line, just brush it away.

No problems. (4) Traditional mudding uses the thickness of mud to create shading. In this project, the mud is used solely for texture and dimension.

Starting on the tail, where it connects to the tail fin, stagger Margot’s flower petals like rows of bricks. The “petals” are heavier where her tail turns. This creates dimension and helps create the twist in her tail. The very end of her tail and tail fin meet at a fan of pulled dots.

All her fins (tail, dorsal, etc.) and hair are simply curved lines of mud. There is no outline at the very end of the fins. Her seashell Bustier is created of straight lines and an outline along the top. There are three layers, each successive layer has fewer lines and occupies JUNE 2019 ISSUE

a smaller area at the center of each shell to create a mound or dimension. It is best to let each layer dry a long time (overnight?) before putting another layer on top; otherwise, it may crack.

The blowfish’s fins are also created with a few thin curved lines, but the lines for her tail are faint. If you get them too heavy, brush over them so they are barely there. We want her tail to curve behind her.

If, by chance, you get some mud where it doesn’t belong, you can either wipe it off while still wet or let it become part of the waves in the water. The only place misplaced mud will cause problems is on her skin (face, torso, arms, or hands). Figure 1 Let the mudding dry overnight.

The paint enhances the mud - not the other way around. If you find, while painting, that there is dried mud in the wrong spot, you can actually scrape it off with a knife, sand and repaint that area from scratch. A less drastic solution is to just ignore it and paint according to the line drawing.

Alternatively, if the mud didn’t go far enough, don’t let that stop you from painting in an area.

HAIR: Loosely stroke Light Cinnamon into and over her hair. All we need at this point is a frame for her face.

FACE: Do not clean your brush until instructed. We want the paints to mix, not only on the piece, but also

FIGURE 1

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More Theory Stuff:

The faces of both Tootie and the Blowfish are primarily orange (Pumpkin and Mocha/Light Cinnamon).

Those faces are surrounded by blue waters. But considerable area is covered by green (her tail) and there is no denying that Wild Orchid. If you look all four of these on a color wheel, they form a square.

The color scheme for this piece is designed to be tetradic. Tetradic color schemes are typified as vibrant and colorful. If the artist isn’t careful, they can be jarring. In addition, most of the paints on our palette are highly pigmented (Light Lime and Spa Blue, which are mostly in the background, are the only “wimpy” colors.) In color theory parlance, most of our palette is “intense.” The paints were chosen to cause vibration in the physical structure of the eye. This causes motion and excitement. Lastly, did you notice that Tootie is in the foreground, but her tail fin seems to melt into the background? For this, the piece employs a few tricks: (1) her tail is darker and brighter than the water, but her fin is the same value (darkness) as the water - and (2) we put a bubble in front of her tail.

on the brush. A very detailed step-by-step is provided by Figure 2

need darkening are on the sides of her face and beneath her brows. Rinse your brush. Figure 2G

Start in the center of her forehead with Mocha and work towards her hairline in both directions.

As you approach the sides of her forehead, pick up some Light Cinnamon in your dirty brush to shade. Figure 2A

The iris of her eyes is Hauser Medium Green; the pupils and eyeliner are Lamp Black. Add a touch of eye shadow with Hauser Medium Green. Figure 2H

Create shadows under her brow, under her chin, within her ear, etc. with a mixture of Mocha and Hauser Medium Green. Figure 2B Continue filling in the lighter portions of her face with Mocha. Figure 2C The areas under her nose and lower lip are shaded by adding Hauser Medium Green to your brush, which by now, holds mostly Mocha.

Figure 2D

Blush her cheeks with Pumpkin (or Jack-o’lantern). Figure 2I Highlight the bridge and line down her nose, each cheek, the bump on her chin and add a sparkle to each eye with Buttermilk. See Figure 3 Her hair will eventually be streaked with all the colors on the piece. You can do it now or wait until you have them on your palette. The choice is yours. This step is discussed in later sections.

Her brows and nostrils are Evergreen. Rinse your brush. Figure 2F

TORSO, ARMS, AND HANDS: The rest of her skin is painted more simply. Start by using Mocha and darken with Hauser Medium Green. The darkest values are Hauser Medium Green and Light Cinnamon. If you cannot get it dark enough, add Evergreen to the mixture. Add some Citron Green tints as shown in the photo.

Give her a Buttermilk manicure and paint a faint line along the nail base with Light Cinnamon.

Blush her cheeks every so slightly with Light Cinnamon and highlight her lower lip with Buttermilk. Rinse your brush. At this point, darken shading (if needed) with a mixture of Light Cinnamon and Hauser Green Light and/ or Evergreen. The most likely spots that would

BUSTIER: Her Bustier is made of two seashells, striped with Buttermilk and Light Cinnamon; make sure that

She is quite ugly at this stage - and maybe somewhat green.

Blend where the values change. Rinse your brush.

Her upper lip is painted with Light Cinnamon; the lower lip is a mixture of Light Cinnamon and Buttermilk. Figure 2E

She may look somewhat bland at this stage; she will get lots of colors later on.

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FIGURE 2

the outer stripe is the Light Cinnamon. Wash a bit of Pumpkin over the shells to warm them up. The straps are Buttermilk; note that they are faint and incomplete lines that curve with her body.

TAIL: Her tail - or lower body - is painted in the center just above “her knees� with Citron Green. Shading, along both sides, varies with Hauser Medium Green, Light Cinnamon, and/or both. Highlight her tail with Buttermilk and Light Lime and/or a mixture of both using the using the photograph as a reference.

Her scales will appear to be more pearlescent if the highlights vary and you use a fairly dry brush to barely whisk across the textured surface in places.

The closer her tail is to her waist; the more Hauser Medium Green and Light Cinnamon are used.

Play with it. You may prefer to paint the green and JUNE 2019 ISSUE

FIGURE 3

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paint Light Cinnamon over it - or you may prefer to create a brush mix of Hauser Medium Green and Light Cinnamon - or both. This shading mimics the shading in her flesh, only we will use it more heavily.

Pat in some scales with Hauser Medium Green and Citron Green upwards from her waist - onto her torso - and towards her Bustier to connect her tail to her body.

TAIL FIN: Move onto painting her tail fin, again using buttermilk and light lime for the lights, Citron Green as the medium value, and Hauser Medium Green to darken along the outer edges. Do not be heavy handed.

Some of the Spa Blue should show through her tail, especially at the end of her fin. The FIGURE 4 end of her tail fin actually fades into the Spa Blue water. If necessary, stroke Spa Blue, Whispering Turquoise, and Light Lime into her tail, starting at the end and pulling the paint into her tail.

Paint his eye with Lamp Black and tap in an arched line about his eye with Wild Orchid. It extends from about 9-1 o’clock. Figure 5C Using figures for reference, paint in tail and tail fin with Wild Orchid, Buttermilk. Darken with Hauser Medium Green and finally with Evergreen inside tail curve. Darken his tail further with a mixture of Evergreen mixed with Light Cinnamon if your eye tells you it isn’t dark enough or he is becoming too green. He is a Blowfish - not a pickle. Figure 5D Add sparkle to eye, tap in sparkly highlights from roughly 12-3 o’clock (scales), highlight mouth, and add cheek - stippling with Buttermilk. Figure 5E Tap (stipple) Hauser Medium Green and then Citron Green to create reflected color on his scales in the lower left beneath his side fin. Paint a thin line along the inner top edge of his tail and a

Keep your strokes graceful and curved, consistent with the curve of her tail fin.

Darken her fin further with Light Cinnamon where it attaches to her tail and on the back portion where her fin separates into two. Dry brush Buttermilk or Citron Green onto the decorative texture formed by the mud.

Check the shape of the space where the blowfish will swim to be sure it is a good circle. Adjust as needed.

At this point, Tootie is pretty, but not very colorful.

Figure 4 THE BLOWFISH: Divide the Blowfish diagonally from upper left to lower right. Paint the left side Pumpkin and the right side Wild Orchid. Tap the two paints back and forth along the dividing line until there is no line. Figure 5A Tap (stipple) the very lower left (diagonally) and about mouth with Hauser Medium Green. The very top and bottom of his lips are shaded with Hauser Medium Green. Figure 5B

line of reflected color along top edge of his body from 10-12 o’clock with Citron Green. You may have to do this more than once to make it show enough. Figure 5F Paint in fins with Pumpkin. Paint Wild Orchid at their base and highlight with dry brush of Buttermilk. Figure 5G Did you notice that the shape of the Blowfish’s tail changed between photos G and the final? I didn’t think it looked graceful enough, so I changed the curved of his tail. Later, I will also change Tootie’s waist.

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FIGURE 5

While we have all these delicious colors out on our palette, let’s spread some color about. Here’s a few suggestions for placement: Work some Hauser Medium Green along end of tail fin to give it an edge. Stroke some Orange into her tail fin along the one edge. Define the outer edges (top and bottom) of her tail and tail fin with Wild Orchid. Don’t worry about the bubbles; we will transfer them back in later. Wash Wild Orchid into the water, especially around Tootie. If it gets too strong (it’s a very strong color) mix some Spa Blue into the Wild Orchid to tame it down. Keep your strokes soft curves to make the water move with waves. Also add a blush of Wild Orchid to her left temple.

All the colors are added to her hair. Spa Blue, Whispering Turquoise, and Light Lime are only near the end of her curls. It will make her hair thin out towards the ends.

Her tail fin is also transparent, especially at the end. Stoke in some Blue Spa with a light hand, starting at the end of her tail fin and drawing long curving strokes that skip along the underlying texture. If you are following my lead, you are still using the same round brush, and a lot of the colors will peak through the Spa Blue.

Figure 6

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BUBBLES: The bubbles are transparent.

That means that you cannot see them. You see the colors they reflect and the bubbles’ shadows.

Transfer the bubbles with a light hand. They are 3/8”, 1/2”, 5/8”, 3/4”, and 1 in diameter and all centered along the same curved line.

Outline bubble with a thin line of Light Lime. As soon as the paint is dry, wash away the transfer lines so you can accurately see how wide your lines are and if they have any bumps, lumps, or dings. They should be perfect circles outlined with very thin, barely visible lines.

Darken the inside of each bubble with a wash of color taken from whatever is behind the bubble.

The bubbles in front of either fin is darkened with a tad of Light Cinnamon. The bubbles in the water are darkened with Laguna at 12 - 3 o’clock. This shading follows the arc of the circle and is widest at 2 o’clock. It points to the center of the bubble.

Figure 7A

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Wash the inside of the circle ever so slightly with Whispering Turquoise. Figure 7B

FIGURE 6

Repaint the outlines, again with Light Lime, this time, blend it into the bubble a bit until it fades out in a shape similar but the mirror image of the Laguna. Figure 7C Paint a faint, but smaller area, of Hauser Medium Green at 1 o’clock inside the Laguna. Figure 7D Paint another arched reflection with Wild Orchid from about 7-9 o’clock. It may cover the Light Lime - no worries. It is put back in later. Figure 7E Paint smaller reflections of some warmer colors: Pumpkin at 11 o’clock and Citron Green from about 4-6 o’clock. Figure 7F If you want, this would be a good time to apply a coat of protective varnish. I use DecoArt Americana’s Sure Touch and apply one thin coat. It will facilitate removal of any subsequent steps with soapy water and a soft cloth - if I move quickly enough and do not let them dry completely. The highlights are next.

Add Highlights with Snow White as shown (11, 7, and 8 o’clock). These highlights are inside the edge of the bubble. You may have to repaint FIGURE 7

the highlights more than once to get them bright enough; I painted them five times. Figure 7H The bubbles will appear to come forward and seem brighter if the area around them is darker and cooler. This is easily done by washing a little Wild Orchid or Laguna around each bubble. Even though you are painting around a circular object, paint in the direction of the waves.

I love acrylics because, if I make a goof or want to change something, I can “un-paint and/or repaint.” Did you notice that I changed the shape of blowfish’s tail where it turns between Figures 6 and 7? And, her waist looks more realistic in Figure 7 than it did in Figure 5. Lastly, look hard.

I snuck in a fifth bubble after the photo was taken of the mud. Evaluate and adjust your painting at every step.

The line drawing is based upon the final painting.

Figure 8 THE JAZZ AND ALL THAT PIZAZZ….

Paint the water around the blowfish (especially in any corners) with a faint wash of Laguna or Wild Orchid or both. The mixture of the two is my new favorite color. Extend the blow fish’s tail around the bubbles, using whichever orange you used.

Tip that strand of his tail with Buttermilk.

Frame Tootie Tootie by painting some of the water around her with some of the cooler (cooler than she is) water colors: Laguna, Whispering Turquoise, and Wild Orchid.

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Add some sparkles in water; they are just dots or stars of Snow White. Some go over Tootie or the Blowfish.

Walk away and come back. The Blowfish is so colorful that he is not likely to go unnoticed. But, Tootie can get lost in this painting. If you feel that is the case: (1) darken the water around her more - especially in any corners or triangles formed by her shape. Examples would be the angular little indentations between her hair and shoulders, her armpits, the division in her tail. (2) highlight her Bustier with Snow White (3) strengthen the Mocha, Light Cinnamon and Pumpkin in her face and (4) give her right shoulder a blush of orange.

FIGURE 8

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When you ae happy, load your brush with Light Lime and paint long sweeping curved lines over the piece. These lines go over Tootie, but around bubbles.

FINISHING: Edge the piece with any paint; the sample was edged with Wild Orchid. Once dry, apply two coats of Soft Touch Varnish. Attach a hanger, if desired.

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Due to the size of this painting, the drawing has been reduced by half.

Enlarge 200% for full size painting.

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

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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.

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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.

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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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BACKGROUND PREPARATION: Base painting surface with Ceramcoat Village Green on the left side of the surface, using a sponge roller. On the right half base with Ceramcoat Forest Green. Blend with the roller where values meet. Let dry. Sand with #220 wet/ dry sandpaper. Recoat with same colors and be sure to blend sufficiently to have a good value gradation where the colors meet. Let dry. Sand again. Spray with Krylon Matte Finish, # 1311.

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 partiallyused bottles to the same consistency.

TRANSFERRING THE DESIGN: Use the inked design to transfer to the painting surface. You will want to use dark graphite for this background. Lay graphite paper over the prepared painting surface. Place inked design on top of graphite. Lay a piece of tracing paper on top of design to protect original during transfer. Tape stack into position. Transfer design completely and carefully, such as all eye detail, division of fur markings, and lines within fur areas, making transfer as accurate as possible. Retain and transfer all the little fur zig-zags, as well as correct shapes for other elements. 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 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

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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 painted step-by photos 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 brights 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 & clarity.

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IMAGE 1

IMAGE 2

IMAGE 1. Prepared background, sprayed with Krylon Matte Finish, # 1311 as detailed above. Use the inked design to transfer to the painting surface. Carefully follow instructions as detailed in Transferring the Design above. Note the use of the all-important tracing paper overlay so that you can tell how precisely you are duplicating the pattern and what parts you still haven’t done.

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 as shown below. Remember - a perfect transfer goes a long way toward a perfect finished painting.

IMAGE 2. The Palette: Colors are listed and laid out with most frequently-used colors in the bottom row and those less-used in the top row. From the bottom left: Ivory Black (B), Titanium White (W), Raw Sienna (RS), Raw Umber (RU), and Burnt Sienna (BS). Top row, from the left: Sap Green (SG), Cadmium Yellow Pale CYP).

IMAGE 3

IMAGE 3. Outline eyes as shown, using Black + Raw Umber loaded on a #2 bright. Use a bit more paint in darker value areas and just a bit of the mix, scruffed into lighter value areas.

IMAGE 4. Fill in with a green mix of Sap Green, toned with just a bit of Raw Umber + a small amount of White. Use a clean #2 for this step. Soften edges of green into dark smudges from previous step. Add touches of dirty brush + White as shown, but don’t blend much yet.

IMAGE 4

IMAGE 5

Please note: Brush Sizes: Use the smaller brush sizes, # 2 and 4 for the shorter hairs and smaller elements of the design. But within that range, choose the largest size that is comfortable to achieve the detail necessary. The #6 is appropriate for the basecoat and texturing of larger areas such as the main body of the animal. In addition, I always keep my #8 bright handy; while I don’t often paint with that size, I use it dampened with odorless thinner for cleanup, 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.

IMAGE 5. Adjust width of dark around eyes by touching green basecoat into it. Darken outlines again, if needed, with B + RU mix, and add a bit of highlight here and there on outlines with a small amount of White on the #0 bright brush.

Base vertical pupil slits carefully and precisely, using B + RU. Soften edges of highlights by blending just a bit with a dry brush.

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IMAGE 6

IMAGE 7

IMAGE 8

IMAGE 6. Base dark around nosepad, tear area under left eye, and on nose with B + RU, using the #2 or #0 bright. Fill in nosepad with Burnt Sienna.

IMAGE 7. Highlight nosepad with a little BS + W. Base darker areas on face of cat as shown in this image, using a #4 bright and Raw Sienna, and where those darker areas appear redder, use a mix of Raw Sienna + a little Burnt Sienna. Base cream-colored areas with RS + W, and then in the areas where light values appear bit lighter, add just a speck more W to the mix. Overall, don’t use a lot of paint. Note that some areas appear sparse, if not almost translucent. That’s because RS and BS are transparent colors and because we want to apply the paint sparsely.

IMAGE 8. All color added in this step is a mix of Raw Umber + Black.’Ticked’ fur is hair that is banded in different colors. That look is easily achieved in fur of that type, by first applying short strokes with the dark mix, leaving the same amount of space for the light value to be added in the next step. Note areas where the short choppy dark strokes are shown, such as above eyes, at base of ears, under eyes.

Base those dark ‘ticked’ areas of fur with short choppy strokes of Raw Umber + Black, loaded on a good chisel edge #2 bright. Note that in some areas of fur the strokes are darker and in others the paint used was applied more sparsely. In some areas, the strokes are also further apart than others. Try to make yours look like the sample for best results.

IMAGE 9

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Touch some sparse RU + B strokes into muzzle, to indicate markings in whisker pads. Add the black ‘ear tufts’ with same mix, and a bit of sparse dark for shading within the ears.

IMAGE 9. In this step, the only color added is dirty White made with W + RS. The value gradations shown are achieved by using less W mix in some areas than others and allowing a bit more RS or RU to ‘dirty’ the brush, so the mix is a darker value in some places. I used the same brush as in Image 8, a #2 or 4 bright, and the same, chisel edge stroke to get the initial suggestions of individual hairs.

In the ‘ticked’ fur areas: In the ticked fur areas, add dirty brush + White chisel strokes in between the same-sized strokes of RU + B that you applied in Step 8. Go easy with the amount of W you load on the brush be sure to load out of the dry loading zone. White is the ‘takeover’ color and will obliterate the necessary darks if you’re not careful.

IMAGE 10. Now, go back and detail the light values you added. Soften some, where shown. Blend the colors within the ears where values meet, following the growth direction of the hairs. Add fine lines inside ears with dirty W + odorless thinner, using the #0 round brush. If white strokes appear too strong or harsh, simply brush over them with more strokes to soften.

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IMAGE 11. Where white needs to be stronger, such as the whitest areas on IMAGE 15 the chin, muzzle, above eyes, and on neck of the cat, add cleaner white within those areas, and then blend a bit to soften.

IMAGE 12. Base body with #6 bright: Darker value on back and under neck: RS + RU. Medium values/ RS. Light values/ RS + a bit of white to a cream colored mix.

IMAGE 11

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IMAGE 13

IMAGE 14

IMAGE 13. Now, add the dark areas as shown, leaving some areas broken (not solidly based) for the ticked look.

Use the same brush and the following mixes: B + RU (neck band), RU, and RU + a bit of BS. Pay careful attention to the natural growth direction of the hairs. Also note, that there’s a few very sparsely applied areas of paint, as at bottom of body. Soften edges of the paint into surface with a bit of buffing with a piece of cheesecloth.

IMAGE 14. Now, as you did on the head, add the light value hairs using the good chisel edge of a sharp #4 or #6 bright. Use RS + W, for darker values of light. Use W + just a bit of RS added for the lighter values of W. Fill in ticked areas with strokes of the RS + W mix.

You will notice the light additions more, so be especially careful to establish the correct growth directions for the hairs in each area. Some areas show little direction; others quite a lot.

IMAGE 15. Canada goldenrod: Base stems with Black + Sap Green, using the #2 or #4 bright. Base leaf dark values with same mix. Base the stem clusters with flowers with the same mix.

IMAGE 16

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IMAGE 16. Fill in the rest of each leaf with light value mix of SG + RS + tad of CYP (a spring green leaf mix). Base blossoms with RS + CYP. Use enough RS to tone down the powerful yellow.

IMAGE 17. Blend leaves and then highlight with Light green mix + a bit of W. Re-blend to soften in highlight.

Highlight a few stems within the flower clusters with same mix. Highlight the flowers with the flower Base mix + W. I applied the light value on the flowers with a stippling motion of the #2 bright.

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IMAGE 18

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IMAGE 18. Western Pygmy Blue Butterfly: Base orange wing area with Burnt Sienna + Cad Yellow Pale, using a #2 bright. Base edge of forewing with CYP + a bit of W. Base dark area on hindwing with RS + SG. Base rest of hindwing with dirty brush + CYP + a bit of W. Highlight edge of hindwing a bit with CYP + W. Base body with a fuzzy bit of W + RS, fluffing color with the #0 round.

IMAGE 19. Add details on butterfly. Use the #0 round brush loaded with slightly thinned White to apply antennae and legs. Then, with same brush and slightly thinned Raw Umber, apply spots on antennae. Add a dark marking on head to indicate eye.

IMAGE 20. Whiskers: thin W + a little RU with odorless thinner to an off-white mix. Paint should be thinned enough that it lays in a featureless puddle on the palette, holds no peaks or ridges. Then, load the round brush and pull the whiskers from muzzle outward. Go back with a small bright and soften the ends of the whiskers into the muzzle base coat.

IMAGE 21. Check location of whiskers - don’t forget the ones that extend from above the eyes, as well as the larger, longer ones from the muzzle. Clean out all graphite remaining that was not covered, on whiskers, flowers or wherever needed.

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IMAGE 22. Final Beauty shot of Samantha. Hope you’ve enjoyed the process...

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Painting Animal Hair and Fur

By Sherry C. Nelson, MDA, TDA There are some basic concepts to learn that will help you successfully master the complexities of painting animals.

Let’s take a look at those things I consider most important:

FUR FACT #1: Fur or hair always has a growth direction. When laying on color, you must use the chisel edge of the bright or the round brush, pulling in the proper growth direction for the hair to appear realistic. For the body, you will make many, many overlapping strokes following the appropriate growth direction, beginning from the outer edges of the animal, overlapping hairs as you move inward and upward toward the head. When you begin work on the head, you will continue to follow the growth direction of the individual areas of hair.

Remember: Fur or hair has a ‘lie’ and you must always work with the lie of the fur for it to appear realistic.

FUR FACT #2: Any area of fur, regardless of how small, will contain different values and colors within that area. By using different values in a range from dark to light, you will create a

more realistic look. A patch of black fur, for example, might have areas of brown or tan or sienna within it. Additional values will be added with shading and highlight steps to give depth and contrast, again, always with the lie of the fur.

FUR FACT #3: Different areas of hair or fur will be different lengths, so you must adjust your brush strokes and the size of the brush you choose to use accordingly. The shortest lengths are often found on the head and face; the longer ones on chest, belly or tail. Study the length, growth direction, and varied hues and values of a patch of fur before you begin painting it. Choose smaller sizes of brights to better indicate the realistic look of the shorter hair lengths and use larger brights for the longer hair areas.

SUMMARY: On the body, begin painting at the outer edges of the animal and gradually move inward as you complete each area, so the fur overlaps properly. When you reach the head, do the facial features first, then complete the furred areas of the face. Connect areas of different color and value with overlying chisel strokes, sometimes called skizzles in my instructional materials.

Use colors sparsely, picked up

from a dry loading zone on your palette. And be patient!

It takes many, many individual brush strokes to yield the final effect of realistic animal fur. It’s not hard, but it will take time and attention. Refer often to excellent photos of the animal for inspiration and for best results.

Many painters want to take short cuts when creating hair. One approach is to use a rake brush, or other type of brush designed to create a lot of hairs in a single brush stroke. The problem with these brushes is they give the animal you are painting too rote, too mechanical an appearance, and one that invariably ends up looking fake. Animal’s hair does appear to not grow with fifteen or twenty hairs lying exactly parallel to each other...

Hence, I prefer painting all my animals with individual strokes of the short bright chisels. Very effective, and you can more easily replicate the realistic lie of the fur.

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Due to the size of this painting, the drawing has been reduced by half.

Enlarge 200% for full size painting.

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

JUNE 2019 ISSUE

PAINTING WORLD MAGAZINE

Passing the Paintbrush...

By Teri Walker Well over 60 years ago, my grandmother gave me three treasures: a watercolor set, my first box of crayons and four blocks of modeling clay.

She spread an old quilt on the floor then added my little red rocking chair and a TV tray that my grandfather altered to fit my small height. It was heaven and the beginning of a lifelong love of art. We spent thousands of hours creating all sorts of paintings, colorful drawings and various clay objects.

I remember those times well, because they continued all the way through my school years.

As I grew and became more skilled with my hands, she taught me to embroider and sew. A small metal cookie box contained hundreds of colored threads, an old pillowcase held scraps of worn-out clothes that would be recycled into quilts and doll clothes and a metal first aid box that my grandfather carried during World War 2 contained crayons and colored chalks. These were the things I held most dear because there were so many colors. For 65 years, I have been obsessed with colors.

My grandmother passed the paintbrush to me at a very young and tender age because she saw things in me that have taken a lifetime to discover about myself. Unfortunately, I was raised in the deep South where art was considered a luxury for the wealthy and was not a part of our school curriculum. We didn’t have internet and even television was black and white. The only saving grace for a visual artist wannabe was the public library.

But times were changing. In the late 70’s, tole painting found it’s way to the swampy bayous of north Louisiana and brought art out of the dark ages and into the light of creativity. We embraced it with hungry passion and shared our creations all throughout the 80’s and well into the 90’s. Artists finally found the respect and admiration they had so desperately needed.

It was a fun time in those early days. We took pride in our accomplishments and sought out

anything and everything that could further our abilities and creativity. We found freedom of expression, a way to overcome stress, fellowship with other artists and acceptance among our peers. But most of all, we discovered abilities we never knew we were capable of and that gave us a sense of self-satisfaction that no amount of money could buy.

We worked together to create new venues of expression and we demanded better art supplies. New art supply businesses were born.

The invention of acrylics opened doors to painters who had long been at war with oils. Tole painting offered ways to beautify our homes, businesses, churches and eventually art found it’s way into the school system. Arts and crafts magazines offered patterns and instructions for projects that were affordable and fun. For many of us, craft shows provided a way to bring badly needed extra income into the family budget.

Through hard (but fun) work, we weren’t starving artists anymore.

And now, as we pass the paintbrush to you, the next generation of artists, I hope you will understand and appreciate the struggles of those who came before. We didn’t starve for lack of food or money. We starved for the opportunity to learn, the supplies we needed to work with, and the acceptance and respect of others. We starved for encouragement and understanding. And we created a world so that you won’t have to suffer as we did. Our legacy is to share the knowledge we’ve worked so hard for with you, for you are the future of our culture. I hope you will take advantage of these opportunities and I encourage you to always follow your creative heart. Make changes, create beauty, use your art to bless the world and then you will have your own legacy to be proud of when the time comes for you to pass your paintbrush to the next generation.

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My husband and I have always loved camping and fishing. One of our favorite camping spots is on Lake Wallenpaupack in Northeastern Pennsylvania.

This fun summer design is perfect for your favorite fisherman/woman!

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Lake Wallenpaupack PAINTING WORLD MAGAZINE

By Marlene Fudge

Marlene lives in the scenic Lehigh Valley, Pennsylvania with her husband of 33 years. She has two beautiful daughters who are out in the world doing amazing things. Marlene is a self-taught artist and has been decorative painting for over 24 years. She is a member of the Society of Decorative Painters and is currently Chairman of the SDP Education Committee. She belongs to two local chapters, the Lehigh Valley Decorative Painters and the Pocono Painters and enjoys teaching at both. Marlene is also proud to be a DecoArt Helping Artist and a Dynasty Designer. To see her latest work, you can find her on Facebook and Instagram @paintingmarlene.

SUPPLIES

• Thicket DA357

SURFACE: • 10” x 8” x ¼” Crescent Moon Plaque – Item #31-L259 (Cupboard Distributing cdwood. com)

• Winter Blue DA190

PAINTS: DecoArt Americana Acrylics • Antique Green DA147 • Black Green DA157 • Burnt Umber DA064 • Cadmium Orange DA014 • Cadmium Yellow DAO10 • Deep Midnight Blue DA166 • Hauser Dark Green DA133 • Hauser Medium Green DA132

• Williamsburg Blue DAO40 BRUSHES: • Dynasty Black Gold • #3 Round 206R • #6, #10 & #16 Shader 206S • 5/0 Line- 206L • ¾ Mop- Series 400 • Mezzaluna Medium MEDIUMS: • Minwax Polycrylic Protective Finish- Clear Satin MISCELLANEOUS SUPPLIES: • Traditions 36.5mm Fish Hook Charm Item # 1316223 (hobbylobby.com)

• Lamp Black DAO67

• Brass Screw Eye

• Light Cinnamon DA114

• Scotch Magic Tape

• Pebble DA303 • Sand DAO4 • Terra Coral DA286 JUNE 2019 ISSUE

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PAINTING PREPARATION: Base coat the entire surface with 2 coats of Winter Blue. When dry, transfer the horizon line and the lines where the ground meets the water.

PAINTING INSTRUCTIONS: MIXTURES: Mix together Burnt Umber + Black (2:1).

We will call this the Dark Mixture.

SKY: Use the #16 shader brush to dampen the sky slightly with water. With the same brush, add a wash of Williamsburg Blue to the sky area here and there. Mop horizontally to soften. Using the same brush, add Terra Coral to the sky here and there and mop to soften. This should be a little streaky for the sunset. The moon is base coated with Sand using the #3 Round. Dry brush Sand around the moon with the Mezzaluna brush.

(Hint: When dry brushing, load the brush with paint and then wipe off most of the paint onto a paper towel. Scrub the color that is left on the brush onto the surface for a soft highlight.)

BACKGROUND TREES: Put a piece of Scotch tape across the horizon line. This will keep your water line clear. Mix together equal parts Thicket + Hauser Dark Green. Use the Mezzaluna brush to tap in the

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background trees. Wipe the brush onto a paper towel and, using the dirty brush, tap in some Thicket to highlight and separate the trees. Mix together equal parts Thicket + Winter Blue and tap in an extra highlight here and there. Peel off the tape.

WATER: Base coat the water with Williamsburg Blue using the #16 Shader. Use the same brush to float a wash of Deep Midnight Blue here and there throughout the water. Mop side to side to soften the color. (Hint: When painting water, always keep the lines horizontal.) Add some water lines with Winter Blue by holding the #6 Shader up horizontally on the chisel edge and a little bit of paint. Add some strokes throughout the water. Add some reflections of the moon in the same way, only use Sand. We will add some more highlights on the water on the bottom after we paint the canoe.

GROUND BASECOAT: Base coat the ground area with Burnt Umber using the #16 Shader.

When dry, transfer the details.

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PINE TREE: Load the Mezzaluna brush with Black Green.

Starting at the top of the tree, hold the brush vertically and tap in line for the trunk. Hold the brush horizontally, and again start at the top and tap in the branches of the tree. Tap in a highlight of Dark Hauser Green in the same manner. Then tap in an extra highlight with Hauser Medium Green, keeping most of this lighter color towards the right side of the tree.

TWO LARGE TREES: Base coat the large trees with Burnt Umber using the #3 Round. Using the #6 shader and the Dark Mixture, shade the left side of the trunks and branches. Using the Mezzaluna brush, dry brush Sand onto the tree trunks to highlight them.

(Hint: When dry brushing, load the brush with paint and wipe off most of the paint onto a paper towel. Scrub the color onto the surface and the remaining paint in the brush will make a soft highlight.) Use the Mezzaluna brush to tap in the foliage onto the trees. Start with Black Green, wipe the brush onto a paper towel and then load with Hauser Dark Green and tap in over the foliage and then again with Hauser Medium Green.

TENT: Base coat the tent with Pebble using the #10 shader. Shade along the bottom and the back with Light Cinnamon using the #10 shader. Deepen the shading with Burnt Umber. Using the same brush, highlight the top and front of the tent

with Sand. Mop to soften. Add the tent pegs with the Dark Mixture using the liner brush.

Add a little highlight on the tops with Sand.

GROUND: Use the #16 shader to float a wash of Light Cinnamon along the ground area here and there. Mop to soften. Dry well. Repeat this step with Antique Green. We will add some more color after the rocks.

ROCKS AND CAMPFIRE: Base coat all the rocks with Graphite using the #3 round. This includes the rocks around the campfire. Use the #6 shader to shade the left sides and bottoms of the rocks with Black.

Mix together equal parts Sand + Black and highlight the top and right sides of the rocks.

This should be a rough float by skipping the brush along the rock, so it makes it look like a textured surface on the rock. The campfire is painted with a wash of Cadmium Orange and Cadmium Yellow using the #3 round brush.

Start at the ground and float the flames up.

Tap in a little black along the bottom of the fire for the coals. Use the Mezzaluna brush and dry brush the smoke above the flames.

FISHING ROD AND CREEL: Using the liner brush, paint the handle of the fishing rod and the creel with Light Cinnamon + touch of Sand. The rod and JUNE 2019 ISSUE

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reel are painted Black using the liner. Add a very thin fishing line coming off the end of the rod and onto the ground. Use the liner to add a Sand highlight on the handle, reel, and the rod. Again, using the liner, add a shadow of Burnt Umber on the handle. Use the #6 shader and Burnt Umber, to shade the creel. Line the strap across the top with Black. Add some little “weaves� in the basket creel with Sand and then Burnt Umber using the liner brush. Dot the handle on the strap with a tiny dot of Sand.

CANOE: Base coat the inside of the canoe with the Dark Mixture using the #3 round. Use the liner brush to add the seats and crossbar with Light Cinnamon.

Add some faint lines across the back for the inside boards with Light Cinnamon. Shade the seats and crossbar with the Dark Mixture. The outside of the canoe is base coated with Light Cinnamon. Shade across the top and along the bottom of this side with the Dark Mixture. Mix together equal parts of Light Cinnamon + Sand. Line the top edges of the canoe with the liner brush. Add some very soft lines across the front for the boards. Use the Mezzaluna brush to dry brush this mixture across the center of the canoe. The oars are the same mixture and shaded with Burnt Umber.

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EXTRA TOUCHES: Add a very soft reflection from the canoe into the water with a wash of Light Cinnamon and the #3 round. The reflections from the rocks are done in the same way using a wash of Graphite. Add some water reflections next to the rocks and the canoe with Winter Blue by holding the #6 shader up on the chisel edge horizontally. Keep all the water reflections horizontal. Add a float of Deep Midnight blue directly under the canoe. Use the Dark Mixture and shade under the rocks, fire pit, creel, canoe and fishing rod on the ground. Add a shadow coming from the tent and trees. Use the liner brush to add some little grasses here and there throughout the ground with Antique Green.

Mix together equal parts Antique Green + Sand and add a few more grasses. Use this mixture to softly float some areas of the ground to highlight under the grasses and here and there where you feel you need more contrast. Mop to soften the float.

FINISHING: Remove any remaining graphite lines. Paint the edges and back with the Dark Mixture. Let dry well. Varnish with 2-3 coats of Polycrylic. When dry, add the decorative hanger on the top. Attach the hook onto the screw eye and screw into the top of the moon.

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

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PAINTING WORLD MAGAZINE

Lady In Paris

By Diane Trierweiler

I have been painting for about 45 years. I began with oil as my medium and then I moved on to acrylics and watercolors. Thirty-three years ago, I opened a decora-tive painting shop in Norco, California where I teach classes regularly.

I travel and teach to painting chapters and conventions. I also have a full line of packets, books and DVDs. I also have my own line of specialty brushes. My husband and family have been very supportive of my work. I also have two grandchildren that bring me great joy. The joy of painting and teaching has filled my life with much satisfaction, and it has given me the chance to meet so many wonderful people

If you have never done any decoupaging, this is an easy project to get started. The canvas is 11x14, so it isn’t too large to work with. You can use any paper that has an Eiffel tower on it, or I sell the same paper that I used. I use fabric many times to do the decoupage technique. I simply take the fabric to a print shop such as Staples, and I color copy the fabric. This gives me a chance to use larger pieces of paper than I can find in the stores.

SUPPLIES

11x14 box canvas can be purchased from Diane Trierweiler or at Hobby Lobby PAINTS Decoart Americana • Titanium White DA01 • Lamp Black DA067 • Olive Green DA056 • Evergreen DA82 • White Peach DA24 • Desert Turquoise DA044 • Slate Grey DA068 • Burnt Umber DA064 • Raw Sienna DA093 • Boysenberry DA029 • Deep Burgundy DA128 • Cadmium Orange DA014 • Napa Red DA065 • Emperor’s Gold Metallic DA148

MEDIUMS • Decoupage Glue (Decoart) DS101 • Satin varnish (Decoart) DS21 • Matte sealer spray (Decoart) DAS13 BRUSHES • #4 Flat • 3/4 Glazing brush • 10/0 Liner • 1/2 Angle • Diane Trierweiler’s signature brushes • Petal brush set (2, 4, and #8 short handle red sable tongues) MISCELLANEOUS SUPPLIES • Wrapping paper or fabric that has an Eiffel tower on it (paper can be ordered from Diane) • Water tub • Brayer (optional) • Paper towels • Palette paper • Scissors JUNE 2019 ISSUE

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HELPFUL TIP I always make a copy of the paper I use. The paper is thinner and adheres to the canvas better. You can use fabric, wrapping paper or scrap paper to use for your project. Just make a color copy of the design.

When you glue the paper onto the canvas it will sometimes look wrinkled after you have smoothed it out. Don’t worry, it usually flattens out when it dries. If the paper lifts a little around the edges of the canvas, simply take some glue on a brush and put it under the edge and press down.

PREPARATION

HAIR: Use your #4 tongue to fill in the hair with Raw Sienna. With a dirty brush, add shadows of Burnt Umber.

Place the pattern onto the paper where you want to cut the paper so that it fits cor-rectly on the canvas. Use your glazing brush to paint the decoupage glue onto the canvas. Make this a thick coat. Next, paint the glue on the back side of the paper. Gently lay the paper over the canvas and tap in the center of the paper working outward. Smooth all of the bubbles out. You may want to use a brayer to press the paper down on the canvas. Now, you will need to paint another coat of glue over the top of the paper. Let dry thoroughly. Lightly spray a layer of matte sealer over the paper. This seals the paper so that the water in the paint will not add more bubbles as you paint. Place your pattern on so that the lady overlaps the tower a little.

GLOVES: Use your #2 tongue to base in the gloves with two coats of White. Let dry and use your angle brush to add shadows of Slate Grey.

PROCEDURE

DRESS: Use your #8 tongue to paint in Boysenberry on the dress. Follow the con-tour of the dress and the bow. The paint can be a little transparent at this point. Next, add shadows with Deep Burgundy.

Add more Boysenberry to the dress. Loosely add more shadows with Napa. Make sure your colors are more impres-sionistic in texture. This will add to the transparency of the dress. Highlight with White in a dry brush technique. Tint (20% paint

SKIN: Use your #4 tongue to base in the skin. Base two times for good coverage. Let dry and use your angle brush to shade the skin with Raw Sienna.

Highlight the shoulder and the face with a float of White.

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UMBRELLA: Use your #4 flat brush to base in the umbrella with Black. Use your #2 tongue to base in the handle with Raw Sienna. Use your angle brush to highlight the umbrella with Slate Grey. When this is dry, dry brush Indian Turquoise to add an accent color. Use your liner brush to add White highlight slashes here and there and on the top of the umbrella. Shade the handle with a little Black.

Highlight with a line of Emperor’s Gold.

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to 80% water) here and there with Cadmium Orange. Use your angle brush with a brush mix of Napa plus a touch of Black to shade around the bow and the bottom of the dress. Use your an-gle brush to shade under the dress with Slate Grey.

ROSES: Use your #8 tongue to loosely paint in the rose shapes with Boysenberry. Use your angle brush to shade in your cup and bowl with Deep Burgundy. Corner load into White and stroke on your petals and to add highlights to the center of the roses. Let dry. You may need to second shade with a little Napa to more depth to the roses. Let dry, and tint here and there with Cadmium Orange. The leaves are filled in with water plus Avocado (20% paint to 80% water).

Let dry and use your angle brush to shade the bottoms to every leaf with Evergreen. Use your liner brush with Evergreen to add vein lines and stems to the leaves.

TOWER: I used my liner brush to accent the tower with Emperor’s Gold and then a little Black here and there. The bushes at the bottom of the tower are painted in by swirling your #8 tongue brush around using Avocado, Olive, and then Raw Sien-na. Place this in with a wet on wet method.

If you need a little more shadow, add in some Evergreen here and there.

FINISHING: Use your #2 tongue with Black and fill in the letters. Line the left side of each letter with Emperor’s Gold. Use your liner brush with White to add a highlight line on the left side of each letter. Use your Glazing brush with Slate Grey to shade around the outside edge of the painting.

Base in the sides of the box canvas with Slate Grey. Varnish with one coat of Satin varnish.

Enjoy!

Diane Trierweiler 1875 Norco Dr. Norco, Ca., 92860 951-272-6918 tolebridge@aol.com dianetrierweiler.com JUNE 2019 ISSUE

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Due to the size of this painting, the drawing has been reduced by half.

Enlarge 200% for full size painting.

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

JUNE 2019 ISSUE

PAINTING WORLD MAGAZINE

Harbor Sunset

By Michael Cheek

Michael was born and raised in a small mountain town in North Carolina called Boone. In 1983, Michael began his journey in the art world. Over these past three decades, Michael has devoted a lot of time developing his “easy to learn� techniques. Since the early years, Michael has had the opportunity to teach countless students the joy painting can bring to an individual life!

Michael resides in Taylorsville, North Carolina where he continues to teach local workshops as well as traveling to neighboring towns and cities.

You may contact Michael at: mscheek@charter.net or visit his website: www.palettecreationsbymichael.com JUNE 2019 ISSUE

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SUPPLIES SURFACE: 8 X 10 Canvas PALETTE: Martin F. Weber Prima Oil Colors • Ultramarine Blue • Cerulean Blue • Burnt Sienna • Cadmium Red light • Cadmium Yellow light • Titanium White BRUSHES • Artist Loft Flat Bristle (can be purchased at Michael’s Art’s & Craft Stores / 12 piece set.) #’s 9, 6, 4, 3, 2 • Bob Ross Script Liner OTHER MATERIALS: Black Graphite Paper, pen, pencil or stylus for tracing CANVAS PREPARATION / MICHAEL’S KANVAS KOAT® Using a chip brush, apply 2 coats of Michael’s Kanvas Koat (turquoise) to the canvas, allowing plenty of drying time between coats. Using black graphite paper, transfer the pattern to the canvas.

(NOTE): Michael’s Kanvas Koat is not available at any craft store. It is only available by ordering from Michael’s website: www. palettecreationsbymichael.com When using Kanvas Koat, you will not need any oil medium to make the paint move, spread, or blend!

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Helpful hints:

**When tracing the pattern to the canvas, only trace basic lines. For instance, it will be difficult to paint around objects such as trees, bushes, ect. **Instead of cleaning the brush in thinner each time, use a paper towel to pinch the paint out of the bristles. This will allow some color to remain in the bristles, causing more variety of color tones when loading the next mixture. **Keep the photo of the project handy to reference correct placement of all components of the painting.

A WORD FROM MICHAEL

The reason for applying the colored (turquoise) Kanvas Koat, is so the paint will move, spread, and blend without the use of oil medium. Secondly, when painting this project, don’t try to cover up all the undertone!!! This will allow all the colors in the painting to be in harmony! Once the painting is dry, the colors will take on a sheen of their own!

LET’S PAINT! SHALL WE? SKY Using the #9 flat bristle, load a mixture of cadmium yellow light with a tiny touch of cadmium red light. This mix will still look yellow but with a subdued tone. Holding the brush vertical and working off the bottom bristles, start tapping around the sunset. As you progress outward into the sky area, pick up a bit more cadmium red light in the mix and tap in the remainder of the sky, working around the buildings, and being sure to leave some of the undertone showing. Using the #2 flat bristle, load

PAINTING WORLD MAGAZINE

titanium white with a touch of cadmium yellow light. Working off the flat of the brush, paint in the sunset using a circular motion. The sky should have a soft look!

WATER AND DISTANT SHIPS Using the #6 flat bristle, load a mixture of cerulean blue and a touch of ultramarine blue. This will be a subdued medium blue tone. Working off the flat of the brush, start at the base of the water and use short downward strokes progressing upward, leaving space for the sunset reflection. Clean the brush! Loading the same mixture as the sky, work off the flat of the brush and pull downward, intermixing with the darker water tone to paint the sun reflection. Work for a good blend between the two colors. Using the script liner, load the sky mixture and bring the liner to a point. Paint in the distant sail boats. These are too far in the distant to be perfect! Using the #2 flat bristle, load a mixture of the darker tone that was just used for the water. Bring the brush to a chisel edge.

Working off the flat of the brush, use horizontal strokes to paint in a few waterlines in the lighter area. Wipe the brush! Load a mixture of the lighter tone and add a few waterlines in the darker water using the same technique. Not too bright!

Large building highlight on roof: burnt sienna+titanium white Window panes: titanium white+burnt sienna (NOTE): Using the script liner, load some of the dark mixture and bring the brush to a point. Paint around the windows for a set-in look!

BUILDINGS (Flat Bristle, #’s 4 & 3 / Script liner) Rooflines & Windows: ultramarine blue+burnt sienna= dark mix Shadow side of small building: burnt sienna+ultramarine blue Front sides of Buildings: titanium white+a touch of burnt sienna Roof on small building: cerulean blue+a touch of ultramarine blue Highlight on roof: sunset mixture

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DECKING AROUND BUILDINGS Using the #3 flat bristle, load a mixture of ultramarine blue and burnt sienna. This will be a dark mixture. Working off the flat of the brush, paint in the shadow side of the deck in front of the smaller building. Wipe the brush! Load a mix of ultramarine blue and titanium white. This will be a medium blue tone. Working off the flat of the brush, paint in the front highlighted side of the smaller deck. Using the script liner, load some of the dark mixture and bring the bristles to a point. Use this mixture to paint in a few indications of individual boards. Using the #6 flat bristle, load the dark mixture and paint in the decking in front of the larger building. Wipe the brush and pick up some of the highlighted building color and paint in the highlight on the larger deck. Work for a somewhat blended look.

POSTS AND ROPING Using the #2 flat bristle, load a mixture of ultramarine blue and burnt sienna. This is the same dark mixture as before. Paint in all the posts by pulling the brush downward. Wipe the brush! Pick up a bit of the highlight mixture and add a little highlight on the left sides of the posts. Using the script liner, load a mixture of the highlight color and bring the brush to a point. Paint in the roping on the posts, swaging it just a bit.

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BIRD Using the script liner, thin down the dark mixture and bring the brush to a point. Paint in the bird flying around the harbor, using an elongated “M� shape. Use a bit of the highlight, color to highlight the bird mostly on the right side.

FINAL TOUCHES After the painting is dry to the touch, you may want to reinstate some of the highlights and shadows. It is difficult to get the desired brightness you need when the paint is wet!

PAINTING WORLD MAGAZINE

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

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Heavenly

HOLLYHOCKS

I love these hollyhocks in our gardens! The creamy white petals and deep burgundy throat are just so lovely. A friend gave me some seedlings many years ago and now these happily transplant themselves in our gardens each year. Friendship gardens are the best!

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PAINTING WORLD MAGAZINE

By Barbara Bunsey, CDA

Barbara has been painting and teaching for over 30 years ago and has taught at SDP National Conference, mini-conventions, and continues to travel teach at painting chapters throughout the US. Her designs have been featured in all the decorative painting magazines.

She has been named to the Directory of Traditional American Crafts by Early American Life Magazine since 2004.

She paints pieces which are sold in the Colonial Williamsburg foundation’s shops. She also demonstrates “country tin painting” at the St. George Tucker House in Colonial Williamsburg when she visits each December.

SUPPLIES

• Decoart Vintage Effect Wash: White Wash

DECOART PAINTS: • Antique Maroon DA160-1

• DecoArt Matte Metallics: Vintage Brass

• Antique White DAO58-1 • Avocado DAO52-1 • Banana Cream DA309-1 • Bleached Sand DA257-1 • Chartreuse Yellow DA330-1 • Cool White DA240-1 • Dark Chocolate DAO65-1 • Espresso DA271-1 • Evergreen DAO82-1 • Foliage Green DA269-1 • Grey Storm DA328-1

Barbara was honored to have an ornament selected for the official White House Christmas Tree in 2004.

In 2005 Barbara painted an ornament to grace the Christmas tree at the Library of Congress.

• Light Avocado DA106-1

In 2008 Barbara was chosen to paint 1,000+ ornaments which President and Mrs. Bush used as gifts to family, friends, and White House staff.

• True Ochre DA143-1

• Margarita DA299-1 • Red Violet DA140-1 • Slate Grey DAO68-3 • Soft Black DA155-1 • Vivid Violet DA232-1 • Yellow Green DA134-1

In 2017 Barbara was awarded the BRUSHES: distinction of Accredited Decorative Painter (ADP) and in 2018 Barbara was • FM Black Gold: #10 & #16 shader; #0 liner; #4 awarded the Certified Decorative Artist round; #4 Dynasty dry (CDA) designation by The Society of brush; M & L Mezzaluna.

Decorative Painters.

Barbara lives in Ohio with her husband SPECIAL SUPPLIES: and their crazy cat, Cuni. You can • DecoArt sealer reach her at bbunsey@calicogoose. com, (330)467-7402, www.calicogoose. • DecoArt Decoupage com

• DecoArt Extreme Sheen: Rose Gold • DecoArt Modeling Paste • DecoArt Stencils: Fleur de Lis, Jacobean Floral • DecoArt satin spray varnish tissue paper (I used pale yellow) • rubber stamps • black stamp pad • Xacto knife • small piece of glass, like from a picture frame • sanding pad • 8” x 10” canvas.

• Plaque (#2803) available from: Bear With Us, Inc. 1331 Green Forest Court #16 Winter Garden, Florida 34787 (407)347-5939 bearwithusinc.com

PAINTING BACKGROUND Sand, seal, sand. Base Antique White. Lay out tissue paper and, using stamps and overlapping them, stamp over sheet.

Brush on Decoupage onto surface, gently lay tissue paper on top and smooth out as best as you can; be careful—it’s easy to tear.

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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

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

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PAINTING WORLD MAGAZINE

Artist Katherine Kean

Captures

Nature’s Soul

By Nicole Borgenicht

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Having a deep connection with Nature, Katherine Kean chooses compelling scenes to develop with layers of pigment and specific textures, in expression of the feeling she receives and gives back. These images are transformed from Nature and Kean’s imagination into a semblance of an innately comprehendible story. Her expression of universally recognizable imagery with weather patterns invites similar responses uniting viewers and Nature in spirit. An artist from childhood and winner of multiple art contests, Kean chose fine art painting only after experimenting with multifarious visual arts. She sculpted, created etchings, and had a career in special visual effects, yet painting stood out as the “most fulfilling,” she says.

HISTORY “I was very fortunate in high school to have an art teacher who was supportive and encouraging. The art room was a bit of a refuge, and she pointed me in the direction of Rhode Island School of Design where I intended to study painting.

Reminded that it was difficult to make a living as a painter, I started studying film making and animation,” says Kean. While she “loved” designing and animating visual effects, Kean continued to paint in her free time. The catalyst for a change of career came when she had a poignant dream. “A salesman-like man in a loud plaid jacket took me to an art gallery in the sky and showed me wall after wall filled with beautiful paintings. He

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told me that all of the paintings were mine. They were paintings I could and should have made,” she shares. The emotional impact of the dream sequence influenced Katherine Kean to follow her dream and make it reality.

LANDSCAPE SUBJECTS, IN NATURE, THE MIND AND HEART Expansive scenes have always driven Kean from Nature, compiled with her imaginative journeys to single out perspicacity within that imagery. “My subject matter is the landscape - not necessarily the landscape I see with my eye, but the landscape I feel,” Kean explains. She has painted en plein air (outside), hiking to locations at all hours of the night and day in a search for a landscape she had visualized in her mind. In time, she developed a more practical working method that she utilizes today. “I draw and paint in Nature and then working from that, and my reference photos, create a landscape that evokes the mood I’m after,” Kean says.

“EVERYTHING IS SPIRITUAL” A painter who seems to have a deep connection with Nature, Kean describes her experience in relation to the dynamic elements of Nature. She interprets her sensory response tactically, personally, and technically in each piece. Kean says, “I think everything is spiritual.

I do experience Nature – especially wilderness, as a place where our essential selves are

easier to connect to, where any sense of separation from spirit is less likely to hide in the hypnotic fog of civilization. I look to Nature as a reminder of that essential part of ourselves and I see paintings as a way to deepen the connection and to be reminded that we are not separate from - whatever It is – that can be felt and experienced by the sheer magnitude of a mountain or the force of a storm.

I try to capture the essence of awe I feel in Nature by showing the scale of it, the mood of it.”

EARLY PROCESS Early studies allow Kean to explore different aspects of a painting. A painter who primarily works on linen, Kean shares the many reasons she prefers the fabric. She describes her process: “I like linen because it is a very strong and long lasting fiber and has the benefit of requiring less water and fewer pesticides to grow. I work in oils on an oil-primed surface sized with synthetic glue because it makes a beautiful, soft, responsive surface to paint on.

I make a lot of sketches and I also take photos, especially if I’m painting something elusive like clouds or raindrops and I see a particular formation that I like. Drawing and small painting studies help me figure out what I think I’m seeing.”

PAINTINGS AND TECHNIQUE

Liquid Sunsplash

STEP ONE: I like to use Aquabee sketchpads. It is a wonderful paper that takes a variety of media. I have a very light touch, so I appreciate very soft pencils for sketching. I use soft, black pencils like Palomino or Blackwings. I make the sketch to get an idea of how value would work along with the pattern of rain water and to use as a “map” to refer to when I start painting and inevitably get lost in all the drops.

STEP TWO: As an artist, I get to play in two areas at once; the water creates an abstraction and I get to work with an image that way. And then, as I refine it to look like rain, the subject is revealed, but not entirely.

It’s fun to engage with that line between realism and abstraction.

STEP THREE: The depth is suggested by the softening of the distance, along with allowing the road and the ground to get warmer in hue as they move closer. The closest objects are more in focus and the drops and squiggles of water are sharper edged.

FINAL: I know the painting is finished when it can hold its own in a conversation and I feel I don’t have to defend it with additional brush strokes.

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In Liquid Sunsplash, the technique works so well in the wet upper atmosphere imagery that it almost looks like one could dive into the painted sky for a swim. In addition, the water imagery presents a tromp l’oeil effect of actually warping the picture plane in step two. In step three, the artist achieves a depth of field driving in rain with resilient acuity. Her final painting is rich with dimension from each step. Kean shares the story behind this piece: “I love watching rain fall on a window or windshield and I’ll often take a few photos before I wipe them away. While driving in Hawaii on a beautiful sunny day, an unexpected quick downpour drenched my windshield, my car, and the road. I don’t often get to experience a blue sky along with a splashy windshield.

I was driving a rental car, so the patterns were quite different from what I was familiar with. As with most of my raindrop paintings, I painted the background first – with all of its watery distortion, and then added the individual drops last.”

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Scat tered Glow

STEP ONE: In the study, I wanted to quickly capture the colors and general shapes of the clouds.

I find studies very helpful as a relatively quick way to try out composition and color before spending a lot of time and energy on a larger surface.

STEP TWO: The beauty of oil painting is that you can paint over what you have already painted, and yes, of course, that “destroys” what was painted before. I’ve been known to completely muddle up a painting trying things out, then take what I’ve learned and start over on a fresh canvas – and the second one usually goes very quickly. However, no danger of that in this case, because this particular study is two paintings merged together in a photo editor. I wanted to suggest the link between the atmospheric river in the sky and the natural watershed and very important ground water. The history of water is very interesting in this location.

Without going into it too much, as recently as 200 years ago, much of the Los Angeles Basin was saturated with ponds and marshes and had a natural river.

STEP THREE: At this stage of the painting I was working very quickly to lay in large bodies of color over the vivid underpainting without much detail. I think the simplicity along with the contrast of underpainting and main color adds to the modern effect. I love the work of modern colorists such as Milton Avery and the boldness and simplicity of Georgia O’Keeffe.

FINAL: I usually put a painting aside near the end. The colors change as it dries, so sometimes I go back in and make adjustments, or add glazes. I crawl visually all over a painting looking for any areas where I feel the paint is not well articulated, and if found, I’ll go over that area again.

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Scattered Glow has luminous imagery revealing Nature stirring beneath and shining upon all. Where it came from is quite unexpected. We can clearly see in step two below, how Kean added unique warmth with water, altering the original composition without fear of destruction. In the third phase, the artist transforms the painting to encompass a glowing contemporary aspect and then brings it all together in her finale.

Katherine Kean describes her original source and added inventive imagery: “We were having a series of wildfires, and as devastating as they are, the smoke in the atmosphere made amazing sunsets. I took photos of the sky and clouds and sketched the simplified shapes. I then made a small painting study to get a sense of the color I wanted. I realized I wanted to have water in the foreground and made a little water study.

Then, in a photo editor, I merged the two studies to get the final composition, which I then transferred to a large linen panel.”

PAINTING WORLD MAGAZINE

Storm Shimmer: Angeles Forest

LET’S DISCUSS STORM SHIMMER: ANGELES FOREST.

In the colorful underpainting, Kean’s painting style is different from her other works. And in the final piece, the painting is very dark, but the depthzones are conceivable, by our having seen an under painting.

In using a lot of color beneath dark paintings, it has a great effect translating as dimension, reminiscent of former art periods as far back as the Renaissance. Kean shares how the effect works along with her technique inspiration. “For the underpainting, I just imagined what color the light might be if it were shining through the clouds, and I exaggerated that.

Atmospheric turbulence can

be full of spectacle, and I wanted to express that feeling. The underpainting color always influences what goes on top and some of the underpainting color shows through. It is the contrasts and progression of color, the steps from warm to cool, and dark to light, that give it depth, as well as the final color glazes that make the darks deep and rich.”

In terms of art period influence, Kean says, “I often feel aligned with the Romantic artists and the Tonalists, and their emphasis on a connection to Nature, both in their artwork and their philosophy. In the wish to

uphold Nature in the face of urbanization, I also like the way Caravaggio used light and dark, and punctuated with bold reds.

His compositions are forceful and direct. And, as I mentioned, I feel aligned with the Romantic painters, like Caspar David Friedrich, and the Tonalists, such as Whistler and Innes.”

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I Stop for Drops

Notice how in the painting, I Stop for Drops, step one (below right) is a combination of representational and Photo Realism in flavor. Yet in the final work, the drops become a more painterly version of rain. Kean shares more of her favorite artists and technique she uses to manifest the separation between and feeling of: raindrops. “I love Realism and the work of artists Vija Celmins, Janet Fish, Gerhard Richter (1960s oceans and clouds), and Don Eddy – there are so many amazing Realist painters. The red drops are caused by red light reflected from the brake lights of the car in the image. When it rains very hard one can barely see the cars until their lights come on. As the raindrops were painted, the contrast between the misty background and sharper foreground really came into play as very distinct areas, but they are connected by color – such as the red brake lights reflecting on the drops. At the same time, paint is liquid, and it was fun to let the paint’s own liquid aspect become part of the rainy, drippy image.”

ARTIST TIP: To paint convincing raindrops remember that they reflect the background upside down and that gravity will pull on them, making them tend to be bottom heavy, although once they’ve splashed down, they appear in a variety of shapes, depending on what they land on. The prismatic effect of water also causes them to be a little bit brighter than the rest of the environment.

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PAINTING WORLD MAGAZINE

Exciting Exhibits

Many of Katherine Kean’s paintings have been exhibited and sold in various galleries, art fairs, museums, government and corporate buildings and events. Described next are a few shows of significance to the artist: “I find it rewarding when work is included in museums and venues with long duration exhibitions that provide an opportunity for the work to be seen by people who may not necessarily visit galleries. Two of my paintings were included in Paint America’s Paint the Parks, which was on display at the Jefferson National Expansion Memorial aka Gateway Arch Museum, Gateway Arch National Park in St. Louis, Missouri for several months. Other special museum exhibitions include Grants Pass Museum of Art in Grants Pass, Oregon and Red River Valley Museum in Vernon, Texas.”

In tandem with Kean’s focus on Nature, her work was in The National Weather Center Biennial 2015.

“I am such a big fan of weather to begin with and it was wonderful to get a tour of the Center, learn some of the science, and meet many artists doing weather and climate themed work.” Encompassing true science and the imagination of science fiction, Kean’s artistic journey continues to play out.

Kean highlights other venues, “Bloomingdales purchased one of my paintings for their collection when they opened the Santa Monica store and displayed it in an ongoing exhibition. I have really enjoyed exhibiting with Deanna Izen Miller, both at her Palm Desert Gallery and the Palm Springs Fine Art Fair. Through her expertise and networks, my work has been shown to new audiences, with resulting sales and collectors of my work. My experience has been that the proximity of the artwork in the spectrum of styles she assembles for an exhibition, seems to add energy to all the work, and I feel energized in turn - then all that creative energy seems to go back into new work.”

Visions For The Future

“I’m just starting to use my dreams as content, and I am enjoying the challenge. In one sense, it opens the door to paint in new ways. At the same time, I want to stay true to the feeling of each dream.

I hope to expand on what I have done so far in that vein while continuing to explore atmospheric paintings,” Kean says.

Once again, Katherine Kean is accepting her dreams as guidance. Gifted with great imagination mixed with analysis and experimentation in technique, Kean unites the unconscious with the conscious.

Thereby, in her all-is-Nature-themed paintings, she brings elegance to our senses.

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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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PAINTING TECHNIQUES

BASECOAT: Opaque application of background color on surface or component.

FIG 1

SHADING AND HIGHLIGHTING: Load a small amount of paint in the corner of an Angle Brush, stroke the brush back and forth on the palette paper until most of the paint is out of the brush. It is important that the color be worked in the brush until it is completely transparent. Apply as if walking out a float of color. Repeat if necessary and use the Mop brush to blend the color.

DRYBRUSH: I use brushes that are dome shaped, rounded and have shorter hairs. Dip the brush into the paint and then wipe the brush on a dry paper towel, rotating the brush until only a residue of paint remains. Move to the surface, use a light pressure and begin “scrubbing” the paint out of the brush, slowly, in a small circular motion. Work the paint outward, allowing it to diminish so that there is a gradation of color.

FIG 2

INSTRUCTIONS

The painting measures 17 x 36 cm.

Use the brushes you are most comfortable with, (I used Flat Brush Kalel n 1). Apply a coat of Multipurpose and let it dry.

Sanding with fine sandpaper and dust with a soft cloth.

SURFACE Basecoat the surface with Eggshell. (I used Flat Brush Kalel n 1) SKY With Drying Time Extender and Flat Brush Kalel n 1, work by blending the following colors from right to left: Sapphire, Winter Blue, and Blue Chiffon.

SEAGULL Place the pattern on the surface and transfer the lines with graphite paper and stylus.

Paint with Titanium White and Flat Kalel Brush ¼ and ½ all seagulls with Titanium White.

This will allow you to have bright colors afterwards.

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FIG 3

PAINTING WORLD MAGAZINE

FIG 4

FIG 5

EYE Paint the eye with Lamp Black and Round Brush Black Gold n 1 and make the light spot with Titanium White and the stylus.

BEAK Following the photo, start painting the tip of beak with Lamp Black and Round Brush Black Gold n 1.

Paint the line in the center with Mississippi Mud and Liner Brush Black Gold n 5/0.

Paint the remaining part of beak with Butterscotch and Round Brush Black Gold n 1.

With Angular Brush Black Gold 1/8 shade with Burnt Orange and deepen with Traditional Burnt Umber.

With the Liner Brush Black Gold n 5/0 outline the beak and the center line with Soft Black. Figure 1 HEAD Paint the head with Buttermilk and Shader Flat Micron Dynasty n 2/0.

With a Liner Brush Black Gold n 5/0, paint a line above and below the eye with Soft Black.

Highlight above the head, near the beak and under the eye with Titanium White and Angular Brush Black Gold ¼. Figure 2 Following the photo, using the colors Slate Grey, Mississippi Mud, Traditional Burnt Umber and

FIG 6

Butterscotch with the Angular cutting Brush Black Gold ¼ to give small touches to create the different shades of color near the eye. Figure 3 Shade with Angular Brush Black Gold ¼ around the eye with Slate Grey, Mississippi Mud, Traditional Burnt Umber and Butterscotch.

Figure 4 With the Round Brush Black Gold n 1 and Titanium White, make small stretches that represent the feathers above the head, above and below the eye, and near the beak. Figure 5 Always, with the Round Brush Black Gold n 1 and the colors Slate FIG 7 Grey, Mississippi Mud, Traditional Burnt Umber and Butterscotch, make small stretches around the eye.

With the Liner Brush Black Gold 5/0 and the Traditional Burnt Umber and Slate Grey, make small stretches over the head.

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FIG 8

FIG 9

FIG 10

Make again the stretches with Titanium White.

Figure 6, 7

Shade with the Angular Brush Black Gold ¼, the round part with Lamp Black. Figure 12

Shade with Angular Brush Black Gold ¼ under the beak with Antique White and then with Mississippi Mud. Figure 8

Highlight with the same brush the tip with a mix of Sapphire and Blue Chiffon. Figure 13

UPPER WING Always refer to the photo starting from the bottom (longer feathers) and with Shader Flat Micron Dynasty n 2/0, paint half feathers with Lamp Black and half with Graphite.

Outline the round part at the bottom with a Liner Brush Black Gold 5/0 and a mix of Sapphire + Blue Chiffon 1 : 1. Figure 14 Outline with Liner Brush 5/0 the left side of the feathers with Sapphire and connect it with the line below.

Paint the center line with Sapphire and Liner Brush Black Gold 5/0.

Paint all the small feathers at the top with Graphite and Shader Flat Micron Dynasty n 2/0.

Highlight with Angular Brush Black Gold 3/8 the grey part with Blue Chiffon. Figure 9

Shade with Angular Brush Black Gold ¼ and Lamp Black.

The last feathers are painted with Shader Flat Micron Dynasty n 2/0 half with Sapphire + Blue Chiffon 1 : 1 and half with Graphite.

With the same brush, highlight some feathers with a mix of Sapphire and Blue Chiffon.

With Angular Brush Black Gold ¼, highlight the blue part with Blue Chiffon.

Outline all the feathers with a mix of Sapphire and Blue Chiffon and Liner Brush Black Gold 5/0.

Figure 15

Shade with the same brush with Graphite under the top feathers. Figure 10 Now, paint the central (drop-shaped) feathers with Graphite and Shader Flat Micron Dynasty n 2/0. Figure 11 With the same brush, paint the part that separates them with Lamp Black.

Outline the edge with Liner Brush 5/0 and a mix of Sapphire and Blue Chiffon.

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FIG 11

Highlight again with Mississippi Mud.

PAINTING WORLD MAGAZINE

FIG 12

FIG 13

LOWER WING Always refer to the photo starting from the top, paint all the feathers of the upper half with Antique White and Shader Flat Micron Dynasty n 2/0.

With Angular Brush Black Gold ¼ highlight with Buttermilk and shade first with Mississippi Mud and then with Traditional Burnt Umber.

Deepen the shading of the outside with Soft Black.

Figure 16 Paint the last row of feathers (the longest ones) with a light stroke of Traditional Burnt Umber and Shader Flat Micron Dynasty n 2/0.

FIG 15

FIG 16

FIG 14

Starting from the left, paint the darker half of the first two feathers with a mix of Traditional Burnt Umber and Lamp Black. Figure 17 Paint the line with Antique White with a Liner Brush Black Gold 5/0.

Highlight the other half with Sapphire and shade the lower part with Traditional Burnt Umber and Angular Brush Black Gold 3/8.

Review the 3’ and 4’ feather with Traditional Burnt Umber and highlight with Raw Sienna.

Same with Angular Brush Black Gold 3/8 deepen the highlight with Butterscotch and dirty with Sapphire.

FIG 17

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FIG 18

Highlight the other half of the feathers with Sapphire and shade the lower part with Traditional Burnt Umber.

Continue following the same procedure for the tip of the next three feathers.

Now the remaining feathers will all gradually light up more and more with a drybrush and Raw Sienna and Butterscotch.

On the last ones, make a drybrush with Antique White.

Shade with Angular Brush Black Gold 3/8 all tips with Traditional Burnt Umber.

The lightest feathers half is painted with Shader Flat Micron Dynasty n 2/0 and Blue Chiffon and shaded with Sapphire and Angular Brush Black Gold Âź. (Fig 18) With the same brush, shade the tip of the last feathers with Graphite.

Outline the last feathers with Blue Chiffon and Liner Brush Black Gold 5/0.

Finish the project by painting the clouds with a drybrush and Titanium White.

FINISHING: Varnish as desired.

I hope you Enjoy Painting this as much as I did!

ADDITIONAL PHOTOS

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Happy Painting, Elisabetta

PAINTING WORLD MAGAZINE

Due to the size of this painting, the drawing has been reduced by half.

Enlarge 200% for full size painting.

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

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JUNE 2019 ISSUE

78

PAINTING WORLD MAGAZINE

Directory of Artists Linda Hollander

Marlene Fudge

paintingfool@live.com

Sherry C. Nelson www.sherrycnelson.com info@sherrycnelson.com

Diane Trierweiler

Paintingmarlene@gmail.com

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

Leslie Smith

LASPAINTS2@gmail.com

tolebridge@aol.com dianetrierweiler.com

Barbara Bunsey

Elisabetta De Maria

bbunsey@calicogoose.com http://www.calicogoose.com

Michael Cheek palettecreationsbymichael.com mscheek@charter.net

JUNE 2019 ISSUE

elidemaria67@tiscali.it ilpiccolomondodieli.jimdo.com

PAINTING WORLD MAGAZINE

Directory of Advertisers & Suppliers Bear With Us®, Inc. www.bearwithusinc.com 407-347-5939 C-Thru® Rulers www.westcottbrand.com

Jo Sonja’s Folk Art® www.josonja.com 888-JO-SONJA Just Fine Designs® www.justfinedesigns.com JstFnDsgn@aol.com

Clairfontaine® Paper www.clairefontaine.com

Krylon® www.krylon.com

Creative PaintingTM Las Vegas www.vegaspaint.com 702-221-8234

Loew-Cornell Brushes www.loew-cornell.com 866-227-9206

Cupboard Distributing www.cdwood.com 937-652-3338

Martin F. Weber Co. www.weberart.com 215-677-5600

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Michaels® www.michaels.com

Royal Langnickel® art.royalbrush.com 219-660-4170

Palette Creations By Michael Cheek® www.palettecreationsbymichael. com

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DecoArt® www.decoart.com 606-365-3193 Derwent www.pencils.co.uk/en/gb/home ®

Dynasty® Brushes www.dynastybrush.com 718-821-5939 General Pencil Company www.generalpencil.com

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Sandy McTier Designs® www.sandymctierdesigns.com ®

Scharff® Brushes www.artbrush.com 770-461-2200

Heart of Ohio Tole® Chapter www.heartofohiotole.org 614-863-1785

Sharpie® Markers www.sharpie.com 800-346-3278

JB Wood® Products www.jbwood.com 508-222-5790

Silver® Brush Ltd. www.silverbrush.com 609-443-4900

Smooth Cut Wood® smoothcutwoodproducts.com 888-982-9663 Society of Decorative Painters® www.decorativepainters.org Stabilo® Pastels www.stabilo.com Viking Woodcrafts® www.vikingwoodcrafts.com 800-328-0116 Annie Sloan® www.anniesloan.com Bob Ross® www.bobross.com Faber Castell® www.fabercastell.com

Minwax®

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JUNE 2019 ISSUE

79

Are you an aspiring artist who has become an accomplished beginner? Are you on your way to the intermediate stage? If the answer is yes, we are looking for you. Please email info@paintingworldmag.com

We would like to feature one aspiring artist each issue. Oils, Acrylics, Classic Tole, Pastels, Gouache, Mixed Media. You will need to be able to provide step by step instructions and images. Please email us for the guidelines. The editorial calendar is posted at www.paintingworldmag.com

affordable

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