August 2019 Issue Painting World Magazine

Decorative Painting, Mixed Media, Fine Art & More!

August 2019

Painting World Issue 22

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magazine

Cover Artist: Tracy Moreau $9.00 USA $11.50 Canada

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PAINTING WORLD MAGAZINE

Wood Surfaces, Pattern Packets and More...

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AUGUST 2019 ISSUE

Contents

PAINTING WORLD MAGAZINE

Cover Artist

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LEHIGH VALLEY HARVEST

By Patty Butters

ROSEMALING BLESSING PLATE

38 By Judy Diephouse

AFTER THE HUNT

16 By Kay Witt

MARCHE AUX FLEURS

22 By Tracy Moreau

WILLOW, JACK AND OLLIE

GOLDFINCH GATHERS SUNFLOWER SEEDS

Dale 44 By Cindy Mann Vitale 54 By Nancy Kinney-Stout

More Great Articles 37 Change

67 The Use of Color in the Halloween Palette 78 Directory of Artists

BOO BUDDIES

28 By Sharon Cook

OCTOBER SUNRISE

62 By Michael Cheek

ADVERTISERS INDEX 2 Smooth Cut Wood 2 JB Wood Products 7 World of Color Expo 8 Bear With Us 8 Plain & Simple Magazine 15 Viking Woodcrafts

THE YEARLING

70 By Debbie Cushing

80 DecorArt

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Call For Artists

WE WANT YOU!

Be featured in Painting World Magazine’s printed edition

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

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

What We’re Looking For:

Intermediate to Advanced Painting Projects

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

WWW.PAINTINGWORLDMAG.COM AUGUST 2019 ISSUE

PAINTING WORLD MAGAZINE

FROM THE Editor

Letter from the Editor

I don’t know about everyone else but summer time for me is an opportunity for art inspiration.

It is also a wonderful time to plan and planing for our next year is what the staff at Painting World Magazine is doing. We are planning something new. You won’t want to miss this!

We strive very hard to engage our readership and keep our artists busy!

Recently, you may have noticed we have had a small increase in pricing and we only offer bundles at shows and maybe a sale or two throughout the year.

We strive to continue to bring you a quality publication. Please enjoy your summer!

Kole

Who We Are

Painting World Magazine is owned and operated by Loon Publishing, LLC., which is an independent publishing company. We are completely dedicated to the joy of creating delivered to our readers!

We select only the best articles from the top designers in the industry and will be featuring all the hottest new techniques, products and artists.

Together with top designers, photographers, outstanding writers and a passionate readership, our team is absolutely in love with this industry and entirely committed to helping it grow while always feeding the artistic love of our readers!

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. PAINTING WORLD MAGAZINE (ISSN 2472-694X). August 2019, Volume 01, Issue 22 ©Loon Publishing, LLC. Painting World Magazine is published 6 times per year by Loon Publishing, LLC., 205 South State Street, Waseca, MN, USA. US Subscription price $38.00 per year, shipping included. POSTMASTER: Please send address changes to Loon Publishing, LLC., 205 South State Street, Waseca, MN 56093.

All rights reserved on entire contents of magazine. We are not responsible for loss of unsolicited material. We reserve the right to edit and publish correspondence unless specific commentary and/or name and address are requested to be withheld. Reproduction of editorial or advertising contents in any way whatsoever without the written permission of the Publisher is strictly prohibited. The instructions in this magazine are published in good faith and have been checked for accuracy; however, no warranty, either expressed or implied, is made nor are successful results guaranteed.

Subscription rate $38.00 includes S&H for 6 issues. Distributed in the United States, Canada and worldwide. Printed by Quality Print, Waseca, MN.

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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

PAINTING PALOOZA Oct 19 - 26, 2019 Sheraton Hotel / Reed Center 5750 Will Rogers Road Midwest City, OK 73110 (405) 455-1801 www.okcpaintingpalooza.com

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AUGUST 2019 ISSUE

PAINTING WORLD MAGAZINE

Lehigh Valley

HARVEST

By Patty Butters My interest in Decorative Painting began 35 years ago in Dallas Texas by enrolling in a Beginning class. My husband’s career in industrial construction, transferred us often which allowed me to take classes from many notable decorative artists across the United States. As we moved to new locations, I was able to start many local chapters and teach classes to new members. I have continued to teach at all levels from beginning to advanced Decorative Arts classes in oils and acrylics for the past 35 years.

I have been a member of the Society of Decorative Painters for 35 years and have served on the National Board of Directors as well as numerous committees. I am an honorary member of The Charleston Chapter of Decorative Painters and the Rocky Top Decorative Artist both of which I organized.

I have the honor of having on permanent display, works, in the White House and the Smithsonian collections. My ornaments are sponsored by SDP. My work has been published in the Decorative Painter as well as numerous local newspapers.

I am most interested in continuing to introduce new students to the enjoyment of painting and to insure that this art form continues.

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Supplies SURFACE: • ¾” pine cut out. The surface was cut by a local woodworker.

DECOART AMERICANA ACRYLICS: • Antique White DA058 • Warm White DA239 • Lamp Black DA067

• Payne’s Grey DA167

• Burnt Umber DA221 • Raw Sienna DA093

• Burnt Sienna DA063

• Milk Chocolate DA174

• Canyon Orange DA238 • Pumpkin DA13

• Georgia Clay DA17

• Cadmium Yellow DA010 • Antique Gold DA09

• Mustard Seed DA264

Artist ’s Notes:

Refer to work sheet for placement of shading, tints and highlighting. Side load and float all shading, tints and highlights unless otherwise noted. Use the angular brushes of shading and highlighting, the liner for line work and detailing and the round for the sunflower petals.

Double Loading When basecoating, I start with the “base” color and begin to base an area. As you get close to a shade area, side load the shade color onto the already loaded brush and start placing in the first step of shade.

Prepping the piece

Sand, seal and basecoat wood piece with Antique White. Once base coated, side load ¾” Angular with Milk Chocolate. With the loaded side pointing toward the cut edge of the piece, shade the outside edge of the wood piece. This may take a couple coats to smooth out. Dry base coat well. Transfer the design with dark graphite.

• Tomato Red DA169

Stage 1 - Basecoating

• Avocado Dip DA254

Bittersweet: All the Bittersweet is done in the same manner, so I am demonstrating one cluster. The Bittersweet is the “frame” for the design, so keep it subtle.

• Deep Burgandy DA128 • Citron Green DA235

• DecoArt Traditions Satin Varnish BRUSHES: • Loew Cornell ¾” Angular

• Loew Cornell 3/8” Angular • Loew Cornell ¼” Angular

• Loew Cornell Jackie’s Liner #2 • Loew Cornell #5 Round • Old “spatter” brush

OTHER SUPPLIES • 4 pieces of cabinet door knobs for “feet” for the “tray”

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Branches: Base the branches in before the berries are painted. They can be much more free flowing this way. Using Jackie Liner, dilute the Milk Chocolate with water and “dance” in the branches.

Berries: Using #5 Round, flattened out between your fingers, load Canyon Orange and base the berries.

“Husks”: Flatten out the Jackie Liner and base in with Antique Gold.

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and Raw Sienna (1:1). Claws will be placed in step 2.

Apple: Using #5 Round flattened brush, mix Tomato Red and Canyon Orange and base in apple with shape following strokes, leaving the green areas open. Drag red brush mixture to create a ragged edge next to the green area. While red is still wet, load Avocado Dip in a clean #5 Round and starting in the center of the green, pull out into the red area.

Sunflower and Centers: Start with the rear petals (darker petals). Load #5 Round in Milk Chocolate, dip the tip of the brush in Antique Gold. Pull from the tip of the petal toward the center. Have less pressure to more pressure as the petal is pulled in comma stroke. The lighter petals are done the same way, loading the brush in Antique Gold tipped into Cadmium Yellow. The center is based in with #5 round loaded in Milk Chocolate and while still wet double load into Burnt Umber and deepen.

Blend in with Burnt Umber pointing toward the items in front of the center.

Pumpkin and Stem: Load the ½” Angular with Canyon Orange. Base in following the shape of the pumpkin. When getting close to the shadow areas, double load Georgia Clay and start the shading with loaded side pointing toward the dark area of the pumpkin. When base coating the smaller areas drop down to a ¼” Angular. In this fashion, the shadow areas start to develop.

The pumpkin stem is based in with ¼” Angular brush loaded in Raw Sienna. Double load the brush with Burnt Umber and work sides, lower end and the center, leaving the back edge Raw Sienna. While the brush is loaded this way, use the chisel and put in texture of the stem.

Crow: Load the ¼” Anglular with Lamp Black. Double load a very small amount of Warm White and place in the ends of the tail feathers, wings, front leg, and head. Place eye and beak in with flattened liner loaded in a mix of Canyon Orange

Pear: Load 3/8” Angular in Antique Gold and base.

Double load into Raw Sienna and place in the shading areas. Stem is based in Burnt Umber and Raw Sienna (1:1) Cast Shadow: Dampen the cast shadow area with water, then side load 3/8” Angular brush with Milk Chocolate and walk out to the fore ground of the painting. This may take a couple coats. This step will be walked out further than the darkest shadow area.

Stage 2- Shading Branches: Load Jackie Liner in Milk Chocolate, hit and miss darker areas. Once dry, load in Burnt Umber and place shorter darker shadows.

Berries: Side load ¼” Angular in a mix of Canyon Orange and Tomato Red (1:1). Shade darker areas of berries.

“Husks”: Side load Milk Chocolate on ¼” Angular, shade dark areas. Once complete, dry load Jackie Liner in Milk Chocolate and pull in some center lines and sharpen some of the outside edges.

Sunflower: Side Load 3/8” Angular with Burnt Sienna and shade next to the center and to separate petals.

Deepen this shade with Burnt Sienna + Burnt Umber (1:1) keeping this shade smaller. Load AUGUST 2019 ISSUE

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Pear: Load Raw Sienna on the 3/8” Angular and shade the majority of the outside edges, “waist” and the ends. Deepen the darker shade areas with Raw Sienna and Burnt Sienna.

Apple: Shade the apple with Deep Burgandy, side loaded on 3/8” Angular in a crescent shape and the back top. Deepen the shaded area with a Deep Burgandy and a touch of Payne’s Grey.

the Jackie Liner with Burnt Umber and pull some texture lines on the petals from the edge of the center out. Shade the sunflower center with Burnt Umber, then Burnt Umber with a touch of Lamp Black.

PUMPKIN:

Stem: Shade the interior of the stem, sides and bottom with a side load of Burnt Umber. Load liner with Burnt Umber + touch of Lamp Black. Pull a few texture lines from the base of the stem up.

Pumpkin: A ¼” Angular will be used to shade the smaller areas and a 3/8” Angular brush will be used to shade the larger areas. Side load Georgia Clay and place in the shadow area. When dry, load Georgia Clay + Burnt Umber, and place a smaller shadow. Load Burnt Umber and place in the smallest shade.

Crow: Load the liner with Lamp Black, place eye and lower legs in. Load liner in Burnt Sienna and separate the beak and pull small lines from head out into the beak. Place remainder of the legs after the pumpkin shadowing is complete.

Cast Shadow: Dampen area with water. Side load 3/8” Angular with Milk Chocolate + Burnt Umber (1:1) and place in darker shadow. When dry, side load Burnt Umber and place in darkest area. You may have to pick up a small amount of Lamp Black to deepen enough.

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Stage 3 – Highlight and Accents: BITTERSWEET:

Berries: Flatten out liner and load with Canyon Orange + Mustard Seed (1:1) and tap on highlight. Once dry, pick up Mustard Seed, add a lighter, smaller area on larger berries.

Branches: Load liner with Milk Chocolate + Titanium White to lighten some areas.

“Husks”: Load liner with Antique Gold and Titanium White and lighten some outside edges.

Sunflower and Centers: Tint sunflower using 3/8” Angular side loaded in Canyon Orange + Mustard Seed on various petals and Avocado Dip on others. Highlight front petals with Mustard Seed, then Mustard Seed+ a touch of Titanium White.

The center is highlighted by loading the liner with mustard seed and “tapping” texture in the light area. Load the liner in Lamp Black and add pollen on the petals and a bit on the center.

PUMPKIN AND STEM:

Stem: Load liner with Avocado Dip. Pull vertical lines to show texture. Place in smaller lines with Avocado Dip + a touch of Titanium White.

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Pumpkin: Side load the 3/8” Angular with Canyon Orange and Pumpkin (1:1) and highlight the lightest portion of the pumpkin. Drop to a smaller brush size as you move around the pumpkin. After dry, load Mustard Seed and place a smaller light area, keeping this in the larger portions of the pumpkin. Tint the mid value area with Tomato Red. Add a reflected light with Payne’s Grey + a touch of Titanium White on the left side of the pumpkin.

APPLE: Flatten out the #5 Round and load in Canyon Orange. Wipe off excess paint on a dry paper towel. Drag brush on apple following the shape of the apple, creating streaks. Load the brush in the same way in Tomato Red and pull some streaks through the green area. Load the same way, first in Avocado Dip, Citron Green, and Titanium White and pull from the green into the red area. Place a reflected light of Pumpkin next to the cast shadow on the fore ground and a smaller one at the upper top. Place the apple stem as you did the pear stem.

brush in Mustard Seed + a touch of Titanium White and place a smaller highlight area. Tint the lower portion of the pear with Pumpkin, then Tomato Red. Flatten the #5 Round with Mustard Seed and more Titanium White and drag texture in the highlight area.

Crow: Load the 3/8” Angular with Lamp Black and a touch of Titanium White. Starting with the tail feathers, work up to the wings, then the small feathers. Load the liner with the same colors and place leg feathers and head feathers in. Place the highlight of the eye with a sparkle of Titanium White.

Once all painting is complete, cover everything except the pear. Dilute Burnt Umber with water.

Load the “spatter” brush and lightly spatter the pear. Varnish two to three coats for a nice finish.

PEAR: Load 3/8” Angular with Mustard Seed and start building the highlight area.

Once this shows enough, load the same

If you are ever traveling to central Pennsylvania,

you have to visit the Lehigh Valley! Every season is beautiful there, but the fall has a special place in my heart. You can look in any direction and see magnificent color, farms full of varied colors and shapes of pumpkins, and orchards with branches full of apples and pears, varieties too numerous to know. Don’t forget to find the farms full of sunflowers. It will make your eyes hurt. It is so pretty. See you there.

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PAINTING WORLD MAGAZINE Due to the size of this painting, the drawing has been reduced. Enlarge 300% 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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PAINTING WORLD MAGAZINE

Heavenly

HOLLYHOCKS

Heavenly Hollyhocks by Barbara Bunsey, CDA Here’s to looking at things right side up!

Tootie and the Blowfish by Leslie Smith You can purchase the surface by calling 727-455-5539

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After the Hunt

By Kay Witt Kay Witt is a realistic pastel artist known for her exceptional teaching methods.

Her favorite subjects are wolves and horses. A typical class size is between 7 to 10 students at her studio in Strasburg, Virginia. Kay’s foremost goal is helping artists improve their work.

This pastel project is done on Pastelmat by Clairefontaine to produce a beautiful, realistic result. In this project, you will learn the basic painting skills in pastel and these techniques can be used by readers to create all types of animals. By learning these techniques, the reader may create animal and pet portraits for wonderful gifts that will make lasting treasures for years to come.

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PAINTING WORLD MAGAZINE

Supplies: SURFACE: Pastelmat by Clairefontaine in Anthracite (black), size 9 x 12 in. available in pads of different colors and individual sheets from Dick Blick.

PASTELS AND PENCILS: • Carbothello Pastel Pencil, color number: 105, 615, 640, 642, 681, 685, and 720. Note: CO used as abbreviation in the text

• General Charcoal Pencils: 2B Charcoal pencil, White Charcoal Pencil • NuPastel Pastel Sticks: 207, 211, 229, 235, 253, 263, 266, 286, 353. Note: NP used as abbreviation in text

• Rembrandt Soft Pastels: 231.5, 411.3, 411.5, 100.5, 700.5. Note: R used as abbreviation in text Note: All materials available from Dick Blick HELPFUL PRODUCTS: • Sanding block with 150 grit sandpaper

• Mobius and Rupert, 2 hole brass, handheld sharpener available from Amazon. This is useful for sharpening NuPastel Sticks and CarbOthello Pencils.

MISCELLANEOUS SUPPLIES: • ½” Masking Tape • Paper Towels • Hand Towel

• Black Construction Paper

• Saral White Transfer paper • Kneaded Eraser • Drawing Board • Baby Wipes

• X-acto Knife or Single Edge Razor Blade

HELPFUL TIP: I have many Technique Videos on my You Tube Channel- (Kay Witt Pastel Paintings) that will help you with this project.

Make sure your pencils and pastels are very sharp and wipe the dust off on your hand towel after sharpening. Sharpen the flat edge of your NuPastel Stick by holding it perpendicular to the sandpaper and rubbing back and forth to make a flat, smooth edge. Then, wipe off excess dust on a towel. This process is used for creating sharp hairs. Break your Rembrandt Pastels in half by scoring the stick with an X-acto knife and then snapping in half. Remove the paper from one half and sand the flat edge smooth. Wipe excess pastel dust off with a towel before using. It is not necessary to sand each time before using, just once to get a flat edge to apply color. Use the black construction paper to rest your forearm on, as not to smudge your painting in the process.

When complete, make sure to keep your painting flat. It is recommended to cover your finished piece with a glassine sheet or wax paper to protect until framing.

Preparation:

Cut or obtain paper size 9 x 12. Tape paper to your drawing board. Transfer the image to the surface of a 9 x 12 piece of Pastelmat using white Saral Transfer Paper.

Reinforce your lines with White Charcoal Pencil to make sure you can clearly see them.

Instructions: EYES Outline both of the eyes with 229NP (Black) and fill in the pupils with the AUGUST 2019 ISSUE

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black using a feathering stroke from the inside out. Add the outer rim with the black and use 642 CO (Caput Mortem Violet Light) to highlight the outer rim. Use 720 CO (Cold Grey 1) to color in the white of the eye in the corner. Highlight to rim and corner with White Charcoal Pencil.

LEFT EYE Use 253NP (Cocoa Brown) to place main color around the pupil. Fill in color evenly and lightly. Use 263 NP (Indian Red) under the upper lid and around the pupil to add a darker red color. Use 353 NP (Cordovan) to add the dark areas on the sides of the eyeball and under the upper lid (shadow).

When adding color, use a short feathering stroke, stroking from the outside towards the center of the pupil (like the spokes of a wheel).

Add in short feathered strokes, 207 NP (Chrome Yellow) for the light around the entire pupil. Use 266 NP (Pale Vermillion) to add light strokes of red over the 207 NP (Chrome Yellow) on the right side of the pupil. Add a little more 207NP (Chrome yellow) over the red to brighten the light on the right a little more if needed. Add the bright highlight on the left side with the sharp point of a 211NP (White).

RIGHT EYE Highlight the outer rim with 642 CO (Caput Mortem Violet Light).

Add 253NP (Cocoa Brown) for the iris; filling in lightly. Add 263NP (Indian Red) around the AUGUST 2019 ISSUE

pupil to add color. Use the 353NP (Cordovan) to add dark color under the upper lid (shadow) and on the outside edges. Add a small amount of 229NP (Black) to the outside edges and under upper lid of the eye.

Add 266NP (Pale Vermillion) on the right side of the iris and a little 207NP (Chrome Yellow) over that to brighten. Since this eye is in shadow, do not add as much color as in the left eye. Add highlight on the left side of the eye with 211NP (White).

Use 229NP (Black) to add the larger rim around the eye and feather out the black area around the eye.

Add highlights on the inner corner with 642 CO (Caput Mortem Violet Light) and on the outer rim with 640 CO (Caput Mortem Violet) and make the tone a bit brighter by adding 720 CO (Cold Grey1) on top.

Use the sharp tip of a 353NP (Cordovan) to darken the iris at the top and bottom. Use the sharp tip of a 209NP (Dk Grey) to add the cast shadow at the top of the upper lid. Use the sharp tip of a 229NP (Black) to darken the shadow under the lid further.

Be very careful to use light pressure in applying the pastel.

LEFT CHEEK Use 253NP (Cocoa Brown) for hair radiating out from around the eye. Use a soft brown pastel, 411.5 R (Burnt Sienna), to add color down the left side of the dog’s cheek. Use 263NP (Indian Red) for the darker hair and tones over the left eye and where the hair joins the nose. Use 229NP (Back) to add the shadow areas on the left side of the left cheek.

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Blend colors together with stump. Use flat sharp edge of 253NP (Cocoa Brown) to add light color hairs to side of the cheek under eye.

Use these pencils to add a few hairs: White Charcoal Pencil, 685 CO (Sienna), 105 CO (Ivory), and 229NP (Black).

NOSE Use 229NP (Black) to coat the entire nose. Use 642 CO (Caput Mortem Violet Light) to add highlights on bottom left nostril and the middle of the top of the left side of the nose. Blend lightly with the finger. Use 235NP (Lt Blue) and 211NP (White) to add highlights on the left side of the top of the nose. Use 229NP (Black) to feather out color around the nose onto the muzzle area. Blend softly with your finger.

Using a soft pastel, 100.5R (White), apply color to the front of the dog’s face down to the muzzle.

Carefully blend the white smoothly into the paper with a clean paper stump or your fingers. And blend carefully into the black around the nose. Blend into the brown areas on the left side of the face going in the direction of the fur. The softer white pastel fills the tooth of the paper faster and makes the area whiter (and more even in color) than if we had used a hard pastel.

Use 726 CO (Cold Grey 4) and 2B Charcoal Pencil to add little hairs coming from the nose up into the white area and to shade the center of the white area of the muzzle. Also use the 2B Charcoal Pencil to shade the underside of the nose. Blend well. Use the White Charcoal Pencil to add little white hairs under the nose.

Fill in the right side of the beagle’s face with 100.5R (White) and blend. Add a few shadows with 229NP (Black).

Using 411.3R (Burnt Sienna Dark), add brown on the top of the head with some accents of 411.5R (Burnt Sienna). Add the shadow down the side of the ear that is on both sides of face with 229NP (Black).

Blend the dark areas together and blend in the white hairs

following the direction the hair grows.

Add a little pink in the fur at the corner of the right eye. It’s the pink of her skin showing through her white fur.

Use 286NP (Madder Pink).

LEFT EAR Using the 253NP (Cocoa Brown), add lighter brown color at the top of the ear changing to the 263NP (Indian Red) in the middle area of the ear.

Place 353NP (Cordovan) at the bottom of the ear and blend all the colors into each other with a blending stump. Add a little 229NP (Black) in the crease of the ear and also in the shadow area of the ear next to the head, (if you didn’t in the earlier step). Blend well.

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Use a 615 CO (Dark Ochre) to add some light hairs at the top of the ear and use the 720 CO (Cold Grey1) to add some light hairs on the inside edge of the ear.

RIGHT EAR This ear is in shadow, so use 263NP (Indian Red) at the top of the ear followed by 353NP (Cordovan) on the lower part of the ear. Add 229NP (Black) over the very bottom of the ear and blend with a stump.

BACK Using the 100.5R (White), add the soft white hair at the top of the back of the dog over the top of her head.

Also add white for the patch of white fur on her back. Fill in the rest of her back with 700.5R (Black).

Blend well with a stump. Use 411.3R (Burnt Sienna Dark) to add brown under the right side of the dog, under her ear and the right side of her body. Add a brown highlight with 411.5R (Burnt Sienna). Add 700.5R (Black) beginning at the edge where her body meets the background, carefully blending all together.

Outline the paws with the 2B Charcoal Pencil; using it to make the shadows between the toes. Draw in the nails with 286NP (Madder Pink).

Highlight the nails on the back paw with 681 CO (Flesh Tint Light). And add the white hairs with the edge of the 211NP (White) or the White Charcoal Pencil. Use 411.3R (Burnt Sienna Dark) to add AUGUST 2019 ISSUE

the brown under the paws on the right side and highlight the brown with 231.5R (Gold Ochre).

Color the pads with the 229NP (Black) and highlight them with the 720 CO (Cold Grey 1). Draw in the nails with 286NP (Madder Pink).

Highlight the nails on the back paw with 681 CO (Flesh Tint Light).

Draw in the small short white hairs with the White Charcoal Pencil. Add some highlights on the top of the paw with 720 CO (Cold Grey1).

Add white hairs on top of the paw with the 211NP (White) or the White Charcoal Pencil.

Finish the background around the dog with the 700.5R (Black) and blend well with a stump. Try not to get the black pastel on the dog’s white fur. Add the 411.3R (Burnt Sienna Dark) to the foreground and use the 411.5R (Burnt Sienna) to highlight areas where the light hits the foreground.

Use the 231.5R (Gold Ochre) to add the brightest light under the dog’s muzzle.

Also add a little 700.5R (Black) to the outside edges around the lower part of the painting.

Use a stump to blend it well into the brown, making a nice, smooth transition.

PAINTING WORLD MAGAZINE

Due to the size of this painting, the drawing has been reduced. 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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Marche Aux F leurs

By Tracy Moreau

Tracy Moreau is a classically trained Artist with more than 35 years of experience. Educated in Europe, Canada and the US, her work has a great many influences. Her combination of Fine Art, Faux Finishing and the Decorative Arts makes her work unique. Tracy’s design work is varied, from Home decor to Mixed media, she is versatile and creative and is generous with her knowledge and experience. Her sense of humour and relaxed approach to teaching endears her to her students, creating an atmosphere of fun and unabashed creativity.

Author of several books, three in French, Tracy’s work has been published in a wide variety of publications, from craft and painting magazines to home improvement and decorating magazines, online publications and hundreds of patterns.

Tracy teaches and travels extensively. She is attending or teaching at numerous conventions and workshops in 2018/19. OKC Painting Palooza, Creative Painting Las Vegas, Heart Of Ohio Tole, Northwest Tole Liners, Art Waves West ( Alberta, Canada), Art Waves /Pin It Canada ( Ontario Canada), AFCI CREATIVATION ( Pheonix).

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As much as I enjoy the Farm House trend, I wanted to create something with a more sophisticated and contemporary edge.

The heavily distressed black background lends this piece an aged sophistication. With the elegant lettering and the vibrant sunflowers, this piece will fit into nearly any décor.

The fun mix of media, like stamping and brush lettering, make it a fun piece to complete! Enjoy!

SUPPLIES: SURFACE: • www.vikingwoodcrafts.com Frame Board 16 x 20 Code: 20-10688 PAINT: • DecoArt Americana Acrylics • Asphaltum DA180

• Saffron Yellow DA273

• Antique Green DA147

TO BEGIN:

Lightly sand the entire surface to remove any burrs or rough edges. Wipe off the dust and apply two liberal coats of Lamp Black to the surface. Let each coat dry well before applying the next. Once dry. Aggressively distress the edges of the panel and the raised moulding in the center. Pay particular attention to the corners and edges exposing a generous amount of wood. (sanding in one direction will help produce some nice patterns in the painted surface.)

• Margarita DA299

Once you are happy with the distressing, wipe with a damp cloth to remove any dust.

• Lamp Black DA067

THE BACKGROUND: Load the stamps on the White stamp pad and fill the background inside the moulding with them. I do not worry about getting them perfect, irregular actually works best. So incomplete and

• Soft Black DA155

• Warm White DA239 • Persimmon DA293

• Warm White DA239 • Black Green DA157 • Sunny Day DA325

• Bahama Blue DA255 • DecoArt Matt Spray

STAMPENDOUS STAMPS • Vintage Letter Stamp SKU #:RS-R221 • Vintage Note Stamp SKU #:RS-P249

DYNASTY FAUX SQUIRREL BRUSHES 1827 • 1/2 angle • #2 Rigger

• 3/4 flat wash

• #4 Single Blender

• 1/2 Tracy Moreau Stencil Brush MISC: • White Graphite paper • Water Basin

• Palette paper

• Staz-On White Stamp Pad (permanent)

imperfect images are just fine. Just fill as much of the space as you can. Let the ink dry very well.

(15-20 mins) Thin a little asphalt with water, (INK Like) and then apply a coat of this over the entire surface, allowing the color to settle into crevices and cracks and to “stain” the exposed wood. Wipe away any excess with a soft cloth. Let it dry well. this should subdue the stamped images quite a AUGUST 2019 ISSUE

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bit, but if they are still quite bright, apply another coat. Let dry then trace and transfer the lettering to the center of the panel.

THE LEAVES: On the Palette: Margarita, Antique Green, Black Green.

Base coat each leaf with a single coat of Antique Green. Add a highlight by loading just the toe of the brush with Margarita and float along the upper edges of the leaves, and opposite the shadow down the center vein. The shadow down the center of the leaves is a float of Black Green.

Shade along the edges off the petals with the darkest value toward the flower, with multiple floats of Thinned Black Green. Soften the leaves with a fine scribble line, just outside the edges of the leaves.

THE LETTERING: On the Palette: Warm White, Asphaltum, Lamp Black.

Paint in the lettering with thinned Warm White, using the #2 Rigger. Take care to keep the edges of the letter crisp and clean.

Shade the bottom of each letter with a float of thinned Bahama Blue, deepen with a second coat for greater depth. Create a shadow under each letter on the right side, on the background with the darkest value toward the letter, with a nice wide float of Lamp Black.

When dry, Trace and transfer the Sunflowers to the surface. Shade along the edges of the line

VINES AND SMALL LEAVES: On the Palette: Antique Green, Margarita, Black Green.

Base coat the small leaves with 2 coats of Antique Green, Shade the bottom of the leaf with a float of Black Green and the tip of the leaves are highlighted with a float of Margarita. Use the #2 Rigger to stroke in a fine vine using both Antique Green and Margarita.

THE SUNFLOWERS: On the Palette: Aspahltum, Saffron Yellow, Sunny Day, Persimmon, Soft Black, Warm White.

drawings with a float of thinned Lamp Black. this will help lift the sunflowers of the background and provide more depth.

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Base coat the centers with Asphaltum. Shade the curve in the center with a float of Soft Black, Shade along the lower edge of the center, toward the petals with a float of Soft Black. Stipple the top edge of the center to highlight using a dirty mix of Sunny Day and Asphaltum. Then layer dip dots to the left side and top of the centers with Lamp Black, Warm White and Asphaltum. This will help

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a dry brushed highlight to the centre area of the petals as needed with Sunny Day.

create a highlight and some texture at the same time, if you find that the highlight is too bright, let it dry and then apply a wash of Asphaltum over the entire center portion of each flower.

Base coat each petal of the sunflowers with Sunny Day (two coats should do). Shade the base of each petal and under the over lapping petals

with multiple floats of Persimmon (two or three will do) deepen the shading with multiple floats of thinned Asphaltum. (I like two, but it depends on how much you thin the Aspahltum) Deepen the shadows closest to the center with a float of thinned Soft Black, you add this to the turn overs and to the areas where the petals overlap. Add

FINISHING: I Love to spatter anything with a vintage feel, but I am selective and choose colours carefully. For this piece I chose Warm White and Asphaltum.

The Spattering is controlled, and I tried to keep it subtle. Thin Warm White, and then lightly spatter the entire surface, repeat this with thinned Asphaltum.

When the surface is fully dry, apply two to three light coats of DecoArt Matt Spray.

Signage like this makes a wonderful addition to a sun room, garden room, or breezeway, but would be equally pretty in the kitchen. I love lettering and pretty and elegant fonts like this one make for pretty and unique pieces to decorate your home with. If you like you can type out wording of your own choosing and print it out from your computer. Then follow the same instructions as above. This is an easy piece to customize to your own liking. So, feel free to experiment with it.

Website: www.tracymoreau.net Email: tracy.moreau@tracymoreau.net Dynasty Artisan/ FM Brush Brand Ambassador DecoArt Brand Ambassador

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Due to the size of this painting, the drawings have been reduced. Enlarge 200% for full size painting.

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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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Boo Buddies!

What delightful décor this handsome gang of ghouls will make hanging on your door this Halloween! These fellow fiends are anything but frightening and will greet your trick-ortreaters in grand style. Painted on RocLon Drapery Lining Fabric, this project uses stencils to create quick and interesting backgrounds which really set the project off. Grab your brushes and join in the fun painting this masterpiece which you will enjoy displaying year-after-year.

Happy painting, one and all!.

By Sharon Cook Sharon has been decorative painting for 29 years and still loves it as much as she did that first day of her painting class. She has enjoyed teaching painting classes for many years, and has taught at local craft stores, national painting conventions, various society meetings, and at church and community events. She has been fortunate enough to host booths at trade shows throughout the United States and is the author of several books, magazine articles, and pattern packets on decorative painting. Get to know Sharon’s style and catch a glimpse of what brings joy to her heart—decorative painting!

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Supplies: SURFACE: Roc-Lon Budget Blackout Lining Fabric, 54” wide, white, 1 yard; available from JoAnns.com PAINTS BY DECOART AMERICANA©: • Banana Cream DA309 • Black Plum DA172

• Bright Green DA054

• Bright Salmon DA329 • Burnt Umber DA064

• Cadmium Orange DA014 • Cinnamon Drop DA308 • Coral Blush DA292 • Coral Shell DA316

• Cotton Candy DA347

• Dioxazine Purple DA101 • Dried Clay DA356

• Green Tree DA349

• Heritage Brick DA219

• Indian Turquoise DA087 • Leaf Green DA051

• Light Mocha DA241

• Lilac Meadow DA367 • Margarita DA299

• Milk Chocolate DA174 • Morning Mist DA359

• Orange Flame DA315 • Orange Twist DA266 • Pebble DA303

• Purple Cow DA272 • Purple Rain DA327

• Saffron Yellow DA273 • Soft Black DA155

• Tangelo Orange DA196 • Warm White DA239 • White Peach DA024 • Wild Berry DA362

MEDIUMS/OTHER PRODUCTS BY DECOART: • DuraClear Matte Varnish DS60 • Multi-Purpose Sealer DS17

BRUSHES BY ROYAL & LANGNICKEL: • Zen, Z73WO, Oval Wash, Size 3/4”, by Royal & Langnickel • Zen, Z83SC, Soft Scrubber, Size 8, by Royal & Langnickel • Majestic Script Liner, R4585, Size 10/0, by Royal & Langnickel

• Aqualon Angular, 2160, Size 1/2” and ¾”, by Royal & Langnickel

• Royal Stencil, 1113, Size 1/2”, 5/8”, by Royal & Langnickel BRUSHES BY CHRIS HAUGHEY: • Chris’s Epic Script Liner, 18/0, by Chris Haughey;

• Chris’s Spectacular Stencil Brush, #296-4 and #296-5, by Chris Haughey;

MISCELLANEOUS SUPPLIES: • Stencils by DecoArt Americana: Mixed Media, Houndstooth, 12” x 12”, ASMM14-K, Americana Décor, Ikat Polka Dot, 12” x 12”; ADS17, ; Americana Décor, Distressed Harlequin, 12” x 12”, ADS03, • Stencil by FolkArt, Handmade Charlotte, Paisley Delight, 59759,

• Stencil by StudioR12, 3/16” Dots Mini Pattern Stencil, 4” x 4”, STCL717,

• Two 5-gallon paint stir sticks, or one yardstick (cut into two 15 ¼” length pieces) • One sawtooth hanger and hammer

• Green FrogTape, Multi-Surface Pro Painter’s Tape • Paper Towels • Water bin

• Tacky Glue

• White thread and needle, or sewing machine and white thread • Sharp scissors

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Preparation:

STENCILING THE BACKGROUNDS:

Painting Instructions:

Purple areas: Stipple the entire purple areas with Lilac Meadow mixed with a few drops of Warm White.

Secure the Houndstooth Stencil over one of the purple areas and secure with painter’s tape. Stencil the pattern with Purple Rain. Stencil randomly over the houndstooth checks with a mixture of Dioxazine Purple, then again with Dioxazine Purple mixed with one or two drops of Soft Black. Dry brush, then float to shade around the edges of the purple areas with the Dioxazine Purple/Soft Black mixture. Repeat on the other purple area.

Cut two pieces of Roc-Lon 17” wide by 42” tall.

Place the grey, rubbery sides of the Roc-Lon together and stitch together around the outside edge, approximately 3/4” inside of the edge.

Trim to the exact size of the line drawing. Using the pattern provided, cut four diamond shaped pieces out of the Roc-Lon. Fold the cut pieces in half (refer to photos), and place one in each corner of the Roc-Lon you stitched together and stitch the folded pieces in place. These will create pockets on the back of the hanging that will hold the cut wooden sticks. The wood sticks are important, because the one at the top will hold a sawtooth hanger, and the one at the bottom will help the piece to hang better.

BASECOATING THE BACKGROUNDS: Use painter’s tape to block off each section of the background color. This will keep the edges straight as you basecoat. Gently remove the tape before the paint is completely dry. Basecoat the background areas with the following colors: Green Tree—behind the stacked Halloween figures; Banana Cream—behind the spider area on top and the Boo! area on the bottom; Purple Cow—behind the areas with the candy corn; Coral Blush—behind the trick or treat lettering (as an undercoat), followed by an equal mixture of Orange Flame and Orange Twist.

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Green area: Secure the Ikat Polka Dot Stencil over the Green Tree area and secure with painter’s tape. Note that the stencil will not be removed until the polka dots have been base stenciled, then shaded and highlighted with more stenciling. Stencil the polka dots with Bright Green; dry brush the center of each polka dot to smooth out the stenciled appearance.

Stencil the top of each polka dot with Margarita.

Stencil the bottom of each polka dot with Leaf Green, and the very bottom of each polka dot with a mixture of Leaf Green and one or two drops of Soft Black.

Remove stencil and continue until the green area is filled in. Dry brush, then float to shade around the green area with the Leaf Green/Soft Black mixture.

Orange area: Stipple the entire orange area with Orange Twist mixed with a few drops of Warm White.

Secure the Distressed Harlequin Stencil over the orange area with painter’s tape. Stencil the

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Helpful Tip or Hint:

My painting style generally uses lots of drybrushing and/or stippling using stiff bristled brushes for some of my highlighting and shading. I will often drybrush the center and top of an area with a color lighter than the basecoat, then drybrush the bottom of the area with a shade or two darker then the basecoat. These shades and highlights are usually followed up with one or two layers of floating to add more depth, definition, and dimension. pattern with Cadmium Orange; dry brush the center of the shape to smooth out the stenciled appearance. Randomly stencil around the pattern with Heritage Brick, then again with Heritage Brick and a few drops of Black Plum.

Remove stencil and continue until the orange area is filled in. Dry brush, then float to shade around the orange area with the Heritage Brick/ Black Plum mixture.

Yellow areas: Stipple center of each yellow area with an equal mixture of Banana Cream and Warm White.

On the area with the spiders, secure the 3/16” Polka Dot Stencil with painter’s tape. Stencil the dots with Saffron Yellow, then again on the bottom of each dot with a mixture of Saffron Yellow, with a couple drops of Milk Chocolate and Tangelo Orange added. Remove stencil and continue until the yellow spider area is filled in. For the area with the “Boo!” lettering, secure the Paisley Delight Stencil over the area.

Stencil the pattern with Saffron Yellow, then again randomly around the paisley pattern with a mixture of Saffron Yellow, with a couple drops of Milk Chocolate and Tangelo Orange added. Dry brush, then float, around both of the yellow areas

with the Saffron Yellow mixture.

BASECOATING THE CANDY CORN AND GHOULS:

Skeleton: Basecoat the skeleton face, hands, and arm with an equal mixture of Warm White and Morning Mist. Basecoat the hat with Milk Chocolate, the hatband with an equal mixture of Orange Flame and Orange Twist, and the bat with Purple Rain.

Vampire and Frankenstein: Basecoat the vampire and Frank (face, ears, and hands) with an equal mixture of Coral Shell and Cotton Candy. Base the hair on both the vampire and Frank, and the bolts on Frank’s neck with a mixture of 70% Soft Black/30% Morning Mist.

Base the teeth and eyes with Warm White. Base the fingernails on their hands with White Peach.

Base the tops of their nails with Warm White.

Base the vampire’s bow tie and the orange section of the candy corn he is holding with Coral Blush (as an undercoat), followed by an equal mixture of Orange Flame and Orange Twist. Base the bottom area of the candy corn with Banana Cream; base the top area of the candy corn with Light Mocha. Base the vampire’s cape with Purple Rain.

Mummy: Base the mummy with Light Mocha. Base the nose with Bright Salmon. Base the eyes and teeth with Warm White.

Pumpkin: Base the pumpkin with Coral Blush (as an undercoat), then with an equal mixture of Orange Flame and Orange Twist. Base the nose and stem with Saffron Yellow. Base the eyes with Warm White. Base the leaves with an equal mixture of Green Tree and Margarita. Base the vine with a mixture of Bright Green and Leaf Green.

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Candy Corn: Base the entire candy corn with Warm White.

Base the orange section with an equal mixture of Orange Flame and Orange Twist. Base the yellow section with Banana Cream.

DETAIL ON THE CANDY CORN AND GHOULS: Skeleton

Hat: Pebble—drybrush the top and center of the hat and hat brim. Burnt Umber—drybrush the bottom of the hat (against the hatband) and sides of the hat; float to shade the bottom of the hat brim, bottom of hat, and sides of the hat; float very lightly along the top of the hat and heavily behind the crease line at the top of the hat. Mix a few drops of Soft Black with the Burnt Umber and float to shade again on the hat by the bottom corners, behind the crease at top of hat, and bottom hat brim.

Hatband: Saffron Yellow—drybrush the center of the hat band. Tangelo Orange—float to shade sides and bottom of hatband. Mix equal parts of Tangelo Orange and Heritage Brick and float to deepen shading on hatband. Add a drop or two of Black Plum to mixture and float to deepen shading along the sides and bottom corners. Purple Rain—dot hatband. Tangelo Orange—dot smaller dots on top right side of Purple Rain dots in hatband.

Face, hands, arms: Warm White—stipple, then dry brush, center of skeleton’s face. Float one side of each bone in the hands and arms to highlight. Morning Mist—drybrush, then float to shade, around the AUGUST 2019 ISSUE

face, below the hat, below the eyebrows, and around the eyes, nose, and mouth; float over the drybrushed areas to deepen shading. Float one side of each bone in the hands and arms to shade. Add a drop or two of Black Plum to the Morning Mist, and lightly repeat floating over the Morning Mist shading to deepen. Soft Black— Base eyebrows, eyes (excluding the iris), nose, and mouth. Bright Salmon—dry brush cheeks, followed by drybrushing the center of the cheeks with Wild Berry. Using the dirty drybrush, very lightly scrub in a touch of color on the bottom sides of the skeleton (above the vampire’s head).

Eyes: Warm White—base eyes. Indian Turquoise/Warm White (equal mixture)—float around edge of iris; thinly line spoke-like lines in iris. Add a drop or two of Burnt Umber to the mixture and thinly float around the edge of the iris. Base the eyes in Soft Black. Warm White—base oblong dot in pupils.

Bat: Purple Cow/Warm White (equal mixture)— drybrush center of face, ears, wings, and body; lightly float across the top of the head, tips of ears, spines in wings, and tips of the feet. Purple Rain— drybrush, then float, bottom of head, body, wings, and ears. Dioxazine Purple—float over the Purple Rain floating to deepen shading; float around eyes, nose, and below mouth. Wild Berry—Base nose and heart. Orange Flame—float across top of nose and heart to highlight; dot lower dot on cheeks. Cinnamon Drop—dot upper dot on cheeks; add one or two drops of Black Plum and float to shade bottom of nose and heart. Warm White: Base eyes and fangs. Indian Turquoise—float iris in eyes. Soft Black—base pupils. Warm White—dot oblong dot in pupils.

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VAMPIRE:

Face and hands: White Peach/Warm White (equal mixture)— drybrush center of face. Hands, and tops of ears; drybrush, then float tops of nose, mouth, and ears. Cotton Candy/Dried Clay (equal mixture) Drybrush around edges of face, bottom of ears, inside of ears, below mouth, around eyes and nose, and between fingers. Float over drybrushing to strengthen shading. Add a few drops of Bright Salmon to the mixture and drybrush the bottom half of the nose, inside of the ears, and cheeks; float around the face, below the nose and mouth, inside of the ears, bottom of ears, and between fingers. Wild Berry—very lightly drybrush the center of the cheeks and the bottom portion of the nose; float bottom of nose; thin paint with water and wash the lips.

Base inside of mouth with Soft Black thinned with water. Morning Mist—lightly float on top of teeth to shade.

Eyes: Indian Turquoise—thin slightly with water and lightly and thinly float around the eyes to shade; heavily float around the iris. Add several drops of Milk Chocolate to the Indian Turquoise and line the spoke-like lines in the iris; thinly float around the edge of the iris. Soft Black—base pupils in eyes and stroke eyebrows. Warm White—dot oblong dot in pupils.

Hair: Morning Mist—drybrush center of hair area. Soft Black—line hair; float around hair and down center part.

Cape: Purple Cow/Warm White (equal mixture)— drybrush center of cape areas; lightly float across the top portions of the cape. Purple Rain— drybrush, then float, bottom of cape and on cape where it touches the face, bowtie, and hands.

Dioxazine Purple—float over the Purple Rain floating to deepen shading.

Bowtie and Candy Corn: Saffron Yellow—drybrush the center of the bowtie and orange area of candy corn. Tangelo Orange— float to shade around center and sides of bowtie,

and orange area of candy corn. Mix equal parts of Tangelo Orange and Heritage Brick and float to deepen the shading on the bowtie and orange area of candy corn. Add a drop or two of Black Plum to the mixture and float to further deepen the shading on the orange areas; wash in the areas below the loops at the bottom of the bowtie. Banana Cream—drybrush center of yellow area on candy corn. Orange Twist—float around yellow area of candy corn to shade.

Banana Cream/Morning Mist/Warm White (equal mixture)—float to shade around white area of candy corn.

MUMMY:

Wrappings: Warm White— drybrush center of each wrapping and knot. Light Mocha/ Milk Chocolate (70% Light Mocha/30% Milk Chocolate mixture)—drybrush over the edges of all the wrappings and knots; float edges of wrapping to shade; float above and below mouth, below eyebrows, around nose, and on mummy against the Frankenstein and vampire. Milk Chocolate—thin slightly with water and float to deepen shading on the wrappings where they lay “behind” another wrapping or below a knot; float below mouth, around nose, and on face next to the hands. Float inside the area where the teeth are. Soft Black—thin with water to make a dark wash, and base the black areas on the mummy (excluding the pupils). Bright Salmon—very, very lightly drybrush cheeks. Wild Berry—lightly drybrush the center of the cheeks.

Teeth: Morning Mist—float to shade teeth.

Eyes: Indian Turquoise—thin slightly with water and lightly and thinly float around the eyes to shade.

Green Tree/few drops of Milk Chocolate mixture— float a wide float around the iris. Add a drop or two of Burnt Umber to deepen the color; line thin spoke-like lines in the iris; float around the iris with a thin float of color. Soft Black—base pupil.

Warm White—base oblong dot in pupil.

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Nose: Coral Blush/ Coral Shell (equal mixture)— drybrush top half of nose; float top of nose.

Wild Berry— drybrush bottom third of nose, then float bottom half of nose. Cinnamon Drop—float bottom of nose over the Wild Berry shading to deepen.

FRANKENSTEIN:

Face and hands: White Peach/Warm White (equal mixture)— drybrush center of face, hands, tops of ears, and along forehead (above eyes); drybrush, then float tops of nose, mouth, ears, and forehead. Cotton Candy/Dried Clay (equal mixture) Drybrush around edges of face, bottom of ears, inside of ears, around mouth, around eyes and nose, between fingers, and between sections of hair on forehead. Float over drybrushing to strengthen shading, and float around warts on nose. Add a few drops of Bright Salmon to the mixture and drybrush over the shaded areas to deepen shading. Wild Berry—very lightly drybrush the center of the cheeks and the bottom portion of the nose; float bottom of nose. Base inside of mouth with Soft Black thinned with water.

Morning Mist—lightly float on top of teeth to shade. Warm White—line stitches on cheek and forehead.

Eyes: Indian Turquoise—thin slightly with water and lightly and thinly float around the eyes to shade. Milk Chocolate—float a wide float around the iris. Add a drop or two of Burnt Umber to deepen the color; line thin spoke-like lines in the iris. Burnt Umber—float around the iris with a thin float of color. Soft Black—base pupil. Warm White—base oblong dot in pupil.

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Hair: Morning Mist— drybrush center of hair area. Soft Black—line hair; float around the edges of the hair.

Bolts: Morning Mist— drybrush center of the bolts. Soft Black—float to shade bolts.

PUMPKIN: Saffron Yellow—stipple, then dry brush, entire pumpkin. Tangelo Orange—dry brush over each rib line on the pumpkin and around the edges of the pumpkin; float around the pumpkin, on both sides of the rib lines, around the leave, against the tendrils, around the eyes, nose, mouth, and below the eyebrows. Cadmium Orange/Heritage Brick (equal mixture)—float around the edges of the pumpkin and on the outer side of the rib lines to deepen shading; float around the bottom portion of the leaves, around the eyes and nose, and below the mouth. Float again on the bottom of the pumpkin to deepen the shading. Soft Black— thin with water to make a dark wash, and base the inside of the mouth and the eyebrows.

Stem and Nose: Banana Cream—drybrush the center and top of the stem and the nose; float over the top of the nose and stem. Orange Twist—drybrush bottom of nose and stem where it touches the pumpkin; float bottom of nose and bottom of stem. Float lightly on top portion of stem where it bends downward slightly.

Eyes: Indian Turquoise—thin slightly with water and lightly and thinly float around the eyes to shade.

Bright Green/few drops of Milk Chocolate mixture— float a wide float around the iris. Add a drop or two of Burnt Umber to deepen the color; line thin

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spoke-like lines in the iris; float around the iris with a thin float of color. Soft Black—base pupil.

Warm White—base oblong dot in pupil.

Leaves and Tendrils: Margarita—drybrush center area of leaves; float on upper side of each vein on leaves. Bright Green/Green Leaf (equal mixture)— drybrush around bottom portion of leaves, where leaves are against the hand, where one leaf sits behind the other, and randomly on edges of the leaves; float center stem and bottom of each vein line. Green Tree/Margarita (equal mixture)— drybrush down the center of each tendril. Leaf Green—float edges of the tendrils.

CANDY CORN: Light Mocha/drop or two of Milk Chocolate— float around the sides of the white portion (do not float next to the orange section). Saffron Yellow—stipple, then drybrush, the center of the orange area.

Tangelo Orange/ Heritage Brick (equal mixture)— float the sides of the orange portion. Light Mocha—drybrush the yellow portion. Saffron Yellow/drop or two of Milk Chocolate—float around sides and bottom of yellow section.

SPIDERS: Purple Cow/Warm White (equal mixture)— drybrush center of heads and bodies. Purple Rain—float around heads and bodies; float bottom of feet and inside of legs. Dioxazine Purple/Drop or two of Black Plum mixture—thinly over Purple Rain floating to deepen shading. Dioxazine Purple—dot larger dots on bodies. Green Tree— dot smaller dots on bodies. Wild Berry—base noses. Orange Flame—float tops of noses to highlight. Warm White—base eyes; stroke across noses. Soft Black—dot pupils. Morning Mist—line

web that spider on the bottom candy corn is hanging from.

LETTERING: Soft Black—Base (and line) lettering.

Framing Around Each Section: Use painter’s tape to block off each segment.

The tape will help you achieve perfectly straight black “frames” around each section and will help to prevent getting black paint on the colored areas. Base frame areas with two coats of Soft Black. Gently remove tape before paint dries completely.

FINISHING: Paint the sticks Soft Black. Hammer the sawtooth hanger into the center of the back of one of two sticks.

Varnish the front and back of the hanging and the sticks with two coats of DuraClear Matte Varnish; allow to dry well between applications.

Turn the hanging face down on a flat table or surface. Referring to the photos as a guide, slip the stick with the sawtooth hanger in it into the pockets on the top end of the hanging; slip the other stick into the bottom pockets.

Enjoy!

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PAINTING WORLD MAGAZINE Due to the size of this painting, the drawings have been reduced. Enlarge 400% 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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Change

By Teri Walker If you are an artist, then you know that change is one of the most feared words in the English language because it takes us out of our comfort zones and throws us head first into the scary unknown. Change requires a lot of work and forces us to act when we really don’t want to. It can be a demanding taskmaster and therefore, “to change is difficult.” But wanted or not, change brings growth in ways we would never have known.

Change brings new ideas into the world and without those, our species could not progress.

Therefore, “not to change is fatal.”

As a beginning artist, you ignored the fear of change and bravely tried new things. Your eagerness to learn pushed aside self-doubt and freed you to pursue the endless avenues of discovery that art offers. Each new thing learned, each new skill developed, and each time you tried something new, you amazed yourself with talents you weren’t aware of before.

Becoming an artist is a tremendous adventure. Art is energizing. It fills you with selfsatisfaction and pride in what you accomplish. You are free to express your innermost thoughts and feelings in a manner that affects every viewer. You give a part of yourself with every brushstroke, every pencil line, every stitch, and every slice of the knife. Art opens the door to your soul.

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“To change is difficult...not to change is fatal.”

Unfortunately for some, the beginner euphoria doesn’t last. Every artist will reach a plateau when they become so comfortable with their work, that the thirst for change diminishes.

I call this the fork in the road because there are two choices to make at that point: continue to learn and become an expert, or produce the same thing over and over. If you chose the latter, you may wake one day to find your work has become “dated,” and no longer wanted.

Complacency may bring inner peace, but it rarely pays the bills.

I believe greater satisfaction for an artist comes when your work is appreciated and wanted by others.

So how can you continue to ensure demand for your work?

It’s really simple: never stop learning and perfecting your skills. Everyday new art tools are created, new paint colors are added, new surfaces are offered, and someone somewhere comes up with an idea that rocks the world. If you want to keep up with trends, then you will have to actively do so. There are many ways to learn what’s relevant in today’s changing world. You could attend workshops and conventions, join art groups, seek instructional art sites online, and subscribe or continue to subscribe to Painting World Magazine and other publications like it.

Art magazines all share a responsibility to their readers to provide information and projects that reflect current market trends and consumer interests. Painting World Magazine staff takes that responsibility very seriously and is working to exceed the needs and desires of an ever-changing readership. Reader input has revealed that some appreciate the changes being made while others do not. However, for a magazine to be useful, it must evolve and that requires changes.

Painting World Magazine understands that artists work on all skill levels (beginner to expert), in many genres and with different tools and mediums.

Offering content to meet everyone’s needs is a tall order, but not an impossible one.

PWM is dedicated to providing readers with inspirational projects from new designers, informative columns, reviews of new tools and encouragement.

Email input enables our staff to understand and meet the needs of our readership. Sharing knowledge bonds us as artists so that we all grow together.

The goal of Painting World Magazine is to become the artist “go-to” for knowledge, project ideas, up-to-date marketing trends and boundless inspiration, regardless of skill level. Afterall, Passing the Paintbrush is more than a goal. it is our legacy.

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Rosemaling

BLESSING PLATE

I had read this blessing and thought it would be very appropriate on a serving plate. I surrounded the center of the plate with traditional rosemaling strokework pattern. I hope you enjoy painting this for your home or for a gift. The beauty of strokework is all of the additional detail strokes you can add to the design. You may do more or less than shown in the original, just remember what you do on one section of the design it has to be repeated in all matching sections of the design.

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PAINTING WORLD MAGAZINE

By Judy Diephouse

I started painting in 1973. I was soon teaching classes at my home followed by submitting to teach at the HOOT convention and SDP Conventions. Later, I became business partner with Lynne Deptula and formed Distinctive Brushstrokes. We soon were writing books and publishing a line of pattern packets. I am now partially retiring, occasionally teaching a travel seminar and our own Home seminar. I have been greatly blessed by the people I have had the privilege to meet during these many years. Thank you so very much for all of your support and love

SUPPLIES SURFACE: 14” inside beaded rim plate (8” center) Hofcraft- 1-800-828-0359 Cat# WP1BR14 PALETTE: DECO ART AMERICANA • Baby Blue DAO42

MISCELLANEOUS SUPPLIES: • Light Graphite • Stylus • Ruler

• Satin Acrylic Varnish

PREPARATION:

• Buttermilk DAO3

Basecoat the rim and back of the plate with Payne’s Grey and the center with Burlap. Sand between coats for a smooth finish. Trace on the pattern. Later, when you trace on the lettering, make sure your painted design lines up correctly with the lettering (so it does not look crooked when complete).

• Espresso DA271

PAINTING INSTRUCTIONS:

• Evergreen DAO82

• Hauser Light Green DA131

SCROLLSBasecoat the scrolls with Uniform Blue.

• Honey Brown DA163

Shade the insides of the scrolls with a float of Prussian Blue.

• Payne’s Grey DA167

Highlight the outer curves of the scrolls with a float of Baby Blue.

• Raw Sienna DAO93

The outline and all additional strokes on and along the scrolls are Blue Haven.

• True Ochre DA143

TRUMPET ALONG THE SIDE OF A SCROLLBasecoat the trumpets with True Ochre.

• Yellow Ochre DAO8

Shade from the point up and inside of the trumpet with Raw Sienna.

• Banana Cream DA309 • Black Green DA157 • Blue Haven DA318 • Burlap DA319

• Country Red DAO18

• Light Buttermilk DA164 • Prussian Blue DA138 • Sand DAO4

• Uniform Blue DAO86 BRUSHES: KINGART • Series 9350 –liners - #1, #4, #6

• Series 9300-shaders- #4, #6, #8, #12

Repeat the shading with smaller areas of Espresso.

Outline and strokes on the trumpet are Banana Cream.

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LEAVESBasecoat the leaves with Evergreen.

Shade the base and along the smooth side with a float of Black Green.

Highlight along the two hump side with a float of Hauser Light Green.

The outline strokes and strokes on the leaves are Hauser Light Green.

Shade the base of the leaves again with a float of Payne’s Grey.

FLOWERS- LARGE AND SIDE TULIPThe three top petals of the large flower and the two side petals of the smaller flower are a base in Yellow Ochre.

Shade with a float of Raw Sienna.

Highlight with a float of Sand.

The shade lines on the top three petals are Country Red. The overstrokes on the petals and outlines around the petals are Light Buttermilk.

The center petals are basecoated Burlap.

Shade the base of the petals with a float of Country Red. The inner petal on the center of the large flower and the top of the center of the smaller tulip are a side load float of Buttermilk.

The ‘c’ stroke in the center of the larger flower is Sand.

The strokes outside of the ‘c’, dots around the ‘c’, and strokes on the center of the smaller tulip are Light Buttermilk.

The top dot and three small strokes in the ‘c’ stroke are Banana Cream.

The two side petals on the large flower are a wellblended double load of Country Red and Light Buttermilk.

FIVE PETAL FLOWERThe petals are a blended double load of Country Red and Light Buttermilk.

Outline the petals with two strokes of Light Buttermilk with a dot between of Country Red.

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The center is Banana Cream, shaded with Raw Sienna, highlighted with Sand. The dots around the center are Light Buttermilk.

PAINTING WORLD MAGAZINE

strokes. Again, remember whatever you do in one section of the design, you must repeat in all remaining sections.

The strokes go from the darkest color (largest stroke) to lighter shades (smaller strokes) RED• Country Red

• Country Red with a touch of Light Buttermilk

• Country Red with a touch more Light Buttermilk GREEN• Evergreen and a touch of Hauser Light Green

• Mix plus a touch more Hauser Light Green • Mix plus more Hauser Light Green

GOLD• Raw Sienna

• Honey Brown • True Ochre

• Tip some with a touch of Yellow Ochre FINISHING DETAILSBead - is a mix of Raw Sienna, Honey Brown, and True Ochre. The lines are Yellow Ochre.

STEMSThe stems are two lines of Honey Brown, meeting at the base into the trumpet.

The crosshatching inside of the lines are Honey Brown.

Shade on top of the lines with lines of Espresso coming up from the trumpet.

Highlight from the top under the flowers with lines of Yellow Ochre.

Connect to the flowers with a large dot of Country Red. CROSSHATCHING AREAS BETWEEN THE SCROLLSThey are done with the same colors as the stems.

Red Edge - is toned Country Red with a touch of True Ochre.

The Green ‘s’ strokes inside of the center are a mix of Evergreen and a touch of Hauser Light Green.

The dots between the ‘s’ strokes are Uniform Blue.

The line around the outer edge is a mix of Uniform Blue and a touch of Blue Haven.

Trace on the lettering. The lettering is Payne’s Grey.

Allow the painting to dry thoroughly. Erase any visible tracing lines. Varnish with 2-3 coats of your favorite satin acrylic varnish. Allow 24 hours between coats for complete curing.

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Due to the size of this painting, the drawing has been reduced. Enlarge 400% 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.

AUGUST 2019 ISSUE

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Willow, Jack and Ollie Giving thought for a Halloween design, I decided a 3-dimensional surface would be fun! The idea came to create the hand painted ‘stuffies’ as well as painting dowel rod sections to look like grape candy sticks. Or, be creative and design your own embellishments!

This design may be hand painted in part, or in whole, to create gifts, or to sell in gift shops or craft shows.

By Cindy Mann Vitale

Through the years, I’ve worked with oil paints, and watercolors, until I discovered bottled acrylic paints. Once involved in the decorative painting industry, I was given the opportunity to author instructional books, magazine articles, design home décor and fabrics. There are still quite a few goals left to accomplish, so if the Lord allows, I’ll keep going!

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SUPPLIES

SURFACES: • Wooden Candy Box Surface No. 219011 from Pine Craft,16085 SE Webster, Milwaukee, OR 97267 503- 653- 8266 Doug Fredrickson pinecraftinc@yahoo.com • 4-1 inch wood blocks Item No. 01-M048, Cupboard Distributing , 1463 S US Hwy 68, Urbana, OH 43078, 937-652-3338

• Dowel rod, 5/8 inch diameter x 36 inch long.

Cut in 4 and 5 inch lengths • Nails, or wood glue

• Muslin, and black, fabric PAINTS BY DECOART®: AMERICANA ACRYLICS ® • Titanium White DA01 • Grey Sky DA111

• Lamp Black DA067 • Baby Blue DA042

• Deep Midnight Blue DA166

• Whispering Turquoise DA305 • Teal Green DA107

• Purple Cow DA272

• Grape Juice DA236 • Baby Pink DA031

• Country Red DA018

• Cranberry Wine DA112 • Banana Cream DA309 • Raw Sienna DA093 • Tangerine DA012

• Georgia Clay DA017 • Avocado DA052

• Citron Green DA235 • Leaf Green DA051

• Burnt Umber DA064

DECOART SOSOFT® FABRIC PAINTS: • Tangerine DSS76 • Dark Rose DSS94 • Santa Red DSS77 • White DSS1

• Cadmium Orange DSS4 • Bright Cora: DSS110 • Pineapple DSS51 • Brown DSS102 MEDIUMS/ OTHER PRODUCTS: • DecoArt® Americana® All Purpose Wood Glue: DS104 • DecoArt® Americana® Dura Clear Ultra Matte™ Brush-On Varnish: DS-60

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

• DecoArt® Americana® Matte Spray Sealer/ Finish: DAS-13 • DecoArt® Deco Magic Brush Cleaner: DS-3 ROYAL® AND LANGNICKEL ™ BRUSHES • Rounds: 2250 Series: No. 2, 5, 12 • Liners: Series 2595: No.1

• Glaze/ Wash: 2700 Series: 1 inch MISCELLANEOUS SUPPLIES: • Pencil, eraser, ruler • Tracing paper

• Transfer paper, grey and white

• Wet palette, or coated paper plates • Water bin

• Paper towels

• Very fine grit emery cloth

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

• Cocoa DA259

• Pins, fabric scissors, thread, needle, sewing machine

• Light Cinnamon DA114

• Fiberfill

• Fawn DA242

• Thin cardboard

• Toffee DA059

• Twig for pumpkin stem • Twine

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WOOD PREPARATION:

Lightly sand the candy box, block feet, and dowel rod sections.

Wipe away dust.

Use wood glue, or nails, to attach the feet to the bottom of the candy box.

Seal all the surfaces with the Multi-Purpose Sealer.

Base coat the dowel rod candy sticks with Titanium White.

TRANSFERRING DESIGN DETAILS: My preference is to transfer the design outlines on to the sealed wood and paint the background around the transferred outlines.

First Step Transfers: Transfer only the design outlines as follows: • Checkerboard design, candy corn (including color separations) and posies • Moon

• Owl: Hat, pom-pom, eyes, beak, and bow tie

• Willow Jack: Hat, hat band, purple posy, three large leaves, feather, head, nose (only to the edge of the pumpkin head outline) eyes, mouth, neck, tie, and shirt • Kitty Cat: Head, pink area of ears, white face area, nose, mouth, body, tail, white tip of tail, ribbon and bell • Fence: Top of fence line

• Oval Posy Design: The basic oval shape and pink posies Step Two Transfers: Transfer the interior design details (or try drawing on the details freehand with a lead pencil after the initial base coating, and perhaps some of the shading has been completed).

and all feather details

• *Owl feet are added after Willow Jack’s hand has been completed.

• *Glasses are added after the face area and eyes are complete.

• Willow Jack: Stripes on hat band, small leaf clusters, tip of feather, interior eye details, wood grain on neck, nose, and hands, eyebrows, teeth separations, and straw hair • Kitty Cat: Interior eye details, eyebrows, and bell details.

• Oval Design: Aqua dots, posy center details, stems and leaves.

Note about inking details: Do not transfer the following details since they will be added after the antiquing is dry with the pen: • All Pink Posies

• Owl: Swirls on polka dots and pom-pom on hat, creases in bow tie, and details on feet

• Willow Jack: Swirl in purple posy center, tendrils for nose and fingertips, polka dot swirls on the tie • Kitty Cat: Dots on chops, and whiskers • Fence: Wood graining

PAINTING INSTRUCTIONS:

When indicated, the base coat color is mixed with Titanium White in a 50-50 ratio to provide more contrast with the shading colors.

All shading applications are created by mixing water and paint in a ratio of at least 75% water to 25% paint.

Lamp Black shading is created with 95% water and 5% paint.

Apply the shading washes to the base coat with a damp round brush, allowing each application to thoroughly dry before adding another layer.

Creating a deep contrast requires multiple • Checkerboard Area: The pink posy centers, vines and leaves. Dots around outside of posy applications. centers are added when painting and shading In this design, there are several areas in which I is completed. applied a first layer of shading with one color and • Owl: Stripes, and purple polka dots, on hat, finished with a second, and possibly a third shading interior eye details, polka dots on bow tie, color to create more intensity.

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Artist Note Sadly, I was never able to master the side loading shading technique. In my attempts to clean up my mess, I started using a damp round brush to soften the hard edges. Even though the results were a little mottled, I was pleased with the soft watercolor effect.

Experimenting with the additional layers, paint and water gave a soft watercolor effect. What a happy solution to my problem! It may take as many as four, or five, shading applications to build to the desired intensity and contrast, and some practice! I suggest practicing on watercolor paper to begin the process.

Note: The same shading techniques also apply to the SoSoft Fabric Paint.

BLOCK FEET: Paint with Titanium White.

The Below photo shows areas of the design that are base coated, and other areas that have been shaded.

Draw on irregular wavy lines with a pencil. Paint over each line with diluted Lamp Black using a liner brush. Paint all four sides or just what will be visible. Shade with Lamp Black.

OVAL POSY DESIGN: Base coat the oval background with Titanium White.

First shading: Fawn Second shading: Burnt Umber Transfer, or freehand, the dots around the oval.

Paint with the tip of a liner brush using Titanium White and Whispering Turquoise.

Shade over part of the dots with Antique Teal to deepen.

PINK POSIES: Base coat with Baby Pink and Titanium White.

First shading: Country Red Second shading: Cranberry Wine

CANDY BOX:

Back, Sides, Bottom and Bin Interior: Paint the back, edges, and bottom with Lamp Black.

Paint the sides, front (excluding the oval area) and interior of the bin area with Grey Sky. Shade over the Grey Sky area with Lamp Black.

Posy centers: Base coat with Citron Green. Shade with Leaf Green.

Apply dots with Lamp Black.

Add smaller Grey Sky dots over each black dot.

Transfer, or freehand, the vine and leaves.

Base coat with Citron Green and Titanium White.

Shade, and create the veining, with Leaf Green.

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THE BACKGROUND: Paint diluted Purple Cow along the top of the fence, working upward about 3 inches. Begin blending Baby Blue into the wet Purple Cow base coat for a soft transition.

Base coat the rest of the background area with Baby Blue. Shade with washes of Deep Midnight Blue focusing more shading around the edges, keeping the center areas lighter.

CHECKERBOARD DESIGN: Base in the white areas with Titanium White.

Base in the black squares with Grey Sky. Shade the grey squares with Lamp Black in a ratio of approx. 95% water to 5% paint. Repeat the process to deepen, keeping the lighter grey contrast in some areas of the checks.

Float a little shading over the white squares to soften.

CANDY CORN: White areas: Titanium White base coat. Shade by floating Tangerine around the edges.

Yellow areas: Banana Cream base coat. Shade with Raw Sienna.

Orange areas: Tangerine and Titanium White -50-50 ratio. Shade with Georgia Clay.

PINK POSIES AND THE VINE AND LEAVES: When the background area is complete, transfer, or freehand, the vine and leaves.

Paint the same as instructed for the pink posies, leaves, and stems as given above for the design on the front of the bin.

WILLOW JACK:

Hat: Toffee and Titanium White

Transfer, or freehand, the stripes. Paint on with Titanium White.

Second shading: Cranberry Wine Feather: Pull paint out to create the effect of feathery tips.

White areas: Titanium White Aqua areas: Whispering Turquoise and Titanium White Shade with Teal Green.

Purple Posy: Base coat with Purple Cow and Titanium White.

Shade: Grape Juice LEAVES: Paint the same as the instructions given above for leaves and vines.

HEAD: Base coat with Tangerine and Titanium White.

First shading: Georgia Clay Second shading: Cranberry Wine Eyebrows, Nose, and Hands: Base coat with Fawn and Titanium White.

Create wood graining, and shade, with Burnt Umber.

Eyes: Base in the entire area with Titanium White.

Transfer, or freehand, the irises.

Base coat with Citron Green and Titanium White.

Shade with Leaf Green.

Paint in pupils with Lamp Black.

Add highlights with Titanium White.

First shading: Cocoa

Straw Hair: Base coat: Banana Cream and Titanium White

Second shading: Burnt Umber

Shade: Raw Sienna

Hatband: Base coat with Baby Pink.

Mouth: Base coat with Titanium White.

First shading: Country Red

Paint on separations for teeth with Grey Sky.

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Shade area between the bottom of the teeth and lower lip with Lamp Black.

Bow tie: Base coat with Citron Green and Titanium White.

Base coat the lower lip with Baby Pink.

Shade with Leaf Green.

Shade only the corners of the lip:

Polka dots:

First shading: Country Red

Paint on with Titanium White.

Second shading: Cranberry Wine

Float Leaf Green over some of the polka dots to soften.

TIE: Base coat: Titanium White Polka Dots: Purple Cow and Titanium White Shade the polka dots, and background, with Grape Juice.

SUCKER: Paint the sucker swirl with Purple Cow. Shade: Grape Juice Shade this area with Whispering Turquoise.

Owl face and chest: Base coat with Titanium White.

Shade around eyes, beak, and paint feathers on chest, with Cocoa.

Beak: (And Feet) Base coat with Banana Cream and Titanium White.

Shade with Raw Sienna.

Inside area: Base coat with Baby Pink and Titanium White.

Stem and Leaves: Paint the same as given above for the vine and leaves.

Shade: Country Red

SHIRT: White stripes: Base with Titanium White.

First shading: Cocoa

Red stripes: Base with Baby Pink and Titanium White.

First shading: Country Red Second shading: Cranberry Wine, floating some shading over part of the white stripes OLLIE THE OWL:

Hat: Base coat: Citron Green and Titanium White Paint on stripes with Titanium White.

Shade with Leaf Green.

Pom-pom and polka dots: Base coat: Purple Cow and Titanium White Shade: Grape Juice

Wings: Brown areas: Base with Fawn and Titanium White.

Second shading: Light Cinnamon Third shading: Burnt Umber around ears, neck area, and some feather tips, for deeper contrast Black areas: Base with Grey Sky. Shade with Lamp Black.

Glasses: Paint on with Deep Midnight Blue. Add highlights in several places with Deep Midnight Blue and Titanium White.

Add a few small streaks of Titanium White and Whispering Turquoise as a highlight.

KITTY CAT:

Head and Body: Base coat with Grey Sky. Begin shading with Lamp Black. Use the liner brush to pull out hairs

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with a mixture of Titanium White and Lamp Black to create the ‘fluffy’ kitty.

Pull out a few more hairs for contrast, and paint on the eyebrows, with Titanium White.

Face and tail tip: Base coat with Titanium White.

Shade around the nose, and add dots on the chops, with Lamp Black.

Create fuzzy tail with the same technique as given above.

Eyes: Paint the same as given in the instructions above for Willow and Jack’s eyes.

Nose, Mouth and Inside Area of Ears: Base coat with Baby Pink.

Shade: Country Red. Pull a few strands of fur up into the ear area.

Shade the top area of the mouth, and paint a thin line around the outside the mouth, with Cranberry Wine.

Shade one side of the nose with Cranberry Wine.

RIBBON AND BELL: Base coat the ribbon with Whispering Turquoise and Titanium White.

Shade with Antique Teal.

Base coat the bell with Banana Cream. Shade to create details with Raw Sienna.

FENCE: Base coat with Grey Sky. Mix Grey Sky and Lamp Black in a 50-50 ratio, and paint in random streaks to create dimension.

Paint on washes of Titanium White in some areas to lighten.

Wood grain details are added later with the pen.

CANDY STICKS: Beginning at the center, draw on guidelines for stripes, working out toward the ends.

Space approximately 1 inch apart.

Paint on stripes with Purple Cow, approximately 1 inch wide.

When dry, brush on varnish. Allow to dry.

Shade lightly with Grape Juice: 95% water - 5% paint ratio.

Varnish and allow to dry. Brush on light application of antiquing. (instructions below) When dry, paint on white streaks to create a shiny highlight.

FINAL FINISHING: VARNISHING: • Dilute varnish approximately 50-50 with water.

• When paint is thoroughly dry, brush applications evenly over the entire surface.

• Allow to completely dry. Apply a second coat, working in a different direction to ensure adequate coverage.

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ANTIQUING: • Antiquing is optional but it provides an ‘aged’ affect and creates a nice prep for inking.

• The varnish must be completely dry before applying the antiquing.

• I use Burnt Umber and water in a ratio of approximately 5 % paint to 95 % water.

• Apply the antiquing by filling just the tips of a damp wash brush.

• Begin in the corner of the surface, working down along the edges to empty the brush.

• Move the antiquing evenly over the surface, feathering in toward the center to avoid harsh edge lines.

• Focus the antiquing around the edges, keeping the design center lighter.

• If there is too much antiquing mixture in the brush for the surface area, wipe out the excess on a paper towel.

INKING: Inking pulls out details and gives the design ‘pop’.

Add the inking after varnishing and antiquing have been applied and have completely dried.

Trace around all the outlines of the designs and add interior details with the pen, as instructed above in the transfer section.

SPATTERING: Using a spattering tool, or a toothbrush, lightly spatter the stuffies, candy sticks, and candy box with Lamp Black.

If the paint seems too thick, dilute very slightly with a few drops of water.

Test spatter pattern before applying.

Photo #1

Photo #2

Photo #1 shows the design with all painting, shading, and varnishing completed.

Photo #2 shows the surface after the antiquing has been applied.

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THE STUFFIES:

Heart Background: Dark Rose

PREPARATION: Create cardboard templates of the designs. Lay templates on the muslin, tracing the outlines, and the interior details for candy corn and the heart, with a lead pencil.

FINISHING AND ASSEMBLY: When paint is dry, draw on linework detailing with the pen.

Paint the designs while fabric is still in one piece.

CANDY CORN: Orange area: Cadmium Orange. Shade along the sides, and bottom, with Santa Red. Brush on Tangerine in the center to highlight.

Yellow area: Pineapple. Shade with a mixture of Pineapple (80 %) and Brown (20%) along the sides.

White area: Paint with White and Buttermilk.

Shade along the sides of the white and yellow area with Cadmium Orange.

PUMPKIN: Base coat with Bright Coral. Shade the edges with Santa Red. Highlight the center with Tangerine.

Allow to dry. Paint Santa Red from the top to the bottom of the pumpkin to create dimension. Be sure to leave contrast between the base coat and the shading.

HEART: Circles: Paint with White and Buttermilk.

Shade one side with Brown.

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Shade with Santa Red.

Refer to the line drawing for placement.

Cut out the completed shapes.

Cut back panels from the fabric of your choice. I opted for plain black cotton.

Pin the pieces together, right sides facing in.

Sew together, by hand, or machine, allowing for a 3/8 inch seam allowance.

Leave an opening for each stuffie as given below.

CANDY CORN AND PUMPKIN: Leave a 2 inch opening along the bottom seam to allow for turning right side out before inserting stuffing.

PUMPKIN: Leave a ½ inch opening at the top to insert a twig stem.

HEART: Leave a 2 inch opening along one side seam.

After turning the stuffies right side out, fill with fiberfill. Stitch to close.

Pumpkin: Insert one, or two, twigs into top opening. Stitch seam closed to hold in place.

Cut lengths of twine to tie around each stuffie and stitch in place along the sides.

PAINTING WORLD MAGAZINE

Due to the size of this painting, the drawing has been reduced. Enlarge 300% 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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Goldfinch Gathers Sunflower Seeds Can’t you just imagine how proud this yellow goldfinch must be?

He has found a good supply of seeds for the upcoming fall and winter months. I am sure that his mate is waiting for her share.

By Nancy Dale Kinney-Stout I am Nancy Dale Kinney-Stout, residing in Longview, North Carolina, located at the foothills of the Blue Ridge Mountains. I have traveled and taught nationally and internationally since 1975 and have maintained a retail business from my home office. I enjoy painting from nature and enriching the walls or accessorizing my home. Over the years, I have authored 29 books on floral, birds and animals. Some of these books can be found in the Library of Congress in Washington, DC. I am also a Grumbacher Certified Teacher, but still prefer DecoArt Acrylics. If you would like information on my seminar teaching schedule, pattern packets, DVDs, books, or my specialty brushes, or need help with painting instructions, please feel that you can contact me at Nancy Kinney’s Paintin’House, 228 27th St. SW, Longview, North Carolina, 28602, or call (828) 612-0552, or e-mail me at kinney@twave. net. Web Sites: http://www.PictureTrail.com/nancykinney Facebook: nancy.d.stout@facebook. com. Also, visit Nancy Kinney’s Paintin’ House on Facebook for video clips and more! Visit how I use my specialty brushes at: http://www.youtube.com/nancykinney and more video clips on Facebook.

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Supplies: SURFACE: 12” Diameter Wooden Plate: #18-1704 Viking Woodcrafts, Inc. PAINTS: Americana Acrylic Paint DecoArt, Inc. • True Ochre

DA143

• Moon Yellow

DA7

• Cadmium Yellow DA10 • Lt. Buttermilk

DA164

• Black Green

DA157

• Antique Green • Celery Green • Burnt Umber • Burnt Sienna • Lamp Black

DA147

DA208 DA64 DA63 DA1

• Deep Burgundy DA128 MEDIUMS: • DecoArt Multi-Purpose Sealer DS17 (used for sealing the wooden plates before painting) • Masterson’s Sta-Wet Painter’s Pal palette (some colors are mixed) This palette will enable the paint to remain wet, thus saving time and money.

• Jo Sonja’s Retarder: Chroma, Inc. 205 Bucky Drive, Lititz, Pa. 17543, 717-626-8866 (Used to dampen surface in order to apply different color values and aid in blending) BRUSHES: • F.M. Brush Co. Inc. 70-02 72nd Place Glendale, NY 11385 (718) 821-5939 FAX (718) 821-2385 • Nancy Kinney’s Specialty Brushes: Floral, Small & Medium Dabber Brushes (These brushes are made especially for Nancy by FM Brush Co.) Available from Nancy Kinney’s Paintin’ House Email: kinney@twave.net

• Wash Brush 1-inch (25 mm), Series 206FW, (used to paint larger areas of backgrounds and varnish)

• Flat Chisel Blenders, Series 206CB sizes no.

4, 6, 8, 10, 12 I recommend chisel blenders in working with birds and wildlife because of the excellent chisel edge and control maintained by these brushes.

• Liner, Series L 206, size no. 1 1-inch Maxine’s Mop Brush • Nancy Kinney’s Small and Medium Dabber Brushes Nancy Kinney’s Floral Brush

MISCELLANEOUS SUPPLIES: • Large old brush for applying retarder (about the size of a ½” flat)

• Tracing paper (used for tracing design before transferring to painting surface) • Ballpoint pen or stylus (used to transfer patterns to surface)

• Gray transfer paper (must be slipped between pattern and surface to transfer pattern to surface)

• Fine Sandpaper (used in sealing and prep of wooden surfaces) Water bin • Paper towels (for wiping brush and applying rouged color in backgrounds) Sponge roller (used to roll background colors to surface) • Palette knife (used to mix paints)

Painting Terms and Techniques: DOUBLE LOAD: To double load a brush, dip the entire brush in one color, drag one side of the brush by another color. Blend by stroking on the palette to merge the two colors together softly.

SIDE LOAD: I side load my brush quite often when chiseling in fur or feather lines. To side load, drag one side of the brush by the paint. Be sure that the area around the paint pile is clean or you get color all the way across the brush.

DABBING OR LIGHTLY RUBBING TO BLEND: I use Nancy Kinney’s Dabber Brush to dab in light, dark, highlight and accent colors. Always AUGUST 2019 ISSUE

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dampen with the retarder before adding these values. Dip brush into color; remove excess paint on paper towel before applying to the surface.

After applying the color to the surface, wipe brush again and begin blending by patting. Wipe the brush often as you blend. The brush is never pushed straight down but must remain on its side using a gentle touch.

CHISEL EDGE OF FLORAL BRUSH FOR PAINTING BIRD FEATHERS, PINE NEEDLES, ETC: This brush can be either side loaded or loaded just on the tip. Using the chisel edge paint in the tiny fur or feather lines.

CHISEL EDGE OR LINE STROKE: The brush is loaded with paint. Flatten the brush in the paint. This technique can be used with a flat or the floral brush. Hold brush straight up and draw a line.

CRISSCROSS STROKE FOR UNDERCOATING: To undercoat an area, dip a flat brush into the paint and literally make the letter X with your brush. Fill in the entire area with this crisscross method. This stroke is used in base coating a muted background, as used in this design.

CROSS HATCHING: Mainly used to indicate dark values in my patterns. The cross hatching will indicate exactly where to place all dark values and where they should begin to blend into the other values.

DOTS: Dots that appear on the patterns are to represent light and highlight placement.

ANIMAL BLACK Animal Black is often referred to in my bird instructions. Never use straight black when painting wildlife. To mix animal black=2 pt. Burnt Umber + 1 pt. Lamp Black.

MY PAINTING TECHNIQUE: I believe that we all have our techniques of painting and that we all learn from each other. I do not “float” colors to place in my dark, light or AUGUST 2019 ISSUE

accent values. There is no “one” right way; it is a matter of choice. I find so many painters who feel that they have failed because they have trouble floating. You have not failed. Just relax, paint in the way that feels good and works for you.

My technique consists of basing in areas of my design with two or more coats of base color or medium value until I have good coverage. Allow drying. Using an old brush only for applying retarder, dampen the surface that you are working on with retarder. Wetting the surface with retarder gives the feeling to the painter that the base coat remains wet. My patterns indicate dark value placement with crosshatching. I pick up a small amount of the dark value using the dabber brush, which is explained under Brushes, and dab in my dark value as indicated on the pattern by cross hatching. I then wipe the excess paint from my brush; I am then ready to blend. Where the dark value meets the base coat or medium value, I dab to blend, softly merging the two colors together. For example if I were painting lots of leaves, I would repeat this method with all leaves. Allow drying or blowing dry with a hair dryer. I am then ready to add my light, high light and accent values. Again, dampen the surface with retarder, begin dabbing in the values as given in the instructions, wipe excess from the brush and blend. Usually I have marked the light value placement with dots on the pattern. It takes practice to get the feel of how much retarder to use. If you get too much or it is too runny, blot the area with a clean paper towel. Move your piece to an area of your home where you relax. Sit back, study over your design. Can you see the dark and light values or does it seem dull? If you do not see these values, repeat the above technique.

By using the retarder, a glazing technique is developed. You may repeat this technique as many times as needed to get your desired depth. If you need help with this technique, I am available.

BIRD TECHNIQUE: It is important to base in the bird body parts in the direction that the hair, fur or feathers grow, which is towards the tail. I always begin with an area that is under another. What you need to keep in mind is that the fur or tiny feathers overlap

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each other. You must learn to turn the brush on its chisel edge to get this soft furry over lap. Take a minute and really study over the worksheet before beginning to paint. Read over the instructions so that you, the artist, will know what you are striving to achieve. I always allow the base coats to dry and dampen with retarder to add dark, light and accent values. The more that you build these values up, the more beautiful your work becomes.

I do use my floral brush a lot to paint birds and flowers because when turned on its chisel edge, it becomes like a small dagger brush with a very thin edge and I can get lots of hair or fur.

Preparation: WOOD PREPARATION: Step 1: Sand wooden plate with fine grade of sand paper if needed. Wipe off sanding dust using a damp cloth or paper towel. Seal with DecoArt Multi- Purpose Sealer and allow drying. I use a large sponge brush for applying the sealer.

After the sealer has dried, sand again with fine sand paper to make sure that the grain that has risen from the sealer will be smooth. Wipe off sanding dust again. The sanding allows for a smooth surface. Base coat the background with two or more coats of Antique Green. Please use the roller sponge brush. You will want to roll the surface until you get the feel of an outer egg shell.

This is a great way to have no brush strokes and also great for my painting technique. Allow drying between coats of paint.

Step 2: After you have properly painted your background, you will begin to paint in the muted colors to bring out the fall colors. Using your one inch wash brush or larger, dampen the entire plate with the retarder. Beginning at the top of the plate, add touches of Black Green in the upper right top of plate, blending out into the Antique Green background. If you have trouble blending, it will help to add a touch of Antique Green to softly blend the colors together. Wipe brush and paint in Cadmium Yellow to the right of the Black Green down toward the center, blending as you go. In the upper left toward middle of plate, I painted in Deep Burgundy. Be sure to blend toward the Cadmium Yellow leaving no harsh edges. Black Green is criss-crossed along the

bottom of the plate working back up toward the other colors. If you feel the need to soften or have brush strokes, lightly blend over the entire plate using Maxine’s Mop Brush. Allow drying.

Painting Instructions: BIRD:

Paint Mixes: Mix 1: 2 pt. Burnt Umber + 1 pt. Lamp Black = Animal Black Mix 2: 2 pt. True Ochre + 1 pt. Burnt Sienna = Gold Note: Base coating to most of us is not the fun part of painting but the most important step. Your base coating should be done as directed in the instructions. Keep in mind that the colors in the bird must chisel into each other or your finished product will not be soft, but instead you will have harsh lines. So therefore, I think that good base coating is the result of a professional design.

Step 1: Base in all of the yellow areas of the goldfinch using a #6 chisel blender in the direction that the feathers would grow. This will be painted toward the tail. You will need to give the bird a couple of coats of Cadmium Yellow.

As you paint this step, try to give a furry edge to the front of the bird using the chisel edge of your brush. Be sure to turn the brush on its chisel edge as you reach the black areas of the bird as well as just over the wing and where the white begins on the rump.

You do not want a line to just stop. It will dry, always leaving a line between the colors.

Step 2: Base in all black areas with Mix 1. You will probably only need one coat. As you reach the beak, chisel the color toward the beak. Keep in mind that the fur will grow over the beak slightly.

Be sure as you base coat the black, chisel into the yellow areas.

Step 3: Base in the tiny white rump and white area on wing using Lt. Buttermilk, chiseling back up toward the Cadmium Yellow.

Step 4: Base in the beak with two coats of True Ochre. As you work toward the head, turn the brush on its chisel edge and chisel the beak back into the head.

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SUNFLOWER AND LEAVES: Step 1: Base in the center of the flower with Burnt Umber dabbing the edge of center instead of just a circle. Dab a small amount of Antique Green in the center of each sunflower.

Step 2: Base in all sunflower petals with two coats of Cadmium Yellow. Allow drying between coats.

Step 3: Base in the two leaves with Antique Green.

While they remain damp from the paint, just indicate the edges with Celery Green. I did not want them to stand out at all. This will just indicate the edges.

Step 4: The calyx that holds the larger flower are painted using a #4 flat double loaded in Antique Green, side loaded with Black Green. Paint in the tiny leaves using a stroke petal. Try to stagger them. The Black Green will be on the left edge of the brush. Flatten brush and press, sliding up on the chisel edge. See Above Terms & Techniques.

Allow drying.

GOLDFINCH AND SUNFLOWER FIRST SHADOW PLACEMENTS: Step 1: Dampen the bird with retarder. Using the small dabber begin chiseling Mix 2 into the beak, around the eye, under the neck, just under the wing, ear area and down the front of the bird.

Wipe excess paint off of brush to soften in this shadow.

Step 2: Using the small dabber, paint a tiny shadow just where the white rump meets the yellow belly. This can be a brush mix of Mix 1 plus a touch of Lt. Buttermilk to get a medium gray value. If you should get this area too dark, add a touch more of the Lt. Buttermilk to further lighten.

Step 3: The beak has a tiny shadow of Burnt Sienna just where the beak meets the head. Be sure to chisel back into the black head area. At this time, using a liner, paint a tiny separation between the top and bottom beak. This line should be on the bottom beak and not along the top of beak.

Step 4: Using the chisel edge of the floral or a flat brush, slide in the elongated C stroke on the wing and in the tail area.

Step 5: Dampen sunflower with retarder. Using the medium dabber, paint in your shadow of Burnt Sienna as indicated on the pattern by cross hatching. This shadow is at the tip of the flower and at the bottom of each petal as it touches the center. Study your pattern to see where the shadows are placed. There may be petals that are over others.

Step 6: Allow flower & bird to dry before going on to completion of shadows. You must remember that we are building up values to create lots of depth in our design.

GOLDFINCH AND SUNFLOWER LAST PLACEMENT OF SHADOW: Step 1: Goldfinch: Dampen again with retarder.

The next placement of shadow on the bird will be completed with Burnt Umber. You will repeat the Burnt Umber over Mix 2 as you did in step 1 in all of the same areas.

Step 2: Beak: Paint a tiny shadow of Burnt Umber just where the beak leaves the head, chiseling as

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you did before back into the head. Once you have completed this, add a tiny amount of Mix 1 right on the outer tip of beak. Wipe excess paint from brush and blend lightly back toward head. You do not want to take it all the way back to head, just at the tip of the beak. At this time you can also add a thin line of black to separate the top of beak from bottom. Just be careful that you do not get the black on top of beak.

Step 3: I did add a touch of Deep Burgundy along the bottom of his body and just under his eye area. I wanted to create a touch of reflection back from the flowers.

Step 4: Sunflower: In the second placement of shadows in the sunflower, I used Deep Burgundy.

You will paint this color exactly where you painted the Burnt Sienna.

SUNFLOWER CENTER AND LEAVES: Step 1: Using a #4 flat, double load with True Ochre and Burnt Sienna. With the True Ochre facing up on the chisel edge of your brush, paint in the sunflower seeds. I found that after I had loaded the brush, it worked really well to lean the brush up slightly so that the seeds came off easily.

Leave open the green in the center. This is where the nectar is for other birds.

Step 2: Allow complete drying before proceeding to next steps.

GOLDFINCH AND SUNFLOWER: ADDING LIGHT VALUES AND DETAILS: Step 1: Goldfinch: Dampen entire bird with retarder. Using the chisel edge of the dabber, begin your first light value of Moon Yellow. You will also want to chisel the light value in as you paint. Begin first by painting the cheek area, down the middle of the belly, down the back and just over the wing area. At this time you can also add a touch of Lt. Buttermilk to further lighten.

The top of the head is black. I added just a touch of Lt. Buttermilk to put a shine on his head.

Step 2: Beak: Using the dabber and just a tiny amount of Moon Yellow, lighten the top of the beak.

Step 3: Eye: The eye is based in with Mix 1. Using the liner, paint a tiny eye ring around the top of eye and along the bottom of eye. Lightly add just a tiny amount of Moon Yellow on this eye ring on AUGUST 2019 ISSUE

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top of the Cadmium Yellow, just above and below the eye. Thinking of the black eyeball as a clock, paint a tiny sparkle at 11 o’clock and a smaller sparkle at 5 o’clock. If you should get the sparkle too light, you can always fix with a touch of Mix 1.

Step 4: Sunflower: Dampen with retarder. The light value is Moon Yellow right in the middle of each petal. Do one petal at a time. Using the medium dabber paint in the middle, wipe excess paint from brush and blend back toward center and toward the tip. Do not take this value into the dark areas.

Step 5: Using the chisel edge of a flat brush or the liner, paint in tiny veins of Deep Burgundy. This should not be strong, especially since you have the retarder already on the flower.

Step 6: After you have finished the flower, paint a tiny foot as you see in the below photo on the flower. I used a liner for this. First, I painted my toes in Mix 1 and lightened just a touch on each

toe to separate. The claws are Mix 1. I did paint a few hairs along the top where the foot would come from the body, sort of hides it. You just want to indicate the foot. Just keep it small.

Step 6: Allow both flowers and goldfinch to completely dry. You can always go back and lighten or darken to further develop depth. You will just re- dampen the areas and repeat the above instructions. I cannot stress enough how important this step is. This is where you really want to study to see that you have created a soft bird with depth and distinction. Allow complete drying.

Finishing:

Step 1: After completing your design, I wanted the goldfinch to really stand out. This step is important because it sank the flowers in a tad and brought out the bird as the focal point.

Step 2: Be sure that your plate is completely dry.

Using your one inch brush, dampen the entire plate again. I brushed a light coat of Burnt Sienna right over the flowers and into the edges of the bird. I then also added a wash of Antique Green.

The green was mainly brushed into the tips of the petals. By using the Burnt Sienna, on the bird areas a more rounded edge was created on the bird so that it did not just look cut out and pasted on. I also used touches of Deep Burgundy and Black Green as needed. Allow complete drying.

VARNISHING: Give the entire plate two coats of varnish. Allow drying between coats.

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PAINTING WORLD MAGAZINE Due to the size of this painting, the drawing has been reduced. 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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October Sunrise

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 AUGUST 2019 ISSUE

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SUPPLIES SURFACE: • 11 X 14 canvas PALETTE: MARTIN F. WEBER PRIMA OIL COLORS • Ultramarine Blue • Burnt Sienna

• Yellow Ochre

• Titanium White BRUSHES: • Artist Loft / Flat Bristle (Brushes come in a pack of 12, and can be purchased at Michael’s Art & Craft Stores) #’s 9, 5, 4, 2 • Bob Ross Script Liner

OTHER SUPPLIES: • CANVAS PREPARATION / MICHAEL’S Kanvas Koat® Using a chip brush or sponge roller, apply 2 coats of Michael’s Kanvas Koat (Orange) 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 in any art or craft store. It is only available by ordering from Michael’s website: www. palettecreationsbymichael.com When using Kanvas Koat, you will not need the use of any oil medium to make the paint move, spread or blend.

This happens automatically right on the canvas!

Helpful Hint:

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 allows some color to remain in the bristles, causing more variety of color tones when loading the next color mixes.

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

SKY AND SUNRISE: Using the #9 flat bristle, load a mixture of Ultramarine Blue, Burnt Sienna and a touch of Titanium White. This will be a blue gray mixture.

Working off the flat of the brush and using long horizontal strokes, paint in a very subtle sky at the top, leaving almost all the orange undertone showing. Using a #4 flat bristle, pick up a bit of Titanium White. Working off the flat of the brush, start behind the distant mountain and paint in the sunrise by using upward and outward strokes, creating sun rays.

A WORD FROM MICHAEL: The reason for applying the color (Orange) Kanvas Koat, is so the paint will move, spread, and blend without the use of oil medium. Secondly, when painting this project, don’t 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!

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DISTANT MOUNTAINS: Using a #5 flat bristle, load a mixture of Ultramarine Blue, Burnt Sienna and Titanium White. This will be a light blue gray mixture.

Working off the flat of the brush, paint in the top edge of the mountain, pulling down at an angle, slightly to the right. Leave some of the undertone showing in the mountain, mainly at the bottom.

This will create the distance between the two mountains. Using the same brush and mixture, but adding a bit more Ultramarine Blue, paint in the closer mountain as just described.

BACKGROUND TREES: Using the #5 flat bristle, load a mixture of Ultramarine Blue and Yellow ochre. This will be a

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dark olive green mixture. Working off the flat of the brush, start on the right side of the barn and paint in the trees using short downward strokes.

As you progress upward, stop when you have reached the middle of the roof. Load more paint in the bristles and bring the brush to a chisel edge. Paint in a placement line (vertical) for the pine trees. Starting at the top, work back and forth across the line to form the pine trees. Repeat the process on the left side of the barn. For the larger end tree to the left, work for a loose and airy look on top. Wipe the brush! Load a mixture of Yellow Ochre and a touch of Ultramarine Blue (just enough to dull the Yellow Ochre). Working off the right corner of the brush, tap in some highlighted bushes using a short comma stroke.

Work in layers, leaving some dark in between.

These are very subdued and not bright at all!

Using the script liner, thin down Ultramarine Blue and Burnt Sienna. This will be a dark (almost black) mixture.

Weave a trunk and a few limbs in and out of the larger tree.

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BARN: #4 & #2 Flat bristle Overhangs, door, hayloft, opening and window: Ultramarine Blue + Burnt Sienna = dark mixture (black) Left and right side base color: Ultramarine Blue + Burnt Sienna + Yellow Ochre = medium olive green mixture Left side shadow color: Yellow Ochre + a touch of Titanium White (keep this very subdued)

flat of the brush, use short downward strokes to paint in the grasses on each side of the path, leaving a bit of unpainted space in the middle.

Also, pull a bit of this color mixture over the path, but leaving some of the undertone showing.

Wipe the brush! Load a mixture of Titanium White with a touch of Yellow Ochre. Working off the flat of the brush, tap in the highlighted grasses on

Highlighted right side color: Titanium White + a touch of Yellow Ochre HAY: Yellow Ochre Cement slab shadow side color: Ultramarine Blue +Titanium White = medium blue Cement slab highlight side color: Titanium White + Ultramarine Blue = light blue WINDOW PANE: Titanium White + Ultramarine Blue = light blue ROOF: Ultramarine Blue + Titanium White = medium blue ROOF HIGHLIGHT: Titanium white GRASSES AND PATH: Using the #5 flat bristle, load a mixture of Ultramarine Blue, Yellow Ochre and a touch of Titanium White.

This will be a medium olive green mixture (a bit lighter than the background tree mixture). Working off the

both sides of the path, intermixing and blending with the previous olive green mixture. Wipe the brush! Load some of the darker olive green mixture and tap in a few darker bushes up over the grasses in the foreground.

FINAL DETAILS:

When the painting is dry, you may want to reinstate highlights and shadows. It is difficult to achieve the desired brightness that you need when the paint is still wet!

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Due to the size of this painting, the drawing has been reduced. 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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PAINTING WORLD MAGAZINE

THE USE OF

color

IN THE

Halloween palet te

By Diane Marie Kellogg When I looked up the definition of color on Dictionary,com, I was struck by the complicated wording used to describe color.

If you look yourself, you will see what I mean. Perhaps the easiest description is color is what you see when light bounces off of things! Wow! When I think of color, I think of the multiple bottles of paint awaiting my attention in the studio. I think of a colorful palette I can’t wait to apply to a surface. I don’t think of the technical aspects of color, I just enjoy what I can see, what I can use to create.

As I researched this article, I found so much information available about color. We often don’t give color much thought as we create, we just use what we think will look good. This shade of orange with that shade of purple, the artist in us inherently knows which colors to use. We, as decorative painters, are so fortunate to have a vast selection

of colors to use.

relates to the unknown.

What makes Halloween colors so inviting? Black and orange, the traditional colors of Halloween.

Somber blacks, deep shades of orange, intense plums, somber purples. How do dark colors influence our perceptions? What do brighter colors offer? The many shades of yellow and the lighter spectrum of orange, the seemingly bright color of white.

These often appear in Halloween themed art.

Using the darker shades of purple, from a vibrant plum to an ominous shade of wine, we see the same effect as black, albeit a bit less obvious. Purple represents mystery.

Let’s look into what the different colors make us feel as we use or view them in a Halloween themed context.

Black gives us a feeling of power; it can bring about feelings of fear and mystery.

Black has always been the color of death, from the grim reaper to a vampire’s cape. Used as a background, it gives feelings of perspective and depth. It is basically the absence of color; it

Darker shades of blue offer much the same effect. While the color blue is often believed to keep the bad spirits away, a darker blue is often used for a nighttime background, meant much as the color black, to convey a feeling of perspective and depth.

Once we have our background, we now look to the light. The contrast between the dark and light is one that has appeared from the dawn of time. Day and night, good and bad, stop and go...all are about contrast.

Contrasting the brighter colors brings you out of the depth provided by your darker backgrounds.

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Orange, in its many shades, provokes many feelings, from excitement to warmth. They bring about an energy that warms, an adventure, happiness.

Orange is the color of the harvest, the color of fall.

Yellows bring joy and optimism while also providing a warning, to use caution.

Reds can vary, depending on the depth of the color. They can signify aggression or danger, even intensity.

Whites are not something we normally think of in relationship to Halloween. Normally white makes us think of innocence and purity. When we place it into a Halloween setting, we get bones, ghosts, even lightening...white becomes scary.

Halloween is a holiday that is generally celebrated at night.

While researching, I have found many examples of art through history. Some aren’t necessarily meant for Halloween, but they fit the theme as examples of color use.

Consider the work of Vincent van Gogh, an artist who lived in the mid to late 1800’s. One of his best works is titled Starry Night. It is a perfect example of a darker background with the lighter contrasts.

Another work to consider is that of Edvard Munch, The Scream, 1893. At first glance, the painting appears very light but then you notice the dark that surrounds the central character’s head.

The contrast of light and dark is there.

all the vogue. Many had light backgrounds, perhaps to brighten the mood or feel of the holiday. My favorites tend to be those with the darker backgrounds, while not really scarier, they speak more to the aspect of light and dark.

While I would love to show you the many beautiful versions of current Halloween art that is available, copyright laws prevent me from doing so. However, a search for ‘current Halloween artist’ brings up a wide array of art using dark backgrounds while using the light to contrast.

I hope that my journey into Halloween and its many colors inspires you to pick up your paint brush and join in the fun!

At the turn of the century, Halloween post cards were

Sources

https://www.yourdictionary.com/color www.dictionary.com www.color-wheel-pro.com https://commons.wikimedia.org/wiki Starry Night Image https://commons.wikimedia.org/wiki/File:VanGogh-starry_night_ballance1.jpg The Scream Image https://commons.wikimedia.org/wiki/File:Edvard-Munch-The-Scream.jpg Halloween Postcard Image https://commons.wikimedia.org/wiki/Category:Halloween_cards#/media/File:%22A_Merry_ Halloween.%22_(Girl_blowing_a_horn_with_three_Jack-o-Lanterns).jpg

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THE

Yearling

By Debbie Cushing Horses have always been my first love to draw. When I was younger, that’s all I did. I have branched out since then, but horses will always be my favorite animal to do.

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Debbie is a self-taught artist from Wichita, KS, but has lived in Springfield, MO, for the past 25 years. She started off drawing horses when in grade school, then moved into using acrylics in her teens. Recently, in the past 3 to 4 years she has added colored pencils to that list of mediums she uses. Now she does commission pet paintings, online classes, designs pattern packets and teaching where she can to help others learn their passion of painting animals.

Supplies: SURFACE: • I used an 8” x 10” Light Grey/Platinum Suede Board (can be purchased on my website www.debbiecushing.com) FABER-CASTELL POLYCHROMOS COLORED PENCILS: • Burnt Sienna, 9201-283 • White, 9201-101 • Black, 9201-199

Helpful Hints

Use the scrap piece of paper to lay on your work to rest your hand on so you don’t smear your work. Plus, it would be helpful to use hand sanitizer to get all the lotion and oils off your hands before starting.

Keep your pencil sharp through out, so sharpen often. Use small circular circle to fill in areas and keep the pressure the same.

Take a piece of Scotch Magic Tape and press onto suede if there is any lint, fuzz or hair. This will take if off your suede. You will also use the tape for mistakes. To do this you need to press the tape over the area of the mistake and rub pencil over that area and lift tape and it will pull up most of the color of your mistake. You may have to repeat several times. It should then let you go over the area to fix it easier.

USING PRESSURES: I have three different pressures in this project.

Light is using really light pressure on the pencil, medium uses a little heavier pressure, and heavy you really press hard down on the pencil (but be careful not to break your pencil).

• Light Flesh, 9201-132

• Medium Flesh, 9201-131

• Juniper Green, 9201-165 SUPPLIES: • Scotch Magic Tape

• Transfer Paper (home made using graphite pencil is best), • Tracing Paper

• Pencil Sharpener

• Scrap Piece of Paper • Stylus

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PREP WORK PREP WORK: I transfer the pattern on using just the pattern and stylus, using light to medium pressure to mark the suede (don’t press to hard or you will make a groove).

You should be able to see the lines made in the suede.

Then I used Burnt Sienna, with very light pressure, to outline the brown area and white for white areas.

STEP 1 STEP 1: Fill in muzzle and the white of the eye with Medium Flesh using medium pressure. Fill in pupil and outline eye with Black using heavy pressure. Do the same with the inside of the ear. Add Black in the shaded areas using light pressure and medium pressure in the darker areas as shown in photo. It is easier to add more layers then make it too heavy from the start.

STEP 2 STEP 2: Go over all the brown of the foal with Burnt Sienna. Use light pressure in the lightest areas, heavy pressure over the black areas and medium pressure in the darker areas of the brown. Add some strokes in for the tail and mane too. It won’t look smooth yet.

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STEP 3 STEP 3: With Medium Flesh and medium pressure, go over the brown areas again to blend the colors a little more. Don’t forget to add some lines in for the tail and mane.

STEP 4: Add White with heavy pressure on the bottom of the legs going over the black as you go. You will need to go over it 3 or 4 times to get really white. With Burnt Sienna and heavy pressure, fill in the hooves going over the black to blend together. Then use White to add highlights to the hooves.

STEP 4

STEP 5 STEP 5: Go over all the brown parts of the foal with Burnt Sienna using medium pressure to blend the colors.

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STEP 6 STEP 6: On the front leg, use Black with light pressure to add a shadow at the back of the leg. Look at each section of the foal for highlighting with White as shown in photo.

STEP 7 STEP 7: Finish filling in on the mane and tail with first Burnt Sienna, then Medium Flesh, then end with White. Add a little Black on the mane along the neck.

STEP 8: With Juniper Green, add grass at the bottom to ground the foal. You can use your imagination and add other things to the background if you want. I just like things simple.

FINISHING UP: Just look over and touch up anything you need to. If framing, be sure to put a mat board between the glass and the project.

STEP 8

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Due to the size of this painting, the drawing has been reduced. 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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Directory of Artists Tracy Moreau

Judy Diephouse

www.tracymoreau.net tracy.moreau@tracymoreau. net

Kay Witt sleepingdogart@gmail.com www.kaywitt.com

Patty Butters

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