April 2020 Issue Painting World Magazine

Decorative Painting, Mixed Media, Fine Art & More!

April 2020

Painting World

Issue 26

ÂŽ

magazine Celebrating Decorative Painting and it’s Deep Roots. p 67

Cover Artist: Maureen J Baker $9.00 USA $11.50 Canada

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APRIL 2020 ISSUE

Contents

PAINTING WORLD MAGAZINE

Cover Artist

THE GATHERING

PURPLE BEAUTY

8 Marianne Andreazza

FELICITY

32 Susan Cochrane

15 Marika Moretti

36

BLUEBIRD WITH FLOWERS

Mabel Blanco

MY NORTHERN FRIEND

20 Maureen J Baker

GLASS CROCUSES

42 Annamarie Oke

GOLDFINCHES AND DAISIES

27 Marlene Fudge

SWEET CYGNET

48 Linda O’Connell

More Great Articles

HOME SWEET HOME

54 Sandy McTier

26 Seeing Outside the Box 40 Passing the Paintbrush 62 From Art Journal to the Skies the Limit!

64 Enter the Artful World of Anne Reboul 67 A Look into the Historial Florals of Decorative Painting 77 Directory of Artists 78 Directory of Suppliers

ADVERTISERS INDEX

2 Bear with Us

47 Tracy Moreau

7 Country Pathways

71 Quality Print

7 Smooth Cut Wood 7 Plain & Simple Magazine

47 Pinecraft

74 Plain & Simple Magazine 80 Dixie Belle Paints

73 Viking Woodcrafts

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Calling all 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 16,000 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 APRIL 2020 ISSUE

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FROM THE Editor

Letter from the Editor

We are off to a wonderful year, thanks to all the staff and artists who help make this such a wonderful publication.

It is with heavy hearts that some of our greatest conventions and shows have come to an end. However, the emergence of conventions catering to the mases is paving the way as an opportunity waiting. These are blank canvases to draw a younger crowd into the world of Decorative and Tole painting.

Here is to building upon something new, creative and trend. Let this be the best year yet!.

Who We Are

Kole

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). February 2020, Volume 01, Issue 25 ©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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PAINTING WORLD MAGAZINE

CONVENTIONS , EVENTS &TRADE SHOWS New England Traditions presents

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

New England’s premiere decorative painting experience...

Great Teachers, Great Classes, Great Shopping, Fall Foliage & more!

Painters: ONLINE CATALOG and online registration make it easy!

Join, Like & Share us on Facebook! Businesses: Advertise with us!

Teachers: Thank you for your creativity and dedication to NET!

NewEnglandTraditions.org All inquiries to robinprout@yahoo.com. See you in October!

Sponsored by the New England Chapters Council, Society of Decorative Painters, at Best Western Royal Plaza, Marlborough, MA NET 2020 artwork by Nancy Scott, CDA ©2019 NECC

Pin It Canada Pin It Canada – Ontario London, Ontario June 12-13, 2020 Pin It Canada- Quebec http://www.pin-itcanada.com Pinners Conference and Expo Pinners Georgia Cobb Galleria Centre,Atlanta April 17-18 2020 https://ga.pinnersconference.com/ Pinners Minnesota Minneapolis Convention Center May 8-9 2020 https://mn.pinnersconference.com/

APRIL 2020 ISSUE

PAINTING WORLD MAGAZINE

New Book

Country Pathways Vol. 10

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

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The Gathering

Marianne first picked up a brush over 25 years ago, taking a 4-week beginning painting class in Southern California. Ever

By Marianne Andreazza since, painting has been her passion. She expanded her painting horizons to many other techniques, media, and instructors by attending conventions across the country as a student, refining her own style over the years. Marianne’s journey continued into designing and teaching to include travel teaching. Marianne has taught at the SDP Conference, Creative Painting in Las Vegas, Heart of Ohio Tole Convention in Ohio, the NW Decorative Painters Convention in Seattle, and local Southern California chapter events. Marianne recently retired from the U.S. Navy’s cost estimating competency in San Diego where she exercised her left brain. In retirement, all that energy has become right brain focused, allowing Marianne to pursue her creative endeavors from her home studio in Temecula, CA. APRIL 2020 ISSUE

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The bounty from my Meyer Lemon tree reminds me how blessed I am with my circle of family and friends, both of which inspired this project. You will learn how to incorporate paper craft and mixed media techniques as a background to your projects to add an extra dimension to them. Painting lemons can be fun and easy, and I will show you how.

SUPPLIES: SURFACE:

Any 12 X 12 Wood Canvas (www.dickblick.com, #07044-1212) PAINTS: DecoArt® Americana: • Avocado DA052

• Burnt Umber DA064

• Cadmium Yellow DA010 • Ocean Blue DA270

• Water Basin

• Transfer Paper • Stylus

• Brayer

• Condiment Cup or other small container (2) • Palette Knife • Chalk Pencil • Paper Plate

HELPFUL HINT:

• Snow (Titanium) White DA01

Do not use your best “wash” brush to apply Decou-Page glue or DecoArt® Gesso and be sure to wash your brush immediately after using them.

Be sure to have a protective layer on your painting surface.

• True Ochre DA143

PAINTING INSTRUCTIONS:

• Olive Green DA056 • Pineapple DA06

• Teal Green DA107

DecoArt® Dazzling Metallics: • Emperor’s Gold DA148

Mediums/Other:

• DecoArt® Media White Gesso DMM18

• DecoArt® DuraClear Satin Varnish DS21

• DecoArt® Decou-PageGglue, Matte DS106

• 12 x 12” Scrapbook paper with script, any craft store BRUSHES: Dynasty® (FM Brush)

• Eye of the Tiger Flat #8, #12

• Decorator 400 Series Stipple, Small • Black Gold, 206 Series, Angle, 1/2” • Black Gold, 206 Series, Wash 1”

• Black Gold, 206 Series, Script Liner 10/0 • Faux Squirrel Rigger, #2

MISCELLANEOUS SUPPLIES: • Paper Towels, preferably Viva or other nonembossed towel

SURFACE PREPARATION: Since you are going to decoupage scrapbook paper to the wood canvas, sanding is discouraged as the dust will interfere with the adhesion of the paper. However, if you choose to paint the project without the decoupaged background, prepare this surface as you would prepare any other project using wood.

Pour a generous amount of DecoArt® DecouPage glue into a small container like a condiment cup. Using the wash brush, apply a generous amount of glue to the wood surface. It is important that you work quickly, as wood can be very thirsty. When the surface is covered, apply the 12 X 12” scrapbook paper, lining up the bottom edge of the paper with the bottom edge of the surface. Position the paper so that it lies flush with the surface. Smooth out the paper with your fingers and work any resulting air bubbles out with a brayer to ensure the paper is totally adhered to the surface. Do not worry if you have a crease or two in the paper. That’s just texture, and texture is a good thing. Be sure to thoroughly clean the brush. Let the surface dry completely.

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Next, use your palette knife to put about 1T of Gesso into a clean condiment cup. Thin the Gesso down to the consistency of thick paint using the wash brush. Before you proceed, be sure you have a clean Viva towel at the ready. Quickly apply the mixture to the wood, covering the entire surface. While the gesso is still wet, use the paper towel to wipe most of it off. I used horizontal strokes to do this because I was going for an even coating. If you want more texture, you can use a pouncing motion to remove some of the gesso. Let this dry. You will notice that you can still see the writing underneath pretty clearly. If so, repeat the process above, at least once, possibly twice. The goal is to see the script faintly as the scrapbook paper is not the star of this project. Its purpose is to create interest.

Wreath:

Use a chalk pencil to trace an 8” paper plate in the center of the 12 X 12” square surface. You cannot see the entire wreath under the pattern, but it is there, and it shapes the entire project, so it is best to paint the wreath without the pattern.

Use the 10/0 Script Liner loaded with inky Burnt Umber to paint the wreath. Use thin lines to shape it and be sure to paint jagged strokes as this would be a wreath of woven branches, not soft vines.

Transparent Leaves:

These are painted first and without detail as they represent leaves in the distance or the back of the wreath. Create three inky puddles on your palette. One each of Olive Green, Teal Green, and Avocado. Test the transparency of your paint on your palette or the back of the surface to be sure it is transparent enough. With the #12 flat, paint APRIL 2020 ISSUE

the transparent stroke leaves, alternating among the colors, and even mixing them to get values that suit you.

Lemons:

Use the #8 flat to basecoat the lemons with Snow (Titanium) White to mask out the script background. Use as many coats as it takes to get an opaque lemon.

This is necessary because yellows are very transparent, and you want the color of the lemons to be bold. When the base coat is dry, use the same brush to add a base coat of Pineapple to each lemon.

When that is dry, load a generous amount of Pineapple and Cadmium Yellow to the stipple brush.

Generous paint will create texture that lemon skins have. Pounce the color into the lemon keeping the Cadmium Yellow to the outside, blending into the center to create light where the sun might highlight it.

Assess your colors. If you’ve

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blended too much so that you got a medium shade of yellow, wipe the excess paint out of your brush on a paper towel (do not wash it). Load the colors separately to correct. Your goal is darker color on the edges and lighter color in the middle.

Let the lemons dry before proceeding Load the 1/2” angle with Olive Green in the toe and water in the heel.

Softly shade some of the lemons on the brighter side so that they appear a little less ripe than the others. If you look at a lemon tree, you will see that each lemon is in a different stage of ripeness.

Finally, load the 1/2” angle with True Ochre in the toe and water in the heel.

Add some shading to the lemons on the bottom or where the lemon is farthest from the light.

Detailed Leaves:

Use the #8 flat to basecoat the detailed leaves with Avocado. Two coats may be necessary. Wipe the excess paint out of the brush on a paper towel. Load Olive Green onto the brush and work the paint into it on the palette. To dry brush the edges in the light, stand the brush at the tip of the leaf and sweep it toward the center, but not to

the center. Wipe the excess paint out of the brush on a paper towel. Load the brush with Teal Green and repeat the process on the shaded side of the leaves. Create an inky puddle of Olive Green with a touch of Snow (Titanium) White to soften the color a bit. Load the mixture on the 10/0 script liner and paint the veins of the main leaves. The transparent leaves do not get any vein detail.

Gold Leaves:

Create a puddle of inky Emperor’s Gold on your palette. Using a clean #12 flat, paint large transparent stroke leaves in areas which need a little fill on the wreath. Assess the fullness of your wreath. To add small gold leaves, use the #8 flat loaded with full-strength Emperor’s Gold and place them where you think your wreath needs them. Refer to the picture of the total project for placement.

Shading:

Load the 1/2” angle with Burnt Umber in the toe and water in the heel. Add shading to lemons that touch each other, and leaves that overlap lemons.

Shade to your taste.

Water down the Burnt Umber and use the same angle brush to lightly add color on the outside of the wreath to the edges of the surface. Since you’re adding wet, watereddown paint to the surface, have a paper towel ready to wipe it off, should it be too dark for your taste.

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Lettering:

Do not add water to the paint to do the lettering but do use fresh paint. Load the faux squirrel #2 rigger with Ocean Blue and paint the lettering. When it is dry, accent the letters with the 10/o script liner and Emperor’s Gold.

Final Touch:

If you want the blue border, load the 1/2” angle brush generously with Ocean Blue in the toe and water in the heel to add shading all around the project. If you decide to do this, be sure you paint the 7/8” rise of the wood with full-strength Ocean Blue.

Varnish: Use the wash brush and two coats of DecoArt®’s DuraClear Varnish in a matte finish. Be sure to let the first coat dry before applying the second.

I hope you enjoyed painting “The Gathering” with me. I’d love to see your version of “The Gathering” on Facebook or email: Facebook: https:// www.facebook.com/ Marianne-AndreazzaDesigns-454496454714709/ Email: marianne@ mariannepaints.com

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Enlarge or reduce the size to the surface of your choice.

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

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Enlarge or reduce the size to the surface of your choice.

Enlarge by 200% for a 12x12 surface.

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

Purple Beauty

By Marika Moretti

My name is Marika, I am 36 years old and I live in Bologna, Italy. My adventure with painting began more than 10 years ago‌ I had never taken a brush in my hands at that time, but when I started, it was love at first sight and I never stopped since then! During the years, I also had the chance to take many classes with American artists, amazing and talented teachers who helped me improving my painting skills and developing my own style and, in the end‌ becoming myself a designer! I started creating my own designs about three years ago and I really love it! I also have been teaching during the years, even if I continue to consider myself as a student, because you never stop learning, from others, but especially from yourself, from your mistakes‌ or better from your creative attempts!

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Dear Painting World Magazine’s Readers, thank you for painting this design with me! In this project, I will teach you how I create a textured background using Gesso and how I paint flowers with shading and highlight floats. I hope you will enjoy it!

SUPPLIES SURFACE: Canvas - any brand - 30x40cm (approx.

11,8”x15,7”) PAINTS BY DecoArt® AMERICANA: • Avocado Dip DA254 • Burnt Umber DA064 • Grape Juice DA236

• Hauser Dark Green DA133

• Hauser Light Green DA131

• Hauser Medium Green DA132 • Khaki Tan DA173

• Lamp Black DA067 • Lavender DA034

• Morning Mist DA359 • Soft Black DA155

• Titanium Snow White DA01 MEDIUMS/OTHER PRODUCTS: • DecoArt® Media Gesso - White DMM18

• DecoArt® Drying Time Extender Medium DAS1

• Windsor & Newton® Oil Paint - Burnt Umber • Linseed oil BRUSHES BY COMPANY NAME: • Dynasty® - Black Gold 206 FW Shader: 34”, 24”, A” • Dynasty® - Black Gold Round 206L: #1, 2 • Dynasty® - Black Gold Filbert 206FIL (for basecoating): #6, 8, 10

• Dynasty®- Black Gold Script Liner 10/0 and Mini Script Liner 20/0 • Lowe Cornell® - Maxine Mop: 34”, 12”, 3/8” • Royal & Langnickel® - Fan SG850: #6

Flat 1” (any brand, you just need it to wet the surface) APRIL 2020 ISSUE

Miscellaneous Supplies: • Paper towels

• Paper palette

• Transfer paper

• Brush cleaning basin

• Black graphite paper • Stylus

• Sanding pad • Palette knife

• A couple of old fabric pieces (I cut an old T-shirt and it works great!)

PREPARATION:

Lay down the Gesso on the canvas using the palette knife. Do small sections at a time because you need also to brush the medium a little bit to give texture to the background. Move the Gesso by wiping the surface with the fan brush every which way with nice, light strokes; remember... the more you do, the more texture you will get.

Let dry. When the Gesso is completely dry, lightly sand the canvas edges.

PAINTING INSTRUCTIONS: BACKGROUND Now take a piece of fabric, make a kind of ball of it and soak it into the extender. Remove the excess, then pounce the fabric piece on some Khaki Tan and work it a little on the palette.

Now, start rubbing the fabric on the canvas with circular motion. Change, also, the direction quite frequently so that you can have more change in

Helpful Tip or Hint:

I don’t know if you have ever done a texture painting... lots of fun to do!!! The only suggestion I can give you is not to think too much, just follow the flow... I usually listen to high-rhythm songs when doing this, so I can follow the music without overthinking!

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color intensity and direction. The medium makes the color a little bit more transparent, this allows applying many light layers of color instead of a thick one, so that you can have even more texture. Actually, I did two coats for this step.

When you have reached the color intensity that you like, and the background is completely dry, transfer the main line drawing.

BACKGROUND SHADING: I have to admit... I don’t have a specific rule when it comes to background shading... sometimes I shade it at the beginning, sometimes at the end...

I still haven’t figured it out honestly! In this case, I decided to shade it at the beginning because the main design is big and there are not several different subjects. So, it’s completely up to you!

You can shade at the beginning or at the end, it doesn’t really matter. In any case, shade with Burnt Umber all around the main design, and deepen with Soft Black in the darkest areas.

BASECOATING Stems and leaves: Hauser Light Green Flower: Morning Mist SHADING AND HIGHLIGHTING Stems and leaves - Shade with Hauser Medium Green: bottom of stems, top of stems (under the flowers), bottom of leaves and inside vein.

Deepen the shading with Hauser Dark Green.

Highlight center of stems, center and top of leaves with Avocado Dip. (In this case, please refer to the picture of the finished piece).

Note: Sepals – I painted the sepals of the flower on the right, after completing the flowers, but it’s done the same way as the stems.

Before painting the flowers, you need to transfer the separation guidelines for flower center and petals.

Flowers - Shade with a wide float of Lavender: bottom of each petal, around the center and to separate petals.

Make sure this is a wide float, it should cover 3/4 of each petal.

Deepen each of the previous floats with thinner floats of Grape Juice.

Repeat these floats with Grape Juice+a touch of Soft Black.

Highlight the very ends of each petal with Titanium Snow White.

Center of flowers - Stipple the center of the open flowers with Grape+Lamp Black. Add the pistils with the same color mix, using your liner brush and adding a dot at the end of each pistil.

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FINISHING Outline stems, leaves and petals, where needed, with Lamp Black to increase the separation.

ANTIQUING I like to antique all my designs! I think it gives them an extra vintage and warm look, as well as a kind of final varnishing. To do so, I use a piece of fabric (a piece of an old T-shirt works perfect). I take some linseed oil with a touch of Burnt Umber oil paint, work it on my palette first and then start rubbing on the surface. Tip: if it gets too dark, take a clean piece of fabric with only some oil and rub again on the surface until you get the look that you want.

I hope you liked painting this design and that I have been able to teach you something new!

Always paint with joy, Marika

CONTACT INFORMATION: www.marikamorettidesigns.com marika@marikamorettidesigns.com Facebook – Instagram – Pinterest – YouTube: Marika Moretti Designs

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Enlarge or reduce the size to the surface of your choice.

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

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My Northern Friend

By Maureen J Baker

This piece is a beautiful piece of wall art. It can hang framed in a more traditional room, or unframed for a more contemporary feel. I will focus on the development of water and water movement with attention on the lights, darks and brush strokes that create it.

The texture of the Heron will be brought about step by step including brush strokes and glazing techniques. This Heron lives on the pond where I live and paint. The Heron is truly a magnificent and special part of pond life and nature.

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I have been creating all my life. In my youth, I dabbled in painting, pottery, quilting, along with silver and gold jewelry designs. I began painting extensively in 1998 and have enjoyed painting and creating in color immensely ever since. After a few years of studying with amazing teachers, I began the journey to dedicate my professional career to painting. I began by teaching and exhibiting locally, while raising my family. Once my schedule and home life allowed for it, I then expanded and began to travel teach. I began to exhibit regionally, and eventually nationally and it has been the most challenging yet rewarding experience thus far in my career. My work focuses on florals and nature which are visual favorites of mine. These are things in life that I find beautiful and I love recreating them from my own perspective. Living on a pond I am surrounded by my own inspiration.

SUPPLIES

MISCELLANEOUS SUPPLIES • Water container

SURFACE • 12 x 24 canvas available at your local craft supply store

• Palette

PAINTS DecoArt® Chalky Gesso

• Transfer paper

• CG17-65 Light Green

DecoArt® Traditions

• DAT24-K1 Phthalo Blue

• DAT28-K1 Cerulean Blue • DAT25-K1 Prussian Blue

• DAT37-K1 Medium White

• DAT38-K1 Medium Beige • DAT36-K1 Warm White

• DAT46-K1 Burnt Umber

• DATO7-K1 Quinacridone Gold

• DAT51-K1 Permanent Alizarin Crimson • DAT52-K1 Hansa Yellow Medium

MEDIUMS BY DecoArt® • DATM04-71 Traditions Satin Varnish BRUSHES BY DecoArt® TRADITIONS • TB32-B 6 Flat • TB34-B 10 Flat

• TB36-B 1/2” Flat • TB38-B 1” Flat

• TB11-B 3/0 Liner brush

• Paper towels • Palette knife • Stylus

• 220 grit sandpaper

HELPFUL TIPS & TERMS

Refer to your photos as you paint. A huge part of painting is about seeing.

Base coat: This is the application of paint to establish a foundation of solid opaque color to the object being painted. This often takes the application of two or more layers.

Float: The application of transparent paint to bring value, dimension and depth to the object being painted. The paint is side loaded onto one side of the brush and blended onto a palette to work the paint into the brush evenly. When the brush is properly prepared, there should be a gradation in color from transparent paint, to the absence of color on the other side of the brush.

Stipple: Applied with a dry brush such as a short round sable. The dry brush is lightly tapped into the paint and then the brush tapped onto a paper towel to remove excess paint. Gently tap this onto the area of the painting, when instructed to stipple, and it will create the slight texture you want.

Line Work: The damp liner brush is loaded with paint and water, so the paint has an “ink” consistency or the consistency of 1% milk. Load

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the liner by rolling the brush end between your thumb and pointer finger into the paint/water mixture. Next, you want to drag the paint out on your palette, so the paint is evenly in the brush with no overload on the sides. When painting line work, the amount of pressure applied to the brush will determine the thickness of the lines. The more pressure applied, the thicker the lines.

PREPARATION

There is very simple preparation on this canvas surface. What you will want to do is start by using a 1” flat and base coat the entire canvas with Light Green Chalky Gesso, including the sides. Let this dry completely before the next step. Once your piece is dry, you should sand lightly with a 220-grit sandpaper. Make sure that you wipe the canvas with a damp paper towel, so it is free of dust.

PAINTING INSTRUCTIONS

IMAGE 1

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IMAGE 2

THE BASE OF THE PAINTING Water and water movement are mostly created in a vertical direction. You will work the paint wet into wet while blending the edges together. Keep some of the areas lighter and others darker so there is flow and depth. Don’t over blend your paint. That will make it appear flat.

Side load your 1” flat brush with Phthalo Blue and then streak this across the canvas. Start at the bottom of the canvas and work your way up. Side load your brush with Prussian Blue and streak it cross the canvas. Start at the top of the canvas and work your way down, about 1/3 of the way down. Repeat this on the bottom right side, over the Phthalo Blue.

Base coating the Heron: The main parts of the bird are painted in Medium Beige. The dark area on the head, the wing and the small thin area on the under belly of the bird are all painted in Prussian Blue. The eye, the legs and the beak are base coated in Quinacridone Gold. Let all these dry completely before moving to the next step.

After the basecoat on the Heron is complete, you want to further develop the water.

Side load your 1/2” flat with Phthalo Blue and use it to streak in your dark areas in the water. Stay on the chisel of the brush, start with light pressure, then push down a bit harder, then lighten the pressure. Soften out the sides of your strokes, there needs to be a gradual intensity of color. This will create the ripple in the water.

The area in front of the Heron is painted as a c stroke. For this c stroke, you should first side load your 1/2” flat in Phthalo and lead with the paint, keeping the water side of your brush towards the Heron. As you come to the end of the ripple, make a c.

Repeat this instruction, but using a 10 flat and Prussian

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IMAGE 3 the lights in the ripple.

Blue. Dry completely before moving to the next layer. Next, you will side load your 10 flat with Cerulean Blue and streak some lights into the ripple.

Finally, mix Cerulean Blue and Medium White 1:1.

Side load your 10 flat with this mix and strengthen

DEVELOPING FORM AND TEXTURE Refer to image 3: Side load a 12� flat with Cerulean Blue and strengthen the lights in the water in the upper right corner and in the middle of the painting, with soft steaks. Let these dry and decide if you need to do them again. It is better to reinforce the light a few times than to get the paint too heavy and not transparent, because it will be much more difficult to fix.

Paint in above the beak area of the Heron with Prussian Blue. Next, side load a 6 flat with Prussian Blue. Shade the back area of the beak.

Now, side load a 1/2� flat with Quinacridone Gold and tint the neck of the Heron. Keep this paint very transparent. You can achieve transparent paint by adding more water and making sure that you blend out your brush on your palette.

Tint the middle of the body of the Heron with transparent Phthalo Blue. The bottom of the wings and the top of the back are tinted with transparent Quinacridone Gold. Side load your

10 flat with very transparent Alizarin Crimson and tint the wings here and there. Referring to the picture if you want a more specific idea of how much or how little to add. Side load a 10 flat with very transparent Alizarin Crimson and float a shade in the back neck of the Heron. You should be referring to your photo IMG 3. Side load your 10 flat with Cerulean Blue and float a back to back float on the lower part of the neck of the Heron. A back to back float is placing two floats side by side so that the paint from each float blends with the paint from the other and the water sides face outward. All the edges should appear soft. Now, let this dry completely.

Refer to image 4: Load a 10 flat with very transparent Burnt Umber and paint a back to back float over the Cerulean Blue on the lower neck of the Heron. Next, side load a 6 flat with Medium White and highlight each feather on the lower part of the wing. After that step, side load a 6 flat with transparent Cerulean Blue and shade each feather on the lower wing. Repeat this with transparent Burnt Umber in the upper portions of the feathers.

Next, side load a 6 flat with Prussian Blue and intensify the shading on the feathers.

Remember, you can always refer to your photo for placement.

Moving on to the next steps, you will side load a 10 flat with Medium White and IMAGE 4 APRIL 2020 ISSUE

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highlight the Heron at the back of the head, the area below the beak and the middle of the neck by the dip for the back wing. (the dip I am referring to was shaded with Alizarin Crimson for reference).

Next, fully load a 6 flat with Medium White. Stay on the chisel edge of the brush and pull the hair-like feathers on the back. Be careful to pay attention to the curve of these hair-like feathers.

They should look natural and go with the shape of the bird. After that, load a liner with Medium White and pull the hair-like feathers down the neck of the Heron. The upper neck has very short hair-like feathers, the lower neck has longer hairlike feathers.

FINISHING UP WITH ATTENTION TO DETAIL Refer to IMG 5: This is the final phase of the painting. Take a lot of care in the strokes you pull and the pressure you apply to your brushes. The more pressure, the heavier the paint is applied.

and the wings with Warm White.

For the final steps, you want to first fully load a 6 flat with Warm White. Stay on the chisel edge of the brush and pull the hair-like feathers on the back. These hair-like feathers are new, additional feathers. Do not repaint over the existing hair-like feathers. Be careful to pay attention to the curves of these feathers. Next, load a liner with Warm White and pull additional thin feathers down the neck of the Heron. The upper neck has very short hair like feathers, and the lower neck has longer hair like feathers.

Sign your painting.

Let it dry and set for a couple of days. Finally, to finish this piece off you will varnish it with Traditions Satin Varnish.

Side load a 12” flat with transparent Cerulean Blue and tint the back of the Heron. Side load a “ flat with Burnt Umber and tint the upper back of the Heron.

Side load a 6 flat with Burnt Umber and shade the Heron’s legs where they meet the water. Shade the left leg with a back to back float across the leg in the upper portion of it. Side load a 6 flat with Prussian Blue and reinforce the shading on the legs at the water line. Side load a 6 flat with Medium Beige and highlight the left side of both legs. Let this dry, before moving on. Once it is dry you can repeat this with Hansa Yellow in the upper left side.

Side load a 6 flat with Medium White and highlight the top of the head where it is Prussian Blue. Load a liner brush with Medium White and paint in the markings on the beak. Side load a 6 flat with Hansa Yellow and tint the beak, the eye and the markings. Next, load a liner brush with Prussian Blue and paint the dot in the eye, outline the eye and the paint hair-like feathers off the head. After that, you will highlight the hair-like feathers off the head by using a liner brush with Quinacridone Gold and Medium White mix 1:1.

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Seeing Outside the Box

By Thelma Hamilton

I am sure that you have heard the saying, thinking outside the box. Advertisers do this type of thinking every day to capture our attention when creating product labels, advertising, and even naming their product.

I once attended an auction where I witnessed a woman bid over $1000 for an old discolored painting. After the auction was over, I asked her if I could see the painting up close. I looked at it intently. I could not see what she saw in this painting.

What gave it such a high value?

Was it a family heirloom? Was it an antique with hidden value?

Was it part of a set of paintings, and she had acquired the rest of the set? The answer was no to all these possibilities. She told me the value she saw in this painting. It was derived from one tiny detail signed in the lower left-hand corner. The original artist had painted the name of the painting in that location. There laid the hidden value in the title “The Fortune Teller”. Before reading the title, it was simply a painting of two women having tea. The title was what gave the painting a spirit of intrigue. That occasion opened my eyes to really seeing outside the box. If that painting wasn’t named as it was, the value of it would have plummeted.

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How can we apply this out of the box “seeing” to our art?

Let’s try a little exercise in “seeing”. You will need a quarter, a pencil and a piece of paper.

Make a circle on the paper using the quarter to trace around it.

What do you see? Just a circle or a round ball?

What can we make this simple circle into with a few strokes of the pencil?

• By adding shading ~ it is a ball • Add a stem and it is an apple or a pumpkin • Add a gem and it is a ring • Add an inner circle and it is a donut • Add Petals and it is a daisy The list is endless. This is also just the start of what can be created by looking at this simple circle as more than just a round shape on a piece of paper.

To see outside the box or circle, we need to take our imagination to a whole new level. In my generation, we were taught in school to only color inside the lines. When you stay inside the lines or the preverbal box, your work does not reflect the inner you. When you are ready to create something new, something that is as unique as you are, start with the circle.

Then it is time to add your

favorite colors, your thoughts, your history, your special creativeness.

To reach the next level of imagination, I suggest doing one of the following: • Sit on the floor, this gives you a new vision, new outlook, and new perspective.

• Take a drive to a destination.

Return by a different route.

• Sit in a new chair in a new location.

• Go to a hobby/craft store and walk all the aisles, do not buy anything. Do not be distracted by your normal routine.

• Work with negative space instead of focusing on the object.

• Expect a breakthrough that will raise your awareness to a new level.

• Have a chat with a child or spend time observing children who are learning and discovering.

• Don’t forget to give your creation a really interesting name that would make you want to pay $1000 for it.

These are a few things that will give you a new outlook for your art. This will hopefully lift it to a new higher level. Don’t be satisfied with the normal routine.

Rise up and you will soon be “seeing” outside the box.

PAINTING WORLD MAGAZINE

Goldfinches

and Daisies

By Marlene Fudge CDA

I always look forward to spring when the weather warms up and the birds are singing. I have a birdfeeder outside my window at home and my husband and I love to watch the bright and beautiful Goldfinches eating from the feeders. (My cats enjoy it too!) These pretty birds and daisies are perfect to get you ready for springtime!

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SUPPLIES: SURFACE: • 9 1/2” Scalloped Plate (Item #1774 Bear with Us) PAINT: DecoArt® Americana Acrylics • DA147-Antique Green • DA052-Avocado

• DA016-Burnt Orange • DA064-Burnt Umber

• DA208-Celery Green • DA334-Colonial Blue • DA082-Evergreen

• DA131-Hauser Light Green • DA067-Lamp Black

• DA113-Plantation Pine

• DA201-Primary Yellow • DA093-Raw Sienna • DA361-Sand Grey

• DA239-Warm White

DecoArt® Dazzling Metallics • DA263-Splendid Gold

BRUSHES: DYNASTY® BLACK GOLD • #3, #6 & #18 Shader- 206S • #2 Round- 206R

• #5/0 Liner- 206L • #4 Filbert- 206F

MEDIUMS: • DecoArt® Americana Gel Stain- DS28 Maple • Minwax® Polyacrylic Protective Finish- Clear Satin

MISCELLANEOUS: • Stylus

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PREPARATION:

Sand the surface smooth and wipe away excess dust. Mix together a touch of water and the Gel Stain to thin the stain. (I like to thin it a bit so you can see the grain lines under the stain.) Let dry completely. (See image 1) Transfer pattern onto the surface.

PAINTING INSTRUCTIONS: GOLDFINCHES: Using the #6 shader brush, base coat the yellow areas of the birds with Primary Yellow. (Paint over the daisy petals on the bottom bird. We can put them back in later.) Add the black areas on the top of heads, eyes and wings with Lamp Black, using the #2 round brush. On the top of the wings, feather the black up into the yellow areas.

(See image 2) To add the feathers on the wings and tail, use the #3 shader, side loaded with Sand Grey. Float the color along the tails and wings, keeping the loaded side pointed towards the outer edges of the wings. (See image 3) Add a float of this color on the top of their heads for a highlight. Add a touch of water to Sand Grey to make an inky consistency. Use the liner brush to add a very thin outline around the eyes and add a very tiny sparkle. Paint the area between his tail and belly with a wash of the thinned Sand Grey, using the #3 shader. Use the #6 shader to shade along the bottom of the bellies, necks and under the wings with Raw Sienna. Using a very light touch, add some very little strokes onto the wings and chest to resemble tiny feathers with the liner with Raw Sienna. The beaks are Burnt Orange, using the liner brush. Shade the bottom beak with Lamp Black to separate, using the #3 Shader.

Float a Primary Yellow highlight onto the tops of each beak. (See image 4 & 5) BRANCH: Basecoat the branch with Burnt Umber using the round brush. With the same brush, dry brush a little Raw Sienna here and there on the branch for a highlight.

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IMAGE 1

IMAGE 2

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IMAGE 10

IMAGE 11

LEAVES: #1 Leaves:

Base coat the leaves marked #1 with Avocado using the #6 Shader. Use the #6 Shader to float Evergreen along the base of all the larger leaves and on one side of where the vein line will go.

On the smaller leaves, shade along the bottom of each leaf and above the vein line. Use the #6 Shader to highlight the outer edges of the larger leaves and along the vein line with Celery Green.

(Image 6) On the smaller leaves, highlight along the top of the leaves with the same color. When dry, highlight all the leaves along the vein lines (On the side opposite of your shading). Add a touch of water to Celery Green and using the liner brush, add the vein lines on all the leaves. With the same mixture, add the stems onto the larger leaves. (See image 7) #2 Leaves:

Base coat the leaves marked #2 with Antique Green. Use the #6 shader to shade along the bottom of these leaves and above the center vein line with Plantation Pine. When dry, highlight the leaves along the top and under the vein line with Hauser Light Green. Add a touch of water to Hauser Light Green and use the liner to add the vein lines. Add the stems onto the leaves with Plantation Pine. (See image 8) SMALL LEAF CLUSTERS: Add the stem of the small leaf clusters with Burnt Umber using the liner. Double load the #4 Filbert brush with Avocado and Celery Green. Lay the brush flat against the stem and slowly turn the brush up onto the chisel edge while APRIL 2020 ISSUE

IMAGE 12

pulling out from the stem. Repeat this for all the little leaves. (See image9) DAISIES: The petals on the daisies are added using the Filbert brush and Warm White. Load the brush.

Starting at the end of the petals, hold the brush on the chisel edge making a rounded point. As you pull the stroke towards the center, turn the brush and add more pressure to the stroke to widen the petal in the center and then pull up again while turning back onto the chisel edge.

Not every petal needs to be perfect, just like in nature. (See image 10) Thin Colonial Blue with a touch of water. Using the liner brush, pull some tiny strokes out from the center onto each petal.

(See image 11) The centers of the daisies are Primary Yellow using the #2 round brush. Shade the bottom of the centers with Raw Sienna using the #10 shader. Use the stylus to add some tiny Lamp Black dots around the center. Let dry well.

FINAL TOUCHES: Add a few little vines here and there with Splendid Gold, using the liner brush. Using the large stylus, add little clusters of dots throughout the vine. Add a dot on each point on the edge of the plate with the large stylus or the end of a paintbrush. Let dry well. (See image 12)

FINISHING:

Paint the sides and back with Lamp Black. Let dry.

Remove any remaining transfer lines. Varnish with 2-3 coats of Polyacrylic.

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F elicity

PAINTING WORLD MAGAZINE

Felicity is a flower child full of fancy and fun and is embracing the universe in a spontaneous moment.

By Susan V. Cochrane

SUPPLIES SURFACE: • 9 x 12 primed canvas PAINTS DecoArt® Americana Acrylics: • Burnt Umber DA064 • Laguna DA350

• Lamp Black DA067

• Lemon Yellow DA011 • Sea Breeze DA256

• Sour Apple DA275

• Vivid Violet DA232

• Warm White DA239

• White and Gray Graphite Paper

• The Color Wheel Company, Miracle Compressed Sponges (one or two cut to 1” X 1” approx.) available from Amazon

GENERAL INSTRUCTIONS

Apply one good coat of paint when base coating.

Erase transfer lines as you go. Wet the sponge in clean water and dab onto a tissue. Dab the sponge into the desired color and pounce it onto the palette two or three times to remove most of the paint. Pounce onto the surface varying the direction and pressure applied. Dry thoroughly between all painting steps. The background is painted using wet on wet technique. All floating is done with a double loaded brush.

• 1/2” Angular Shader, Series R4160

BACKGROUND: Paint the background in a diagonal direction.

Start with Laguna going across the top left-hand corner about 1/4 of the way down, leaving a wet edge. Blend Sea Breeze into the edge of Laguna.

Blending the two together, spreading the color out in the middle area more or less leaving a wet edge and then paint Warm White on the bottom lower right area.

• 5/0,0,2 Liners, Series R4595

PAINTING INSTRUCTIONS

• White Peach DA024

Other DecoArt® Americana Products: • Sealer/Finisher (Matte) DAS13-1C

BRUSHES: Royal & Langnickel®, Majestic Paintbrushes • 2,8 Filberts, Series R4170

• 2,4,6,10 Shaders, Series R4150

• Royal 1/8” Deerfoot Stippler, Series 660 • 1/4”, 1/2” Filbert Combs, Series R930 MISCELLANEOUS SUPPLIES: • Eraser • Palette Paper (Waxed)

• Paper Towels or Tissue • Tracing Paper

• Water Container

Transfer the wings, hair, arms, hands, legs, ankles and shoes for placement.

BUTTERFLY: Base the wings with Warm White. Sponge Sea Breeze in the middle area next to the ponytail, feathering out about 1/2 way more or less towards the edges. Float Laguna next to the ponytail. Apply a barely there faint float of Lamp Black in this same area. Outline the wings and line the veins with Lamp Black. Dry brush Sour Apple in between the veins, starting in the middle area, overlapping where the sponging left off and APRIL 2020 ISSUE

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extending it out towards the curved edges. Apply a very light float of Lamp Black next to the curved edge. Dry brush the black areas with Warm White, in a hit and miss manner, for the highlights.

Dots are Lamp Black applied at the end of a painting session.

HANDS AND ANKLES: Base with White Peach. Faintly shade with a tiny touch of Burnt Umber on the wrists and ankles next to the leotard. Float to divide the feet one from the other (the back foot is shaded).

Faintly shade the fingers next to the thumbs. It is so tiny and is barely discernible, but it does separate them. Paint the loop going over the thumbs with Lamp Black. Outline the ankles with a fine line of Lamp Black.

LEOTARD AND SHOES: Base the leotard and shoes with Lamp Black. Float Warm White barely there to divide the front leg from the back leg.

Dry brush Warm White over this float and on the buttocks. More dry brushing is done in the middle center area on the arms. Float Warm White on the toe of the front shoe and apply a thin dry brush along the side.

HAIR: Base with Antique Gold. Comb with Burnt Umber.

Dry brush Warm White in the middle center area of the head. Wash Lemon Yellow over this same area 2-3 times for good color. Float Burnt Umber to shade the tail next to the gathered areas and across the top of the head.

Stipple Lamp Black very minimally to create the leaves for the flower clusters. Over the top of this, dab Sour Apple. Using the tip of a liner, dab Vivid Violet for the individual roses. Dab once, dry, and then repeat 2 or 3 times more. Dab a little Warm White for the highlight. To create a brighter pink, dab over the Warm White with Vivid Violet, then dab a little more Warm White for a final highlight.

There is a tiny dab of Lamp Black in the center, keep this faint and small. Dot more Sour Apple APRIL 2020 ISSUE

amongst the clusters for more foliage.

BACKGROUND: Dry brush Sour Apple across the top, left and right sides in 2 or 3 places and on the lower right hand corner.

FINISHING: Spray with two to three coats of the Sealer/ Finisher, allowing drying time between coats.

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B luebird with flowers

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PAINTING WORLD MAGAZINE

By Mabel Blanco

MATERIALS SUPPLIES: • Canvas 40 x 30 PAINTS: ACRYLICS DecoArt® Traditions • DAT 35 Titanium White TW • DAT 42 Carbon Black CB

• DAT 26 Ultramarine Blue UB

• DAT 51 Permanent Alizarin PA • DAT 45 Raw Umber RU • DAT 19 Pine Green PG

• DAT 46 Burnt Umber BU • DAT 44 Burnt Sienna BS

• DAT 14 Hansa Yellow HY

ACRYLICS DecoArt® Americana • DA 269 Foliage Green FG

BRUSHES • Flat synthetic brush #18 #10 #6 • Round #1 # 3 Flat • 1” Liner Brush INSTRUCTIONS Background:

Mix TW: FG (2:1) Basecoat the background using #1 brush and the mix.

Let dry and transfer the pattern.

BIRD

Paint the head, wing and tale with #6 brush and UB acrylic.

Using the same brush and BS acrylic, paint under the neck and the upper part of the chest. Use a mix of TW acrylic with a touch of CB acrylic (grey) to paint the lower part of the chest. Let dry.

Before starting to paint the plumage, you should observe the photo carefully, and respect the direction of the feathers as indicated in the sketch.

Load the liner brush with the ink painting. (paint well dilute with water).

Place on the surface, sliding-it gently and lift it.

Let dry between layers.

Using the liner brush and UB acrylic with TW acrylic (base color) at ink point, begin to paint the head and wing plumage, always observing the photo. Paint several layers, clearing up between layer with TW acrylic, always following the feathers directions.

With the same brush and a mix of BS acrylic and HY acrylic (1:2), paint the feathers of the central chest part. With a mix of TW acrylic (always ink point), paint the feathers of the lower part of the chest.

Beak

Paint the beak using CB acrylic and #3 round brush. Let dry.

Then with a mix of TW acrylic and CB acrylic (2:1), paint the light on the upper central zone.

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EYES

Using a mix of TW acrylic with a touch of CB acrylic (grey) and #1 round brush, paint a circle. Let dry.

Paint another small circle inside using CB acrylic. Let dry.

Using TW acrylic dilute with water, paint a cloud on the upper part of the eye, and once dry, paint a small spot to illuminate using TW acrylic.

Paint black feathers around the eye and about the peak.

PAWS Using #3 round brush and CB acrylic, basecoat the paws and let dry.

With liner brush and a mix of TW acrylic with a touch of CB acrylic, delineate the fingers that rest on the branch.

LEAVES Paint the leaves with #10 brush and PG acrylic. The brushstrokes are comma shaped and we add a touch of HY acrylic ,in some of them, to enhance them.

FLOWERS Paint the petals using #3 round brush and TW acrylic. Paint the shadows, observing the photo, with PA acrylic, and the center of each flower and pistils, using the same paint.

BRANCH Paint the lower part of the branch using #8 flat brush and a mix of BS acrylic with TW acrylic. The brushstrokes must be horizontal and faltering (choppy).

Load the same brush without cleaning it, with TW acrylic, and paint the upper zone, using the same brushstroke technique.

Remember the brushstrokes must be cut always without cleaning the brush. Let dry.

I hope you enjoy painting!!

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Passing the Paintbrush...

By Teri Walker

Everything old is new again.

Have you ever felt a burning desire to be creative? Only to walk into your studio and realize that you’ve already made just about every craft on Pinterest, and there’s nothing new to try?

What a letdown. That’s why painting and craft magazines sell so well. We artists constantly face the need to be challenged with fresh ideas, different supplies, and new techniques. It only takes a tiny spark of an idea to lead to greater things.

Like writer’s block, I think we often face artist lock. We get stuck doing the same things over and over until there is no joy in it anymore. Becoming an expert at something can lead to boredom because the challenge is gone.

And if you’re doing your crafts for money, they can become more like work than pleasure, especially, if you’re facing deadlines.

But what if I told you about a craft that will utilize every artistic skill you have? A craft that will forever be challenging, rewarding, and enjoyed by others for generations to come. Whether you sculpt, paint, draw, decorate, do needlework, sewing, scrapbook or woodwork, this craft will use every skill you know. It will teach you to slow down and see the APRIL 2020 ISSUE

world with new eyes. Things we take for granted everyday will be viewed and appreciated in completely new ways.

Interested? Then allow me to open the door to a world of new possibilities and invite you inside.

This new craft is anything but new. In fact, it is as old as time itself and enjoyed worldwide.

I welcome you to the World of Miniatures.

I’m not talking about toys per se, although many are created for children. I am speaking of one-ofa-kind, artisan created, collectors’ items. Creating miniature rooms (vignette), buildings, or scenes (diorama), offers endless artistic possibilities. Only limited by your own imagination. If you love to decorate, you can create tiny rooms that allow your inner designer to create masterpieces.

If you’re a history buff, dioramas of historical events, places, people and things bring the past to life once again. Sculptors will find the art of polymer clay to be a versatile medium. Painters can create everything from walls, to decorations and furniture. The world of miniatures offers infinite possibilities, no matter what you enjoy doing.

People of all ages find tiny things fascinating. One Christmas, I

gave my grandson a 1:12 scale garage/gas station, complete with multiple cars, gas pumps, tiny tools and even a pool table for the little office. My mother thought I was crazy and worried that he would be humiliated opening such a gift in front of the family. After Christmas lunch, the ladies cleaned while the male family members disappeared.

You can imagine our surprise later to find them all in the dining room, helping put the garage together and making sure all the tiny accessories found “just the right place” ...a task that took them all afternoon. From ages 8 to 80, they all enjoyed the miniature garage.

There are many mini museums throughout the United States and more across Europe where the hobby has always been very popular. The Smithsonian in Washington, D.C. displays a marvelous miniature replica of the White House and visitors wait in long lines to view it.

Other famous miniatures include, a dollhouse created for Queen Mary, wife of King George V of England, built in 1924. According to Wikipedia, the mini library contains original mini books written by famous authors including Sir Arthur Conan Doyle

PAINTING WORLD MAGAZINE

and A.A. Milne. The dollhouse includes real jewels, furniture designed by famous artisans of the time, and many more exact replicas of various treasures.

Even the tiny paintings are originals by master artists.

As a long-time tole painter, I have amassed thousands of books from many well-known painters and although the patterns have now become dated, I just can’t throw them away. So, I was delighted when my fellow Texas miniaturist, LaJuanna Clarke, showed me how she takes the patterns, reduces them on her copier and makes them in miniature to display in her many mini rooms.

The objects take on a totally different look and purpose when created tiny. Seeing what she has created breathed new life into my craft library. The minis are easy to cut out and easy to paint with smaller detail brushes.

If you’re curious about this marvelous hobby and think you’d like to give it a try, I suggest you go online to sites like YouTube®, where you will find many how to videos. You will be surprised how popular this hobby is. On eBay® and Amazon®, you can get entire kits that contain everything you need to make a miniature room, house or scene. They are very inexpensive, and all come with easy instructions. Many also have YouTube® videos that you can follow along with to construct your masterpiece.

There are many miniature suppliers online as well. Hobby Builders Supply features an Annual Creating Contest that anyone can enter.

In Texas, a group called the Society of American Miniaturists (or SAMs), offers workshops and miniature shows throughout the year to its members. If you want to attend a show that features international and American artisan miniaturists, you can

check out the Dallas Miniature Showcase that takes place in June each year. Other cities offering miniature shows can be found online or listed in various miniature magazines.

Going tiny with your projects will offer worlds of new challenges because there are endless possibilities to what you can make. Also, miniatures will utilize the same craft supplies you are currently using with a few exceptions (i.e. detail brushes, tweezers, etc.).

So next time you feel the creative itch and want to do something new, I urge you to consider going tiny. If you want an inexpensive way to try it, the dollar stores carry unpainted dollhouse furniture that you can experiment on for pennies.

Miniatures also offer a great way to get kids involved as most love tiny things and thus, we are Passing the Paintbrush to the next generation in a totally different not-so-new way.

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Glass Crocuses

By Annamarie Oke

I have been creating and designing for over 25 years and have been travel teaching in Canada and the United States. I live in Corner Brook,NL Canada and I have my own studio where teach full time when I am not traveling. I do trade shows and conventions .... where you will see me demoing at the Booths. I am a mixed Media artist, fluent in acrylics, oils, pencils, and just about anything creative. I am a DecoArt® Helping Artist, A Dynasty® Brush Designer, and a Pebeo® Product Specialist.

I have a wide selection of pattern packets and love designing for magazines. My first book that I have been featured in along with four other Dynasty® Designers has been recently published, Painted creations Dynasty® Designers Vol.1. Exciting!!

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This piece came to life from a scrap piece of 1x10 knotty pine. I have been making long boards to paint snowmen on them and those pieces were the leftovers...they are 10x13 in size and looked great for this home decor piece for indoors and outdoors!

Mixed Media is amazing!

SUPPLIES SURFACE • I used a scrap piece of knotty pine 10x13. You may use any surface you wish and size the drawing to fit your surface.

PAINTS DecoArt® Americana Acrylics • DA667 Lamp Black

• DA01Snow (Titanium) White

Pebeo Vitrail®

• Crimson #12

• Greengold #22 • Yellow #14

• Orange #16 Lightening Medium BRUSHES Dynasty® FM Brushes

• 1-inch Faux Sable 172A Eye of the Tiger brushes (I sell the set small round) • #12 flat shader 610S • 3/4 Flat Glaze 635

• 1 inch Dynasty ®Stencil Pro

PREPARATION

Using the 1-inch Faux Sable I base coated the front and sides of the piece with Lamp Black.

Let Dry. Once the piece dries, I like to sand the surface with a sanding block (image 1) When you paint the raw wood, you can feel à raised grain on the surface. Sanding makes the surface much smoother. You may sand the edges at this point to give your piece a distressed look.

Using my 1 inch stencil brush and white I stenciled the bubbles to the front of piece. (image 2) HELPFUL HINT When using the stencil brush (make sure that I fully load the brush and then squeeze most of the paint off in between a paper towel. This gives your piece a softer look and less chance on leakage. The Dynasty® Stencil Pro is such a great brush for stenciling ...the bristles are thick, and the top of the bristles feels like velvet to touch... my fav!!

Once the piece dries I use my 1-inch Faux Sable and give my piece a generous coat of the Soft Touch Varnish. (image 3). Let dry!

MISCELLANEOUS SUPPLIES • DecoArt® Media Texture Paste DMM31 5P

• Americana DECOR Soft-Touch VarnishADM03 • Tracing paper • Pen

• Palette knife-metal triangular shape • Empty bottle caps • Paper towels • Baby Oil

• Odorless mineral spirits for cleanup • Pebeo® Creme Relief Gold 73000

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INSTRUCTIONS

Trace off the line drawing for the tulips and leaves. Use the white graphite paper to trace so you can easily see the pattern.

APPLYING THE TEXTURE TO THE FLORAL

Apply texture with the toe of the palette and shape the florals more smoothly then the leaves. (image 4 & 5) Notice on the photo that the leaves have grainlooking lines, making it look like the veins in the leaves. For the Tulips I made sure that l added little flips with the texture and did the front of the tulips.

Lastly,I made sure that I had ridges to cause separation of the petals as shown in photos. This also shows depth for the floral. Make sure that you do not apply the texture too thick.... you want to see the blackish looking areas through the texture. This adds to the shaded areas once you apply the Pebeo® Vitrail. (image 7) This takes about 30 minutes to dry, depending on temperature in room and how thick you added texture. You may use a hairdryer but make sure you use the cool setting.

ADDING THE PEBEO® VITRAIL Pour the three colors and the lightening medium into the empty bottle caps and place them on a clean paper towel. (image 6) With the handle of the brush, dip each color and touch the paper towel next to cap. This will tell you which color is in the cap. When the Pebeo® Vitrail is poured into the caps, the colors all look dark and alike!

Using the larger Eye of the Tiger brush, apply a generous coat of the lightening medium over the textured area. (image 8) Pinch your brush in between a paper towel.

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HELPFUL HINT I pour a small amount of baby oil in a small cup and use that for cleaning my brushes in between colors. I always dip my dry brushes into the baby oil before I use the oil paint. It just keeps my brush more manageable and moist-like. Remember not to do that with the acrylic brushes though!!

Using the large Eye of the Tiger brush, I fully load the brush with Crimson and painted my tulip. You will notice very quickly that the excess of Vitrail settles in the dips and valleys of the texture, making shades....and slipping of the raised areas and ridges, making the highlights! You have no control over where the paint goes. Always make sure that you use a generous amount of Vitrail to make your piece look more eye-catching!

Now continue with the Yellow and Orange...you can mix these colors to get a variety of colors if you like. (image 9) Pinch your brush off in between a paper towel and continue with the Greengold for the leaves.

I use the larger brush for the large leaves and the ‘smaller brush for the small leaves and stems. (image 10)

FINISHING

Keep your piece flat and while your Vitrail is still wet, add the Gold Creme Relief only to the leaves and stems....as you notice I did not stay exactly on the lines! The paint causes the Gold Creme Relief to have a melted look. I like to call it “Fudging”.

It will take at least 4-6 hours for your piece to be dried, but I would wait 12 hours before I stood it up straight.

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Line drawing is reduced 65% Enlarge to 165% to fill surface.

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

Your ad could be here!

Ads start at only $159.00 and reach about 3,000 print subscribers & thousands more on social media!

Contact us at info@paintingworldmag.com to get started today!

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Sweet Cygnet

By Linda O’Connell TDA

Painting has been an integral part of Linda’s life. She has been a student, a teacher, and a designer. Having earned her Teacher of Decorative Arts (TDA) certification from the Society of Decorative Painters, Linda has taught her designs both domestically and internationally.

She loves sharing her talents with students, getting such joy in helping them bring their piece to fruition. Linda has been published in magazines and has designed many paintings. She works in all mediums and teaches primarily in acrylics.

Learn to blend paint on fabric in a unique way. This piece is a great accent to any decor. Enjoy in your own home or brighten someone’s days with a gift they can enjoy for years to come.

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SUPPLIES

INSTRUCTIONS

SURFACE: • 20 x 20 Pillow Cover available at IKEA®

TO BEGIN: Using the Sulky Heat Transfer marker, trace the pattern on the reverse side. You may find this easier to do on tracing paper, so you can better see your placement on the fabric, but it will work on your printed pattern. Do not trace the design onto the left side of the pattern, this is a visual for when stenciling. Place a piece of wax paper between the pillow cover, being sure to cover where the pattern is. This step will prevent the paint from coming through to the back side of the pillow. Set iron to the hottest temperature.

Iron the pillow cover if it is not smooth. Lay your pattern with the swan to the right side of the pillow, the pattern right side up the traced side on the fabric. Tape the pattern in place if you want. Iron over the pattern. You can lift the corners to check that the pattern transferred. It does not take a lot to transfer the pattern. Bonus, you can usually transfer 6 or more times without reapplying the transfer marker to the pattern.

PAINT: DecoArt® SoSoft Fabric Paint • Santa Red DSS77-30

• Cadmium Orange Hue DSS04-30 • Cadmium Yellow Hue DSS03-30 • Buttermilk DSS48-30

• Lamp Black DSS24-30 • White DSS01-30

• Primary Blue DSS42030 • Brown DSS102-30

SUPPLIES AND MEDIUMS: • Sulky Heat Transfer Pen SITP41 (available at Dharmatrading.com) • DecoArt® Americana Brocade and Berry Border Stencil ASCO4K • Palette Knife • Wax Paper

• Cardboard (or any hard surface)

Dynasty® Brushes:

• Black Gold 206 shader- #2,#10 • Black Gold 206CB Chisel Blender #14 • Faux Squirrel 1827 #8 Filbert Wave • Faux Squirrel 1827R Rigger #2 • Series 400 – ½” mop • Series 361 ¾” wash • Three Stencil Pro ½” stencil brushes • Black Silver 4945 ½” rake • Black Gold 10/0 liner • Decorator Series 200 small Sable drybrush

STENCIL: Lay your stencil on the left side of the pillow. As you work up the side of the pillow pillow,move your stencil changing the direction, so you have an interesting design. It is better to use a separate stencil brush for each color of paint.

Pick up a small amount of paint on the brush and scrub off on a dry paper towel until there is very little paint on your brush. Move the brush in a circular motion clockwise and counterclockwise over the stencil. Using a dry stencil brush, stencil Santa Red towards the bottom of your stenciled area. Repeat this process up the side of the pillow. Cadmium Orange is about 1/3 up from the bottom and Cadmium Yellow is at the top third. Where the colors change, I have both colors in the area so that they are graduating into each other.

BASE COATING: Mix Buttermilk and Brown 4:1, you will need a large puddle. Using your large brush, base coat the swan pulling the strokes in the direction of feather growth. At the edges of the swan, use the chisel edge of the brush pull some random hairs APRIL 2020 ISSUE

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from the edge of the body in the direction the feathers grow. Allow to dry. This basecoat is to get the paint into the fibers of the fabric.

Basecoat the dark section of the beak Black with a touch of Titanium White. Basecoat the orange part of the beak Cadmium Orange Hue. PAINTING OUR SWAN: When painting your swan always refer to the color map. Work wet on wet. Work a section at a time, so the base color does not dry, blending into the next section.

Use the Faux Squirrel filbert Wave and pit pat the color into the area.

If you do not have any of the basecoat color left mix more (Buttermilk and Brown 4:1). Mix a puddle of Primary Blue and Lamp Black 1: tch, creating a Paynes Grey.

Working a section at a time, rebase swan with the basecoat. Mix, and pit pat the dark areas Brown tipped in Lamp Black. Blend into the basecoat: Medium areas are the basecoat color tipped in Brown blend into the surrounding areas. The blue areas are the Blue mix blending into the surrounding areas. Light areas are White blending into the surrounding areas. Wipe your brush on a paper towel often. This will prevent colors from spreading out of the area your area working on.

This is not your final application of color.

When painting the wing load paint on the filbert wave, move your hand to the back of the brush.

Using the brush flat with a little pressure move the brush like a pendulum. It is important to keep your hand at the back of the handle. Base the wing with a brush mix of White and the basecoat mix. Add Blue area with the blue mix, stroking the direction of the feather growth. Drag in White in the same manner. Allow to dry.

Look at your piece, keeping in mind the colors will look more pronounced then they will at the end.

Using a sable drybrush, drybrush any areas that need to be brighter or have hard edges where they were blended. Because white usually dulls on APRIL 2020 ISSUE

the initial application that is one area that usually needs to be brightened. Use a sable drybrush when you want a softer look. To use the sable drybrush; use the brush dry, load paint and softly wipe excess paint off on your paper towel, wiping on the side of the bristles. When your drybrush is on your surface, use the side of the bristles and brush softly. You will get a beautiful, wellblended drybrush.

Using the tips of the bristles of your rake so that all the bristles are on the surface, rake White in the direction the feathers are growing throughout the head, neck and wing.

Repeat until you are happy with the color. You want to see the colors you put down before.

Rake heavier in the white areas of the swan and

PAINTING WORLD MAGAZINE

the wing. When raking, rake in short strokes.

On the wing, use the side of the brush for heavier strokes.

Float Blue mix outside the eye, center area above beak, on body outside wing and under the head. With the rake and thinned White rake a few strokes over where you just floated.

LET’S PAINT THE BEAK: Paint the beak the same way you painted the swan, working wet on wet. Use the filbert wave and keeping your hand at the back of the brush handle, move your brush in a pendulum movement. Rebase the orange part of the beak, Cadmium Orange Hue. Add the dark areas, Santa Red touched in Lamp Black, blending into the orange.

Add light areas Cadmium Yellow Hue blending into beak. Rebase the black area of the beak Lamp Black with a touch of

White. Using the rigger, line the right side of the beak, Black tipped in White. Drybrush the dark areas Lamp Black, watch that you do not make distinct shapes. The Black is a close Value to the basecoat color. Pick up White on your drybrush and scrub a few light areas into the black area of the beak.

LET’S PAINT AN EYE: Use a flattened rigger and paint the bottom, side and thin area at the very back of the eye Black.

In the thinnest if this is done correctly, areas use the brush on the chisel edge. Base pupil Black.

To flatten the rigger, pull paint from the puddle, applying medium pressure to the brush, wiggle

a bit, note the bristles will flatten to give you a small flat brush. Float the front of the pupil, Brown. Stroke a thin line in the front and back of pupil, White-tipped in Black. Scrub the shine in the eye Titanium White with a drybrush. It is a small irregular shape.

FINISH UP:

Allow your piece to set for 24 hours. Your piece does not need to be heat set. Your surface can be machine washed inside out, I prefer to line dry, but it can be put in the dryer.

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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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Home Sweet Home

By Sandy McTier

When I return home from a trip, I have flowers waiting for me from my darling husband. I love taking lots of photos of the flowers from all different angles and then use them as inspiration for a painting.

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Sandy’s passion for painting and creating over the last three decades has led her on an incredible artistic journey. She is a published artist, designer and international travel teacher who enjoys sharing her gifts and talents. Sandy is a Creative Consultant and Brand Ambassador for DecoArt®. She’s also a Brand Specialist for Dynasty® Brush. She is a wife of 29 years to a U.S. Air Force Veteran and mom to three amazing young men, ages 25, 24 and 23. Look for Sandy on Facebook at Sandy McTier Designs. You can also find her on Twitter, Pinterest and Instagram under Sandy McTier.

SUPPLIES SURFACE • 12” Round Palette Plaque www.cdwood.com, Item #31-L475 STENCIL • 12” Home Sweet Home www.creativeartslifestyle.com, Item # STCL3010_2 DecoArt® PRODUCTS www.DecoArt.com

• DecoArt® Americana Multi-Purpose Sealer DS17 • DecoArt® Americana Lamp Black DA067 • Soft-Touch Varnish DMM26

MEDIA FLUID ACRYLICS • DMFA39 Titanium White • DMFA37 Raw Umber

• DMFA32 Quinacridone Gold • DMFA38 Titan Buff

• DMFA07 Sap Green

• DMFA14 Green Gold

• DMFA23 Phthalo Blue • DMFA20 Paynes Grey

• DMFA12 Dioxazine Purple

DYNASTY® BRUSHES www.TheBrushGuys.com (use promo code sandymc for an additional discount) • #8 Shader (206S) • 1” Flat

• #12 Shader (206S) • 1/4” Angle (206A)

• 3/8” Angle (206A) • #2 Round (206R) • #0 Liner (206L)

• Small Mezzaluna (for dry brushing) • Stencil

MISCELLANEOUS SUPPLIES • Paper Towels • Water Basin

• White Graphite Paper • Ribbon of Choice

HELPFUL TIP: I truly love painting with the Media Fluid Acrylics!!

They are transparent and can be layered to achieve beautiful effects. If you aren’t familiar with using them, there are a couple tips I’d like to share with you. Lay the paint on instead of using heavy pressure to apply it. Don’t go over and over and over the same area - it will start to lift the color. It helps to let the layers dry between applications. The Fluid Acrylics also make beautiful washes and glazes and are super fun to use!

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INSTRUCTIONS BACKGROUND PREPARATION: Paint the surface with Multi-Purpose Sealer and let dry. Using the 1” Flat, paint the surface with Lamp Black and let dry.

INSTRUCTIONS: Transfer the pattern using white graphite paper. (NOTE: The step by step pictures are taken as I design.

Therefore, you won’t see the daisies in the first pictures).

Load the #12 Shader with Sap Green and Paynes Grey and paint the leaves. Wipe the brush off. Load with Dioxazine Purple and Phthalo Blue and basecoat the hydrangeas.

Load the 3/8” Angle with Raw Umber and then add Quinacridone Gold to the toe. Add a touch of Titan Buff to the toe and blend on the palette.

Paint the vine wreath between the flowers and leaves. Don’t worry if you get some color on the leaves or flowers... We will repaint them a few more times.

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Load the #8 Shader with Paynes Grey and paint the daisies.

LEAVES: I like working wet-on-wet, so I work on only a few leaves at a time. Load the #12 Shader with Sap Green, Paynes Grey, and paint a few leaves.

Wipe the brush off. Load with Sap Green and Green Gold and lightly blend on the palette.

Add a touch of Titan Buff to the brush and blend to soften the color. Swipe the brush across a paper towel as you don’t want too much paint on the brush. Slide the brush on the chisel edge from the base of the leaf toward the tip.

Place the brush on the edge of the leaf and pull strokes at an angle toward the base of the leaf.

Use very little pressure. As you’re pulling in, lift the brush so that the wet paint feathers through the wet paint. I typically paint the brightest side of the leaf first and then, without reloading the brush, repeat the strokes on the other side. See worksheet for stroke work. For the smaller leaves, pull the brush from the tip of the leaf and slide back with the lighter color. As you’re pulling the brush, lift so that the wet paint feathers through the wet paint. Load the #12 Shader with Dioxazine Purple and a touch of Titanium White and mix on the palette. Swipe the brush across a paper towel to get rid of most of the paint.

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Paint a few strokes on the leaves here and there. Load the #2 Round or the #0 Liner with the lighter color mixture and loosely paint a wiggly line on one side of the leaves.

HYDRANGEAS: I love the multi-colored petals of this hydrangea! There isn’t an exact color that has to be painted on each petal. Just load with the mixes on the worksheet and paint the cluster of petals. You can go back and add more purples, more of the blue tones, or a mixture of the two. I like working wet-on-wet, so I work on only one hydrangea at a time.

Load the #8 Shader with Dioxazine Purple and Phthalo Blue and repaint the hydrangea. Add a touch of Titan Buff to the brush and mix on the palette. Paint a cluster of 3 or 4 petals here and there. Make sure to leave the base color showing in places. The petals don’t have to touch in the center; in fact, I like it when they don’t.

I promise, the faster you swipe the brush to paint the petals the better they will look.

These aren’t precise petals... more like impressions of petals.

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Wipe the brush off. Load with Dioxazine Purple and Titan Buff and lightly mix on the palette.

Swipe brush across paper towel and then paint a few more petals. Add a touch of Phthalo Blue to the brush and mix on the palette. Swipe across a paper towel and paint a few petals here and there. Step back from your piece to see how you like the colors. Adjust as needed... more purples, more of a mixture of the two colors and Titan Buff, etc. Wipe the brush off. Load with Dioxazine Purple and Phthalo Blue and lightly mix on the palette. Add a touch of Titanium White to the mixture. Swipe the brush across a paper towel to get rid of most of the paint. Paint a few brighter petals here and there. Load the #2 Round with this lighter mixture and dot the centers.

DAISIES: Load the #8 Shader with Paynes Grey and repaint all the daisies. Wipe the brush off. Load with

Titanium White and paint the daisies. They will be grey, if you don’t cover up all the Paynes Grey base on a random petal here and there, that is okay too. Rinse the brush. Load with Titanium White. Sit on the corner of the brush at the top of the petal; push, pull and lift. I generally start with the petals that are in front and then continue to paint the other petals. This makes the ones in front brighter white and the ones in the back a bit more on the grey side. Let the daisies dry.

Load the toe of a slightly damp 3/8” Angle with Dioxazine Purple and Phthalo Blue and blend on the palette. Float the color at the base of the petals. If you feel like it’s too much, lightly touch with your finger to soften. Load the #8 with Paynes Grey and paint the centers, let dry. Load the Small Mezzaluna with Sap Green and Green APRIL 2020 ISSUE

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Gold. Lightly dab on the centers, making sure to leave some of the Paynes Grey showing at the base of the center. Let dry. Load the Small Mezzaluna with Sap Green, Green Gold and Titan Buff. Mix on the palette and then wipe almost all of the paint off on a paper towel. Dry brush a brighter spot on the centers. Dry brush some of this color on the leaves too, if desired.

Load the toe of a slightly damp 1/4” Angle with Paynes Grey. Paint a small “u” shape in the centers. Float some of this color at the base of the centers as well.

STENCIL: Load the Stencil brush with Titan Buff and wipe almost all the paint off on a paper towel. Using a soft circular motion, brush over the stencil.

Reload and wipe off as needed. Let dry and repeat painting over the stencil again. With the same brush, add a touch of Dioxazine Purple and Phthalo Blue to the brush. Mix on the palette. Wipe off on a paper towel and brush over the bottom half of the letters.

NOTE: If you don’t like the look of stenciled letters, you can paint in the bridges using the same colors.

I typically do. However, I like the softness of the stenciled words and didn’t want to add too much paint. Clean up any areas that might have bled through with Lamp Black.

FINISHING TOUCHES: Float some Paynes Grey at the base of the leaves where they meet the flowers. Float color where two leaves meet, to create a shadow.

Brighten any areas needed. Let the design dry and then seal with Soft-Touch Varnish. Using a pretty ribbon, hang on your door!

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Enlarge by 200%

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.

APRIL 2020 ISSUE

PAINTING WORLD MAGAZINE

Enlarge by 200%

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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From Art Journal to…. Skies the Limit!

By Tracy Weinzapfel

Why is art journaling so important? Do you have a safe space to try creative new things? Do you need to find that time to slow down and create?

If you answered yes to any of those questions, then this article is for you. Today I delve into the importance of mindfully stopping to create in an art journal. Your art journal can serve many purposes. Here are just a few: Diary of emotions - Your art journal can serve as a diary of sorts to create with your emotions, let things go create things from those feelings. Idea book - It is an inexpensive place to practice, practice, practice.

Great place to sketch out ideas to take to more expensive surfaces. It is a great way to pass the time, It’s portable! It can be stuffed in a purse and with a few animal supplies (just a Sharpie is all you need) you can pass away that time wasted away in a doctor’s waiting room. You may even ask the doctor to come back later! It does tend to look funny when you walk in with a 16 X 20 canvas and easel after all.

Mindful Meditation or as I like to call it, Morning Meditation. A daily art journaling habit is one that can lower your blood pressure, relax you, prior to a good night’s rest or one that gets you to stop and smell the roses (or at least photograph them!). It is a daily practice and me time that starts my day with a great outlook. I treat this similar to going to the gym or exercising. Thirty minutes a day keeps the doctor away! Tool for learning - I have taken a further step to use my art journal as a tool for learning. I carry my journal along to sketch new flowers and designs that I want to learn about. There is an endless amount of inspiration all around in nature. I have even taken it a step further to see what grows in my area and so, I am surrounded by inspiration.

Some may ask what do you do with an art journal?

You cannot hang it on the wall, you cannot drink out of it. Here a just a few things you can do with it:

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Coffee table book - why not leave out your own artwork and share it for others to see! Travel Companions - Art journals make great traveling companions. I cannot tell you the amount of people I have met on a plane when they asked about my drawings Heirloom - Pass them down to future generations. I know that is something I would value from previous generations. I have some slipper’s that my grandma knitted and to this day they are one of my most valued items as they were made with her sweet hands.

I remember the clicking noise those knitting needles made and that sounds like home to me.

But why stop there…. The next stop is to take your work out of those art journals on to fun and cool surfaces. I have taken mine to wine barrels, wood planters and wearable art!

Fabric painting is an awesome place to take your art. Here are some old blue jeans I was going to donate, and I gave them new life. Here is a jean jacket I picked up at the thrift store for $2.99 and it became an awesome wearable art!

This is a wine barrel I painted for a local auction that benefitted our local art society that paints murals on buildings! Wine Barrel Plants so that I can have herb gardens in my own backyard.

Sharing your work from your art journal is sharing a piece of you. Now I proudly wear my heART and flowers on my sleeves!

It is time to use your art journal and start that mindful meditation to reconnect and find what you love. Remember it can be taken to so many places. I know mine has certainly taken me to amazing places and I got to meet so many people along the way. Just from my art journal. It certainly is a safe space to expand your horizons!

Remember that next page in your art journal could be a future mural on a wall for so many to enjoy!

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Enter the Artful World of Anne Reboul

Notre Dame De Paris Burning

By Diane Marie Kellogg

Born in Paris, Anne is one of six children. Herself and her twin sister, the only girls. Raised in a family with a love of culture there were books, among them many art books, mostly about the Renaissance period. There were trips to museums, as well as to the theater, the symphony, the opera, and the ballet.

people complimented her on her work, she was hooked.

She soon was reproducing the work of the Renaissance masters. Mantega and Durer were especially interesting to her.

Raised in Paris of which has changed much since a young girl, she feels that the provincial feel has mostly disappeared.

To quote something she said in her interview, it was “still very much as it is in Doisneau’s* photographs: in the spring and the summer, janitors (mostly senior women) would sit on straw chairs in the streets knitting and gossiping together.”

She was accepted into the Ecole Nationale Superieure des Arts Decoratifs in Paris, at the tender age of 18. Breaking records, she was the youngest student that year and also the only student who had not had any previous art school preparation.

Essentially, due to changes in curriculum after the student rebellion in 1968 and a loss of atelier teaching practices, what she knew about drawing before art school was all self-taught.

Her art began with a drawing at the age of eight. She recreated a drawing of Bambi and after APRIL 2020 ISSUE

Influenced by other artists such as Degas, Toulouse-Lautrec and

particularly Edouard Manet. She was further impressed when her godfather, thinking she needed exposure to more current artists, gave her a book about Picasso.

This book became a first in a large collection of art books and gave her an admiration for Picasso as one of the great painters.

Anne graduated from art school in 1979. Coming to the realization that Paris was not the place, at the time, for realistic representative art, she switched to academia. She spent the next 40 years with a very successful academic career and raised her family. As retirement loomed, she decided to resume her life as an artist and so began her second professional career.

PAINTING WORLD MAGAZINE Dancer At Rest

As a visual artist, Anne is most inspired by images. She often takes pictures and saves them on her iPad. She will come back to them and adjust as needed to create her vision, changing the reference image by cropping or

inserting it into a larger frame.

She frequently combines images loosely and they come together in the drawing. She considers herself a draughtswoman. She likes the precision of drawing along with the simplicity of it.

Joy Harjo, Poet Laureate of the USA

All you need is paper, a pen or pencil, and an eraser. Calling drawing clean, she points out there is no need for special clothing or protective covering, you can take your supplies and draw anywhere.

After The Party

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Her favorite media to work with is called Metalpoint. A drawing media that was used for centuries, aside from ink, until sanguine and graphite made an appearance. Instead of using leads in a mechanical pencil, you use thin metal rods.

Any metal works although Anne prefers gold, a gold alloy.

A special paper called Plike, which is coated with plastic, is used with the metal point. The gold point results in black and white drawings and she uses dry pastels for color effects. Very powdery pastels, Anne doesn’t use them in the normal way but rather by adding them with very soft makeup brushes and a circular motion. The color can be added after the drawing or before, as is the case with her Notre Dame work. For darker backgrounds, she uses graphite and blender stumps.

When asked for tips for our readers she points out there is no ‘one suits all’ recipe for everyone. Practicing every day, even for a short time, will bring

progress. Taking breaks from your work, then coming back with a fresh eye also helps.

She also suggests, especially for beginners, copying other artists.* Over the centuries, these artists have solved problems that you will face.

Looking at their work can be both a help and an inspiration. *Please note – This would be the work of artists of the past, in the public domain. Current artists are protected by copyright. We do not suggest or encourage anyone ever produce a “derivative work” However, we can study and learn from these great artists.

but I recommend you take a look at her website at annereboulart.com.

She also has social accounts on Facebook and Instagram, YouTube and Fine Art America.

Meditation of Death and Sorrow

Anne, Self Portrait

Anne has provided us with some photos of her work. Space doesn’t allow for me to share all of them

The Sea

Artist, Anne Reboul

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A Look into the Historical Florals of Decorative Painting

By Diane Marie Kellogg

The history of decorative painting extends far and wide, back into the past, to a time when things were simpler. There were no computers, no television, no phones, none of the everyday distractions we now deal with.

The origins of folk-art wind down many roads, in many countries. Wonderful art created by many impoverished, simple people of many different cultures. Having no formal education, they would paint to decorate their homes and belongings, eventually traveling to paint churches and the homes of other more well to do families.

As they traveled, they experimented with other styles and techniques. This eventually led to the vast variety of fantastical florals in decorative painting.

Originally, they were very simply done, using rustic, often handmade brushes and easy strokes to create the flowers and leaves. Often adding scrolls and ornamental decorations to complete the piece. As time progressed and the art traveled, it gradually expanded to quite a large area in Europe, eventually even making it to North America.

In this series, I am going to talk about some of the different styles that have developed over the centuries. While I am sure it isn’t a complete list, it should give you some insight into how and why these styles are so important to the evolution of decorative painting and particularly, floral painting.

The countries on our visits will take us across Europe, from jolly olde’ England to the romance of France, from the fjords of Norway to the windmills of the Netherlands.

Our trip will continue into the heartland of German-speaking Europe‌Germany, Austria, and Switzerland, then off from the Northern Lights of Sweden to the onion domes of Russia. These are where the decorative art of floral painting began and then navigated the world.

Let our adventure begin.

We will start with jolly olde England. Canal Boat painting is a form of folk art that APRIL 2020 ISSUE

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spanned the 18th and 19th centuries.

Sharing a possible connection with Hindeloopen it is also known World map photo by just_killing_time-pixabay.com as Narrowboat painting.

Decorating the popular boats that traveled the English canals, this style is now also painted on pieces known as Canal Ware that includes items such as coal hods, buckets, and jugs. Starting with backgrounds of black or dark green, clusters of roses in red, blue, yellow and green were often painted. Other flowers included but were not limited to daisies, pansies, primrose and combinations. Inlays often displayed cottages, castles, churches, and lighthouses along with dogs and horses. Some even included figures from local cigarette advertising.

While still in England we need to look at the art of Vardo painting. Traditionally painted on horsedrawn wagons by the British Romani people, often referred to as gypsies, they originated in India but now appear worldwide. The Vardo (wagon) painting enjoyed colorful popularity for about 70 years, from the mid-1800s to the early twentieth century. Now it is mostly shown at select fairs, often on full-size wagons. The style encompassed a detailed yet intricate design, often hand-carved

Photo – Jazella from Pixabay.Com

Teri Walker painted this miniature Vardo supplied by Eileen at AgedWithThyme. Please visit her shop at https://www. etsy.com/shop/AgedWithThyme

Used with permission by Julie Tonkin

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or appearing as such with embellishments and traditional Romani characters. Flowers and vines along with scrollwork were painted.

Then gold accents were added or, in the case of more well to do wagon owners, gold leaf.

Animals painted often included horses, dogs, and birds. More exotic animals such as lions and griffins also made an appearance. Today the art still lives on, as seen in this example from Teri Walker, painted on a miniature Vardo wagon.

Next, we cross the English Channel to the most romantic of countries, France. Here we encounter Tole Painting. The French called it tôle peite_de lac which basically translates to painted sheet metal. Often painted on tin and wooden pieces, this art used the technique known as ‘japanning’, a European imitation of Asian lacquerware. This was used to seal the pieces, giving a protective finish. Flowers that were popular in this style included roses, pansies, and hydrangeas, to name but a few.

Floral motifs were most favored. Stenciling and golding were often used. Surfaces on tin could include utensils, coffee pots, and trays while wooden surfaces often used were tables, chairs, chests, jewelry boxes, and even toy boxes.

France was also known for ‘Quimper faience’, faience is glazed ceramic ware. France’s version started with rustic blue on white and was used on bowls, tiles, etc. often using elements of French country life. Exotic floral designs from the 17th century far east were inspirational, and it became common to see Chinese motifs on French faience, called chinoiserie. All of these wonderful works of art would soon travel from Europe to North America.

Used with permission by Julie Tonkin

In preparation for this series, we have interviews and photos from authentic artists in each style of painting.

My first interview is with Julie Tonkin, a narrowboat artist from England. With an interest in canals, she moved to Netherton to live near a canal, the Dudley No. 2 Canal. At a local festival, she purchased a book that piqued her interest in canal art. After two courses with two different tutors, Dave Moore and Phil Speight, Phil took her under his wing and taught her the narrowboat art techniques in his boatyard.

Used with permission by Julie Tonkin

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Julie specializes in roses and castles. She paints on items for use on boats such as water cans, coal hods, cabin stools, teapots, and mugs. Now the proud owner of her own narrowboat, she has become a floating trader with the Roving Canal Trader’s Association. She spends time floating along with the canal system, attending floating markets and festivals selling her painted wares and related memorabilia, often referred to as canalia.

Julie said local belief is that the boat people of the past were quite illiterate and little to no knowledge about the art is readily available.

Many believe the railway forced many out of their homes and into the boats. Once there the women decided to decorate their boats. The Romany

gypsies make an appearance here as they helped carve the canals and moved onto the boats, working with them.

When asked how this style of painting has changed her life, she told me she used to be an office worker, but her love of painting has changed her life. She is now a canal art tutor with her own classroom. She is thrilled ‘to be involved in this world of history and culture.’ She feels it is important to ‘celebrate roses and castles as part of our British culture.’ She does her best to keep those roses and castles in the minds of many with her beautifully executed works of art. May the tradition continue. Visit Julie at her website listed below and on social media, Facebook – ‘Canal Art

by Julie’.

Join us in the next issue of Painting World Magazine for Part 2 – Our trek will take us into the Netherlands and Norway for a fascinating look at Rosemaling and Hindeloopen.

Sources –

Used with permission by Julie Tonkin

• Aretezan.Com, ‘Canal Boat Painting’, Traditional Folkart • Artezan.Com, ‘Tole Painting and French Folk Art’, Traditional Folkart • Wikipedia.Com, ‘Vardo (Romani Wagon)’ , ‘Toleware’, ‘Tole Painting’ • Alexandra Churchill, ‘Tole Painting: The History Behind Folk Art Treasures’, • MarthaStewart.Com/1126615/ tole-painting-collectible-folk-art-treasures • Julie Tonkin, Canal Art by Julie www.canal-art-byjulie.co.uk

Used with permission by Julie Tonkin

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