PERFUMES

Many people are intimidated by the word decoupage or anything related to it. Please don’t be. I love multimedia projects. It actually takes some of the work out of the project. Even gold leaf is not hard to accomplish and adds so much to the piece. Experiment with anything you paint. The creativity in yourself comes out.

By Diane Trierweiler I have been painting for about 45 years. I began with oil as my medium and then moved on to acrylics and watercolors. Thirty-three years ago, I opened a decorative painting shop in Norco, California called The Tole Bridge, where I teach classes regularly. I travel teach to painting chapters and conventions. I have a full line of packets, books and DVDs. I also have my own line of specialty brushes. The joy of painting and teaching has filled my life with much satisfaction and it has given me the chance to meet so many wonderful people.

SUPPLIES: • 16x20 tac on back canvas • Two sheets of gold leaf (Mona Lisa) • Gold leaf adhesive • Small piece of small print flowered paper • Leopard print paper • Decoupage glue (Decoart®) • Duraclear Gloss Varnish (DecoArt®) • Masking tape • Black Sharpie pen

PAINTS: DecoArt® Americana 2 oz. acrylics: • Fawn Da242 • Light Buttermilk Da164 • Soft Black Da155 • Charcoal Grey Da088 • Olive Da056 Saffron Da273 • Honey Brown Da163 • Burnt Umber Da064 • Black Green Da157 • Avocado Da052 • Titanium White Da01 • Pink Chiffon Da192 • Antique Mauve Da162 • Dried Clay Da356 • Emperor’s Gold Metallic Da148 • Vintage Brass Metallic Extra Sheen Dpm05

BRUSHES: Dynasty® • 1/2 angle • 10/0 Liner • #4 Flat • #10 Flat • 3/4 Flat glazing • Small round brush • #8 Filbert • 1/2 Mop Diane Trierweiler’s signature brush • #8 long handle tongue (hog bristle tongue)

MISCELLANEOUS SUPPLIES: • Paper towels • Water tub • Tracing paper • Graphite • Stylus PREPARATION: Use your #8 long handle tongue to slip slap (scumble) Light Buttermilk and Fawn over the center area of the design. You should be able to see both colors and a mixture of the two colors. Let dry and tape off the one and a half inch border around the outside edge of the design. Use your large flat brush to base in this edge with Light Buttermilk. Let dry, and place your pattern on, (basic lines only).

PROCEDURE:

BOTTLE IN REAR: Use your #10 flat to base in the green lotion bottle with a wash of Olive. (20% paint to 80% water). Use your 1/2 angle brush to shade this area with Avocado. Second shade with Black Green. Make sure you bring your shading out widely so that there is a small area of the Olive showing. Base in the label with Light Buttermilk Use your angle brush to shade on the label with Burnt Umber. Use your liner brush, with Emperor’s Gold, to outline the label. Use your black pen to add an additional line next to the gold line and to place in the letters on the label. Use your flat brush to wash Charcoal in the glass areas. It is also along the edges of the bottle. Use your small round brush with watered down Charcoal to add details to the glass on the bottle. Use the same brush to add White highlights onto the glass. Base in the top edge of the bottle with Emperor’s Gold. Shade the bottom edge of this area with Burnt Umber. Place the pattern for the ribbon on the top of the bottle onto the decoupage paper. Cut the paper out according to the design. Use your brush to paint the decoupage glue onto the canvas. Paint more glue onto the back of

the paper. Lay the paper over the area where the ribbon should be. Smooth the paper out to make sure there are no bubbles left. Paint one more coat of glue over the ribbon. Let the glue dry thoroughly. Use your angle brush with Burnt Umber to shade on the ribbon. Use your liner brush with Emperor’s Gold to outline the ribbon. Dry brush a little White, here and there, for highlights.

ATOMIZER: Use your filbert brush to wash (20% paint to 80% water) Saffron into the yellow area of this bottle. While the paint is still wet, blend in a wash

of Honey Brown where the shadows are. Second, shade with a little Soft Black. Let dry and use your angle brush to shade this area with Burnt Umber. Highlight with White. Base in the top of the bottle with Vintage Brass Metallic. Shade with Burnt Umber. Let dry and highlight with White. Base in the lid with Soft Black. Let dry and use your angle brush to highlight the bulb with Light Buttermilk. The bottom of the bottle is washed in with Charcoal. When dry, shade with Soft Black. Highlight with White. Place the pattern on for the bulb. Cut the leopard paper to fit the pattern and glue onto the canvas the same way that you did for the ribbon. Use your liner brush to paint the tube for the atomizer with Soft Black and then with Emperor’s Gold. The tassel at the bottom of the bulb is lined in with Soft Black and then again with Emperor’s Gold. Base in the label on the bottle with Light Buttermilk. Use your pen to outline the label and to place in the letters.

PEARLS: Use your filbert brush to base in the pearls with Pink Chiffon. Use your angle brush to shade the top and bottom of each pearl with Dried Clay. When dry, second shade the bottom of each pearl with Antique Mauve. Use your liner brush with White to add a dash of White to highlight each pear. Outline lightly and loosely with your pen. The clasp is Emperor’s Gold.

SQUARE PERFUME BOTTLE: Use your filbert brush to wash Charcoal over the bottle. Use your round brush with Charcoal to place on the lines that shape the bottle. (refer to the underpainting photo). The label is

based in with Light Buttermilk. When dry, shade with Burnt Umber. Place the letters in with your black pen. Use an old brush to paint on the gold leaf adhesive. Only paint the glue on where you want the gold leaf to be. Let the glue dry for a few minutes. Place small pieces of gold leaf over the glue. Use a soft mop brush to brush off excess gold leaf. Repeat until you are happy with the amount of gold you have. Place the pattern on again if necessary. Use your small round brush with Charcoal and place on the shape lines for the bottle. Highlight with White.

FINISHING: Wash under the bottles and the pearls with Charcoal. Do this in several layers, gradually getting darker under each item. All of the letters are painted in with a wash of Charcoal. Use your liner brush to add White highlight lines on each letter. Outline on the right of each letter with Emperor’s Gold. Use your black pen to line on the left side of each letter. The letters on the top are just washed in with Charcoal. The design under the letters is also washed in with Soft Black. Use your angle brush to shade next to the Light Buttermilk border with Burnt Umber. Outline with Soft Black next to the border. The outer edge of the canvas is outlined with Soft Black. Light Buttermilk is used to place in the line on the area in the center where you slip slapped Fawn and Light Buttermilk. Varnish with gloss varnish. I think this project would look great in a bedroom or a bathroom. Enjoy!

Enlarge by 200%.

ZEBRA JACKET CLOTHING CHALLENGE WINNER

Congratulations to Margaret Riley! Margaret has won our clothing challenge this round. In case you haven’t heard, we have an ongoing clothing and accessories challenge. Each challenge winner’s project photo will be published in the magazine and the blog. The winner will be awarded a $100 prize for a winning submission. The pattern and instructions will be published on the PWM blog on February 11, 2020. You will be able to download instructions to recreate the winning design for yourself. Let’s talk about Margaret’s trendy little jacket makeover. Animal print is popular in fashion, making this piece here and now. Zebra print is fun! Black & White with a bold color always livens things up. Depending on the occasion you can dress it up or dress it down. This print is versatile. What a fantastic wardrobe piece and a great addition to your clothing lineup. Please write to info@paintingworldmag.com for details on entering the clothing challenge.

An Instinctive Painter with Technical Chops and Creative Structure:

JIM MCVICKER

Artist Jim McVicker well known for his plein air and still-life paintings, expresses his early development had occurred mainly by working with other more experienced artists. A contemporary plein air artist, McVicker’s works encapsulate patterns with shapes, and colortinted shades of light through dark. While his still life paintings disclose background and object in modern placement, by layers formulated in a series of steps shown herein. McVicker shares his experience, “I met three painters in 1978, Curtis Otto, James B Moore and George Van Hook, at a life drawing group in Eureka, Ca. Each of them were painting works that I really responded to, all worked from life and the landscape around the Eureka area. I was invited to go out to paint with them and jumped on the opportunity. We all became friends and George and I eventually shared a studio space. We worked along side each other for about a threeyear period, which was a time of huge growth in my work. I often share that story and always encourage workshop students to work with painters that are more advanced. A lot is picked up from observing other’s working methods. Also, visit a lot of museums to study firsthand the works of historical masters.” In comparing technique of how the artist paints from still life to plein air landscape, Jim McVicker points out similarities as well as a few, very distinct differences. He says, “Still life painting and landscape feel like two different approaches, although I do both from life. The landscape is always a short time frame, about two hours, trying to catch the light before it changes too much. With still life in the studio, one has more consistent light and therefore it doesn’t seem as frantic as painting outdoors. I will do By Nicole Borgenicht

many of my landscapes over a period of several days to weeks working with the same time of day and lighting conditions. Also, with still life, you are composing from scratch. Still life, I can also work with colors not found easily in nature. In the landscape, I look for compositions and design that I find exciting and then respond to it.” In the many stages of Studio Still-Life, Jim McVicker describes his initial considerations and techniques in each of the first steps. In addition, he shares a few colors and brushes chosen to achieve necessary results. Therefore we receive insider notes on how the earlier images transition toward the final painting. “My still life pictured started with a thin and simple drawing using a bristle brush and transparent oxide red. I also block in some of those shapes with the same warm color. At that point, I really focus on painting the flowers because of the short life span. So, I am working with the colors and shapes I see in a pretty direct manner, always working with bristle brushes number 4 to 10. At the same time, I work on the flowers, I am painting the background around them and hopefully keeping a sense of unity and connection, not separation. Once the flowers are painted, usually over a three-day period, I start to concentrate on all the other objects and slowly start blocking in the rug patterns and color. I am always working directly with the colors I see and do not do any glazing. I worked on this painting over a three-month period, building up the paint, paying close attention the light, values and a sense of space and air. At some point, the painting seems to not call out for any thing else and I set it aside, studying it now and then and sometimes making subtle additions or changes,” says McVicker.

In Summer, at Hawks Hill, there is a vast landscape filled with detailed shapes and patterns, along with an expansive sky, put together into an orderly composition. McVicker describes a few artist tips in achieving richness of color, depth of field, and time of day from this painting. “Summer, Hawks Hill has that warm afternoon glow of summer and the beautiful golden tones that say California. I painted it in the afternoons over a two to three week period. Some days I can’t work on it as the fog has rolled in. When painting sunlight and the richness of the land, I always tell students in my workshops they need to push the color and light further than they think. We can’t actually paint sunlight, so in order to achieve that effect I think one needs to be bold with it. To underplay it would not give one the sense of bright sunlight on the golden grass and road. The clouds are very important to the design of this painting. Again, I feel they say sunlight but also create depth and movement in the sky. I always pay close attention to the values in order to show that illusion of depth. The color and brushwork get stronger in the middle and foreground,” Jim McVicker says. In Spring, Hawks Hill, Jim McVicker has simulated the translucence of spring rain with shapes and colors in this plein air landscape painting.

McVicker says, “Spring, Hawks Hill was painted in the early morning over several days. The fields below still have some flooded patches that reflect the sky and I feel an important element to give it that sense of moisture and our Northern California spring. Everything is very green except the berry patches along the roadside that add a nice complement to the greens. I have painted from the view many times over the past 30 years: different seasons, weather and time of day.” His work is in many galleries all over California, and in Florida and Utah. Plus Jim McVicker paintings have been in many museum shows to include a recent exhibit at New Museum Los Gatos, where his still-life paintings were outstanding. Furthermore, he has won multifarious awards in plein air competitions. “I show with a number of galleries throughout the U.S. and enjoy working with the owners I show with. I think it is best to have a good relationship, rapport and someone that is excited about your work. I have had numerous shows, group and solo, over the years and enjoy both. I think a

solo show is always important and a great way to see a body of one’s work out of the studio, framed and hanging on well lit and beautiful gallery walls. I always, in that setting, feel I am seeing my work with a fresh and new eye. I have also been included in a few museum shows with other painters and that is always an honor,” says McVicker. In McVicker’s own workshops he makes it a point to share his awareness of nature to paint in an intuitive way. After all, he paints with reflection of the inherent shapes, color and light patterns that prevail in nature, yet maintains a modern flair for ingenuity. He says, “From my workshops I have learned a lot just by talking and expressing oneself about painting and how I go about painting a landscape or still life. I like both but I think I am always most happy outdoors. I am a very intuitive painter and do not like formulas as a way to make a painting. I try to always stay open to what is in front of me and like to pass that along to students. With that said, I do approach the painting as I think most painters do. Looking for big shapes, the darks and lights and what I see as the color and tones happening throughout the painting. I stress the importance of sound drawing, correct values and paying attention to what the subject before you is revealing. I speak out loud in my workshops expressing what I am saying to myself in my head while I paint. Except for when I beat myself up for all the wrong things I might do as I paint. It’s not something one learns and then it’s smooth sailing to making a good painting. Those would not be very interesting paintings without all the work,

frustration and the constant pushing to make a better painting than the last one. I see Nature as king and the great instructor. I am in awe!” An artist lifestyle he shares with his wife and camaraderie with other painters, McVicker revels in limitless communication. “My favorite thing about being an artist is having everyday give me something new to see and the opportunity to use whatever talent, creativity and passion I have to do something with it on a canvas. My wife, Theresa Oats, is an artist also. Both of us feel very blessed to follow our passion and to make a living doing what we love. It’s not all roses and has its highs and lows like anything in life. It takes focus and love to stay committed to what one believes in. Today, like no other time in history, we have had the opportunity to meet in person and online so many fellow artists out there, following their passion to create something that is life affirming and gives one a strong sense of purpose. It’s always nice to know you’re not alone,” says Jim McVicker. https://jimmcvickerpaints.com

34 PAINTING WORLD MAGAZINE

HEARTS

&

ROSES By Jan Boettcher

I am totally enjoying my Rosemaling passion. I am constantly imagining and thinking about what to paint next. I have had the honor of being an Indiana Artisan since being juried into the group in 2011. I have also been part of the Traditional Arts Indiana through Mather’s Museum in Bloomington, Indiana. I am a designer and teacher for “Oil Painting Expressions” online. I love to demonstrate and share my art at shows, events, and functions. Most of all, I love to teach this beautiful folk art from Norway. I am actively promoting this beautiful art by designing packets and projects for classes. My work can be found on our website: www. turnofthecentury-in.com or www.etsy.com/shop/ TurnofthecenturyShop. I am on Facebook and manage a group called “The Thorntown Malers”. We discuss and share anything Rosemaling or Norwegian.

I am a Rosemaler and have been Rosemaling for many years. I generally paint very traditional pieces. I love the history of Rosemaling, and I also love to share that along with the pieces I paint. When looking through my stash of woodenware, I came across this piece. It is called a “Candy Dish Server”. Obviously, it is not a traditional Norwegian piece, but I felt it was one that I could Rosemal with the sweet Telemark roses that I use for larger designs. It seems that many painters want to paint on items that can be used rather than paint a decoration. The colors seemed so cheery and “just right” for a candy dish for Valentine’s Day.

ARTIST TIP:

-Always use Walnut Oil Alkyd rather than Walnut Oil. The alkyd helps the paint to dry quickly. I am finding that the Archival Odorless Lean is a bit easier to work with and dries ever quicker than the Walnut Oil Alkyd. -I use a technique with most of the styles of Rosemaling which uses 3 shades of each color. The blending is done with the brush as you press and blend the stroke. With oils the open time is a bit longer so you can “work” with the paint to make it look blended and soft. -Wipe your brush on paper toweling when you change from one color to another, rather than clean the brush each time with brush cleaner. The brush cleaner can drip on the surface as you paint if not cleaned well from your brush. Obviously, the stronger or brighter a color, the more you must wipe the brush clean between loading the brush. -Remember to use oil when using the teardrop brush and also the liner or scroller. All other times, you will be painting without oil in you brush. The oil is intended to help the paint flow from the brush and to soften the stroke as well.

SUPPLIES

SURFACE: Candy Dish Server-#CDS Available on Etsy. www.etsy.com/shop/TurnofthecenturyShop

PAINTS Americana acrylic: • Antique Maroon DA160-03

Rembrandt oils: • Alizarin Crimson • Cadmium Red Light • Burnt Umber • Burnt Sienna • Yellow Ochre • Titanium White • Unbleached Titanium • Ivory Black • Cadmium Yellow Light Scharff Brushes: • Small teardrop brush, sable #426 • #2 & #4 flat brush, syn-sable #130 • #2 filbert (cat’s tongue) syn-sable #429 • Raphael #2 synthetic liner #8829

MISCELLANEOUS SUPPLIES: • Odorless brush cleaner for oils • Tracing, transfer, & palette paper • Fine sandpaper • Palette knife • Walnut Oil Alkyd OR Archival Odorless Lean • Stylus • Paper Towels • Sponge brushes for base coating • Matte & Satin Blair Finishing Spray