February 2021 Painting World Magazine

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Decorative Painting, Mixed Media, Fine Art & More!

February 2021

Painting World

Issue 31

ÂŽ

magazine

$9.00 USA $11.50 Canada

Cover Artist: Sivanvitha Juturu


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PAINTING WORLD MAGAZINE

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FEBRUARY 2021 ISSUE


Contents 13

5 FRESH AND FUNKY FLOWERS Sharon Cook

FLORAL DENIM Christina Hilton

25 SHADES OF GOLD Tricia Joiner

38

32 EASTER CHICK PULL TOY Linda Hollander

50 GARDEN TIME Diane Trieweiler

22 46 60 69 76

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PINKS AND PURPLES Sivanvitha Juturu

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A COTTAGE WELCOME Sue Cochrane

62 SUMMER’S GLORY Nancy Scott

Meet the Artist

Passing the Paintbrush

It’s all in your mind

The benefits of Art Journaling

Directory of Artists & Suppliers

ADVERTISERS INDEX 2 Tracy Moreau

49 Bear with Us

20 DecoArt®

78 Viking Woodcrafts

2 Pinecraft

49 Mitform

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FROM THE Editor Letter from the Editor

What a year 2020 was. Winter is almost over and Spring just around the corner. We are so excited to show you all the wonderful projects for this year! It is time to get out all those art supplies that might have been collecting dust and get ready for some wonderful Spring inspired art. We have so many amazing things coming throughout the year you are not going to want to miss out! Thank you to all the artists and customers, like you, that helped make 2020 great! Also don’t forget that we launched the Tole-tally Brushed Art Box Kits which make a great gift anytime of year! Check it out at paintingworldmag.com to get yours!

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 directly 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!

About the Magazine

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. PAINTING WORLD MAGAZINE (ISSN 2472-694X). October 2020, Volume 01, Issue 29 ©Loon Publishing, LLC. Painting World Magazine is published 6 times per year by Loon Publishing, LLC., 514 W Main St Albert Lea, MN 56007, USA. US Subscription price $40.00 per year, shipping included. POSTMASTER: Please send address changes to Loon Publishing, LLC., 514 W Main St Albert Lea, MN 56007. 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 $40.00 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

Fresh ‘n Funky Flowers

Denim Bag and Face Mask

Sharon has been decorative painting since 1990 and loves it just as much as ever! She has enjoyed teaching painting classes at various places for several years, and has been designing and publishing for some time. She is the author of several books, many magazine articles, and pattern packets on decorative painting. Get to know Sharon’s style and catch a glimpse of what brings joy to her heart—”decorative” painting! FEBRUARY 2021 ISSUE

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Everyone needs a few fresh (and kinda funky) flowers to brighten their day now and then. The great news is that this batch of blooms and their sweet snail friends can hang out with you any time you like. And when wearing the coordinating facemask, you can venture out into this exciting world with charismatic confidence and joy! Painted on a bag made from recycled denim jeans, this project is a mixed-media dream that is filled with glamorous glitter, stenciling, and stamping techniques to keep it interesting. So, grab those brushes and dive right in, you will be so glad you did!

SUPPLIES: SURFACE: The denim bag and facemask used in this project were created from a pair of recycled jeans. If you’re not a seamstress, however, no worries! There are many fabulous totebags and facemasks available at your local craft stores, sewing centers, or online. (Just take a quick Google search to see what I mean!) One totebag style that I really like is can be found at: https://www. etsy.com/listing/663766423/ denim-tote-reusableshopping-bag-cloth?ga_ order=most_relevant&ga_ search_type=all&ga_view_ type=gallery&ga_search_ query=denim+tote+bag&ref=sr_ gallery-1-37&frs=1.

PAINTS: DecoArt® Americana:

A very nice denim facemask can be found at JoAnn’s Crafts and Fabrics: https://www.joann. com/adult-denim-face-maskassorted/17732033.html.

• Sour Apple DA275

Adapt the pattern size and shape to fit your bag. Don’t forget to use your imagination and have fun!

• Alizarin Crimson DA179 • Cactus Flower DA384

• Cinnamon Drop DA308 • Cobblestone DA390

• Cotton Candy DA347

• Dioxazine Purple DA101 • Eucalyptus Leaf DA387

• Forest Green DA050

• Jadeite Glass DA388 • Laguna DA350

• Lamp (Ebony) Black DA067 • Lemonade DA252

• Light Cinnamon DA114 • Mermaid Tail DA373 • Midnite Blue DA085 • Moody Blue DA389

• Neutral Grey DA095 • Purple Petal DA378 • Purple Rain DA327

• Saffron Yellow DA273 • Sunny Day DA325

• Warm White DA239

• Whispering Turquoise DA305 • Wild Berry DA362

DecoArt® Glamour Dust: • Aqua DGD18

• Ice Crystal DGD09

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• Lemon Drop DGD15 • Limelight DGD05

• Purple Princess DGD22 • Turquoise DGD07

Mediums by DecoArt®:

• Fabric Painting Medium DAS10

BRUSHES By Company Name:

• Zen, Z73WO, Oval Wash, Size 3/4”, by Royal & Langnickel®

• Zen, Z83SC, Soft Scrubber, Size 8, by Royal & Langnickel®

• Majestic Script Liner, R4585, Size 10/0, by Royal & Langnickel®

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

• Royal Stencil, 1113, Size 1/2”, 5/8”, by Royal & Langnickel®

By Chris Haughey:

• Chris’s Epic Script Liner, 18/0, by Chris Haughey; https://www.cdwood.com

• Chris’s Spectacular Stencil Brush, #296-4 by Chris Haughey; https://www. cdwood.com


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MISCELLANEOUS SUPPLIES: • One extra copy of the line drawing (to use as a “mask” when you begin to stamp and stencil)

• One copy of the line drawing (printed in reverse, if you choose to transfer the design onto the bag and facemask using the Sulky Iron-on Transfer Pens method) • Paper towels • Pencil

• Water bin

• Grey and white transfer paper • Stylus

• Sponge dauber or small sponge brush • Clear stamping block (optional)

• Stampers Anonymous-Tim Holtz Collection Layering Stencils; available from Cupboard Distributing • Honeycomb, THS005, https://www.cdwood.com

• Ornate, THS076, https:// www.cdwood.com • Splash, THS080, https:// www.cdwood.com

• Stampendous Cling Paisley Patterns Rubber Stamps; CRS5100, https://www. amazon.in or other stamp(s) of your choice • Yellow Sulky® Iron-on Transfer Pen; available from Amazon.com

Helpful Tip or Hint:

The subtle use of stamping and stenciling in the background of these bright blooms provide fun texture and dimension that would be hard to create by any other method. Once dry brushing is applied over those features, the stamped and stenciled areas almost remind me of faded tattoos. Try it and you will be able to see many possibilities for these techniques.

PREPARATION: PATTERN TRANSFER: The trickiest part of this project is transferring the outline of the basic shapes onto the denim bag. There are a couple of methods to do this, which I mention below. Please note, that only the outside edges of each flower, stem, leaf, and the outside edge of the snail are needed to begin the basecoats. You can use white transfer paper and a stylus to do this, but you will need to trace over each section several times to get a very faint line to show up on the denim. You should also be aware that tracing over the design several times while on top of fabric may slightly tear the line drawing tracing paper or vellum that your design is traced on. Another method to transfer the outline of the design to the bag is to use a yellow Sulky® Iron-on Transfer Pen. These are available at some fabric shops (people who embroider use these all the time!) and also are found at Amazon.com (see link below). IMPORTANT: If you use the iron-on transfer pen method, be certain to trace over a copy of the line drawing that has been printed in reverse. By doing this, when you lay the traced design on your bag (with the inked side laying on the bag) and iron it on, the design will be printed in the correct direction. For more complete instructions on using the Sulky® Iron-on Transfer Pen method, please refer to the manufacturer’s instructions included with the pens

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PAINTING INSTRUCTIONS: UNDERCOAT NOTE: The small images painted on the face mask are done in the same manner as the bag, with the exception of the stamping and stenciling. It will not be necessary to stamp and stencil the images on the face mask. Warm White:

Base all of the flowers, stems, leaves, and snail with Warm White (do not worry about the grass at this time). The white will serve as an undercoat for the colors painted on top and help them to appear brighter.

BASECOATS Blue Flowers:

Base the three largest petals at the back of the flowers with Whispering Turquoise. To a pool of Whispering Turquoise about the size of a quarter, add one very tiny drop each of Moody Blue and Laguna; stir well to blend and base the three second largest petals in the flower. Add another small drop of Moody Blue and Laguna to the mixture and base the three thinnest petals in the flower. Pink Flowers:

Base the two pink flowers with Cactus Flower. Yellow Flowers:

Base the two yellow flowers with Sunny Day. Snail:

Base the snails head and neck and tail with Cobblestone. Base the outer edge/swirls with Purple Petal. Base the inner swirls with Cotton Candy. Base the bow on the snail’s head with Cinnamon Drop. LADYBUG Base the ladybug body with Cinnamon Drop. Base the head with Neutral Grey. Flower Stems and Leaves:

Base the stems and leaves on the blue flowers with Sour Apple. Base the stems and leaves on the pink and yellow flowers with Eucalyptus Leaf.

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PAINTING WORLD MAGAZINE

STAMPING AND STENCILING Before you begin to stamp and stencil, cut out the flowers and snail from an extra copy of the line drawings; you can discard the flower and snail cutouts, but do not throw away the paper they were cut from. This paper will serve as a “mask” or “block” to keep the stamping and stenciling off the rest of your bag. Stamping:

If you are using a clear acrylic stamp block, adhere the preferred stamp to the block. (The stamp block is optional; if you do not have one, simply press the stamps down with your fingers.) Lay the paper you cut the flowers from on the bag, lining up the cutouts to the base coated flowers and snail. Use Midnite Blue as the “ink” for the stamps. Use a sponge dauber or a dry sponge brush to tap paint very lightly onto the stamp. Do NOT press the dauber or sponge brush too hard as you apply the paint to the stamp, or you will fill in the crevices of the stamp and will not be able to achieve a clear stamped image. You want to achieve a scruffy-stamped look, rather than a clear and crisp stamped image, so do not overload the stamp with paint. (It is not necessary to cover the entire stamp with paint.) Gently, with light pressure, press the stamp onto the flowers and lift stamp straight up. Stamp again in another location before reloading the stamp with paint. The idea is to get a very loose and softly stamped image. Repeat on each flower and on the snail. Stenciling:

Yellow flowers:

Position the Honeycomb stencil over the yellow flowers. Load the stencil brush with Light Cinnamon and brush back and forth on a dry paper towel to remove much of the paint. Swirl the stencil brush

around on the paper towel a few times to ensure the brush is not overloaded with paint. Gently swirl the stencil brush over the Honeycomb stencil in several places on the yellow flower. (Do not cover the entire flower with Honeycomb stencil; you only want it to be in a few places, and it should be light.) Repeat the swirling in a few places to darken the stenciling, if necessary. Keep the stenciling light and muted. This will allow the pattern to softly fade into the background, as the highlights are shading is added to the flowers. Pink flowers:

Position the Splash stencil over the pink flowers. Load the stencil brush with Light Cinnamon and stencil the pink flowers in the same manner as the yellow flowers were stenciled. Keep the stenciling light and muted. Blue Flowers:

Position the Ornate stencil over the blue flowers and stencil in the same manner as the yellow and pink flowers. Snail:

The snail does not need any stenciling. FLOWERS Blue Flowers:

Drybrush the largest and medium sized petals with Warm White. Drybrush the thinnest petals with Whispering Turquoise. Float to FEBRUARY 2021 ISSUE

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shade the largest petals with a mixture of 80% Whispering Turquoise/20% Laguna. Add one more drop of Moody Blue to the mixture and one drop of Laguna and mix well; float to shade the medium sized petals. Add another drop of Moody Blue to the mixture and two drops of Midnight Blue and shade the thinnest petals.

two or three very sheer floats of Purple Rain to the edges of the pink flowers. (Refer to the photo below for assistance in shading placement, if needed.)

Yellow Flowers:

Drybrush the center of the leaves on the blue flowers with Lemonade. Thinly float down the left side of each stem with Lemonade; float the top side of each leaf with Lemonade. Make an equal mixture of Sour Apple and Forest Green, and float to shade the stems below the flowers and at the base and bottom of each leaf. Thinly float on the right side of each of the stems.

Drybrush the flower center of the yellow flowers with Warm White. Float Warm White on some of the upper edges of the swirls to brighten the highlights. Float to shade below each of the swirls with Saffron Yellow. Add a couple of drops of Cactus Flower to the Saffron Yellow to tint it a light orange color, and float over some of the Saffron Yellow shades to darken. (Refer to the photo below for assistance in shading placement, if needed.) Pink Flowers:

Drybrush the center of the pink flowers with Cotton Candy. Add a drop of Warm White to the Cotton Candy and mix well; drybrush again to brighten the highlights. Float Warm White on some of the upper edges of the swirls to brighten the highlights. Float to shade below each of the swirls with Wild Berry. Add a couple of drops of Cinnamon Drop to the Wild Berry to darken it a bit, and float over some of the Wild Berry shading to darken. Apply

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STEMS AND LEAVES Blue Flower Stems and Leaves:

Yellow and Pink Flower Stems and Leaves:

Dry brush the center and top of each leaf with Jadeite Glass; float the top side of each leaf with Jadeite Glass; float down the left side of each stem with Jadeite Glass. Float the bottom side of each leaf with Mermaid Tail. Float each stem below the flowers with Mermaid Tail, float down the right side of each stem with Mermaid Tail. SNAIL Face and Neck:

Drybrush the face and neck of the snail with Warm White; float the tip of the tail with Warm White. Trace on details of the face. Base the eyes with Warm White. Base the nose with Laguna. Float the top side of the nose with Sour Apple. Float the cheeks with a mixture of Cactus Flower and Wild Berry. Base the pupils with Moody Blue. Base the insides of the mouth with Lamp (Ebony) Black; dot the pupils with Lamp (Ebony) Black. Dot the center of the pupil with Warm White. Bow:

Drybrush the center of the bow with an equal mix of Wild Berry and Cactus Flower; float top of bow with the same mixture to highlight. Float to shade the bottom of the bow with Alizarin Crimson. Shell:

Drybrush the center of both the purple swirls and the pink swirls with Warm White. Float the sides of the purple swirls to shade with Purple Rain. Float the bottom edges of the purple swirls with


PAINTING WORLD MAGAZINE

GRASS Using a 10/0 liner brush, stroke several blades of grass along with bottom of the design with Warm White (be sure to apply strokes from the bottom edge of the design and stroke upward). Allow to dry, then stroke over all the Warm White grass with Sour Apple. LINING Thin a pool of Lamp (Ebony) Black slightly with water, and using the 18/0 liner brush, line everything. GLAMOUR DUST GLITTER Blue Flowers and Snail Nose: Dioxazine Purple to deepen the shading. Float the sides of the pink swirls with an equal mixture of Cactus Flower and Wild Berry. Float the bottom edges of the pink swirls with a sheer float of Cinnamon Drop to deepen the shading. Apply the dots to the pink swirls with Warm White.

Make an equal mix of Aqua and Turquoise Sparkle Glitter Dust and base over the blue flowers and snail’s nose. Yellow Flowers and Yellow Center of Blue Flowers:

Base over the yellow flowers and the center of the blue flowers with Lemon Drop. Pink Flowers: Make an equal mixture of Ice Crystal and Purple Princess and base over the pink flowers. Blue Flower Stems and Leaves:

Base over the blue flower stems and leaves with Limelight. Pink and Yellow Stems and Leaves: Make an equal mixture of Limelight and Turquoise Sparkle and base over the pink and yellow flower stems and leaves. LADYBUG Drybrush the red body with Wild Berry, then with Cactus Flower to brighten. Float top of red body with Cactus Flower. Float bottom of red body with Alizarin Crimson to shade. Drybrush the center of the face with Cobblestone. Line the head and antennae with Warm White. Dot the eyes with Warm White. Base the nose with Wild Berry. Float the cheek with Wild Berry. Line the mouth with Lamp (Ebony) Black. Base the dots on the red body with Lamp (Ebony) Black. Dot the center of the eyes with Lamp (Ebony) Black. Dot the cheek with Warm White.

Ladybug:

Base over the body and head with Ice Crystal. Snail:

Base over the head, neck, tail, and bow with Ice Crystal. Base over the pink swirls with an equal mixture of Ice Crystal and Purple Princess. Base over the purple swirls with Purple Princess. Grass:

Base over the grass with Limelight.

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Enlarge to the size of 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.

FEBRUARY 2021 ISSUE


PAINTING WORLD MAGAZINE

Floral

Denim

By Christina Hilton I am fifteen years old and I love painting. It is a way for me to express my creativity and make something beautiful at the same time! I also enjoy playing basketball, traveling, and playing games with my friends and family. My mom really helped me get into painting, and I look forward to teaching my kids how to paint when I am a mom.

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Dear Painters, I am so happy that I am able to share this pattern with you! You can arrange these flowers on your surface however you like to make your own unique piece. I got my denim vest from a local thrift store. The vest used to be so boring, but the flowers give it a lot more personality and now it is really fun to wear. I loved painting this piece because it is not too technical, and I could adapt and change the pattern to fit my surface. I hope you enjoy painting it as much as I did!

SUPPLIES: SURFACE: • Denim (I got my vest from a thrift store). DECOART® AMERICANA ACRYLICS: • Cadmium Red DAO15 • Cadmium Yellow DAO10 • Summer Lilac DA189 • Snow White DAO1

• Lamp Black DAO67

• Bubblegum Pink DA250 • Salem Blue DAO43

• Hauser Light Green DA131

• Forest Green DA50

• Mint Julep Green DAO45 • Canyon Orange DA238 • Grape Juice DA236 • Peony Pink DA215

• Sapphire DAO99

• Saffron Yellow DA273

• Burgundy Wine DAO22 BRUSHES: • Jo Sonja’s® Sure Touch 10/0 Short Liner and #4 Oval Dry Brush

• Loew-Cornell® ½” Angle Brush, #6 Flat Shader, 20/0 Scroller, #0 Stipple Brush

MISCELLANEOUS SUPPLIES: • White tracing paper by DecoArt® Americana • Textile medium by Delta® • Stylus

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PREPARATION:

1. Trace Patterns onto denim—I used copy paper on top of the transfer paper instead of tracing paper because it does not rip as easily since you have to press down extremely hard. New White transfer paper works best (depending on the color of denim), especially DecoArt® Americana.


PAINTING WORLD MAGAZINE

2. For washability, make sure you add textile medium to all the paints according to the bottle’s instructions.

3. Base all flowers and stems with Snow (Titanium) White, then base all leaves with Hauser Light Green over the White.

4. Paint each flower with the following: • Rose: Cadmium Red

• Purple flower and Lilac: Summer Lilac • Tulips: Bubblegum Pink

• Blue Flower: Salem Blue

• Yellow flower and Honeysuckle: Cadmium Yellow • Small filler Flowers: Cadmium Red, Summer Lilac, Bubblegum Pink, Salem Blue, and Cadmium Yellow • (Keep the other flowers white).

PAINTING INSTRUCTIONS: SNOWFLAKE BULBS: Paint the veins on the leaves with a 10/0 short liner and Forest Green. Then shade the stem and leaves with Forest Green and a #6 flat shader by sideloading. Highlight with a thin line of Mint Julep Green, on the right side of the stem and leaves, with a 20/0 liner brush. Shade petals with Mint Julep Green and #6 flat shader, then add Hauser Light Green oval dots to the ends of each petal. YELLOW FLOWER: Paint flower center with Lamp Black. Mix Cadmium Yellow with Snow White 50/50 and dot over black with a stylus. Dot Snow White in middle of flower center. Shade petals with Canyon Orange using sideload technique and a ½” angle brush. Add accent lines with 10/0 short liner (see photo for placement). Drybrush Snow White down the middle of each petal with #4 oval drybrush to highlight. FEBRUARY 2021 ISSUE

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TULIPS: Shade between petals with Peony Pink and a ½” angle brush by sideloading. Highlight the top right of each petal with Snow White, the same way the petals were shaded. Paint Forest Green veins onto each leaf using a 10/0 liner brush. Shade between leaves and stems with Forest Green and ½’ angle brush. Highlight leaves and stems with a thin Mint Julep Green line on the top right side with 20/0 liner brush.

LILACS: Using a #0 Stipple brush, stipple all of the flower with Grape Juice. Mix Summer Lilac with Snow White 50/50 and stipple on the top right side of the flower. Paint four-petaled flowers on top of flower with Summer Lilac, then outline them with Grape Juice. Stipple Snow White onto the center of each little flower. Paint leaf veins with 10/0 liner and Forest Green. Shade where leaves meet stem, next to veins, and where stem meets flower by sideloading with Forest Green and #6 flat shader. Highlight on right side of leaves by dry brushing Snow White. BLUE FLOWER: Use Forest Green to paint leaf veins with a liner brush. Shade leaves where they meet the flower with a ½” angle brush. Drybrush highlight with Snow White on the top right of the leaves. Paint middle flower Sapphire and center flower with Snow White. Shade around middle flower and separate large petals with Sapphire by sideloading with an angle brush. Add accent lines with Sapphire and a liner brush. Drybrush down the middle of each large petal to highlight with Snow White. Sideload with Lamp Black to shade between middle flower’s petals with #6 flat shader. Mix Lamp Black and Snow White to make a light grey and shade between center flower petals by sideloading. Stipple Cadmium Yellow in the center. Outline the small middle flowers with Lamp Black and a liner brush.

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HONEYSUCKLE: Shade the base of each Honeysuckle with Cadmium Red and ½’ angle brush by sideloading. Highlight flowers and stem with a thin line of Snow White on the top right of each with 10/0 liner brush. Shade stem with a line of Forest Green on the left side with liner brush.

PURPLE FLOWER: Mix Snow White with Cadmium Yellow 50/50 and stipple center. Stipple dots on to of center with Saffron Yellow. Shade between petals by sideloading Grape Juice with a ½” angle brush.


PAINTING WORLD MAGAZINE

Use the same technique to shade around the center with Grape Juice. Drybrush Snow White down the middle of each petal to highlight. Outline the flower using 10/0 liner brush and Grape Juice. DAISY: Paint Forest Green veins onto the leaves with a liner brush. Shade leaves by the vein and where they connect to the stem with Forest Green and a ½” angle brush. Use Snow White and a 20/0 liner brush to paint a thin line on stem and leaves to highlight. Stipple Mint Julep Green in the center of the flower. Use stylus to dot Cadmium Yellow on top of the green center. Shade around the center and between petals with Mint Julep Green by sideloading with a ½” angle brush. Mix Snow White and Lamp Black to make a light grey, then use a liner brush to paint a vein in the middle of each petal. ROSE: Shade between petals with Burgundy Wine by sideloading with ½” angle brush. On innermost petals, you can use a liner brush instead of sideloading and still achieve the same effect. Highlight petals by dry brushing with Snow white (see picture for placement). Paint leaf veins with Forest Green and liner brush. Shade leaves where they touch the flower by sideloading ½” angle brush with Forest Green. Highlight leaves by dry brushing Snow White at the top. SMALL FILLER FLOWERS: Paint flower centers with a liner brush or stylus with Snow White. Dot coordinating colors onto the center of each flower (ex: purple flower has purple dots). Paint small half circles on each petal with Snow White with a liner brush to highlight.

FINISHING:

You do not need to use varnish on this piece since it is on fabric. Make sure you follow the instructions on your textile medium bottle for setting the paint as well as washing and drying. It has been so much fun painting with you! Thanks, Christina FEBRUARY 2021 ISSUE

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Enlarge to the size of 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.

FEBRUARY 2021 ISSUE


PAINTING WORLD MAGAZINE

Enlarge to the size of 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.

FEBRUARY 2021 ISSUE

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Enlarge to the size of 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.

FEBRUARY 2021 ISSUE


PAINTING WORLD MAGAZINE

CELEB R ATING

35 YEARS of

COLOR MAKERS OF PREMIUM ACRYLIC PAINTS

20%

Use discount code PW2020 for off any purchase at ShopDecoArt.com

DecoArt® • 1985 - 2020 • Stanford, KY • Made in the U.S.A.

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Meet the Artist By Diane Marie Kellogg

AN INTERVIEW WITH CHRISTINA HILTON

Christina Hilton

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PAINTING WORLD MAGAZINE

The decorative painting world has many wonderful artists and designers. These creative souls provide us with the inspiration and patterns to pursue our own artful urges. Occasionally someone new gives designing a try. Such is the case with our featured artist in this article. Meet Christina Hilton. Christina came to our attention when she submitted her delightful project to the magazine for publication. Her youth and exuberance captured our interest. After accepting her project for publication we

decided to interview her so you can meet this up and coming young woman. Having a mother who has painted and designed her whole life it seemed only natural for Christina to follow in her footsteps. Christina had always enjoyed arts and crafts as a child, but painting is fairly new to her. She only started about two years ago. She has attended painting classes quite frequently in the last two years and completed many projects on her own. Her mother suggested she design some pieces and it seems it was the perfect encouragement.

A painting she did in 5th grade, it won 3rd place in the Royal Brush National Art Contest.

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Her project in this month’s issue is her very first. As a lover of nature, the outdoors, and the bountiful bloom of flowers the project came to life. She considers flowers a miracle and she feels alive when she looks at them. Creating the painted vest allowed her to study many flowers and bring her unique vision to life. When asked about her style of painting used for this project, she says “she finds it fun because it isn’t too technical and can be really relaxing”. She suggests you do not stress out about perfection, that there is no wrong way to paint, especially with her design. She believes painting this piece has increased her love of painting and her level of creativity. She had thought designing was ‘out of her league’ but now that she has done it, she feels much more confident in her abilities.

Trying different art styles, a portrait of her best friend

Perhaps her confidence can flow into other young artists. Here is to a new inspiration in the painting world!

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PAINTING WORLD MAGAZINE

Shades of Gold By Tricia Joiner

Tricia Joiner has taught decorative painting classes at conventions, in seminars and Online for over 40 years in the U.S and in nearly a dozen foreign countries. Her publications include books, numerous magazine articles, hundreds of instructional packets, and recorded video lessons. As a teacher, she is known for breaking complicated painting techniques into understandable steps while maintaining the traditions of the original style. Based on her husband’s long-time experience with online teaching, she has been an innovator and leading proponent of the Online/distance learning techniques that are currently sweeping the decorative painting industry. She established a Zhostovo Certification Program and online introductory class (http://www.tricias.com/ecourses.html) to maintain the traditional techniques and is the recognized American authority on that style. Tricia recently had a major exhibit of Zhostovo painting at the Museum of Russian Icons (Clinton, MA). For a more extensive biography and additional information, please contact Tricia at triciald@aol.com. Visit her website www.tricias.com, and follow her on facebook at Tricia’s Legacy Designs.

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SUPPLIES: SURFACE: 1. The original fancy edged wooden plate has a diameter of 14 1/2 inches. Enlarge the tracing design by 161% to make it fit. 2. A smaller flat beaded plate of 12 1/2 inches in diameter would also work well. Enlarge the tracing design by 128%. 3. Your stash may provide a different surface of similar size. The smaller the design, the more difficult it is to fit in all the details. 4. The two plates are beautifully made and are available from www.etsy. com/shop/Turn of the Century Shop PAINTS: DecoArt® Americana Premium Acrylic:

• Pyrrole Red DTA06-K1 • Quinacridone Violet DTA01-K1

DecoArt® Americana Acrylic: • Camel DA191 Or Golden Straw DA168 • Soft Black DA155

DecoArt ®Extreme Sheen: • 24K Gold DPM04

• Vintage Brass DPM05

DecoArt® Galaxy Glitter: • Champagne Stardust DGG14

DecoArt® Extreme Sheen Metallic Paint (These colors are not used in the painting): • Pink Tourmaline DPM15

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• Sterling Silver DPM07 BRUSHES: Brushes are available through my website www.tricias.com Basic minimum set:

• Scharff 910 Aqua Flow Filbert size 8

• Dynasty® Black Gold Liner size 5/0

• Dynasty® Fine Kolinsky Sable rounds sizes #2 and #4 For how and why I use these brushes see https:// www.youtube.com/ watch?v=SAqtfRCpDaE or search Tricia Joiner on YouTube. com. MISCELLANEOUS SUPPLIES: • Final Coat Semi-Gloss Varnish

• Small piece of glass with beveled edges (approx. 8” by 10”), tile or another hard surface • 2 Clear water jars - one large, one very small

• Blue shop paper towel

• Deli wrap for palette -helps eliminate fuzz

• Tracing paper

• Transfer paper - white • #600 sandpaper • Kneaded eraser • Stylus

• Large flat brush (for backgrounding) I show how I set up my palette at https:www.youtube.com/ watch?v=pbgQ29l7rAY

Many people do not realize that most of Russia’s numerous villages have some form of art or craft that they practice with a local flair. Often these products take on the name of the village. For instance, Zhostovo is the name of a village. In my over 20 trips to Russia, I have been fortunate to visit more of these craft schools and workshops than most Russians. Inspired by Jan Boettcher’s painting of the Norwegian Raudsaumsmalingen (Red Embroidery Painting) Style, I looked again at the beautiful Silver and Gold embroidery from Torzhok, Russia. “Shades of Gold” is my painted interpretation of this Russian embroidery style. Thank you DecoArt® for all your wonderful sparkly paints that made this painting possible. For more information on Torzhok, you might enjoy watching https://m.youtube.com/ watch?v=NLZRvBnPWAs.


PAINTING WORLD MAGAZINE

HELPFUL HINT: If you are using new graphite paper, place it on a flat surface and wipe off some of the graphite with paper towel to help keep your transferred lines from being too strong. If your transferred lines are too strong, gently erase them. Heavy graphite lines sometimes cause the liner work to skip over the graphite and not lay smoothly on the surface.

PREPARATION:

Seal with your favorite wood sealer. Using your favorite flat base coating brush, paint one coat of Soft Black as smoothly as possible on your surface. Allow to dry. Sand well. Apply a second coat of Soft Black in the same manner. Allow to dry. Sand lightly. Using a small palette knife mix together equal parts of Pyrrole Red and Quinacridone Violet. Add a small touch of Soft Black to tone down the red. Paint at least two, probably three, layers of this red over the Soft Black. Strive for a smooth, even background color. If it is blotchy, the background will fight with the fine details in the painting. Red is often very transparent. I used the premium paint because it is more highly pigmented. The black first layers help the red cover and keeps the red color toned down. A well base-coated background is the foundation of your painting. Allow the paint to cure overnight before transferring on the design. If the background color is not completely dry, the graphite may adhere to it, thus making it very difficult to erase unwanted lines. Mix enough of the background color to save some of the paint. It can be used if repairs or cleanup is necessary.

Worksheet 1

PAINTING INSTRUCTIONS:

1. Color - 24K Gold and a touch of Camel. The base painting, including the liner work, should be flat, even, and opaque. It will take at least two layers of paint depending on how much water is added to the paint and how transparent the particular color is. Mix a small amount of Camel into the 24K

Transfer the design’s lines onto tracing paper. Tape the traced design onto the surface so that it will not move and distort the form and shape lines. Carefully slide the graphite paper under the tracing. Lightly transfer the design onto the surface. Remember to erase any strong lines. (Refer to helpful hints). The lines indicated by the color red on Worksheet 1 and the gold on Worksheet 2 should be the first lines to be painted. Refer to the #1 painting worksheet. Worksheet 2

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Gold. This will help the gold be less transparent without changing the color. Use the liner brush and the paint that has been lightly thinned. Paint the lines and details indicated by red on the tracing design (refer to the gold on Worksheet 2). 2. Referring to Worksheet 3, paint in the remaining gold strokes using the #2 round brush for areas needing to be filled in.

Worksheet 3

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3. Color - Vintage Brass plus a tiny touch of Soft Black. For the darker gold areas, mix a tiny bit of Soft Black into the Vintage Brass, which gives the color a bit more contrast from the gold. Continuing to refer to Worksheet 3, paint in all remaining leaves, lines and flat areas inside the flowers. It will definitely take two or three layers of paint to get solid, opaque coverage. These darker colors show well on the finished photo.


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4. Allow the paint to dry. Erase all visible graphite lines. Using the gold paint, paint over the gold lines that may have been covered by the darker gold color. Look carefully for graphite lines that did not erase completely. Now is the time to paint them out gently and carefully, if necessary. The background color can also be used to clean up where necessary. 5. Color - Soft Black. Referring to the individual flower pictures, wash a little Soft Black at the base of the petals using the #2 or #4 round brush (depending on the size of your design). Soften using the filbert. When completely dry, add fine detail lines of the same color, using the liner brush.

Galaxy Glitter Placement Map

6. Color - Galaxy Glitter Champagne Stardust. Put some of this wonderful glittery paint out on a palette. Using the tip of the #2 round brush, pick up a thick glob (for lack of a better word) of glitter. Touch the color where the red dots are in the Galaxy Glitter Placement Map (Worksheet 4), or as shown in the individual flower pictures and the finished picture. Reload the brush often. It may be necessary to let the glitter dots dry and add a second layer in order to achieve the desired sparkly result. This design also looks good on dark green or black. I choose red because it is traditional. This technique is fun, easy and great liner work practice. Apply 6 or more coats of your favorite gloss varnish. My favorite is Final Coat - semi gloss.

From Russia With Love! Enjoy!! Worksheet 4

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Enlarge to the size of 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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PAINTING WORLD MAGAZINE

Galaxy Glitter Placement Map (Enlarged view)

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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Easter Chick Pull Toy

By Linda Hollander

I have been painting, drawing, and crafting since I was a child but my art supplies had been collecting some dust while I was busy raisng three active boys. It was not until 1999 that I discovered the world of decorative painting while flipping through some magazines on the newsstand. Back then we had so many publications to choose from. I bought them all and poured over them daily with renewed excitement! I used the instructions to teach myself most of the techniques until I could get to seminars and conventions. I chose vintage furniture as my substrate‌go big or go home is my mantra! Collecting vintage pieces such as silver-plated tea sets and wooden bowls is half the fun of painting. Garage sales and flea markets are hard to pass as my 3 boys will attest to. I heard many groans from the back seat as I pulled over to take a quick look at another sale. I am not above picking up curbside treasures on trash day. The things people throw away simply amazes me! Painters are fortunate to have all the wonderful new mediums and paint formulas that we have today. There is virtually nothing that cannot be painted‌as long as it does not move too fast!

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Combining clay and paint is one of my favorite things to do! For this project I chose Air Dry Clay by Polyform®. It is great fun to work with and can be easily sanded, carved, and painted. Searching garage sales and thrift stores for fun vintage surfaces is half the fun.

SUPPLIES:

• Vintage high-top leather baby shoe

• Polyform® Model Air® (air dry modeling clay) • Polyform® Sculpey™ 11 pc. Essential Tool Kit or substitutions for clay roller, needle tool, and super slicer blade • Craft foam shapes: ball: 2” for the head; 3” ball for the body (or sizes that best fit your shoe)

• Black and White cotton string or cord of choice • 4-6” yellow boa

• Wood dowels (3) 1/8” x 6” or wooden BBQ skewers

• Wooden wheels (4) 1 ½” or wheels of choice • Wooden bead

PAINTS: DecoArt® Americana:

• Foliage Green DA269

• Hauser Dark Green DA133

• Hauser Medium Green DA132

MEDIUMS: • DecoArt® Multi-Purpose Sealer DS17 • DecoArt® Chalky Gesso CG01

• DecoArt® Americana DuraClear Soft Touch Varnish DS123 BRUSHES: Royal Aqualon™

• Round Series 2250- #2,10/0

• Shader Series R2150 - #4, 8, 12 • Angular Series R2160-3/8”, ½”

• Glaze/Wash Series R2700-3/4” • Wisp Series 2735-3/8”

Royal Mop

• Series 4999-#4

MISCELLANEOUS SUPPLIES: • Graphite paper • Stylus

• Sanding sponges: fine and medium grit • Paint cubby

• Lavender DA034

• Flat smooth work surface such as a craft mat or smooth ceramic tile

• Purple Petal DA378

• E6000® or similar strong glue

• Persimmon DA293

• Drill

• Persimmon DA293

• Serrated kitchen knife

• Lamp Black DA067

• Ruler

• Razzle Berry DA276

• Needle and yellow thread

• Sunny Day DA325

• Toothpicks

• Zinc DA304

• Plastic wrap

• Saffron Yellow DA273

• Cellophane tape

• Snow (Titanium) White DA01

• Old lightbulb

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CLAY NOTES:

• Cover unused clay tightly with plastic wrap. It is a good idea to keep a wet shop towel handy to keep hands, tools, and work surfaces clean as you work. • The clay will begin to dry out if you overwork it or expose it to air for too long. If that happens knead a few drops of water into it. • Use water on fingers or a paint brush to smooth clay as needed. If too much water is used the clay will become mushy and stick to your hands and tools. Set it aside for a few minutes or knead it until it comes back to a good working consistency. • Wet clay parts will adhere well to one another. If the clay has begun to set up, add water to both parts and applying light pressure before attaching them. White glue can be added for additional hold.

axles need to extend ¼” beyond the wheel to accommodate the hub caps. There should be a little “wiggle room” as well so the wheels can turn freely once the toy is assembled. A small hacksaw or utility knife can be used to cut the axles down if needed. • Use gesso to prime the shoe.

CLAY PARTS: 1. Body: Use the serrated knife to trim the sides and bottom off the larger foam ball. Check for fit by inserting into the shoe. Keep in mind that the body should fit snugly and extend above the top of the shoe by approximately ½”.

• Additional layers of clay can be added to dried clay. Dried clay can be sanded lightly to smooth and trimmed with a craft knife as needed. • You may need to adjust the size of the clay shapes in the directions if your shoe is smaller or larger than the shoe used here. • Considerable drying time is needed to complete this project. In cold or damp climates drying time may take longer than usual. If the clay is cold to the touch it is not completely dry. You can speed drying time by using a hair dryer or placing next to a heat vent or near a warm oven.

PREPARATION:

• Remove shoelace. Drill holes in the shoe to accommodate the pull cord and axles. Choose a drill bit slightly bigger than the width of your axles. The axle holes need to be slightly higher than the inner sole of the shoe so the axle rests on the sole or just slightly above it. If needed you can remove the inner sole to allow more room for the axels. Check the axles for fit. Place wheels onto axles for fit. Adjust the wheels so they are straight. The

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2. Head: Use the serrated knife to cut a small slice off ball which will become the bottom of the head. Carve a thin slice off the forehead area. Roll a sheet of clay large enough to cover the entire head. Systematically press


PAINTING WORLD MAGAZINE

the needle tool to indent nostrils. Let dry. 5. Hub caps: Roll two ½” balls of clay. Use the slicer to cut them in half. Press onto the end of an axle and set aside to dry. 6. Flower: Roll a 1” ball of clay, then divide into 8 parts. Roll one part into a disc for the base and one into a ball for the center. Roll the remaining parts into logs about 1” long then flatten slightly. Pinch each end of the flattened logs to form petals. Press the petals onto the base. Use the needle tool to indent veins. Press the flower center on. Gently lift the flower and place on the top of the lightbulb. Gently bend the outer tips of the petals upward. Stand the bulb upright in the shoe or other container to let clay dry. Once dry carefully remove the flower. Sand lightly. Seal. Make a hole in the center of the base of the flower to accommodate the toothpick in the top of the head. Set aside.

PAINTING NOTES: clay and cover the entire ball pushing out air pockets as you work. Pleat and remove excess clay with craft knife. Smooth clay by gently rolling in palms or on your work surface. Use the needle tool to pierce any air pockets that may have formed. Cut a toothpick in half and insert all but ½” into the top center of the head. Insert a dowel 1-2” into the bottom of the head. Let dry. Sand to smooth as needed. Gently tug on dowel and toothpick. If they pull out or feel loose remove them, add a dab of strong glue then re-insert. 3. Cheeks: Roll two pea sized balls of clay and press onto the center of the face. Use finger pressure and /or the rubber tool to smooth edges seamlessly into the face. Let dry then sand as needed. 4. Beak: Roll a ¼” ball of clay, press, and then roll the tip into a cone shape. Press onto face between cheeks and slightly above them. Use the slicer to cut the beak nearly in half then use the blade to gently push the top beak upward and the bottom beak downward. Use

• Use appropriately sized brushes unless otherwise noted.

• Use the mop brush to soften floats as needed. • Use water to thin paint as needed for linework and sheer floats. • Seal dried clay with Multi-Purpose Sealer.

PAINTING INSTRUCTIONS:

Option: Use a thin coat of Multi-Purpose Sealer to protect painted areas as you work. Mistakes are easily removed with a damp brush. CHICK: 1. Use Sunny Day to base the head and the top of the body. Thin the paint as needed to cover the foam body. 2. Use Saffron Yellow to base the beak. Float shading with Persimmon + touch of Saffron Yellow. 3. Drybrush cheeks with Razzle Berry + Snow White (1:1) 4. Use Zinc to base small ovals for eyes using the FEBRUARY 2021 ISSUE

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photo as a guide for placement. Use Snow White to float a highlight along the bottom of each eye and to add a dot of reflected light. Use thinned Zinc to add eyelashes and brows. PURPLE FLOWER: 1. Use Lavender to base the petals. Float shading with Purple Petal. 2. Base center Sunny Day. Float shading with Saffron Yellow + a touch of Persimmon. Use Zinc to add dip dots. WOOD BEAD: 1. Use Foliage Green + touch of Snow White to base the bead. 2. Use Sunny Day to add dip dots. WHEELS: 1. Base Wheels with Snow White. Use Zinc to paint checks. Use Snow White to drybrush a highlight. 2. Base the center of the flat sides with Lavender. Use Purple Petal to float shading. 3. Base the hubcaps with Sunny Day. Use Persimmon + touch of Saffron Yellow to float shading. Use Zinc to add dip dots. SHOE: Note: All shoes are not constructed the same as

Fig 1,2,3,4

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the one used here. You may have to improvise to get the designs to work for your project. Do not forget to seal painted areas to protect them! 1. Use Foliage Green + touch of Sunny Day to base the sole. 2. Floral area and tongue: Use Lavender to basecoat and float Purple Petal shading. Freehand daffodils with Sunny Day + touch of Snow White. Use Persimmon + Saffron Yellow (1:1) to float shading (fig. 1). Thin the shading mix and add vertical detail lines (fig. 2). Use a stylus and Snow White to add dots along the top edge. Use Hauser Medium Green to pull stems (fig. 3). Overstroke with a touch of Foliage Green to highlight. Double load the round brush with Foliage Green and Hauser Medium Green and stroke leaves. Double load the round with Sunny Day and a touch of Persimmon. Stroke small petals at the base of the flower (fig. 4). 3. Toe box: Use Sunny Day to basecoat. Use Persimmon + a touch of Saffron Yellow to float shading along the bottom of the toe box. 4. Use Snow White to base the striped area. Use Zinc to paint the checks.

FINISHING:

Apply Soft Touch Varnish to all painted areas to seal clay and wood parts.


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Cords: Cut a 12� cord for the pull string and 36� cord to lace the shoe. Wrap a small piece of cellophane tape tightly around the ends of the cords. Cut the tip off at an angle to make threading the cord through the holes easier. 1. Pull cord: Push the pull cord through the hole in the toe box then grab it from inside the shoe and pull out several inches. Form a large knot to keep the cord secure in the shoe. Thread the other end through the large end of the wood bead and make a knot. Trim off excess. 2. Loosely lace the shoe with the other cord.

ASSEMBLY:

1. Body: Apply strong glue to the bottom of the body then Insert into shoe. Pull the shoestrings taut and knot. Tie tails into a bow. Trim excess. Tie small knots in the ends to keep the string from unraveling. 2. Wheels: Insert the dowel into Insert axles into shoe. Slide wheels onto axles. Apply a small amount of strong glue to the ends of the axles, one at a time. Be careful not to let glue meet the wheels else they will not turn. Press hubcaps onto axles. Let dry. 3. Attach flower to head: Add a drop of glue to the end of the toothpick and insert into the bottom of the flower. Hold in place for a few minutes then set aside until fully secure. 4. Boa Collar: Form a circle with the boa then use needle and thread to join ends. Center and set boa collar on top of the body. 5. Head: Apply glue to the end of the dowel then insert through the boa and into body. Trim boa feathers as desired. Contact Linda Hollander by e-mail at paintingfool@live.com.

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Pinks and purples

By Sivanvitha Juturu

Pinks and purples are always a great combination as they are closer in the color wheel, where you do not have a chance of a muddy effect. In this project you can make beautiful florals with simple flat brush techniques. I painted this on a tea towel, this also goes well on wooden jewelry boxes, handbags and wooden cutouts.

By profession I was working as an assistant professor in an engineering college. Now I am a mother of a toddler and it has been 5 years since I left my teaching career. Painting has been a hobby from my childhood, now I am turning this into a career. I started back painting and have been doing so for two years. Now painting has become my passion, stress reliever and a satisfied job for me in my life.

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PAINTING WORLD MAGAZINE

SUPPLIES: SURFACE: • Tea towel 8541943027

KAF Home

ACRYLIC PAINTS: FolkArt® Multi-Surface by Plaid® • Classic Green 2917

• Daffodil Yellow 2912 • Burnt Umber 462

• Titanium White 2938

• Lime Green 2914

• Cardinal Red 2900 • Pure Orange 2903 • Real Brown 2908

• Perfect Purple 2929

TIP: Since we are painting on a fabric, I used a textile medium. I always prefer applying a thin layer of textile medium on the fabric in stages, and then I start to paint instead of mixing it with the acrylic paints. This makes it a bit easier to paint, and it gives you more open time to blend the colors as well. If you do not want to do all these steps, then you can directly use fabric paints instead of multi surface acrylic paints.

PREPARATION:

Before you start to paint, we need to fix the tea towel onto card board. First, cut the card board to a size of 14X14 Inches. Then paste pallet paper with Mod podge and glue this on the board. Allow to dry.

• Naphthol Crimson 1046292

Fix the Tea towel on to this board with the help of paper clips. Make sure that you clip the fabric stiff without any wrinkles so that it will be easy to paint.

• Medium Magenta 1046500

Now transfer the pattern using black graphite paper.

• Look At Me Blue 2924

Liquitex

• Prussian Blue 1046320

Mediums: FolkArt® by PLAID® • Textile Medium K796

BRUSHES: by PLAID® Size 12 1059 • Flat Brush • Liner Brush

• Flat Brush

Size 2 1059

Size 6 1059

MISCELLANEOUS SUPPLIES: • Paper towels • Pencils • Glitter

• Water bin

• Pallet paper • Cardboard • Paper clips

• Mod podge glue

• Grey transfer Paper

• Black graphite paper

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PAINTING INSTRUCTIONS: LEAVES: Initially, we start the painting with the leaves followed by the flowers. To paint the leaves, first apply a coat of textile medium on the leaf pattern (one after the other). Now anchor the leaves to the bottom end, by stroking with a double loaded flat brush #12 with Sap Green and Burnt Umber. On the extreme left of the leaf, with the same brush, leading with flat green strokes, make sure not to cover the entire leaf. On the right half of the leaf, double load the same dirty brush with Sap Green and leading with flat White strokes, make sure to leave some space in the middle portion of the leaf. Now in this portion we can apply tiny bits of Prussian Blue, Daffodil Yellow, Lime Green and Titanium White. Roughly blend all these colors together. Now with the clean brush stroke upwards by blending all the colors on the entire leaf. In a Similar fashion do downward strokes to get a smooth blend on the leaf. Now repeat the same to rest of the leaves. For a few of the leaves add Cardinal Red, Medium Magenta which acts as a reflection of the flower colors. For the flipped leaves, stroke a small portion of the leaf overlapping on it, highlight the edge of the turned leaf with White. Side load the same brush with Burnt Umber and stroke to the edge of the turned leaf. This will give a shadow effect. For veining, with same dirty brush, double loaded with Burnt Umber and Sap Green, leading with Burnt Umber paint all the veins. Highlight the veins with White. FLOWERS: Magenta flower:

Starting with this flower, first apply a thin coat of textile medium on one petal, then fill almost half of the petal with Medium Magenta. With the same flat brush #12, load it with White and stroke it from top of the petal along the contour of the petal. This will carry the color Magenta in between where we get a color mix of both White and Magenta, dominating with White. In a similar fashion, finish the rest of the petals. FEBRUARY 2021 ISSUE


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To separate each petal, side load the same dirty brush with Medium Magenta and stroke at the end of the petals. Center fill with Magenta, load the liner brush #1 with Burnt Umber and paint the filaments. Anthers are to be painted with White. Orange toned flower:

Start painting the center of the flower by loading your flat brush #12 with Orange mix (Orange 60% + Naphthol Crimson 20% + Real Brown 20%) and stroke this in a deep U-shaped center. Spread the center color to the top 3 petals

facing on front direction. Fill almost half of the petal with Orange. With the same flat brush, load with White and stroke along the contour of each petal. Then we will pick up the Orange color in between the stroke and create a blend with White, making the White dominant. In a similar fashion we complete painting all the other petals. Make sure that you can still see the orange color at the bottom of each petal. To separate each petal, side load the same dirty brush with the Orange mix and stroke between each petal to give a look of separation effect. For the filaments, load the liner brush #1 with Lime Green and paint the filaments. Anthers to be painted with School Bus Yellow with the same liner brush. Rose:

Initially start by applying a thin layer of textile medium on the entire circle of the rose. Double load flat brush #12 with White and Naphthol Crimson. Initially stroke top smaller petals with

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wiggled C stroke, do it on many small petals till you cover the lower half of rose. Now fill the lower half with small blades of C strokes and fill the complete lower half. This gives an effect of layers of open petals. For the center of the rose, side load the same dirty brush with Naphthol Crimson and stroke on the edge of the cupped stroke, this gives a more depth effect in center. For the pollen, with liner brush #1, dot some Lime Greens, on top of it dot

very light wiggles leading with White. This should be a small lightly wiggled horizontal stroke. Repeat this for three layers of petals on the upper half. Now do a U stroke, in a cupped shape, joining the second layer from start and to end. Do the same cupped stroke for the first layer as well. With this we complete upper half portion of the rose, which looks like a half open bud structure. For the lower half of the rose, stroke with the same flat brush leading with White. Do a light FEBRUARY 2021 ISSUE


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some Yellows, on top of this dot some Whites. Hydrangeas:

Starting with a thin coat of textile medium, apply 3 different colors starting from top edge with Look At Me Blue, Perfect Purple and Persian Blue. Now blend all these colors softly. Side load flat brush #6 with White and stroke curved petals to the outer edge. Coming to the center portion, clearly paint five petal flowers randomly. On the end of the contour of hydrangeas, roughly paint single petals with all the 3 blended colors. Center the small flowers with Cardinal Red dots. BERRIES: With back side of the handle, dot Cardinal Red berries. Leave small spaces in between the berries. On top of it, dot Naphthol Crimson berries in between those small spaces. Highlight

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the edge of red berries with White.

FINISHING:

Stroke curlicues with ink consistency of Green. Around the whole form stroke with extreme fine glitter. HEAT SETTING THE FABRIC: Wait for 24 hours after you finish painting the design. Now turn back the fabric and do a long press iron on back side of the fabric. This makes the paint permanent even when you wash the fabric. NOTE: As a final word, I can say hand painted fabrics should be hand washed.

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Enlarge to the size of the surface of your choice.

Line drawing is at 77.7% of the original drawing

ŠSivanvitha Juturu

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

PASSING THE PAINTBRUSH... By Teri Walker

Confessions of A Creative Collector After retiring and downsizing two years ago, I moved from a large house in one state, to a small apartment in another. Retirement meant I finally could spend my days doing whatever I wanted to do without ever having to leave the house. It was great to not have to live by the clock or worry about proper dress, hair, and make-up. The new life turned out to be even greater than I had dreamt of, until one fateful day when I realized that my craft items were taking over both the apartment and my life.

but just could not make it fit, for I actually use all those supplies. I do so many diverse crafts, that my projects often overlap. Supplies are all used on different things at different times. And how many times have I gotten a desperate late phone call from a grandchild who needed this or that for a project that they suddenly remembered was due in the morning? They call because they know Grandma will have it, and I pretty much always do. Or at least I have something else that will suffice in the crisis of the moment.

I had reached the point where my art stuff had stuff of its own. My possessions were now possessing me, and I knew it had gone too far when my son called me an “art hoarder.” Now the correct procedure would have been to bravely purge a lot of those kazillion supplies without fear of needing them later. But, being a dedicated artist, I found this too painful. So, I resorted to Plan B and got a larger apartment. Even though it took five days to move, I know many of my fellow artists will empathize with that decision. It begs the question, “Is enough ever really enough?”

Grandma is well stocked. Art supplies are her addiction.

An art teacher once told me, “Whatever you have on hand is all that you need to create art.” Obviously, she had never entered into the bottomless abyss of crafts. Art offers so many opportunities to explore new techniques and endless projects that beg to be made. And they all require different supplies. It is an artist’s perfect storm, for one idea leads to another and another and so on. They say the best way to clean out a closet is to get rid of all the clothes you have not worn in the past year. I tried to apply that to craft supplies, FEBRUARY 2021 ISSUE

I do not apologize for hoarding supplies because I really enjoy being surrounded by all the colorful things that I know will one day make even more beautiful things. My studio is a rainbow of controlled chaos because everything is well organized and categorized neatly in clear boxes on shelves. It is always a great feeling to have exactly what you need when a new craft idea strikes. When COVID-19 first began and we were all quarantined, I was elated to have an over-stocked studio. The craft store shelves emptied as fast as the grocery stores and then closed their doors completely. As a senior citizen, quarantine would have been very lonely and boring if not for all that surplus of art stuff. I spent the months that followed, blissfully working on a myriad of projects, and used up a lot of the things I had so lovingly hoarded. Hours were spent pouring through back issues of Painting World Magazine to find projects that I had planned to gt to one day and finally had the time to do them. I am willing to bet that many fellow “art hoarders” shared the same feeling.


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The trick to keep art hoarding from getting out-ofhand is to be well organized, so I will share a few tips for controlling all that chaos and I hope you find them beneficial. First, go to a discount or hardware store and purchase as many plastic dividers boxes as you think you might need. These are the kind that are usually used to sort screws and small hardware, and work great to sort small things like embroidery floss, sewing notions, pencils, pens, paintbrushes, and small sculpture tools. Clear boxes work best so you can see the contents at any angle. Clear plastic shoe boxes are terrific to contain larger items. If you are trying to save money, the shoe boxes are available to purchase in bulk, from online stores like Amazon. I found the divider boxes cost much less at hardware stores than at craft stores. If your studio does not have enough cabinets, consider purchasing inexpensive shoe dividers, like the ones usually placed in closets. They work great to hold your boxes and can be bought just about anywhere for very little money. I like the ones that snap together with cloth shelves because construction is easy and quick. Take one day to separate your supplies into like items such as all the glues, paints, pens, pencils, etc. Putting them in boxes is much easier when they are already sorted. If your boxes are not clear, I suggest adding a label that lists the contents and can be replaced if the contents change. A piece of peg board hanging on the wall offers a ton of storage in plain sight. I use one with pegs to hang my embroidery floss bobbins, in numerical order. The various colors make a pretty wall-hanging, and I can see when I am running

low on a certain color. It also makes sewing faster to have the bobbins in order when working on a cross-stitch project. You can also use the pegs to hang scissors, hoops and even threads. Peg board can be purchased at places like Home DepotÂŽ and LowesÂŽ and they will cut it in any size you need. It will require a simple frame backing so that the pegs will fit into the holes. Hanging it flush to the wall will not work. A good work surface is essential to any artist. If you like to work with a light table but find they are very expensive, try getting yourself a clear glass table and put a lamp underneath facing up toward the glass. Depending on the size of the table, you can trace any pattern you need. You can also tape your pattern to a sunny window, place your paper on top and trace away. Glass works great for acrylic and oil paints because it is not absorbent and if the paint dries, you can easily scrape it off. I like to use glass paint palettes, so to save a few dollars, I went to a place that replaces windshields in cars and asked them to cut me several rectangular pieces of glass from some of the broken windshields they had removed and were going to discard. You can get any size you want for pennies on the dollar and they will even round-off and polish the edges for safety. Windshield glass is actually two sheets of glass that have a clear plastic lining between them, so your new palette will not break easily if dropped. It will be heavier than other kinds, so if you paint holding your palette in one hand, this probably is not the one for you. I like to lay mine on a table beside me, so they are perfect for that. And they last forever. Windshield glass does not scratch like regular glass, so they are very durable.

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When water coloring, I like to use the old clothesline trick to hang work that is drying. All it takes is a couple of thumbtacks and string or cord. Recycled cans from the kitchen can be used as pencil/pen holders and if you want it off the desk, you can use a nail to put a hole at the top of one side, then hang on a hook on your pegboard. Be sure to file the top edge to avoid painful cuts.

Cloth shop towels (white) can be cheaply bought in bulk online and last much longer than paper towels. They are washable and will save you money in the long run. They also do not get lint in your paintbrushes like paper towels do. Another cheap idea for a lightweight painting palette is disposable saucers or plates. Disposable bowls can be used for brush water or fresh water when floating color.

If you are working on a messy project, plastic tablecloths from the dollar store will protect surfaces and floors. They are cheap, look nice and are also very durable.

When painting outside, I like to take along an empty bucket and a gallon jug of water. When the paint water gets dirty, pour it into the bucket and add fresh water to your brush water container.

I have thousands of pens, pencils, colored pencils, markers, etc. and hate digging through to find a certain color. The dollar stores have cardboard makeup holders that work great. I like to have all the colors separated into the different sections. They also look nice on the drawing table.

Never throw away a paintbrush that has dried paint in it. Cut the bristles at an angle, beat it on a table, tip it in paint and experiment on a scrap piece until you get the desired effect. Much like a Deerfoot stippler, you can get all kinds of neat designs with worn out brushes. This especially works great for painting trees and shrubs.

My art table is glass with a metal frame, so magnetic hooks work great to hold anything with a cord like a hot glue gun, heat gun, etc. I find these at the dollar store. On a recent trip to the grocery store, I came across disposable cutting boards. They come four to a package and consist of heavy thin cardboard that is laminated on both sides. This works great for gluing, painting, clay work, and more. If you mess it up, just throw it away. They are extremely cheap and will also work as a paint palette if you lay them on a table. The thinness of the cardboard to too weak to hold in your hand for a palette. The laminate also keeps marks off your clay when sculpting. If you lose the cap to your glues or paints, aluminum foil works great and does not stick like paper or tape. Two other handy tools are a telescoping magnet and metal grabber. The magnet helps find things like pins, screws, metal findings, needles and other metallic pieces when dropped. The grabber is a necessity to pick up things from a high shelf or the floor. It really saves on your back to not have to continually bend over to pick up something.

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If you are painting with acrylic outside and do not have a way to wash your brushes before you get home, try taking a mason jar and using a nail, poke holes through the lid. Fill it 2/3 full of water and when finished painting, put the paintbrush, handle end first, through the underside of the lid so that the bristles remain in water until you can get to a sink. Do not leave the brushes in the water overnight because the water will loosen the glue used on the ferrule that crimps the bristles. Keep a large garbage bag handy when working outside (with acrylic or watercolor) to cover your work when finished or if you have to leave it for more than a few minutes. This will keep bugs, rain, and dust/dirt off the surface. It also works great to protect your clothes when doing messy projects. Simply cut out a hole on the bottom for your head and two holes on each side seam for arms. I hope any guilt you may have felt about hoarding art supplies is now a thing of the past. Sharing tips and tricks and supplies with each other is a great way to Pass your Paintbrush to other artists. We all benefit from the knowledge and generosity of each other.


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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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This project was painted on a 14x18 canvas, but it could just as easily be painted on wood, fabric or as a mural. The background is fun to do. It will give you the opportunity to make a faux wood surface. Just remember to use lots of paint. This project can be painted up easily, so it would be nice for gifts or to sell.

Garden Time

By Diane Trierweiler

I have been painting for about forty years. I started in the fine arts, using only oils. Then I began trying out acrylics and watercolors. My point is, that all of these mediums are fun and exciting to at least try. Find the one that excites you and let the fun begin. I have a wonderful husband Gil, two children and two grandchildren that also bring excitement to my life. We live in California. I also have a retail store called The Tole Bridge in Norco, California.

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SUPPLIES SURFACE: • You can purchase from me, Hobby Lobby or Michaels. It has been gessoed. PAINTS: Decoart® Americana 2 oz. acrylics • Titanium White 01 • Slate Grey 068

• Georgia Clay 017

• Burnt Umber 064 • Olive Green 056

• Graphite 161

• Midnight Blue 085

• Deep Burgundy 128 • Pink Chiffon192 • Grey Sky 111

• Crisp Blue 376 • Soft Black 155

• White Peach 024

• Forest Green 230 • Sea Aqua 046 • Saffron 273

• Royal Fuchsia 151 MEDIUM • Duraclear Gloss varnish by DecoArt® BRUSHES: Black Gold by Dynasty®

• 5/8 Angle Brush 206A

• 3/4 Glazing Brush 206FW • #12 Flat 206S • #6 Flat 206S

• 1/2 Angle 206A

• Dome Shaped Scruffy 206CB

Diane Trierweiler’s signature brushes: • 10/0 Striper (Liner)

• Petal brush set (2, 4, and 8 red Sable Tongues)

MISCELLANEOUS SUPPLIES: • Graphite paper • Stylus

• Paper towels • Water basin

• Wet palette (optional) • Tracing paper • Ruler

• Pencil HELPFUL HINTS: The shading and highlights on this project can be done in three different methods. Choose the one that you like most. You can corner load an angle brush and float the shadows in. You can dry brush with a scruffy brush. Or you can paint wet on wet. If you have not done this, all you need to do is base in the color, and while the color is still wet, add the shadows in with a soft brush by patting and blending them in.

PREPARATION:

Use your large glazing brush to base in the entire canvas with white. While the paint is still wet, streak Grey Sky up and down on the canvas to create a wood grain. You can add more streaks later after the paint has dried. Use your ruler to measure the board lines onto the canvas. They should be three inches apart. Mark with the pencil. Use the chisel edge of your 5/8 angle brush to paint in the lines for the boards using Grey Sky. When this is dry, shade on the right side of each board line with Grey Sky. Let dry and put just the basic pattern lines on.

INSTRUCTIONS:

Basic base coats: Use your #12 flat brush to base each of the following items with one coat as follows. (left to right) • Pot: Base with Georgia Clay. Base in the ellipse with Soft Black • Pot: Base in with Slate Grey.

• Sprinkler: Base in with Crisp Blue

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• Boots: Base in with Olive. Soles are Forest Green • Tool: Base in the handle with Burnt Umber. The metal part is Slate Grey. DETAILS: Pot:

Use your #8 tongue to paint the shading on the pot. Work wet on wet with Georgia Clay, adding shadows with Burnt Umber. Highlight with White Peach. Reinforce the shading with Soft Black. Use your #2 or #4 tongue brush to paint the leaves in the pot. Double load the brush with Forest and Olive Green. Use one strokes to create the leaves. Use your liner brush with Forest Green to paint the stems. Place in the flower centers on with Saffron. Stroke the petals on with Sea Aqua. Lightly shade the bottoms of the centers with Georgia Clay. Shade on the petals next to the centers with Crisp Blue. The seed dots are placed on with your liner brush using Soft Black.

Black. Second highlight with White. Fill in the top opening and the spout with Soft Black.

Grey pot:

Boots:

Use your angle brush to shade the pot with Graphite. Highlight the pot with White. Second shade with Soft Black. Use your #2 or #4 tongue to paint the leaves. Double load with Forest Green and Olive and paint long one stroke leaves. Use your liner brush with Forest Green to paint in vein lines and stems for the flowers. The light flowers are painted with Pink Chiffon and the others are painted with Royal Fuchsia. Add shadows to the darker flowers with Deep Burgundy and shade the Pink Chiffon flowers with Royal Fuchsia. Use your brush with White to highlight the Pink Chiffon flowers and the Royal Fuchsia flowers with Pink Chif-fon. Watering can:

Use your medium scruffy brush to dry brush the highlights on with Sea Aqua. Use your angle brush to shade the can with Midnight. Use your angle brush to shade the can with Midnight. Second shade with Soft FEBRUARY 2021 ISSUE

Use your angle brush to shade the boots with Forest Green. Use the liner brush with Forest Green to paint the stitches on the boots. Dry brush the highlights on with Olive Green plus a little White using your scruffy brush. Highlight the soles of the boots with Olive. Tool:

Highlight the handle with Saffron. Shade the petal part with Graphite using your angle brush. Highlight with White.

FINISHING:

Add washy shadows of Burnt Umber under everything. Reinforce the shadows with Soft Black shadows. The letters are painted with the #2 tongue brush using Olive Green. Outline the letters with your liner brush using Forest Green. Varnish with one coat of gloss varnish.


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Enlarge to the size of 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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Summer’s Glory

By Nancy Scott

I have been painting for almost 30 years and whether I am designing something new or painting a design from a favorite artist, I thoroughly love the painting process. My favorite aspect of decorative painting, though, is teaching. Hearing a “thank-you” from a student who has just learned a new technique or an easier way to do something is my greatest “painting” joy!

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PAINTING WORLD MAGAZINE

I so enjoy painting on these inexpensive charger plates. They can be found with various unique and interesting borders. Best of all, they require very little prep work so you can get right down to painting! I hope you enjoy this peaceful and tranquil scene.

SUPPLIES: SURFACE: • 13” Acrylic Charger Plate (found at Michaels or Christmas Tree Shops or online) PAINTS: Deco Art® Americana acrylics:

MISC SUPPLIES: • Usual acrylic supplies

• Spray primer (if painting on acrylic plate) and varnish of choice

PREPARATION:

• Charcoal Grey DA088

Prepare the plate by spraying the top (painting) surface with primer following all manufacturers’ instructions. Let dry thoroughly. Since this is being used as a decorative plate, I left the backside of the plate alone.

• Evergreen DA082

PAINTING INSTRUCTIONS:

• Blue Chiffon DA193

• Bright Yellow DA227 • Espresso DA271

• Foliage Green DA269

• French Grey Blue DA098 • Honey Brown DA163 • Khaki Tan DA173

• Light Avocado DA106

• Margarita DA299

Basecoat the painting surface with Winter Blue. The raised dots around the rim of the plate and the line on the inner edge of the rim are French Grey Blue. I dotted them on with the round end of a brush when the painting was completed. Transfer pattern using white graphite.

• Warm White DA239

Using the 1” angle, gloat French Grey Blue around the outside edges of the morning glories and leaves on the rim of the plate. Also, apply this gloat to the sky under the upper left glower/leaf grouping. Use your mop to soften.

• Winter Blue DA190

With a small scrubby brush, scrub in Warm White clouds to the sky.

• Plantation Pine DA113 • Thicket DA357

• Williamsburg Blue DA40 BRUSHES: Royal & Langnickel Aqualon™ Series • Angles ”3/8,” ¾, size 1 R2160 • S short shader size 6 R2150

• Round size 4 & 2 R2250 • Liner – size 10/0 R2595

• Script Liner size 4 R2585

BACKGROUND: (Figure 1) The farthest back trees are tapped/scrubbed in with a mix of French Grey Blue/Foliage Green (1:1) on a slightly dampened background. The dampened background will soften the color and help it recede.

RBOBBIE SM and MD Mop brushes

• Small and medium scrubby /stippler brushes

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The middle row of trees is painted with Light Avocado, tapped/scrubbed in. As you get towards the top of this row of trees, pick up some Foliage Green brush mixed into your dirty brush to tap on a lighter value. The bottom row of bushes is tapped/scrubbed in starting at the bottom with Light Avocado, picking up Foliage Green for the majority of the bushes and genially adding Margarita at the top. Use the liner and Espresso to paint in tree trunks and branches. FOREGROUND: The grassy area is painted with Foliage Green. Float Light Avocado with the 3/4” angle, along the edge of the grass next to the water on the bank. Also float this color along the right side of the grass inside the rim and around the border of Morning Glories and leaves that fall onto the rim. Float a slightly darker value with Plantation Pine in these same areas. Soften with a mop. The bushes are tapped in with Lt Avocado, Foliage Green and Margarita. Add a touch of Warm White, dabbed on to the tops of these front bushes with the #2 round. Paint the branches with Espresso on the 10/0 liner.

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WATER: Using the 1” angle, gloat French Grey Blue along the entire left side of the water. Shade by the waterwheel under where the water will come spilling down. Float along the bank pulling the color down above the lower bushes. Using the chisel edge of your brush, streak some of this darker color across the water taking care to keep these lines straight. Using Plantation Pine and the” ¾ angle, softly gloat a reflection of the grassy bank in the water. Finally, with the chisel edge of your brush, streak a few light lines of Blue Chiffon and Warm White. HOUSE: (Figure 2) The house is base coated with Khaki Tan. Float shading of Espresso under the roofline on the far right and the bottom edge on the left. Shade to separate the two sides of the house. The board lines are painted with Espresso. Paint the windows with Espresso and line them with Charcoal Grey. The door and awnings are painted French Grey Blue. Shade and line work are Charcoal Grey. Shade under the windows with Espresso. Paint the posts with Charcoal Grey. Add little bushes around the house with the greens we have been using. The path from the door is chiseled in with Espresso.


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MILL: (Figure 2 cont’d) The mill and the house chimney are base coated with a mix of Charcoal Grey/Winter Blue (1:1). The roofs are Charcoal Grey. I used the short shader for this. Dry brush French Grey Blue for streaks on the roofs. The opening in the water wheel is Charcoal Grey. The stones on the mill and chimney are painted with the small round and various mixes of: Khaki Tan/Espresso/the basecoat color and Warm White. The waterwheel is painted with Honey Brown. Shade on the spokes and around the center with Espresso. You may just use a liner for shading, as these areas are very small. Float shading on the mill under the roof and to

separate the two sides using Char- coal Grey. Shade under the cap of chimney and where the chimney goes behind the roof. Add water glowing over the wheel with lines of French Grey Blue, then lighter ones using Blue Chiffon, then genially Warm White. C-Stroke in some Warm White splashes where the water hits at the bottom. (Figure 3) FLOWERING TREE: (Figure 4) Paint the trunk with Espresso adding some darker lines of Charcoal Grey for texture and value change. The blossoms are stippled first with Khaki Tan. This can be tapped on with the #4 round. Then working one area at a time, brush mix in some Warm White with Khaki Tan and add lighter values. Finally, add more Warm White to brighten the blossoms as needed.

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MORNING GLORIES AND LEAVES: (Figure 5) Paint the leaves first. The warm ones are base coated with Foliage Green. The first shade is gloated on with Light Avocado. Then float a smaller, darker shade of Plantation Pine. They have highlights of Margarita floated opposite the darker center vein that was formed with the shading colors. Repeat this highlight a second time (drying between applications). Add dark vein lines of Light Avocado (on the lighter side of each leaf). Add light veins of Foliage Green on the darker side of the leaves. Add a soft tint with a float of Honey Brown on some of the warmer leaves. The cool leaves are base coated with a mix of Thicket/Warm White (1.5:1). Float shading with Evergreen. Highlight is floated with Base coat color/Blue Chiffon (2:1). Repeat highlight for a second time. Paint Base coat color vein lines on the darker side of each leaf. Paint Evergreen veins on the lighter sides.

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Basecoat the morning glory petals with Blue Chiffon. Float shading and add texture lines with Williamsburg Blue. Float the yellow center with Bright Yellow. Add a floated shade, over that, of Honey Brown. The stamen is painted in with the 10/0 liner using Warm White. The stems of the glowers are painted Foliage Green. Float and streak in some darker lines of Light Avocado from under the glower and where the stem goes behind another glower or leaf. Streak in a tiny bit of Margarita for a lighter value about in the middle of the stems. (Figure 6). The tendrils are Light Avocado or Plantation Pine, whichever shows up better in the area you are placing it. The branches are Espresso. Add a little darker value on the branches with a brush mix of Espresso and Charcoal Grey. Let everything dry thoroughly. Erase any pattern lines. Varnish as desired following all manufacturer’s instructions


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Enlarge to the size of 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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It’s all in your mind

By Thelma Hamilton

I usually work alone in my art studio for days on end, only leaving long enough to collect my mail from the mailbox at the end of my driveway. So when COVID-19 created a shutdown, I thought this was a snap for me. How could it possibly affect my life? And at first, it did not. However, as time went by I noticed a longing to “see” people. This was an unfamiliar feeling for me. I quickly realized what was missing was the communion of artists.

shopped the local stores to spark my creative juices. Even a trip to the fabric store or craft store could stimulate me. Those stores were all closed. Everything was closed around us and beyond.

As artists, I believe we all do our best work when we are engaging with our muse. Night time is my happy studio time when everyone else in the house/village is asleep. But during the daylight hours, I had breakfast with an artist friend or

They say hindsight is 20/20. Looking back over the year 2020, I realize this was a time of great opportunity.

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I had to ask myself some tough questions to get out of my slump. What does the future look like for next year, next month or, even next week? I realized I needed to be flexible. I needed to think differently.


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From time to time we all need a moment to stop and reevaluate our lives and our businesses. This time was just given to all of us. I, like most artists, would be suffering a huge loss financially from the lack of in-person sales at shows. I quickly realized, I needed to direct my attention to my online presence, which I had taken for granted for many years. This was going to be my only contact with my customers, so I needed to retake pictures and spruce things up. I, also, needed to network with other artists in various mediums to find out where people were shopping online.

classes. The upside to COVID-19 restrictions was no travel equaled less money spent on hotels and eating out. 2020, also, afforded me more available time to spend playing with the supplies I had purchased and never opened.

Supplies were getting scarce. Who knew all those years of hoarding (collecting/buying) would pay off someday? I have a great stash and I am expanding it.

When I started looking at the opportunity to learn these other formats and change my attitude, I realized I needed to be “looking� for opportunities in the changing landscape around me, whatever it looks like. 2020 was a time of change and a time to seize the opportunities that were there all along. It just took a new set of eyes to see it. Eyes with a new attitude.

I found that I had more available time in my schedule to take advantage of virtual classes online. In the past, I had preferred in-person

I am not a computer whiz but I learned to go virtual on Facebook, Zoom, and other formats. All my painting friends were there and it was completely safe. Artist gatherings that I could not attend in person, I could join in with Skype, Facebook, or Zoom.

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A Cottage Welcome This humble abode is a warm, welcoming place. You are invited to step inside for hospitality done in the old-fashioned way. This project will introduce you to using the comb brush to create ‘thatch’ in a very simplistic way, though not truly realistic but painterly. You will also learn how to create woodgrain which is present around the door, window, and roof support. There are some bricks to wash and shade. And do not forget the dozens of luscious blooms.

SUPPLIES: SURFACE: • Primed Canvas, 8” x 10” PAINTS: DecoArt ®Americana Acrylics: • Banana Cream DA309 • Black Green DA157

• Bluegrass Green DA047 • Burnt Sienna DA063

• Carousel Pink DA274

• Dark Chocolate DA065 • Lavender DA034

• Mistletoe DA053

• Neutral Grey DA095 • Orchid DA33

• Purple Cow DA272

• Victorian Blue DA039

By Susan V. Cochrane I have been drawing all of my life and am self-taught. I first picked up a paint brush in 1984 and the interest continued with the self-publishing of two books and hundreds of patterns, many appearing in magazines and internet ezines.

• Vivid Violet DA232

• Warm White DA239

Other DecoArt® Products:

• Sealer/Finisher (Matte) DAS13-1C

BRUSHES: Royal & Langnickel, Majestic™ Paintbrushes • 1/2” Angular Shader, Series R4160 • 5/0, 1 Liners, Series R4595

• 2,4,6,10,12 Shaders, Series R4150 • 8 Shader (New), Series R4150

Royal Brushes

• ¾” Comb, Series RG730

• ¼”, 3/8” Deerfoot Stippler, Series 660 MISCELLANEOUS SUPPLIES: • Standard Acrylic Painting Tools • Eraser

• Palette paper (waxed)

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• Paper towels or tissue • Stylus

• Tracing paper

• Water container

• White and gray graphite paper

• Scotch® brand removable tape by 3M™

GENERAL INSTRUCTIONS:

All basecoats are solid. Erase transfer lines as you go. Use the tape for straighter edges, if desired, but seal the edges very, very well as the canvas surface will allow some seepage. Note: The roof consists of a peak (over the door) and the main roof (next to and behind the peak).

PAINTING INSTRUCTIONS:

Transfer the lower roof line, the door, the door window glass, and the steps. Basecoat the roof (treat as one piece for now) and the steps with Neutral Grey. Basecoat the window glass with Banana Cream, the door with Victorian Blue and the remaining wall with Warm White. Transfer the door and window trim, the vertical wall, and the bracket (peak roof support). Basecoat all trim and the bracket with Dark Chocolate. STEPS: Transfer or freehand each brick leaving a tiny space for the mortar. Using a new #8 Shader and Dark Chocolate stroke once for each brick. Apply a thin wash of Burnt Sienna on some or most of the bricks. Float Black Green to shade one end or edge for variation. Float Black Green on the lower edge of the top step. Float Banana Cream along the top edge of the bottom step.

RAIL FENCE: Transfer and basecoat with Neutral Grey. Create wood grain with chisel edge floats of Burnt Sienna, Banana Cream and Black Green. These will be vague, narrow areas of color going horizontal for the rails and vertical for the post. Float Black Green on the post next to both edges of each rail. With Black Green and the 5/0 Liner, paint thin lines for the cracks and knots. ROOF: Comb vertically with Black Green on the main roof, then comb Dark Chocolate, then comb just a tiny bit of Banana Cream for some highlight. Note: the peak is done later. Repaint the wall and clean up the edge of any overpaint. Float a blend of Dark Chocolate + Black Green (80/20) to shade the wall next to the roof line, next to the steps and the vertical post of the rail fence. ROSE CLIMBER AND FLOWER MOUND: Mask off the left-hand side edge of the peak and the wall to protect them from stippling steps, which follow. Do not stipple over the peak roof yet.

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With the ¼” Deerfoot Stippler, stipple Black Green for the foliage and the flower mound. Switch to the 3/8” Deerfoot Stippler and stipple over with a bit of Mistletoe and then a touch of Bluegrass Green for foliage color variation. Remove the tape. Finish off the peak of the roof by combing first with Black Green, then Dark Chocolate and a few highlights of Banana Cream. Note: the combing is angled. The twig pattern on the peak holds the thatch in place and adds a decorative touch. Transfer the twigs or freehand. Line each twig with Dark Chocolate; line Black Green on the underside for the shadow. Dry brush Banana Cream sporadically in a hit and miss fashion on each twig for the highlight. Add smaller highlights of Warm White. Float Burnt Sienna on the left-hand side edge of the peak. Float Black Green on the right-hand vertical side edge of the peak. Float a minimal amount of Banana Cream on the lower curved edge of the peak. Line the roofline with Black Green.

keeping away from the edges or where the grid meets the trim. ALL TRIM: Outline and line with Black Green to create wood grain and cracks. Dry brush Banana Cream in between these previous lines. Add extra highlight lines on the trim next to the window glass. Float Black Green on the window trim to shade the vertical boards next to the horizontal boards. DOOR: Transfer and line the planks with Black Green. Dry brush Bluegrass Green on each board in the middle, center area more or less. Float Black Green along the bottom lower edge next to the steps and on the edges next to the trim. Paint the hinges, handle, and nail heads with Black Green. Highlight with a dry brush of Warm White. Quoining (masonry bricks on the corner of a wall): transfer and paint with one very thin, barely there wash coat of Dark Chocolate and, when

Stipple the remaining foliage for the rose climber using Black Green, Mistletoe and a touch of Bluegrass Green and the 3/8” Deerfoot Stippler. Dab the roses using the tip of a #3 Round with Vivid Violet, dry, then Carousel Pink, dry, then a few highlights of Orchid and Warm White. Dab the flower mound petals with Banana Cream. WINDOW GLASS: Basecoat with Banana Cream. Float Burnt Sienna to shade the upper right corner and right-hand side. Float Warm White on the lower left-hand corner. Transfer or freehand the grid and paint with Black Green. Dry brush the grid with very tiny narrow lines of Warm White, FEBRUARY 2021 ISSUE

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dry, apply a thin wash coat of Burnt Sienna. Shade an end or top or bottom edge with a float of Black Green. BELL: Transfer the heart (no bell) and paint with Orchid. Float Carousel Pink on the upper left and right corners. Transfer the bell and basecoat it, the bracket holding the bell, the clapper as well as a border around the heart with Neutral Grey. Float Black Green down both side edges of the bell and to shade the clapper next to the bottom edge. Paint two separated horizontal accent lines on the body of the bell with Black Green. Create a tiny horizontal highlight on the middle, bottom edge of the bell and next to the upper accent line with a float of Warm White. Use the 5/0 Liner to go over the bottom edge of the float for a stronger hit. Dry brush a center, middle highlight on the bracket and on the main part of the bell and in a hit and miss fashion on the border surrounding the heart. Paint the string with a line of Black Green. PAIL: Transfer and paint with Neutral Grey (omit the handle). Shade down both edges and along the bottom with Black Green. Dry brush Banana Cream in the middle, center area. Apply a second highlight using Warm White. Transfer the handle and paint the wire with Neutral Grey and the handle with Dark Chocolate. Highlight the wire and handle with a thin line of Banana Cream. Add a tint of Burnt Sienna across the middle top area next to the lip. Mask off the top edge leaving the foliage area

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open. Stipple the foliage with Black Green, remove the tape, then dab Mistletoe, then Bluegrass Green using the tip of a #3 Round, keeping these colors away from the base of the foliage. Also, add some foliage on the right-hand side edge beside the door. Dab the blooms with Lavender and Purple Cow. Dab the blooms next to the door with Carousel


PAINTING WORLD MAGAZINE

Pink and Vivid Violet. Pull up some Black Green grass along the bottom of the lower step. CAT AND DISH: Transfer. Paint the cat with Warm White and the dish with Neutral Grey. Transfer the ears, front paw and tail. Apply a barely there float of Black Green on the back ear next to the head, on the head next to both side edges of the front ear, on the body next to the paw and tail and on the face next to the dish. Float Burnt Sienna along the back. Highlight the top of the head with Warm White. (Insert close up pic of cat anywhere near/within description). Highlight the top edge of the dish with Warm White. Shade the bottom edge with Black Green. BIRDS, BUTTERFLY: Add these wherever you wish. I used Burnt Sienna, Neutral Grey and Warm White for the birds and the butterfly wings with Victorian Blue. The beaks and eyes are Black Green. The chest and/or wings are highlighted with Warm White. A tint of Burnt Sienna is on the back.

FINISHING:

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

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Enlarge 200 % or to the size of 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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PAINTING WORLD MAGAZINE

THE BENEFITS OF

Art Journaling by Tracy Weinzapfel

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I have been so fortunate to be introduced to the world of Decorative Painting and Fine Art, through my artful journey through the years. My art style tends to be bright, bold and whimsical. It does not include set colors, or brush strokes, and I highly encourage freehand drawing (but now include lots of fun patterns). This differs from the amazing brush strokes and training used in Decorative Painting. With that being said, I set out to show that there is room for all types of art, including art journaling. Art Journaling is a visual diary – it is a diary of life along with it being a creative outlet. I use my journal as a place to record my thoughts, feelings, world events, images, art, words and more. The first rule of art journaling I share is……there are NO rules. It is your safe space and can be shared or kept private. Art journals are relatively inexpensive, come in a variety of sizes and papers and are PORTABLE. That means you can tuck that journal in your purse and make that hour long wait in the doctor’s office by doodling and drawing out your ideas. You will thank me for that tip. I remind people daily that it is “only a piece of paper”. What is the worst thing that can happen if all goes bad, (which it will not), ……IS IT IS ONLY A PIECE OF PAPER. You can use supplies that you have on hand markers, watercolors, colored pens (and

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even borrow them from your kids). This is a great space to use all the supplies you have amassed waiting for a special occasion to use them. Guess what!? That special occasion is here and you are worth using them. Art journaling is a great way to learn new techniques, try out drawing for those who are afraid and gives us a safe space to understand our feelings and delve into who you really are. This is the space I go to when I want to be calm, take a minute to slow down and more importantly be present in my own life. It has a way of giving me that time to block out things in my world. It is an amazing creative outlet and it does not take a lot of time. Just 15-20 minutes is what I recommend daily to form a creative habit. This is a much healthier place to be than looking at your phone. Journaling creates a deeper sense of self awareness, empowers us, inspires us, encourages us and more. I jumped back into art journaling post-divorce which left me feeling empty and alone. Opening that book allowed me to stop and create in the space I was in. It reminded me of who I am and that I was not defined by a bad situation. This also has helped me through hard times such as sickness and death. It allowed me to calm those feelings and connect vs. ignoring them. It also is a great space to express joy and happiness. You will find that is quite contagious and a great thing to share! Along with the many benefits I have listed so far there are more; •

Eases stress and gives you a space to empty the chaos out of your head and put it on paper.

Digs into the right side of our brain which

leads to better problem solving •

It is an outlet that allows us to share our stories, feelings and ideas.

Makes you stop and notice the inspiration all around you – I am inspired by nature so now I notice the lines in the leaves, lighting, the texture and abundance of color in flowers.

Helps us learn and enjoy the creative process instead of worrying about how the art is supposed to end up.

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Empowers you to find out what you believe in and what YOUR style is.

• Makes you show up to life better for others. • Attracts others who share your interest. What better thing to do than connect with fellow art journaler’s! • Fun place to test out new supplies too! There is nothing better than seeing when an idea or a technique resonates with someone or it clicks and they are excited to explore that artistic side of themselves that they doubted they had. I agree it is hard to look at a fellow artist and/or masterpiece without feeling intimidated. My approach is to do something simple and not look at my outcome but to learn something new from each page. Art Journaling is also a great way to free yourself from perfectionism. I know a lot of us grew up with

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that Martha Stewart mentality and could never get that perfect quilt, scone or garden. Embracing the imperfect is what I implore everyone to do when creating. Working through the “uglies” as I like to call that stage in the middle where you just hate it but once you get to the other side you sit back so energized. That is how life is. Sometimes you just have to work through those ugly times to get to the beautiful things. Give yourself permission to get started. Open that first page and go for it. If that first page scares you then turn the page and start on page 2. Never throw out a page. Sit back and find what you liked about it and MOVE ON! Go easy on yourself and give yourself grace. Give yourself

credit for trying. I bet when you share it you will even surprise those around you. Find your people! They will support you. Finally, remember that your art journal is a springboard, an idea book to different surfaces. Do not get trapped in your book. The one thing I do encourage is to go off the page! I have painted on just about everything that stays put long enough for me: denim, wine glasses, wine barrels, face masks, and much more! Here are my tips for you: •

Keep it simple; supplies, book and the art

Enjoy the process

Escape

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Take time to not only smell the roses but to photograph them for inspiration. Make it a habit – 15 minutes a day and you will thank yourself.

feels so amazing when someone discovers the benefits of art journaling. I enjoy sharing some tools to get started and find their own art voice. They are my tribe and I have learned that your vibe attracts your tribe. Art Journaling is what opened those doors for me. It is time to start, re-ignite or continue Your Artful Journey through art journaling.

Simply put, there is an endless list of benefits to Art Journaling. I have the utmost respect for other artists and their chosen medium. I am at peace that I may not paint a masterpiece that hangs in the Louvre, but what I know, is the greatest joy I get is empowering others to tap into themselves and give art journaling a try. I started a group called Your Artful Journey (yourartfuljourney.com) to share just this and it

ABOUT TRACY WEINZAPFEL: What you see is what you get...I put it out there every day. I am the mom of three kids (23 old son & boy/girl 19 year old twins). I am a freelance painter and mixed media artist who draws my inspiration from nature. I live life with a creative edge and know that sharing my passion to inspire others is my calling. I am proud to be one of the co-founders of Your Artful Journey yourartfuljourney. com where I share my passion for all things art. My artful tribe members are my creative family. I host weekly Facebook Lives on Wednesday’s at 5:30 pm PST to inspire others to create. You can find me on Facebook @ tracyweinzapfelstudios. I am a published multi-medium artist and have worked as an Art Educator with a variety of art manufacturers including DecoArt®. I have had the honor of teaching all over the USA and internationally. My work and art studio have been featured in multiple publications.

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