November 2016 Holiday Issue 04 Painting World Magazine

Decorative Painting, Mixed Media, Fine Art & More!

November 2016

Painting World Issue 04

HOLIDAY SPECIAL ISSUE!

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magazine

Cover Artist: Karen Wisner

TIPS FROM THE PROS!

Calligraphy with a Paintbrush

by Margaret Riley

DIY Drawer Upcycle!

by Linda Akin

Innovative Corner

by Debbie Cole

$7.99 USA $10.35 Canada

Designs from Your Favorite Artists:

Debbie Cole Deb Antonick Theresa Prokop Nancy Scott Shara Reiner Kelly Hoernig Laurie May Cindy Harrison Chris Thornton-Deason Sharon Bond Terry Holte and more...

Wood Surfaces, Pattern Packets and More...

Cardinal Designed by Anne Hunter

Snow Man Candle Designed by Sue Boerman

Comfort & Joy Designed by Lauré Paillex

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

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About Painting World Magazine Who We Are

About the Magazine

Painting World Magazine is owned and operated by Magpie Publishing, LLC., which is an independent publishing company.

We are completely dedicated to the joy of creating delivered to our readers! We select only the best articles from the top designers in the industry and will be featuring all the hottest new techniques, products and artists.

Painting World Magazine publishes 7 times per year: 6 issues that arrive at your door every 2 months and one issue for the Holidays!

Our audience is a huge range of artists just starting out with their craft to seasoned professionals who have supported the industry since the 1970s.

Editor-in-Chief, Laura Rucker, is a lifelong member of the artistic community and has grown up attending conventions around the United States, surrounded with decorative artists her entire life.

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

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. October 2016, Issue 03 ©Magpie Publishing, LLC. Painting World Magazine is published 7 times per year by Magpie Publishing, LLC., 3318 Ultimate Way, Dayton, OH 45449, USA. 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.

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November 2016 Issue

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Conventions & Events New England Traditions Regional Convention October 3-8, 2017

Best Western Royal Plaza Hotel and Trade Center 181 Boston Post Road West, Marlborough, Massachusetts 01752

Imagine•Create•Inspire! with painting friends old and new.

100+ classes, demos, special events, and the best decorative arts shopping experience in the Northeast.

Thank you painters, teachers, and business partners!

Get registered: www.newenglandtraditions.org

Creative Painting™ Las Vegas

February 26-March 3, 2017 Tropicana Hotel, Las Vegas, Nevada “Decorative Painting, Fine Art, Oils, Acrylics, Watercolors, Learn-To-Paint Classes, Art Supplies, Shopping,and Las Vegas! It’s all at the Creative Painting Convention!”

Sign up at: http://vegaspaint.com

45th Annual Society of Decorative Painters International Conference & Expo. “Oceans of Color” May 17-20, 2017 Hilton Daytona Beach Resort / Ocean Walk Village, Daytona Beach, Florida

“Daytona Beach is one of America’s favorite beach destinations. Bring your family and friends, and enjoy four days of painting, shopping, creativity and fun!”

Sign up at http://decorativepainters.org

Contents

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Country Christmas Cabinet by Featured Cover Artist: Karen Wisner

Snowman Snow Globe

by Laurie May

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Christmas Hound

by Chris Thornton

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John & Mary

by Cindy Harrison

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Vintage Wishes

by Kelly Hoernig

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Winter Duo Landscapes

by Nancy Scott

60

Let Your Light Shine

by Debbie Cole

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Snowman Gift Box

by Theresa Prokop

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Doggie Bag

by Terrye Holte

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Mistletoe Magic

by Sharon Bond

MORE GREAT ARTICLES! with a Paint Brush 31 Calligraphy

by Margaret Riley UPCYCLE! This Old Drawer 56 DIY

by Linda Akin Corner: Faber-Castell 66 Innovative

by Debbie Cole

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Snowe Fruit Basket

by Deb Antonick

94 Directory of Artists and Suppliers

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Country Christmas

by Karen Wisner

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Painting World Magazine

Surface:

Dynasty® Brushes:

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This wonderful cupboard comes with four panels.

Country Christmas is my first design for it.

I’ve included some of my favorite things in this design: primitives, Santa, and a snowman!

The design would be great painted on old cutting boards as well.

It’s great to sell finished, either online or at your local craft fair. Enjoy!

• Cabinet with 2 Doors & 4 Panels #CB55 from Smooth Cut Wood

• Avocado DA052

• 1” & 3/4” Flat Wash (Series 206FW) • #1, #2, #3, #5, & #8 Round (Series 206R) • #14 & #20 Shader (Series 206S) • #20/0, #10/0, & #5/0 Script Liners (long bristles) (Series 206SL)

• Burnt Sienna DA063

Decorator Collection:

• Cadmium Yellow DA010

• 1/2” & 3/8” Mini Mop (Series 400) • #2 Fabric Round (Series B1500)

DecoArt Americana Acrylic Paints: ®

®

• Antique Maroon DA160 • Antique White DA058

• Cashmere Beige DA091 • Cocoa DA259

• Dark Chocolate DA065

Miscellaneous Supplies:

• Deep Midnight Blue DA166

• Black Micron® Pen 01 • Stylus with a Small End • Dark Transfer Paper • Light Transfer Paper • Tracing Paper • Sandpaper • Old #1 and #3 Round Brushes (to stipple snow) • Old, Light-Colored Cotton Rag

• Desert Sand DA077 • Evergreen DA082

• Flesh Tone DA078

• French Grey Blue DA098 • Graphite DA161

• Honey Brown DA163 • Jade Green DA057

• Lamp Black DA067

About Karen

• Light Buttermilk DA164

I have loved art since I was a very young child. I remember getting an art set from Santa when I was 8, that was the beginning. I always wanted to be a cartoonist, so my style of painting is usually whimsical, but I still paint other styles when the mood hits. I travel teach but have spent most of my teaching time in Italy, which is now my second home with lots of people I love very much.

I have authored many books, patterns and magazine articles.

Just when I think my creative mind is sucked dry, it starts in again!

I love sharing the love of painting with everyone!

November 2016 Issue

Black Gold®:

• Milk Chocolate DA174 • Moon Yellow DA07

• Sable Brown DA061 • Slate Grey DA068

• Snow (Titanium) White DA01 • Soft Sage DA207

• Tangerine DA012

• Tomato Red DA169 • Tuscan Red DA265

Mediums:

• Americana Acrylic Sealer/ Finisher - Matte DAS13 • Americana Gel Stains - Oak DS30

Preparation:

Sand the wood surfaces and wipe away the dust. Cover the panel with a coat of Light Buttermilk, and let it dry.

Apply two more layers of Light Buttermilk, allowing the paint to dry between each. Lightly sand, and wipe away any dust.

Trace the patterns onto the tracing paper using the black Micron pen.

Transfer the basic design lines onto the surface using transfer paper and the small end of a stylus.

Transfer detail lines as needed; use the light transfer paper for the crock design when needed.

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Painting World Magazine Deepen the shading using Honey Brown. Highlight using Snow White.

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Complete this process until you’ve done the entire cabinet. Let it dry.

Antique the cabinet using Graphite and a large flat brush.

Load as if you’re shading, but with a little more water than paint. Apply it to the cabinet until you have the desired look.

Allow all layers to dry between coats of floated color.

Spray the entire cabinet with Matte Varnish to seal it. Let it dry, and then repeat.

Crock:

Shade the background area using Cashmere Beige, and let it dry.

Deepen the areas around the design using Honey Brown.

Painting Instructions: Cabinet:

Stain the cabinet using the Oak Stain and a large brush.

Apply it to one area at a time, and then gently rub the wood so you have an even shade.

If you want your cabinet darker, use multiple coats, but once you do the antiquing with the Graphite, it will be much darker.

Float the crock color using French Grey Blue.

Shade with Milk Chocolate. Deepen the shading using Deep Midnight Blue.

Let the paint dry, and apply the swirl design with Deep Midnight Blue. Deepen the shading in the upper opening using Lamp Black.

Dry brush the highlights over the swirl design and the center of the rim with Snow White.

Doily:

Base the doily using Light Buttermilk, and let it dry.

Shade using Desert Sand.

Apply Snow White detail lines, dots, and strokes, and let them dry.

Firkin Pail:

Float the color using Desert Sand, and let it dry. Apply cracks and wood detail using Milk Chocolate.

Let the paint dry, and then shade with Milk Chocolate. Deepen the shading using Dark Chocolate.

Helpful Hints:

Use the round brushes to basecoat.

Use the 5/0 script liner for painting large vines and highlight strokes, the 20/0 for fine detail lines, and the 10/0 for cracks and details.

Use the 1” flat wash to apply the finishes to the cabinet. Use the 3/4” flat wash and the shaders to float color, shade, and highlight.

Use the fabric round to dry brush highlights.

Use the mops to blend floated areas.

As you paint, refer to the pattern for shading (////) and highlights (::::), as well as the close-up photos.

When floating a color, I like multiple layers of light coats. I feel this method gives a much softer end color.

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

November 2016 Issue

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Dry brush the inner highlights using Light Buttermilk, and float highlights on the wood peg. Apply Graphite shades to make the deepest shading; see the photo.

Snowman:

Apply the patterns for the buttons and heart/patch design.

Basecoat the heart using Tuscan Red, the green patch using Jade Green, and the brown button using Light Buttermilk.

Float the snowman’s body using French Grey Blue. Float the wood stand and twig arms using Desert Sand. Float the hat using Slate Grey.

Paint wood cracks and lines on the twig arms and stand using Milk Chocolate. Shade the stand using Sable Brown.

Basecoat the nose using Tangerine and the hatband using Tomato Red.

Shade the hat using Graphite.

Float the same color onto the front buttons.

Stipple Snow White on the snowman’s body, allowing some of the float color to show; let it dry, and then shade with Honey Brown.

November 2016 Issue

Use Milk Chocolate to shade the twig arms and brown button, and to deepen the stand’s shading.

Dot the patch using Moon Yellow. Shade the hatband and heart using Antique Maroon.

Paint cracks and threads on the patch using Evergreen. Let the paint dry, and shade the patch.

Deepen the shading on the brown button and twig arms using Dark Chocolate. Deepen the shading on the stand using Graphite.

Shade the carrot nose using Burnt Sienna. Let it dry, and then paint the detail lines.

Dry brush the heart highlight using Moon Yellow. Using Snow White, float and dry brush highlights on the hat, body, patch, and stand.

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Shade the fur areas using Milk Chocolate, the bell using Burnt Sienna, the outer edges of the face using Tuscan Red, the buttons and gingerbread using Dark Chocolate, and the red suit using Antique Maroon.

Paint Light Buttermilk frosting on the gingerbread. With the same color, paint details on the pocket, and stipple the fur areas, allowing some of the shade to show.

Shade the mittens using Evergreen. With the same color, paint the crack in the pocket. Let the paint dry, and shade the pocket with Evergreen as well.

Paint the bell details using Lamp Black. Shade the boots with the same color. Shade around the pocket button using Milk Chocolate.

Dry brush the mitten, pocket, and red suit highlights using Light Buttermilk. Float the bell highlights with the same color.

Paint Slate Grey eyes. Paint Honey Brown stitches on the body.

Paint Lamp Black stitches and dots. With the same color, paint two holes in the stand, and deepen the shading on the hat. Stipple Snow White snow on the twig arms

Santa:

Float color onto the face using Flesh Tone.

Float the red areas using Tomato Red, the fur areas using Antique White, the boots using Graphite, and the mittens using Avocado.

Basecoat the buttons using Moon Yellow, the pocket using Jade Green, the gingerbread using Cocoa, and the bell using Cadmium Yellow.

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

November 2016 Issue

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Paint tiny hairs on the fur areas using Snow White. With the same color, paint highlight strokes on the bell and buttons, and paint the hairs and beard on Santa.

Paint the stitches and dots using Lamp Black. With the same color, paint the gingerbread buttons, and dot tiny eyes. Paint Santa’s face details using Milk Chocolate.

Candy Canes:

Float color on the candy canes using French Grey Blue, and let them dry. Float the red areas using Tuscan Red.

Shade the light areas with a light float of French Grey Blue. Shade the red areas with Antique Maroon.

Highlight by dry brushing Light Buttermilk in the center areas of the canes. Paint highlight strokes using Snow White.

Vines, Boughs, and Berries:

Holly Leaves:

Basecoat the holly leaves using Soft Sage. Shade them with Avocado.

Highlight them with Moon Yellow.

Paint Evergreen detail lines, and let the paint dry. Deepen the shading using the same color. Float Tuscan Red onto the leaves (see the photo).

November 2016 Issue

Paint vines using Cocoa, and let them dry. Paint Dark Chocolate vines on top of the Cocoa vines, allowing some of the lighter color to show.

Paint Evergreen boughs, and let them dry. Paint Jade Green needles on the boughs, between the darker needles.

Dot Tomato Red berries.

Stipple Snow White snow using an old brush.

Paint tiny leaves on the lower door using Jade Green, and let them dry. Shade them with Evergreen.

Finishing:

Spray the entire painted surface with Matte Spray Varnish. Let it dry, and then repeat. Place the panel inside the cabinet door.

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

November 2016 Issue

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November 2016 Issue

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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by Laurie May

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Snowman Snow Globe

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Painting World Magazine

Mediums:

Let it air dry, or use cool air from the hair dryer. If the paper is cool to the touch, it isn’t dry. (Figure 1)

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I want to pass along my love for watercolors by making a fun project that you can frame or use as a card. I added a little mixed media to make the highlights and snow inside the globe.

• Dr. Ph. Martin’s Bleed Proof White™ ®

Loew-Cornell® Brushes: • #4 Round • #10/0 Liner

Miscellaneous Supplies: • Paper Towels • Pencil

• Light Source (i.e. a light box or window) • Water Container

• Mr. Clean® Magic Eraser® • Hair Dryer (a heat tool makes the paper curl) This is what I used. Feel free to substitute brands of paints and brushes.

About Laurie

I pretty much dabble in everything from watercolors to sketching, from photography to mixed media, and occasionally oil painting. You name it, I have at least tried it! I don’t remember a day that’s gone by when I haven’t “crafted.” Some might say I have an addiction to anything creative.

I have fallen in love with watercolors. I love showing how working with them doesn’t have to be stressful - just fun.

Adding a Micron® pen brings in a whimsical element.

Supplies:

• Canson® XL® Watercolor Pad, 140lb Cold Press

Paints:

• Grumbacher® Deluxe Transparent Watercolor 24-Pan Set #WCT24 November 2016 Issue

I use a piece of Mr. Clean® Magic Eraser® to erase mistakes. Dampen the sponge, squeeze out excess water, and lightly rub away any unwanted paint mistakes.

Preparation:

Cut the watercolor paper to 5” x 7”.

Instructions:

With a pencil, lightly transfer the pattern onto your watercolor paper by using a lightbox or by taping them to a window.

Using the #4 round brush, dampen the background area around the globe with clean water, letting it fade down to the base of the stand.

Using Cobalt Blue, add color to the dampened surface. Keep the left side next to the globe darker.

Dampen the background again.

Add Ultramarine Blue to the left of the globe and a bit to the right hand corner, keeping it light. Let it dry. (Figure 2)

Paint the base of the globe and the dowel with Raw Umber. (Figure 3) When they’re dry, use the tip of your brush to add a layer of Van Dyke Brown to the outer edges of the globe base, and darken under the ribbon and where the dowel goes into the base. Once it’s dry, you may need to do it again. (Figure 4) Give the berries and the bow a wash of Permanent Red. (You’ll add the highlight at the end using Bleed Proof White.) Let it dry. (Figure 5)

Dampen each berry individually, and shade the bottoms with Carmine. Shade the inside of the bow and the tails with Carmine.

If you get an area too dark, dampen it with water, and lift the color off with a tissue or paper towel. Another way to lighten an area is using the damp Mr. Clean Magic Eraser.

It’s time to do the hat, bird, and heart the same way. (Figure 6)

Dampen the whole inside of the globe with clean water, going around the bird, snowman, heart, and scarf. Add Ultramarine Blue to the damp background, having it darker on the right side. Let it dry. If it’s too light, repeat this step, and let it dry. (Figure 7)

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Figure 1

Figure 2

Figure 3

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Figure 5

Figure 6

Figure 7

Figure 8

Figure 9

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Once it’s dry, dampen under the eyes, and add a touch of Vermillion for the cheeks.

With the liner brush and Black, add the snowman’s eyes and mouth, the bird’s eyes and beak, the wire holding the heart, and the coal.

Use Vermillion for the nose. Use Raw Umber for the twig arms.

Use Burnt Sienna for another shading. Using the liner, add a bit more color on the hat (behind the brim), the bird’s underbelly, one side of the heart, the bottom part of the berries, the inside of the bow, and on the ribbon tails behind the bow.

For the first coat for the wooden base and ground, dampen the surface, and add Flesh Color.

When it’s dry, add Indian Red. When that’s dry, add Van Dyke Brown to darken them. (Figure 9) You can use white gesso for the snow, but Bleed Proof White is wonderful. Sometimes you have to add a bit of water to thin it down. Don’t thin the whole bottle; just dribble a bit of water in, and stir the top layer of paint.

Snowman:

Using the 10/0 liner, paint the scarf using Yellow. Paint a few of the pine needles in Yellow.

Add a hint of Yellow Green to the scarf and pine needles; get up close to the berries. (Figure 8) Next, add Green Oxide of Chromium lines to the scarf and to the pine needles.

November 2016 Issue

Time to work on the snowman!

Dampen the body, and add a hint of Ultramarine Blue, heavier at the base and under the scarf. (On the head, it will be next to the scarf and a bit under the hat.)

Also add a bit of color to the bottom of the snow in the globe.

Add swishes loosely around the inside of the globe to show where the light is reflecting. Add dots of white for highlights on the snowman’s eyes, and on the coal.

Highlight white on the heart and the berries. Flick a bit of snow inside the globe.

Now that it is all dry, you can erase your pencil lines carefully and gently. Sign your name. You’re finished!

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

November 2016 Issue

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Merry Christmas Hound

by Chris Thornton-Deason

Painting World Magazine

Surface

• Transfer Paper • Palette Paper • Scissors • Paper Towel • Scotch® Tape • Cosmetic Wedge Sponge • Tacky Glue • Fine Grit Sand Paper (150 to 200 grit) • Quick Dry Tacky Glue • Spattering Brush

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Combine painting with embellishments to create this festive steampunk hound. This can be a great decoration for your home, or the perfect gift for the dog-lover in your life!

About Chris

I am a freelance designer who worked as a Delta designer for 15 years. I now work with Plaid® as a Delta designer and with Royal® Brush. I’ve also worked with Disney® and have written over 40 Decorative Painting Books and numerous magazine articles since 1986.

In 2000, I was the Society of Decorative Painters (SDP) Artist of the Year. When SDP launched it’s “Learn to Paint” program in 2000, I was honored when they chose to teach my design to 60,000 people throughout the US all in one day.

Supplies

Available at Chris Thornton Designs • SM-023 Steampunk Clock • SM-0238 Mini Gears Stencil • EMB-006 Embellishments My Hound Christmas • FX02 Amber Glow • FX07 Gold Dust

• 12” x 12” Gallery Canvas

Delta Creative™ Ceramcoat®:

• 02505 White • 02526 Pine Green • 02506 Black • 02025 Burnt Umber • 02537 Light Foliage Green • 02724 Frosted Cranberry • 02052 Kelly Green • 02083 Fire Red • 02552 Moroccan Red • 02054 Golden Brown • 02071 Terra Cotta • 02513 Blueberry • 02536 Medium Foliage Green • 02055 Autumn Brown • 02001 Antique White • 02710 Mermaid Blue • 02484 Black Cherry • 02072 Lima Green • 02002 Antique Gold • 02004 Luscious Lemon • All-Purpose Sealer • Exterior/Interior Gloss Varnish

Royal® Brushes, Soft Grip Series:

• Series SG585 #0 Liner • Series SG150 #4, #8, & #12 Shader • Series SG700 3/4” and 1” Glaze Wash • 1/2” Comb Brush • #6 Filbert

Miscellaneous Supplies: • Water Container • Stylus • Tracing Paper

Helpful Hints:

When stenciling this type of project, where you’re only using portions of the stencil rather than the entire stencil design, it’s easiest to use Painter’s or Stencil Tape to mask off the stencil’s open areas that you don’t want paint to go through.

Background:

Basecoat the canvas in Antique White using the 1” glaze wash brush.

Stenciling:

Tape the stencil firmly in place.

Hold on to the long, thin end of a wedge sponge and pat the large, flat end into the color. Pat the excess off on the palette, and pat over the open images on the stencil. Applying color too heavily will cause bleeding under the edges of the stencil. Allow the paint to dry, then pick up the stencil.

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Dampen the canvas very lightly with clean water. Using the 1” glaze wash brush, wash all the edges with Pine Green, making it a little heavier where you stenciled the green gears. Repeat the entire process with Blueberry.

Transferring the Pattern: Lay tracing paper over the pattern.

Trace all lines except those used to denote shadows. Shadow lines are generally short, straight lines. Main lines are where you make color changes. Detail lines are facial features, patterns on fabric, etc.

Lay the tracing on the surface, and tape the top and one side.

Slide graphite paper between the tracing and the surface, and draw over the main lines only.

You will apply detail lines after finishing the basecoating.

Painting Instructions: Pot:

shadows with Frosted Cranberry using the 3/4” glaze wash brush.

Brighten by adding a touch of Antique White to the Light Foliage Green using the #12 shader.

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Randomly stencil the Mini Gears in White through the center of the canvas. Referring to the color picture, randomly stencil a few Mini Gears in Pine Green in the upper right corner under the mistletoe and in the left center area under the poinsettia.

Basecoat the pot in Terra Cotta plus a touch of Georgia Clay using the 3/4” glaze wash brush.

With Antique White plus a touch of Terra Cotta, lightly stencil the Steampunk Clock gears on the body of the pot. Stencil them a little brighter on the rim of the pot.

Float the shadows with Georgia Clay, and then deepen the November 2016 Issue

Mistletoe:

Using the #6 filbert, stroke the mistletoe leaves in Medium Foliage Green. Float a shadow on the lower side of each leaf with Pine Green. Stroke the upper part of the leaf with Light Foliage Green, and then brighten just a bit at the tip of the leaf with Light Foliage Green plus a touch of Antique White.

Basecoat the berries in Antique White plus a touch of Light Foliage Green using the #4 shader. Float the shadow across the bottom of each berry with Light Foliage Green using the same brush. Float the highlight across the top of each berry with White using the same brush.

Poinsettias: Leaves:

Basecoat the poinsettia leaves in Medium Foliage Green using the #12 shader. Float the shadows across the bottom and up through the center of each leaf with Pine Green.

Wash here and there with touches of Lima Green, Blueberry, or Frosted Cranberry.

Flowers:

Use the #12 shader to basecoat the poinsettia petals. Basecoat the darker petals in a mixture of equal parts of Frosted Cranberry and Antique White (dark mix).

Basecoat the medium petals by adding a touch more Antique White to the base color (medium mix).

Basecoat the lighter petals Antique White plus a touch of Frosted Cranberry (light mix).

Float all of the shadows with Frosted Cranberry, using it heavier on the darker petals and more lightly on the lighter petals.

Float the highlights with Light Foliage Green across the top and up through the center of each leaf using the #12 shader.

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Basecoats

Highlights & Fur

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Shadows & Basic Shapes

Add Details

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Wash here and there with Moroccan Red or Terra Cotta using the #12 shader. Paint the buds in the center with the greens and dab with some of the pinks.

Add a little Frosted Cranberry to the White and spatter just the flowers by holding the spattering brush about 2 inches from the piece. You can somewhat control the spatter, and then just wipe off where you don’t want it.

Package:

Basecoat the package in a mixture of equal parts of Kelly Green and Medium Foliage Green using the 3/4” glaze wash brush.

Float the shadows around the edges with Pine Green using the 1” glaze wash brush.

Stencil the Mini Gears lightly in Light Foliage Green. Wash here and there with Blueberry using the 3/4” glaze wash brush.

Stencil the Mini Gears in Mermaid Blue plus a touch of White. Add a little more White and spatter just the package by holding the spattering brush about 2 inches from the piece. You can somewhat control the spatter, and then just wipe off where you don’t want it.

Bow:

the bow and on the ribbons with Terra Cotta, and then deepen with Frosted Cranberry.

Basecoat the whites of his eyes with White using the #8 shader.

Float the irises in Autumn Brown using the #8 shader. Do the pupils in Black using the #4 shader.

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Float the highlights on the darker petals with the medium mix, on the medium petals with the light mix, and on the light petals by adding a little White.

Basecoat the Antique Gold bow and ribbons using the #12 shader. Using the #12 shader, float all of the shadows dividing November 2016 Issue

Streak the highlights with Luscious Lemon using the #12 shader.

Brighten the highlights by adding a touch of White and streaking again.

Line the edges using the #1 liner and Moroccan Red. Add a touch of White to the Moroccan Red, and swipe a small highlight.

Hound:

Basecoat the hound in Golden Brown using the #14 shader, except for the muzzle. Float the shadows, first with Autumn Brown, and then deepen with Burnt Umber using the same brush.

Wash lightly with Terra Cotta using the 1” glaze wash brush. Float the very deepest shadows and streak the tips of his ears with a mixture of Burnt Umber plus a touch of Black.

Using the comb, streak the highlights for the hairs, following the direction the hair would grow, with Antique White plus a touch of Terra Cotta or Antique White plus a touch of Golden Brown.

Basecoat the muzzle and the streak up the forehead in Antique White using the #12 shader. With the same brush, float the shadows with Golden Brown, and then deepen with Burnt Umber.

Highlight with streaks of White using the 1/2” comb brush, following the way the hair would grow. Using the #8 shader, float a deeper shadow under his nose and mouth with Burnt Umber.

Float a highlight of Antique White plus a touch of Autumn Brown right under the pupils.

Dab the highlights in the pupils with White using the #0 liner. Line his eyes with Burnt Umber using the #0 liner.

Basecoat his nose in Black using the #4 shader. Float the highlight across the top with Autumn Brown using the same brush. Dab highlights of White using the #0 liner.

Hat and Ornament:

Basecoat the hat and ornament in Moroccan Red using the #14 shader. Float the shadows with Black Cherry using the same brush. Float the highlights with Fire Red, also using the same brush.

On the ornament, stencil the large gear in White plus a touch of Frosted Cranberry.

Hatband and Belt:

Basecoat the hatband in Antique Gold using the #12 shader. Float the shadow at each end of the hatband in Terra Cotta plus a touch of Frosted Cranberry using the same brush.

Float a highlight through the center with Luscious Lemon plus a touch of Antique White using the appropriate-sized brush.

Apply the pattern for the lights, belt, monocle, and goggles.

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Green using the #12 shader. Streak the highlights from the top of each holder down by adding a touch of Antique White to the base mixture.

For the red light, basecoat with Fire Red, shade with Black Cherry, and highlight with White plus a touch of Fire Red. Add a little more White to the highlight mixture and spatter just that bulb by holding the spattering brush about 2 inches from the piece.

Basecoat the belt around the hat in Autumn Brown using the #8 shader. Float the shadows with Burnt Umber using the same brush.

Float the highlights with White plus a touch of Autumn Brown.

Using the #0 liner, carefully paint the holes in Black.

Monocle and Aviator Goggles:

Diagonally float the Medium Hauser Green and White in the aviator goggles using the #8 shader.

Diagonally float Mermaid Blue and White in the monocle using the #8 shader. Then streak both with a little more White, still painting diagonally.

Brass pieces:

Basecoat all of the pieces that will be brass, the fan blade, the aviator rims, the monocle rim, and the top of the ornament in one coat of Golden Brown using the appropriate sized brush. Apply the second coat with Amber Glow mixed with Gloss Varnish.

Float the shadows with Burnt Umber using the #4 shader. Dry brush the highlights with a mixture of Gloss Varnish and Gold Dust.

Do the detail with Burnt Umber.

Highlights:

Basecoat the light holders and the cords in Light Foliage Green plus a touch of Kelly Green using the #4 shader. Float the shadows with Pine

For the blue lights, basecoat with Mermaid Blue, shade with Blueberry, and highlight with White plus a touch of Mermaid Blue. Add a little more White to the highlight mixture and spatter just those bulbs by holding the spattering brush about 2 inches from the piece.

For the orange lights, basecoat with Antique Gold, shade with Terra Cotta, and highlight with White plus a touch of Antique Gold. Add a little more White to the highlight mixture and spatter just that bulb by holding the spattering brush about 2 inches from the piece.

Finishing:

Apply as many coats of Varnish as desired. Glue embellishments in place.

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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November 2016 Issue

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Calligraphy with Painting World Magazine

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a Paintbrush

by Margaret Riley calligraphy and helped in transcribing biblical records and events.

My mother had beautiful penmanship - fancy looking letters with curlicues, and a nice flow to her writing.

Every day, I try to mimic her writing, but she had her own special style!

I love fancy handwriting, and when I discovered calligraphy in my late teens, I knew I wanted to learn that skill. I bought a kit, and practiced until I had mastered it enough to add nice lettering to some of my painted projects.

Calligraphy is an ancient art, and can be found on the walls of caves and of Egyptian tombs. The Romans contributed the first November 2016 Issue

You can find many articles on the history of calligraphy in your local libraries and on the internet. But we are going to learn a simplified calligraphy to aide you in creating elegant lettering on your special project.

I started out with an inkfilled-cartridge pen. Some people used to have calligraphy nibs that went into a handle end. These, you had to dip into ink, with care not to overload the nib.

The industry came up with markers with felt flat points in various sizes to use. I’ve taught classes with these, as I felt they were best for a beginner. There are calligraphy practice papers available on the market that you can use to learn the slant and spacing of each letter.

let’s try using a brush! There are many brushes out there designed for calligraphy writing… some cheap, some very expensive.

I usually use a new flat brush (not an angular one).

Depending on the size of the surface, I chose a flat brush that will create lettering sizes in proportion to the project and the writing/lettering.

Before you begin, practice on a piece of canvas paper or calligraphy parchment for the placement of your letters.

I use a white chalk pencil to draw on my lines. Draw a

Once you feel comfortable with a pen of your choice, and have practiced a lot,

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Painting World Magazine

I like using black paint on most projects, and I put a small amount out on the palette to always have nice, fresh paint to dip into.

Just as important, it is imperative that you have a crisp ending point as you lift your brush to complete that stroke.

Dip the flat brush into the paint, being careful not to overload it. Brush back and forth on the palette to get an even distribution onto the brush.

Many, many evenings have found me practicing calligraphy one letter at a time. The key is memorizing each letter, and practicing over and over until you have it mastered. I am fortunate to be able to look at a letter and copy it once I have learned the basics.

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bottom line and top line to get the height of the capital letters. Next, draw another line between those two lines to use for the height of the lowercase letters.

Always keep the flat side of your brush at a 45-degree angle, being sure never to turn your brush from that position. (See next page for a demo!)

The nice thing about using a white chalk pencil is that you can easily remove it with a moist paper towel when the lettering is finished and completely dry. (For removal on paper, lightly moisten your finger and rub it across the parchment to remove the chalk.)

Gather up your painting supplies (paint, brushes, palette, water container, paper toweling, etc.) and your project to do calligraphy on.

Start your brush just touching the surface, and apply pressure to achieve a “fatter” area in each of your letters. Turning your brush and standing it more perpendicular to your surface will achieve your small lines.

When you come to the end of your brush movement, start lifting your brush slowly to have a clean end to that line.

It is important that you keep the brush at the 45-degree angle at ALL times. Pulling and pressing down your brush for the thick part of the letter will make your letter look professional.

Pro Tip: Watch the many online (and free!) YouTube presentations to learn about calligraphy!

Go to a library, and check out a how to do calligraphy book, or purchase one from a local bookstore or online.

I like the modified calligraphy version, and, after many years, can do each letter with ease and an even flow. I am still practicing Old English calligraphy, and need to have my instruction booklet close at hand.

Wishing you the best in a world of calligraphy! And remember… practice, practice, practice!

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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November 2016 Issue

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

by Cindy Harrison

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Paints by DecoArt Americana®:

• Hand Sanitizer • Tim Holtz Idea-ology Ornate Plates TH92787

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I love hats. Don’t you?

Join me as we explore the beauty of hats! This project is full of textures and techniques. We have a stenciled background, under-painting, doubleload blending, back-tobacks, and stippling, in addition to traditional sideloading. Learn how to create detailed silhouettes, floppy bows, rolling ribbon, and basic forms (cylinder, sphere, and cone).

• DA052 Avocado • DA172 Black Plum • DA128 Deep Burgundy • DA153 Eggshell • DA131 Hauser Light Green • DA106 Light Avocado • DA084 Midnite Green • DA095 Neutral Grey • DA056 Olive Green • DA214 Petal Pink • DA113 Plantation Pine • DA155 Soft Black • DA239 Warm White • DA294 Wasabi Green • DHS4 Neons Fiery Red

Cindy is an artist, designer, and teacher of decorative painting.

She’s been part of this industry for over 20 years, and has taught at several conventions throughout the U.S. She’s been published in several magazines, including The Decorative Painter and Painting Friends (Japan). She sponsors online painting classes on her website at www.purelyacrylics. com. Paint with Heart!

Surface:

• Two 11” x 14” Gallery Wrapped Canvases

November 2016 Issue

Tip #1:

When using a stencil smaller than the surface you wish to cover, stop short of where the stencil ends, on a fully outlined element.

Pick the stencil up and move it over the next area, lining up the design. This way, you will not create a rigid line in your design.

Tip #2:

• DS123-3 DuraClear Soft Touch Varnish

You can clean your stencils and brushes using hand sanitizer.

Squirt sanitizer over the stencil, and gently rub with the brush bristles. It will clean both at the same time. I suggest you clean the stencil immediately after you’re done with it.

Brushes by Scharff:

Tip #3:

Mediums by DecoArt Americana®:

About Cindy

Helpful Tips:

• Series 140 Flat #10 & #14 • Series 550 Wash 3/4” • Series 405 Round #4 • Series 455 Dresden Liner #1 • Series 750 Deerfoot #4 & #10 • Series 670 Mop 1/4” • Series 222 Moon #6 • Series 200 White Bristle Stencil

Miscellaneous Supplies: • Paper Towels • Pencils • Water Bin • Tracing Paper • Graphite Paper • Stylus • Disposable Palette • Stencil with a Baroque, Brocade, or Damask Design

When designing, paint what you know to be true first. You know the color of the sky, grass, water, and things like that. If you paint those first, the rest will become clear.

Tip #4:

When basecoating, make sure to remove the water from your brush; you want a “damp” brush, not a wet one.

Tip #5:

Clean off unwanted paint from areas immediately using a clean, damp brush.

Preparation:

Basecoat both canvases with two coats of Eggshell. Let them dry.

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Crown and Brim: Helpful Hints:

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Place your stencil over the canvas.

Using a deerfoot brush loaded with Wasabi Green, gently scratch over the open stencil areas. Do this in a “hit and miss” motion.

Remember, we are not pouncing color directly on - we’re creating a variegated look. Start with a light touch, and press a little bit more as you start to run out of paint.

Let the paint dry while you’re cleaning your stencil. When it’s done, trace on the line drawings.

Instructions: Silhouettes:

Basecoat the dark areas with Soft Black, leaving both hats, her ribbon, and his hatband and ascot uncolored.

Also, pay close attention to the fact that I have left the graphite lines “paint free.” Consider them your line of separation, meaning DO NOT paint over them. No worries if you do/did. You can put them back in with Eggshell and/or Wasabi Green using a liner brush later. It may take two coats. Let dry.

“Mary”:

Hat Trim:

Add fluffy trim to the left side of the hat with Warm White and Neutral Grey. Double load the #4 deerfoot brush so that the Warm White is on the toe (long hairs) and the Neutral Grey is on the heel (short hairs). Pounce these colors from the edge of the brim to the left side of her face with Warm White always to the outside and Neutral Grey next to the hat. Let it dry.

Basecoat the crown and brim (the red areas) in Petal Pink. (Figure 1) Then apply two coats of Deep Burgundy. Dry between coats.

Using the 3/4” wash brush, shade these areas with a sideload of Antique Maroon. Refer to the photo for color placement. (Figure 2)

I clean the mop brush as I use it by lightly scrubbing it on a damp paper towel, and then drying it on my pant leg. This way it’s always clean and dry.

Create more depth by adding narrower sideloads of Black Plum in the darkest areas, like under the brim, against her face, and the back (right) side of the front brim and crown.

highlight area in a back and forth motion, creating a jagged edge to the back-to-back float. This gives the illusion of silk fabric threads.

Let the paint dry completely.

For the highlight, pre-wet the crown. Sideload the 3/4” wash brush with Cadmium Red, and apply a back-to-back float.

With this same color and technique, apply a highlight to the top of the brim on a diagonal. Refer to the photo for color placement. (Figure 3) Apply a sideload of Cadmium Red to the outer edge of the under-brim. You may have to apply a second coat of this same color in the same places and in the same way.

Let the paint dry.

The final step to this area is to wash it with Deep Burgundy, to tone down the Fiery Red. (Figure 5)

Ribbon/Bow:

Basecoat with Hauser Light Green. When the paint is dry, transfer the ribbon/bow lines onto your surface. (Figure 1)

Figure 1

Repeat, this time with Neon Fiery Red, right over the Cadmium Red areas. Let the paint dry. (Figure 4)

Using the #6 moon brush loaded with Neon Fiery Red, scrub the paint across the

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Figure 4

Figure 3

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Figure 5

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Painting World Magazine

Fluff Trim:

scrub areas that are between the center vein and the outer edges of the leaves. DO NOT wash your brush off. Wipe the brush off on a paper towel and then pick up some Olive Green. Punch up a few of the highlight areas in the same manner. Refer to the photo for color placement. (Figure 7)

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The first shading is with Avocado sideloaded on a #14 flat. Refer to the photo for color placement.

The second shading is Plantation Pine. Keep this color tighter and in smaller areas. (Figure 2) Highlight the ribbon and bow with Wasabi Green. Use a sideload when working against the edge; use a dry Moon brush when working in the center of an area. (Figure 3)

Add a second application of Wasabi Green to punch up the highlight. Refer to the photo for color placement. (Figure 4)

Using the #4 deerfoot brush, pick up Warm White, and add a touch of highlight to the existing fluff to the left. On the remaining “unpainted” fluff area, load the brush with Neutral Grey and pounce it on.

Highlight with a pounce of Warm White to the top of the Neutral Grey areas. Don’t cover all of the Neutral Grey, though! Refer to the photo for color placement.

Trace on the Holly Cluster.

You don’t need to trace the berries at this time.

Evaluate your ribbon. If any of the shade areas got milky from the Wasabi Green highlight, go over them with your shading colors.

Holly Leaves:

Punch up the highlight areas even more by applying Olive Green over the Wasabi Green.

Make it a smaller, more concentrated area. (Figure 5)

Using a flat brush, add shading of Midnite Green to separate leaves with a sideload technique.

Place this color on each leaf that is going behind another.

Refer to the photo for color placement. When the paint is dry, erase all lines. (Figure 6)

Bavolette (fabric frill at the back of the neck): Basecoat with Eggshell. Let the paint dry completely.

Do the first shade with a sideload of Light Avocado using the #14 flat. When it’s dry, apply sideload highlights of Warm White. Add a second application of Warm White if needed.

To create more depth, add a second shade of Avocado. Keep this small and contained to the deepest, darkest areas. Refer to the photo for color placement.

Base with 2-3 coats of Light Avocado. Trace on the lines of separation.

Using the dresden liner, add center veins with Midnite Green, and let the paint dry. Apply a sideload of the Midnite Green to one side of the center vein. Let the paint dry.

Highlight with a sideload of Hauser Light Green where the line is against a dark value. For parts of the leaves that are adjacent to light/medium values, like the hat ribbon, apply a sideload of Midnite Green to that area.

Using the moon brush, pick up some Hauser Light Green and

Using the dresden liner, create side veins of Midnite Green. Using the same brush, outline some of the highlighted areas by lining them with Olive Green. Sharpen the dark tips with Midnite Green. Trace on the Berries for the next step.

Berries:

Using the #4 round brush, apply a basecoat of Petal Pink. Let it dry. (Figure 8)

Sideload the #10 flat with Deep Burgundy. Add a “C” stroke to the bottom left area of each berry; if the berries touch, add the color to the berry that is in the back, behind another. Cover about 2/3 of each berry. Refer to the photo for color placement. Let them dry. (Figure 9) Repeat the “C” stroke with a load of Black Plum, but this time only cover 1/3 of the area. Let the paint dry.

Using the #10 flat, make a small “C” stroke highlight on the upper right quadrant of each berry with Fiery Red. Let them dry. Wash over them with Deep Burgundy.

Evaluate your holly. If you need to lighten or darken any areas, you can go ahead and do it at any time. This includes adding more Neutral Grey to the fluff against the left side of the hat brim.

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Figure 8

Figure 9

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Figure 6

Use Deep Burgundy in areas of the ribbon, bow, bavolette, and holly leaves.

Figure 10

Pre-wet the berries and add a high-shine dot of Warm White if desired. (Figure 10)

Glaze/Washes:

Mix paint with water and wipe it off on a paper towel to make a wash.

November 2016 Issue

Apply a sideload of Midnite Green on the holly leaves, around the outside of the berries. Refer to the photo for color placement.

“John”:

Hat Crown:

Create this by blending colors together on the canvas. With the 3/4” wash brush, apply Warm

White to the highlight area, covering about 2/3 of the hat.

While it is still wet, wipe off the dirty brush (DO NOT RINSE), and pick up a dot or two of water. Scoop up Neutral Grey on the corner of the dirty brush.

First, place the Neutral Grey against the right side, and then walk it left (towards the white); do not take it more than 1/4 of the way. Refer to the photo for color placement.

Reload, and place the Neutral Grey against the left side, walking it towards the center, about 2/3 of the way. If you need to reload with Neutral Grey, always go back to the edge and walk it in towards the white.

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John’s Hatband and Ascot:

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Using the #12 or #14 flat, apply a basecoat of Neutral Grey to the underside of the hat. I used a #4 round to basecoat the brim with two coats of Neutral Grey. Let the paint dry.

Brim and Trim:

With the same #4 round, apply a wash of Neutral Grey across the hat brim. Wipe your brush off on a paper towel.

Pick up some Warm White on the dirty brush, and create the edge of the brim. Add a small sideload of Neutral Grey on this brim with the round (or a very small flat). Refer to the photo for color placement. (Figure 11)

To reinforce the crown, double load your 3/4” wash brush with Warm White and Neutral Grey.

Start by drawing the brush down with the Warm White on top of the center of the Warm White area; walk it towards the outer edges.

Wipe off the white, and then pick up some of the Neutral Grey. Start against the outer edge, and walk it toward the highlight. Let it dry.

With a liner brush, pre-wet the brim trim. Wipe excess water off onto a paper towel. Pick up Warm White, and run it over the trim, placing it in the middle (in height). Let it dry completely.

Reinforce the “high shine” area with a second application of Warm White. Line it up with the highlight on the crown.

Shade the hat with a brush mix of Neutral Grey + Soft Black. If needed, add a touch

Deepen the shaded areas with sideloads of Soft Black. Round out the edges of the brim trim with a sideload of Neutral Grey; reinforce with a tiny sideload of Soft Black. (Figure 12)

Using a #14 or smaller flat brush, sideload a brush mix of Neutral Grey + Warm White. Apply this mixture across the bottom of the underneath side of the front brim (the area touching his forehead).

Also apply it to the small underneath area on the left side in a 1/2 bullseye technique.

Add some of this mixture to the bottom ridge of the trim as well. Refer to the photo for color placement. (Figure 13)

Texturizing the Hat:

Load the stencil brush with Neutral Grey. Begin pouncing in the Neutral Grey area of the top hat, walking the color toward the highlight, and then toward the shading. Wipe the brush on a paper towel.

Pick up a touch of Soft Black, and add it sparingly to the Neutral Grey areas of the top hat, keeping it closest to the shaded area.

You can do the same with the Warm White, keeping it toward the highlight area. If you lose the medium value gray area, put it back in with the same technique using Neutral Grey.

Basecoat with 2-3 coats of Hauser Light Green. Let the paint dry. Transfer on the fold lines. (Figure 11)

Do the first shading using a #12 or #14 flat sideloaded with Light Avocado. Apply this to the right and left sides of the hatband. Walk the color out the same distance as you did with the shading in the gray area.

Let it dry, and then go back and repeat with the same color.

Add a shading of Light Avocado to the ascot. Refer to the photo for color placement. (Figure 12)

When they’re dry, add a design to the ascot and hatband. You can transfer my design, or create your own. I did my little strokes using a #1 liner brush and Wasabi Green.

When the design is dry, go back over the shaded areas with Light Avocado to set the design into the fabric. (Figure 13)

Using a flat brush, pre-wet the ascot so that it is just damp, not dripping. Apply Hauser Light Green using a #4 round in the highlight areas. The color should soften automatically. Add a second application if it disappears.

Highlight the hatband with Hauser Light Green by pre-wetting the band and using the back-to-back technique with the #14 flat brush.

If you cover your design, tap some of the paint off, or replace the details in that area with a lighter value. Let the paint dry.

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Figure 12

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Figure 11

Figure 13

Deepen the shading with a sideload of Midnite Green on the outer edges of the hatband and in the deepest, darkest areas of the ascot. Typically the deepest, darkest areas are shaped like the letter “v.”

Let the paint dry, and add Deep Burgundy dots.

Finishing:

Make a second highlight of Olive Green by prewetting the hatband and doing a back-to-back float of this color. Keep this color in line with the white highlight on the body of the hat, being mindful of this highlight’s width as well. Let the paint dry. Refer to the photo for color placement.

Spray or brush on 2-3 coats of varnish.

I use DuraClear Soft Touch.

Photocopy or cut out “Mr.” and “Mrs.” to the size you want, to fit under the metal plates. Punch small holes in the canvas for the brads. Push the brads through, and split them to secure.

Add highlights of Olive Green on the ascot in the same manner you did the Hauser Light Green, only in smaller areas. Refer to the photo for color placement. Allow the paint to dry.

November 2016 Issue

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November 2016 Issue

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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November 2016 Issue

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Vintage Wishes

by Kelly Hoernig

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Surface:

Helpful Hints:

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I wanted to create a background with a lot of layering; not a lot of color, but a multitude of textures. I paired it with a very simple still life of vintage items. Enjoy!

• 11” x 11” Masonite Board

DecoArt Americana® Acrylics: • Antique Green • Driftwood • Flesh Tone • Graphite • Milk Chocolate • Raw Umber • Rookwood Red • Santa Red • Slate Grey • Soft Black • White Wash

DecoArt® Mediums:

About Kelly

Hello from Indiana! So far, I have graduated with a fine arts degree and worked in advertising.

For the last 19 years, I have traveled the US, teaching and exhibiting in the decorative painting market. I’ve designed over 500 pieces for publications, such as books, articles, and pattern packets, and have taken more than 10,000 photos.

I became an international artist with my first e-course (which involved more than eight different countries). I enjoy creating in acrylics, mixed media, colored pencil, and watercolors. And I’m still excited to be creative every single day!

Some things you might not know about me: I have a very curious nature, and work best by moonlight. I create because I have to. I’m inspired by the details, and excited by nature. I chase the muse everywhere, and I love a challenge.

November 2016 Issue

• Matte Decou-Page™ DS106 • White Media® Gesso DMM18 • Modeling Paste DMM21 • Faux Glazing Medium DS18 • Matte Spray Sealer/ Finisher DAS13

Loew-Cornell® Brushes: • Series 3300, #10 Shader • Series 3350 #1 Liner • Series 3550 3/4” Wash • Series 798 1” White Nylon Glaze Wash • 1/4” & 1/2” DM Stippler

Miscellaneous Supplies: • Spreader or Credit Card • Doily (paper or plastic) or Your Favorite Round Stencil • Snowflake Stencil • Black and White Graphite Paper • T-Square • Dictionary and Sheet Music Book Pages • Palette Knife • Tulle Scrap (to use as a stencil) • Plastic Cling Wrap

Changing the car to your favorite color is easy. You just need a dark and a light value of the color you choose.

Substitute those in the places where I used Rookwood Red and Santa Red.

Preparation:

If the board is dark in appearance, you will need two coats of Gesso. If it’s light in appearance, only one coat of Gesso will be necessary. (Figure 1) Cut the music sheet to fit (approximately 10 1/2” w. x 7 7/8” h.) I used the leftover to create the top 3/4” strip.

Rip the dictionary page down to approximately 3 1/2” w. x 5 5/8” h. I cut the top edge straight.

Cover the surface with DecouPage, and lay the large music sheet in place, straightening it with the T-square. Using the credit card, start smoothing the sheet from the center out, ensuring good contact and no bubbles.

Do the same for the strip above.

When they’re dry, apply a layer of Decou-Page over all the paper items. Apply one coat of Gesso when it’s dry. (Figure 2)

Mix a large puddle of Driftwood + Faux Glazing Medium (1:2).

Also put out a quarter-sized puddle of White Wash. Get a piece of cling wrap ready.

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Figure 1

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Dip the 1” brush into water, and then into the glazing mixture. Apply it quickly over the entire surface.

Pick up White Wash, and apply it at the bottom.

While it’s wet, lay cling wrap on the surface and smoosh the bubbles down. Lift and smoosh until you are happy with the overall look.

Dip your fingers into water and splash it onto the surface. Let this sit for a minute, and then blot it gently with a paper towel. (Figure 3)

Apply Decou-Page to the backside of the dictionary page, place it, and smooth it using the credit card. When it’s dry, apply a layer of Decou-Page over the top.

Figure 2

Apply the glaze mixture from above over the words you do not want to see, and then pounce a crinkled ball of cling wrap on top to add texture.

When the surface is completely dry, lightly transfer the design with black graphite paper. Test it to make sure you can see it with the patterned background.

Basecoat with one coat as follows: the car is Slate Grey, the wheels are Soft Black, the tree trunk is Raw Umber, the canister edges are Graphite, the canister middle is Raw Umber, and the front tree base is Flesh Tone.

Painting Instructions:

With Raw Umber, shade the canister middle, add tree holders to the car, and shade the front tree base. With your liner and Raw Umber, add shading lines to the car. (Figure 4)

Figure 3

With Soft Black, outline lines on the wheels and lines to the canister outside (the metal parts). Dot the wheel centers with Slate Grey. Add White Wash lines to the car.

Highlight the canister outside with Slate Grey. Add lines to the canister outside with Soft Black. (Figure 5) Deepen the inside edges of the car windows with Soft Black. Highlight the canister outside with Slate Grey + White Wash twice, getting smaller each time. Brighten this with White Wash.

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Background:

Figure 4

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Shade the canister inside with Soft Black. When it’s dry, use the chisel edge to create lines with Soft Black in the shadow areas and Milk Chocolate in the highlight areas. Brighten the highlight area with a chisel edge of Milk Chocolate + Flesh Tone.

Highlight the tires with Slate Grey + Soft Black. Shade them with Soft Black. Highlight the centers with Slate Grey + White Wash, and brighten them with White Wash.

Float the car with Rookwood Red. (Figures 6-7 next page)

Use your liner to dab in the patches of color with Rookwood Red first, and then brighten with Santa Red. In the gray areas, dab in Graphite.

Go over the white lines with White Wash to brighten just the edge of them. (Figures 8-10 next page) At the base, float on the snow with White Wash twice. Using the tulle, 1/4” DM stippler, and White Wash, apply the texture to the white area, keeping it brightest at the base by the canister.

With the 1/4” DM stippler and Driftwood, apply the tree at the bottom. With the same brush and a mix of Antique Green + Graphite, apply the tree on top of the car.

On the white tree, use the liner and White Wash to pull lines until you’re satisfied. Add dots of White Wash to add sparkle.

With the 1/2” DM stippler brush and White Wash, add your favorite round stencil or doily image right across from the car image. To create the softer edges, dampen the brush, blot it dry, and then load only half of the brush. Pounce it on the palette to remove excess.

With the paint next to the doily edge and the water away from the edge, begin pouncing the brush up and down. When the outer edge is complete, fully load the brush, pounce away the excess, and then begin pouncing the entire inside area of the stencil.

Figure 5

I added various sized snowflakes everywhere with the 1/4” DM stippler and White Wash. Add circles to look like snow with your liner and White Wash. I also added a couple of these over the painted car still life.

With Modeling Paste and your palette knife, add various sizes of snowflakes to the design one at a time. When you’re finished, wash the stencil immediately in warm water with a toothbrush.

Figure 6

Finishing:

Spray varnish on everything with 2-3 light mists of Matte Spray Finish.

On the green tree, mix Antique Green + White Wash to add lines for the branches. Add more White Wash to the mixture for the dots of sparkle.

November 2016 Issue

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Figure 7

Figure 10

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November 2016 Issue

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Winter Duo Landscapes

You can place these charming, primitive wintery landscapes near each other, or hang them individually. Switch up the frames to match any decor and embrace the beauty of winter!

by Nancy Scott, CDA

Painting World Magazine

Miscellaneous Supplies:

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• Heritage Brick • Raw Sienna • Warm White • Zinc

About Nancy

I have been a decorative painter for about 25 years and have loved every minute of it! In 1994, I earned my CDA at the SDP Pittsburgh Convention in the still life category. Walking around the convention wearing my “new” CDA ribbon and hearing congratulations from friends and strangers that entire week was a thrill I will never forget!

Royal® & LangnickelTM AqualonTM Brushes: • R2700 - 1” Wash • R2150 - #10 & #2 Shaders • R2160 - 1”, 1/2”, & 1/4”Angles • R2250 - #3 Round • R2595 - 10/0 Liner • Small Scruffy

• Water Basin • Paper Towels • Palette Paper • Graphite Paper • Tracing Paper • Ruler • Varnish of Choice • Two 5” x 7” Frames of Choice

I began designing and teaching about 20 years ago for my local chapter, Capitolers. I currently travel teach for chapters and at New England Traditions and World of Color in Washington, DC. I am most grateful for all the wonderful painting friends I have made while teaching and taking classes!

Surface:

• Two 5” x 7” Masonite Panels or Canvases

DecoArt Americana® Acrylics: • Burnt Umber • Flesh Tone • French Grey Blue • Charcoal Grey • Grey Sky

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Paint the background trees at the horizon line with the liner and Charcoal Grey. When they are dry, dampen the area of the sky at the top of the trees with clean water. Using the small scruffy brush and French Grey Blue, tap in the foliage. The damp surface will help soften the foliage into the background.

Buildings:

Basecoat the barn and the stone house with Raw Sienna. Do the board lines and the shading on the barn with Burnt Umber. The opening to the barn door and the windows are also Burnt Umber.

Add a bit of Warm White to some Raw Sienna to lighten it a bit. Use that value to detail the windows, and to streak some highlights on the boards of the barn and the broken down barn door.

Detail the brick house with the #3 round to dab on various colors of bricks using Burnt Umber, Heritage Brick/Flesh Tone, and any brush mixes of those colors.

Do the chimney similarly.

Painting Instructions:

Trace the patterns. Basecoat the painting surface with Grey Sky.

Transfer the patterns, omitting trees, fences, and details on houses.

Sky:

With the 1” wash, float French Grey Blue to the top of the sky(s), walking the color down, and mopping to soften. Using the same large brush, float Flesh Tone from the horizon line up into the sky.

November 2016 Issue

When that’s dry, float a mixture of Flesh Tone/Heritage Brick (1:1) at the horizon line (over the initial layer of Flesh Tone). Don’t walk this color out as wide as you did for the first. There should be two values, with the second, darker value at the bottom.

Referring to the color photo for placement, float Flesh Tone in the sky to form the clouds. Float Warm White next to them, and brush mix it into some of the Flesh Tone to add dimension to the clouds.

Basecoat the windows with Zinc. Trim them with a mixture of Grey Sky/Zinc (1:1).

The door is Charcoal Grey, trimmed with the same mixture you used for the windows. Float Burnt Umber to shade under the roof and along the bottom, and to divide the sides of the house (refer to the photo).

Basecoat both roofs with Zinc.

Float Warm White snow to the

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Painting World Magazine Make a lighter value by mixing in some Grey Sky to the Charcoal Grey, and stroke some texture onto the trees. Add Warm White snow to some of the branches.

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tops of the roofs. Streak Warm White snow down the roofs.

Basecoat the beige house that’s partially seen in the background of the brick house picture with Warm White/Burnt Umber (3:1).

The roofline is Burnt Umber, as are the horizontal board lines.

Varnish the paintings as desired.

I hope you have enjoyed this project!

Shade under the roof with Burnt Umber. Add a Warm White snow line to the top of the roof. The chimney is Raw Sienna, with a couple of Burnt Umber bricks added.

The windows are Charcoal Grey. The door is Burnt Umber.

Detail the door with a mixture of Grey Sky/Zinc (1:1).

Snow:

Float French Grey Blue to form the snow mounds. Then, float Warm White several times to the tops of the mounds to lighten and brighten the snow.

Paint the fences with Burnt Umber, with Warm White snow.

Like this style? Nancy has more wonderful patterns, see her site in the directory in the back!

Paint the rocks with different values of gray, using Zinc/Warm White/a touch of Charcoal Grey.

Add a touch of this dark gray mixture to Warm White to make a highlight color, and use it to add contour to the rocks. Pull up sprigs of grass with thinned Charcoal Grey on the liner.

Large Trees:

Transfer the patterns for the large trees. Basecoat them with Charcoal Grey.

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November 2016 Issue

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

by Linda Akin

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Americana Decor® Stencils:

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This full-sized drawer converts into a charming storage ottoman that is absolutely farmhouse chic!

Using short table legs, a little fabric craft and some beautiful wax finishes with stenciling, you can create this wonderful addition to anyone’s home in an afternoon!

Materials:

• Solid Wood Drawer ~9” x 14” x 25” • Wood ~14” x 25” (to fit for lid) • Traditional Table Legs, set of four, 6” tall • Heavy Duty Top Plate • Sandpaper, 120 grit • Material of Choice ~18” x 30” (to cover wood for lid) • Hinges • Canvas • Burlap Strips • Batting or Fiber Fill (for stuffing between lid and material) • Drill

DecoArt Americana Decor® Chalky Finish™ Paints and Finishes:

About Linda

Linda Akin moved from the small town of Floresville, Texas to Central Ohio in the heart of Amish country. She discovered a passion for painting in that time. She picked up all of her grandmothers paints, brushes and books and decided she would give it a try.

It all started with a gourd a brush and a book. With that gourd a snowman came to life. She took it to the neighbors where it turned into orders. With encouragement from friends and family an artist was born. She always liked taking art in school and doodling but that all turned into a gift kindling inside.

• Lace • Carbon • Crème Wax

• Postcard from Paris • Olde World Numbers • Americana Decor Brushes • 4” Flat Brush • Accessories™ Stencil Brush Set • Waxing Brush

Basic Instructions:

Lightly sand your drawer. Wipe and remove the excess dust.

Apply the basecoat using the 4” flat brush and Lace.

Cover the entire drawer inside and out. Allow it to dry.

Basecoat the legs with the 4” flat brush and Carbon.

Stencil Work:

Tape the Postcard from Paris stencil to the side of the drawer.

Using your #8 stencil brush, apply Carbon to the Paris Moulin Rouge portion of the stencil. Even though you taped the stencil down, use

Linda loves painting and sharing her gift with others. She believes that if you have a yearning inside to do something you should follow that and work will never November 2016 Issue

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Painting World Magazine even pressure as you are applying the Carbon, to keep it from bleeding.

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orbital sander. I prefer an orbital sander, simply because I do a lot of distressing pieces.

Repeat this step on the other end. Wipe off any of the paint that may have bled through to the back of the stencil. This will prevent it from carrying over to your next portion.

For the front, tape the stencil to the front of the drawer at an angle. Using the #8 stencil brush, apply the Carbon to the part of the stencil that covers your drawer. Allow it to dry.

However, if it is your first time, just use a sanding block or sandpaper. I used 120 grit.

Take the Olde World Numbers stencil and tape it to the drawer.

Apply your “No.” word and a number. I chose 7; you can choose whichever suits you.

Allow all of the stenciling to dry.

Sanding and Distressing:

You can use sandpaper sheets, a sandpaper block, or an

Take your sanding tool of choice, and go around the edges of the drawer, letting some of the natural wood come through. Do all of your edges and corners.

Then, sand over the painted parts of the drawer, going with the grain of the wood (left to right, or vice versa). Distress as much paint off as you are happy with. I like a lot of distressing; others do not. It is completely up to your comfort zone.

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Lid or Seat of Ottoman: Measure the opening of the drawer to fit your lid. Cut the lid to size.

Lay the filling over top of the wood, and cover it with fabric. I used the pleated corner method.

Then, I took a piece of canvas to cover the center, and staple gunned it on. Once that was all on, I took burlap and went around the seams with a glue gun to cover them up with the burlap.

Once my lid was complete, I placed my hinges on the back of the drawer, and then attached the lid to the hinges. I attached the heavy-duty top plate to the bottom four corners of the drawer, and then attached my legs.

Now you have created an upcycled drawer/storage ottoman. Have fun with it! Pick unique fabrics, or find some vintage drawer pulls. I love my ottoman, and it can store paint, magazines, and more.

portion of the drawer and legs.

Allow it to dry completely.

Also distress the legs with your sandpaper. Wipe all the surfaces down with a damp cloth to remove dust.

Waxing for Protection: Now you can apply the Crème Wax to your drawer and legs using the waxing brush.

Apply it to the complete outer November 2016 Issue

Using a clean, lint-free cloth, buff your piece, including the legs.

Buff it to the shine you desire. The more you buff it with the cloth, the shinier it will get. It won’t get as shiny as a polyurethane, but will give a matte shine.

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Let Your Light Shine

by Debbie Cole, CDA

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Painting World Magazine You can connect with Debbie Cole at www.debbiecole. com, on Facebook at Debbie Cole Designs or in her group Creative Innovations.

Stencils:

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I had so much fun creating this mixed media snowman with the FaberCastell® Design Memory Craft® products. The Gelatos® make colorizing the background so easy to do. While I painted this project on a canvas, you can also paint it onto any wood surface.

Surface:

• 12x12” Canvas • Strathmore® 140 lb.

Mixed Media Paper

Faber-Castell® Design Memory Craft® Gelatos:

• #CD2624S Debbie Cole Creative Blending Set, Including Monza® Round 2 & 6 Brushes

Miscellaneous Supplies:

• Grape Grape

• Basic Acrylic Painting Supplies

• Metallic Icing • Metallic Mint • White

November 2016 Issue

Silver Brush Ltd®:

• Fig

• Margarita Mix

While Debbie loves traditional decorative painting, she also loves stamping, mixed media, and jewelry design. No matter what her medium, Debbie’s main source of inspiration comes from her faith in God. She knows that her creative talent is a gift and feels blessed to be able to share it with others. Her mission is to be able to reflect her joy onto others through her artwork.

• Faber-Castell Design Memory Craft Tool Set

• Cotton Candy

• Snow Cone

Debbie Cole, CDA is an awardwinning artist that is widely recognized as one of the leading contemporary decorative painters of the 21st century. Author of numerous books and pattern packets, Debbie has been a soughtafter instructor who has taught throughout the United States, Japan, Argentina, and Canada.

Brushes and Tools:

• Golden Natural™ 1/2” & 3/4” Square Wash Flat

• Raspberry

About Debbie

• Faber-Castell Design Memory Craft Stencils 101 Collection

Faber-Castell® Design Memory Craft PITT® Artist Pen - Big Brush (Markers): • Black 199 Big Brush and Medium PITT® Pen • Cadmium Yellow 107

• Light Cobalt Turquoise 154 • Light Flesh 132

• Detail Scissors

• Sheet Music Scrapbook Paper • Lightweight White Cardstock • Wet Wipes

• Palette Paper

Preparation:

Apply one coat of Gesso to the canvas, and allow it to dry.

Transfer the line drawing for the snowman and halo onto the mixed media paper. Cut the arms and mittens separately. Transfer the line drawing for the wings onto the sheet music scrapbook paper.

Painting Instructions:

Mediums:

Background:

• Faber-Castell® Design Memory Craft Mediums:

Coat the stencil with Gel Medium to seal it. Allow it to dry, and tape it into position.

• Gel Medium • Gesso

• Glass Bead Glitter Gel • Glaze

• Whipped Spackle

• Texture Gems™ Clear Ice Liner • Texture Gems Pearl Gel Liner

Stencil the Whipped Spackle onto the four corners of the canvas, varying the size of the applications.

Allow it to dry. (Figure 1) Randomly apply the Cotton Candy, Margarita Mix, Metallic

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Figure 1

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Mint, and Snow Cone Gelatos over the background, including the raised areas.

Use a dampened brush to work out the colors. Allow them to dry. (Figure 2) Place the stencil back over the raised areas. Using a wet wipe, remove some of the color from these areas. Seal the entire background with Gel Medium, and allow it to dry. (Figure 3)

Using the palette knife from the tool set, spread the Glass Bead Glitter Gel onto the canvas. This will go on white and dry clear with lots of sparkles. (Figure 4) Complete the following steps after completing the snowman and decoupaging it to the canvas.

Figure 2

Apply a little more Whipped Spackle over the sparkled areas. Allow it to dry. Punch snowflakes out of a lightweight cardstock, and apply them to the surface with Gel Medium.

Using the Texture Gems Clear Ice Liner, add clear drips to mimic icicles from the top of the canvas. Add dots randomly and on top of the paper snowflakes with Texture Gems Pearl Liner.

Helpful Hints:

Figure 3

When working with the Gelatos, allow the paint to dry, and then use the Gel Medium to seal it before applying another layer. Always allow each layer to dry completely to eliminate any lifting. Load a flat brush with the Glaze medium instead of water to “float” additional shading onto the snowman.

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Figure 4

Figure 5

Figure 8

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Figure 7

Figure 9

Painting World Magazine of the arms onto the snowman.

Figure 10

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Cut out the words “Let Your Light Shine,” and apply them to the background with Gel Medium. Refer to the finished photo for placement.

Also add the halo with Gel Medium.

However, wipe away any excess medium with a wet wipe.

Snowman:

Cut out the wings.

Apply Glaze to them, and allow them to dry. Apply the Fig and Snow Cone Gelatos. Blend them with your finger.

Decoupage the wings into position on the canvas with Gel Medium. Allow them to dry. Brush the Glass Bead Glitter Gel onto them. (Figure 5) Apply the shade areas of the snowman with Snow Cone and the white areas with Metallic Icing. Blend them together using a dampened brush. Seal the colors with Gel Medium, and allow it to dry. (Figure 6)

Fill in the scarf and mittens with Fig by using a dampened #6 Monza round to move the color over the entire scarf. Seal with Gel Medium, and allow it to dry. (Figure 7)

Grape Grape. (Figure 8)

Use the Cobalt Turquoise PITT artist pen to add stripes to the scarf. Use the Black PITT artist big brush and medium size pens to line the snowman and fill in the eyes.

Add dots of Gesso as the glints in the eyes.

Color the star and halo with Margarita Mix, and spread it with a dampened brush.

Seal them with Gel Medium, and allow them to dry.

Cut out both images. Apply the Texture Gems Clear Ice Liner to the halo, and allow it to dry completely. (Figure 9) Stroke a slightly dampened #2 Monza round onto the tip of the Fig Gelato. Brush on the snowman’s cheeks.

Apply Cotton Candy onto the palette paper. Load a half-inch flat brush with Glaze, and side load the brush into the color. Deepen the shade areas with this color.

Colorize the nose using the Cadmium Yellow PITT pen, and shade with the Light Flesh PITT pen. Completely seal the snowman with Gel Medium, and allow it to dry. (Figure 10)

In the same manner, add Raspberry shades to the scarf and mittens.

Coat them with Gel Medium, and then deepen shades with

Decoupage the body of the snowman onto the canvas using the Gel Medium. In the same manner, add the star and both

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November 2016 Issue

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Innovative Corner

with Debbie Cole, CDA

Faber-Castell® was established in 1761, and has been a cornerstone of fine art products ever since their formation. In 2011, they launched a new brand called Design Memory Craft®, which has very innovative products that can be “Mixed and Matched” together for painting, paper crafting, and general crafting.

At the heart of this new brand and their Mix & Match program are the

Gelatos® pigment sticks.

Nothing on the market compares to Gelatos. They’re available in dozens of colors, which can be used alone or combined to an infinite array of colors.

They’re a creamy-smooth, highly pigmented medium that comes in the form of a water-based stick.

The tubes and sticks resemble tubes of lipstick, but perform

like blendable watercolors. You can easily blend them with or without water and can add them to any porous surface, including paper, canvas, chipboard, wood, fabric, ribbon, journal boards, and many others.

While you can apply them directly to a surface and blend them, you can also apply them to palette paper, and then brush them onto a surface. This allows for blending to create new colors, and various other techniques.

In addition, the pigments are so vibrant that you can also cut and place them into a spray bottle with water to create custom mister colors.

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Faber-Castell has developed a complete Design Memory Craft Mix & Match program, including many essential tools and accents to aid in using the Gelatos. The tool kit includes everything you need to create beautiful Gelatos mists and to use the Gelatos with their mediums.

The kit comes with a unique palette knife, two misting bottles, a drip dropper, and more. You can use the palette knife both to cut the Gelatos and to spread the mediums.

The Gesso is matte and opaque, making it a very versatile medium. You can use it to prime surfaces for watercolor, create

texture, lighten color, and make them more opaque. Because of the opaqueness, this medium is perfect to create white stamped images or to cover up mistakes.

You can tint it with the Gelatos and use it to paint, or thin it with water to create a more semitransparent application of color.

The Glaze medium is

transparent semi-gloss. It seals surfaces with a beautiful, shiny sheen, adding depth, light, and dimension. It helps seal the Gelatos to make them permanent colors.

You can also tint it with the Gelatos to create transparent glaze colors.

Another use is to load it into a brush, and then onto Gelatos that are on palette paper to create a sideloaded application of color.

The Gel Medium is semi-gloss

and translucent, making it ideal to seal the Gelatos colors once you’ve applied them. You can also use it for extending color, adding sheen,

November 2016 Issue

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adhering collage pieces, and creating texture and dimension, as it holds it form while drying.

The Whipped Spackle

medium is similar to modeling paste, but is much lighter and dries faster. You can apply this versatile medium to any surface. Use it to create dimension and texture. You can use it with stencils.

Glass Bead Glitter Gel

contains fun glitter beads that add instant dimension to any mixed media project. While it is white when wet, it dries to reveal luscious sparkles that reflect the colors within the design.

Texture Gems™ are gel

liners available in a set of three metallic colors: Gold, Silver, and Pearl. You can use them to add shiny, metallic dimension.

They come in a bottle with a fine liner nib. The nib allows you to use the metallic gems for tracing stencils, writing, drawing, creating round droplets, and adding detail to projects.

Similarly, there is also the Texture Gems Ice Liner, which is a clear gel liner.

This is a fun medium that adds transparent, shiny dimension to images within a design.

The Mix & Match program

also includes a variety of stencils that come in collections with multiple designs. What makes their stencils unique is that they’re made from durable, heavyweight paper.

You can seal the stencils with the Gel Medium so that you can use them for multiple projects. You can use them with the Gelato colors and Textural Accents to add interest to designs.

which allow you to create thick or thin brush strokes that are perfect for brush lettering, stamping, and mixed media.

PITT® Artist Pens are

making, and scrapbooking.

available as Big Brush Pens or with smaller nibs. The Big Brush Pens are lightfast India ink markers that have durable brush nibs, which is perfect for detailed stamping and colorizing images. You can use them on all types of paper and canvas.

The odorless India ink won’t bleed through your pages. It’s waterproof and archival, so your images stay bright and vibrant for many years to come. When applied over Gesso, you can also blend the pens.

They’re perfect for doodling, creative journaling, card

What sets them apart from other markers is that, just like a real paintbrush, the flexible brush nib will bend and bounce back to its original form. This makes them perfect for detail work, and for colorizing images, inking stamps, and brush lettering.

The smaller PITT Artist Pens come with a variety of nibs,

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November 2016 Issue

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Winter Snowman Gift Box

by Theresa Prokop

Painting World Magazine

DecoArt® Paints:

• Water Basin • Paper Towels • Painter’s Tape • UltraFlex™ Ruler (this rubber ruler bends easily) • Chalk Pencil • Hair Dryer • Laurie Speltz® Stencils BCS-302 & BCS-151 or Stencils of Your Choice • Specialty Sponge Set of 2 (Cupboard Distributing) • Paint Splattering Tool or Old Toothbrush • Palette Knife • Loew-Cornell Berry Maker

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This will surely be your favorite box to use this winter! You might want to keep it handy to store your gloves, mittens, and scarves in. It would make a fabulous gift, and be a hit if you do arts and craft shows.

Americana Acrylics: ®

• Bright Green DA054 • Burnt Sienna DA063 • Chartreuse DA517 • Deep Burgundy DA128 • Deep Midnight Blue DA166 • Hauser Dark Green DA133 • Lamp Black DA067 • Melon DA251 • Primary Red DA199 • Pumpkin DA013 • Sea Breeze DA256 • Titanium White DA01

Traditions™ Acrylics:

About Theresa

I have lived along the Connecticut coastline all my life. I love New England’s four distinct seasons and the beauty they bring.I love to travel and I incorporate those sights and my life’s experiences into landscape,seascape,and yesteryear’s paintings.

• Ultramarine Blue DAT26 • Hansa Yellow Medium DAT52 • DecoArt Mediums: • Decou-Page™ Antique DS121 • Snow-Tex® DAS9 • Ice Crystal Glamour Dust™ Glitter Paint DGD09 • Gloss Spray Sealer/ Finisher DAS12

Brushes:

In the instructions, I will mention the Loew-Cornell® brushes that I used, but use your favorite brush.

I also enjoy the festivities and costumes of Halloween.

Using my imagination I create whimsical scenes of children with a playful background.I hope you enjoy your Frosty, Glittery, Wintery Glass Ball Ornament!

• Assortment of Your Favorite Flats, Rounds, Angles • #10/0 Liner • DecoArt 2” Flat • Small Deerfoot Brush • Set of Loew-Cornell Stencil Brushes

Surface:

Miscellaneous:

• 10” x 5” Papier Mache Box or Surface of Your Choice (I also painted this design on a metal ornament that I found at a craft store)

• Tracing Paper • White Transfer Paper • Double-Ended Stylus • Permanent Black Fine Tip Marker Pen

Preparation:

Wipe the box with an alcohol wipe to remove any grime and dust before you start painting.

Painting Instructions: Basecoat the entire box and the lid with Deep Midnight Blue using the large Specialty Sponge. Let the paint dry.

Trace your design onto tracing paper using a black permanent marker. Slide white transfer paper beneath the tracing paper, and, with the stylus, trace the major lines only (you’ll do the details later).

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Painting World Magazine Check to see if you need another coat of Primary Red. (Figure 4)

you paint. Pull out long strands of fringe, using all three colors, at the end of the scarf. (Figure 5)

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Edge of Lid: Using the Ultraflex ruler, measure 1/2” sections all around the lid, and mark them with the chalk pencil.

Using a 1/2” angle brush, paint alternating stripes of Melon and Primary Red every 1/2” all around the side of the lid. You’ll need two coats of paint. Let it dry. (Figure 1) Using a 1” angle brush with the toe dipped into Deep Burgundy, float around the top and bottom of the side of the lid. Float the right side of each Primary Red stripe with the Deep Burgundy.

Using a small stencil brush, dry brush the center of each Melon stripe with a 50:50 mixture of Melon and Titanium White. Let it dry.

Basecoat the pockets and the sleeve tags with Sea Breeze.

Shade inside the pocket, and along the bottom and left sides of the pocket, with Ultramarine Blue using a 5/8” angle brush.

Shade the mittens and the sleeve tags using Ultramarine Blue. Dry brush a highlight on each mitten with a mixture of Titanium White and Sea Breeze (make a light Sea Breeze color).

Shade the jacket, the hatband, and the birds with Deep Burgundy.

Using a 10/0 liner, paint Bright Green bands down the front and along the bottom of the jacket, and along the cuff area.

Highlight the Bright Green bands with Hansa Yellow Medium.

Make a wash of 50% Deep Burgundy and 50% water, and wash over the stripes.

Let it dry. (Figure 2)

Apply one coat of the DecouPage Antique over the painted stripes to make them appear slightly aged. Let it dry.

Snowman:

Basecoat the snowman and the flag with Titanium White using a 5/8” angle brush. Basecoat the hat with Lamp Black.

Dip the tip of the brush handle into Lamp Black, and dab-paint the buttons on the jacket and cuff.

Let them dry. Add a highlight with a dry brush of Titanium White on each. Paint the coal, eyes, and mouth on the snowman’s belly and face in the same way. Add a dot of Titanium White to each eye with a stylus for a highlight.

Shade the scarf between the twists and along the bottom with Burnt Sienna.

Basecoat the mittens with Sea Breeze. Basecoat the jacket and the birds with Melon.

Basecoat the scarf with Hansa Yellow Medium. (Figure 3)

For the second coat, paint the jacket, the hatband, and the birds Primary Red. Let them dry.

November 2016 Issue

Put the tracing and transfer papers back on, and transfer the detail lines.

Using a 10/0 liner, paint the stripes on the scarf with Pumpkin, then with Primary Red, and then with Bright Green. Refer to the picture for the direction of the stripes as

Float around the snowman’s face, eyes, carrot nose, and the coals of his mouth with Deep Midnight Blue using a #4 flat.

Paint the carrot nose with Pumpkin. Shade it with Burnt Sienna, and highlight the top of the nose with Hansa Yellow Medium.

Using a small stencil brush and Primary Red, dry brush the cheeks in a circular motion.

Remove most of the paint from the brush before painting them, and paint them rather lightly.

I added some texture to his face and body by using a small deerfoot brush and dabbing with Titanium White until he looked fluffy. (Figure 6)

Paint the hat with Lamp Black again. Dry brush a highlight of Titanium White on the left side.

Outline the rim of his hat with Titanium White using a 10/0 liner.

You’ll apply Snow-Tex later.

Using a 1” angle brush, float the sides of the snowman’s bottom and beneath his jacket with Deep Midnite Blue. Let the paint dry. Using the deerfoot brush, stipple just a little bit of Titanium White along the bottom.

Apply the “Winter” stencil. Tape it with a piece of Painter’s Tape to secure the position. With a stencil brush, dab Titanium White letters. Let them dry. (Figure 7)

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Figure 1

Figure 2

Figure 4

Figure 5

Figure 7

Figure 6

Figure 8

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Helpful Hints:

Don’t rush the brush! This box is papier mache, which is usually a nice surface to work on. It absorbs paint easily, so you might need more than one coat. You can dry it with a hair dryer, or let it air dry.

Spray the box with the Gloss Sealer/Finisher before splattering it with paint and stenciling on it, just in case you need to wipe off any mistakes!

Float the bottom of each letter with Ultramarine Blue, and then with Deep Midnight Blue. Let them dry.

Using a black, fine-tip permanent marker, outline each letter.

Flag:

Spray the lid with the Gloss Sealer/Finisher. Let it dry.

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Then, use a 10/0 liner to paint a highlight with Chartreuse on the side of each stenciled leaf.

Dip a large berry maker into Melon, dab on the berries and let dry. Then dip into Primary Red, dab on and twist lightly to shade the berries. Add a tiny Titanium White highlight on each.

Birds:

Paint the birds again with Primary Red using a #2 flat. Paint the wings with a mixture of Primary Red and Melon. Paint the beaks with Pumpkin using a 10/0 liner.

Add a tiny dot of Lamp Black for the eyes using the small tip of the stylus.

Snow Texture:

Using a palette knife, or a tool of your choice, apply a little SnowTex to the snowman’s hat, the top of the flagpole, and along the twig.

Position and tape the Snowflake stencil on the box, and randomly stencil the snowflakes and stars with Titanium White.

Use a small stencil brush with most of the paint rubbed off, and stencil the snowflakes where you think you might like them on your piece. (Figure 8)

Using a splattering tool (or an old toothbrush) dipped into a thinned down Titanium White paint mixture, splatter the top of the lid.

Bottom of the Box: I found this to be the fun part of this project. Take your time to do this part.

Spray the sides of the box with the Gloss Sealer/Finisher.

Paint the stripes on the flag with a 10/0 liner and Primary Red. Paint the square section with Ultramarine Blue using a #2 flat. Paint the pole with Burnt Sienna. Paint the tiny star with Titanium White.

Using a #2 flat, paint the twig with Burnt Sienna.

Holly:

Use the small leaf design on the stencil for the holly leaves.

Use Hauser Dark Green to dab them onto the surface.

November 2016 Issue

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Position, tape, and apply the stencil designs around the box. Use a piece of Painter’s Tape each time you move the stencil to secure the position.

Using a small stencil brush, dab the leaves with Hauser Dark Green, and then dab the snowflakes with Titanium White. Add a dot of Titanium White in the center of each snowflake using the large end of the stylus. Let the paint dry.

Float Ultramarine Blue at the bottom of each snowflake.

Using a #2 flat brush, float a highlight of Chartreuse on the top of each leaf.

Using a 10/0 liner, pull out a Chartreuse center vein on each leaf. Let the paint dry.

Spray the entire box with the Gloss Sealer/Finisher.

Sides of Box:

Apply the stencil that has the words. Tape it to secure it into place.

Stencil the words “snow,” “frosty,” and “cool” with Titanium White.

Using a 5/8” angle brush, float Ultramarine Blue on the left side and the bottom of each letter.

Using a black, fine-tip permanent marker pen, outline each letter.

Dip a large berry maker into Melon, dab on the berries and let dry. Then dip into Primary Red, dab on and twist lightly to shade the berries. Add a tiny Titanium White highlight on each.

Using the splatter tool (or an old toothbrush) dipped into thinned Titanium White, splatter the entire box.

Finishing:

Paint the inside of the lid with Primary Red. Paint the inside and the bottom of the box with Deep Midnight Blue.

Let the paint dry well.

Using a #4 flat brush, paint a little bling with Glamour Dust on the snowman’s face and eyes, the snowflakes, and the lettering.

Spray the entire box, inside and out, with a coat of Gloss Sealer/Finisher.

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November 2016 Issue

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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“Doggie” Bag

by Terry Holte

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DecoArt® Acrylics:

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My inspiration for this piece came from the Zentangle Certified Artist style of Golda Rader. It’s a great project to sit by the fire and ink away your troubles. Put your finished panel on a bag with a little decorative fringe, and you have a great birthday or Christmas gift for that special someone in your life.

SoSoft® Paints • Canary Yellow

Shimmering Pearls: • Golden Yellow • Indian Turquoise • White • Transparent Medium

Other Products Required:

• Black Sakura® Identi®-pen • 20” x 14” Canvas Tote Bag from Hobby Lobby® • 1 1/2 yards Trim for Top of Bag • Buttons • Gemstones • Fabric Glue • Metal Clips • KIWI® Camp Dry® Spray

Brushes: • #3 Round • #8 Flat

About Terry

Terry started painting in the early ’80s at a shop in Redlands, meeting up with her sister halfway so they could do something together. She is a charter member of Orange County Tole and Decorative Painters and Pacific Coast Artists in Southern California.

She recently began teaching at Chapter Paint Ins. She currently lives in Southern California with her husband.

• Water Bin • Paper Towels • Tracing Paper • Graphite Paper • Circle Template • Small Ruler • Pencil • Stylus • Large Clipboard • Painter’s Tape

Preparations:

Surface:

• 12” x 18” (1/4 yard) Off-White Canvas Duck Cloth, available at Hobby Lobby® or JoAnn Fabrics® November 2016 Issue

Miscellaneous Supplies:

Cut your panel to 12” x 18” – that will give you an inch to turn under and hem to 10” x 16”, which is the finished size. Not a sewer? You can use Iron-On Hem Tape, or glue it.

Helpful Hints:

I like to tape the panel down to a large clipboard, and leave it there until it is finished.

It makes a great lap desk (very portable), and keeps the panel secure as you work on it.

Once you’ve hemmed the panel, secure it to the clipboard.

Center and transfer all of the main pattern lines, including the collars, eyes, and noses.

Instructions:

Time to start Inking. I like to ink in the eyes and noses first, being careful to ink around the highlights.

We will make the highlights even brighter with the White Paint.

Ink in the outlines of all of the dogs, the bone, and the lettering.

Solidly ink in the tufts of hair on the cat’s chest and top of his head.

I like to use the fatter tip on the pen to make the outline a heavier line. (See image on next page) Basecoat the collars with Shimmering Pearls Golden Yellow mixed with a little Transparent Medium to make the paint flow easier. Base the cat with Canary Yellow, and do his eyes with Indian Turquoise. Do not paint the inside of his ears.

Let’s talk design… Anyone who has painted with me knows that I like to embellish and change

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up my projects to suit me. I encourage you to do the same.

If you want a different pattern on your cat and dogs, go for it.

I call the cat PJ, because I had some pajamas like that growing up. I used the ruler, and drew vertical lines on his tail, front legs, and head, and horizontal lines inside his ears. I then checkered in the remaining body and ears.

Do the tallest black dog with the circle template. Note the ear and nose where they attach to, or overlap, the body; I left a sliver of the background showing to help define the ear and nose better. I inked in all around the circles, collar, and eye.

Do the dog at the far left with the circle template, inking the center circles in solid. I added black dots here and there, and did vertical lines in the insides of his ears.

Do the second dog from the left with a ruler. Ink horizontal lines on the body, legs, and tail, and vertical lines on the head and ears.

The dog behind the cat has somewhat form-following, repetitive lines. Add extra dots on the dog’s body, ears, and tail.

The dog on the far right has a four-petal flower pattern, with black dots added here and there. His tail is solid black.

Highlight the light areas with a little White drybrushed on for added dimension.

I pulled in some grass and dots to help ground them. I glued the panel on the tote bag, and added some buttons and gemstones on the collars.

I added trim across the top of the bag, and used the metal clips to hold it in place until it was dry.

Lastly, I let the bag rest for a day or two, and then lightly sprayed it with the KIWI Camp Dry. Spray to help waterproof it.

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November 2016 Issue

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

November 2016 Issue

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by Sharon Bond

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Mistletoe Magic

Painting World Magazine fantastic sons and daughter-in-laws (and now 3 grandbabies!) I love Classic Rock and I am a huge Led Zeppelin fan! Music and Art have always gone hand in hand for me!

Miscellaneous Supplies:

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Ah, how lovely to find your sweetheart underneath the mistletoe! I wanted to create a colorful, whimsical scene that would remind us of the joy of those we cherish during Christmas, and all times of the year. This piece incorporates just a touch of Mixed Media, and is so much fun to create.

Surface:

• Miscellaneous Scrapbook Paper or Parchment Paper (optional)

• 15” Oval Lace Plaque from Cupboard Distributing #31-L262

• Small Water Mister Bottle (to aid with your background)

DecoArt Americana® Acrylics: • Cashmere Beige

• Ultra-Fine Permanent Black Marker, such as a Sharpie® OR Faber-Castell® Black PITT® Artist Pen, Superfine and/or Extra Superfine

• Cocoa

• Double-Ended Stylus

• Espresso

Artist’s Club® Papillon™ Brushes:

• Black

• Hauser Medium Green • Irish Moss

• Kelly Green

• Olive Green

• Rookwood Red • Sable Brown • Snow White

• Soft Heather

About Sharon

I’ve had a love of drawing, painting and crafts since I was very young. I supplied shops and did many craft shows. However, I kept leaning towards decorative painting and finally got the courage to give it a try and I have never looked back!

I sell finished pieces on Ebay and lots of painting patterns on Etsy.

I was extremely honored When asked by Terrye French several years ago to paint for her in what would soon become “Painting With Friends”. I owe her so much gratitude and miss her so much!

I am designing on my own now, and I love whimsical and primitive designs. I only wish I had more time to paint! Outside the painting world, I am married with two

• Tim Holtz® Snowflake Stencil from Cupboard Distributing #09-67482

• Tomato Red

• Warm White

• Wasabi Green

DecoArt® Mediums: • Americana Drying Time Extender™

• Americana Matte Spray Finisher • Media® Liquid Glass (Clear)

• Media White Shimmer Mister • Media Red Mister

• Media Yellow Green Mister • DuraClear® Gloss Varnish

• Sizzling Red Glamour Dust™ Paint

• Limelight Glamour Dust Paint • Glamour Dust Glitter • Americana DecouPage™ (optional)

• Glaze/Wash Brush 3/4” - #29002 • Round #2 - #20158

• Script Liner 10/0 - #20137

• Angle Shader 1/4” - #20109 • Angle Shader 3/8” - #20110 • Flat Shader #6 - #20127

• Drybrush 1/4” & 1/2” – from their Highlighter Set #20173

Preparation:

Preparation starts by creating the background. The first thing we need to do is to lay down a solid layer of basecoat. I actually used Soft Heather for this, as I wanted a light, bright background, but not necessarily a white one.

Once the basecoat is dry, gather your misters (White, Red, and Yellow Green). You may wish to create a place to spritz your misters (i.e. lay down paper towels). They do tend to mist everything in sight, but they are so much fun to use!

Hold the misters above your piece – not too close.

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Painting World Magazine You may use your stylus, if you wish, to create the Warm White dots on her scarf. Shade around all the outside edges of the scarf with Espresso. Finely outline the scarf in Black.

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Dry brush both deer over their entirety with Cocoa. Continue to use the same drybrush without rinsing it. Add Cashmere Beige to dry brush the highlights around their noses, under their necks, around the inside edges of their ears, and on their cheek areas.

Helpful Hints:

Any time during the instructions that I mention to “finely outline” something in Black, you can choose whether you want to thin your paint and use a liner brush to outline, or simply use your black marker(s).

Randomly spritz them, alternating colors as you work (some areas more red, some more green, etc.), and use your White mister to cover the entire plaque.

Also, use your water mister to spritz the surface with water, to create more “flowing” and “blending” of colors. This step is not necessary, as it is all in regards to the look YOU want!

Simply play with your misters to create the look you desire.

Deer:

Start by basecoating both deer with Sable Brown. Add a second coat if necessary to achieve a solid coverage.

November 2016 Issue

Float both of their cheeks with thinned Tomato Red to create a blush. Solidly base their ears in Cashmere Beige, and dry brush them with Warm White.

I shaded with Cocoa down the center of the inside ear and along the edge of the ear.

Do both of their noses in Black, with a small, Warm White accent mark as a highlight. Do both eyelids and eyelashes in Black as well. I did the fine curlicue in each ear with the black pen/marker.

Let this all completely dry. Just to be safe, I did spray-seal the plaque at this point to assure that the floating and shading of paint wouldn’t affect the background. Once that has dried, you will be ready to transfer your main design. (Figure 1)

Painting Instructions:

Continue by adding just a bit of Warm White, and dry brush to enhance the areas around their noses and ears. Also dry brush this blend above each eyelid.

Shade both deer around the entire outside edges with Espresso.

Finely outline both deer in Black.

On the female deer, shade a fine line of thinned Espresso where the curl on her forehead would be.

Once that’s dry, outline over the curl with thinned Warm White.

Basecoat her scarf with an equal mix of Hauser Medium Green and Irish Moss. Once this is dry, dry brush it with Irish Moss by itself, and then dry brush it again with Olive Green as a highlight.

For the male deer, first base the holly around his neck with an equal mix of Kelly Green and Hauser Medium Green. You may need to apply two coats to each leaf.

Once this has dried, dry brush each leaf with a bit of Irish Moss, and then again with just a touch of Olive Green added to your same brush, to add a bit of highlight. Shade around all the outside edges of the holly leaves with Espresso. Finely outline all the leaves in Black.

Draw the berries first as circles, using your black marker, and then dot/fill them in with your stylus using Tomato Red.

Also, on the male deer, you will need to shade heavily with Espresso where his antlers will be. Once this is dry, go over the antlers with your black marker or pen to define them. (Figure 2)

Heart & Mistletoe:

The strings and bows holding the heart and the mistletoe are done the same way. Simply thin a bit of Kelly Green, and line where the strings will be. You can dab this back a bit with a soft cloth if it looks a bit too bold. Once it’s dry, finely outline your strings with your black marker or pen.

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Figure 2

Figure 1

Figure 3

Figure 4

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Painting World Magazine In that case, let me give you those instructions now.

Once you have figured out the placement of your words, simply add Decou-Page to the back of each paper word, and place it on your plaque. Once they’re dry, shade around all of the words with Espresso to help them blend in with the rest of the piece. You may also finely outline them all with your black pen or marker, as I did with this project. (Figure 4)

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Basecoat the heart with Rookwood Red. You may need to apply two coats for solid coverage.

Once it’s dry, dry brush the heart with Tomato Red. You can add a bit of Warm White to the same drybrush, and highlight the upper right-hand corner of the heart as well. With thinned Warm White, you can add an accent mark to the same general area.

Shade around where the mistletoe leaves will be with Warm White.

With your black marker or pen, line the stems and leaves of the mistletoe once your background shading has dried.

Now, fill in the leaves with Wasabi Green. Once the leaves had dried, I lined a few lines through each leaf with Olive Green to add a bit more color.

Finely outline the berries with your black marker or pen first, and then dot each berry with Snow White. (Figure 3)

Snowflakes:

Simply use the snowflake stencil and your Snow White paint to place a few snowflakes randomly on the plaque.

Words:

There are two directions you can go with the words. You may decide that you would rather paint the words on (or use your marker to put the words on the plaque). Or, you may decide to put the words on the plaque in the manner that I did here.

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First of all, I spray sealed the plaque again at this point with a couple coats of Americana’s Matte Spray Finisher, allow drying time between each coat.

Once the plaque is dry, you can proceed with preparing the words to add to the plaque.

Prepare a piece of parchment copy paper (or any type of 8 1/2” x 11” scrapbook paper if you plan to run the paper through your printer) for use with the misters by spraying it FIRST with a light coat of sealer. Let this dry completely.

Lay the paper down in an area where you can use your misters.

Use the same misters that you created the main background with, and lightly spritz them on the paper. Be careful not to drench your paper; you just want to use light spritzes here, and there is no need to add as much as you did when you were spritzing your background.

Let this dry completely! You may want to lay a heavy book on top of your piece of paper to prevent it from curling. Again, this is mainly something to keep in mind if you will be running your paper through a printer.

After picking fonts of your choice, type out the words for your plaque.

Place the prepared piece of copy paper into your printer, and print your words. I used “curvy” scissors to cut the words out with.

Finishing Touches:

These finishing touches add an extra special glitz to this project.

Add Limelight Glamour Dust Paint to the female deer’s scarf, as well as to the mistletoe leaves.

Add Sizzling Red Glamour Dust Paint to the heart and holly berries.

Once the holly berries had dried, I also added a tiny dot of Liquid Glass to each one. Add Liquid Glass to the heart and to the berries on the mistletoe as well.

Add DuraClear Gloss Varnish to each snowflake, and sprinkle them with Glamour Dust Glitter while they are still wet. Do one snowflake at a time. I also added DuraClear Gloss Varnish to each of the deer’s noses for a shiny effect.

The last touch that I added was to dry brush around the entire outside edge of the plaque with Warm White. This helps to frame our sweet deer.

I certainly hope you enjoyed this project! There was just a bit of Mixed Media involved to make it really stand out.

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Magic

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Mistletoe Love Love Magic

Merry

Merry

Love

Mistletoe

Mistletoe Magic

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Merry

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by Deb Antonick

Snowie Fruit Basket

Painting World Magazine

Surface:

Americana Acrylics:

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Inspired by Terrye French

Put a festive spin on the traditional bowl of fruit with this wintery painting.

You will use traditional decorative painting combined with mixed media to add extra charm.

Let yourself get creative with this fun project!

• 10” x 10” Wood Canvas Panel 28-29840 from Cupboard Distributing

Supplies:

• Recollections® Light Blue Script Paper

• The Paper Studio Black and White Snowflakes Paper • Stampendous® Delicate Snow Set Stamp CRS5069 • StazOn® Jet Black Ink Pad • Tim Holtz® Music Notes Washi Tape • Ruler

• Scissors

• Brayer or Old Credit Card • Flat Back Crystals

• Aleene’s® Tacky Glue®

• Palette Paper

• Baby Wipes (to clean stamps) • Paper Towel

About Deb

• Tracing Paper

I live in beautiful Penticton, British Columbia, Canada with my recently retired husband and two fur children. My husband and I have spent the past two years renovating my husband’s childhood home that was built by his father in 1946.

• Transfer Paper

My painting journey began in 1990. From the first time I picked up a brush I was hooked. I painted for craft sales and taught classes at Michaels® for five years. Since then I have gone on to be one of the originalfounding members of Painting with Friends®, the brainchild of my friend Terrye French.

DecoArt® Paints and Mediums:

• Americana® Multi-Purpose Sealer™ #DS17

• Media® Matte Medium #DMM20

• Snow Writer #DS96

• Glamour Dust™ #DAS37

Media Fluid Acrylics™:

• Aqua Sky DA333 • Asphaltum DA180 • Burnt Sienna DA063 • Buttermilk DA03 • Cinnamon Drop DA308 • Dioxazine Purple DA101 • Foliage Green DA269 • Hauser Dark Green DA133 • Lamp Black DA067 • Light Buttermilk DA164 • Mistletoe DA053 • Moon Yellow DA07 • Mustard Seed DA264 • Napa Red DA165 • Persimmon DA293 • Royal Purple DA150 • Snow “Titanium” White DA01 • Spiced Pumpkin DA310 • Sunny Day DA325 • Warm White DA239 • Watermelon Slice DA324

Dynasty® Black Gold® Brushes:

• 1” Flat Wash 206FW • #12, #10, #8, #6, & #4 Flat Shaders 206S • #2 Round 206R • 3/8” or 1/2” Angular Shader 206A • #10/0 Liner 206L

Dynasty® Decorator® Series Brushes:

• Quinacridone Gold DMFA32

• 1” or 5/8” 400 Mop • #14, #8, & #6 200 Dome Round Blenders • 3/4” Eye of the Tiger® Glaze Brush

• Dioxazine Purple DMFA12

Techniques:

• Primary Magenta DMFA29

Mixed media art takes many forms, and uses a wide range of products.

• Prussian Blue Hue DMFA30

• Cobalt Turquoise Hue DMFA09 • Cobalt Teal Hue DMFA10

• Viridian DMFA44

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Painting World Magazine The first dry brush coat should allow some of the background to still show through. Additional colors should cover less area than the first coat does.

Basecoat:

Clean the brush as best you can on your old towel, and then pick up the next color. Apply it in the same manner using less paint.

Note: Refer to the color photos for shading and detail placement.

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I am approaching mixed media as a decorative painter.

Although I am listing the products I used and my process, I encourage you to use what you have on hand and to have fun creating.

You can use any paper, stamps, or stencils that you have; it is all about creating layers and textures.

You can purchase these items at your local dollar store, craft store, department store, etc.

For information on the DecoArt Media products, please visit the DecoArt Media website at http:// decoart.com/mixedmedia/. They also have great how-to videos on all the products I used.

Surface Preparation:

Unless otherwise stated, I seal all my surfaces with one coat of Multi-Purpose Sealer. Let the sealer dry, and then sand it lightly.

Dry Brushing:

Matte Medium:

I mention in my instructions that I coat the entire surface with the Matte Medium after applying the papers. This step will seal the paper and the surface, making floating color so much nicer and easier. And, you will be able to wipe off any mistakes quickly.

Fluid Acrylics:

I have used a lot of the DecoArt Mixed Media products in my projects. I just love the vibrancy of the colors.

The brush must be dry. When dry brushing, I load my paint from a dry surface. I don’t load it from a wet palette, as the moisture will get into the brush and make the paint go on smudgy. I also keep an old towel handy; it is great for cleaning the brush between colors.

In most cases, I am using them as tints and for shading. You can replace these paints with your regular DecoArt Americana colors if you choose. When using the Fluid Acrylics, you only need a very tiny drop on your palette.

To start load the brush by tipping it into the first color. Blend it out on palette paper, and then wipe the excess paint off on a paper towel. Lightly scrub the surface to apply the color.

Stamping:

Use the brush on its side, and scrub side-to-side or up-and-down.

Start soft, and then press harder depending on how much color you need. The harder you press, the more color you will get.

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Use a permanent archival ink pad; I use StazOn. I also use the paints by brushing a thin layer of paint onto the stencil and quickly applying it to the surface. Clean your stamps with a baby wipe after using them.

Float/Shade:

I always float my color with angular shaders. Mop to soften the float.

Use the brush that best fits the size of the area you’re going to paint.

Preparation:

Seal the surface with MultiPurpose Sealer. Let it dry, and then sand it lightly.

Cut the light blue script scrapbook paper to fit the surface. Coat the surface with a liberal coat of Matte Medium. Quickly lay down the paper, and pat it into place with the brush.

Smooth out the paper with a brayer or an old credit card to adhere it into place and remove any bubbles. Let it dry.

Brush a light finish coat of the Matte Medium over the entire surface to coat the paper. Let it dry.

Paint over the paper with a very light wash of Aqua Sky. Let the paint dry.

Trace on the basic pattern lines.

Trace the big hat onto the black snowflake scrapbook paper and cut it out. Adhere the hat in place with the Matte Medium.

Brush over the entire surface again with a thin coat of Matte Medium. Let it dry.

Apply a very light wash of Media Cobalt Turquoise Hue and Media Cobalt Teal Hue over the entire surface for light tints of the blues.

Add more of the Cobalt Teal Hue tints onto the hat. Let the paint dry.

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Shade around the entire design, and around the outer edge of the surface, with Media Prussian Blue Hue.

Painting Instructions Hat Bowl:

Cut a piece of Washi Tape to fit for the hatband and adhere it. Shade the hat and the band with Lamp Black.

Snowman:

Basecoat the snowman with Buttermilk. Shade him with Aqua Sky. Dry brush him with Light Buttermilk.

Deepen the shading with Media Cobalt Teal Hue. Dry brush him brighter with Warm White.

Base the nose with Spiced Pumpkin. Shade it with Persimmon.

Highlight it with Mustard Seed.

Base the snowman’s hat with Lamp Black. Cut a piece of the Washi tape for the hatband and adhere it.

Line and dot the eyes, mouth, and buttons with Lamp Black.

Highlight the buttons with Warm White. Line the arms with Asphaltum tipped in Lamp Black.

Pineapple:

Basecoat the pineapple with Spiced Pumpkin. Transfer on the

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Dot the berries with Napa Red. Then, dot them again with Watermelon Slice.

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remaining pattern lines. Dry brush each section with Mustard Seed.

Shade the bottoms of the diamonds with Persimmon. Highlight the tops of each section with Mustard Seed.

Deepen the shading on the bottom left of each section with Burnt Sienna. Highlight the tips of each section with Moon Yellow.

Deepen the shading in the bottoms of the diamonds with Media Quinacridone Gold.

Basecoat the pear with Mustard Seed. Shade it with Spiced Pumpkin. Dry brush it with Moon Yellow.

Deepen the shading with Media Quinacridone Gold. Dry brush a brighter highlight with Sunny Day.

Basecoat the apples with Watermelon Slice. Shade them with Cinnamon Drop.

Base the stems with the #2 round brush loaded with Asphaltum tipped in Lamp Black. Line a highlight on them with Asphaltum tipped in Light Buttermilk.

“Color” in the snow with the Snow Writer, using the tip to move the snow gently around to fill the area.

Do small sections at a time, and sprinkle the snow with Glamour Dust while it’s wet. Tap off the excess Glamour Dust, and then move on to the next section.

Line and dot the snowflakes with Titanium White. Adhere crystals to the centers of the snowflakes with Aleene’s Tacky Glue.

Finishing:

Stamp the background, with some overlap to the design, using the snowflake stamps and StazOn Jet Black ink.

Dry brush them with Spiced Pumpkin. Deepen the shading with Napa Red.

Dry brush a highlight on them with Mustard Seed. Deepen the shading with Media Primary Magenta.

November 2016 Issue

Basecoat the leaves with Foliage Green. Shade them with Mistletoe.

Highlight them with Sunny Day.

Add the Snow:

Outline as desired with Lamp Black.

Apples:

Basecoat the grapes with Royal Purple. Shade them with Americana Dioxazine Purple.

Highlight them with Aqua Sky.

Leaves and Stems:

Deepen the shading with Hauser Dark Green. Deepen the shading again with Media Viridian.

Pear:

Grapes:

Highlight the grapes with Media Cobalt Turquoise Hue.

Line all of the stems with Titanium White for the look of snow. I do not water the paint down.

Add Boughs and Berries:

Line the bough stems with Asphaltum tipped in Lamp Black.

Line the greens of the boughs in layers, starting with Hauser Dark Green. Repeat with Mistletoe, followed by Foliage Green. Finish with Foliage Green tipped in Warm White.

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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November 2016 Issue

Š 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Directory of Artists & Suppliers

Artists:

Linda Akin lakin71@gmail.com facebook.com/lakin71 etsy.com/shop/SeedSowersMercantile Deb Antonick adeb@shaw.ca www.paintingwithdeb.ca facebook.com/deb.antonick

Sharon Bond sbond09928@roadrunner.com www.etsy.com/people/skb007

Debbie Cole, CDA debbie@debbiecole.com www.debbiecole.com facebook.com/DebbieColeDesigns facebook.com/groups/creativeinnovation

Terry Holte tholte@mac.com facebook.com/terry.holte.1

Laurie May laurie_may101@yahoo.com www.lauriescharmingdesigns.blogspot.com facebook.com/laurie.may.39 Theresa Prokop nefolkartist@gmail.com www.newenglandfolkartist.com

Margaret Riley designsbymargaret51@gmail.com Nancy Scott, CDA artistns@icloud.com facebook.com/nancyscottcda

Cindy Harrison cindy@cindyharrisonart.com www.cindyharrisonart.com facebook.com/paintwithheart

Chris Thornton-Deason chris@christhorntondesigns.com www.christhorntondesigns.com facebook.com/chris.thorntondeason

Kelly Hoernig questions@kellyhoernig.com www.kellyhoernig.com facebook.com/kellyhoernig.artist

Karen Wisner kdolls.designs@gmail.com homespuncountrycollectibles.com

November 2016 Issue

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Suppliers:

Aleene’s ilovetocreate.com/aleenes 559-291-4444

Grumbacher grumbacher.chartpak.com 800-628-1910

Artist’s Club www.artistsclub.com 800-845-6507

Hobby Lobby www.hobbylobby.com 800-888-0321

Cabin Crafters www.cabincrafters.com 515-382-5406

Kiwi Camp Dry www.kiwicampdry.com 800-558-5252

Canson http://en.canson.com

Chris Thornton Designs christhorntondesigns.com 503-410-5782

Cupboard Distributing www.cdwood.com 937-652-3338 DecoArt, Inc. www.decoart.com 606-365-3193

Dr. Ph. Martin www.docmartins.com 303-384-3588

Dynasty Brushes www.dynastybrush.com 718-821-5939 Faber-Castell www.fabercastell.com 800-311-8684

Laurie Speltz Stencils www.lauriespeltz.com 515-253-9881

Loew-Cornell Brushes www.loew-cornell.com 866-227-9206 The Paper Studio www.paperstudio.com 480-557-5700 Plaid® Folk Art & Delta Ceramcoat www.plaidonline.com 800-842-4197

Tim Holtz® for Ranger Industries, Inc. www.rangerink.com 732-389-3535 Recollections Paper Royal Langnickel art.royalbrush.com 219-660-4170

Sakura of America Pens and Markers www.sakuraofamerica.com 30780 San Clemente Street Hayward, CA 94544 Scharff Brushes www.artbrush.com 770-461-2200

ScotchTM by 3M www.scotchbrand.com 800-328-6276 Silver Brush Ltd. www.silverbrush.com 609-443-4900

Smooth Cut Wood smoothcutwoodproducts.com 503-678-1318 Stampendous www.stampendous.com 800-869-0474 StazOn Ink tsukineko.co.jp/english/ detail/stazon

Strathmore Artist Papers www.strathmoreartist.com UltraFlex Rulers www.enasco.com/ product/TB19994 800-558-9595

© 2016 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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