December 2020 Issue Painting World Magazine by Loon Publishing, LLC.

Decorative Painting, Mixed Media, Fine Art & More!

December 2020

Painting World

Issue 30

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magazine

$9.00 USA $11.50 Canada

Cover Artist: Linda Coulter

PAINTING WORLD MAGAZINE

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DECEMBER 2020 ISSUE

Contents

PAINTING WORLD MAGAZINE

WINTER MOUSE Amanda Novaes

FREE KISSES Leslie Smith

POINSETTA HOLIDAY Ursula Wollenberg

3 TIME SANTA Marika Moretti

SEASON GREETINGS FROM THE COTTON TREE FARM

Cover artist

Debbie Cotton

MENTHE PEPERITA Barbara Bunsey

ANITA AND HOT CHOCOLATE Anita Campanella

WINTER HOUSE Linda Coulter

34 41 55 76 76

JANUARY SNOW Diane Trieweiller

70 CHRISTMAS-BERRY WREATH Effie Caryannis

It’s a Wrap

A Look into the Historical Florals of Decorative Painting Part 5-6 Passing the Paintbrush

Directory of Artists

Directory of Suppliers

ADVERTISERS INDEX 2 Tracy Moreau

39 Quality Print

20 DecoArt®

40 Country Pathways

2 Pinecraft

32 Oil Creek

40 Bear with Us

78 Viking Woodcrafts 80 Dixie Belle Paints

40 Mitform

DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

FROM THE Editor Letter from the Editor

CUSTOMER SERVICE HOURS:

Fall has quickly flown by and before you know it Winter will be here soon. This is a time when we pull out all our paint and prepare for the holidays. Painting World Magazine has launched the Tole-Tally Brushed Art Box Kit. This makes a great gift for any artist!

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Who We Are

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Kole

Painting World Magazine is owned and operated by Loon Publishing, LLC., which is an independent publishing company. We are completely dedicated to the joy of creating delivered directly to our readers! We select only the best articles from the top designers in the industry and will be featuring all the hottest new techniques, products and artists. Together with top designers, photographers, outstanding writers and a passionate readership, our team is absolutely in love with this industry and entirely committed to helping it grow while always feeding the artistic love of our readers! ORDERS FOR BACK ISSUES WILL PAY ACTUAL COST TO GET THEM FROM THE US TO CANADA.

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Statement of Ownership, Management, and Circulation for Loon Publishing Llc. October/November 2020 (Required by U.S.C. 3685) Painting World Magazine, is published bi-monthly (6 times per year) at 514 W Main St, Albert Lea, MN 56007. The Publisher and Editors are: Publisher, Loon Publishing Llc., 514 W Main St, Albert Lea, MN 56007; and Editor, Kole Hunt, 514 W Main St, Albert Lea, MN 56007. Stockholders owning or holding 1% or more of the total amount of stock: Curtis Smith, 1302 Southview Lane, Albert Lea, MN 56007. Average Actual No. of copies 3250. No. of copies each issue of single-issue during Published Preceding Nearest to 12 Months Filing Date 2500. Total no. of copies printed 3,250. Paid and/or requested circulation 2500. Sales through dealers, carriers, street vendors, and counter sales 50. I certify that the statements made by me above are correct and complete. (Signed) Curtis Smith ALL RIGHTS RESERVED ON ENTIRE CONTENTS. PAINTING WORLD MAGAZINE (ISSN 2472-694X). October 2020, Volume 01, Issue 29 ©Loon Publishing, LLC. Painting World Magazine is published 6 times per year by Loon Publishing, LLC., 205 South State Street, Waseca, MN, USA. US Subscription price $38.00 per year, shipping included. POSTMASTER: Please send address changes to Loon Publishing, LLC., 205 South State Street, Waseca, MN 56093. All rights reserved on entire contents of magazine. We are not responsible for loss of unsolicited material. We reserve the right to edit and publish correspondence unless specific commentary and/or name and address are requested to be withheld. Reproduction of editorial or advertising contents in any way whatsoever without the written permission of the Publisher is strictly prohibited. The instructions in this magazine are published in good faith and have been checked for accuracy; however, no warranty, either expressed or implied, is made nor are successful results guaranteed. Subscription rate $38.00 includes S&H for 6 issues. Distributed in the United States, Canada and worldwide. Printed by Quality Print, Waseca, MN.

DECEMBER 2020 ISSUE

Winter Mouse

PAINTING WORLD MAGAZINE

Wildlife is one of my favorite subjects to get inspired. With this design you can learn how to paint beautiful and fluffy fur. By learning this technique, you can create any fur animal painting. This Winter Mouse you can paint on a beautiful gift box, ornaments or in a center of a Christmas wreath.

By Amanda Novaes

Painting has always been a passion of mine and I learned early that art at any time in life, as a hobby or a career, can bring balance to the soul. By investing time in an unhurried learning process, in my own time, I have been able to enjoy every lesson, book, and researching of art, learning that the variety of styles, materials, and techniques are available for experimentation. I have dedicated myself to painting for over 20 years, and my current passion is wildlife through hyperrealism. I use acrylic techniques on wood surfaces, watercolor and colored pencil. On my website you can find a lot of e-patterns.

DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

SUPPLIES: SURFACE: • Wood surface 8.5in x 8.5in (22cmx22cm) PAINTS: DecoArt® Americana

• Antique Gold DAO9

• Antique White DAO58 • Burnt Umber DAO64 • Buttermilk DAO3

• Charcoal Grey DAO88

• Dried Basil Green DA198 • Grey Sky DA111

• Honey Brown DA163 • Laguna DA350

MISCELLANEOUS SUPPLIES: • Sandpaper • Tracing paper

• Graphite paper • Foam roller

Helpful Tip: The foam roller is a perfect tool to basecoat your surface quick and easily. Using the wet on wet technique, the foam roller will help you to get a great gradient.

PREPARATION:

Sand the wood surface and basecoat with the Light Avocado color.

• Light Avocado DA106

PAINTING INSTRUCTIONS:

• Sea Glass DA297

BACKGROUND: By using a foam roller or a large flat brush add a gradient from dark to light. The color sequence is Dried Basil Green, Light Avocado and Burnt Umber. When it is dry, you can trace the line drawing.

• Peaches ‘N Cream DAO23 • Soft Black DA155

• Teal Green DA107

• Titanium White DA01

• Watermelon Slice DA324 MEDIUMS: • DecoArt® Americana acrylic sealer/finishers BRUSHES: Robert Simmons

• 3/8, 1/4 Angle Sienna

MOUSE FUR: The bristle brush is a kind of brush that needs to be almost dry and have no excess of paint on it

• 2, 4 - Filbert Bristle Brush – Signet Series 42

Loew-Cornell®

• 3/8, 1/4 Crescent

• 1/2, 3/8 Maxine’s Mop

• Loew Cornell® LaCorneille: • 4, 2, Round

• 18/0 script liner or 2 Ultra Round • 6 Shader

Royal and Langnickel® • 1/4 Filbert Rake

DECEMBER 2020 ISSUE

Chisel Stroke

Straight Stroke

PAINTING WORLD MAGAZINE

that way it will offer more similarity of a natural fur. It is a way to avoid a flat basecoat on the first layer of your animal painting. With a bristle Filbert brush, add 2 layers of Honey Brown following the fur direction. Then, with the same brush add 1 layer of Antique Gold then Antique White. (Image 1,2,3) Now with a Rake brush and Antique White add 2 layers of fur. (Following the same direction as the previous strokes). With a Liner brush and Antique White add 1 layer of fur. With an angle brush and Honey Brown, shade the leg, arm, scarf, and vine. Repeat this shading with Burnt Umber and Soft Black. (Image 4,5,6)

Image 1

Image 6

Image 2

Image 7

Image 3

Image 8

Image 4

Image 9

Image 5

Image 10

We will need one more layer of fur but let us save that until the end as a final touch to the fur. EARS: With a bristle brush add 2 layers of Grey Sky. Dry brush the ear center with Peaches ‘n Cream then Watermelon Slice. Dry brush the ears edge with Charcoal Grey. The last layer will be with a liner brush to add some dark fur leaving some loose hairs on the ear’s tips. Shade the ear that is behind the head with Soft Black. (Image 3,5,7) HANDS AND TAIL: Basecoat the tail and hands with Peaches ‘n Cream. Shade one side of each finger with Charcoal Grey then Soft Black. Highlight the other side with Buttermilk. Then shade with Soft black the tips of the fingers. For the tail, using a crescent brush and dry brush technique, let us add some “C” strokes to get the round shape of the tail. On top use Buttermilk and the bottom use Charcoal Grey. After it is dry, shade the tail tip with Watermelon Slice and the beginning of the tail (close to the body) with Charcoal Grey then Soft Black. (Image 8,9,10) SCARF: Basecoat with Sea Glass. Shade all scarf and folds with Laguna. Add some large stripes using a shader brush with Teal Green and a center thin stripe with Watermelon Slice using a liner brush. Shade with Teal Green on the darker areas (on

DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

Image 11

Image 15

Image 12

Image 16

Image 13

Image 17

Image 14

Image 18

each fold and the bottom of the scarf). For the overlay shadows, add some Soft Black. On the bottom line of the flying scarf with a liner brush, add a contour line with Teal Green + Soft Black following the movement of the scarf. Highlight all folds with Teal Green + Buttermilk. (Image 11,12,13,14,15) SOCKS: Basecoat with Sea Glass. Shade with Laguna. Add some stripes with Teal Green. Shade with Teal Green the bottom of the front sock and the overlay shadow of the back sock. Shade the ankle area with same color simulating some wrinkles of the fabric. Then add some Soft Black. Highlight the top of each sock with Buttermilk. The cord tie is Teal Green then add some highlights with Buttermilk. (Image 16,17, 18) VINE: Basecoat is Burnt Umber. Using a small crescent brush and the previous â&#x20AC;&#x153;Câ&#x20AC;? strokes to get the round shape of the Vine. On the light side use Buttermilk on the left side use Soft Black. Then shade the all dark side with Soft Black. (Image 10) FINAL FUR LAYER: With a liner brush and Buttermilk, add a fur layer focusing on loose hairs. For the loose hair to pop-up let them reach a little of the shadowed areas. Inside of the front ear add some bigger hairs. If your mouse looks too white you can

DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

add a glazing with Honey Brown. (Image 7,15,18) FACE: Dry brush the eye area with Honey Brown. Basecoat the eye with Soft Black. Highlight with Titanium White. Shade the tip of the nose with Peaches ‘n Cream and highlight with Titanium White. For the nostril add just a little line with Soft Black. The mouth line is Soft Black. The whiskers are Titanium White. (Image 7) With all elements done you can shade the outside edges of the vine with Soft Black except on the hands that are holding the vine. (Image 10) Final Touch is the “Flying Effect”. Dry brush with a Crescent brush and Buttermilk, add some irregular stripes following the movement of the swing. Then with a liner brush add some random lines. (flying effect1.jpg)

Image 19 Final image

FINISHING:

Just Add a layer of Varnish Spray. A SUGGESTION: You can add some DecoArt® Glamour Dust on the “Flying Effect” area.

DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

Enlarge or decrease the pattern size to fit the surface of your choice.

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

DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

Free Kisses by Leslie Smith

This affectionate gnome is not your typical panhandler. He is giving stuff away. His design is simple and can be painted quickly for Christmas, Valentinesâ&#x20AC;&#x2122; Day, or every day.

I love to paint. It does not matter if my hand is holding a brush, acrylics, oils or watercolors. I also love pen and ink, pastels, charcoal, and pencils. I live in a tropical paradise and I get to play at being an artist. How could life be better? DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

SUPPLIES: SURFACE: The gnome is approximately 5” wide and 9 1/2” tall. He is shown on two panels approximately 6”X10” and a wall pocket (to hold chocolate kisses). The wall pocket is a repurposed spoon rack (minus a few parts) found at a tag sale. The inside (painting surface) of the wall pocket is about 6” wide and 17” tall. PAINTS: DecoArt® Americana:

• Antique Maroon DA160

• Palette

• Water container

• Any other standard painting supplies • Chocolate

PREPARATION:

Sand gently in the direction of the wood grain. Seal all surfaces with DecoArt® Americana Multipurpose sealer. Once dry, apply a base coat of Lamp Black. Adjust the line drawing to fit your surface and planned variation of the design. A size conversion chart is provided.

• Avocado DA052

PAINTING INSTRUCTIONS:

• Burnt Sienna DA063

NOSE, MOUTH, HAND, AND FEET: Helpful Tip:

• Buttermilk DA03

• Burnt Umber DA64 • Fawn DA242

• Lamp Black DA067 • Mocha DA060

• Neutral Grey DA095 • Purple Petal DA378 • Raw Sienna DA093 • True Red DA129

MEDIUMS/OTHER PRODUCTS: DecoArt® Americana Multi-purpose Sealer DS-17 DecoArt® Americana Soft Touch Varnish DS-123 BRUSHES: Dynasty® Black Gold

• Round sizes 4-6 206R • Flat 3/4” 20FW

• Flat size 10 206S

• Long Liner size 0 206SL MISCELLANEOUS SUPPLIES: • Fine grit sandpaper • Transfer paper, stylus, etc.

• General’s® White Charcoal Pencil • Clear ruler

DECEMBER 2020 ISSUE

Our gnome is a fun characterization and not intended to be realistic. Use the size brush that is comfortable for you to paint the black background. Leave gaps in your painting to allow the black to provide shadows and outlines. His hand is a perfect example of both. His skin is painted very simply. Base coat his nose with Mocha, using a round brush. Use the size that is comfortable for you. It is important to keep his nose a perfectly shaped and centered oval. Shade with a crescent of Burnt Sienna along painters’ left side from about 12 o’clock to 5 o’clock. Highlight the upper right quarter with an oval Buttermilk. His mouth is base coated with Burnt Sienna; and highlighted with Mocha. It should be centered directly beneath his nose; the shape of the left and right sides should match.

PAINTING WORLD MAGAZINE

The center (opening of his mouth) is Lamp Black. His hands and feet are also base coated with Burnt Sienna and highlighted with Mocha. Shade along the bottom of his hand and toes with a wash of Burnt Sienna. Add a few vertical lines of Burnt Sienna to hint at his knuckles and cuticles. His toenails are a hint: only a thin curved line across the top of his toes with Buttermilk. Wash the top of his feet with diluted Lamp Black to create the shadow from the hem of his robe. Helpful Tip or Hint: Antique Maroon is opaque; True Red is transparent. The maroon is opaque and will help the red show against the black background. If you choose to use other paints, be sure to check them for opacity and transparency. https://decoart. com/resources/Americana_Opacity_Chart.pdf. HAT AND ROBE: Base coat his hat and robe with Antique Maroon, using the size 10 flat. Add lighter areas to his robe with True Red. Use multiple or thicker coats of True Red to build brightness. Wash the edges of his robe and hat with diluted Lamp Black. Helpful Tip or Hint: An interim protective coat of Soft Touch varnish, applied before painting his beard, will make it easier to wash away mistakes (assuming the paint is still somewhat wet.). I would also suggest this before doing the lettering on the sign. You do not have to cover the entire painting - just the area that you want to be able to wash off easily. BEARD: Using the long liner and Neutral Grey, start the strokes that make up his beard. Lay the brush tip down outside the beard’s outline on the black background or sign and work inward towards his nose. Draw graceful curves, reducing the pressure on the brush as it moves. Do a stroke on the right and then a matching (but opposite) stroke on the left. Repeat until his beard is evenly covered about halfway and still about half of the background. His mustache is tiny strokes of Storm Grey.

Each layer of his beard should follow the same angle and curves that were established by the first Storm Grey strands. There should still be considerable black background showing. His mustache is not painted with the Buttermilk nor Snow White, but while you have fresh Buttermilk on your palette, highlight his upper lip with some tiny, tiny strokes of Buttermilk. Repeat his beard one last time with Snow White, again not touching his mustache. Let dry. Clean up the edge of his beard, using the background paint Lamp Black. Keep the shape of his beard symmetric and centered on his nose. Fix (repaint) background in the area where the cardboard will sit. Compare your beard to the beard in the samples. Add more strands, if needed. You can also “unpaint,” adding strokes with Lamp Black. Wash about his mouth with diluted Lamp Black if your beard’s brightness is detracting from his smooching lips. Helpful Tip or Hint:

The lettering is supposed to simulate a handwritten note on a piece of torn, discarded cardboard. It should be done freehand. Bad handwriting is an asset. CARDBOARD SIGN: Load the flat brush with Fawn. Starting at either side of the cardboard, dry brush streaks of paints towards the fold in the center. Let lots of background show, especially along the fold. Repeat with Buttermilk, but only covering a small portion of the sign. Wash the sign with diluted Raw Sienna. Let dry. If needed, retrace the torn edge and flip of the cardboard. Wash the flip and shadow beneath the flip with diluted Lamp Black. Highlight the torn edge with a thin line of Buttermilk. The flipped edge is highlighted with a triangle of Buttermilk. Let dry. Wash his beard along the top of the sign with a thin line of diluted black to create shadows. Sketch in the lettering. Paint with Lamp Black and round brush.

Repeat with Buttermilk, but a bit more sparsely. DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

TINTS AND REFLECTED LIGHTS Dry brush Avocado along the left side of his hat and robe. Dry brush Purple Petal along the right side of his hat and robe. There is a thin arc of the green mix along the very edge of the painters left of his nose. MISTLETOE (OPTIONAL): Be sure that the area beneath the tip of his hat is dark. Wash with diluted Lamp Black, if not. The mistletoe is three comma strokes, made with round brush and Avocado Green. Overstroke the leaf tips with a 1:1 mix of Avocado and Buttermilk. Attach the mistletoe to his hat with a tendril of the mix. The berries are Snow White “dippy dots,” made with a stylus. CARDINAL (OPTIONAL): Position cardinal where he sits well and transfer. As a second option, you can connect the gnome and cardinal with some hearts, falling along a graceful arched line. They decrease in size as they fall. This largely depends upon the size and shape of your painting surface. Base coat the hearts, cardinal’s head, and body with Antique Maroon and the round brush. Paint (or leave) the line in the center of his body (curved DECEMBER 2020 ISSUE

and off center) with Lamp Black. Highlight his body and head with True Red, his tail is also True Red, but not as bright. Paint (or leave) his mask with Lamp Black. His top beak is Raw Sienna, his lower beak is Burnt Sienna. His eye is Storm Grey with the tiniest dot of Lamp Black; use a stylus. There is a tiny Buttermilk highlight along the top of his beak, painted with the fine liner. His wings are also painted with the liner and in the same manner as his beard, with these differences: The brush is first loaded with Antique Maroon and then tipped in True Red. The brush has more paint and pressure, making the strokes wider. The strokes or feathers are side by side - not on top of one another. The edges of his wing and tail are not cleaned up; this means that each stroke has a rounded tip. The trim on the wall pocket was painted with DecoArt® Americana Decor in Silver. The area about the cardinal and hearts was spattered with a super fine dusting of silver.

FINISHING:

Sign your name when pleased. Protect with two coats of Duraclear® Sure Touch Varnish. Eat any remaining chocolate!

PAINTING WORLD MAGAZINE

Enlarge or decrease the pattern size to fit the surface of your choice.

DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

Poinsettia Holiday

By Ursula Wollenberg

The poinsettia is the December birth flower, representing wishes of mirth and celebration. I chose fluid acrylics to give this painting a beautiful, soft watercolor appearance.

DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

SUPPLIES SURFACE: • 8 x 10 Canvas Board BRUSHES: • 3/4 Faux Kolinsky -1114 by Dynasty® • 1/4 7000-WCF by Dynasty®

• #2 Black Gold by Dynasty® 206R • 1/2 Finesse™ by Kingart™

• 8550A 1/2 Aqua Wash by Kingart™ PAINTS: Fluid Acrylics: DecoArt® • Cerulean Blue • Paynes Grey

• Quinacridone Burnt Orange • Quinacridone Magenta • Sap Green

• Titanium White

• DecoArt® Traditions:

• Permanent Alizarin Crimson • Hansa Yellow

Golden® Artist Colors: • Light Magenta

MISCELLANEOUS SUPPLIES: • Derwent® Inktense Pencil Crimson 0530 (optional) • DecoArt ®Traditions Extender Blending Medium • Water Basin

• Paper Towels

• Graphite Paper and Tracing Paper • Palette Knife

• Gamblin® Gamvar Matte Varnish

LET US BEGIN:

Transfer pattern to surface of choice. I used a canvas board, but this would work on any surface. I drew my pattern in with a Derwent® Intense Pencil. Begin by adding a light coat of DecoArt®

Traditions Extender Blending Medium to the background. Using Cerulean Blue and Prussian Blue, apply both colors to the background, lighter at the top, darker at the bottom. Do not worry about seeing brush strokes or if paint bleeds into another area of the design. Add a small amount of Quinacridone Magenta here and there. Dab the area with a clean paper towel. Splatter with the same and allow to dry. BASECOAT: Basecoat under petals with Burnt Orange. The top five smaller petals, with Light Magenta and leaves with Sap Green. Allow to dry. PETALS: Shade under larger petals with Permanent Alizarin Crimson. Shade smaller, upper petals with a brush mix of Light Magenta and Permanent Alizarin Crimson. Highlight under petals with Permanent Alizarin Crimson and smaller petals with a brush mix of Titanium White and Light Magenta. HINT: I like to moisten the brush with extender as I work and blend colors, using a moist (not wet) brush. Glaze Hansa Yellow on all upper petals, here and there on larger petals and into the background. (See photo) While moist, continue with shading the deepest areas with a mix (equal parts) Cerulean Blue and Quinacridone Magenta. Repeat until satisfied. Hint: Stay loose and do not worry about colors running together. This just adds to the overall watercolor affect.

DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

Mix a small amount of Light Magenta and Titanium White on your palette. With a palette knife, scrape this mixture onto the lightest areas of petals for added texture. (See photo) LEAVES: Shade leaves with Sap Green. Add a few Sap Green leaves lightly into the background to almost see them. Highlight leaves with Hansa Yellow. Wash a small amount of Quinacridone Burnt Orange into the leaves. Let all dry.

FINISHING TOUCHES:

With a large brush, coat the entire canvas with Extender. Shade the very darkest areas with Paynes Grey. There may be some bleeding. Dab DECEMBER 2020 ISSUE

off what you do not want with a paper towel. Mix equal parts of Hansa Yellow and Titanium White and add yellow centers with a liner brush. Add tints of this mixture to highlighted areas of the design, both petals and leaves. Add Cerulean Blue here and there on the design. No worries, just adding washes of color bring the painting together. Add a wash of Quinacridone Magenta to edges of canvas and dab with paper towel if necessary. Splatter background with colors left on the canvas. When all is dry, varnish with GamblinÂŽ Gamvar Matte Varnish.

Enjoy!

PAINTING WORLD MAGAZINE

Enlarge or decrease the pattern size to fit the surface of your choice.

DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

CELEB R ATING

35 YEARS of

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

DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

3-Time Santa

by Marika Moretti

Dear Painting World Magazine’s readers, thank you for painting this design with me! Our imagination has no limit and we have endless ways to be creative! This is the main concept of this design: you have one drawing and three different ways to paint it, so you can practice with three different techniques… stencils, stamps, paper, textured paste and much more! If you like this idea, check out my website because there are more “3-Time” designs! Have fun! DECEMBER 2020 ISSUE

PAINTING WORLD MAGAZINE

SUPPLIES: SURFACE: • These are three square surfaces that I personally designed (approx. 6,7”x6,7”). You can find them at Pinecraft Inc. (https:// pinecraftinc.com/collections/marika-moretti), but the design can also be easily adapted to any another surface. Dear painting Friends, My name is Marika, I am 37 years old and I live in Bologna, Italy. My adventure with painting began more than 10 years ago… I had never taken a brush in my hands at that time, but when I started, it was love at first sight and I never stopped since then! During the years, I also had the chance to take many classes with American artists, amazing and talented teachers who helped me improving my painting skills and developing my own style and, in the end… becoming myself a designer! I started creating my own designs in 2016 and I really love it! I also have been teaching during the years, even if I continue to consider myself as a student, because you never stop learning, from others, but especially from yourself, from your mistakes… or better from your creative attempts! If you want to have a look to what I am up to, you can come and visit my new website, where you can find all my Decorative Painting designs and some extras, such as Home Décor ideas and Texture Painting. I also have a YouTube channel with many tutorials (in English too!) and I am working to add more! You can also find me on social media like Facebook and Instagram, where I also host LIVE demos or LIVE chats to talk about new products or new things you would like to see. Painting and creativity are a journey… and every journey begins with a single step! So, always paint with happiness, practice a lot, try to learn as much as you can from others, but remember... you are the best teacher of yourself! DECEMBER 2020 ISSUE

PAINTS: DecoArt® Americana:

• Antique White DA058 • Antique Rose DA156

• Avocado Dip DA254 (or Olive Green DA56) • Black Plum DA172

• Burnt Sienna DA063 • Country Red DA018

• Dark Chocolate DA065

• Hauser Dark Green DA133

• Hauser Medium Green DA132 • Heritage Brick DA219 • Graphite DA161

• Khaki Tan DA173

• Lamp Black DA067

• Light Buttermilk DA164 • Mocha DA60

• Neons Fiery Red DHS4

• Snow (Titanium) White DA01 • Soft Black DA155 • Zinc DA304

• Mediums/Other Products by Company Name: • DecoArt® Americana Decoupage Glue DS106 • DecoArt® Americana Multi-Purpose Sealer DS17

• DecoArt® Media Decorative Paste DMM21 • DecoArt® Metallics Festive Green DA261

• DecoAr®t Metallics Champagne Gold DA202

Windsor & Newton® oil paint • Burnt Umber

PAINTING WORLD MAGAZINE

BRUSHES BY COMPANY NAME: • Dynasty® - Black Gold 206 FW Shader: ¾”, ½”, ¼” • Dynasty ®- Black Gold Round 206L: #1, 2 • Dynasty® - Black Gold Filbert 206FIL (for basecoating): #4, 6, 8

• Dynasty® - Black Gold Liner 10/0 and Mini Liner 20/0 • Dynasty® - Mezzaluna: Medium

• Dynasty® – Stencil Brush Pro ½” (or a make-up sponge) • Loew Cornelle® - Maxine Mop: ¾”, ½”, ¼” • Princeton® – Deerfoot Stippler 1/8” • Flat 1” (any brand)

• An old flat brush (for the glue) MISCELLANEOUS SUPPLIES: • Paper towels • Paper palette

• Transfer paper

• Graphite paper (black and white) • Brush cleaning basin

HELPFUL TIP OR HINT: I am sure that some of you have already used stamps and stencils, so there’s not too much to say here, the only suggestion I want to give you is “be gentle with stencils and be fast with stamps”! There are two tutorials on my YouTube channel if you want to have a look! About paper: Be sure you apply one or two coats of glue on the paper once it’s well fixed on the surface. This allows you to paint on the paper without damaging it, just make sure not to use too much water when painting on paper, otherwise it may lift a little.

PREPARATION:

Sand the entire surface and clean with a tack cloth. Seal the surface with DecoArt® MultiPurpose Sealer (optional) and let dry. Sand again and wipe away any remaining dust. Basecoat the surfaces with Lamp Black. After basecoating, I suggest you lightly sand the surface with Superfilm or an extremely fine sanding pad before shading/highlighting (do not sand on the paper though).

• Sanding pad (medium and fine)

SANTA ON STENCIL: Apply the stencil decoration with Metallics Festive Green and your stencil brush.

• Palette knife

(See tutorial on my YouTube Channel – Marika Moretti Designs – if you want to have a look).

• Stylus

• Super film

• A couple of old fabric pieces (I cut an old T-shirt and it works great!) • Stencil Tim Holtz® – Mini Stencil Set n.19

• Tim Holtz® Ideaology Paper - Tissue Wrap Mélange • Stamp with old calligraphy (any brand) • Linseed oil

• DecoArt® Americana Decoupage glue

SANTA ON STAMP: Apply the decoration with the stamp using Khaki Tan + Champagne Gold. (See tutorial on my YouTube Channel – Marika Moretti Designs – if you want to have a look). SANTA ON PAPER: Cut the paper according to the measures of your surface and glue it on using the DecoArt® Americana Decoupage glue and old brush. When dry, apply one or two coats of glue on the paper. Transfer the main guidelines of all Santas.

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PAINTING INSTRUCTIONS:

Santa’s face (stamped and stenciled background): basecoat with Mocha. Drybrush center of face with Light Buttermilk. Shade under fur and lightly coming down the sides with Burnt Sienna. Shade lightly, also, behind nose with the same color. Float the cheeks with Antique Rose (if you do not have it, just mix Antique White and Heritage Brick or Country Red). SANTA ON STENCIL Face details: Paint eyes with Lamp Black, highlight dots with Light Buttermilk. Add eyebrows with Light Buttermilk (press on your liner or round to make them thick). When dry, add woodgrains and outline with Lamp Black. Add the nose with a big dot of Country Red using the back of a brush handle. Shade the bottom with Black Plum and highlight the top with Neons Fiery Red. Hat: Basecoat with Heritage Brick. Shade with Soft Black: behind fur and coming up a little on the left corner, behind fur on right side and to make the hat folding and behind pom pom. Highlight by drybrushing with Neons Fiery Red.

Wooden boards hair, beard, and mustache: Basecoat with Light Buttermilk. Lightly shade with Soft Black to separate the wooden boards. Shade with Zinc, then deepen with Graphite: on hair (under hat, lightly next to face – only first color here, behind beard and mustache); on beard (under mustache) and on mustache (to separate the two sections). Lightly highlight with Snow White if needed: sides of hair, tips of mustache and bottom of beard. Add woodgrain to separate DECEMBER 2020 ISSUE

wooden boards and some also on each board with Lamp Black. Wooden leaves and berries: Basecoat leaves with Hauser Medium Green. Shade bottom with Hauser Dark Green and highlight top with Avocado Dip. Outline and add woodgrains with Lamp Black. Add berries, with a mix of Country Red and Neons Fiery Red, using your stylus.

Textured fur and pom pom: Mix some Antique White with the Decorative Paste until you get a creamy texture (more or less like pudding) and apply this mix on fur and pom pom using a #4 filbert and small strokes so that you can get a nice texture. When the paste is completely dry, shade sides of fur and bottom of pom pom with Dark Chocolate. Repeat if necessary. Highlight center of fur and top of pom pom with Snow White. SANTA ON PAPER When I paint on paper, I prefer not to basecoat in the traditional way, because I would lose the decoration that is on the paper. So, I prefer to basecoat with large floats or with a wash, because I still can see the paper decoration underneath. Face: Basecoat by floating all around the edges with Mocha. Doing so, you have a lighter tone in the center and that is your highlight area. Shade under fur and lightly coming down the sides with Burnt Sienna. Shade lightly also behind nose with the same color. Float the cheeks with Antique Rose (or the previous mix). Face details: Paint eyes with Lamp Black, highlight dots with Light Buttermilk. Add eyebrows with Light Buttermilk (use a liner for this). Paint the nose as before.

Hat: Basecoat with a wash of Country Red. Mop to soften. Shade with Heritage Brick, then deepen with Black Plum: behind fur and coming up a little on the left corner, behind fur on right side and to make the hat folding and behind pom pom. Highlight by floating with Neons Fiery Red. Hair, beard, and mustache: Since the paper is white already, there is no need to basecoat! Lightly shade with Zinc, then, deepen with Graphite: on hair (under hat, lightly next to face – only first color here, behind beard and mustache); on beard (under mustache) and on mustache (to

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separate the two sections). Lightly highlight with Snow White: sides of hair, tips of mustache and bottom of beard.

Leaves and berries: Add thin twigs with Dark Chocolate. Add pine needles with your liner using Hauser Dark Green, Hauser Medium Green, and then with Avocado Dip. Add berries with a mix of Country Red and Neons Fiery Red, using your stylus.

Fur and pom pom: Shade sides of fur and bottom of pom pom with Dark Chocolate. Repeat if necessary. Highlight top of pom pom and center of fur with Snow White (back to back float on center of fur). Add wavy stitches with Lamp Black. SANTA ON STAMP Face details: Paint eyes with Lamp Black, highlight dots with Light Buttermilk. Add eyebrows by dabbing with Light Buttermilk. Paint the nose as before.

Hat: Basecoat with Country Red. Shade with Black Plum, then deepen with Soft Black: behind fur and coming up a little on the left corner, behind fur on right side and to make the hat folding and behind pom pom. Highlight by drybrushing with Neons Fiery Red. Hair, beard, and mustache: Basecoat with Lamp Black to cover the stamp decoration. Start adding thin lines using your liner and the colors in this order: Zinc, Light Buttermilk (twice). Shade with Zinc, then deepen with Graphite: on hair (under hat, lightly next to face – only first color here, behind beard and mustache); on beard (under mustache) and on mustache (to separate the two

sections). Add some thinner lines with Snow White to highlight sides of hair, tips of mustache and bottom of beard.

Leaves and berries: Basecoat leaves with Hauser Dark Green. Highlight center of each leaf with small touches of Hauser Medium Green and then with Avocado Dip. Outline and add central vein with Avocado Dip. Add berries with a mix of Country Red and Neons Fiery Red, using your stylus. Fur and pom pom: Basecoat by stippling with Dark Chocolate. When dry, stipple with Antique White, leaving some basecoat color showing. While still wet, stipple Light Buttermilk, covering a smaller area, and then Snow White only in the center of fur and top of pom pom to highlight. Shade sides of fur and bottom of pom pom with Dark Chocolate. Repeat if necessary. (I have another video on my YouTube channel for this – Marika Moretti Designs).

FINAL TOUCHES

Outline where needed with Lamp Black. I love antiquing my pieces!!! You do not have to if you don’t like it, but I think antiquing gives a warmer touch to the whole project and makes it more uniform. I take a piece of old fabric (a piece of an old T-Shirt is perfect), take some linseed oil and touch it in some Burnt Umber oil paint. Then I start rubbing on the surface until I get the effect that I like. I hope you liked painting this design and you will have a wonderful holiday season!

Marika DECEMBER 2020 ISSUE

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Enlarge or decrease the pattern size to fit the surface of your choice.

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Seasonâ&#x20AC;&#x2122;s Greetings from The Cotton Tree Farm!

by Debbie Cotton

Enjoy painting my loose style design from start to finish. Learn to paint this rusty old pickup truck with ease, blending colors wet on wet. Distress the tin sign for the vintage appearance but also add sparkles of Glitter! Who would have thought how well they work together!

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As an instructor of the arts, Debbie Cotton is a well-known artist within the decorative painting industry. She has developed her own unique and distinct style that is easily identified in her published works. She has a natural ability to paint and design and offers classes that lean towards a relaxed and informative learning environment. Debbie enjoys traveling to conventions, seminars, and local events where she shares her knowledge and love for painting, inspiring others to create and enjoy the wonderful world of art.

SUPPLIES: SURFACE: • 12 ½ x 9 ½ Simply-Cotton Tin Sign available from Debbie Cotton PAINT: DecoArt ®Americana Acrylic Paint: • Burnt Orange DA016

• Charcoal Grey DA088 • Coral Blush DA292

• Heritage Brick DA219 • Lamp Black DA067

• Prussian Blue DA138

• Snow (Titanium) White DA01 • Tuscan Red DA265

• XL Royal Bobbie’s Blender Mop (RBobbie-XLG) • 5/0 Liner (R2595-5/0)

• 12 Short Shader (R4150S – 12) • 4 & 8 Filbert R4170-4 & 8)

• 3/8” Moderna M77TC-3/8” • ½” Deerfoot (660-1/2”)

MISCELLANEOUS SUPPLIES: • Paper towel • Lint free rag for antiquing • Sponge roller

• Water container

Helpful Tip:

MEDIUMS: • DecoArt® Americana Acrylic Sealer / Finisher DAS13

Painting wet on wet can be a simple and very effective technique. This refers to blending of one color into another while the colors are still wet. It helps to achieve instant results and works great to paint the rusty old truck. Load your brush into basecoat color and apply to your painting surface. While wet, pinch wipe your brush to remove excess paint, pick up next color and blend. Work in sections at a time to ensure paint is wet to easily blend.

• Winsor & Newton® Oil Color:

PREPARATION:

DecoArt® Galaxy Glitter:

• Clear Ice Comet DGG18 • Milky Way Blue DGG05 • Red Nebula DGG04

• DecoArt® Americana Multi-Purpose Sealer DS17 • Burnt Umber #076 • Ivory Black #331

• Odorless thinner of choice BRUSHES: Royal Langnickel®:

• 1” Zen Wash (Z73W-1”)

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Wipe the tin sign with a mix of water and vinegar (1:1). Rinse with clear water and let dry. Basecoat the tin sign using the sponge roller with MultiPurpose Sealer + Titanium White (2:1). When dry, lightly sand and wipe to remove dust. Rebase with two coats of Titanium White with no sealer added, allowing adequate drying time between applications. Trace the pattern and transfer the main pattern lines and details as needed.

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PAINT INSTRUCTIONS:

Ground: (see fig 1) Use the 1” Wash to set in the loose style ground with Prussian Blue. Wet the surface slightly with water, apply loose and choppy side-load floats, mop to soften here and there if needed. Switch to the 12 Short Shader as needed and pull up suggested grass using the chisel edge. Notice there is still Titanium White background showing through here and there creating the snow. As you work and build your colors, keep it a little darker under the truck and here and there near the tires. (fig 2) Deepen the ground here and there with a brush mix of Prussian Blue + Lamp Black. Use the 5/0 Liner to pull strands of grass. Use the 4 Filbert to tap in Titanium White Snow. Background: (fig 1) Use the 1” Wash to loosely shade Prussian Blue behind the truck. Wet the surface and mop to soften if needed. Make sure you tap some color in behind the windows. Allow to dry and deepen slightly here and there with a brush mix of Prussian Blue + Lamp Black. Use the chisel edge of the 3/8” Moderna to suggest the evergreens. Notice these are slightly lighter in color compared to the main evergreen in the truck so slightly thin the paint and tap the brush off on paper towel to remove the excess paint. Use the tip of the ½” Deerfoot to slightly fill in a little more color if needed. (fig 2) Deepen evergreens further using the same technique with a brush mix of Prussian Blue + Lamp Black. Switch to the 5/0 Liner and apply a few suggested needles here and there. Use the same brush to apply some suggested grass strands or foliage starting with Prussian Blue Hue and deepened here and there with the brush mix of Prussian Blue + Lamp Black. Truck: (fig 1) Use the 4 Filbert to paint the truck. Switch to the 8 Filbert as needed. This truck is painted to appear old and rusty so you can leave a small amount of the Titanium White background showing through here and there. Work each section at a time, blending colors wet on wet. Slightly thin the paint if needed. Notice that the paint is pulled in the direction of the section you are working on. (ie) the fenders are rounded so pull the paint into the shape. Start with Heritage

Brick and while wet, using a dirty brush, pick up a small amount of Charcoal Grey to deepen and Tuscan Red to brighten. Use the 4 Filbert to paint the inside cab of the truck with Charcoal Grey. While wet, deepen here and there with Lamp Black, especially around the outside edges where it meets the red part of the truck. Allow to dry. Use the 5/0 Liner to apply the Lamp Black steering wheel. Windshield: Use the 10 Short Shader to loosely float and chisel with Titanium White. Allow to dry. Apply another application if needed. (fig 2) Use the 12 Short Shader to loosely float and chisel suggested rust with Charcoal Grey. Deepen here and there with a brush mix of Charcoal Grey + Lamp Black. Using the same technique brighten, areas with Tuscan Red. Allow to dry and brighten further using a brush mix of Coral + Titanium White. Use the 5/0 liner to apply suggested trim above the windows and along the DECEMBER 2020 ISSUE

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side of the truck with a brush mix of Coral + Titanium White (fig 2) Use the 4 Filbert to paint the running board with Charcoal Grey. While wet, blend through Lamp Black at both ends where it meets the truck and a small amount of Burnt Orange more thru the middle. Front Grill Hood molding & Headlights: (fig 2) Use the 4 Filbert to paint the headlights using a brush mix of Titanium White + Lamp Black to create a medium grey. While wet, blend a small amount of Lamp Black at the bottom and Titanium White at the top. Allow to dry. (fig 3) Use the 5/0 Liner to line Lamp Black to the outside left and Titanium White to the outside right of the lights. (fig 2) Use the 5/0 Liner to apply the front grill and hood molding. Start first with the brush mix of Titanium White + Lamp Black to create a medium grey. While wet, blend through Lamp Black to deepen here and there and Titanium White to brighten. Tires: (Fig 1) Use the 4 Filbert to paint the hubs, blending paint wet on wet. These are also painted to appear old and rusty. Start with Heritage Brick and blend into Tuscan Red to brighten slightly more with a brush mix of Coral plus Titanium White. Allow to dry. (fig 4) Use the 5/0 liner to apply suggested rust with a brush mix of Charcoal Grey + Lamp Black. Use the 4 Filbert to paint the tires, blending colors wet on wet. Start with Charcoal Grey and blend into a small amount of Lamp Black closer to the hubs to deepen. Pick up a small amount of Titanium White and blend into the Charcoal Grey to brighten more towards the outside edge. Line Lamp Black in between the tire and fenders, which is the inner fender. Evergreen in Box of Truck: Use the chisel edge of the 3/8” Moderna to tap in the shape of the DECEMBER 2020 ISSUE

evergreen with Prussian Blue. Deepen here and there with a brush mix of Prussian Blue + Lamp Black. Use the tip of the ½” Deerfoot to loosely tap in further Prussian Blue Hue. Use the same brush mix if needed. Use the liner to pull some of pine needles poking out here and there. Allow to dry. Use the chisel edge of the 4 Filbert to loosely tap in Titanium White Snow. Once dry, brighten a little more here and there. Allow to dry. Letters: Use the 5/0 Liner to paint “Season’s Greetings” using Tuscan Red. Paint the “Cotton Tree Farm” on the door of the truck with Titanium White. Personalize this if desired. Line on the door handle with Lamp Black. While wet, skip Titanium White along the top.

FINISHING:

Apply some Galaxy Glitter! Use the 4 Filbert to apply Clear Ice Comet on the snow that is on the larger evergreen and a little on the snow on the ground. Apply the Milky Way Blue to the Prussian Blue areas of the large evergreen and a small amount to the other suggested evergreens. Use the 5/0 liner to apply the Red Nebula to the large areas of the “Season’s Greetings” letters. Antique: Antiquing is a finishing technique that is used to age a painted design. I like to antique around the outside edge. Use the lint free rag to pick up the odorless thinner and then pick up a small amount of the Burnt Umber and Ivory Black oil. Starting from the outside edge, apply the paint in a circular motion, allowing color to fade, working towards the design. Mop to soften edges if needed. Allow to dry. Top with the Sealer/Finisher to protect your painting.

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Enlarge or decrease the pattern size to fit the surface of your choice.

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Itâ&#x20AC;&#x2122;s a Wrap!

By Diane Marie Kellogg

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Who doesn’t love a brightly wrapped present, all glittery and dripping in ribbon, topped with a multitude of bows?! Have you ever wondered who first thought of wrapping gifts? In researching, I have found that fabric was used to wrap presents as far back as 57 BC, Korean folk religions, who began the practice. In ancient China gifts of money were wrapped in paper, forming an envelope called chih pao. These were made from bamboo fiber and rice straws. It was common during the Victorian era for wellto-due folks to wrap their gifts. Perhaps credit should be given to the founders of Hallmark® for the popular wrapping paper we use now. The Hall brother’s ingenuity brought forth the wonderful swathes of colorful paper by coming up with their own designs and marketing them to a willing society. They introduced the modern printed paper in 1917. Paper wrap is often made from wood pulp, bleached, and then printed. Kraft paper, similar to grocery bags, is not bleached, hence the color.

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Today, Western culture often includes ribbons, bows, and tags. In Chinese culture, packages wrapped in red often symbolize luck, health, and happiness. In Japan, the use of wrap and bows is quite common however a traditional cloth wrapping called furoshiki, from the 1600s, offers an ecological alternative. Gift wrap has become a big business worldwide. Sales of gift wrap and related accessories topped 15.1 billion in 2018. Wrapping gifts is a year-long event, with birthdays and Christmas some of the most popular events for giving gifts. Decorated gift bags have joined the gift-wrapping world, making it easier for those who just canâ&#x20AC;&#x2122;t wrap a package. Tags and ribbons are just as popular. The well-decorated package is often considered part of the gift. Studies have shown that gift wrap has a positive effect on the receiver. One of the drawbacks to all this wonderful paper is the fact that 4 million pounds of paper end up in landfills each year. Reuse and recycling can be an answer. Alternative methods of wrapping gifts have become popular with the ecologically minded. Fabric used both in pieces and sewn into bags, has become popular. The opportunity for the creative mind allows for a fun foray into the world of gift wrap. We have so many options available to us to create our own personalized wrap. Homemade paper can be made using recycled paper and You-Tube tutorials. Ready-made craft papers such as drawing paper, vellum, and others can be

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stamped, stenciled, colored even hand painted. Tags are also fun to create, you can find them in paper, wood, and tin versions, to name a few, ready to decorate.

The samples below were made using cling stamps, stamp pads, acrylic paint, stencils, and various papers.

SOURCES • www.grandviewresearch.com • www.wikipedia.com • www.bhg.com

Happy Holidays!

PHOTO CREDITS • Unsplash.com,

• Pexels.com & Pixabay.com • DigiArt by Di

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PASSING THE PAINTBRUSH... By Teri Walker

ARTISTS HELPING ARTISTS The Gift of Mentorship

Do you remember the first time you picked up a paintbrush? You probably experienced a myriad of emotions. Did you have doubts about your ability to paint or did you push that fear aside and challenge yourself? Were you afraid of rejection or did you paint only to please yourself? Artists experience many feelings every time they create. That is why it is important to find a mentor and a supporter. If you are lucky, they will be one and the same. All artists benefit from encouragement, acceptance, and praise from others whose personal opinion matter. Many years ago, I was lucky enough to find both a mentor and supporter. She believed in my ability when I did not. She is the one who made me realize just how much self-doubt will kill your talent. Not only did she teach me to paint, but she also taught me to believe in myself and have the courage to step out of my comfort zone to try new things. My mentor, and a lifelong friend, is Norma Dee Hickman. A self-taught artist who lives in north Louisiana. After a career as a professional singer, she picked up a paintbrush and for the rest of her adult life, has painted professionally. Norma created “Bayou Artists Ltd.,” and taught painting to students from many states. It was an honor to be admitted into her group. In the early years of her career, Norma was offered a membership in the prestigious “American Masters”, but family obligations kept her from accepting. Norma Hickman has an eerie ability to bring out hidden talents in others. Under her leadership,

the members of B.A.L. formed a kinship that went beyond merely learning to paint. Norma guided us through all the ups and downs that life brings. And although, everyone painted different subjects, each stroke of the brush was made with emotion. Norma taught us that the canvas always reflects one’s innermost feelings, good or bad because art is the truest expression of the soul. Being a mentor is a divine legacy, because it gives one the power to influence another person’s life. Norma changed our lives with her patience, encouragement, and loving heart. She never gave up, so neither did we. I hope you have someone in your life that has helped you on your artistic journey. And if you have the opportunity, I encourage you to share your passion with the younger generation. Do not let the knowledge you have spent a lifetime acquiring fade into the forgotten pages of yesterday. Schools are mainly focused on technology, therefore pushing handson art even further in the background. Art is vitally important, for it defines a culture. Mentors are vitally important for they define the artist. Norma Dee Hickman’s works of art can be found in many private collections throughout the United States, but I believe her greatest legacy will always be her students, for through them, her influence will “Pass the Paintbrush,” to generations not yet born. And so, can yours. (Norma Hickman can be reached at: normahickman21@gmail.com for more information)

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Winter House

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By Linda Coulter

Linda Coulter has been teaching fine art and decorative art classes for 40 years, during which time she has presented her Coulter Grisaille with Pure Color Glazes Art style to over 10,000 adult painters from five continents. Linda taught Museum Art Courses for 20 years at a Smithsonian affiliate museum in Peoria, Illinois. Linda was featured on WEEK-TV 25 (NBC station) in central Illinois for five years where every Saturday morning she demonstrated her painting techniques to a live television audience. Linda has taught Coulter Grisaille Art Seminars and Weekend Art Getaways nationwide. Linda teaches private art seminars at Coulter Art Cottage in Farmington, Illinois, and she produces art instruction DVDs and written instructions. To see what’s available, visit Linda Coulter’s Online Store at https://www.grisaille.com/shop/

SUPPLIES PAINTS Golden® Heavy Body Artist Acrylics (to paint the grisaille) • Titanium White

• Neutral Gray Values 8, 7, 6, 5, 3 SURFACE AND PRIMER: • 10 x 10 artist stretched canvas or wood surface

• Surface Primer: DecoArt® Americana Décor Chalky Paint in Primitive (Hereafter called “primer”)

BRUSHES: By Royal and Langnickel®:

• Soft Grip Shaders SG75T sizes 6, 10, 12

• Soft Grip Filbert SG75T-4 size 4 Soft Filbert

• Soft Grip Round SG75R-1 size 1 Round Detail • Regis Bristle Filbert L404T-2 size 2 Bristle Filbert

COLORS FOR OIL PAINTERS: • Utrecht® Oil Colors are used for Color Glazing over the dried grisaille scene (I purchased from DickBlick.com) • Titanium White • Zinc White

• Cadmium Yellow Light

• Indian Yellow, Cadmium Red Light • Ultramarine Blue

• Olive Green • Viridian

• Raw Sienna

• Burnt Umber

• Ivory Black (You can use most any brand because these are basic colors)

Colors for Acrylic Painters: Golden® Heavy Body Artist Acrylic:

• Zinc White (used to lighten the glazing colors. This white is semi-translucent and creates a wonderful “velatura” color,semi-translucent)

DecoArt® Americana:

• Bright Yellow DA227

• Saffron Yellow DA273 • Red Alert DA301

• Cranberry Wine DA112

• Ultramarine Blue DA225

• Black Forest Green DA083 • Neutral Gray DA095 • Raw Umber DA130

• Lamp Black DA067

Plaid® Folk Art:

• True Burgundy 456 • Olive Green 449 • Raw Sienna 452

OTHER SUPPLIES: • 1 sheet of 350 or 400 grit Sandpaper • Saral® Graphite Paper

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• Masking tape/scotch tape (to anchor the pattern in place while tracing the lines) • One 12-inch clear plastic T-square • Soft paper towels (any brand)

• Palette Knife (for color mixing. I prefer a 1-inch long metal blade as it is easier to mix small amounts of paint) • Water container

• Speed Ball® Pink Soap

• Grisaille Painting Medium

• Oil Painters Painting Medium

• Acrylic Painters Glazing Medium Golden® Satin Glazing Liquid 3721-5 ART TERMS: Glaze is to add transparent color over the grisaille artwork. Because of the transparency, you will be able to see through the color, as if looking through a piece of stained glass. You will see all the brushwork of the grisaille, but now it appears in colors. TIPS: Grisaille Painting Medium: with water (use with tap water in a little bowl). Oil Painters Painting Medium: Safflower Oil Utrecht® brand Most oil paints have enough oil already in them that you will not need to add painting medium for color glazing. Use only a drop mixed with the paint, if desired.

Acrylic Painters Glazing Medium: Be SURE this is added to bottled acrylic colors for glazing. They MUST be transparent or translucent and this will help achieve that. NOTE: We will refer to these as Base Gray (value 8), Bridge Gray (Value 7), Shadow Gray (Value 6), Dark Gray (Value 5), Darkest Gray (Value 3) These acrylic paints are always used for painting Coulter Grisaille. Grisaille Palette:

Fold a sheet of paper towel into fourths. Dip this into water and then wring most of the water out. Lay the wet towel on the Styrofoam plate, and put DECEMBER 2020 ISSUE

the gray paints on that moist paper towel to keep them soft and creamy. Label the names on the plate so you can find them easily. SURFACE PRIMING INSTRUCTIONS: Apply two smooth even coats of the “primer” to the canvas or wood surface. Allow to dry between coats. When completely dry, anchor the pattern to the primed surface so it will not slip while you are tracing. Use graphite paper and stylus to transfer the pattern onto the primed surface. GRISAILLE PAINTING INSTRUCTIONS: Sky: Using the 12 Shader, paint the upper third of the sky with Dark Gray. Paint the middle third of the sky with Shadow Gray. Paint the lower third of the sky with Bridge Gray. While the paint is wet, blend where these values meet to create a smooth transition between values. With the back tip of the brush handle, dip into Base Gray to press dots of light into the darkest sky area to create stars. Repeat with White in a few areas for lighter stars.

Background Trees: Gently create the trees with Shadow Gray using the side of the Bristle Filbert brush to create the overall tree shapes. Then use the tip of the Soft Filbert to gently tap foliage that will break up the dark tree. Remember to keep the top edges soft and fuzzy to keep the tree appear in the distance. Distant Ground (left of the house): Use Base Gray and the 6 Shader to apply paint and blend gently into the distant tree line, so there is no sharp line of demarcation.

House walls are already painted with Primitive Chalky Paint which matches Base Gray on our grisaille palette. The right side of the house is Shadow. Use the Soft Filbert brush to paint the crisp edge where the two values meet. This value contrast creates the illusion of a corner, showing two sides of the house. The lighted window on the dark side of the house is painted with White using the Soft Filbert brush. Vertical muntins are added with Shadow Gray, using the Round Detail brush. (Muntins are the thin strip of wood that holds the glass panes together in the window.)

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LINE WORK: You will need to use the 12-inch T-square ruler for line work, to keep the lines straight. The two dark lines at the front edge of the roof are painted with Dark Shadow Gray using the tip of the Soft Filbert brush. These two lines will reveal 2 wider bands between them. The top band is painted with White, using same brush. The band below that is painted with Bridge Gray and the same brush. With the Round Detail brush, create the tiny line work around the windows and door by painting over the tracing lines to maintain accuracy. Use the T-square to accomplish this. House Roof: The shingled roof (not the front edge) is Dark Shadow Gray using the 6 Shader brush. Fine detail points are painted with the tip of the Round Detail brush. Use the T-square to keep lines straight.

The Steps: The step risers are painted Shadow Gray, and the stair treads are painted with Base Gray using the chisel edge of the 6 Shader brush. The right side of the staircase is Dark Shadow Gray using the 6 Shader brush. Windows: Paint inside each window with White, using the 6 Shader brush. Add curtains with Bridge Gray, applied with the Soft Filbert brush. Then add muntins to all 3 windows (the thin lines will divide the panes of glass in each window). Use the Round Detail brush and Bridge Gray. Door: Using White and 6 Shader brush, paint the window with White, and the wood door with Shadow Gray. The tiny muntins are painted with Round Detail brush and Shadow Gray. The wreath is painted using the tip of the Soft Filbert brush and Dark Gray. Add a few dark accents with Darkest Gray using the Round Detail brush. Christmas lights are Base Gray and, in some areas, you can use White for brighter bulbs. Use the tip of the Round Detail brush.

Pine Tree (left side of scene): Is painted with Dark Gray using the 6 Shader brush to create specific edges, and the Bristle Filbert brush to fill inside the tree shape. Now add clumps of snow on the boughs with the Soft Filbert brush and Bridge Gray. Draw a graceful, curved line to indicate the top of each clump of snow, then press the brush downward to create little fingers of snow laying on the pine needles. Highlight

the top of each clump of snow with Base Gray, and in some areas add White to lighten the snow. Restate the dark areas between snow clumps using Darkest Gray applied with the tip of the Soft Filbert brush. Front Bushes: Use the Bristle Filbert brush with Shadow Gray to create each bush shape. Gently tap the top edges to achieve a soft fuzzy appearance. Then darken the bottom of each bush with Dark Shadow using the Bristle Filbert brush. This will anchor these bushes to the ground.

Bush (left of the house): Use Dark Shadow applied with the 6 Shader brush to create the bush shape, then highlight the top of the bush with Bridge Gray gently tapped with the tip of the Soft Filbert brush.

Bushes (right of the house): These are created with the Bristle Filbert brush and Dark Gray. The darkest accents along the ground between the bushes are Darkest Gray. Using the tip of this brush add lighter foliage with Shadow Gray. Lighten some areas of the bushes with Bridge Gray. Create the illusion of light streaming from the window by gently tapping White on the foliage nearest the top of the bush where it would catch light streaming from the window. Use the tip of the Soft Filbert brush. Bushes (lower right corner of scene): These are painted with Dark Shadow using the Bristle Filbert brush. Using the tip of the Soft Filbert brush, gently tap lacy foliage with Shadow Gray. For additional light, use Bridge Gray applied the same way. Keep this soft and gentle. Foreground Snow is painted with the 12 Shader Brush and Shadow Gray at the left and right sides of the canvas, and Base Gray in the center. Add Bridge Gray to create a smooth transition between the light and dark areas. Lamp Post: Using the Soft Filbert brush, paint the lantern cap with Shadow Gray. Then add highlights on the left side of the cap with Bridge Gray. Paint the lantern globe with Base Gray, then add White in the center to create glowing light. The lamp post is painted with Shadow Gray and highlighted with Base Gray. Small dark accents are added using the Round Detail brush and Darkest Gray. This dark will create a delicate DECEMBER 2020 ISSUE

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contrast against the white light, and that contrast creates the illusion of glowing light.

Tree trunks and limbs: Behind the house are two trees without foliage. The trunks are painted with Darkest Gray and the tip of the Round Detail brush. Paint tiny twigs with the same brush but using lighter pressure. You may wish to paint the twigs with Dark Gray, so they appear softer. Snow is laid on the limbs and some branches with Base Gray, using the same brush. Add White in some areas to achieve more contrast if you desire. Allow the grisaille artwork to dry thoroughly before adding transparent colors on top of the grisaille. Pure Color Glazes: Add transparent colors over the finished grisaille (gray tones). You can choose either Oil Colors or Acrylic Colors, but do NOT mix the two kinds of paint together. Refer to the color chart.

COLOR MIXING INSTRUCTIONS FOR OIL PAINTERS:

NOTE: use Zinc White for semi-translucent effect, or Titanium White for opaque color accent. • Yellow (Cadmium Yellow Light) Sunshine (Yellow + White) • Sunflower (Indian Yellow). Custard (Sunflower + White) • Sedona (Cadmium Red Light + Ultramarine Blue). Dusty Pink (Sedona + White)

• Bar Harbor (Ultramarine Blue + Cadmium Red Light). Fog (Bar Harbor + White). • Warm Shadow (Viridian + Alizarin Crimson). Twilight (Warm Shadow + White). • Blackberry (Alizarin Crimson + Ivory Black) Smoke (Blackberry + White). • Blueberry (Ultramarine Blue + Ivory Black) Wedgwood (Blueberry + White). • Hunter Green (Olive Green + Ultramarine Blue) Spruce (Hunter Green + White).

• Tuscany (Raw Sienna) Tan (Tuscany + White). • Mahogany (Transparent Oxide Brown). Chestnut (Mahogany + White) DECEMBER 2020 ISSUE

Gray (Ivory Black + White) Pale Gray (Gray + Whiter).

COLOR MIXING INSTRUCTIONS FOR ACRYLIC PAINTERS:

Note: Use Zinc White to create the “velatura” colors (pastel colors). • Yellow (Bright Yellow). Sunshine (Yellow + Zinc White). • Sunflower: (Saffron Yellow). Custard (Sunflower + Zinc White).

• Sedona (Red Alert + Ultramarine Blue). Dusty Pink (Sedona + Zinc White) • Bar Harbor (Ultramarine Blue + Red Alert). Fog (Bar Harbor + Zinc White)

• Warm Shadow (True Burgundy + Black Forest Green). Twilight (Warm Shadow + Zinc White). • Blackberry (Cranberry Wine + Black Forest Green) Smoke (Blackberry + Zinc White). • Blueberry (Ultramarine Blue + Slate Gray) Wedgwood (Blueberry + Zinc White).

• Hunter Green (Olive Green + Ultramarine Blue). Spruce (Hunter Green + Zinc White).

• Tuscany (Traditional Raw Sienna) Tan (Tuscany + Zinc White). • Mahogany (Traditional Burnt Sienna + Lamp Black). Chestnut (Mahogany + Zinc White).

• Neutral Gray. Pale Gray (Neutral Gray + more Zinc White) Sky: With the 12 Shader brush, apply a delicate layer of Dusty Pink across the middle sky, as shown in the photograph. Apply Fog along the top of the sky. Blend where these colors meet to create a smooth transition. Accent the stars with Warm White, using the tip of the Round Detail brush where desired.

Background Trees: Using the 10 Shader, apply Warm Shadow through the tree area. If you need a bridge between the pink and tree area, use a touch of Fog. Blend softly to avoid a harsh line. Distant Ground: Apply Twilight in that little area of distant ground using the 10 Shader

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brush. Darken with Warm Shadow as you move downward. If this appears too bright, add a touch of Pale Gray. House: If you want a little color, add a tiny touch of Twilight to the house front using the 6 Shader brush. Keep the paint application thin and delicate. The house side is colored with Warm Shadow. The Roof is colored with a tiny touch of Warm Shadow. The house foundation is Fog in the front and Bar Harbor on the side. Use the 6 Shader brush for all of this. Windows: Using the 6 Shader brush, apply Sunflower in all the windows. Add Tuscany at the top and work downward into the Sunflower. Using the tip of the Round Detail brush, add Custard in the lower window, and highlight with Warm White. Curtains are Tan. Then paint the muntins with Chestnut. Door: Add Twilight to the door with the 6 Shader brush. The wreath is tiny bits of Olive Green, using the tip of the Round Detail brush. Then add colored lights on the wreath, with Cadmium Red Light and Cadmium Yellow Light (if using oil colors), or Red Alert and Bright Yellow (if using acrylic colors). Steps: With the Round Detail brush add Warm Shadow to the step risers and White to the top of the steps to indicate snow laying on the top of the steps. Pine Tree: Using the Soft Filbert brush, add Fog to the clumps of snow, and Olive to the tree between the snow clumps. You may darken the Olive by tucking in some Warm Shadow if you desire. Snow highlights are Fog + White. Then Warm White for the final highlights on the clumps of snow. If you want to show bits of pine needles, use Thyme applied with the tip of the Round Detail brush. Bushes: Using the 6 Shader and Warm Shadow to add color to the bushes. In the darkest areas mingle Warm Shadow with Olive. With the tip of the Soft Filbert brush, add tiny taps of Wedgwood, Twilight, Fog, and some Dusty Pink for accents of foliage on the DECEMBER 2020 ISSUE

bushes. Use these colors gently and sparingly so they will not look bold. Apply tiny bits of Warm White for lightest snow. Refer to the photograph. Tree Trunk and Limbs: Using the tip of the Round Detail brush, apply Mahogany or Oak on the tree trunks and limbs. Each brown creates a different effect so try both and use the one you prefer. Add snow laying on the branches using the sky colors lightened with Whiter. Glowing Lantern: The light is the same colors as the windows (Sunflower, then Tuscany, then Warm White). The lantern cap and lantern post are Twilight, and the highlight is Warm White. Use the Round Detail brush. The glow of light at the right and left of the lantern is created by thinning Warm White and apply thinly with horizontal brush strokes. Softly blend. No harsh edges! Foreground Snow: Using the 10 Shader, apply Warm Shadow in the darkest areas, and Dusty Pink in the warm areas, and Warm White in the lightest areas. Use horizontal sweeping brush strokes. Refer to the photograph for color placement.

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Enlarge or decrease the pattern size to fit the surface of your choice.

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Anita and Hot Chocolate

by Anita Campanella I live in a small village in Puglia, located in the south of Italy. I have been painting since I was a small child. I have attended many painting courses with famous international artists. I had the wonderful opportunity to collaborate with Painting World magazine and Iâ&#x20AC;&#x2122;m really very excited. Welcome to my world, friends.

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This drawing is inspired by the story that a dear friend, Laura Mori, dedicated to me on 12/24/2018. Anita tells about a girl who had a bad year. Anita lives in a small town at the foot of a hill. A tradition has been handed down among the inhabitants of this small town. The exchange of hot chocolate, with spiced biscuits, in the square next to the church, under the huge Christmas tree on the night of the eve. The hot chocolate prepared by Anita is very popular among the inhabitants, it is an old family recipe and it is said to be magical. When Anita was a little girl, her grandmother always told her, that on the night of Christmas Eve, as if by magic, whoever drank that chocolate before falling asleep, in dreams could have met all the loved ones. Anita believed strongly in the magic of her grandmother’s hot chocolate and although she found it difficult to find a good reason to celebrate, thanks to the love of her friend Laura, she cooks the recipe. The day ends quickly, Anita watches the clock, it is time and she goes with small steps towards the central square of the small town. In her heart she feels that all the inhabitants are waiting for her. “She is coming”, she feels in the silence of the snow, everyone is happy to

SUPPLIES: SURFACE: • Wooden Binder dimensions: 7”x 10” PAINTS: DecoArt® Americana:

• Dark Chocolate DA065 • Driftwood DA171 • Blue Mist DA178

• Wedgewood Blue DA038 • Uniform Blue DA086 • Leaf Green DA051

• Primary Red DA199

• Heritage Brick DA219 • Avocado DA052

• Soft Black DA155

• Light Buttermilk DA164 • Milk Chocolate DA174 • Antique Rose DA156 • Zinc DA304

see her, especially her friend Laura, who goes to meet her. The extraction begins and everyone is waiting anxiously. Fate wants that the magic chocolate prepared by Anita is assigned to her friend. Laura is very happy; she almost does not believe her eyes. After the exchange of chocolate, after eating the spiced biscuits, it is time to return. Always in small steps, Anita goes home and with great amazement, notices at the door a small gift pack. Anita opens it and with great surprise finds her chocolate, the magic one she had prepared. Next to it a note written by her friend Laura “May this night be your magic night”. Anita indulges in a smile, that night she fell asleep with peace in heart and with the belief that in the morning under the tree, she would find the strength to react. I dedicate this painting of mine to my dear friend. Thanks Laura Mori. I thought of painting my Christmas recipe collector. I hope you all like it too. It can be a welcome gift if you also have a special friend.

• Asphaltum DA180

• Raw Sienna DA093 BRUSHES: • Dynasty® Black Gold Flat Wash 206 FW, size 1 • Dynasty® Dry Brush series 200, size 6

• Dynasty® Black Gold Liner 206 MSC, size 20/0 • Dynasty® Black Gold Angle 206 A, size 1/2 “, 1/4“ • Dynasty® Black Gold Round 206 R, size 4 • Scharff Moon Mop 685, size 1/2 “ • Scharff Mop 670, size 1/2 “, 3/4 “

• Princeton Select Deerfoot 3750DF-012, size 1/8” MISCELLANEOUS SUPPLIES: • 400 grit sandpaper • Tracing paper

• Black graphite paper • Paper palette

• DecoArt® Americana Matte spray DAS-13 • DecoArt® Multi-Purpose sealer DS-17

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PREPARATION:

Lightly sand the edges and surface. Seal all areas with DecoArtÂŽ sealer. Apply the Light Buttermilk color with a flat brush. Leave to dry well. Repeat the operation. Note: To obtain this very watercolor effect, I moistened the surface with water, using an old brush before proceeding with all the shadows. Always soften the shadows with a Mop Brush. These steps are essential to obtain an excellent result. In this painting, I always use the Angle Brush for shadows and a Round Brush for basecoat.

PAINTING INSTRUCTIONS:

Transfer the drawing with black graphite paper. Contour the guidelines of Anita, and of the trees with a Liner Brush and Asphaltum, stretched with a little 2:1 water. Surround the guidelines of the church with the Liner and Zinc, stretched with a little water always 2:1, except for the bell tower and the cross on the church that are with Asphaltum. The shadows on Anitaâ&#x20AC;&#x2122;s coat are Heritage Brick: close to the scarf, the cup, on the sleeves close to the gloves, on the coat close to the sleeves, along the extreme sides of the right / left coat, along the extreme sides of the cuffs of the pockets , along the right / left sides of the folds, along the entire lower side of the coat and along the central seam. The shadow on the coat, behind the buttons, are Heritage Brick. Reinforce with the same color in the more shaded areas. Reinforce further with Soft Black. The buttonholes on the coat are with the Liner and Heritage Brick. DECEMBER 2020 ISSUE

Dampen the entire area of the church with water and outline all the bricks with the Liner Brush and Zinc. They are not solid lines. Jump with the brush here and there. Leave to dry. The roofs have a basecoat with Zinc stretched with plenty of water. The doors, windows and bell tower have a basecoat with Soft Black stretched with water. The shadows on the church, close to the roof, close to the windows and the door, at the base of the bell tower are Zinc. The shadows on the door and windows along the left sides are Soft Black. The shadows on the basket, close to the tea towel and the biscuits, are first with Asphaltum then Asphaltum with the addition of a tip of Soft Black. The handle of the basket and the biscuits have a basecoat with Asphaltum stretched with water. The details of the biscuits are with the Liner and Soft Black. The shadows on the canvas are Zinc. The shadows on the cup, along the right / left side, along the bottom side, along the handle and close to the gloves, are Avocado. The detail on the cup and the chocolate inside are a basecoat always with a round brush and Milk Chocolate stretched with water. The shadows, along the extreme sides of the chocolate and along the left side of the detail on the cup, are Soft Black. The shadows on the face, close to the hair, along the lower side of the nose, on the face along the right side of the nose and along the lower side of the eyebrows, are first with Raw Sienna, then reinforced with Asphaltum. In the same way are the shadows on the legs, close to the coat and along the right side of both legs. Freckles are with the Liner and Asphaltum. The Cheeks are a dry brush with Antique Rose. The pupils are Soft Black, the iris Avocado. Reinforce the line above the eye with Soft Black. The lips are with the round brush and Heritage Brick. They have a more intense color along the left side.

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The trees have a Basecoat Milk Chocolate with the addition of water. Leave to dry. The lower part of the sky is with a round brush and a brush mix of Uniform Blue and Wedgewood Blue. Start from the bottom and blend going upwards. Help yourself with the Mop Brush to soften the shadows. Let it dry. The upper part is with the same technique and with a brush mix of Blue Mist and Zinc. Leave to dry well and repeat several times, until the result that gratifies you most. Leave the moon with the base color if it is necessary to moisten the area and with a Round Brush intensify with Light Buttermilk. Using the Mop Brush along, its perimeter, will help create some haze. The shadows on the left side of the trees is Soft Black. The grain of the wood is with liner and Milk Chocolate some, Soft Black others. Reinforce the shadows along the lower side of the sky, close to the snow cover, close to the scarf and the church, with Soft Black. The shadows on the gloves and the scarf are Driftwood. Reinforce in the more shaded areas with Soft Black. The light is with the Deerfoot Brush and Light Buttermilk.

Download the excess color onto a cloth and tap in the highlighted areas. The shadows on the hair are first Asphaltum, then reinforced with Soft Black. Pull strands with the liner and Soft Black. The elastic on the braid is with the Liner and Heritage Brick. The shadows on the snowpack, close to the church and Anita, are Zinc. The snow on the trees and on the door of the church door are with a round brush and Light Buttermilk. The flag on the church is Leaf Green, Light Buttermilk and Primary Red. The flagstick is Soft Black. The steam created by hot chocolate is a Dry Brush with Light Buttermilk. The writing on the snow is with the Liner Brush and Soft Black. The shadows along the entire perimeter of the wooden support are Asphaltum. If necessary, trim all the details with the Liner and Soft Black. Allow to dry well and paint with DecoArtÂŽ Americana Matte spray DAS-13. Happy Painting! DECEMBER 2020 ISSUE

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A Look into the Historical Florals of Decorative Painting By Diane Marie Kellogg

Part 5-6

How far we have journeyed in our quest to learn about the historical florals of decorative painting. Most of our journey has taken us across Europe. From the Canal Boat Painting and Vardo painting in England to the Tole Painting of France. On to the Netherlands, we learned about the Rosemaling and Hindenloopen styles of painting. Heading East, we voyaged on to Sweden, where we experienced Dala also known as Kurbitz painting. Next, we traveled through the Alps and into Germany, Austria, and Switzerland where the beauty of Bauernmalerei became known to us. Throughout our travels, we were fortunate enough to talk with a few artists who are considered experts in their fields. Our thanks go out to each of these wonderfully talented women for sharing their expertise with us, Part One - Julie Tonkin with Canal Boat Painting, Part Two - Jan Boettcher with Rosemaling Painting, Part Three â&#x20AC;&#x201C; Vivica Lammers with Kurbitz Paining and Part Four- Larissa Goncharova with Zhostovo Painting. On our return to the United States of America, we can easily see the influence of all of these floral painting styles among the decorative painting of today. There are many truly talented artists out there who have taken their love of floral painting and helped it to evolve into the lovely floral designs available to us now. Time and the immigration of so many wonderful cultures have brought us to this point in history, our present. For this entry in our series and the conclusion of

the same, I decided to interview two of the most popular floral artists now living in the U.S. I have had the pleasure of meeting these awesome ladies, at the ACCI show in Chicago a few years back and more recently at one of the HOOT painting conventions. Let me say I was and am honored. I would like to introduce you to the wonderful artist known as the First Lady of Decorative Painting, Priscilla Hauser. When you meet Priscilla, you cannot help but appreciate her effervescent personality. She exudes positive energy that DECEMBER 2020 ISSUE

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encourages one to take a leap of faith and join her! Living the all-American dream, she recalls growing up in Tulsa, Oklahoma amid white picket fences, unlocked doors, and such. It was a different time and according to Priscilla, “the very, very best of times.” Growing up with “bunnies popping out of hats, doves flying everywherePriscilla Hauser. Photo beautiful silk scarves provided by Priscilla Hauser. flying through the air!” it is easy to picture her father, a professional magician,

and entrepreneur. Her mother was the opposite, a geologist, and a concert violinist. Priscilla had dreamed of becoming an artist, she loves color. Her parents, however, had different ideas for their daughter, afraid of her ending up living in some loft in NYC. They did let her go to the Philbrook Art Museum in Tulsa and take courses. She would eventually wind up in dental hygiene school in Dallas, where she was fated to meet the love of her life, Jerry Hauser. They were married a short time later. Loving color, she had painted from a young age with an old set of Prang watercolors. When she was about 12 a fiend received a hand-painted set of furniture which included a camelback trunk, covered with roses. Falling in love with the trunk, she was later given an unfinished trunk and told to paint it herself. She did! After her marriage, she and Jerry moved to Kansas City, Missouri. The local YWCA had a Tole Painting class which she signed up for six weeks she learned to paint in oils with a #5 round red sable brush, lovingly supplied by her mother, sent from Tulsa. From that point on she painted anything she could get her hands on. She started teaching in her garage and later in the back of a Sherwin Williams store. After a year or so she redesigned a little old house, painted it bright red and Priscilla’s Little Red Tole House came to be. Students soon came from all over the world to attend her classes. Her own publishing company and her public television series, The Magic of Decorative Painting, soon followed. In 1972 she founded the Society of Decorative Painters. A second location, Priscilla’s Studio by the Sea in Florida opened, and between both shops and travel teaching, Priscilla kept spreading her magic. When she lost her beloved Jerry about 11 years ago, she closed the doors of her Studio by the Sea but continues to teach privately.

Priscilla’s Paintings. Photos provided by Priscilla Hauser.

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Over the years she has had a continual working relationship with the Plaid company. She has “designed, taught painting classes, and made several personal appearances at a variety of trade shows and conventions.” She continues to teach and make appearances for Plaid, along

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this… “most importantly, my love for painting and massive desire to teach others opened the joys of decorative painting throughout the world.” Perhaps her favorite saying says it all… ‘With brush in hand my mind empties of its sorrows and the beauty in life smiles!’ Next, I would like to introduce you to Donna Dewberry, whose One Stroke painting method has opened up a whole new world to so many.

Photos provided by Priscilla Hauser.

with former students and friends, Andy Jones, and Chris Williams. Plaid Crafts YouTube channel carries many videos including ‘How to paint a Priscilla Hauser rosebud in 15 seconds.’ The Plaid Crafts Pinterest page has many how-to paint projects from Priscilla. Perhaps her favorite is the Paid ‘Let’s Paint’ program where she works with Andy and Chris on Facebook, teaching others the joys of painting. Inspiration takes many forms and Priscilla has cited music, nature, and animals as some of her inspirations. Animal rescue has become a passion of hers and she is the vice president of the Humane Society of Tulsa. Known for her roses, they are a particular favorite to paint. She loves acrylics, oils, and watercolors and cannot choose a favorite. She plans on continuing her relationship with Plaid and hopes to eventually open an online gallery to sell her paintings. While she has won many awards and is appreciative of all of them, she does say Artwork done by Priscilla’s granddaughter Merrill Mitchell. Photo provided by Priscilla Hauser.

Photo provided by Donna Dewberry.

Born in central Florida, Donna is the oldest of five children. Growing up on a farm, she could not wait till her younger siblings were old enough to help with the chores, particularly milking the cows before school. Married to Marc in 1972 at the age of 18, they grew their family by seven beautiful children. Always wanting a pretty home, she soon decided to repurpose older items with paint and make them new again. She first started painting salt dough ornaments she had created. After a wonderful response from friends, she then went on to handcrafted salt dough Santas and eventually switched to poly-form oven-bake clay. Much larger and more detailed, she sold them at local arts & crafts shows and even earned some awards along the way. A collector of antiques she soon admired the hand-painted china and decided to learn to paint like them. With no patience for the multiple kiln firings and the length of time required she decided to go another route. She found a DECEMBER 2020 ISSUE

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Priscilla Hauser book, the rather famous one with the rocking horse on it and began her journey in selftaught decorative painting. New to the terminology in the book, she began multiloading her brush and learning decorative painting. She would later meet Priscilla and become good friends over the years. As she learned she often sold at local craft shows and retail shops. Primitive wood was popular, she would dip her hand-painted pieces in MinWax® Stain and then wipe off the excess. She even sold her wares in large chain stores and at Disney. As time progressed, she developed her techniques for painting flowers easily. Roses being one of her favorites, she worked hard to perfect what has become her most requested and most painted element. After a trip to the Atlanta Gift Mart and a conversation with a tin vendor, asking if he would like hand-painted verses a decal, he told them it just was not possible. That night, they proved him wrong, bringing him a hand-painted sample the next day. A large store buyer was in the booth at the time and immediately ordered multiple designs of Donnas on the vendor’s tinware. Returning home Donna worked on a technique that would allow multiple loading on the brush, to reduce the possibility of lifting paint off the tin using a traditional method. This would become the foundation of what is now known as the One Stroke painting technique. After contracting with the Plaid paint company, the love of One Stroke painting with Donna Dewberry has grown worldwide. Donna calls herself an acrylic artist and her DECEMBER 2020 ISSUE

passion is education. She has a team of Education Leaders and they have certified over 16,000 One Stroke Certified Instructors or OSCI’s, around the world. With multiple levels of learning, there is something for everyone. Her relationship with Plaid has led to some wonderful programs, from Let’s Paint with Plaid® to Flowers of the Month in 2019 and Wreaths of the Month in 2020, be sure to check out the Plaid® Facebook page. The Youtube Donna Dewberry Channel brings some wonderful lessons from Donna, ‘Relax and Paint with Donna.’ www.youtube.com/ donnasdewberry Her Facebook page has a wonderful group that supports and shares. www. facebook.com/groups/donnadewberry You can find her complete product line and education program on her website at www. onestoke.com She and her husband, along with daughter Amanda, run the Dewberry U Art Center in Groveland, Florida. Product sales, art design, and education are all handled here. The Facebook Live Dewberry Show is hosted twice a week or more. Donna also travel teaches. Of course, you can often find her where it all began…at her dining room table, painting, and creating. May you be inspired by this article series and the living florals around us to put brush to canvas and create what you see.

Donna Dewberry and Priscilla Hauser. Photo provided by Donna Dewberry.

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CALLING ALL ARTISTS WE WANT YOU!

Be featured in Painting World Magazine’s printed edition and also in digital issues, on the website, social media channels & Amazon® Your work could be seen by thousands of print & digital subscribers & over 17,000 online social media followers!

WHAT WE’RE LOOKING FOR:

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

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Menthe Peperita

By Barbara Bunsey, CDA

Barbara began painting and teaching over 30 years ago. She’s taught at conferences, conventions, and in her home studio. Early American Life Magazine has named her to the Directory of Traditional American Crafts for over 10 years, and Colonial Williamsburg has commissioned her to paint pieces for its shops. She’s a member of the SDP, Decorative Arts Collection, and Tole Painters of the Western Reserve, where she’s held various board positions. In 2004, Barbara had an ornament selected for the official White House Christmas Tree, and met First Lady Laura Bush. In 2005, Barbara painted an ornament for the Library of Congress’s Christmas tree. In 2008, Laura Bush chose Barbara out of four artists to paint 1,000+ ornaments, which the Bushes used as gifts for family, friends, and White House staff.

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SUPPLIES Paints: DecoArt®:

• Avocado DAO52-1

• Blush Pink DA355-3

• Cool White DA240-1

• Desert Cactus DA331-1 • Dove Grey DAO69-1 • Espresso DA271-1

• Light Lime DA348-3

• Light Mocha DA241-1 • Natural Buff DA311-1 • Sea Glass DA297-1

• Slate Grey DAO68-3

• Storm Grey DA328-1

• Titanium White DAO1-1

Wild Berry + Avocado (approx. 1:1 ½), shade next to this line on the inside of the design using a large brush. When doing a long float, I like to dampen the surface first, then apply the float. The water will help soften the float. You can also use your mop brush to soften. You may need to do this step more than once but be sure to keep it light. Base candy cane edge Light Lime. MENTHE PIPERITA SPRIG: Note: Keep this more on the soft side, using light floats of color so as not to over-power the design. Leaves: Side-load a fairly damp brush with Sea Glass, blend, then softly apply to lighter areas of leaves, using a zig-zag motion to create the jagged edge of the leaf. Walk the color lightly toward, but not into, the center vein (keep the vein your background color.) Side-load a fairly damp brush with Desert Cactus, blend, then

• Wild Berry DA362-3

BRUSHES: • FM Black Gold: #10 & #16 Shader • 3/4” Wash Brush • #0 Liner

• S, M, L Mezzaluna SPECIAL SUPPLIES: • DecoArt® Sealer • Compass

• Chalkstone Pencil • Mop Brush

OPTIONAL: • DecoArt® Varnish

INSTRUCTIONS BACKGROUND: Sand, seal, sand. Base Light Mocha. Put chalkstone pencil in compass, measure 7/8”, then run the metal point around the outside edge of your surface so you now have a 7/8” line going around the outside edge. Using a brush-mix of

Image 1

softly apply to lighter areas of leaves, using a zigzag motion to create the jagged edge of the leaf. Again, walk the color lightly toward, but not into, the center vein. (Image 1) Repeat, adding soft DECEMBER 2020 ISSUE

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Avocado to the darkest areas. (Image 2) If you lost your center vein, lightly paint it in with Light Mocha. Wash over this with VERY THIN Avocado. STEM: Line in with very thin Sea Glass on the green sides and Espresso on the brown sides. VERY LIGHTLY line the green edge with a hit-and-miss line of very thin Desert Cactus. FLOWERS: Using one of the Mezzaluna brushes (whatever fits the area in which you’re working), dry, pick up Espresso, take out excess on palette, and begin to tap onto flower areas; repeat, adding Wild Berry to dirty brush, going over the Espresso, but letting it show in the “brown” areas; repeat, adding Pink Blush to dirty brush, then adding to the highlight areas. (Image 3) Add more Blush Pink to dirty brush and begin establishing more highlights; repeat, adding Natural Buff to dirty brush, tapping in brighter highlights; repeat, adding Cool White to dirty brush and only adding highlights to the brightest areas. (Image 4) CUP & SAUCER: Base Light Lime. Using dry Mezzaluna brushes, dry-brush highlights on cup and saucer with Cool White; repeat, adding Titanium White to dirty brush and applying this only to brightest areas. Be sure to brush horizontally to keep your areas round. (Image 5) Dry-brush shading, using dry

Image 2

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Image 3

Mezzaluna brushes, with Dove Grey, moving this color toward center areas; repeat, adding Slate Grey to dirty brush; repeat, adding more Slate Grey to Dirty brush; repeat, adding Zinc to dirty brush. Again, be sure to brush horizontally. (Image 6) Dampen right side of cup with clean water and, using very thin Slate Grey and liner brush, add cast shadow for string; repeat, adding thinned Zinc to top edge of shadow. (Image 7) LEAF DESIGN: Add to cup as for leaves above, using VERY thin paint, keeping it mostly on the outside edges, not walking in—Sea Glass on the lighter areas and Desert Cactus on the darker areas; add a light touch of Avocado to deepen a few areas. Veins are VERY thin Desert Cactus. When dry, dry-brush Cool White, then Titanium White, horizontally over right leaf. Dampen right leaf with clean water, then add a VERY THIN liner of Avocado to continue string cast shadow over leaf. (Image 8) PINK AREAS: Base Pink Blush. Be sure to line edge of cup. Use an S-stroke on the cup handle to keep the handle round. Using dry Mezzaluna brushes, dry-brush Natural Blush on highlight areas, again being sure to brush horizontally to keep areas round; repeat, adding Cool White to dirty brush. (Image 8) Add floated shading to stripes on handle and pink area on saucer next to cup, and line in on line around

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Image 5

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Image 8

SHADOWS: Using dry Mezzluna brushes, dry-brush Dove Grey over all the shadow area, beginning at Line 1; repeat, adding Slate Grey to dirty brush, and adding to area from Line 2 in to saucer; repeat, adding Zinc to dirty brush and adding from Line 3 to saucer. Float shadow under tag with Slate Grey; repeat, adding Zinc to dirty brush, keeping it mostly in the front and front right.

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cup edge with Wild Berry; repeat, adding Zinc to dirty brush; repeat, adding a bit more Zinc in darkest areas. Add another light shading of Zinc to handle where it attaches to cup at top and center inside edge. (Image 9) Add a liner of Desert Cactus on saucer between pink and white areas.

STRING: Line in with Cool White. Add a liner of Titanium White at the center area near the handle, under the â&#x20AC;&#x153;turnâ&#x20AC;? over the saucer, and where it attaches to the tag. Add a liner of VERY THIN Slate Grey at the top where it goes into the cup, at the center where it curves to the left and at the bottom where it goes over the saucer; repeat, adding VERY THIN Zinc where it goes into the cup and the left side where it goes over the saucer. DECEMBER 2020 ISSUE

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TAG: Base with a wash of Slate Grey; when dry, wash over with Desert Cactus. Edge the front and right side and add lettering with a liner and Light Lime. Add a highlight to right front corner with Cool White. Dry brush highlight to right front corner with Sea Glass; repeat, adding Cool White to dirty brush. Float shade Slate Grey to left and lower left edge and right and top right edge, walking color on left toward center; repeat, adding Zinc to dirty brush. (Image 10) CANDY CANE EDGE: This should be based Light Lime. Dry-brush Cool White in center, but a little closer to the design so as not to cut the area in half; repeat, adding Titanium White to dirty brush, keeping this in the center of the highlight. (Image 11) Shade on each side with Dove Grey; repeat, adding Slate Grey to dirty brush and only pulling this on the side next to the design. Add stripes with Blush Pink and an S-stroke to keep the area round. Dry-brush Natural Buff for highlights, being sure to keep this in line with the other highlights. Shade each side with Wild Berry. Green lines are Desert Cactus. Add a line of Sea Glass for highlight, being sure to keep this in line with other highlights. Add a liner of Avocado to each side of line. Shade inside edge with thinned Zinc.

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LETTERING AND STRIPE: Make a brush-mix of Wild Berry + Avocado (approx. 1:1 Â˝). Add lettering and line separating design and candy cane with liner.

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Enlarge or decrease the pattern size to fit the surface of your choice.

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January Snow

By Diane Trierweiler The style that I paint in is more impressionistic. When you paint with long handled brushes on an easel, you use less pressure and hence becomes more â&#x20AC;&#x153;artsyâ&#x20AC;?. I have been painting for 45 years and opened a shop about 35 years ago. I also have been travel teaching to conventions and painting chapters as long as my shop has been open. My husband and family have always been supportive of my goals to teach painting to enjoy it as much as I do. I also have published 15 books, hundreds of packets and brochures and I also have my own brush line. Please visit my site for more information.

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SUPPLIES: SURFACE: • 14x18 Canvas PAINTS: DecoArt ®Americana acrylic paints • Sapphire 099

• Periwinkle 366

• White Peach 024

• Whispering Turquoise 305 • Frosted Plum 335 • Burnt Umber 064 • Raw Sienna 093 • Russet 080

• Soft Black 155

• Blue Haven 318

Traditions: DecoArt® Americana • Opaque White DAT58 • Indian Yellow DAT11 • Vermillion DAT09

• Naphthol Red DAT02 BRUSHES: • Deerfoot stippling brush • 3/4 Flat glazing brush

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

MISCELLANEOUS SUPPLIES: • Duraclear® gloss varnish DS128

• DecoArt® Twinkles Glitter DCT1 • DecoArt® Sparkle Snow DS46C

• DecoArt® Texture Sand DMM23 • Table easel

• Palette knife (for putting background on) • Water tub • Graphite

• Wet palette (optional)

PREPARATION:

Use your large palette knife to thinly spread the Texture Sand over the entire canvas. The sand will create the effect of snow. Smooth out the sand, leaving a few bumps and grooves. Let dry thoroughly. Place the pattern on or sketch the land line onto the canvas. The rest of the pattern will be placed on later. TIPS: Be sure to use a stiff bristle brush such as Diane’s #8 tongue. You might ruin a taklon or natural hairbrush. You need a stiff bristle brush to force the paint into the canvas and the sand material. The first coat of paint will be a little hard to fill in the surface. Use a lot of paint to work in a wet on wet method (painting wet paint into wet paint). Remember, this is the first coat of paint and it will look unfinished. This is just the underpainting.

• #8 long handled tongue (china bristle)

PROCEDURE:

• Tongue set (2, 4, and 8 short handled red sable tongues)

SKY AREA: Paint in the top one third of the canvas with Blue Haven. While the paint is still wet, add some shadows at the top with Periwinkle. Deepen again with a little Sapphire. Use your dirty brush to add a lot of White to paint in the rest of the sky. Blend the paint into the Blue Haven. Wipe the brush off and add touches of White Peach. Use your 1/2 tongue to add tints of Whispering Turquoise (20% paint to 80% water). All skies are always darker at the top and lighter at the horizon.

• 1/2 tongue (short handle red sable)

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BACKGROUND SUNNY AREA: Use your 1/2 tongue brush to scumble in (slip slap) tints into the sky where the sun is glowing on the horizon. This is done with tints of Indian Yellow and Vermillion. Let dry, and add small touches of Naphthol Red. Make sure to blend the colors gently into the background blue. If you need to, you can add a little White to make the blending a little easier. Brush mix a little Frosted Plum and White together and scumble or stipple in the lavender tones that go behind where the trees will be. DARK AREAS WHERE SHRUBS WILL BE: Use your #2 tongue and your liner brush with Burnt Umber to place in the background trees. Use your stippling brush to pounce in dark shadows in front of the trees with Burnt Umber plus a little water. This will be along the land line and behind the large tree on the right. Use your stippling brush to stipple in a mix of White Peach and White here and there over the trees in front of the dark shrubs. Use your liner brush with Blue Haven to place in small twigs in front of the Burnt Umber area. SNOW AREA: The ground area is painted with Blue Haven. Add in the shadow areas with Sapphire while the Blue Haven is still wet. Add lavender tones with Periwinkle. The highlighted areas are painted in with White Peach. Highlight again with White. Keep layering the ground area with lights and darks until you achiev the look you want. Tint the snow with a little Whispering Turquoise. Use your 2, 4, or 8 tongue brush to base in the trees with Raw Sienna. Add shadows with Burnt Umber, Russet and then with Soft Black. Add some Soft Black for shadows.

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Highlight the trunks here and there with Indian Yellow and then with White Peach. Add patches of snow on some of the branches with White. The shadows on the ground next to the bottoms of the trees are placed in with Periwinkle. The twigs at the bottom of the trees is painted in with your liner brush using Burnt Umber. Add water to Soft Black and wash in some shadows for the rocks on the right hand corner of the painting. PEOPLE AND SNOW TRACKS: Use your small tongue brush to paint the people. The boy has a Raw Sienna hat and it is shaded with Burnt Umber. His coat is Naphthol Red. Shade with Burnt Umber and highlight with Indian Yellow. His pants are Sapphire Blue, shaded with Soft Black and highlighted with White. His shoes are Raw Sienna. The motherâ&#x20AC;&#x2122;s coat is painted with Vermillion and shaded with Burnt Umber. The coat is Raw Sienna and shaded with Burnt Umber. Highlight with Indian Yellow. Her pants are Sapphire Blue and are shaded with Soft Black. Highlight with White. Her boots are Raw Sienna. Shade them with Burnt Umber. The dog is based in with Soft Black plus White to make a grey. Shade with Soft Black. The footprints are placed in with Soft Black plus water. Shadow in under the people with the same wash.

FINISHING:

Use your stippling brush with Sparkling Snow to stipple in some piles of snow under the trees and along the horizon line. You may want more of the snow in the front of the scene. Use a small brush with Twinkles and paint this on the snow in the trees and wherever you would like some bling. When everything is dry, varnish with one coat of gloss varnish. Enjoy!

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Enlarge or decrease the pattern size to fit the surface of your choice.

DECEMBER 2020 ISSUE

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Christmas-Berry Wreath By Effie Carayannis I am a passionate artist and designer living in Melbourne, Australia. I specialize in decorative painting, fine art, and mixed media. Creativity has given me a means to escape, fulfilling my days with fun, happiness, and relaxation. It continues to pull me into a whirlpool of color. I have shared my love of art over many years through numerous publications in Australian and international art and craft magazines. I teach at conventions and have conducted decorative painting classes in the community and at major craft shows.

DECEMBER 2020 ISSUE

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My inspiration for this design came from a couple of stencils. They both have been used in this project. One is used as the background to create a woodgrain effect. The other is initially applied in the usual way, and then built up by adding several layers of painting techniques to develop it into one of the main elements of this project – the berry wreath.

SUPPLIES: SURFACE: • Deep edge artist board approximately 23 ½ inch x 18-inch x 1 inch – (available from any art and craft stores) DECOART® AMERICANA ACRYLIC PAINTS: • Dove Grey DA069 • Neutral Grey DA095 • Grey Sky DA111

• Winter Blue DA190 • Raw Umber DA130

• Antique Maroon DA160 • Warm White DA239 • Laguna DA350

• Red Violet DA140

• Payne’s Grey DA167

• Royal Fuchsia DA151 • Vivid Violet DA232

• Cadmium Orange Hue DA014 • True Red DA129

• Cadmium Yellow Hue DA010 • Lemon Yellow DA011 • Bright Green DA054 • Mistletoe DA053

• Driftwood DA171

• Black Green DA157 DECOART® TRADITIONS ARTIST ACRYLICS: • Permanent Alizarin Crimson DAT51 • Naphthol Red Light DAT03 • Naphthol Red DAT02

OTHER DECOART® PRODUCTS: • Gesso White DMM18

• Americana stencil brushes DABK20

• Americana stencil – Woodgrain ADS306 DECEMBER 2020 ISSUE

• Americana stencil – Winterberry Wreath ADS401 • Glazing Medium DS18

• Glamour Dust – Celebration Pink DGD10

• Glamour Dust Sprinkle-on Glitter - Crystal DAS37

• DecoArt Americana Matte Spray Sealer DAS13 BRUSHES BY LOEW CORNELL®: • America Painters Series 1 Inch Glaze/Wash • Golden Taklon ¼ Inch Angular Shader LC7400-1/4 • Golden Taklon ½ Inch Angular Shader LC7400-1/2

• Golden Taklon #10/0 Liner Brush LC7350-10/0

• Golden Taklon #2 Ultra Round Brush LC7020-2 • Golden Taklon #4 Ultra Round Brush LC7020-4 • Golden Taklon #4 Filbert LC7500-4

MISCELLANEOUS SUPPLIES: • Fine grit sanding pad or sandpaper • Painter’s tape • Paper towels • Ruler

• Chalk pencil

• Tracing paper

• White transfer paper • Stylus

• Water bin • Eraser

PREPARATION:

Apply two coats of Gesso using the 1-inch flat brush, allowing it to dry and sanding well after each coat.

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PAINTING INSTRUCTIONS:

The brushes listed and mentioned throughout the instructions are only a guide; they are what I use and what work best for me. When painting the design, use the brush that you are most comfortable with and best fits the area you are painting. Always allow drying time between coats. BACKGROUND: Base with two coats of Dove Grey/Neutral Grey 1:1, using the basecoating brush. Stencilling the background:

The Woodgrain stencil comes in a pack of two. Choose the first stencil (either is fine) and place it horizontally along the top edge of the board, then hold it down firmly; if you prefer, you can keep it in place with a piece of painter’s tape. With the dry stencil brush pick, up a little Grey Sky, wipe any excess paint off on a paper towel, then starting from the left-hand side of the board, gently pounce over the design. Add Dove Grey to the dirty brush, as required, to gradually change the color of the grain as you move towards the center. Next, add a touch of Winter Blue to the dirty brush, again, wipe any excess paint off on a paper towel and gently pounce over the remainder of the stencil. Carefully remove the stencil. Then place the second stencil from the pack and position it directly below the previous stencilled area. Repeat the stencilling process while alternating the stencils each time until you reach the bottom of the board. Painting the panelling:

With the ruler and the chalk pencil, draw a line between each stencilled panel. Place painter’s tape below each line and seal the edges with Glazing Medium and let it dry. Float to shade above the tape with Neutral Grey, side loaded on the ½ inch angular shader, then remove the tape. Place painter’s tape above the drawn lines and seal the edges with Glazing Medium and let it dry. Float to highlight below the tape with Grey Sky and let it dry. Strengthen the highlight with Dove Grey, and then, remove the tape.

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WREATH Stencilling the wreath:

Position the top of the Winterberry Wreath stencil just above the shading between the first and second wood panel in the background while keeping it centered horizontally. Place a piece of painter’s tape on each corner to keep it in place. At this point you can also mask the area where the ribbon will sit, or if you prefer, you can just sidestep the area when stippling. Place Raw Umber and Antique Maroon on your palette. Then using the dry stencil brush, pick up varying mixes of the paint colors with the tip of the bristles. Pounce on a paper towel to remove excess paint, then gently pounce over the stencil. Let it dry, then reload the brush and reapply as required. Remove the stencil. TIP: Feel free to add extra twigs and berries to fill any large gaps on the wreath. To prevent paint from drying on the stencil, wash the stencil regularly between applications. If paint is dry, soak in soapy water, then gently use a small soft toothbrush to remove the paint, especially between the corners of the design. This will ensure crisp edges each time you use it. Rinse, then pat dry with a paper towel. PAINTING THE TWIGS: Using the liner brush with Raw Umber and Antique Maroon, fill all the areas where the stenciled bridges connect so the design has a continuous flow. Paint over the twigs using varying mixes of the same colors watered down to an ink like consistency. Neaten these up as you go and add in extra twigs as required. Let it dry, then apply a couple more coats of the same colors. Add a little Warm White to the mix and add highlights to the overlapping twigs.

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Next, strengthen some of the highlights with Warm White on the dirty brush. Strengthen the highlights once more using Warm White, again, keeping it narrower than the previous highlight. Add some final highlights here and there with a small amount of Laguna. Float to shade the twigs (behind the overlapping ones) with Raw Umber, side loaded on the ¼ inch angular shader. PAINTING THE BERRIES: Base all the berries with two coats of Warm White using the round brush that best fits the area. (refer to above image)

the same color. Dampen the filbert and remove excess water as before, and then, with a mix of Royal Fuchsia/Vivid Violet 2:1, add a highlight by lightly dry brushing the color; again keeping the highlight a little off center on each berry and referring to the picture for placement. Add a little Warm White to the dirty brush, then strengthen the highlight. Keep strengthening the highlight by adding a touch of Warm White to the dirty brush to create a gradual change of color. Brush over each berry with Celebration Pink. Red Orange - With a mix of Cadmium Orange Hue/True Red 2:1, base the berries to a solid coverage. Float to shade with Permanent Alizarin Crimson, side loaded on the ¼ inch angular shader whilst referring to the picture for placement. Next, deepen the shade with the same color. Dampen the filbert and remove

The berries are painted in three shades of red and are referred to below as follows: Plum (Darkest), Pink, and Red Orange (Warmest). Refer to the main photo for reference of placement. Plum - Base with several coats of Permanent Alizarin Crimson using the round brush that best fits the area. Float to shade with Red Violet,, side loaded on the ¼ inch angular shader whilst referring to the picture for placement. Add a little Payne’s Grey to the dirty brush and float to deepen the shade. Dampen the filbert and remove excess water by dabbing on a paper towel, then pick up a little Naphthol Red Light and add a highlight by lightly dry brushing the color; keeping the highlights a little off center on each berry and referring to the picture for placement. Add a little Winter Blue to the dirty brush, then strengthen the highlight. Keep strengthening the highlight by adding a little more Winter Blue to the dirty brush to create a gradual change of color to the highlight. Pink - Base with several coats of Naphthol Red using the round brush to a solid coverage. Float to shade with Red Violet side loaded on the ¼ inch angular shader whilst referring to the picture for placement. Then deepen the shade with

excess water as in the previous berry instructions. Then, with a little Cadmium Yellow Hue, add a highlight by lightly dry brushing the color. Once again keep the highlight a little off center on each berry and refer to the picture for placement. Add a little Lemon Yellow to the dirty brush, then strengthen the highlight. Keep strengthening the highlight by adding a little more Lemon Yellow to the dirty brush to create a gradual change of DECEMBER 2020 ISSUE

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along the left-hand side and the bottom of each letter. Next, outline the lettering with a watery mix of Black Green using the liner. Mix Glamour Dust -Crystal with Glazing Medium and brush over the lettering. Repeat for extra sparkle.

color. Add a touch of Warm White to the brush for the final highlight. TRANSFERRING THE LETTERING AND RIBBON: Trace the pattern onto tracing paper, then, transfer the lettering and the major outline of the ribbon using the transfer paper and stylus; the remaining detail will be transferred later as you move through the pattern. PAINTING THE LETTERING: With a mix of Bright Green/Mistletoe/Driftwood 2:1:1, base to a solid coverage. Then using the same mix and Payne’s Grey 3:1, float to shade with the ½ inch angular shader. Add a little more Payne’s Grey to the previous color mix and float to deepen the shade. Deepen the shade once more with Black Green. Add highlights with Laguna

PAINTING THE RIBBON: Base the ribbon using the filbert with Dove Grey to a solid coverage. Next, transfer the remaining detail from the tracing paper. Base the red stripes on the ribbon with Naphthol Red to a solid coverage. Float to shade with Red Violet/ Naphthol Red 1: touch using the ¼ inch angular shader. Dampen the filbert and remove excess water by dabbing on a paper towel, then pick up a little Cadmium Orange Hue/True Red 2:1 and add a highlight by lightly dry brushing the color in the center of the stripe. Add Lemon Yellow to the mix 1:1 and then strengthen the highlight. Base the green stripes with a mix of Bright Green/ Mistletoe/Driftwood 2:1:1 to a solid coverage. Then using the same mix and Payne’s Grey 3:1, float to shade with the ¼ inch angular shader. Add a little more Payne’s Grey to the previous color mix and float to deepen the shade. Add the highlights in the center of each stripe with Laguna, using the filbert in the same manner as before. Apply a wash with thinned Neutral Grey within the formed ribbon loops. Next, float to shade with Black Green using the angular shader, and then, float to highlight with Dove Grey using the same clean brush. To Define the sections of the ribbon, float to shade using Dove Grey/Neutral Grey 1:1 side loaded on the ½ inch angular shader. Then, deepen the shade with Black Green. Mix Glamour Dust -Crystal with Glazing Medium and brush over the white areas of the ribbon to highlight. Repeat for extra sparkle. EDGE: Carefully paint the edge around the board with a couple of coats of Winter Blue.

FINISHING:

Erase any transfer lines, then apply several light coats of Matte Spray Sealer, allowing drying time between coats. DECEMBER 2020 ISSUE

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Enlarge or decrease the pattern size to fit the surface of your choice. Enlarge design to 200% per artist.

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Directory of artists LINDA COULTER Cottage@LindaCoulter.com

MARIKA MORETTI marikacountrydesigns@gmail.com LESLIE SMITH aspaints2@gmail.com URSULA WOLLENBERG uswoll@gmail.com ANITA CAMPANELLA anita.campanella@libero.it

EFFIE CARYANNIS effiecarayannis@optusnet.com. au DEBBIE COTTON simplycottonart@gmail.com AMANDA NOVAES amandanovaes@yahoo.com.br BARBARA BUNSEY bbunsey@calicogoose.com DIANE TRIERWEILER tolebridge!@aol.com

Directory of Suppliers https://www.grisaille.com/shop/ https://www.dickblick.com/ https://pinecraftinc.com/collections/ marika-moretti https://decoart.com/ https://dynastybrush.com/

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https://timholtz.com/ https://dianetrierweiler.com/brushes.htm www.etsy.com https://www.cdwood.com/ www.amazon.com simplycottonart@gmail.com

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harvest your creativity update your furniture with Chalk Mineral Paint

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December 2020 Issue Painting World Magazine

Articles inside

Passing the Paintbrush

6 Directory of Suppliers

A Look into the Historical Florals of Decorative Painting Part 5-6

It’s a Wrap