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6 Directory of Suppliers

from December 2020 Issue Painting World Magazine

from December 2020 Issue Painting World Magazine, page 41

A Look into the Historical Flo...

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) We will need one more layer of fur but let us save that until the end as a final touch to the fur.

Image 1

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)

Image 2

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)

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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

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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 “C” 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

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)

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Final image

FINISHING:

Just Add a layer of Varnish Spray.

A SUGGESTION:

You can add some DecoArt® Glamour Dust on the “Flying Effect” area.

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.

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, Valentines’ 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?

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 • Avocado DA052 • Buttermilk DA03 • Burnt Sienna DA063 • 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 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.

PAINTING INSTRUCTIONS:

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

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.

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. Repeat with Buttermilk, but a bit more sparsely. 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.

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 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.