February 2017 New Year Issue 06 Painting World Magazine by Loon Publishing, LLC.

Decorative Painting, Mixed Media, Fine Art & More!

February 2017

Painting World Issue 07

NEW YEAR ISSUE

ÂŽ

magazine Cover Artist:

Mabel Blanco Organizational Compulsive Desire (OCD)

by Tracy Weinzapfel

Innovative Corner: Integrating Decoupage!

by Debbie Cole

$7.99 USA $10.35 Canada

Subscribe Today! Please send me 1 year of Painting World Magazine (7 issues). I’ve included a check or money order made out to Magpie Publishing, LLC. I understand that I will receive the closest issue available depending on when my check was received. (Subscriptions received within 30 days of our next issue will begin with the following issue to allow printing time) • US Subscriptions send $29.99* (non-Ohio residents) for the full years’ subscription • Ohio subscriptions send $32.16 (we have to pay state tax) • Canadian & International subscriptions must be paid with credit card or PayPal. Please call to order or order at www.paintingworldmag.com, shipping rates vary. Please include an email address if you would like to be notified immediately that we have received your check. Email addresses are never shared or spammed.

Subscribe through the mail: New Subscription

Renewal

Name: Address: City: Zip Code:

State: Phone #:

Email:

Price: $29.99 USA | See website for International orders www.paintingworldmag.com

Mail to: Painting World Magazine, PO Box 1236 Miamisburg, Ohio 45323-1236 Your privacy is IMPORTANT to us! We never sell, share or otherwise distribute any of your personal information for any reason whatsoever. For help, please call 937-343-4440 12-5 Eastern Time or email info@paintingworldmag.com any time. *Price is for US subscriptions in lower 48 states only. Extra shipping charges apply to Hawaii, Alaska, Canada, and all other countries.

Painting World Magazine

About Painting World Magazine Who We Are

About the Magazine

Painting World Magazine is owned and operated by Magpie Publishing, LLC., which is an independent publishing company. We are completely dedicated to the joy of creating delivered to our readers! We select only the best articles from the top designers in the industry and will be featuring all the hottest new techniques, products and artists.

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

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

How To Contact Us

Editor-in-Chief, Laura Rucker, is a lifelong member of the artistic community and has grown up attending conventions around the United States, surrounded with decorative artists her entire life. Together with top designers, photographers, outstanding writers and a passionate readership, our team is absolutely in love with this industry and entirely committed to helping it grow while always feeding the artistic love of our readers!

US Subscriptions are $29.99 per year. Canadian and International subscriptions are available! Please visit our secure website online at www.paintingworldmag.com for full details and prices for international subscription shipping.

Our Mailing Address: Painting World Magazine PO Box 1236 Miamisburg, OH 45343-1236 Phone: 937-343-4440 Email: info@paintingworldmag.com Facebook: www.facebook.com/ PaintingWorldMag Twitter: www.twitter.com/Painting_World

ALL RIGHTS RESERVED ON ENTIRE CONTENTS. February 2017, Issue 03 ©Magpie Publishing, LLC. Painting World Magazine is published 7 times per year by Magpie Publishing, LLC., 3318 Ultimate Way, Dayton, OH 45449, USA. All rights reserved on entire contents of magazine. We are not responsible for loss of unsolicited material. We reserve the right to edit and publish correspondence unless specific commentary and/or name and address are requested to be withheld. 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 $29.99 for 7 issues. Distributed in the United States and worldwide.

Painting World Magazine brings its readers the best painting and mixed media tutorials from some of the top artists worldwide in the decorative arts industry. We are focused on creating a community full of people who inspire each other and share great ideas! Our readers can learn about decorative painting, tole painting, mixed media, fine art and craft projects, and more! Editor-in-Chief: Laura Rucker Proofing & Editing: Jennifer McConkey Submissions info: paintingworldmag.com/ pages/submissions

Made In Ohio

Printed & Shipped by Truax Printing®, Inc. Loudonville, OH.

February 2017 Issue

© 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag.com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http://www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Painting World Magazine

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

Best Western Royal Plaza Hotel and Trade Center

181 Boston Post Road West, Marlborough, MA 01752

Imagine•Create•Inspire! with painting friends old and new. 100+ classes, demos, special events, and the best decorative arts shopping experience in the Northeast. Thank you painters, teachers, and business partners! Get registered: www.newenglandtraditions.org

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

45th Annual Society of Decorative Painters International Conference & Expo. “Oceans of Color”

Heart of Ohio Tole Chapter’s 37th Annual Decorative Painting Convention “Cooking up some Painting Fun” August 14-19, 2017 Greater Columbus Convention Center Columbus, Ohio “We offer painting classes in a variety of skill levels and mediums. Registration is required for the painting classes. You do not need to be a member of HOOT or any other painting organization to attend our convention.” Sign up at: http://heartofohiotole.org/convention

May 17-20, 2017 Hilton Daytona Beach Resort / Ocean Walk Village, Daytona Beach, Florida “Daytona Beach is one of America’s favorite beach destinations. Bring your family and friends, and enjoy four days of painting, shopping, creativity and fun!” Sign up at http://decorativepainters.org © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag.com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http://www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

February 2017 Issue

Contents

Blue Jay & Dogwood Flowers by Featured Cover Artist: Mabel Blanco

Tea Time by Deb Antonick

Vintage Shoes by Diane Trierweiler

Spring Blessings by Helena Rizzaro Andrejev

Merci Rose by Terry Holte

Spring Tea by Debbie Cole

Broken Tulips by Barbara Bunsey

Happy Easter Basket by Karen Wisner

A Moment In Time by Patti DeRenzo

A White Rose by Leslie Smith

Red Flower Dress by Lori Puszakowski-Schmidt

MORE GREAT ARTICLES!

14 Organizational Compulsive Desire (OCD)

by Tracy Weinzapfel

49 Innovative Corner:

Integrating Decoupage

Feather Trio by Kelly Hoernig

by Debbie Cole Picasso Calla by Sandi Greco

of 94 Directory Artists & Suppliers

Blue Jay & Dogwood Flowers by Mabel Blanco

Painting World Magazine

One of the signs that winter is ending is when birds start to fly home again, bringing their bright colors with them. Get ready to welcome spring back with this beautiful blue jay painting.

over the past twenty years, and is the founder and coordinator of a school that helps artists become decorative painting teachers.

Surface:

Mabel is an Argentinian artist, and a Senior Lecturer on drawing and painting. She’s a member of the National Society of Tole and Decorative Painters and the Tango Decorative Artists of Argentina. In 2013, she was an honorary member of Decorative Painter Italia. She’s also a member of the board of directors of the National Museum of Decorative Painting in Atlanta, Georgia. Mabel has been a Helping Artist and a Traditions Artist for DecoArt®, and Jansen Art gave her the title “Traditions Artist” in 2004. She’s taught many classes, including classes at seminars and conventions. She participated in a national TV program in Bolivia in 2011, and taught at some seminars in Milan, Italy in 2011 and 2012. Mabel has won several awards

Next, transfer the design using transfer paper.

• 14” Oval Stretched Canvas

Painting Instructions:

DecoArt Traditions™ Acrylic Palette:

Bird:

• DAT44 Burnt Sienna • DAT46 Burnt Umber • DAT42 Carbon Black • DAT14 Hansa Yellow • DAT43 Raw Sienna • DAT45 Raw Umber • DAT35 Titanium White • DAT26 Ultramarine Blue • DAT19 Pine Green • DAT51 Permanent Alizarin Crimson

You’ll use the following steps to paint the feathers with the colors listed for each section:

About Mabel

Pine Green is the main color; only use touches of Raw Sienna and Carbon Black.

• Load the liner brush (unless otherwise specified) with very diluted paint.

Royal & Langnickel AqualonTM Brushes: ®

Before beginning to paint, look at the picture and the pattern, paying close attention to the directions of the feathers.

• 1” Shader 2700 • #6 Shader 2150 • #1 & #3 Round 2250 • #1 Liner 2595

Miscellaneous Supplies: • Tracing Paper • Transfer Paper • Pencil • Stylus or Pen

Preparation: Basecoat the canvas with the criss-cross technique using the #1 round brush and Pine Green, Carbon Black, and Raw Sienna. You’ll make these applications by floating the areas in all directions. You must apply the colors next to each other, overlapping them.

• Lean the brush on the surface, slide it slowly, and then raise it. • Always let the paint dry between coats. Using the #6 flat brush and Ultramarine Blue, paint the feathers on the tail, the wing, the upper bird body, and the top of the head. With the same brush and Titanium White + Carbon Black (4:1), paint the feathers on the lower chest, the eye contour, the lower part of the eye, and below the beak. (Figure 1) With the #6 flat brush and Carbon Black, paint the plumage in the area that divides the head from the body. Using the #1 round brush and Carbon Black, paint the divisions between each tail and wing feather, following the directions listed above. (Figures 2 & 4)

February 2017 Issue

Painting World Magazine Figure 1

Figure 2

Figure 3

February 2017 Issue

ÂŠ 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag.com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http://www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Painting World Magazine Figure 4

In the same way, and using the same color and brush, paint the horizontal wing plumage lines, the contour near the eye, and the part that goes to the beak. (Figure 3) Look at the picture, and remember that we are painting feathers. When the paint is dry, use Titanium White to paint some highlights over the wing feathers and on the tail zone. (Figure 4) With the liner and a diluted mixture of Ultramarine Blue + Titanium White (2:1), paint several layers of small feathers on the blue area of the body. Let the paint dry between coats. Using the same brush and diluted Titanium White, paint several layers of feathers on the gray parts of the body.

Figure 5

With a mix of Titanium White + Carbon Black (4:1), paint some feathers under the beak and wing to give them a shadow zone. Next, use the #3 round brush and Carbon Black + a touch of Titanium White to paint the entire beak, and let it dry. Then, with the edge of the same brush, make horizontal strokes using well-diluted Titanium White to lighten and mark the top division of the beak. Continuing with the same brush, paint the lower part of the beak Carbon Black. (Figure 2) Paint a circle for the base of the eye with the #3 round brush and Carbon Black + Titanium White (1:2), and let it dry. With the same brush and Carbon Black, paint another small circle inside that. (Figure 3)

When the surface is dry, use the #1 round brush and Titanium White to paint small points in the lower-left gray zone. Also, paint a white point on the upper right eye zone using Titanium White diluted with water. With the #3 round brush and Carbon Black, basecoat the legs and feet. When thatâ&#x20AC;&#x2122;s dry, use the same brush and a mix of Carbon Black + Titanium White to paint the tops of the legs to highlight them. (Figure 5)

Branch: Using the #3 round brush and Raw Umber + Titanium White (3:1), paint the whole branch with short strokes. Add more Titanium White to some of the base mixture, and paint the top of the branch to

February 2017 Issue

Painting World Magazine Figure 6

Figure 7

highlight it. Then, add a touch of Carbon Black to the base mixture, and paint the shadow on the lower part of the branch. Perform both steps with the #3 round brush by tapping and using short strokes.

Figure 8

Flowers and Buds: Keep in mind that you’ll paint all the flowers with brush strokes directed to the flower’s center. Paint all the petals with the #6 flat brush and Titanium White, and let them dry. If necessary, paint the petals a second time. (Figure 6) Then, paint some small petal cuts with the #3 round brush and watered down Burnt Sienna, and let them dry. (Figure 7) Using the #6 flat brush and Permanent Alizarin Crimson, paint all the petals again, and let them dry. With the #3 round brush and a well-watered-down mix of Hansa Yellow + a touch of Pine Green, paintbrush strokes on the edges of some petals, looking at the picture for reference. (Figure 8) February 2017 Issue

Painting World Magazine With well-watered-down Burnt Umber, paint the shadows on the petals. Paint the flowersâ&#x20AC;&#x2122; centers with the #1 round brush and Pine Green, and let them dry. Then, paint the green flower centers with a mix of Hansa Yellow + a touch of Pine Green. Finally, paint the white/light point with Titanium White and the #1 round brush. I hope you enjoy painting this project. Thank you! ~Mabel Blanco

Download all line drawings ready to print here: http://bit.ly/2jCkuxW

February 2017 Issue

Painting World Magazine

Organizational Compulsive Desire (OCD)

by Tracy Weinzapfel For many, the start of a new year usually means making resolutions, getting organized, and a having fresh start. When you have OCD, or Organizational Compulsive Desire as I call it, you have that every day: the strong desire to be organized. Let’s forget the labels for a second, and recognize that no matter what kind of person you are (OCD to chaos), there is nothing more frustrating than to be working on a project and have to stop and find that one thing you bought for a special occasion and now cannot find. It is that one special paint, pattern, brush, piece of ribbon, button, or gemstone that you specifically knew would suit just this piece, and you cannot find it. You pull apart your entire space (big or small) and everything has to stop. We’ve all done it.

My special occasion is every time I pick up my paintbrush, I have a vision, or I feel the need to create. My active art journals

are readily available for me to get my creative side on.

I am fortunate that OCD/ Organizational Compulsive Desire runs in my family. My mom has a label for every decorative basket, and my dad has all his nails and screws conveniently sorted and binned for each specific project. I thank them for their example, but not everyone has that.

So what does that mean for those on a budget or those whose budget went into their supplies? Now, I preface this article by saying that my chosen occupation and work as an artist/teacher/artisan has attributed to my organization, but I started in a small corner of a house with three kiddos, on a fold-up table in my living room.

Time and desire led to a full, custom art studio that I’ve put my heart and soul into.

I’m the type of person who wants to avoid this at all costs. I am a “view it or lose it” kind of person. February 2017 Issue

Painting World Magazine I’ve built my studio nail-by-nail, shelf-by-shelf, and desk-by-desk into what it is today. My containers have graduated with each upgrade.

The place to start is your corner, closet, room, or whatever space you have, and make it a space that speaks to you. If you work well with chaos, mess, and clutter, then go for it. I, on the other hand, need to see things. Everything has to have a space. I need to have easy access to all my items, or they’re in that creative abyss. Let’s start with paints. I am maybe most famous for my Wall ‘O Paint, which has been a steadfast, focal, rainbow art piece on my wall. I made this by mounting inexpensive ceiling T-grid to the wall. I used 4’ metal T-grid strips for an acoustic drop-down ceiling that you see in most commercial uses. I purchased the strips at

the hardware store for about $2.50-$3.00 for a 4’ section, and installed them into the studs with screws, leaving approximately 5” between shelves. There is a natural lip on them to keep your items secure. (see photo to the right-->) Now for some purchasing tips. Over time, I’ve invested in plastic containers, which can be pricey. I try to use standard, easy-to-find ones, and buy in bulk when possible. I’ve also reused the containers as the need comes up, and try not to get caught up in the latest trend of colors and patterns; however, I do have some decorative ones on my table tops. Clear plastic is the way to go, so you can see what is in there. But there are so many other things that I have in my studio that keep the workflow going…

I keep ribbons, stamp pads, and brushes in containers; in my case, they even have their own drawers. My favorite brushes are easily at the ready. Also, you should clean up after every project, if and where it’s possible. If you keep things out, you waste so much more time trying to find something later than you would have if you’d just taken the five seconds to put it back in it’s place. Even if I transfer to the next project, I make cleaning up after each project a daily habit of mine. Plus, I found coming into a clean studio just feels good and refreshing. My dad has the motto “the right tool for the right job.” If you have tools like paper cutters, sewing machines, die cutters, etc., find them a home if space allows. Other things that I find motivating are keeping my own art or recent pieces up on display, and having sayings that motivate me on each of my walls.

February 2017 Issue

Painting World Magazine

Keep those horizontal spaces as free and open as possible. Piles have a way of reproducing and growing. So for my fellow artist friends who suffer with OCD, or Organizational Compulsive Desire, join me in whipping those studio spaces back into shape, and ask yourself honestly, “What makes a ‘special occasion’?” “When will I use or lose it?” and “What settles in the depths of those piles, and where is my label maker?” Be mindful that you cannot take the stuff with you (or else I would need an 11’ X 14’ X 12’ square foot box). And yes, those paint colors may have been discontinued and it’s time to say goodbye, but there are a zillion other colors waiting for you!

Make your space a place that brings you joy! Take it to the level that you can afford and that your space will allow. For me, this has always been my sacred space that I want to step into to lose myself in what I love. For more tips and tricks, make sure to visit my website at www.tracyweinzapfelstudios.com Tracy Weinzapfel owns and operates her own Art Studio, Tracy Weinzapfel Studios. She works as a full-time licensed Mixed Media Artist who hosts a show on the internet called Mixed Media Monday and teaches art workshops across the USA and beyond. Tracy is happiest in her studio painting and living life with a creative edge. Her great joy is sharing and teaching her passion for art and everything colorful. February 2017 Issue

Tea Thyme

by Deb Antonick

Painting World Magazine

Inspired by Terrye French This fun, colorful painting is perfect for decorating your kitchen or giving to a friend. In this project, you’ll use different types of paints to create a beautiful product. You’ll also use a few mixed media techniques to give your painting a unique feel.

Surface: • 12 x 18” Elegant Scrolls Wood Anyway Tray #WDSF1255 from Creative Arts Lifestyle

Miscellaneous Supplies: • 1/4” Polka Dot Stencil • Tim Holtz® Doily Stencil THS018 • Tim Holtz Mélange Tissue Wrap Paper TH93042 • Palette Knife • Stylus • Scissors • Old Credit Card • 4” & 6” Doilies • Paper Towels

Americana Decor® Chalky Finish™ Paint: • ADC33 Revive • ADC34 Keepsake • ADC32 Rejuvenate • ADC31 Cherish • ADC01 Everlasting

About Deb

DecoArt Media®:

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

• DMM20 Matte Medium

My painting journey began in 1990. From the first time I picked up a brush I was hooked. I painted for craft sales and taught classes at Michaels® for five years. Since then I have gone on to be one of the originalfounding members of Painting with Friends®, the brainchild of my friend Terrye French. February 2017 Issue

Media Fluid Acrylics™: • DMFA03 Burnt Umber • DMFA12 Dioxazine Purple • DMFA29 Primary Magenta • DMFA39 Titanium White • DMFA32 Quinacridone Gold • DMFA09 Cobalt Turquoise Hue • DMFA44 Viridian • DMFA30 Prussian Blue Hue • DMFA05 Carbon Black

Americana Acrylics: ®

• DA333 Aqua Sky • DA292 Coral Blush • DA316 Coral Shell • DA269 Foliage Green

• DAO34 Lavender • DAO51 Leaf Green • DA164 Light Buttermilk • DAO7 Moon Yellow • DA264 Mustard Seed • DA306 Soft Heather • DA277 Spa Blue • DA325 Sunny Day • DA317 Sweet Mint • DA332 Teal Mist • DAO39 Victorian Blue • DA324 Watermelon Slice • DA211 Wisteria

Dynasty® Black Gold® Brushes (206 Series): • #10 & #4, Flat Shaders 206S • #10/0 Liner 206L • #2 Round 206R • 1/4”, 3/8”, & 1/2” Angular Shaders 206A • 1” or 5/8” Decorator Series Mop 400 • 3/4” Eye of the Tiger® Flat Glaze Brush 635F • X-Large, Large, Medium, & Small Mezzaluna Brushes 2307 • Ink-Pastel-Chalk® Series 8 Small Detailer Foam (Berry Maker) 23593 • 1/2” Stencil Brush 22183

My Basic Techniques: Tip: Refer to the color photo for shading and detail placement.

Chalky Finish Paint: I love using DecoArt Chalky Finish paints as a background. You don’t need to seal the surface when using Chalky Finish paint. I like to apply the paint with my Dynasty Eye of the Tiger 3/4” glaze brush for a nice, even coat.

Painting World Magazine

Stenciling with Paint: Load the stencil brush with paint, and then tap it onto a paper towel to remove the excess; use as little paint as possible, so as not to bleed under the stencil. Pounce the surface, working from the center outwards.

Float/Shade: I always float my color with the angular shaders. Mop to soften with a mop.

Line: Unless otherwise stated, do all lining with the 10/0 liner and the paint watered down to an ink-like consistency.

Basecoat: Use the brush that best fits the size of the area to be painted.

Wash: Water the paint down just enough to maintain the color, but create a transparent color. Blot the brush on a paper towel to remove excess moisture before painting.

Preparation: Basecoat the entire board with Revive Chalky Finish Paint. Slipslap the background using Revive, picking up small amounts of Cherish, Keepsake, Rejuvenate, and Everlasting. Blend softly until you are happy with the color. Let the paint dry, and then trace on the pattern. Stencil the ground with the doily stencil and Everlasting Chalky Finish Paint. Transfer the pattern onto the Tim Holtz paper, and cut it out. Cut the 4â&#x20AC;? doily in half. Adhere all the papers with Matte Medium. Smooth into

place with the brush, and then use an old credit card to remove any bubbles. The half doily is for under the teacup. Apply a thin coat of the Matte Medium over the entire surface to seal it. Let it dry. Shade around the entire design with Media Burnt Umber. Next, basecoat/tint the papers with washes. For the yellow teacup (top), wash with Moon Yellow, for the purple teacup (middle), wash with Wisteria, for the pink teacup (bottom), wash with Coral Blush, and for the green teacup, wash with Sweet Mint. Wash the teapot with Aqua Sky. Transfer the remaining pattern lines.

Base the heart with Coral Blush. Shade the left side with Watermelon Slice. Highlight the upper right with Coral Shell. Deepen the shading with Media Primary Magenta. Line a highlight with Media Titanium White. Float the scallops around the heart with Media Titanium White. Dot the flower center with Moon Yellow. Line the flower petals with Media Titanium White. Line the stem with Media Carbon Black.

Purple Teacup: Shade the purple teacup with Lavender. Drybrush it with Soft Heather.

Painting Instructions: Blue Bird: Basecoat the blue bird with Aqua Sky. Shade it with Victorian Blue. Drybrush it with Spa Blue.Deepen the shading with Media Prussian Blue Hue. Line the plaid on the wings with Media Titanium White. Dot the eye with Media Carbon Black. Dot the pupil with Media Titanium White. Base the beak with Moon Yellow. Shade it with Mustard Seed. Highlight the tip with Sunny Day. Deepen the shading with Media Quinacridone Gold.

Yellow Teacup: Shade the yellow teacup with Mustard Seed. Drybrush it with a little Sunny Day. Deepen the shading with Media Quinacridone Gold. Line along the top of the cup with Media Titanium White.

February 2017 Issue

Painting World Magazine Deepen the shading with Media Dioxazine Purple. Line along the top of the cup with Media Titanium White. Base the house with Aqua Sky. Shade it with Victorian Blue. Drybrush it with Spa Blue. Deepen the shading with Media Prussian Blue Hue.

All Stems & Leaves: Line the stems with Media Carbon Black. Base the leaves with Foliage Green. Shade them with Leaf Green, and highlight them with Sunny Day. Deepen the shading with Media Viridian.

Base the lemon with Moon Yellow. Shade it with Mustard Seed. Highlight it with Sunny Day. Deepen the shading with Media Quinacridone Gold. Line the sections with Media Titanium White.

Doily:

Teapot:

Wash over the doily with Light Buttermilk. Highlight the edges with Media Titanium White. Line the stitching and the bow with Media Carbon Black.

Green (Lavender Tea) Teacup:

Cut the 6” doily to fit, and adhere it with Matte Medium (as above). Let it dry. Shade the teapot with Victorian Blue. Highlight the spout and the handle with Spa Blue. Stencil the teapot with the 1/4” polka dot stencil and Media Titanium White.

Line the fence and dot the door with Media Titanium White. Line the tree trunks with Media Burnt Umber tipped in Media Carbon Black.

Shade the green teacup with Teal Mist. Drybrush it with a little Media Titanium White. Deepen the shading with Media Cobalt Teal Hue.

Deepen all the shading with Media Prussian Blue Hue. Brighten the highlights with Media Titanium White.

Use the IPC foam detailer tipped in Foliage Green to tap in the leaves. Repeat with Leaf Green, and finish with Media Viridian.

Pink Teacup:

Float the scallops with Light Buttermilk. Float along the bottoms with Media Titanium White. Dot with Media Titanium White. Line the lavender stems with Media Carbon Black.

Shade the pink teacup with Watermelon Slice. Drybrush it with a little Coral Shell. Deepen the shading with Media Primary Magenta. Line along the top of the cup with Media Titanium White.

Load the 1/4” angular shader with Media Dioxazine Purple, and tip it into Media Titanium White. Tap in the Lavender, working from the top down, and reloading often.

Use Light Buttermilk to base the roof. Shade it with Media Quinacridone Gold. Highlight it with Media Titanium White. Base the windows and door with Media Carbon Black. Outline them with Media Titanium White.

Base the flower center with Moon Yellow. Shade it with Mustard Seed. Highlight it with Sunny Day. Deepen the shading with Media Quinacridone Gold. Dot the center with Spa Blue, and then again with Victorian Blue. Use Light Buttermilk to base the flower petals. Shade at the base of the petals with Aqua Sky. Highlight the tips with Media Titanium White. February 2017 Issue

Base the tag with Light Buttermilk. Shade it with Media Burnt Umber. Drybrush with Media Titanium White. Line the string, lavender stems, and lettering with Media Carbon Black. Line the bow with Teal Mist. Tap in the Lavender with the liner brush loaded with Media Dioxazine Purple tipped in Media Titanium White.

Wash over the doily with Light Buttermilk. Highlight the edges with Media Titanium White. Line the stitching and the bow with Media Carbon Black.

Heart: Use Coral Blush to base the heart. Shade the left side with Watermelon Slice. Highlight the upper right with Coral Shell. Deepen the shading with Media Primary Magenta. Line a highlight with Media Titanium White. Basecoat the yellow circles with Moon Yellow. Shade them with Mustard Seed. Highlight them with Sunny Day. Deepen the shading with Media Quinacridone Gold. Basecoat the purple circles with Wisteria. Shade them with Lavender. Highlight them with Soft Heather. Deepen the shading with Media Dioxazine Purple.

Painting World Magazine Highlight the upper right with Coral Shell. Deepen the shading with Media Primary Magenta. Dot with Media Titanium White.

Yellow/Purple Flowers: Use Moon Yellow to base the petals. Shade them with Mustard Seed. Highlight the tips of the petals with Sunny Day. Deepen the shading with Media Quinacridone Gold. Brighten the highlights with Media Titanium White. Basecoat the centers with Wisteria. Shade them with Lavender.

Line highlights with Media Titanium White. Shade under the heart, on the doily, with Media Quinacridone Gold.

Flowers: Basecoat the yellow flower with Moon Yellow. Shade it with Mustard Seed. Highlight it with Sunny Day. Deepen the shading with Media Quinacridone Gold. Brighten the highlight with Media Titanium White. Use the #2 round brush loaded with Media Quinacridone Gold tipped in Media Titanium White to stroke in three “petals.” Basecoat the purple flowers with Wisteria. Shade them with Lavender. Highlight them with Soft Heather. Deepen the shading with Media Dioxazine Purple. Brighten the highlight with Media Titanium

White. Use the #2 round brush loaded with Media Dioxazine Purple tipped in Media Titanium White to stroke in three “petals” on each flower. Line the stamens with Media Carbon Black, and dot the ends with Sunny Day. For the stems and leaves, see the “All Stems and Leaves” instructions above.

Tall Flowers: Tulips: Use Aqua Sky to base the tulips. Shade them with Teal Mist. Drybrush the tulips with a little Media Titanium White. Deepen the shading with Media Cobalt Teal Hue. Line the stripes and dot the tops with Media Titanium White.

Heart Flowers: Base the heart flowers with Coral Blush. Shade the left side with Watermelon Slice.

Drybrush the centers, and then float a highlight, with Soft Heather. Deepen the shading with Media Dioxazine Purple. Dot the centers with Media Carbon Black, and then again with Spa Blue. With Media Carbon Black, line the stems and bows. See the “All Stems and Leaves” instructions above for the leaves.

Finishing: Outline as desired with Media Carbon Black. Line the stems in the yellow teacup with Media Carbon Black. Use the IPC foam detailer tipped in Moon Yellow to tap in the flowers. Repeat with Media Titanium White. Use the #2 round brush with a wash of Media Titanium White to line the steam from the teapot spout. Paint the sides of the tray with Carbon Black, and then build the tray. Now it is time for tea!

February 2017 Issue

Painting World Magazine

February 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2jCkuxW

Painting World Magazine

(Rest of handle on bottom of page)

Edge of teapot Download all line drawings ready to print here: http://bit.ly/2jCkuxW handle --->

February 2017 Issue

Vintage Shoes

by Diane Trierweiler

I am sure you will enjoy painting this project, because there are many different techniques used throughout it. You’ll use stenciling, SaranTM wrap texturing, scumbling, and general painting techniques. If you haven’t painted on canvas before, you will find it very easy

to work on. There is no preparation to the surface, and it’s much like painting on fabric. Be sure to add your own touches to the painting, such as using old items for embellishments. What a great gift this would make for yourself or that friend who enjoys shabby chic items.

About Diane I have been painting for about 40 years. I first started painting in oils in the fine arts. My love of painting evolved into watercolors and acrylics. I also enjoy teaching people how to paint, so 32 years ago, I opened a shop called The Tole Bridge in Norco, California. I teach classes all year long in my shop, and I have a full line of

Painting World Magazine

also travel-teach throughout the United States and Canada. The joy of painting has allowed me to meet many wonderful people and to share my passion for the arts. painting supplies. From there, I also began to teach decorative painting. I started publishing books, magazines, packets, and DVDs. I

Surface: • 8” x 24” Polyester Box Canvas, from Diane Trierweiler

DecoArt Americana® Paints: • DA164 Light Buttermilk • DA058 Antique White • DA161 Graphite • DA01 Snow (Titanium) White • DA163 Honey Brown • DA107 Teal Green • DA267 Poodleskirt Pink

February 2017 Issue

Painting World Magazine • DA082 Evergreen • DA057 Jade Green • DA150 Royal Purple • DA212 Deep Periwinkle • DA046 Sea Aqua • DA162 Antique Mauve • DA128 Deep Burgundy • DA117 Dazzling Metallics® White Pearl

Saran wrap into Graphite, and pounce it out onto your palette.

Loew-Cornell® Brushes:

Painting Instructions:

• 3/4 Glazing #798 (for varnishing) • #6 & #12 Flat #7300 • Large Dome • 1/2 Angle #7400 • 10/0 Liner #7350 • #2, #4, & #8 Filbert #7500 • 1/2 Filbert Mop #7600

Left Shoes:

Miscellaneous Supplies: • Saran Wrap • Old French Script DecoArt® Stencil ADS10 • Gloss Varnish • Water Basin • Palette Paper • Paper Towels • Graphite Paper • Stylus

Preparation: Use your large filbert brush to slip-slap Light Buttermilk and Antique White over the entire canvas. You should be able to see both colors and the mix of both. There should be a lot of texture. Let this dry, and begin applying the stencil to the two corners of the canvas. Use your dome brush with Graphite to pounce in the letters. Next, scrunch a sheet of Saran wrap up into a ball. Dab the February 2017 Issue

Lightly pounce around the edges of the canvas. Fill the corners in into a triangle shape. Let this dry, and add a little Teal Green throughout the Graphite. Let the canvas dry, and place your basic pattern lines on with graphite paper.

The background painting on the canvas is the base color of the shoes. Base in the heel and the soles of the shoes with Graphite. Use your 1/2” angle brush with a corner load to begin adding shadows inside of the shoes with Honey Brown. Make the second shade with Burnt Umber. With your dome brush, drybrush Titanium White highlights along the edges and on the interiors of the shoes. Highlight the heel of the shoe with a drybrush of Light Buttermilk. Add a little water to Graphite, and place in the swirls and lines of the lace design on the sides of the shoes with your #2 filbert and your liner brush. Use your angle brush to shade this area using Graphite. Let the paint dry. Tint here and there with Antique Mauve, and then with Sea Aqua. Add washy shadows of Burnt Umber under the shoes. You should do this in several layers. Loosely base in the roses next to the shoes with Antique Mauve using your #4 filbert. With the same brush, add some

Helpful Hints: The term “to scumble” means to slip-slap two colors together to create a third color. This will also create texture. I used this technique on the background of the canvas. Instead of remaining flat and “one-colored,” the background will have texture and variety. I also use tints throughout a design. You will need to use about 80% water to 20% paint for this mixture. This will allow you to carry the palette of colors throughout the design. For instance, the black and white shoes on the far left have tints of pink from the pink shoes and tints of teal from the teal shoes. This is repeated on the other two sets of shoes and around the edge of the design. When you shade or highlight, always use two levels of shadows or highlights. Your first level should be the widest, and the second level should be a little narrower.

Painting World Magazine Tint here and there with Teal Green, and then with Deep Burgundy. Base all of the green areas of the shoes with Teal Green. Use Light Buttermilk to base in all of the trim and the detail design on the shoes. Highlight the Light Buttermilk areas with Titanium White using a drybrush method. Next, base the soles of the shoes with Graphite. Use your dome brush to drybrush highlights on the Teal Green areas with Sea Aqua.

shadows with Deep Burgundy, and highlights with Poodleskirt Pink. You can do this while the colors are still wet.

With the #2 filbert brush, tap in Royal Purple flowers, adding Titanium White to them while they are still wet.

If you need a little more light in your highlight areas, just add a little Light Buttermilk here and there. Tint in the darker areas with Royal Purple.

Middle Shoes:

Use your #2 filbert brush to paint in the leaves. Do this with Evergreen, Jade Green, and a few with Sea Aqua. You can simply stroke them in. They are too small to shade them or highlight them.

Add water to Honey Brown, and wash inside of the shoes. This should be an 80% water to 20% paint mix. Let this dry, and add your first shadow with Burnt Umber using your angle brush. When thatâ&#x20AC;&#x2122;s dry, and add a second shade with Graphite.

Use your angle brush with a corner load to add shadows with Graphite. Base in the button on the shoe with White Pearl. Add a shadow line under the button with Graphite using your liner brush. Add shadows under the shoes with Burnt Umber. You should do this in at least two layers as washes of colors.

Right Shoes: Use a flat brush to base in the shoes with Antique Mauve. Use your angle brush with a

February 2017 Issue

Painting World Magazine corner load to add shadows with Deep Burgundy. With your dome brush, drybrush highlights here and there using Poodleskirt Pink. Do a second shade on the shoes with Deep Burgundy. Add more highlights here and there with Light Buttermilk. Place in the White Pearlescent beads on the tops of the shoes. You can do this with the end of your brush handle so that they look more like beads. Shade heavily around them using Deep Burgundy. Tint the pink areas of the shoes with Royal Purple, especially in the darker areas. Use your angle brush to shade inside of the shoes with Honey Brown. Do a second shade with Burnt Umber. Use your liner brush with Graphite to line around the edges of the interiors of the shoes.

Stand back and look at your painting, and see if you need more definition to your shadows or highlights. Make adjustments to the tints so that you can pull the palette throughout the design.

When you are satisfied, varnish with one coat of gloss varnish. This will not make the canvas too shiny, but will give it protection and a nice finishing sheen. Enjoy!

Tint the insides of the shoes with Sea Aqua, and then Antique Mauve. Shade under the shoes with Burnt Umber in several washy layers.

Finishing: Paint the roses on the lower right hand corner of the canvas in the same way as you painted the roses on the left shoes. Stipple a little Deep Periwinkle throughout the design to indicate small lavender flowers. Base in the “Vintage Shoes” letters with Graphite.

February 2017 Issue

Painting World Magazine

Enlarge drawing 200% for full size painting.

Download all line drawings ready to print here: http://bit.ly/2jCkuxW

February 2017 Issue

Spring Blessings by Helena Rizzaro Andrejev

Painting World Magazine

Nothing announces that spring has arrived more than the crocus flowers! With their vibrant colors, they come out of the cold snow as tiny warriors declaring victory once again. And year after year, we can expect those bold flowers to be the first ones of the season to bring us so much happiness. This project invites you to bring spring into your home. You’ll learn to softly blend oils and to use line drawing for delicate details. Let’s get ourselves comfortable, and if you have a window nearby, even better. Now we can paint this lovely design while watching spring getting closer every minute.

and the American Society of Portrait Artists. Several painting magazines have published her artwork, and she’s won awards and painting competitions. The SDP chose her artwork to be the theme of a convention, and Helena has an original painting at the U.S. Library of Congress. Originally from Brazil, Helena began drawing figures from comic books before she even learned to write. She’s taught several classes in Brazil and the U.S. With a degree, and years of experience, in psychology, Helena has defined painting as a therapeutic tool that can heal wounds and bring happiness through expressing creativity. She believes art is a great way to communicate our purpose to the world. She lives in Southwest Florida with her husband and two pets.

Surface: 10” Diameter Wood Plate with Scalloped Rim, available at Viking Woodcrafts, Inc. If you have a similar plate or surface, just adjust the size of the line drawing on a copier machine.

DecoArt Americana® Acrylic Paint: • DA257 Bleached Sand • DA281 Slate Green

Winsor & Newton™ Oil Colors: About Helena Helena Rizzaro Andrejev is a decorative painter and designer who has been working mostly with oils for over 20 years. She’s an active member of the Society of Decorative Painters (SDP)

• 644 Titanium White • 426 Naples Yellow Light • 346 Lemon Yellow Hue • 90 Cadmium Orange Hue • 380 Magenta • 194 Cobalt Violet Hue • 672 Ultramarine Violet

• 263 French Ultramarine • 465 Payne’s Gray • 447 Olive Green • 554 Raw Umber

Mediums: Winsor & Newton: • Brush Cleaner & Restorer • Artists’ Matt Varnish • Distilled Turpentine

J.W. Etc.: • White Lightning® White Stain & Sealer

Brushes: Cheri Rol®: • # 2, #4, #6, & #8 Blender • #1 & #2 Droplet

Loew-Cornell®:

(for sealing, background painting, and varnishing) • 1” & 3/4” American Painter™ Wash – series 4550

Miscellaneous Supplies: • Krylon® 18 kt. Gold Leafing Pen • Krylon Matte Finish Spray • Strathmore® Paper Palette • Tracing Paper • Graphite Paper • Stylus or Pen • Fine Grit Sandpaper • Tack Cloth • Masking Tape • Paper Towel • Studio G® White Glitter Glue (or glitter glue of your choice - not gold, silver, etc.)

Helpful Tips: I’ve simply defined and explained these techniques for you to use as a quick reference.

February 2017 Issue

Painting World Magazine

Background Preparation for Wood: When you don’t properly prepare the wood for painting, the results of the finished project might be frustrating. There is nothing worse than spending hours, days, or sometimes weeks working on a project, only to realize at the end that the imperfections of the wood underneath are visible on your final painting. Each step of preparation is as important as the painting itself, from sanding following the wood grains to cleaning the piece by removing the dust and applying the sealer. (The sealer assures better adhesion of paint to the surface, increases paint durability, and provides additional protection for the wood.) I don’t like surprises on my projects, and I want to make sure after all that labor of love that my piece will look as professional as possible, and will last for years to come. Another important point regarding the wood is not to buy any unfinished wood with knots on it. I’ve tried many products for preventing the knots from bleeding through the paint, and yet I have not found one that’s truly effective. With time, the oils from the knot will stain your painted project.

Palette Box for Oils: To keep the oils fresher longer, I suggest a palette with a lid. There are several in the market; just an inexpensive plastic one will be perfect. February 2017 Issue

There are rectangular ones and round ones, each with palette paper that fits perfectly inside them. You can also use parchment paper (the kind used for baking), and cut pieces according to the shape and size you need. I absolutely love these boxes! They keep the oil paint fresh for a long time, ensuring nice, easy blending. You’ll also be able to save a lot of money by using much less paint.

Tracing: I’ve learned from many past mistakes that tracing is another special step for beautiful results... or not. Before I use any graphite paper, I wipe it with a paper towel to remove the excess, and to avoid extreme dark lines that might still appear later. After that, I still test it before accurately using it on the project I’m working on. Last, and definitely not least, the pressure you apply to trace the design lines is essential; make sure that you don’t press too hard and leave marks indented on the wood surface. If you do, they will show up on the final painting.

Wood Preparation: Sand the wood in the direction of the grain. Dust it with the tack cloth to remove all the dust to prepare the wood for painting. Apply one coat of the White Stain & Sealer, letting it dry to seal the wood. It assures better adhesion of paint to the surface, increases paint durability, and provides additional protection for the wood. Let it dry well.

Background Preparation: Basecoat the rim of the plate with Slate Green. Let it dry between each coat. Basecoat the center of the plate with a mixture of Bleached Sand and Slate Green using the 4:1 formula (four measures of Bleached Sand to one measure of Slate Green). Let it dry between each coat.

Techniques: General Techniques: Always use a small amount of paint when working with oils. When you change colors, wipe out the brush on a paper towel, gently removing as much paint as you can. Only use the cleaners at the end of your painting day. For the entire project, start by blocking in the colors using the brush mixing technique. Blend the colors by using the wet-on-wet technique. When the painting is finished, use the drybrushing technique to reinforce the darks, the highlights, and the accent colors. To create more harmony on the overall painting project, add the accent colors from one object to another randomly. Accent colors are the middle value of the objects.

Brush Mixing Technique: Pull the first color down from a puddle. The plus sign (+) means to pick up some of the next color listed into the same mixture. Do the same with the next color, and mix them with your brush.

Painting World Magazine The first color listed for the mixture is the predominant one. Use a smaller amount of the next color listed, and use just a touch of the last color listed.

Wet-on-Wet Technique:

Line Painting:

Accent color:

Use line painting for the small and delicate details of the project: the butterfly, the caterpillar, the center of the flower, and the end of the thin leaves.

This is the middle value of an object in the painting, such as a leaf, a flower, etc. Using an accent color from one object on another part of the painting gives harmony and balance to the overall artwork. It is important to use the accent color randomly, and only in a few areas of the painting, with the drybrushing technique.

You’ll use this technique when applying the basic values. Blend the basecoat colors together. Use very soft motions, and blend only where the end of one color touches another. This technique allows the value tones to be well defined.

Using the round liner brushes, mix the desired oil paint color with the paint thinner to create an ink-like consistency. Apply one color first, wipe the brush off well, and repeat with a different value or color when necessary.

Drybrushing Technique:

Terminology:

Use this technique to strengthen the darker and lighter values when you’re finished painting and the paint is dry. Use a very small amount of the color you need, wiping any excess off on a paper towel. The brush needs to be “dry.”

Values:

Strengthen the values by using a circular motion to blend them together. I like to start from the darkest color and move to the lightest. The pressure of the brush is also important. On the darkest part, I apply more pressure on the brush, and then I slowly release the pressure for a softer look.

Figure 1

The value is the relative lightness or darkness of a color. It creates contrast and dimension, which can prevent the painting from appearing flat. Blocking the colors with three values (light, medium, and dark), and then blending them (only where the values and colors touch each other) can create more values between the original three. You can apply the highlights and the darkest colors with the drybrushing technique, finalizing the format, shapes, and dimensions of each element.

Painting Instructions: Snow: Basecoat the darkest part of the snow, where the crocus flowers are coming out, with a mixture of Payne’s Gray + Raw Umber + Titanium White. On the top part of this area, add Titanium White as the light value. On the base, add Raw Umber as the dark value to create the illusion of depth. Blend the colors in. There is no basecoat for the surrounding snow, since it uses the background color as a base. On the backside, where the crocus stands, apply a very small amount of Titanium White + a touch of French Ultramarine right above the opening in the snow.

Figure 2

February 2017 Issue

Painting World Magazine

Figure 3

Figure 4

Blend it until it disappears into the background. (Figure 1) Apply Titanium White on the front part of the opening in the snow with chopped strokes. Add a very small amount of Magenta into the mixture, and apply that as well. To create a darker value and add depth, wipe out the brush, and apply Titanium White + Raw Umber. Wipe the brush again, and apply Titanium White + a very small amount of French Ultramarine to create reflections on the snow. Blend it lightly on the bottom part of the applied colors. Add some small touches of Titanium White on the back part of the opening in the snow to create the illusion of distance. (Figure 2)

Leaves: Basecoat the leaves using Olive Green + Titanium White. For the light values, use the basecoat mixture + Lemon Yellow Hue. For the dark values, use the basecoat mixture + Payne’s Gray. For the darkest value (at the base of each leaf and where the leaves overlap) use Olive Green + Payne’s Gray. (Figure 3) February 2017 Issue

Blend where the colors touch. For the accent colors, use the colors of the petals (Titanium White + Magenta) and a dirty brush. Use Titanium White + Naples Yellow Light + a touch of Lemon Yellow Hue for the veins. Apply the veins using the chisel edge of the brush. (Figure 4) For the dark values of the veins, use the veins’ basecoat + Payne’s Gray, and for the light values, use the veins’ basecoat + Titanium White. Blend lightly with the chisel edge of the brush. (Figure 5)

Crocus Flowers: Basecoat the stem using a mixture of Naples Yellow Light + Titanium White + a touch of Olive Green. For the light value at the center, apply Titanium White. Create the stem’s dark value with Olive Green + Payne’s Gray + Naples Yellow Light, and apply it where the stem comes out of the snow and where the top part of the stem connects to the flower. Blend it in. For the accent colors on the left of the stem, use the colors of the petals (Titanium White + Magenta) and a dirty brush.

Figure 5

On the right, create a reflective light using Titanium White + Olive Green. Blend gently. Apply Titanium White on the center of the opened flower’s petals and on the central part of the buds’ petals. Use a mixture of Magenta + Ultramarine Violet + Titanium White on the darker parts of all the petals. (Figures 6 & 9) Blend gently where these colors meet, leaving distinguished colors between them. (Figures 7 & 10) For the dark value, apply Magenta + Ultramarine Violet on the tops of the petals and where the petals meet. Apply Magenta + French Ultramarine + Cobalt Violet Hue + Payne’s Gray for the darkest value, where the petals are overlapping one another. On the opened flower, apply the light values of Titanium White + Magenta where the petals turn toward the front part, and then highlight that area with Titanium White. (Figure 6) On the center of the opened flower, apply a mixture of Titanium White + a touch of French Ultramarine as a highlight above the white parts of the petals coming from the center. (Figure 7)

Painting World Magazine When the painting is dry, use the drybrushing technique to apply small amounts of the butterfly color (Lemon Yellow Hue + Cadmium Orange Hue + Titanium White) on the outside of the petals as a reflective light. (Figures 8 & 11)

Hue + Cadmium Orange Hue, using Distilled Turpentine to create an ink-like consistency.

Basecoat the stamen with a mixture of Titanium White + Lemon Yellow Hue using the liner brush. Outline the stamen with a mixture of Lemon Yellow

Caterpillar and Butterfly:

Make the pollen with dots using the 18 kt. Gold Leafing Pen after the painting is dry.

Basecoat the caterpillar with a mixture of Naples Yellow Light + Titanium White. For

the top part, apply a mixture of Naples Yellow Light + Cadmium Orange Hue. For the bottom and legs, apply Titanium White + Olive Green. (Figure 12) For the lines along the caterpillar body, apply Payne’s Gray + Titanium White. Also use this dark mixture to apply the caterpillar’s shadow on the leaf. Highlight the middle section of the body with Titanium White. (Figure 13)

Figure 6

Figure 7

Figure 8

Figure 9

Figure 10

Figure 11

February 2017 Issue

Painting World Magazine

Figure 12

Figure 13

Outline the butterfly using a liner brush with a mixture of Payne’s Gray + French Ultramarine + Magenta + Titanium White + Distilled Turpentine to a thick ink consistency. Let it dry, and apply the Krylon Matte Finish Spray lightly, following the manufacturer’s instructions. (Figure 14) Use Titanium White and a very small amount of French Ultramarine for the butterfly’s very light spots. (Figure 15) For the tops of the wings, apply Lemon Yellow Hue + Cadmium Orange Hue + Titanium White. (Figure 16) For the bottom parts of the wings, apply Lemon Yellow Hue + Cadmium Orange Hue + Magenta. Blend the colors in, leaving the white spots out. Figure 15

February 2017 Issue

For the butterfly’s body, use Titanium White + Naples Yellow Light + Cadmium Orange Hue. For the darker value, apply Lemon Yellow Hue + Cadmium Orange Hue + Magenta + Payne’s Gray on the back wing as a shadow. Highlight the butterfly with Titanium White. (Figure 17)

Finishing & Letters: Allow the paint to dry completely. Apply two coats of the Winsor & Newton Artists’ Matt Varnish, following the manufacturer’s instructions. Let it dry between each coat. Trace the letters around the plate. Use the corner of the 18 kt. Gold Leafing Pen for

Figure 16

Figure 14

the letters, following the manufacturer’s instructions. Apply a small amount of the glitter glue, only on the highlight part of the snow. Let it dry. Now your beautiful work of art is ready for you to display it for everyone to enjoy! You can hang this wood plate on your favorite wall, give it as a gift to a special someone, or display it on a stand. You can also use it on your tabletop; after you’ve varnished and dried the project, you can use a clear glass plate over it and make it a real conversation piece. The most important thing is that you enjoy it. Happy spring! Figure 17

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2jCkuxW

February 2017 Issue

Painting World Magazine

February 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2jCkuxW

Your ad could be here! Ads start at only $49.00 and reach about 5000 print subscribers & thousands more on social media! Contact Tracy at sales@paintingworldmag.com to get started today!

Painting World Magazine

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

Surface: • 10” x 20” Artist Panel/Gesso Board such as Master’s Touch® from Hobby Lobby®

DecoArt Americana® Acrylic Paints: • DAO67 Lamp Black • DA164 Light Buttermilk • DA180 Asphaltum • DA170 Santa Red • DA239 Warm White • DA147 Antique Green • DA316 Coral Shell • DA113 Plantation Pine • DA157 Black Green • DA299 Margarita • DAO1 Snow (Titanium) White

What woman doesn’t love a rose? This piece was inspired by Tracy Moreau and all the beautiful flowers she has done. I had completed two of her roses, but wanted a trio of roses to hang together. So I put together this project. I also wanted two of my white bedroom walls to be pinstriped, but I haven’t started that yet… I may resort © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag.com. You may reprint orand make copies, even for non to wallpaper instead ofNOTtape paint! February 2017 Issue profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http://www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

Merci Rose by Terry Holte

Painting World Magazine

Brushes: • Assortment of Your Favorite Liners, Rounds, Angles, and Flats • A Palmer Brush • An Older Large Flat (for decoupaging)

Miscellaneous Supplies: • Tim Holtz® Idea-ology® Tissue Wrap – Terminology • DecoArt Media® Modeling Paste • DMM18 DecoArt Media Gesso - White • DS106 DecoArt® DecouPage™ – Matte • E6000® Glue • Washi Tape of Your Choice • Drawer Handle • Rebecca Baer® Enchanted Vine Stencil • STCL899_2 Creative Arts Lifestyle “La France Vintage Art Stencil” - 15” x 15” • Black Sakura® Identi®-pen • Spray Varnish

Miscellaneous Supplies: • Water Bin • Paper Towels • Tracing Paper • Graphite Paper • Palette Knife • Ruler • Pencil • Fingernail File (paper, not metal) • Supplies to Attach the Drawer Handle

Helpful Hint: I like to measure off the tissue paper so it’s larger than the board, glue one side of the paper to the side edge of the board, and let it dry. The tissue paper is delicate and easily ripped. February 2017 Issue

This method helps to anchor the paper, and allows you to lay it down gently and to smooth out air bubbles and wrinkles. Apply a generous amount of Decou-Page to the top of the board, and then roll the tissue paper up and hold it in one hand, bringing it over the top of the board. The other hand will have the Palmer brush in it; use this to brush the paper gently, smoothing it out, moving back and forth as you slowly unroll the paper and lay it on the wet Decou-Page. I let this dry, and then gently rub the fingernail file right on the edge of the board to remove the excess tissue paper.

Preparation: Decoupage your board as stated above. Paint the edges of the board with Lamp Black paint. When it’s dry, use your favorite washi tape on the edges of the board. Then, apply a coat of Decou-Page over the taped edges and the tissue paper on top. Let the board dry.

Painting Instructions: Trace and transfer the rose design to the center of your board. Leave the middle calyx petal off the rosebud for now. Mix some Lamp Black paint with the Modeling Paste. Lay the Enchanted Vine Stencil on one edge of the board, and apply the black paste. You shouldn’t have any sharp finished edges. Let the paste fade off. Do a hit-and-miss application.

Then, do the other side. Do not place any of the Modeling Paste on top of the rose pattern. Next, I switched stencils, and applied the “Merci” to the bottom right side. While this is drying, you can clean your stencils; don’t let the paste dry on them and ruin them. I used a ruler and my black IdentiPen to draw in the lines (top and bottom) to finish the edges off. Basecoat the stems, leaves, and roses with White Gesso. When applying the Gesso on the rose, follow the petals, and leave a space between the petals with the background showing. When that’s dry, base the leaves and stems in a wash of Antique Green, and shade with a wash of Plantation Pine. Darken the shading with a float of Black Green. Highlight the leaves with a wash of Margarita, then Warm White. Add a tint of Santa Red here and there on the leaves for added color. Basecoat the rosebud with Coral Shell. Refer to the example pictures. You should leave off the middle calyx petal. With Light Buttermilk, highlight the edge of the petal that overlaps on the bud. With a wash of Santa Red, shade the outside edge on both sides of the bud, the inside top of the bud, and under the overlapped petal. With Titanium White and a liner brush, wiggle a very thin line down the edge of the overlapped petal and across and around the top of the bud.

Painting World Magazine

Add the middle calyx, and paint it like you did the other leaves. When it’s dry, shade the rosebud one more time with a mix of Santa Red and a touch of Asphaltum.

Wood Surfaces, Pattern Packets and More...

The edge of the opened rose should remain White Gesso color for now. Apply a wash of Coral Shell to the body of each petal, leaving the edge white. Shade under the white petal edge and where the petals overlap with a wash of Santa Red. Shade again in the darkest areas with a mix of Santa Red and Asphaltum. Paint the White Gesso area with a wash of Light Buttermilk. Highlight the lightest area of the petal with Warm White. Lastly, I used a spray varnish on the board to seal it. I measured off the top of the board to find the center, and marked the holes I needed for the handle. Using my handy, dandy Dremel®, I drilled the holes on top, and added the decorative handle to finish the piece off.

Oriental Poppies Designed by Anne Hunter

Springtime Palette Designed by Lauré Paillex

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

February 2017 Issue

Painting World Magazine

February 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2jCkuxW

Spring Tea

by Debbie Cole, CDA

Painting World Magazine

My inspiration for this box came from an event that my church has for ladies, called Spring Tea. The hostess beautifully decorates each table with a lovely spring theme. One of my favorite tables had a bird nest and daffodils as the centerpiece.

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

• #2 Black Gold Round • Palmer Brush • Small Mezzaluna

Surface:

• Basic Acrylic Painting Supplies • Brayer • Cheesecloth • DecoArt Media® UltraMatte Varnish • Detail Scissors • E6000® Glue • Foam Roller • Large Sea Silk Sponge • Metal Feet by Tim Holtz® • Palette Knife (for mixing paint) • 1 Yard of Ribbon or Lace • Sheet of Acetate

• Wood Tea Box from Unique Woods

Creative Arts Lifestyle® Papers: • 1 sheet French Ballade Portrait Collage Paper CLPR0025 • 2 sheets Nature Journal Collage Paper CLPR120

DecoArt Americana® Acrylic Paints:

About Debbie Debbie Cole, CDA is an awardwinning artist that is widely recognized as one of the leading contemporary decorative painters of the 21st century. Author of numerous books and pattern packets, Debbie has been a soughtafter instructor who has taught throughout the United States, Japan, Argentina, and Canada. While Debbie loves traditional decorative painting, she also loves stamping, mixed media, and jewelry design. No matter what her medium, Debbie’s main source of inspiration comes from her faith in God. She knows that her creative talent is a gift and feels blessed to be able to share it with others. Her mission is to be able to reflect her joy onto others through her artwork. February 2017 Issue

• DAO52 Avocado • DA178 Blue Mist • DA208 Celery Green • DAO65 Dark Chocolate • DA242 Fawn • DA106 Light Avocado • DA164 Light Buttermilk • DAO92 Mink Tan • DAO94 Mississippi Mud • DA187 Reindeer Moss Green • DA155 Soft Black • DA107 Teal Green • DAO59 Toffee • DA305 Whispering Turquoise

DecoArt® Americana Mediums: • Napkin Decou-Page™ • Fabric Decou-Page • Multi-Purpose™ Sealer • DuraClear® Matte Varnish

Dynasty® Brushes: • 3/4” and 1/2” Black Gold® Flat Washes • #2/0 liner

Miscellaneous Supplies:

Preparation: Seal the box with Multi-Purpose Sealer. Allow it to dry, and sand it lightly. Remove particles with a lightly dampened cheesecloth. Use a foam roller to basecoat the entire exterior of the box with Light Buttermilk. Apply a second application to the sides of the box. Position the paper over the lid of the box for placement. Flip the paper and box over, and trace the edges of the box to the backside of the paper. Cut with detail scissors.

Painting Instructions: Background: Using a foam roller, quickly apply a thin layer of Napkin Decou-Page to the lid of the box and to the back of the trimmed paper. Align one corner of the paper, and then slowly add the rest of the paper, keeping the paper as smooth as possible.

Painting World Magazine

Helpful Hints:

To create a wash of color, you need to thin the paint to make it transparent. The type of wash needed will determine the percentage of paint to water mixture. A light wash would have very little paint mixed into the water mixture, while a heavy wash would have more paint mixed in. Be sure to mix the paint and water until the paint has completely dissolved in the water. Load the brush with the thinned paint, and then blot it on a paper towel to eliminate puddles on the surface. Use as large of a brush as you can control. Start at the top and work downward. Work quickly, and do not stop painting unless you have reached an edge. Do not go over and over the same area - this will cause the wash to streak.

Use your finger to smooth out any wrinkles, and then place a sheet of acetate over the page. Roll the brayer firmly over the lid to work all the additional air bubbles out and to secure the paper. Allow it to dry completely, and then add a coat of Decou-Page medium over the paper. Refer to this month’s Innovative Corner article if you’re unsure which DecouPage medium to use with the paper you’ve chosen. Once that is dry, coat it with a thin layer of Ultra-Matte Varnish.

Figure 1

Figure 2

Thin Light Buttermilk with water to create a light wash of color. Using a Palmer brush, apply the wash over the entire background. Cut out the individual icons from the Nature’s Journal Collage papers. Using the photo for reference, apply the daffodils and the bird in the same manner as the background paper. (Figure 1) Wash over the entire lid again with the light wash of Light Buttermilk. Stipple Fawn around the outer edge of the lid to make it look aged using an old scruffy brush.

Figure 3

Thin Blue Mist + Whispering Turquoise (2:1) to create a wash of color, and apply it to the two butterflies.

February 2017 Issue

Painting World Magazine Glaze Teal Green accents randomly around the nest.

Allow them to dry, and then decoupage them to the lid using the photo as reference for placement.

Eggs:

Nest: Basecoat the nest in a wispy manner with Fawn. Pull lines of Mink Tan and Mississippi Mud to create the texture of the nest using a #2 round brush. If necessary, pull lines of Fawn. Float the dark areas of the nest with Dark Chocolate. Then pull lines of the same color in the dark areas. Add Toffee lines in the lighter areas of the nest with a #1 round. Glaze Soft Black in the darkest areas of the next.

February 2017 Issue

Basecoat the eggs with Whispering Turquoise + Fawn (3:1). Float to shade with Blue Mist + Whispering Turquoise (2:1). Drybrush the highlight with Whispering Turquoise + Light Buttermilk (1:1) using a small mezzaluna brush. In the same manner, add the second shades with Blue Mist + Teal Green (1:1), and the second highlight with Light Buttermilk. Glaze the darkest areas of the eggs with Teal Green + Soft Black (1:1).

Leaves: Basecoat the leaves with Light Avocado. Float to shade with Avocado. Drybrush and then float the highlights with Celery Green. In the same manner, add the second shades with Avocado + Teal Green (1:1), and the highlights with Reindeer Moss Green. Glaze the shadows cast by the leaves onto the nest with Soft Black.

Finishing: Allow the box to cure for 24 hours, and then apply multiple coats of DuraClear Matte Varnish. Apply the ribbon or lace around the sides of the box using the Fabric DecouPage medium. Glue the metal feet onto the bottom of the box.

Painting World Magazine

Innovative Corner

with Debbie Cole, CDA

Integrating Decoupage I created Innovative Corner to discuss both products and techniques that can enhance the painting experience. In the next three issues, I will be discussing innovative techniques to create interest within a design. The first technique I would like to discuss is decoupage. This art form has been around for centuries, and comes from the French word “decouper,” which means “to cut out.” Decoupage is the art of decorating an object by adhering cutouts from paper, fabric, or other materials onto it. For many years, people applied the items with a lacquertype substance, which was oil-based and took days to dry. We now have water-based products on the market that not only speed the drying time, but make the task of applying the materials much easier. The two most popular brands of decoupage mediums are Decou-Page™ by DecoArt® and Mod Podge® by Plaid®. These companies have spent time developing specialty decoupage mediums to work with specific materials, and to expand the creative capabilities when decoupaging. The mediums are now available in various sheens: Matte, Satin, and Gloss. These will create a low, medium, or high shine on the finished project. You can use them as a glue, sealer, and finish, and they dry to a clear, hard, and durable finish without being tacky. In addition, since they’re water-based, they dry very quickly, so you can add multiple layers in a short period of time. Both companies have a wide range of decoupage mediums in addition to the varied sheens. Paper, Napkin, Crystal, Dishwasher Safe, Antique, Fabric, Outdoor, and Glitter

February 2017 Issue

Painting World Magazine paper gets lighter in weight, the medium needs to get lighter too. You can apply heavy papers with the Matte decoupage medium. As the paper gets lighter in weight, you can apply it with the Paper medium. Finally, you can apply the lightest weight papers, such as napkins or tissues, with the Napkin medium. You can apply most heavy weight papers without any prep work, but you sometimes need to seal thinner papers before working with them. Use a clear, acrylic sealer spray to lightly coat one side of the paper. Allow it to dry, and then coat the other side. Don’t use too much sealer, as this will cause the paper to wrinkle from too much moisture. Don’t seal tissue paper or napkins. The nature of these papers is to wrinkle, and that is part of the charm they create. are some of the most popular of the specialty mediums. While this opens up a wonderful creative opportunity, it also can be confusing as to which medium to use with various materials. When selecting a medium for painting, it’s best to use one with a matte shine, because the others can be difficult to paint over. In addition, selecting the right weight or type of decoupage medium is very important. Generally, the heavier the paper, the easier it is to apply. However, as the weight of the paper changes, the medium needs to change as well. As a rule of thumb, it’s easy to remember that as the February 2017 Issue

Selecting papers can be overwhelming, because there are so many available. As a general rule, do not select papers that are too busy if they’re going to be in the background of the painting. Muted tones and subtle patterns work best. You can add the more colorful prints as accents to the sides or bottom of the surface to bring out the colors of the design. Heavy weight scrapbook paper, available from your local craft store, is the best paper for beginners. Two sources for lighter weight papers are the Decou-Page papers from DecoArt and the collage papers from Creative Arts

Lifestyle. Both of these companies have lighter weight papers that are easy to work with and have a wide range of patterns. You may also use your own or downloaded papers. It is important to print the paper from a laser printer, not an inkjet printer. Inkjet prints will smear during the decoupage process. Once you’ve selected the papers, prepare the surface by sanding or cleaning. Apply a basecoat of color, and allow it to dry thoroughly. Cut your paper to fit the surface, and determine the placement of your material to save time. Adhere the heavy and medium weight papers quickly by applying a thin coat of decoupage medium to the surface using a large brush or sponge. In the same manner, apply a thin coat to the back of the material, and place it into position. Use your fingers to gently smooth out any air bubbles. Lay a sheet of acetate over the paper, and roll with a brayer using heavy pressure. The acetate will protect the paper so that the color will not lift up. You can also use a squeegee or old credit card to smooth out papers. Allow the medium to dry for about twenty minutes, and then apply another coat over the top of the material. It’s important to wait for it to dry, because the paper will tend to bubble up if both the underside and top are wet. When working with tissue or napkins, apply the medium to

Painting World Magazine manner, with the paper to the underside of a glass plate. Allow it to air-cure for 14 days, and then it becomes dishwasher safe. Such a fun means to create a motif for a party!

napkins by Debbie

the surface. Gently apply the tissue over the medium, starting from the top and working down, using clean fingers to softly push out the wrinkles. Once you’ve adhered it, lay the acetate over the material and use a brayer. Once it’s dry, apply a coat over the top of the tissue.

In you would like to achieve a vintage or aged look with a matte finish, the Antique mediums are perfect to use. They have a subtle brown tint that gives an heirloom quality to your projects. Begin with a light coat, and then build up coats to the desired color and aged appearance.

Working with fabric can add an elegant element to a design, but it can be challenging because of the various types of fabric. Only work with a fabric that’s washable; otherwise, the medium could alter the color.

The Crystal adds sparkle to your designs, and you can also build it up for various effects. This is great for holiday or celebratory projects. One of my favorite mediums is the Dishwasher Safe medium. Creating table décor is so fun and easy using this medium and glass plates.

Wash, dry, and iron the fabric. If you’re going to use a large piece to cover an entire section, such Cut out the desired images, as a bottom of a box or the entire and apply them in the same background, apply the fabric in the same manner as the paper, papers by Debbie using the Fabric medium.

With the popularity of creating outdoor spaces, the Outdoor decoupage mediums allow you to create endless decorative accents for your patios. It’s very important to put at least three topcoats of this medium on the project to create a protective coat. It’s also important allow the project to cure for at least seven days before placing it outside. Once it cures, your project will be able to be outdoors and withstand the elements. I hope you’ve enjoyed this article on how to decoupage. In the next Innovative Corner, I will be discussing how to create interest within a design using stencils. Until then, may painting always bring you joy!

However, if you’re going to cut individual icons from the fabric, apply a coat of the Fabric medium first. Allow it to dry completely, and then cut out the images. Apply a thin coat of Fabric medium to the surface, and then apply the image. Allow it to dry, and add an additional coat over the top. © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag.com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http://www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

February 2017 Issue

Broken Tulips by Barbara Bunsey

Painting World Magazine

Tulips were brought to Europe from Turkey in the mid- to late-16th century. Amsterdam merchants were very successful, and built grand estates surrounding flower gardens where the tulip, with its vibrant color, was the centerpiece. Tulips soon became a coveted luxury item. During the late-16th century, a virus infected tulips, causing them to “break” and create “flamelike effects” on the petals. These interesting flowers became highly prized, and began a time in history known as “tulipomania.” Tulipomania peaked in the spring of 1637, and some bulbs sold for more than ten times the annual income of skilled craftspeople.

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.

Surface: • 5-1/4” Tissue Box Cover; wood from Viking Woodcrafts 420503 or paper mache from Cupboard Distributing 27-2833

DecoArt Americana® Acrylic Paints:

About Barbara Barbara began painting and teaching over 30 years ago. She’s taught at conferences, conventions,

• DA147 Antique Green • DA146 Antique Gold Deep • DAO88 Charcoal Grey • DAO82 Evergreen • DA131 Hauser Light Green • DA299 Margarita • DA311 Natural Buff • DAO95 Neutral Grey • DA315 Orange Flame • DA266 Orange Twist • DA201 Primary Yellow • DAO13 Pumpkin • DA265 Tuscan Red • DA239 Warm White

DecoArt® MultiSurface Satin Paints: • DA502 Vanilla Shake • DA508 Dark Scarlet

Loew-Cornell® Brushes: • 1/2” & 3/4” Oval Wash #7600 • #8, #10, & #16 Shader #7300 • 1/4” Stroke Brush #7100 • #6 Liner #7350 • M & L Dome Brush #272

Special Supplies: • DA307 DecoArt Dazzling Metallics® Mink Pearl • ASC08-K DecoArt® Jacobean Floral Stencil • Scotch® Tape • Post-it® Notes (optional) • R221 Stampendous® Vintage Letter Rubber Stamp • Extender (optional) • DecoArt Multi-Purpose Sealer • DecoArt Varnish • Paper Towels • Styrofoam® Plate

Preparation: If using a wood box, sand the surface, seal it, and sand it again. For both types of boxes, seal and basecoat it with Vanilla Shake using the 3/4” oval wash. Using the dry L Dome brush and Mink Pearl, add the stencil to the background. When it’s dry, wash over the pattern with Vanilla Shake to make this more subtle. On two opposing sides of the box, tape off an area approximately 2 3/8” wide, and 1/2” from the right side of the box. Paint these areas Natural Buff. Remove the tape. (Figure 1) On the other two opposing sides, tape off an area approximately

February 2017 Issue

Painting World Magazine Hauser Light Green in the dirty brush, take out the excess again, and drybrush the top sides of the leaves and the center-left of the stem, moving the color on the leaves about halfway across.

Figure 1

1/8” wide, and approximately 3/4” from the right edge. Be sure to press the tape down well with your fingernail, and then “paint” over the edges with sealer to seal the edges of the tape. When that’s dry, paint this line with Dark Scarlet. Dry it well, and trace on the pattern.

Painting Instructions: Tulips: Using the 1/2” oval wash on the leaves, and the 1/4” stroke on the stems, base with Antique Green. Pick up Antique Green in the dry M Dome brush, and take the excess out on the palette. Pick up Figure 2

February 2017 Issue

Repeat this step, picking up more Hauser Light Green in the dirty brush, but not moving as far toward the center. Repeat again, picking up Margarita in the dirty brush, but not moving as far toward center. Repeat a final time, picking up Primary Yellow in the dirty brush, and keeping this in the brightest areas only. For the highlight on top of the fold on the left leaf, use the colors as above, but float them on using the #8 shader. (Figure 2) Using the #16 shader, float Evergreen at the opposite side of the leaf from the highlights, at the bottoms of the leaves, inside the fold, and on the right side, top and bottom of the stem, walking the color on the leaves toward center. Add more shading to all these areas with Charcoal Grey. (Figure 3) Using the 1/2” oval wash, base in the flowers with Warm White. Figure 3

I’ve given you a basic pattern for the red lines on the petals, but you can put these in however you like. Use the #6 liner, loading it very flat at the edge of the puddle, and Tuscan Red. Beginning where the colors are deepest, lay your brush down, press, and then pull and “flick” up to create the uneven “tails.” You may need to do this more than once. (Figure 4) Using the dry M Dome brush, pick up Orange Flame. Take out the excess on the palette, and drybrush highlights on the red areas that are the brightest (not all petals need a highlight). Make this the largest highlight on each area. Repeat this step, picking up Pumpkin in the dirty brush, and leaving a “halo” of the first color around this color. Repeat again, picking up Orange Twist in the dirty brush, again leaving a “halo” of the previous color around this one. Repeat a final time, picking up a tad of Primary Yellow in the dirty brush, and adding this just to the very brightest areas. (Figure 5) Shade to separate the petals with Neutral Grey and the #10 or #16 shader. Use this color sparingly—keep extra water in Figure 4

Painting World Magazine

Figure 5

your brush, blend very well, and then swipe your brush on a damp part of your paper towel before applying the color. Repeat this step, adding light Charcoal Grey. Be sure to walk these colors up into the petals, keeping the first color the widest, etc. Add tints of Antique Green to the bottoms of just the front petals, walking the color up. Reinforce this with light Evergreen on the front petals, and then add it to the darkest areas of some of the other petals. (Figure 6 & 7)

Lettering: Basecoat the background under the lettering with Natural Buff, as stated above. I used Post-it Notes to mask the background next to this area. Put about a quarter-sized puddle of Antique Gold Deep on a Styrofoam plate. Using the 3/4” oval wash, spread this paint onto the plate. Make it smooth, with no “ridges” of paint. Place the

Figure 6

stamp onto the paint, press down well, and then place it on the surface, pressing down evenly. If you need to add more of the stamp to cover the area, brush over the paint to smooth it out, and repeat as above. If you think this is too dark, as I did on one side, wait until it’s nearly dry, very lightly brush over the stamped area with a barely damp brush to lighten it up, and lightly tint this area with the Antique Gold Deep. Using the #6 liner and a mix of Neutral Grey and Charcoal Grey (1:1), add the lettering with thin paint. I added some extender to my brush to keep it moving easier and to soften the look. You may want to do this step more than once; I did it twice only, as I didn’t want the lettering to be too bold.

did before, keeping them much more narrow than the other line.

Finishing: Using the dry M Dome brush, add tints of reds and oranges to the leaves and stem. If you want more green on your petals, add some Antique Green very sparingly. Paint the inside edge of the top oval Dark Scarlet.

Figure 7

Add Dark Scarlet lines on each side of this area. You can tape off these areas as you

February 2017 Issue

Painting World Magazine

February 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2jCkuxW

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2jCkuxW

February 2017 Issue

Happy Easter Basket

by Karen Wisner

Painting World Magazine

These bunny friends have been busy painting eggs and getting ready for Easter. Paint them on this wonderful lidded basket, or use your imagination! Fill it with berries, flowers, and lights, or with cookies, and give it to someone special. Have fun!

About Karen I have loved art since I was a very young child. I remember getting an art set from Santa when I was 8, that was the beginning. I always wanted to be a cartoonist, so my style of painting is usually whimsical, but I still paint other styles when the mood hits. I travel teach but have spent most of my teaching time in Italy, which is now my second home with lots of people I love very much. I have authored many books, patterns and magazine articles. Just when I think my creative mind is sucked dry, it starts in again! I love sharing the love of painting with everyone I can!

Surface: • Antique Wire Basket with Lid #958568 from Painter’s Paradise®

DecoArt® Americana® Acrylic Paint: • DA052 Avocado • DA193 Blue Chiffon • DA178 Blue Mist • DA063 Burnt Sienna • DA010 Cadmium Yellow • DA238 Canyon Orange • DA208 Celery Green • DA065 Dark Chocolate • DA128 Deep Burgundy • DA166 Deep Midnight Blue • DA101 Dioxazine Purple • DA163 Honey Brown • DA057 Jade Green • DA067 Lamp Black • DA164 Light Buttermilk • DA032 Lilac • DA174 Milk Chocolate • DA07 Moon Yellow • DA267 Poodleskirt Pink • DA04 Sand • DA137 Shading Flesh • DA01 Snow (Titanium) White • DA190 Winter Blue • DA211 Wisteria

DecoArt® Mediums: • DAS13 Americana Acrylic Sealer/Finisher Matte Spray • TXFP06 Acrylic Gesso™

Brushes: • 3/4” Flat Wash • #1, #2, #3, #5, & #8 Round • #14 & #20 Shader • #20/0, #10/0, & #5/0 Script Liners (long bristles) • 1/4” Rake • 1/4” & 1/2” Mini Mop • #2 & #6 Fabric Round

Miscellaneous Supplies: • Black Micron® Pen 01 • Stylus with a Small End • Dark Transfer Paper • Tracing Paper • Q-tips® • Old #1 Paintbrush • Sea Sponges (medium and small piece)

Painting Hints and Tips: • Use the round brushes to basecoat. • Use the #5/0 script liner to paint large vines and highlight strokes. • Use the #20/0 script liner for fine detail lines. • Use the #10/0 script liner for cracks and details. • Use the 3/4” flat wash to float background areas. • Use the shaders to float color, shade, and highlight. • Use the fabric round to drybrush highlights. • Use the mop to blend floated areas. • Use the Rake to paint hairs. • Refer to the pattern for shading (////) and highlights (::::) as you paint. • To float a wash of color, wet the surface, and then load your brush with more paint than used for shading, and apply it in the same manner. • Use the mop or Q-tip to blend, let it dry, and then do other parts of the design. I work from top to bottom so I never run into a wet paint area. • I clean the mop brush as I use it by lightly scrubbing it on a damp paper towel, and then drying it on my pant leg. This way it is always clean and dry.

February 2017 Issue

Painting World Magazine • When painting the ribbons, turn the pattern to match the direction you are painting in. That will make it much easier to see where you need to shade and highlight. • The lid is made from MDF. Whenever I paint on MDF, I cover the entire surface with gesso, to give it a little texture. This also allows your paint to have something to hang on to.

Preparation: Sand the lid, and wipe away the dust. Dip the larger sea sponge into water, and then squeeze out the excess so it’s just damp. Place some gesso on the paint palette, and dip the sponge into the gesso to load. Pounce the gesso onto the lid until it is all covered, let it dry, and then repeat with another layer. Once the gesso is dry, apply a coat of Light Buttermilk to the entire lid, let it dry, and then apply one more layer. Allow the paint to completely dry before transferring the design lines. Trace the patterns onto tracing paper using the black Micron pen. Transfer the basic design lines onto the surfaces using the small end of a stylus and transfer paper. Transfer detail lines as needed.

Painting Instructions: Background Areas: Float the background color using Blue Mist. I worked from top to bottom, so my previous floats had time to dry. Use the mop brush to help “walk” February 2017 Issue

the color toward the center of the lid. See the photo. It may take two float layers to achieve the color. Float Dark Chocolate around the lid edges. The area below the flowers and above the large vine is the “grass.” Float Celery Green where the grass space is.

Hangtag: Shade the hangtag using Honey Brown, and let it dry. Apply the cracks and lines using Milk Chocolate. Let the paint dry, and then deepen the shading with Milk Chocolate. Paint Lamp Black “Happy Easter” letters.

Ribbons: Basecoat the ribbons using Blue Chiffon, and let them dry. Shade them using Deep Midnight Blue. I used the Q-tip as a mini mop because the space is so small. Once the shading is dry, repeat with another layer of Deep Midnight Blue where the shaded areas are the darkest (see the photo).

Apply Deep Midnight Blue detail lines. Highlight using Snow White.

Purple Flower Bushes: Dip a small piece of sea sponge into water, and squeeze out the excess so it’s damp. Dip it into Dioxazine Purple on the paint palette, and then sponge the purple flower bushes. Use the old #1 brush to pounce on the smaller areas of the design. Let these dry, and then repeat with another layer of paint. Let it dry. Load a shader brush using Light Buttermilk, but use a smaller amount of paint. Tilt the brush on the corner that has the paint, and apply small flower petals; blend the centers using a Q-tip. Dot the flower centers using Cadmium Yellow and the small end of the stylus.

Painting World Magazine

Tulips:

Eggs:

Basecoat the purple tulips using Wisteria. Float the pink tulip color using Poodleskirt Pink; let it dry, and then apply another layer of color. Basecoat the leaves and stems using Jade Green.

Egg A: (see drawing for key)

Shade the pink tulips with a mix of Shading Flesh and Deep Burgundy (4:1). Shade the purple tulips with Dioxazine Purple. Shade the leaves and stems with Avocado. Highlight the flowers with Light Buttermilk. Float the edge highlights and drybrush the inside highlights using Light Buttermilk. Highlight the leaves using Moon Yellow. Once the paint is dry, paint an Avocado detail line on each leaf. Highlight the necks of the stems and the outside tulip petals with a highlight stroke using Snow White.

Daffodils: Basecoat the flowers using Cadmium Yellow, and the lower flower leaves using Jade Green. Shade the flowers using Canyon Orange, and the leaves using Avocado. Deepen the darkest shaded areas of the flowers using Burnt Sienna. Let that dry, and then paint the petal detail lines with Burnt Sienna. Highlight the leaves using Moon Yellow. Paint the leaf details using Avocado. Highlight the flowers using Snow White. Once all the paint is dry, use Snow White to apply highlight strokes and to dot the flower centers. Dot the flower centers with Burnt Sienna.

Float Poodleskirt Pink on the upper and lower ends. Let it dry, and then repeat another layer. Basecoat the blue area using Chiffon Blue. Paint the tiny X’s on the pink areas using Deep Burgundy. Paint light stripes on the blue area and dot the pink areas using Light Buttermilk. Shade the blue area using Deep Midnight Blue. Let that dry, and then make Deep Midnight Blue dots. Shade the pink areas using Deep Burgundy. Shade the wider light stripes using Milk Chocolate. Once the egg is dry, drybrush the inside egg highlights using Snow White.

Shade the blue ends using Deep Midnight Blue. If the brown dots are dry, shade the purple area using Dioxazine Purple. Once all of the egg is dry, drybrush the inside egg highlights with Snow White.

Egg C: Float the egg color using Lilac. Let it dry, and then repeat with another layer of color. Using Light Buttermilk, paint loop designs on each end, and then make dots. Paint Deep Burgundy lines and strokes, and let them dry. Shade the egg using Dioxazine Purple. Once the egg is dry, drybrush the inside highlights using Snow White.

Egg B:

Eggs D & E:

Float Lilac on the purple center of the egg. Float Winter Blue on the blue ends of the egg.

Float the eggs’ color using Winter Blue. Let them dry, and then repeat with another layer of color.

Paint the tiny flower stems and leaves using Avocado. Paint Snow White flower petals. Dot the egg ends using Deep Midnight Blue. Shade the light stripes and dot the flower centers using Milk Chocolate.

February 2017 Issue

Painting World Magazine dip the brush into the paint, and pounce lightly on the palette to spread the brush ends slightly. Apply the first layer of hairs on the rabbit. Use the script liner brushes to apply hairs in tighter spaces. With the Shading Flesh and Deep Burgundy mix, float the nose and lower mouth. Paint the loop end designs using Light Buttermilk. Make Light Buttermilk dots using the small end of the stylus. Make Lilac dots using the handle tip of the script liner brush. Once the eggs are dry, shade them using Deep Midnight Blue, and let them dry again. Drybrush the center egg highlights using Snow White.

Dark Rabbit: Float the lighter face area and the eye space using Honey Brown. Float the remaining rabbit body using Milk Chocolate. Lightly shade the light face area with Honey Brown. Shade the remaining rabbit body with Milk Chocolate. Mix Shading Flesh and Deep Burgundy (4:1), and shade inside the bent ear. Using the Rake brush and slightly watered down Milk Chocolate, February 2017 Issue

Apply the next hair layer using Dark Chocolate in the same manner, but not on the lighter front space. Paint Lamp Black eyes. Apply Sand as the next hair layer over the darker hairs, allowing other layer to show. Once this is dry, shade the hairs you have just applied using a small amount of Dark Chocolate. Highlight the eye using Blue Chiffon. Shade the nose and mouth using a small amount of Deep Burgundy, and deepen inside the ear with Deep Burgundy. Apply Honey Brown hairs on the front of the light face space. Using a small amount of Milk Chocolate, shade under the nose and over the mouth. Apply Sand hairs, making sure to pull the hairs onto the dark hair of the face. See the photos for reference.

Once the layers of hairs are dry, you can add more hairs to fluff up your bunny, or continue with the final layer. For the last layer of hair, use Snow White. You are applying highlight hairs around the eyes, up the face center to the edges for the light face space, and on the darker body. See the photo. I used the #20/0 script liner for this. Once all the hairs are on, paint the whiskers and the highlight strokes at the top of the nose, the lower mouth, and the eyes using Snow White. Remember to pull a few hairs onto the stem of the tulip he is holding, and a few onto the egg sitting by his leg.

Light Rabbit: You will use the same technique to shade and layer the hairs as you did for the dark rabbit. The colors will be a little lighter. Float the entire bunny using Honey Brown. Let it dry, and then shade with Honey Brown. Float the inside ear color using the same Shading Flesh and Deep Burgundy mix as for the dark rabbit. Apply a layer of Honey Brown hairs to the entire rabbit. Let it dry, and then shade with Milk Chocolate, but do not shade the light front-face area. Paint Lamp Black eyes. Next, apply the Sand hairs, including the light face space. Let this layer dry, and lightly shade with Milk Chocolate. Start to pull the hairs from the front-face area onto the darker part of the head, and pull a few up the center of the face.

Painting World Magazine

Add another layer of hairs to the lighter areas using Light Buttermilk. Lightly shade under the nose with Milk Chocolate. Deepen the shading inside the ears and on the nose and mouth using Deep Burgundy. Highlight the eyes using Blue Chiffon. Apply the last layer of highlight hairs using Snow White. Apply Snow White whiskers and highlight strokes on the eyes, nose, and mouth. Remember to pull a few hairs touching the eggs that are close to this rabbit.

Vines, Boughs, & Berries: Paint the vines by the purple flower bushes using Avocado. Paint the dark vines using Dark Chocolate.

I painted the small vines on the lid edges the same as the larger vines, but used a smaller script liner.

Finishing: Spray the entire painted surface using Matte Spray Varnish. Let it dry, and then repeat. Fill the basket with vines, pip berries, and flowers, or with goodies! Happy Easter!

Paint the leaves using Avocado. Dot the berries using Deep Burgundy. ÂŠ 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag.com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http://www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

February 2017 Issue

Painting World Magazine

February 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2jCkuxW

A Moment in Time A Steampunk Design by Patti DeRenzo, CDA

Painting World Magazine

Over the past few years, I’ve become intrigued with the “steampunk” style and design. After spending the day at Knott’s Berry Farm® with my son, where there were a ride and shops totally devoted to the steampunk style, I felt a project being birthed in my mind. I designed this clock out of my love of glass etching, the DecoArt® line of Mixed Media paint, and a little decorative painting. I also added some polymer clay and wooden gear cutouts, giving more dimension to the design, and added a bit of stenciling. And yes, I had more fun than you can imagine. Of course, I’ll be presenting this clock to my son in remembrance of our day spent together.

She has taught seminars in Japan, Argentina, Canada, England, and throughout the United States. PBS television has featured her videos, and she has authored numerous books (including a North Light Book), DVDs, packets, and articles for many national and international magazine publications. Creativity has always been part of Patti’s life. From the early age of three, she hated coloring books, choosing to decorate the walls of her room instead. Decorative Painting was a perfect match for her because of the diversity of surfaces and mediums. It has been ingrained into the very heart of who she is.

Surfaces: • White Polymer Clay, can be purchased online or at any craft/hobby store • Wooden Gears, from Cupboard Distributing (They have all kinds of cutout wooden gears in all sizes, all less than 70 cents each) • STCL383 Hotel Du Monde Clock Stencil - 6 inch Clock, from Patricia Rawlinson’s Creative Arts Lifestyle • Tim Holtz® Idea-ology® Timepieces Clock Faces 1-1/4” • Silver Moon Beads® Bronze or Copper Metal Chain, 2.54mm

DecoArt® Dazzling Metallics®: About Patti Patti DeRenzo is a born-again Christian who has been married for 40 years. She has three children and nine grandchildren, and she earned her CDA (Certified Decorative Artist) title in 1985. February 2017 Issue

• DA314 Peacock Pearl • DA070 Shimmering Silver • DA245 Rich Espresso • DA263 Splendid Gold • DA072 Venetian Gold • DA205 Copper • DA073 Bronze • DA127 Black Pearl

Americana® MultiSurface Satin™ Acrylics: • DA539 Black Tie • DA500 Cotton Ball • DA524 Deep Turquoise

DecoArt Traditions™: • DAT42 Carbon Black

DecoArt Media®: • DMM23 Texture Sand Paste • DMM21 White Modeling Paste • DMM16 Crackle Glaze • DMM150 Carbon Black Antiquing Cream

Andy Skinner® Mixed Media Stencil: • ANDY03 Incognito

Etchall® B&B Etching Products: • Etching Crème • Small Squeegee • Swivel Knife • 11” Glass Clock

Loew-Cornell® Brushes: • 1” American Painter™ Wash, 4550 • #6 Shader, 3300 • #0 Liner, 3350 • 1/4” Angular Shader, 3400 • #4 Small Stencil Brush, 1136 • 1/4” Crescent Golden, 247 • 3” Palette Knife, #178

Miscellaneous Supplies: • Water Container • Waxed Palette Paper (I prefer Loew-Cornell brand) • Tracing Paper • Paper Towels • Blue Painter’s Tape

Painting World Magazine • Contact Paper • Shot Glass • Toothpick • E6000® Adhesive • Small Phillips Screwdriver • 3/8” Wrench • Lint-Free Cloth • Ziploc® Bag • Large Plastic Garbage Bag • Compass • Cookie Sheet • Foil or Parchment Paper

Preparing the Glass: Using the small Phillips screwdriver and 3/8” wrench, remove the glass front from the clock face. Clean the glass with soapy water, rinse it well, and dry it with a lint-free cloth. Place the plastic and screws in a Ziploc bag for safekeeping. (Figure 1)

Etching the Glass:

the compass at 3-1/4 “, and draw a circle that is 6-1/2” across. Now, cut out the circle. (Figure 2) Place the glass clock front on a piece of tracing paper. Using a pencil, trace around the outer edge of the glass. Fold the traced circle into fourths to find the center of the 11” circle you just traced, and mark it with a large dot. Now, use your compass to draw another 6-1/2” circle on the tracing paper. Place the glass directly on top of the tracing paper to help you align the contact paper correctly on the glass. Remove the plastic backing from the contact paper, and place the adhesive backing of the paper onto the center of the clock. Use the squeegee to rub it down and remove any air bubbles.

Cover your working area with a large plastic garbage bag for protection, as the etching crème will leave marks on granite countertops and enamel stoves.

With the blue painter’s tape, cover the four holes on the glass face on the underside. Take small strips of the blue tape, and place it around the outer perimeter of the clock, letting 3/8” protrude above the glass surface.

For etching the clock face, take a piece of contact paper approximately 14” x 14”, and then find the center of the square. Set

Turn the glass over, and form a little trough along the outer edge of the clock face.

Figure 1

Figure 2

Now, stir the etching crème, and gently pour it onto the contact paper on the clock. Use the squeegee to pull the crème over the exposed glass, gently spreading the crème and trying to avoid scraping the glass. This is somewhat like frosting a cake. Leave the crème on for 15 minutes. Use the squeegee to return the crème to the jar for reuse. Rinse the glass in water, and remove the excess crème, adhesive, and tape. Dry it well with a lint-free cloth.

Stenciling the Glass Clock: You will want to mask off certain areas of the Andy Skinner Mixed Media Incognito Stencil using the blue painter’s tape. Place the line drawing of the stencil under the glass. Line up the stencil where you are going to stencil the glass. Load the ends of the small stencil brush’s bristles with Black Tie. Pounce the brush onto your waxed palette, and then lightly pounce it on a dry paper towel. Now, take you brush and, making sure the stencil is secured down with painter’s tape, pounce your brush onto the stencil that’s on the glass. You want solid coverage. Figure 3

February 2017 Issue

Painting World Magazine Figure 4

Figure 5

Figure 6

Figure 7

Figure 8

Figure 9

the crescent brush to add some touches of Peacock Pearl and Shimmering Silver. (Figures 5-6) You will have to reload your brush several times, going through the same process each time. (Figure 3) Hint: I use a crescent brush moistened with water to correct any unwanted paint.

Painting the Wooden Gears with Metallics: Paint each gear a different color of your choice using the Splendid Gold, Copper, Venetian Gold, and Bronze Metallics and the #6 shader. (Figure 4) When they’re dry, darken the edges of the wooden gears using Rich Espresso + a very small amount of Black Pearl. When that’s dry, use February 2017 Issue

When you’re finished, glue on the gears using E6000 adhesive.

Pocket Watch: Take the polymer clay out of the wrapper, and knead it in your hands to warm it up and make it pliable. Now, take about a 1” round ball, and flatten it with a shot glass so that it is flat on top but rounded on the edges, like a pocket watch. (Figure 7) Take the 1-1/4” Tim Holtz Ideaology Timepieces clock faces. Push it down onto the pocket watch. Using a toothpick, gently lift the clock face off, and set it aside. With the toothpick, add little

ridges to the rounded outside edge of the pocket watch. To make the neck of the watch, pinch off three small pieces of clay and one slightly larger piece. Roll each piece into a little ball. Push two pieces together on top of the watch, so that they are flat on top, and push them onto the watch. Push the larger circle on top of the smaller pieces. Place the third small circle on the very tip of the stem, leaving it flat where it connects, and slightly rounded on top. Use the toothpick to make little ridges. Take a small piece of clay, and roll it out like a snake, about the thickness of a toothpick. Take part of it, and loop it around the top stem (this is where you will eventually connect the watch chain).

Painting World Magazine Figure 10

Figure 11

Figure 12

Cut two more small pieces for the watch hands. Flatten out some more clay, and use the swivel knife to cut out the arrows that point to the time. Press them onto the hands. Carefully clean the knife.

Painting the Eye: I chose to use the Americana Multi-Surface Satin Acrylics to paint the eye, because they work wonderfully on glass and have excellent coverage.

Baking the Pocket Watch:

When you are sure that it’s completely dry, take a watermoistened paper towel and dab it into the Carbon Black Antiquing Cream. Dab it onto the eye, keeping it confined to just the crackled area.

Place the line drawing of the eye under the glass. The white portion of the eye is Cotton Ball. The iris is Deep Turquoise, and the pupil is Black Tie. (Figure 8)

Allow the eye to dry again. Paint the eyelashes with a liner brush and Black Tie.

Line a cookie sheet with foil or parchment paper. Set the oven at 270°F. Make sure your oven doesn’t get over 300°F. You might want to use an oven thermometer. Allow the watch to bake for 30 minutes. Turn off the oven, and allow it to cool before opening it. When it’s cool, paint the watch with the Copper Metallic paint. When the paint is dry, add some touches of Peacock Pearl and Shimmering Silver. Allow it to dry again, and then antique it with Rich Espresso mixed with a dot of Black Pearl. Glue the metal face of the watch onto the clay watch, and glue the hand onto the face using E6000 adhesive. When it’s dry, attach the chain to the loop on top of the watch fob, and glue the chain and watch to the glass front. See the finished photo for placement.

The lower lid is gray (Black Tie + Cotton Ball). To paint the upper brow, first float using the angular brush and Cotton Ball; when that’s dry, float Bronze Metallic over the white.

Plastic Frame & Nuts: Paint the plastic frame and the four nuts that secure it to the glass frame with Bronze Metallic. You will probably need a few coats for solid coverage.

Using Black Tie and the angular brush, float around the outer edges of the iris, pulling small, gathered lines toward the pupil. Using Black Tie, float around the pupil, pulling small, gathered lines over the iris.

When it’s dry, add some accent colors of Peacock Pearl and Shimmering Silver. Add a wash of Rich Espresso over the frame to antique it down a bit.

In the center of the iris, float a back-to-back flip float circle with Cotton Ball. Using a liner brush, add a highlight in the center of the pupil using Venetian Gold. Allow it to dry. (Figure 9)

Clock Face:

Paint over the pupil, iris, and sclera (white of the eye) using the Media Crackle Glaze. Allow it to dry and crackle.

Once you’ve removed the glass from over the clock and removed the gray plastic frame, pull the pin from the top of the clock hands, and remove the hands. With a 1” wash brush, paint the clock face, going right over the numbers, using Peacock Pearl, Shimmering Silver, and Venetian Gold.

February 2017 Issue

Painting World Magazine Figure 13

Figure 14

I slip-slapped on one color at a time, blending each color into another. (Figure 10) Allow it to dry, and add another layer in the same manner. When that’s dry, apply one coat of Media Crackle Glaze over the dry Metallics. You want to brush it on in one direction; avoid brushing back and forth, as this will hinder the crackle effect. Allow it to air dry. Do NOT use a heat gun or hair dryer, as they can alter the crackle effect. Don’t worry about paint ridges - the Crackle Glaze has a leveling agent.

the crazing and crackles to be evident. Allow it to dry.

Stenciling the Clock Face:

color the paste black). With one hand, secure the stencil to the clock face, and with the other hand, use a palette knife to spread the paste over the clock face.

Cut out the stencil of the clock face outside of the outer circle. Put painter’s tape over the words “Hotel Du Monde.” Place the stencil over the dried clock face. (Figure 12)

Gently lift, so as not to disturb the textured stencil design. Allow the surface to thoroughly dry. Using a crescent brush, lightly add some Venetian Gold tints to the textured design. (Figures 13-14)

On your waxed palette, mix 2 parts Texture Sand Paste and 1 part White Modeling Paste + a bit of Traditions Carbon Black (to

You’re now ready to reassemble your clock. I hope you have enjoyed this moment in time with me. God bless, and enjoy.

Once the crazing and crackling is finished and the surface is thoroughly dry, pour a small dot of Carbon Black Antiquing Cream. Using a soft brush, apply the Antiquing Cream over the crackled clock face, making sure it gets down into the crevasses. (Figure 11) Wipe the face of the clock with a dry, soft, lint-free cloth to let the painted Metallics show through, but still allow February 2017 Issue

Painting World Magazine

Without night, there is no day. Without dull, there is no bright. Without ugly, there is no beauty. Explore the use of contrasts and opposites to paint this regal white rose.

A White Rose is for Remembrance 2017CDA Issue by LeslieFebruary Smith,

Painting World Magazine

Brushes: I suggest only that you use the largest brush with which you’re comfortable.

• #0 Liner Brush • #2-#8 Flat Brushes • #1 & #2 Round Brushes • A Fine Roller

Miscellaneous Supplies:

About Leslie A friend bought me a painting lesson as a Christmas gift in 1990. He saw an ad at a craft store that said painting could relieve stress. I was, at that time, working as a technical advisor for the sheriff’s EOD (bomb squad), so the gift was well chosen. I’ve been painting ever since. I have taught for many years, and participate in local shows. I love to design and to figure out what makes a piece appeal to others.

Surface: • 4” x 12” Wraparound Canvas, or other surface of similar proportions

DecoArt Americana® Paints: • DA132 Hauser Medium Green • DA133 Hauser Dark Green • DA194 Marigold • DAO67 Lamp Black • DAO1 Snow (Titanium) White • DAO3 Buttermilk • DA233 Wild Orchid

DecoArt® Mediums: • DMM18 Media White Gesso™ • DS21 DuraClear® Satin Varnish February 2017 Issue

• Usual Painting Supplies (including water, a water basin, a palette, paper towels, and transfer paper) • Ordinary Kitchen Sponge cut into a rough triangle, ~1” on the shorter side and 2” to 2-1/2” on the two longer sides

Preparation: Using a fine roller, apply gesso to the canvas (even if says it is already gessoed). Avoid ridges, and don’t forget the sides. Let the gesso dry for about two hours, and sand it lightly. Apply a second coat using the same procedure. Lay Hauser Medium Green, Hauser Dark Green, Marigold, and Lamp Black onto a palette or disposable tray. Mix equal parts (about the size of a dime) of the two greens and Marigold and a touch (a touch is a tiny bit) of Lamp Black to make a drab army green. Don’t over mix; avoiding that will allow some variations as you apply the paint, leaving the impression of hazy leaves in the background.

At about two thirds up the height of the canvas (8”), add another portion of Marigold to the remaining darker green on the palette, and apply it with the same (dirty) roller. Overlap the darker area for an inch or two to achieve a gradual change from the light to the dark. Let the paint dry. The canvas is really not pretty at this stage. (Figure 1) Moisten the kitchen sponge triangle, and wring out the excess water, leaving the sponge damp. Using it like a stamp, apply the leaves. Start at the bottom (don’t forget the canvas sides) with Hauser Dark Green, and work upward to a few with Hauser Medium Green. Let some of the background remain and show through. Remember that the rose is a proud and healthy flower. Its leaves would point up or be horizontal – only a few would hang down.

Figure 1

Figure 2

Starting at the bottom of the canvas, use a fine roller to apply the darker green. Move the roller back and forth in “W” like movements.

Painting World Magazine Don’t put any leaves where the rose bloom will lie, but you may put some around that area as a frame for the rose. Because the sponge has holes, you won’t get complete coverage – just impressions of leaves.

that they both contain white. So, when you mix Hauser Medium Green with Wild Orchid, you are mixing blue, yellow, and white with red, blue, and white – i.e. the three primaries and white. As we just said, that is gray.

Once you’re pleased, briefly lay a piece of paper over the canvas and press down to pick up excess paint and ridges. Let the canvas dry. (Figure 2)

Add a touch of Hauser Dark Green, and it makes a darker gray that can lean towards green. Add more Wild Orchid, and the gray is on the pinkish side. Add Marigold to that gray, and it makes a soft beige gray.

Transfer the rose, leaves, and stem using your favorite method. If you choose to use transfer paper and a stylus, insert a book or other hard object into the back of the canvas to support it and to avoid stretching it with the stylus. This help prevent grooves. Be sure that the stem is centered and goes straight up the middle of the canvas. The rose should not tilt.

How This Crazy Palette Will Make a White Rose: Most painters already know that there are three primary colors: Red, Yellow, and Blue. A mixture of the three primaries is black. If one adds white to black, the result is a gray. Figure 3

So, what happens if one mixes the Hauser Medium Green with Wild Orchid (a pastel pinkish purple)? The result is a delicious “almost” gray. Why? The answer is simple: It’s because greens are really blue and yellow, and purples are really red and blue. Just looking at them, you should know

If you add Hauser Medium Green to Wild Orchid, you create a gray that is neither green, nor pink, nor purple. The possibilities are endless, and this is one advantage of making the gray instead of just grabbing a bottle of gray. The other advantage is that the gray will sit well and look natural with the other colors because it is made up of those other colors.

Painting Instructions: Value Maps are tools usually used by oil painters. Even though you’ll paint this piece in acrylics, you’ll employ brush mixes, a

range of values, and temperature changes. To assist you, I’ve included a simplified value map and diagrams. (Figure 3)

The Rose: Make a basic gray mix with Hauser Medium Green, Wild Orchid, and a touch of Marigold. Paint the rose petals one at a time, completing them through all of the steps. Basecoat the first petal with your basic gray, using the largest size flat brush with which you are comfortable. I like to use a size 8, but some of the smaller petals can be a challenge. Alter the gray color, temperature, and/or value by adding a touch of Marigold, either of the greens, Wild Orchid, or any combination to the mix. Use these grays to shade the petals. Refer to the photos and Figure 3 (simplified value map), which suggests where you can place the darkest shadows. It is easier to brush mix the varied grays, but you can do them on your palette if you wish. Keep the greenish grays on the left and lower areas of the rose, and the pinkish or beige grays on the right upper part of the rose. This is because the light is from the right, and falls across the rose in a diagonal line from upper right to lower left. The simplified value map shows only where I chose to put the highlights and the darkest grays. Keep in mind that even if I’ve marked two areas Dark Green Gray, you can vary them with brush mixes for variety.

February 2017 Issue

Painting World Magazine

Figure 5

While the gray paint is still wet, corner load a flat brush with which you are comfortable (I used an 8) with Buttermilk. Place it in the center of the lighter area of the petal, as shown on the value map. Stroke with a light touch and little paint, and blend the Buttermilk into the gray (Figure 3 for the brightest of the highlights).

Once you are happy with the first petal, move onto the next one, changing the basic gray to make each petal different and unique. (Figure 4)

The blending, in combination with brush mixing, will provide a gradation of values in the petals. Highlighted areas should not look like bull’s-eyes. Be sure that the triangular corners of the petals remain gray; add more gray to the shadows if necessary.

Base the entirety of the sepals with Hauser Medium Green. Highlight using a round brush first with Hauser Medium Green. Highlight the left sepal a second time with a mixture of Buttermilk and Hauser Medium Green.

The highlights that fall along the diagonal line shown in Figure 4 get a second highlight with Snow White. The Snow White should occupy an area smaller than the Buttermilk, and you should blend this stronger highlight into the wet Buttermilk. Repeat if necessary without waiting, to ensure that the underlying paint remains wet.

Figure 4

Leaves, Stem & Sepals:

Next, base the entire uppermost leaf with Hauser Dark Green. Using the round brush, stroke in Hauser Medium Green to highlight. Stroke from the center vein to the outer leaf, reducing pressure so that the highlight stays in the area shown on the value map. (Figure 5) To reiterate, the value map shows that the highlights and veins do not extend to the outer edge of the leaf. Be sure to keep the strokes curved and not perfectly straight. Repeat in the areas shown with a mixture of Buttermilk and Hauser Medium Green. Use a #0 liner brush and Hauser Medium Green to paint the jagged edge of

February 2017 Issue

the leaf. Repeat these steps with the foremost leaf, adding only the downward side of the zigzag edge. The last leaf is supposed to “melt” into the background, so keep the color (hue) and values close to the background where it is sitting. Base it with Hauser Dark Green; paint its highlight and edge with a mixture of both greens. Base the stem with Hauser Dark Green. Highlight the section above the leaves with Hauser Medium Green, and then with a mixture of Hauser Medium Green and a touch of Buttermilk. Do not highlight the section beneath the leaves; it should “melt” into the background.

The Jazz and Pizazz: Because Hauser Dark Green is semi-transparent, we can use it to add drama to the background and not lose all the wonderful, impressionistic leaves we put in earlier. Corner load a size 8 flat brush with Hauser Dark Green, and tuck it into the triangular areas formed under the rose. Be frugal with the paint. Walk the paint out to make the green under the rose dark.

Figure 6

Painting World Magazine

Repeat in the areas above and behind the rose, only on the left side. I’ve provided a diagram showing a few of these areas. You may find more on your piece. Don’t forget the canvas sides. (Figure 6) Using a size 8 flat brush and Hauser Medium Green, lighten the area above the right side of the rose. Because it is lighter in value and contains white/ fillers, Hauser Medium Green is not transparent. Repeat in a smaller area, first with Marigold, and then with a mixture of Marigold and Buttermilk. Before the paint dries, double check that the brightest areas lie along the diagonal line on which the strongest petal highlights lie. Adjust if necessary. Don’t forget the canvas side. Wash the rose petals with a thin coat of Marigold in the areas shown in the final photo. These are also along the diagonal line. Blend to remove sharp lines; the sunshine appears to kiss the rose. Because both Buttermilk and Marigold are more or less opaque, you should confine the yellows to the areas that you previously painted in Buttermilk or Snow White. Do not let the yellows travel into the areas that are grays. Take a break and come back to evaluate your work with fresh eyes. Sign your piece if you are pleased. Let it dry overnight, and then varnish it with DuraClear Satin Varnish. © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag.com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http://www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

February 2017 Issue

Red Flower Dress by Lori Puszakowski-Schmidt

Painting World Magazine

Surface:

To Begin:

• 9” x 12” Canson® Heavyweight Watercolor Paper (140 lb)

Let’s start preparing our watercolor paper. First, tape the outside border of the Canson 9” x 12” paper onto a flat surface with painter’s tape. Tape approximately a 1/4” around the border to create a small frame. This will prevent movement as you work, and will keep your project flat.

MFW Mission Watercolors:

About Lori Lori Puszakowski-Schmidt loves art. She has been painting and drawing for the last 25 years, many friends in the industry call her “hippie chic” and her free flowing, impressionistic painting style, expresses her enjoyment of creating. She has an AA. Associate of Arts and a BS., Bachelors in Science with a major in business. Her current occupation is cake decorating for Publix since 1999 until present. Lori extends her creativity with freelance art projects throughout her community including, hand painted card lines, murals, commissioned canvas paintings and hand painted original furniture designs. She has been painting with her dear friend Donna Dewberry since 2002 and most recently had become an International educator at The Heart of Ohio Tole Painting Convention (HOOT) and Vegas Painting Convention and The Donna Dewberry One Stroke Painting Convention. She lives in sunny Sarasota, Florida with her husband David and son Christopher where she continues to teach her love of art.

• W511 Permanent Red • W501 Chinese White • W514 Crimson Lake • W532 Yellow Green • W533 Olive Green • W531 Greenish Yellow

Plaid® Enterprises FolkArt® Multi Surface Acrylics: • 2921 Aqua • 2938 Titanium White • 2920 Teal • 2909 Burnt Umber • 2918 Thicket • 2941 Berry Wine • 2910 Yellow Ochre

Watercolor Brushes: • 1-1/2” MFW Susan Scheewe® Background 8028 • Plaid Enterprises Stencil Decor® Brush • 1/2” Donna Dewberry Filbert Brush • #8 & #10 Donna Dewberry Flat Brushes • #1 Donna Dewberry Script Liner 1272

Sketch/Placement: Trace your line drawing of the dress onto the watercolor paper with a pencil and tracing paper. Place the pattern about an inch from the bottom of the 9” x 12” watercolor paper.

Background: Pick up your Susan Scheewe 1 1/2” background brush with 1/4 of the yellow green color and 3/4 water mixed into your brush. Using large upward, vertical strokes, begin to fill the background of your project. (Figure 1) Once the Yellow Green watercolor has covered the entire background, you can pick up a hint of Olive Green watercolor and add more dimension to Figure 1

Miscellaneous Supplies: • Identi®-pen (outlining; optional) • Pencil • Painter’s Tape • Tracing Paper • Your favorite vintage brocade or damask stencil such as Southern Motif Classic Stencil by Tracy Moreau

February 2017 Issue

Painting World Magazine the background. Repeat the same steps using the third color for the background, which is Greenish Yellow watercolor. Now we begin the vintage look of the background using the stencil design. Place the entire stencil over the sketch of the dress. Figure 2

Continue downward, still using the Permanent Red watercolor, and noting that the strokes are very soft.

Finish the neck of the mannequin with your #8 flat brush and a hint of Permanent Red watercolor.

Finish the right side of the painting still using the filbert and Permanent Red watercolor. (Figures 4-5)

Mini Roses:

Now we can add Crimson Lake and Chinese White watercolors to all the folds of the dress. (Figure 6) To begin, use the tip of your filbert with Crimson Lake watercolor, and lightly add the dark to each crease. Then, blend it out with a hint of Chinese White watercolor. (Figure 7) Pick up a #8 flat brush with Chinese White watercolor, and fill in the hem at the top of the bust line of the red dress. Don’t rinse your brush; fill in the left side of the mannequin neck.

To begin the first petal, double load a #8 flat with Berry Wine and Titanium White acrylics. On the dress, move a short, flat stroke about 1/2” in a straight motion. (Figure 8) Starting at noon, work your way to the right two strokes, and then to the left two strokes. This is the back row of the rose. As we begin the front petals of the rose, continue using a number #8 flat double loaded with Berry Wine and Titanium White acrylics. Starting at 10 o’clock, lay the brush flat at an angle, and push it toward the right, ending up at 1 o’clock.

Pick up your stencil brush, load it with Burnt Umber acrylic first, and blend a slight amount of Yellow Ochre acrylic on your brush. Starting on the left side of the project, begin pouncing lightly with uneven amounts of paint to acquire a distressed look. (Figure 2)

Dress: Begin the painting of the dress by loading the very tip of a Donna Dewberry 1/2” filbert brush with a hint of Permanent Red watercolor. Starting with the left side of the dress, begin using the tip of the brush, stroking toward the center of the dress, and keeping in mind light to dark. The left side will be darker than the right side as you begin to show the dimensions of the dress. (Figure 3) February 2017 Issue

Painting World Magazine

Figure 3

Figure 4

Figure 5

Figure 6

Figure 7

Figure 8

Figure 9

Figure 10

Figure 11

February 2017 Issue

Painting World Magazine strokes, following the right side of the dress, as if you were moving quickly. This is a very sketchy, free-flowing look. (Figure 11) As you build confidence, use the flip side of your pen, and begin with larger, thicker quick strokes along the right side of the dress to complete the shadow and vintage look of the red dress. The blue around the dress is created with a half-inch filbert brush, mixing a small amount of each Plaid Multi Surface paint, thicket and aqua with a hint of water, for a more subdued color. The next row of petals are curved strokes; they curve in toward the center of the rose to create a realistic expression of the flower petals. This painting stroke is commonly known as the comma stroke. Start to the right, and curve the stroke toward you as a reverse C motion. Let up on your brush, ending up with a small tail at the end of your stroke. This mini rose probably only has room for two or three crescent/comma strokes. The placement of the roses is several facing in a downward direction toward 7 o’clock and several facing to the right toward 3 o’clock to create a bouquet cluster on the right side of the dress. Add buds extending outwards from the roses by using the beginning steps above without the comma strokes. Just use the back petal and front petal steps only to create a tiny bud. No worries; most of the buds with be covered with leaves and accents. February 2017 Issue

Leaves: Load the #8 flat with Thicket acrylic, and dab small, green strokes around the mini roses and buds. Next, load the same #8 flat brush with Teal acrylic, and dab it on top of the Thicket acrylic to create a layer of leaves. Don’t do too many dabs - just a hint. (Figure 9) Finish with the same brush using Aqua acrylic, and add several dabs of Aqua acrylic as highlights. Load a #1 script liner with Titanium White acrylic, and lightly touch the floral bouquet with outward directions of dots to create a spray of flowers. (Figure 10)

Accents: The final part is optional. It is the fine artist in me; I love to draw, and was taught to use gestural strokes that create an abstract illusion of contrast. Use the small tip of the Identipen first. Start to use downward strokes with a hint of horizontal

Using the tip of your filbert brush, lightly go around the edge of the dress, starting at the top and working your way down to the right side of the dress. As you see in the finished project, I have also taken what is left on my brush and pushed my half-inch filbert along the edge of the painting on the right side, just a quick couple of strokes vto create a blue like vintage distressed dimension. This step is optional, it’s up to your artistic license how you like the painting to be completed as we discussed earlier with the black gesture drawing sketches-are also optional. You may stop at this point or continue on with the blue high lights in the photo I have shown in the finished piece or simply stop painting prior to the black line sketches and have a lighter looking background of your dress.

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2jCkuxW

February 2017 Issue

Feather Trio

by Kelly Hoernig

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

Painting World Magazine

DecoArt Americana® Acrylic Paints: • DA257 Bleached Sand • DA319 Burlap • DAO94 Mississippi Mud • DA155 Soft Black

DecoArt® Mediums:

About Kelly Hello from Indiana! So far, I have graduated with a fine arts degree and worked in advertising. For the last 19 years, I have traveled the US, teaching and exhibiting in the decorative painting market. I’ve designed over 500 pieces for publications, such as books, articles, and pattern packets, and have taken more than 10,000 photos. I became an international artist with my first e-course (which involved more than eight different countries). I enjoy creating in acrylics, mixed media, colored pencil, and watercolors. And I’m still excited to be creative every single day! Some things you might not know about me: I have a very curious nature, and work best by moonlight. I create because I have to. I’m inspired by the details, and excited by nature. I chase the muse everywhere, and I love a challenge.

Surface: • 11” x 14” Frame of Choice • Strathmore® Mixed Media Paper, Cut to 11” x 14” • 3 Vintage Flash Cards, Approx. 3” x 9”

• DS106 Decou-Page™ Matte • DMM18 Media® White Gesso • DAS13 Americana Matte Spray Finisher

Loew-Cornell® Brushes: • #8 Shader, Series 3300 • #1 Liner, Series 3350 • #10 Round, Series 3000 • 1” White Nylon Glaze Wash, Series 798 • 1/2” DM Stippler

Sanford Prismacolor® Premier® Colored Pencils: • French Grey 50%, 70%, 90% • Ginger Root • Sandbar Brown

Miscellaneous Supplies: • Spreader or Credit Card • T-square • Ruler • Pencil • Scissors • Doily (paper or plastic, or a stencil) • Black Graphite Paper • Dictionary and Book Pages • Paper Ephemera (bird book, cancelled postage stamp) • Tim Holtz® Idea-ology® Kraft Resist Scrapbook Paper • 6 Wooden Spacers • Raffia or Ribbon

Helpful Hints: Changing the background to match your home decor is really easy with this piece, because you do all of it with only one paint color. Make sure it is a nice, muted version instead of vibrant; we want to make sure the feathers stand out, not the background.

Preparation: Using the ruler and pencil, mark the paper size to 11” x 14”. Cut it carefully with the scissors. Gesso one side of the paper using the credit card to apply a nice, even coat over the entire surface. Cut the Kraft paper to 3-1/2” x 14”. If you’re using scrapbook paper, you will need 2 strips: 3-1/2” x 12” and 3-1/2” x 5”. You’ll later have to cut these to fit the 14” length of the frame. I hid the seam behind one of the feather cards so you wouldn’t notice.

Painting Instructions: Feathers: For each card, rip the book’s text so it fits approximately 1/4 of the card, and decoupage it to the surface. When that’s dry, gesso the entire card using the credit card as a spreader. You’ll first wash in each of the feather color areas with paint. Create the washes by adding water to the paint to thin it down and make it transparent in appearance.

February 2017 Issue

Painting World Magazine Figure 1

Figure 2

Use Bleached Sand for the white areas, and Bleached Sand + Mississippi Mud for the light brown areas. Use Mississippi Mud for the medium areas, and Mississippi Mud + Soft Black for the dark areas. For the downy areas, I used the DM stippler and Bleached Sand or the light brown mixture. Next, add the details with the colored pencils. Use Ginger Root in the white areas. I used a mixture of Sandbar Brown and all of the French Greys on the remainder of the feathers. Start with the lightest value, and darken it with the next color to add a variation of shading. When adding the colored pencil, remember to keep the lines gently curved, not straight like an arrow. Make sure to pull lines in the downy areas as well. Sharpen the vein lines with a very, very sharp pencil in whatever color matches best.

Background: Spritz the entire gessoed mixed media paper with water to dampen it, and then wash Burlap (or the color of your choice for the February 2017 Issue

background) all over it. While it’s wet, dip your fingers into your water bucket, and splash all over. Let the water sit on the surface until you see tiny circles appearing, and then blot it lightly with a paper towel. (Figure 1) Measure up 2-9/16” from the bottom, and then up 3 1/8” from there. Draw a pencil line lightly at both marks. This is where you’ll place your paper strip. Place your feather cards on the board, and determine where you would like to place the doily. I pushed mine to the far left, letting it show between the edge and the cards. I also placed it with a larger portion above the line and a smaller portion below the line for added design. With the 1/2” DM stippler brush and Burlap, we are going to stencil using the doily. To create the softer edges, dampen the brush, blot it dry, and load only half of it. Pounce the brush on the palette to remove any excess. With the paint next to the doily edge and the water away from the doily edge, begin pouncing up and down.

When you’ve completed the outer edge, fully load the brush, and pounce away the excess. Begin pouncing the entire inside areas of the stencil. Spatter with the #10 round and Mississippi Mud. Apply DecouPage to the backs of your paper strips, and place them within the pencil line border. Do this with both pieces, making sure to hide the seam behind one of the feather cards. Cut ribbon or raffia, and decoupage it down at the ends and underneath each of the feather cards. I wanted to keep it fuller between the cards, so I didn’t decoupage down the whole ribbon.

Finishing: Spray varnish everything with 2-3 light mists. Decoupage a wooden spacer to the back top and back bottom of each feather card. When everything’s dry, decoupage the cards to background. Place the piece in your frame and enjoy!

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2jCkuxW

February 2017 Issue

Picasso Calla by Sandi Greco

Painting World Magazine

Enjoy the journey in creating this stately calla lily flower on a 12” x 24” studio canvas. A harmony of subtle background tints, dimension on the petal edges, and a border accent of liquid glass adds definite interest, texture, and elegance to this dramatic wall décor piece.

About Sandi Decorative Painting has been a major part of my world since 1981. Stroking that brush to create my first daisy… I was hooked! Although I began in oils and have dabbled in most mediums, acrylics are my medium of choice. I like to “play” and experiment with specialty products to create some new techniques, and to give pieces a bit of fun and added interest. I do paint varied styles, with each being my favorite as I’m working on that design. Teaching is my number one passion! Clarence, a small suburb of Western New York, is home to my very active studio. I love to watch my students’ excitement as they develop their artistic endeavors. I have also taught at many conventions

Surface:

• 1/4”, 3/8”, 1/2”, & 5/8” Angles 7400 series • 1/4” Deerfoot 410 series • #6 Scumbler or other Drybrushes • Mop brushes for blending

• 12” x 24” Studio Canvas

Miscellaneous Supplies:

DecoArt Americana® Acrylic Paints:

• “Scruffy” Brush* • Sponge Roller • Palette Knife • Blue Painter’s Tape • Plastic Fork • Tracing Paper • Graphite Paper • Pencil • Stylus • Soapstone or Chalk Pencil • Q-tips® or Baby Wipes • T-square

and Chapters. Painting has put such joy in my heart, and I just want to share all that I can!

• DA09 Antique Gold • DA052 Avocado • DA067 Lamp Black • DA131 Hauser Light Green • DA164 Light Buttermilk • DA085 Midnite Blue • DA056 Olive Green • DA113 Plantation Pine • DA175 Plum • DA201 Primary Yellow • DA150 Royal Purple • DA043 Salem Blue • DA239 Warm White

DecoArt® Mediums: • DA072 Venetian Gold Dazzling Metallics® (or metallic gold of your choice) • DAW01 Americana White Acrylic Dimensional Writer • DMM14 DecoArt Media® Clear Liquid Glass • DAS1 Drying Time Extender™ • DS123 Americana DuraClear® Soft Touch Varnish

Loew-Cornell® Brushes: • Large 3/4” Flat, Filbert, & Mop (background) • #2 & #3 or #4 Round, 7000 series • #1 & #6 Liners 7350 series • #1 Liner, LCJS #1 • 10/0 Liner, JSC • #6 & #8 Filberts 7500 series

*A scruffy brush is just an old, flared out flat, angle, or filbert brush I use for texture in place of a deerfoot brush. We all have one!

Preparation: Tape a couple pieces of tracing paper together to make one complete pattern. Put your canvas on these pieces, and trace around the perimeter. To make your pattern, slide the bottom pattern under the tracing paper, placing it per the noted side and bottom edge marks. Place the top calla section under the tracing outline, positioning the top tip of the calla about 1-1/4” from the top edge of the canvas line; again, line it up at the right edge marking. There will be a bit of a gap between the two stem sections. Just connect them when making your pattern tracing, as indicated by the arrows.

February 2017 Issue

Painting World Magazine Trace the entire pattern onto your tracing paper outline.

Positioning the pattern onto the Surface: Note the marking on the right edge - that line lines up to the right side edge of the canvas. Also note that the bottom leaf does get cut off somewhat, and continues onto the bottom canvas edge. In a later step, you’ll sketch it on with the chalk pencil, as per the pattern copy. Tape the pattern tracing in place, and transfer on only the outline of the calla for right now. Starting with a round brush, base the surface first with Lamp Black, going around the flower. Be careful not to get any ridges; fluff them out into the background. Next, use the sponge roller or a large brush to complete the Lamp Black basecoat on the remaining canvas, the sides included. Apply two coats. When the canvas is dry, base the open canvas area (the calla) with Light Buttermilk. The advantage here is that it won’t take as many basecoats, and will keep the calla flower bright. Position the pattern tracing again, and transfer on the long stem and leaf. Base these areas two times with Avocado, carrying the color over the bottom edge to follow the leaf shape. Let it dry. With graphite paper, lightly transfer on the calla details: the pistil and the division lines. For the leaf, transfer on the flip and vein lines. Base the pistil in Antique Gold. February 2017 Issue

Background Tips: Start with the mottled background. You’ll do this in two stages. Refer to the placement diagram. The biggest point to remember is no polka dots! The colors must gently “merge” into each other; use irregular shapes. If you have any harsh edges, work the background color (Lamp Black) back into the area to diffuse them. You can work with a dirty brush if the colors warrant. See the instructions below. Keep a separate brush for applying the water. With water, always keep the area you’re working on (and beyond that area) dampened for the colors to softly diffuse into the background and each other. (You can use Drying Time Extender in place of the water, just be sure to dry it with a hairdryer before layering on any additional color.) Put the following colors out on a dry palette for the next two stages: Lamp Black, Midnite Blue, Hauser Light Green, and Plum.

Background Stage One: To start, lay down a large area of clean water. Start the tinting process in the upper left-hand corner, and work the colors into the Lamp Black background at

an angle across the flower and stem. Refer to the diagram. Sparingly, load a large flat or filbert brush with Hauser Light Green. From the upper left-hand corner, slip-slap color in a somewhat light X-shaped, haphazard motion, as to avoid “polka dots.” Use a mop brush to soften the harsh outer edges of color if necessary. Be sure another light glaze of water is in the next area. With a separate brush, pick up Plum, then Midnite Blue, etc., not as sparingly as the Hauser Light Green. Work the colors out into the dampened area, and work the canvas at an angle, crossing past the stem. As the color dries, it may be hard to see. Not to worry! Everything will be more pronounced when you varnish it.

Painting World Magazine Figure 1

Figure 4

Figure 2

Background Stage Two: Use a large drybrush and the same colors centralized in the same areas to intensify them. Be sure to have the Hauser Light Green a bit stronger in the upper left corner and in the area to the right. Let the paint dry. Build another layer of color if desired. Protect your calla as best as you can, and flyspeck somewhat washy Lamp Black (for bigger specks) onto the tinted areas. Clean out the calla as well as you can with a Q-tip or baby wipe. Little hints of color are okay.

Work the colors somewhat as mapped out. You should use a separate brush for the Hauser Light Green, but you can work Plum and Midnite Blue on a dirty brush. Make sure to dry this first stage of color. Remember that less is better – you can always add more.

Note: Wait until the end of your painting, but if any color seems too intense, or you get a stop line, lay on a glaze of your background color and pounce it with a mop to diffuse any harsh lines. Next, you’ll add the texture and dimension of a rolled edge to the outer edges of the calla petal. (Figure 1) Use the White Dimensional Writer, working small

Figure 3

areas at a time to apply a ridge to the outer edge of the Calla petal. Immediately, while the paint is still wet, use a slightly dampened, flared out #3 or #4 round to scuff over top of the ridge of paint, dragging it inward somewhat, and being sure to go with the petal’s growth lines, just enough to break the harsh line and still leave a bit of edge for dimension. Allow it to dry.

Stem and Leaf: Put the following colors on a wet palette: Light Buttermilk, Plantation Pine, Hauser Light Green, Olive Green, and Salem Blue. Per each side vein section, use the chisel edge of the #6 filbert to apply random sized dashes of Light Buttermilk. With the JS#1 liner, brush-mix Olive Green + Light Buttermilk. Hold the brush at a 45° angle, and “dittzle on” some random clusters of irregularly sized smaller, dottier splotches to these vein sections. Use a quick, light touch. (Figure 2)

February 2017 Issue

Painting World Magazine Using the #6 filbert, scuff on a drizzle highlight of Hauser Light Green down the center of the stem. With the JS#1 liner and Hauser Light Green, line the center and side veins. Erase any transfer lines. With the 5/8” angle, float Plantation Pine individually next to the main vein in each section, and under each side vein. Do the same thing on the backside of the flip (by the Lamp Black), next to the flip (on the leaf side), on the top and bottom of the stem, on the right stem edge, and on all “outies” of the right leaf rumples. Float Hauser Light Green on the forward edge of the flip and all the “innie” rumples using the 1/2” angle. Dress the brush in extender, and float it on at a bit of an angle, like a “tornado.” Mop the outer edges to soften them into the background. Dress the 3/8” angle in extender, and float Salem Blue on the left edge of the middle third of the stem. Do the same with the 1/2” angle on the large (left) hump on the leaf. Let it dry. Repeat as necessary. Flip-flop-flatten the #1 liner into Olive Green. Using the brush on its chisel edge, make a hit-andmiss highlight down the center of the stem, on the main leaf vein, and on the left side only of the side veins. With the same color and flattened brush, gently run a line along the flip edge, trailing it down to disappear at about the blue highlight. Using the same method, apply Olive Green to the right “C” leaf rumples. Tap the beginnings and ends with a Q-tip or your finger. They should February 2017 Issue

be soft and almost unnoticeable, but this step does sharpen them. Repeat the Hauser Light Green float on these “tornados” and the forward flip edge as needed. With a #6 drybrush scumbler, drybrush Olive Green to the center area of the large flip and the light rumples. Brush-mix Plantation Pine + Midnite Blue with the 1/2” angle, and deepen the shade next to the flip and on the right side only next to each main stem section. On the side veins of the right side only, use the #1 liner to pull Avocado just a little bit out from the main vein. With the same brush, pull Avocado on the main vein, going from the bottom upward. With the #1 liner, centralize a highlight of Olive Green in the middle of each left side vein, and in a hit-and-miss pattern down the main center vein. With Royal Purple, float tints on the left and right outer, lower leaf edges. Mop to soften them. Brush-mix Royal Purple + Plantation Pine, and float tints on the backside of the leaf flip and on the lower three sections next to the main vein. (Figure 3)

Calla:

way, but make the color drift off upward. Work each side of the pistil by pouncing with the mop or your finger to soften the color upward into the background. Use the chisel edge of the flat or the filbert (or use a liner) to pull sketchy lines of Royal Purple on the bottom three sections. Add Hauser Light Green lines a bit up from the bottom and on the right edge. Make a mix of Royal Purple + Lamp Black using the 5/8” angle. Float to shade the bottom under the white petal. Do the same in the larger, center area of the left “C” by walking the float inward. Also float to shade the lower “V” area and the small, left section in the “V”. With the same brush and color mixture, float to shade the top section; start at each side of the pistil, and walk upward, catching the “C” areas on each side. You’ll repeat these floats later. Float Light Buttermilk on the left middle edges with the 1/2” angle to highlight them. Float Hauser Light Green on the bottom, walking it upward. Also float Hauser Light Green on the right middle edge, walking it inward.

Be sure the texture is dry. Base over the light areas quickly with Light Buttermilk. There’s no need to go all the way to the outer edge, because there will be several layers of color.

Re-float over all the wide previous shade floats to deepen them with a mix of Plum + Royal Purple. Let this dry. Shade again with a dark Royal Purple + Lamp Black mix, concentrating it in the darkest “C” and “V” areas. (Figure 4)

Refer to the photo for color placement. With a washy glaze of Royal Purple, base the bottom three sections. Gently tap with the mop to even out the color. Do the upper section the same

Float Royal Purple on the inner edges of the white flips, and Warm White on the outer edges of the white flips. Drybrush the Royal Purple + Lamp Black mixture

Painting World Magazine across the middle of the center section, and anywhere it’s needed to intensify the dark values.

Dab Primary Yellow all over.Add Primary Yellow + Light Buttermilk mix at the top and the left.

With the 3/8” angle, float Olive Green down from the very top tip, softening it downward to create a little tint. To create the turn, float Plantation Pine.

Touch in Light Buttermilk at the top. Accent with a few Salem Blue dots. Shade at the base again if needed.

Brush-mix Hauser Light Green + Olive Green, and float at the bottom and along the right reflective edge. Float Salem Blue over the two left light areas, and mop to soften them. (Figure 5)

Use a scruffy brush (or your 1/4” deerfoot) to fuzzy the pistil up. Load the scruffy brush with Antique Gold, and place it around the pistil. Pick up Primary Yellow on the scruffy, and place it to the top and the left. (Figure 5)

Pistil:

Lettering:

Re-base the pistil if necessary. Add a little Primary Yellow to your palette.

Make a tracing. Decide the placement you want. It can go as I have it; horizontally nestled around the stem or vertically along the left edge. Hint: Use a T-square to align the tracing.

Brush-mix Plantation Pine + Royal Purple to a brownish color using the 3/8” angle. Float this color along the right (shaded) edge and at the base. Add layers of stippled dots using the tip of the #2 or #3 round: Apply Royal Purple + Lamp Black mix in the lower and right shaded areas.

Use a soapstone or chalk pencil to draw a straight line. Put a piece of painter’s tape under this line to insure your lettering will be straight. Place the pattern, tape it into place, and transfer it.

Use the color of your choice. I used Venetian Gold. Base the pattern in. You can use a lettering brush for this step or do what I did: use the #6 liner, flattened like a lettering brush, for the larger sections, and then fine tune with your 10/0 liner brush. Two coats would look best. Re-shape any areas as needed with Lamp Black (the base color). After painting the second basecoat, I floated Lamp Black with the 1/4” angle to separate and set back a few sections of the lettering. (Figure 6)

Liquid Glass Accent: Being that this was a more modern design, I chose to accent it and add a little interest with a design I made using DecoArt’s Liquid Glass. This product goes on milky, but it dries clear and takes on the background color. Decide on the size and area of placement. I used painter’s tape to

Figure 5

Step 1

Step 2

Step 3

Step 4

Plantation Pine + Royal Purple Mix Royal Purple + Black Mix

February 2017 Issue

Painting World Magazine tape it off, leaving an exposed area of about 1-1/2” to 2”. Also tape off any painted parts in the design’s path, like the leaf or stem, to protect them.

Figure 6

Pour the product out onto the area, and then smooth it with a palette knife. MORE IS NOT BETTER! Just skim it across between the tape. Let it set up for just a few minutes because it is a bit thin. Test to see if it’s workable. Then, with the prongs of a plastic fork, create a pattern. At about 1” intervals (or fork width), drag the fork up and down, and then left and right. Don’t play… get in and get out. (Figure 7) Gently remove the tape before the Liquid Glass dries. Dry time will vary; allow at least 24 hours before touching it.

Figure 7

Finishing: Sign your project. Clean up the background with the base color, Lamp Black. Float around the calla, adding a few little rumples to the petal edges. Let it dry well. Varnish your piece with two or three coats, but do NOT varnish over the Liquid Glass areas. I suggest using DecoArt’s Americana DuraClear Soft Touch Varnish. It will give the canvas area a nice, soft, velvety, protective finish, will enhance your colors, and will not take away from the glassy accent. Enjoy! Thank you for painting with me, Sandi.

February 2017 Issue

Painting World Magazine

Enlarge drawing 200% for full size painting.

Download all line drawings ready to print here: http://bit.ly/2jCkuxW

February 2017 Issue

Painting World Magazine

Directory of Artists & Suppliers Artists: Helena Rizzaro Andrejev helenarah@gmail.com Deb Antonick adeb@shaw.ca www.paintingwithdeb.ca facebook.com/deb.antonick

Kelly Hoernig questions@kellyhoernig.com www.kellyhoernig.com facebook.com/kellyhoernig.artist Terry Holte tholte@mac.com facebook.com/terry.holte.1

Mabel Blanco mabelblanco25@gmail.com www.mabelblanco.com

Leslie Smith, CDA laspaints2@gmail.com

Barbara Bunsey bbunsey@calicogoose.comhttp://www. calicogoose.com

Lori Puszakowski-Schmidt secondher@aol.com facebook.com/Lori-Puszakowski-SchmidtsArt-1408966809366500

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

Diane Trierweiler tolebridge@aol.com www.dianetrierweiler.com

Patti DeRenzo, CDA pattiderenzo@yahoo.com Sandi Greco paintnpoststudio@aol.com

February 2017 Issue

Tracy Weinzapfel info@tracyweinzapfelstudios.com www.tracyweinzapfelstudios.com Karen Wisner kdolls.designs@gmail.com homespuncountrycollectibles.com

Painting World Magazine

Suppliers: Andy Skinner® Stencils www.andyskinnercrafts.com Canson® http://en.canson.com Cheri Rol® Brushes www.cherirol.com 812-366-4180 Creative Arts Lifestyle® www.creativeartslifestyle.com 740-441-1564 Cupboard Distributing® www.cdwood.com 937-652-3338 Diane Trierweiler® www.dianetrierweiler.com 951-272-6918 DecoArt, Inc.® www.decoart.com 606-365-3193 Donna Dewberry® Brushes www.onestroke.com Dynasty® Brushes www.dynastybrush.com 718-821-5939 E-6000® Glue www.eclecticproducts.com 800-693-4667

Etchall® www.etchall.com 623-933-4567

Royal Langnickel® art.royalbrush.com 219-660-4170

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

Sakura® of America www.sakuraofamerica.com 30780 San Clemente Street Hayward, CA 94544

JW Etc.® White Lightning www.jwetc.com Krylon® www.krylon.com 800-457-9566

Sanford® Prismacolor® www.prismacolor.com facebook.com/prismacolor ScotchTM by 3M www.scotchbrand.com 800-328-6276

Loew-Cornell® Brushes Silver Moon Beads® www.loew-cornell.com www.silvermoonbeads.com 866-227-9206 customerservice@ silvermoonbeads.com MFW Mission® Watercolors Susan Scheewe® www.mijelloart.com Brushes 215-677-5600 www.weberart.com 215-677-5600 Painter’s Paradise® www.paintersparadise.com Stampendous® 302-798-3897 www.stampendous.com 800-869-0474 Plaid® Folk Art & Delta Strathmore® Papers Ceramcoat www.strathmoreartist.com www.plaidonline.com 800-842-4197 Tracy Moreau® Stencils www.tracymoreau.net Tim Holtz® for Ranger Industries, Inc. Viking Woodcrafts® www.rangerink.com www.vikingwoodcrafts.com 732-389-3535 800-328-0116

February 2017 Issue

Be Seen By Your Customers Right Here! Advertising in Painting World Magazine is easy and cost-effective for any budget. With design & copy services available, you can get your message in front of all our readers 7 times per year, right where you want to be! • 7 Printed Issues Per Year & Daily Social Media Updates • Our Readers are Artists, Sculptors, Home Decor Enthusiasts, Scrapbookers, Tole Painters, MixedMedia Artists and looking for your products! • Over 4200 Print Subscribers so far! • Over 6500 Social Media Followers • Design Services Available • Regular Email Newsletters

Contact info@paintingworldmag.com today for information about rates and services. Request a Media Kit & Samples today!