November 2017 Holiday Issue 11 Painting World Magazine by Loon Publishing, LLC.

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November 2017

Painting World Issue 11

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Cover Artist: Phyllis Ekleberry

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November 2017 Issue

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November 2017 Issue

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Painting World Magazine

From the Editor Who We Are 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. Editor-inChief, 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!

Missing Drawing in the October 2017 issue! We accidentally left out the line drawing pattern for Barbara Nielsen’s Star Angels in the October Ornament issue! We’ve included them for you on the next page.

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. PAINTING WORLD MAGAZINE (ISSN 2472-694X). November 2017, Volume 11, Issue 11 ©Magpie Publishing, LLC. Painting World Magazine is published 7 times per year by Magpie Publishing, LLC., 3318 Ultimate Way, Dayton, OH 45449, USA. Subscription price $29.99 per year. Periodical postage paid at Dayton OH and additional mailing offices. POSTMASTER: Please send address changes to Magpie Publishing, LLC., PO Box 1236, Miamisburg, OH 45343-1236. 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, LLC 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. Printed & ® , Inc.Magazine Loudonville, OH.Edition. All rights reserved. Not for distribution, resale or reproduction. You Shipped©by Truax Printing 2017 Painting World Digital agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. November 2017 Issue com. You may NOT reprint or make copies, even for non profit uses. Any violation of these termsLLCwill result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Missing Drawings!

These are the missing drawings for Barbara Nielsenâ&#x20AC;&#x2122;s Star Angels featured in the October 2017 Ornament issue on page 29. Whoops! We sincerely apologize for the omission!

Original project in October issue p. 29

November 2017 Issue

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Conventions & Events World of Color Expo November 6-11, 2017 Herndon, VA (near Dulles Airport, DC) A blend of fine artists with decorative artists that give you the best of both worlds. Sign up at: www.worldofcolorexpo.com

Art of the Carolinas November 10-12 2017 Hilton North Raleigh/Midtown, Raleigh, NC Sign up at: www.artofthecarolinas.com

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The 46th Annual Society of Decorative Painters Conference & Expo May 8 – May12, 2018 Ocean Center, Daytona Beach, FL Sign up at: www.decorativepainters.org

November 2017 Issue

Contents Painting World Magazine

10 Santa Banner by Featured Cover Artist: Phyllis Ekleberry

Winter Coat by Kay Witt

November 2017 Issue

Peace on Earth by Linda Hollander

Simple Art of Vintage by Tracy Moreau

Download all line drawings ready to print here: http://bit.ly/2zlxsb4

Painting World Magazine

Merry Christmas Santa by Shara Reiner

Art of Linda Maxson by Nicole Borgenicht

Kitten in the Holly by Sherry C. Nelson

The Artist Box by Kelly Hoernig

Happy Owlidays by Debbie Cole

The Gift of Pride by Leslie Smith

MORE GREAT ARTICLES! Surface, Surface! 41 Surface, by Margaret Riley Corner: 77 Innovative Painting on Glass by Debbie Cole, CDA of Artists, 93 Directory Advertisers & Suppliers Download all line drawings ready to print here: http://bit.ly/2zlxsb4

November 2017 Issue

Santa & Friends by Phyllis Ekleberry

Painting World Magazine

Welcome the Christmas season in with this beautiful banner painting. You can adjust the size to fit your decorating or gift-giving needs. In the instructions, I also explain how you can change colors and skin tones to make this project truly your own. Let’s get going!

Surface: • 6’ x 36” Roc-Lon® or canvas Banner *My banner is 6’ tall. I

wanted it to cover the front door completely. You may use 2-1/4 yards of Roc-Lon® or canvas by the roll. I used the lightest weight canvas by the roll from Dick Blick Art Materials® or Jerry’s Artarama®.

Oil Paints: You’ll need an oil palette to complete this project. The transparent colors are what makes the painting what it is; that is just the way I paint. But please, if you have a color that is close to what I used, don’t go out and buy the exact color. That is the beauty of oils - we can always mix to get there!

(a beautiful cool green)

• Volcano Grey 127593 • Any Brand: • Raw Sienna • White • Black (or make your own

• Holbein® - Ultramarine

Mediums, Etc:

Gamblin : • Perylene Red • Transparent Earth Red • Quinacridone Red • Payne’s Grey • Cobalt Blue ®

She went on to receive her Master Zhostovo Artist Certification after studying under Master Artist and Teacher Slava Letkov from Russia. Phyllis was the first U.S. citizen to obtain this coveted accreditation. Her favorite quote from Émile Zola is “If you ask me what I came to do in this world, I, an artist, will answer you: I am here to live out loud.”

Charvin: • Water Green Deep 82708

Transparent Colors: • Maimeri® Artisti - Transparent Deep H108

Phyllis Ekleberry was born and raised on a cattle ranch in the Texas Panhandle. Phyllis has used art to manage her physical adversities, placing one goal at a time in the forefront and striving to meet that goal. She obtained her Artisan’s Certificate and her Teacher’s Certificate from Genesis in the 1990s.

light bright green) • Cadmium Orange

black with Ultramarine Deep + Burnt Umber) • Burnt Umber • Metallic Gold • Burnt Sienna • Cadmium Yellow Light • Yellow Ochre

Oxide Brown 482

About Phyllis

Gamblin: • Cadmium Green (a gorgeous

Rembrandt®: • Transparent Oxide Yellow 265 • Transparent Oxide Brown 426 Winsor & Newton™: • Alizarin Crimson 4 • Sap Green 599 • Winsor Violet (Dioxazine) 733 • Viridian 692 Any Brand: • Transparent Orange Opaque Colors: • Rembrandt Scarlet 334 (or Cadmium Red Light 303) • Richeson® Shiva® Ice Blue • Richeson Blue Mist • Holbein - Horizon Blue 317 (turquoise)

*The mediums will speed up the drying time, make paint move easier, etc. But just a dab too much or over saturation makes the paint slip, not blend.

• Liquin™, or Walnut Oil if the

smell of Liquin bothers you or you prefer working in a more organic environment (walnut oil is just far more expensive).* • Pair of Gloves (if you’re using Liquin), to prevent Liquin & oil from seeping through • Clean Odorless Turpentine • Jack’s Linseed Studio Soap (my favorite brush cleaner)

• Baby Oil Brushes: You don’t need to go out and buy new brushes - use the ones you’re comfortable with.

• #2, #4, #14, #16, #18, #28, &

#44 Royal® & Langnickel™ Royal Sabletek™ Bright, Series L95010 • #16, #18, & #20 Royal & Langnickel Royal Sabletek Long Handle Flat, Series L95590

November 2017 Issue

Painting World Magazine

• Several 1” Brushes • Large Loew-Cornell® Golden

• 3/4” Royal & Langnickel Aqualon Wisp™ Filbert, Series R2935

Taklon Filbert Rake®, Series 7520 • #10 & #12 Royal® & Langnickel™ Zen™ Synthetic LH Filbert, Series Z73T* • Your Favorite Liner Brush (My favorite is the #2 Loew-Cornell Script Liner, Series 7050**) • 1” Royal® & Langnickel™ China OX Varnish Brush, Series L878 (for blending larger areas - it’s soft & won’t over-blend) • Mop Brush, or really cheap Chip Brush from Lowe’s® or The Home Depot® (optional, helps if you have a hard time blending two colors together)

Helpful Hints: “Dry wiping” is placing the brush between layers of a Viva paper towel, and squeezing it as you pull the brush through the towel. It is not wiping the brush willynilly on a paper towel that does NOT work, no matter how many times you do it. Remember this as you paint the banner. There are two ways to get this large design onto the banner. You can enlarge the pattern, or you can take a picture of the pattern with your phone and hook it up to a projector. The projector step allows you to make your banner whatever size you want by moving the projector forward or backward.

*I love this new line, as it has the spring you need for both oil and acrylics **I use longer liners, as I seem to have better control; these old hands shake a bit, and a longer liner doesn’t leave those telltale wiggles.

Miscellaneous Supplies: • Diaper Wipes (cheap kind

containing alcohol) • Viva® Paper Towels • Palette • Palette Knife • Plastic Wrap • Ruler • Round Object (to trace the inside of the wreath) • Old Black Graphite Paper • Tracing Paper • Pen • Pencil or Stylus

My Method: I approach every painting basically the same way: First, I apply the transparent colors, and then I use the opaque. Occasionally, I will go back with a transparent color in the final stage. It just depends on what type or style of painting I am trying to accomplish. I have found that with the transparent colors, you don’t get mud when you apply the next color. Transparent colors are like stained glass. They add dimension and depth without trying, and you can mix transparent colors with each other to make a beautiful base for the opaque colors. If you start trying a few paintings like this, you will find that your paintings will have a depth to them they’ve never had, and you won’t have to work so hard.

Background Instructions: Sky: The sky is a mixture of:

• Dark Value: White + Cobalt

Blue + Volcano Grey (3:1:0.5) • Main Mix: Dark Value + White (Take a big pile of White, and gradually add the above mix until you like the sky color. Don’t get it too dark.) • Add Cobalt Blue and Blue Mist to the sky here and there, and add Volcano Grey in both corners of your sky. I can only guide you. The sky is yours… If you want an overcast sky, make it darker. If you want a clearer sky, make it bluer. You can always add a touch of Ultramarine Deep; this is a good transparent color, so it won’t get muddy.

Background Trees: • Dark Value: Burnt Umber + Dark Value from the Sky • Light Value: Dark Value from the Sky + Blue Mist • Highlight: Blue Mist (Figures 1 & 2)

Background Evergreen: Hint: I used to hate painting trees, but then I just decided all they are is background trash, so fill them in, throw some snow on them, and call them done. After that, trees didn’t seem quite as daunting. You artists who paint landscapes, please don’t be offended - just realize that we who do this type of art can’t master everything! I’ve tried, and you all have a real gift. Maybe after a couple thousand YouTube® videos and articles, I will be able to paint a proper tree!

With Sap Green + Payne’s Grey in your brush, draw a tree trunk. After all, a tree is not a tree without

When mixing colors, a “touch” is a very small amount, but it’s enough © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. toNovember make a value 2017change. Issue agree 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 1

Figure 2

Figure 3

a straight trunk. If you want to show a bit of trunk between the branches, change this color to Burnt Umber, and then add a bit of Burnt Sienna to highlight.

touch of Liquin or Walnut Oil on the corner of your brush • Highlight: Transparent Oxide Yellow + a touch of Liquin or Walnut oil

Base the limbs with Sap Green. Remember, a tree has limbs all the way around, 360 degrees, not just on the sides.

Hint: If you make your own flesh tones, you have complete control over the color of your person. This means if you want a Hispanic person, add more Raw Sienna, and maybe a touch of Burnt Sienna depending on how dark you want your Santa. If you want a Black Santa, I would go with the shading color (Transparent Earth Red), and then add a bit of Windsor Purple and Burnt Umber to your color when shading. I would still place the transparent colors on the face the same way, as the highlights will just shine out to you better. It doesn’t matter what color your Santa is going to be - the transparent will stay the same.

Shade the trees with Sap Green + Payne’s Grey. (Figure 3) Highlight on the left (warm) side and the middle with Cadmium Green. Do most of the highlighting on the right (cool) side with Water Green Deep. (Figure 4) Finally, tint the trees by adding bits of Horizon Blue as cool reflection ions here and there. (Figure 5)

Snow: Paint the snow using Blue Mist + Cobalt Blue and Blue Mist for the left side. For the middle, use Blue Mist first, and then White. Also use White for the right side.

Painting Instructions: When painting a person, I always paint their face first. It just gives them a bit of personality. Then, I dress them. Santa’s Face:

• Darks: Transparent Earth Red; in the middle value, add a

Next, paint Santa’s flesh with the following mixtures. Make a good-sized pile of the Middle Value mix, as we are going to Figure 4 borrow from it to make the Dark and Light Value mixes. (Figure 6 next page)

• Dark Value: Middle Value

mix + Burnt Sienna • Darkest Value: Dark Value + Windsor Violet (this cools down the darkest area) • Light Value: Middle Value mix + more White (Tip: with the Transparent Oxide Yellow, it should not get pasty on you.) (Figure 7) To highlight, just add White on top of the Light Value skin tone. (Figure 8) Hint: After you get finished using your flesh colors, place a piece of plastic wrap over the paint and press down to press out all the air. This will help keep the paint viable for several days.

Place the Middle Value skin tone everywhere you placed Transparent Earth Red. Place the Light Value in the areas that you placed Transparent Oxide Yellow. Don’t worry about the paint becoming too pasty; the layer of Transparent Oxide Yellow will prevent that. Add the Dark Value skin tone behind the eyelids, under the hat, in the mouth, in the nostrils, and in the creases going from the nose to the beard. Put quite a bit of the Dark Value on the bottom of the cheek where we’re Figure 5

• Middle Value: Raw Sienna + White + a tiny bit of Quinacridone Red

November 2017 Issue

Painting World Magazine Figure 6

Figure 7

red color. I used just a bit of Liquin on the corner of my brush, since red is notorious for drying slowly and I am not such a patience person when it comes to drying. (Figure 10)

going to put cheek color, as it makes the cheek color prettier. Put the Dark Value in the wrinkles of Santa’s eyes, nose, and forehead. We all know he has earned those wrinkles. You have the ability to make him as old as you want to.

Figure 10

At this point, I know that Santa’s face appears fairly dark. But adding just one layer of highlights now will mean that we won’t have to add them over and over. Wet paints, especially light colors, seem to disappear. The tendency is to just keep adding and adding, thus getting more paint on than you need and making painting far too difficult. Let the paint tack up - you’ll be amazed at how easily and quickly the highlights go on later. (Figure 9) Now, I let the face rest and dry, and I move on to the rest of him. Wait to paint the eye, because painting it right now would just mean that you would get into the face. So wait a day; let the face dry and tack up. Depending on where you live, it may take two days for Santa’s face to dry. But it’s worth the wait, because you don’t want to do repairs. Santa’s Suit: Base the suit with Perylene Red. This is a wonderful transparent November 2017 Issue

Figure 8

Shade with Alizarin Crimson. Then, shade in strategic areas with a small amount of Alizarin Crimson + Winsor Violet, as this color mix will get away from you. Shade every place where the suit goes under another area (i.e. the fur areas, under the arms, under the belt, and behind the gathers). Hint: When applying your second color, NEVER get out of the first color’s area.

Next, you’ll apply a partial base, meaning you won’t completely cover up the Perylene Red. It’s a great color on its own, but with Santa’s suit, you need a bit more punch.

Figure 9

So apply Scarlet in the highlight areas, and then stretch it out a bit further to add that little extra color you think you need. Remember: you are the boss of this painting. I placed a bit of Scarlet in the following locations:

• On the top of the right

shoulder and on the outer part of the right arm, to help separate it from the body • On the tummy where it hangs over Santa’s belt - continue highlighting up, making a full, rounded tummy area (refer to the photos to see the highlighted area) • On the pant leg down the center and a bit near the center - just watch for the pleats, and make the ones on top brighter • On the outside of the left leg (barely) • On the top of the hat – watch for the fold Now, strategically highlight with Cadmium Orange in the areas listed above, but place the highlights in much smaller areas than you placed the Scarlet (on top of the right shoulder, on the bottom of the tummy where it hangs over the belt, in the center area of the pant, and in the top of the folds where Santa has tucked his pants into his boots).

Painting World Magazine Figure 11

Hint: Now, I know you are anxious to finish, but this is break time, as it’s easier not to fight a wet red suit. So let’s let it dry. Give it a day or two, and then come back and we’ll finish the entire banner in the next sitting… well, almost.

Santa’s Fur: I let my red suit dry, because getting into it was a mess - I turned out with pink fur every time I tried to rush, and I couldn’t put enough White on it to get the pink out. Solution: let the red dry!

Figure 12

Place the Dark Value where the front divides down the middle, and then place some Dark Value (but not as much) on the cuff in a “c” shape - you can see it in the photo. The cap has some Dark Value on both ends and a bit down the center. The ball on the cap also has dark on the bottom in a “c” shape to make the ball look round. Once that’s done, surround the Dark Value with the Middle Value, and overlap that with the Light Value. Highlight, and then you are finished with the fur. Snowman: The snowman and the snow are very much the same. (Figure 11)

• Dark Values: Ultramarine Deep

You’ll need the following colors to paint the fur: White, Cobalt Blue, Ultramarine Deep, Winsor Violet, and Ice Blue. I chose to paint the fur with the #18 Sabletek flat, because the long handle frees you up.

+ touch of Liquin or Walnut Oil; Cobalt Blue; Winsor Violet • Middle Value: Blue Mist + Cobalt Blue (4:1) • Light Value: White + touch of Blue Mist

• Dark Values: Ultramarine

When painting the head, place the Dark Value on the right side and under the hat, place the Middle Value around the Dark, and then place the White starting on the left side and moving toward the Dark. If you start in the Dark and move over, you will have dirty snow.

Deep + Liquin; Cobalt Blue • Middle Value: Blue Mist • Light Value: White + Blue Mist (1:1)

• Highlight: White We are making this as choppy as we can. Brush strokes count. We want to see every brush stroke you put down, so DON’T BLEND!

• Highlight: White

Remember, we want chunky snow, so do not over blend.

Figure 13

Use the largest brush you own - no smaller than a 1”. I always use one brush for my Dark Values and one for the White. For the snowman’s body, there’s a bit more shading, as I wanted it to appear more rounded, the wreath to be in front, etc. So follow the photo if you like my snowman, or use your colors and do your own thing. You are the artist in charge - you can do it! (Figure 12) Hint: If you happen to get too much shading color on your snowman, don’t panic. Let it tack up a bit, come in with White + a tiny bit of Ice Blue (NO Liquin or Walnut Oil), and place the paint in with pressure strokes.

Not enough? Let the paint tack up again (really tacky to the touch), and repeat the above step once or twice more - after all, if it’s worth doing once, it’s worth doing three or four times. Just keep doing it until you like the effect. Did the paint get too tacky? Then take your White very sparingly, and with a dry brush technique, place it where it should be.

November 2017 Issue

Painting World Magazine

Figure 14

Figure 15

There are more than one or two ways to get this done right!

Snowman’s Face: The snowman’s eyes are Black. Highlight with Cobalt Blue on the left side using a pressure stroke, and then highlight with Ice Blue over that. Finally, add a shine of White. The eyebrows and mouth are Black. Base the carrot nose with Cadmium Orange. Shade it with Cadmium Orange + Transparent Earth Red + a touch of Alizarin Crimson; make strokes coming from the top and the bottom to resemble a carrot. Highlight the nose with Cadmium Orange + a tad of Cadmium Yellow Light. Highlight the cheeks with a bit more White. I chose to make my snowman’s cheeks round, and then came back with Scarlet to add a bit of blush to the bottom sides of the cheeks. When placing the mouth on, I added a bit of turpentine to my Black on a script liner, and made that friendly smile. (Figure 13) November 2017 Issue

Snowman’s Wreath: Use the exact colors that you used on the background evergreen. (Figures 14 & 15) The easiest thing to do is to wait until the snowman is dry. Then, with something round (like a small dish), draw in the center of the wreath. Come back with a ruler, and very lightly mark the same amount of inches all the way around the outside edge of your circle. Now you won’t fight the wreath as I did. Using a 1” brush and pulling strokes out so that the wreath looks like evergreen, place the dark values in on the lower right side. I even put some Cobalt Blue + Ice Blue and Winsor Violet + White in places on the right side. This helps cool down that side. Don’t put any Cadmium Green on the right side; we reserve that for the left side because it’s a warm color. When judging the wreath, STAND BACK. Otherwise, you will never know if it is round or the correct values. Always evaluate your painting from a distance, especially if it is as large as this one. Do you see that in Photo 21 of the wreath, the wreath is NOT round?

Figure 16

After I got the wreath like I wanted it, I put the balls in. (Figure 16) Base the red balls with Perylene Red. Shade them with Alizarin Crimson. Highlight with Scarlet, and then with Cadmium Orange + Cadmium Yellow Light (+ White) For the blue balls, base with Cobalt Blue, and shade with Ultramarine Deep. Highlight them with Ice Blue, and then with White.

Cardinal: Now, on to the bird… We are going to follow the same methods we used for the red suit. (Figure 17) Base the bird with Perylene Red + a little Liquin or Walnut Oil. (Remember that this is a transparent color.) Shade the bird with Alizarin Crimson under the wing and the covert feathers (on the top part of the wing); also shade the longer primary feathers on the bottom part of the wing. If you want to be totally correct in portraying your cardinal, they have nine primary feathers. Next, divide your tail feathers, still using Alizarin Crimson. Place a bit of Alizarin Crimson

Painting World Magazine

Figure 17

shading under your bird where he makes contact with the hat and along the outside edges to help round him out. (Figure 18) Paint the first highlight with Scarlet, making feather strokes (strokes that pull in the direction the feathers would grow and lay). Make these strokes beginning in the center of his belly; dry wipe your brush, load it again, and then start again in the center of his head and move out. Starting where the highlight is the brightest allows you to begin to pick up a small amount of the Perylene Red on your brush as you go - this way, the feathers get naturally darker as you move out to the edges. Use Cadmium Orange for the second highlight. For the final highlight, use Cadmium Orange + a little Cadmium Yellow Light (1:1); you may have to lay this in several times, or stack it one layer on top of the other, and then blend. Leave the area around his beak where the Black will go free of paint. Base the beak with Cadmium Orange. Shade the beak with Scarlet. Shade again with Perylene Red. Shade a final time in

Figure 18

a smaller area with Alizarin Crimson (refer to the photo). Highlight the beak with Cadmium Yellow Light. Highlight again using Cadmium Yellow Light + White. Then, dab some White on the end of the beak. Remember to place just a dab of Black at the top of the beak so your bird can breathe. Look at the beak to make sure that you formed it correctly. You can reform it with the Black that goes all around the bird’s face. The reason we haven’t added the Black above the beak yet is because we would just drag it in the beak. So now, if you’re pleased with your beak, place the Black at the top of the face. With Black still in your brush, fill in his little eyes. On the upper left side of each eye, add a small line of Ice Blue to start the highlight, and then blend it out. Make sure you don’t add too much paint. You can do this step again if you need too. Refer to the photo. When you are pleased with this part of your highlight, add a dot of White. Please use the brush end of a liner and NOT a stylus!

When the Black has tacked up, add a small ring of White around the eye. Looking at the photo, you will see that it is not an exact circle.

Santa’s Eyes: The whites of the eyes are not really White - they are the Medium Value flesh color. By now, your flesh color will be dry, so make a small batch, and let’s go. (Figure 19) Paint in the Medium Value flesh color all around each pupil. Using a tiny bit of Transparent Earth Red, place the tear ducts in. I wanted blue eyes for my Santa, so I entirely repainted each iris with Payne’s Grey, and then painted the outer portion with Cobalt Blue. You will have to paint the Cobalt Blue several times. Or, if you want light blue eyes like mine, paint each iris with Cobalt Blue the first time. Then, make a mix that is a couple shades darker than you really want it, and base each iris with that color. We will be adding quite a few other colors, so don’t get hung up on the exact color yet. You must remember that the pupil always sits exactly in the

November 2017 Issue

Painting World Magazine Figure 19

Figure 20

Figure 21

Figure 22

Figure 23

Figure 24

Figure 25

Figure 26

middle of the iris. It never moves. So, you may need to refresh the Payne’s Grey after you add all of your highlights and tints. With a #2 or #4 short liner, place Payne’s Grey all around each eye to shade it so that you can make the eyeball actually go back into the eye socket. Then, with a short #2 or #1 flat, blend the paint out. (Figure 20) See how muddy it is? Don’t worry. We are going to add very thick White next to both sides of each iris. This is a play between light and dark. Sometimes, I go back and forth, reapplying the dark and the light. Eyes take a bit to paint, but they are worth the effort. Now, use Ultramarine Deep to place a dark circle completely around each eye. (Figure 21) With your short liner, make November 2017 Issue

short, jerky strokes coming from the outside edge into the pupil. It radiates like the sun’s rays. Then, place some Ultramarine Deep on the left side of each pupil, and pull it out. Look at someone’s eyes very closely. The pupils are not completely round objects; they’re a bit irregular. Let’s make Santa look real. With a bit of Aqua + White, add the tint on the lower left side, using the same jerky strokes to pull it in. At this point, I reevaluated my eyes, and decided I needed more dark at the tops. I like to make the tops very dark to indicate heavy lids like we all get as we age - sorry, but we do. (Figure 22)

Then, I wanted more dark in the outer corner, so I added a bit of Burnt Umber. If you do this, don’t add much; we already have Payne’s Grey, and Payne’s Grey and Burnt Umber together will make Black, so we don’t want to push that envelope! (Figure 23) The last thing you will do to the inside of the eye is add the final White highlight going up from the lower left. Do this at the same location on both eyes so Santa won’t have a vision problem! (Figure 24) I painted the eyelashes with a bit of Payne’s Grey + White, and brought them straight from the lid to the outside edge. No long, curly lashes for Santa. (Figure 25)

Painting World Magazine Your face should now be ready for the final highlight. Check your flesh colors, and see if they are still viable. If so, great! If not, let’s just remake a very small batch of Middle Value + Light Value. (Figure 26) With a very dry brush, start in the center area of Santa’s cheek, and dry rub the Middle Value + Light Value face colors on. Gradually get lighter as you go up. This takes a very scarce amount of paint, so I usually pick up the wonderful Royal & Langnickel #10 or #12 Zen filbert, load it with paint, wipe it on a paper towel, and then dry rub it on the areas that need to be brought up to a lighter value. Keep adding the lighter value to the area until you’re pleased. Need a little help? Private message me on Facebook with a photo of what you have going. I will gladly help you. Look at the photo, and notice that I added a little red to Santa’s temples and the tip of his nose. (If your Santa is Caucasian, use Perylene Red + Liquin; if he’s Hispanic or Black, use Alizarin Crimson + Liquin.) Did you get enough red on the lips?

Santa’s Boots & Belt: Base the boots and belt with Black. Use Cobalt Blue to highlight the center of the top part of the boots with a pressure stroke. Continue highlighting on the top of the bottom portion of the boots, on the outer portion of the left side of the belt, and a bit on the innermost part of the belt (inside the square buckle).

Paint a final highlight with Ice Blue in a smaller area, and use a mop brush to bring out that marvelous shine gradually. Aren’t you convinced that those transparent colors are wonderful? Figure 27

little pressure, get thicker with more pressure, and then lift off as you get toward the left edge.

Snow Under Santa: Make sure that your Black paint is dry. And yes, we could just be very careful, but who wants to accidentally drag wet Black paint into beautiful white snow? Just let it dry - it was break time anyway, right? To paint the snow, you’ll need the same colors you used for the fur. Get about three of the largest flat brushes you own. I prefer the long handles, as they make you free up. Before beginning, make the following mixes:

Snowman’s Hat: Base the whole hat EXCEPT the hatband with Black. (Figure 27) Then, come back in the highlight area with Cobalt Blue, using a pressure stroke to press the paint all the way through the Black that you just placed; this should extend a bit over where the highlight will go. You’ll have to do this a couple of times. I know that you barely see this, but Cobalt Blue is a beautiful transparent color, and when we add an opaque color over it, something wonderful is going to happen - I promise! Now add just a bit of Ice Blue directly in the middle of the Cobalt Blue on the top of the hat, and gently drag a clean mop both ways. You should be finished. The top of the hat under the hatband is even simpler. Take Ice Blue in your brush (probably a #16 or #18 Sabletek), and start on the right side with your brush at an angle. Start thin with a

• Middle Value: Cobalt Blue

+ White (1:1) - Make a good size pile, and use half for the next mixture • Lighter Middle Value: Middle Value mix + White (1:1) • Tint: Winsor Violet + White (1:1) - Make a good size pile, and use half for the next mixture • Lighter Value Tint: Tint + White (1:1) • With a small amount of Ultramarine Deep and Liquin in one brush and White in another, start on the right side, and roughly make crisscross strokes. Remember, this is snow and it needs to be rough. To make it rough, you need to see the brush strokes by including value change. Some value change should be very bold, and some should be not so bold. Now, pick up a third brush or dry wipe your dark color brush. You should also be constantly dry wiping your White brush.

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Painting World Magazine Figure 28

Figure 29

Add a bit of White + Winsor Violet (1:4) over the Ultramarine Deep you just put down. If you look at the photos, you will see that the snow on the very right hand side has the most purple in it. (Purple is a COOL color, and the right side is cool, remember?) Also lay in a bit between Santa’s boots, as we want to make that snow appear to be behind the boots. Hint: Most of the time, cool colors recede, while warm colors tend to come forward. Think of cool colors as the colors of water and sky, while warm colors are sun colors. Next, pick up Cobalt Blue, and lay it in the back “folds” of the snow so we can have some mounds of snow. Add some White into those colors until you are pleased, but don’t do the front snow until we do the bunny.

Santa’s Beard: Don’t get discouraged when you get to the beard. It just takes practice, and guess what? You can just wipe any mistakes off and start again. I have done it before, and you can too! So let’s jump right in… (Figures 28-30) Get out the largest Rake brush you have. I used an Aqualon Wisp November 2017 Issue

filbert, a #18 (or #20) Sabletek flat, and a #0 Mark USA® liner (but any long, thin liner will work). The paints I used are Volcano Grey, Blue Mist, White, and Cobalt Blue. Prepare the following mixes:

• Highlight: White • Light Value: White +

Medium Value mix (3:1) • Medium Value: White + Volcano Grey (3:1) - make a pretty good pile, as we will borrow from it • Dark Value: Medium Value mix + Volcano Grey (1:1)

• Darkest Value: Volcano Grey You will use the Dark Value mix to place the shading in your beard. With the Medium Value, simply base in the beard with the curls that you want. You are the boss of your beard. You can make it very curly, or you can make it not so curly. Just remember that you are going to have to carry out the instructions all the way to the end. Next, shade the beard with the Dark Value (see photo). This is a point where you can add more curls if you want to. Place the Dark Value under and inside the curls. I know it doesn’t look like much, but your Rake brush is coming up, and it’s a

Figure 30

miracle brush with a handle. Now, come in with White + a touch of Blue Mist + a bit of clean turpentine, and lightly make the tiny hairs that comprise the beard on the right side. Remember, the right side is the COOL side, and that’s why we’re adding a bit of blue for the underside of the beard. I like to explain this to you so the next time you paint something like this, you’ll automatically do cool and warm colors correctly, since you know the why behind it all. Hint: I found a neat utensil in a makeup moisturizer that is perfect for squeezing out turpentine onto a palette (see photo). Look under the IT Cosmetics™ - it’s worth the utensil, if not the moisturizer (although I’m stuck on both).

The lighter your strokes are, the tinier/thinner your beard hairs are going to be. I can’t stress this enough. Practice a bit on a piece of palette paper first. Bear down… see how the fat hairs aren’t attractive? So lighten up, and see what happens: nice, beautiful hair. Let’s paint a beard Santa would be proud of, with light, beautiful curls. If you don’t like something, base it out and start again.

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Figure 32

You’re in charge! On the left side (the WARM side), we are going to paint with White + a tiny touch of Volcano Grey. After you’re finished and you like your work, go back and do the entire last step again with White + clean turpentine. Make a good-sized puddle of this mixture. You may have to do this step several times. Tip: Sometimes, I go on to the next step and let the White set a while. You’ll notice that the White “settles in” and seems to disappear. That just happens with White paint, so don’t worry. There are times I spend hours on a beard. That’s my thing.

When you’re happy, move on, and let the beard dry. After it’s had a chance to dry, come back and shade under the mustache with Volcano Grey + White. We want a color that is a little darker than a middle value. Let’s make sure that this is not straight across, either - follow the movement of the whiskers. Time to stand way back... Evaluate your painting. Do you need more dark? More light? You can add additional paint now, or add it later, when you get more color around. Sometimes, that’s the better solution; you

Figure 33

Figure 34

can’t really tell how dark or light something is until it’s surrounded completely with color and the white of the canvas is gone.

Snow on Hat: Paint the snow on the top-hat and under the bird with Blue Mist, and then with White.

Holly: The colors you’ll need for the holly are Sap Green, Cadmium Yellow Light, Viridian, Payne’s Grey, White, Scarlet, Perylene Red, Blue Mist, gray colors from the beard, Transparent Orange. (Figures 31-34) You’ll need the following mixes:

• Dark Warm Green: Sap

Green + Payne’s Grey (3:1) • Medium Warm Green: Sap Green + a touch of Scarlet (not too much - we’re using red to tone down the green) Hint: When you have a green that’s a bit vibrant, but you like the color, tone it down with its complement (red). The trick is to add just a tiny bit at a time until you find a color that pleases you. How do you know when it pleases you? Put it on the piece. You won’t be able to tell by looking at it on the palette unless you’re an extremely experienced painter, and I’m not there yet.

• Light Warm Green: Use a gray from your beard

Figure 35

• Highlight: White • Cool Dark Value: Viridian

+ Payne’s Grey (3:1) • Cool Medium Value: Viridian + Blue Mist (2:1) • Highlight: Blue Mist • Accent: Cobalt Blue + White When painting leaves, I place the dark color at the base of the leaf, and then pull down the center vein line. Then, I fill the remainder in with the middle value color and barely blend. The next color I add is light. Look at the photo, and see where the light color is on that leaf. Now, place the Light Warm Green color on the leaf with a pressure stroke, making sure that it goes all the way to the canvas. If you don’t connect to the canvas, the light will just disappear when you blend. You may have to add the Light Warm Green mix a couple of times before you add the highlight. Not all leaves receive a highlight. Keep referring to your photos. It helps to put the photos on your computer and blow them up.

Berries: Base the dark red berries with Perylene Red. (Figure 35) Shade them with Alizarin Crimson, and highlight with Scarlet. Highlight them again with Cadmium

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Painting World Magazine Orange, then with Cadmium Orange + Cadmium Yellow Light, and finally with White + Cadmium Yellow Light. For the light red berries, base with Transparent Orange, and shade with Scarlet. Highlight them with Cadmium Orange + Cadmium Yellow Light, and then with White + Cadmium Yellow Light. Base the green berries with the holly Medium Warm Green mix. Shade them with the holly Dark Warm Green mix. Highlight the green berries with the holly Light Warm Green mix, then with the Light Warm Green mix + Cadmium Yellow Light, and finally with White + Cadmium Yellow Light. Accent them with Scarlet. Hint: Do you know the difference between a tint and an accent? An accent is usually a pure color, while a tint usually has white added to it.

Snowman’s Mittens & Scarf: Use Ultramarine Deep and Cobalt Blue + Liquin or Walnut Oil to Figure 36

add the dark values on the scarf (under the snowman’s chin and at the division of the scarf as it goes around his neck and down the front). Use strokes that pull out like good cashmere would do. (Figures 36-37) If you need more dark value, add Winsor Violet. Next, use a 1” brush to add a bit of Ice Blue (the middle value) to the scarf. Start in the lightest areas first, and then go into the darker areas as you pick up the dark colors underneath. Dry wipe the brush often. Add a White highlight on the top front portion of the scarf as it comes out and divides. I didn’t use White anywhere else, because I wanted a really blue scarf. Base the mittens with Cobalt Blue + Liquin or Walnut Oil. Shade with Ultramarine Deep where the mittens turn under to hold the wreath. Place a small amount of Ultramarine Deep to divide the thumbs and the bands that go around the tops from the rest of the mittens. Figure 37

If you need an additional dark value here and there, add some Winsor Violet to your Ultramarine Deep. Next, pat on the highlights on the bottom portions of the mittens with Ice Blue. You want the bottom portions to look fuzzy, like knit. Then, pull strokes of Ice Blue on the bands to indicate the small ribs that run across the tops of the mittens. After that, pick up some White on your dirty brush, and highlight the band ribs in the middle of each band again. At this point, I pulled strokes of Ice Blue on the mitten bands to denote how deep I wanted them. Then, I added each band’s decoration with Ice Blue. You can also add a bit of White on the decorations if needed. If you need more shading on the mittens as they go in to hold the wreath, add a bit of Winsor Violet (but not much).

Bunny: Hint: In order to get light, you must first get dark. Remember that with the bunny. (Figure 38) Paint the bunny’s brown spots with Transparent Oxide Brown. Place a small amount of Transparent Oxide Brown where the bunny rests on the snow and where the foot divides from the body. His entire little nose area is also Transparent Oxide Brown. Leave a small area free of paint around his eye, and then place a ring of Transparent Oxide Brown around that area. Also place Transparent Oxide Brown on top of the head and on the back ear.

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Painting World Magazine Figure 38

Figure 39

Use Transparent Earth Red around the front ear so it’s a bit warmer than the back ear.

fur on the bunny. Make sure that the White blends into the browns and the browns into the White.

We’re totally finished with the banner now, so let’s go back to Santa’s face.

Now to the white areas that are not quite white! First, we need to paint the bunny in varying shades of gray. If you still have Santa’s beard colors, they will do just fine.

Base the eye with Burnt Umber. Highlight it with Burnt Sienna along the lower edge; you may have to do this several times. When you’re pleased with the Burnt Sienna, add a final shine of White.

Does he have enough highlights? Enough Darks? Are his cheeks red enough?

Place the Medium Value beard color on the front of the bunny’s tummy, on his neck area (where the head and body meet), and on the right bottom where his tummy meets the snow. Then, we will use the next lighter color to fill in the rest of the bunny. Paint the brown areas next with a mix of Burnt Sienna + Raw Sienna (1:1), feathering them into the gray that you already placed. Shade under the nose with Burnt Umber to give the bunny a mouth. (Figure 39) Highlight with the Medium Value gray mix on the tip of the nose to form it out. Highlight the bunny’s fur with White. Using a Rake brush again with thinned White will make the

Paint the inside of the front ear with the Medium Value from Santa face (if it’s still viable) + a tad more Quinacridone Red (to make it a bit pinker). Don’t add too much Quinacridone Red!

Snow in Front of Santa’s Boot & Bunny: This snow is white, brighter than the back snow. Use the light gray mix and White, plus a touch of Liquin or Walnut Oil on your brush to help it move. Please don’t over blend. This is lumpy snow, and will only be so if you use crisscross strokes with a very large brush, and then leave it alone.

I put Perylene Red, and then just a bit of Scarlet, on his cheeks and lower lip. Don’t get them too red. Use Liquin or Walnut Oil. If you don’t like how the red turns out, get an old towel and gently wipe it off. It will stain a little, but not too much- try again. Do you know how I know how to correct these mistakes? Because I have made them!

Santa’s Glasses & Belt Buckle: When the face is completely dry, transfer the glasses on with old black graphite paper. Base the glasses and belt buckle in with Yellow Ochre. Shade the glasses in the following areas with Transparent Earth Red, then with Burnt Sienna, and then with your dirty brush + Burnt Umber (if needed): as they go back

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Painting World Magazine Figure 40

into Santa’s cap, where the arms meet the rims, on the rims, on the bridge, as they go back behind the nose, as they come out from the nose, and a bit underneath the top portion of the rims. Using the same colors, shade the belt buckle where it goes behind the snowman, where the end piece tucks in behind the square frame, above and below the prong, and on both ends of the prong where it comes through the belt. The glasses don’t need highlighted. Highlight the belt buckle with Yellow Ochre + Cadmium Yellow Light in the bottom left corner of the square frame, at the top of the prong’s hump, and on the end piece. Highlight those areas again with Cadmium Yellow Light + White. Let the paint dry completely. Test your face - is it very dry? If it is, let’s put the glass in your glasses!

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With a #6 filbert brush, pick up some White paint, and work it into both sides of your brush. Now, wipe your brush gently on a paper towel, leaving a small amount of paint on the brush. Take your brush, and sweep horizontally across Santa’s glasses. You may have to do this several times before you can get them filled to your satisfaction. Don’t overdo it! We just want a hint of glass. Now, thin down Metallic Gold paint with very clean turpentine (not too thin - just enough that you can draw with it). Put a wash of Metallic Gold over the glasses and belt buckle. I painted a few accents of Alizarin Crimson on the belt buckle to show reflections from the suit. Hint: If you place an accent in the dark area, it needs to be a dark red. If you place one in the light area, make it a lighter red.

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Enlarge drawing 720% for full 72â&#x20AC;? size, OR use a projector for easier tracing!

Download all line drawings ready to print here: http://bit.ly/2zlxsb4

November 2017 Issue

Winter Coat by Kay Witt

Painting World Magazine

In this project, readers will learn how to create a lifelike wolf by applying pastel pencil and hard pastel to Pastelmat® card made by Clairefontaine®. Readers can use this technique to create many furry animals, including dogs, cats, horses, etc. By learning these techniques, the reader may create animal and pet portraits for wonderful gifts that will make lasting treasures for years to come.

About Kay Kay Witt is a popular Workshop Instructor and Fine Artist living in Strasburg, VA. Kay helps others achieve their artistic goals in her popular classes. She is a realistic pastel artist known for her photorealistic paintings of wildlife. She creates hand drawn pastel paintings of animals, capturing their spirits and personalities. Her favorite subjects are wolves and horses.

Surface: • 9” x 12” Light Gray Clairefontaine Pastelmat Card, available in pads of different colors and individual sheets Pastels & Pencils: • Glacier Blue Cretacolor® Pastel Sticks 151 Stabilo® CarbOthello® Pastel Pencils: (Note: CO used as abbreviation in the text) • Payne’s Grey 770 • Neutral Black 750 • Cold Grey 4 726 • Dark Flesh Tint 680 • Caput Mortuum Violet 640 • Burnt Sienna 670 • Golden Ochre Light 692 • Ultramarine Blue Middle 430 • Orange 221 • Orange Yellow 210 • Grey White 110 • Ivory 105 General Charcoal Pencils: • 9B Graphite Pencil • 6B Charcoal Pencil • White Charcoal Pencil • Nupastel® Pastel Sticks: • White 211 • Black 229 • Burnt Umber 223 Helpful Products: • X-ACTO® School Pro® Classroom Electric Pencil Sharpener 1670 (for sharpening all pencils)

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Painting World Magazine

• Möbius & Ruppert® Round, Double Hole Brass Sharpener (for sharpening Nupastel sticks to a point)

available on YouTube®. Just search “Kay Witt”.) Then, wipe off the excess dust on a towel.

Miscellaneous Supplies:

Use the black construction paper to rest your forearm on, as not to smudge your painting in the process. When it’s complete, make sure to keep your painting flat and right side up. I recommend that you cover your finished piece with a glassine sheet or parchment paper to protect it until framing.

• 1/2” Masking Tape, for securing paper to drawing board • Paper Towels, for general cleanup • Hand Towel, for wiping dust from pastels after sharpening • Blending Stumps, for blending • Black Construction Paper, to protect your work & for resting your hand while working • Transfer or Carbon Paper, for transferring your drawing to your paper • 150 Grit Sandpaper, to sharpen the flat sides of your Nupastel sticks • Kneaded Eraser, for minor corrections • Drawing Board, for paper support while working • Baby Wipes, for cleaning pastel dust from your hands • Glassine Sheet or Parchment Paper

Preparation: Cut or obtain paper size 9-1/2” x 12”. Tape the paper to your drawing board. Transfer the drawing to the surface of your paper with transfer paper. Darken your drawing with a 9B graphite pencil. Instructions: Ears:

Make sure your pencils and pastels are very sharp, and wipe the dust off on your hand towel after sharpening.

Use 770 CO (Payne’s Grey) to add a dark gray color to the left ear, working outward using a scratchy motion. Switch to 750 CO (Neutral Black) to add color on the outside edge of the ear and at the base of the ear.

Sharpen the edge of your Nupastel stick by holding it perpendicular to the sandpaper and rubbing back and forth to make a flat, smooth edge. (A video of this process is

Add the brown areas at the top and right side of the ear using 640 CO (Caput Mortuum Violet) and 670 CO (Burnt Sienna). Use the same two browns for the top of the head, working down the center of the

November 2017 Issue

face, as shown in the picture. Continue to use a scratchy motion with your pencil. Blend the pastels softly with the blending stump. Blending makes the basecoat of the fur. Then, add the sharper hairs inside and on the outer edge of the ears. Use your 229 Nupastel (Black) stick on the edge to add the darkest color with a scratchy stroke. Work the right ear in the same manner using 770 CO (Payne’s Grey) for the lighter areas and 750 CO (Neutral Black) and the edge of the 229 Nupastel (Black) stick for the darker areas. Use the brown pencils, 640 CO (Caput Mortuum Violet) and 670 CO (Burnt Sienna), to add the brown areas on the right side and base of the right ear. Blend the areas together carefully with the stump. (Figure 1) Add the light hairs over the previously blended colors in the ears with 110 CO (Grey White). Draw from the outside of the ear inward, making clean sharp lines. Use 105 CO (Ivory) to draw the warmer hairs and the white charcoal pencil to draw in the very lightest hairs. For the lighter hairs in the brown areas of the ears, use 680 CO (Dark Flesh Tint), and then draw over top of that with 105 CO (Ivory). (Figure 2) Use 726 CO (Cold Grey 4) to add a layer of medium gray colored fur over the forehead,

Figure 1

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under the eyes, and on the muzzle. Use 670 CO (Burnt Sienna) to add some brown color over the gray on the muzzle near the nose. Add a layer of 750 CO (Neutral Black) over the gray. Use a scratchy motion with your pencil. Blend with the stump. (Figure 3) Eyes: Figure 2

Outline the eyes with a sharp point of the 229 Nupastel (Black) stick. (You can sharpen it to a point with a Möbius & Rupert handheld brass sharpener.) Mark the pupil with the 6B charcoal pencil; use a feathering stroke, working in an outward direction from the center. Don’t make your pupil a little round black hole - it makes the animal look less inviting. Basecoat the iris with 670 CO (Burnt Sienna). Use 750 CO (Neutral Black) for the shadow over the eyeball.

Figure 3

Use 221 CO (Orange) on the lower right side of the iris to intensify the color and 210 CO (Orange Yellow) on the lower left side of the iris to add a light. You can blend the colors together very carefully. Use the 211 Nupastel (White) stick for the brightest light in the eyes. Use 110 CO (Grey White) for the highlight on the bottom rim.

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Painting World Magazine

Basecoat the nose with a layer of darker gray color using 770 CO (Payne’s Grey). Use 750 CO (Neutral Black) to add even darker color to the nose.

Figure 4

Add the black nostrils with a 229 Nupastel (Black) stick, and blend. Use 430 CO (Ultramarine Blue Middle) to add some light blue highlights on the nostrils and the top of the nose. Use a 211 Nupastel (White) stick to add the brightest highlight. (Figure 4) Face: Use 726 (Cold Grey 4), 670 (Burnt Sienna), and 750 (Neutral Black) to add layers of color on the left side of the wolf and on the remainder of the muzzle, the area under his nose, the mouth, and the right side of his face. Vary the colors, and use Figure 4 as a guide for placement. Blend carefully. Darken the black stripes on his forehead and the black hairs around his eyes with the 229 Nupastel (Black) stick; apply it with short, little strokes using the edge of the pastel. Blend slightly.

Figure 5

Note: Blending is important for beautiful looking fur. But use caution: Over blending will lose the effect, and you will have to add more color. Less is more in this case. (Figures 5 & 6) Body: Finish the left side of the wolf’s body by adding dark colors with the 6B charcoal pencil and the 229 Nupastel (Black) November 2017 Issue

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Start adding the light hairs on the nose, around his eyes, and up to his forehead with the white charcoal pencil. Use varying combinations of 110 CO (Grey White) and the white charcoal pencil on the muzzle.

Figure 6

Some hairs will be grayer and less bright than others. Variety adds interest to your painting. Be mindful of the direction the hair grows in. Add a layer of the 211 Nupastel (White) stick to brighten the areas on the muzzle that need to be whiter. Use 110 CO (Grey White) to add hairs under the chin, and as you move right, add hairs with 750 CO (Neutral Black), 640 CO (Caput Mortuum Violet), and 670 (Burnt Sienna). Use the 6B charcoal pencil and the 229 Nupastel (Black) stick for the blackest hairs. (Figure 7)

Figure 7

Add the final sharp hairs for highlights in the fur using 680 CO (Dark Flesh Tint) and 692 CO (Golden Ochre Light). Vary their length, and donâ&#x20AC;&#x2122;t make them all the same. Use 640 CO (Caput Mortuum Violet) for the whisker follicles. Draw your whiskers carefully with 750 CO (Neutral Black). stick, using a short, scratchy stroke to look like fur.

stick on the edge to add short, choppy strokes.

Use 640 CO (Caput Mortuum Violet) and 670 CO (Burnt Sienna) to add brown colors to the fur. Use a dark brown 223 Nupastel (Burnt Umber)

Blend the fur softly with your stump or fingers. Use 680 CO (Dark Flesh Tint) and 110 CO (Grey White) to stroke in highlights on the fur.

Finish the fur under the chin and on the right side of the wolf in the same manner as before. Use 640 CO (Caput Mortuum Violet), 670 CO (Burnt Sienna), your 6B charcoal pencil, and the 229 Nupastel (Black) stick for the various colors of fur.

November 2017 Issue

Figure 8

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Blend them with the stump. Add the final top hairs of the coat with 680 CO (Dark Flesh Tint), 692 CO (Golden Ochre Light), 110 CO (Grey White), and the white charcoal pencil as needed. (Figure 8) Background: Add the background before adding the final hairs on the outside of the wolf. Break off a piece of your Cretacolor Glacier Blue stick, and rub it gently onto the paper; use a crosshatch motion to cover the paper completely. This will create pastel dust on the surface of the paper. Donâ&#x20AC;&#x2122;t blow it off. Use your fingers to rub it into the paper. Use 640 CO (Caput Mortuum Violet) in a scratchy motion to add dark color on the right side of the wolf. Blend it into the blue with your stump or fingers. The darker color helps the wolf to become a part of the background and creates space for the wolf to live in. (Figures 9 & 10)

Figure 9

Figure 10

I hope you enjoyed this project!

November 2017 Issue

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November 2017 Issue

Peace On Earth Tea Set

by Linda Hollander

Painting World Magazine

Find mismatched pieces of silver-plated vintage tea sets at thrift stores, garage sales, and online sites like eBay® and Etsy®. Once painted, they look like a matched set! In this project, you’ll learn some simple tricks for making (nearly) perfect checks and dots. Speaking of tricks… you don’t need to know calligraphy to paint lettering you’ll be proud of.

conventions. I chose vintage furniture as my substrate… “go big or go home” is my mantra! Collecting vintage pieces is half the fun of painting. Garage sales and flea markets are hard to pass, as my boys will attest to. I am also not above picking up curbside treasures on trash day. The things people throw away simply amazes me! Painters are fortunate to have all the wonderful new mediums and paint formulas we have today. There is virtually nothing that can’t be painted… as long as it doesn’t move too fast! Surface: • Vintage Silver-Plated Tea Pot, Sugar & Creamer, and Tray DecoArt® Paints: Americana®:

About Linda I have been painting, drawing, and crafting since childhood, but my art supplies had been collecting some dust while I was busy raising my three active boys. It wasn’t until 1999 that I discovered the world of decorative painting while flipping through some magazines. I bought them all, and poured over them daily with renewed excitement. I used the instructions to teach myself most of the techniques until I could get to seminars and

• Aqua Sky DA333 (new color) • Bleached Sand DA257 • Calypso Blue DA234 • Golden Straw DA168 • Graphite DA161 • Snow (Titanium) White DAO1 Dazzling Metallics®: • Glorious Gold DAO71 • Peacock Pearl DA314 Mediums: • DecoArt Americana MultiPurpose™ Sealer DS17 • DecoArt Americana Staining/ Antiquing Medium™ DS51 • DecoArt Americana Matte Spray DAS13 • Rust-Oleum® Painter’s Touch® Ultra Cover 2x Primer Spray - White 249058

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Royal® & Langnickel™ Aqualon™ Brushes: • #10/0 Script Liner, Series R2585 • #1 & #3 Round, Series R2250 • 3/8” & 5/8” Angular, Series R2160 • #4 & #8 Shader, Series R2150 • 1” Glaze Wash, Series R2700 • 1/2” Pure Camel Hair Mop, Series R900 (Use appropriate sized brushes unless otherwise noted.)

Helpful Hints: Use light coats of Multi-Purpose Sealer to seal and protect your steps as you work. Resting the tray and teapot on a padded surface (old cushion or towel) is helpful to stabilize the pieces and keep them from becoming marred as you work. Once the painting on the teapot lid is complete, you can use glue to secure it. This will make painting the rest of the teapot easier.

Miscellaneous Supplies: • Royal & Langnickel Crafter’s Choice™ Dabber 5 Pc Variety Set RD110 • White & Gray Graphite Paper • Tracing Paper • Stylus • Small Piece of Cardstock or Thin Cardboard November 2017 Issue

• Sanding Sponges (optional) - I get inexpensive ones at Sherwin-Williams® that work great • Fine-Grit Sandpaper • Strong Glue, such as E-6000® (optional) • Paint Cubbies • Measuring Tape • Straightedge • Damp Cloth Paint Mixes: • Make extra for touching up, and place the mixes in paint cubbies to keep them fresh. • Light Mix: Snow (Titanium) White + Bleached Sand (2:1) • Basecoat Blue Mix: Aqua Sky + Snow (Titanium) White (1:1) Preparation: Use soap and water to clean the silver-plated pieces. There is no need to remove tarnish unless it feels grimy to the touch. If so, use soap and water on a fine-grit sanding sponge to remove the buildup. Be sure to sand any rust spots. Once they’re clean, allow the pieces to dry thoroughly, or place them in a warm oven until they’re bone dry. Spray out-of-doors with Painter’s Touch Sandable Primer until it’s opaque. Use several light coats to avoid puddling and drips. Once the primer is completely dry, use fine-grit sandpaper to sand as needed to smooth the surface. Remove the sanding dust with a damp cloth.

Painting Instructions: Basecoating: Use the Light Mix to basecoat the teapot and sugar bowl lids, the checked area of the teapot spout (if applicable), the creamer spout, and the center and backside of the tray. Checks: Use a pencil to divide the lids and spout areas in two sections horizontally. Divide the sections into quadrants vertically. If you prefer smaller and more numerous checks, you can divide the area in 3 horizontal sections. The more sections you have, the more checks you will end up with. Note: It is important to always have an even number of vertical sections. The checks may not be exactly square due to the shapes of the lids. For the tray, use a measuring tape to find the center area to receive the checked design. Use a pencil to make a light mark denoting the center. Use a straightedge to draw north/ south and east/west transit lines to divine the tray into quadrants. Cut a 1-1/4” square from cardstock or thin cardboard. Place the template over the center where the lines cross. Lay the template over the center mark, and then line up the corners of the template with the transit lines; trace around the template lightly.

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Pick up the template, and systematically move it along the transit lines until you’ve covered the field with checks. Use the existing checks and the template to fill in the rest of the design. Use Aqua Sky and Graphite (3:1) to base all of the checks until they’re opaque. Let the paint dry. Paint 1-2 coats of Peacock Pearl over all the checks. Antiqued Gold Trim: Base the ornate trim areas in Golden Straw and Glorious Gold until they’re opaque. Add a final coat or two of pure Glorious Gold. Let the paint dry thoroughly. Mix Staining/Antiquing Medium with Graphite (1:1), and apply it over the ornate metallic gold areas. Be sure to get the mixture into the nooks and crannies. Let it dry for 20 minutes, and then wipe back the high areas with a slightly damp paper towel or cloth. Once you are satisfied with the amount of antiquing, avoid rewetting the antiqued areas with water, as it will reactivate the medium. For this reason, you must sprayseal these areas as opposed to using a brush-on sealer. I recommend spray-sealing the gold antiqued trim after it’s done so it doesn’t come off in case water comes in contact with it while you’re painting the other areas.

Blue Basecoats: Use the Blue Mix to base the letter field of the tray and the bodies of the teapot, sugar, and creamer. For a uniform pattern of dots, plan the design out with a pencil. Make the pencil marks very light, as metallic paint does not always cover graphite lines. Use the dabber of your choice loaded with Glorious Gold to make dots on the sugar and creamer. If you have not used dabbers before, try practicing on a painted scrap surface. Tap up and down a few times to get a nice round dot, and then twist the dabber slightly to smooth out the paint. Teapot Designs: Transfer the patterns with white graphite paper (omit the bird details for now). Use Aqua Sky + a touch of Calypso Blue to float shading under the dove and ribbon sections. Mop to soften. Use Snow (Titanium) White to base the bird until it’s opaque. Use the #3 round brush to paint the wing and tail feathers. Stroke from the tips toward the body (Figure 1 next page). Transfer the details lightly with gray graphite paper, or use the photos as a guide. Base the beak with Golden Straw. Thin Graphite with a touch of water, and use the #2 shader to float an

inverted V shape in the eye area. Use Aqua Sky to float shading on the body, head, and wings (Figure 2). Use the liner and Graphite to deepen the back of the eye area. Thin Graphite with water, and use the liner to shade the lower part of the beak. Float strong highlights on the head, cheek, and upper area of the left wing with Snow (Titanium) White. Repeat as needed. Use the shaders and Snow (Titanium) White to dry brush the body highlights (Figure 3). Deepen the shading as needed with Aqua Sky + a touch of Calypso Blue. Float Snow (Titanium) White over the shading areas to soften the shading as needed. Add a tiny highlight in the eye with Snow (Titanium) White. Paint the beak Glorious Gold (Figure 4). Sprig of Mistletoe: Use the liner and Graphite thinned with water to paint a very fine stem. Let the paint dry, and then carefully go over the stem with Glorious Gold. Use the #1 round and a brush mix of Aqua Sky and Golden Straw to make tiny comma strokes along the stem. When that’s dry, use the small end of a stylus and Snow (Titanium) White to add berries here and there.

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Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

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Figure 6

Figure 7

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Ribbon: Use the #4 shader and Golden Straw + Glorious Gold (1:1) to base the ribbon until it’s opaque (Figure 1). Use 1-2 smooth coats of Glorious Gold to base the ribbon again. Slightly thin Graphite with water, and then float shading. Repeat to deepen the shading as needed (Figure 2). Use the liner and Snow (Titanium) White thinned with water to add highlights along the curved edges (Figure 3). Stars: Transfer the large star, or use the photo as a guide. Use the liner and Glorious Gold to paint the arms of the stars. Use the tip of the brush to extend the arms with tiny dots. Let the paint dry. Use the #3 round and Snow (Titanium) White to dry brush a halo around the largest star.

If you have a steady hand, you can do this manually. If not, try cutting your tracing paper to 7” x 10”, and then use cellophane tape to secure the tracing paper at the top and bottom edges to a sheet of copy paper. Run the paper through your copy machine as usual. Remove the tracing paper from the copy paper, and you’ll have a perfect pattern you can see through. Apply the patterns using the gray graphite paper. Use the liner to base the letters in Graphite. Add Glorious Gold highlights. Finishing: Erase any graphite marks gently. Spray all painted surfaces with the DecoArt Matte Sealer/Finisher. The set is for display only. It is not safe for food or beverages.

Lettering: Enlarge or reduce the patterns as needed to fit your tray, or print your own saying in a font you like on your computer. You may need to jockey each letter to fit properly on beveled areas. Transfer the first letter, and then shift the pattern slightly so the next letter lines up vertically. It is helpful to copy the patterns onto tracing paper so you can better place the letters. © 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.

November 2017 Issue

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November 2017 Issue

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Surface, Surface, Surface... by Margaret Riley

How many of us have one or more cabinets filled with treasures that need to be painted? How many of us go shopping or go to a thrift store with visions of painting dancing in our heads? Who can resist a plain surface that is begging to have a painted design on it? Open one cabinet door…. prepare for catching items crammed into that cabinet. What do you see? Removing one item at a time, let’s sort…..wood, glass, metal, canvas, fabric, and other. One more time in sorting: • Wood—smooth and ready to sand; needs sanding; sanded and ready to base coat; base coated and ready to paint. • Glass—clear; flat; frosted. • Metal—rusty, shiny, dull. • Canvas—sort the sizes. • Fabric—does it still fit?; stylish?; ready for the rag bag? • Other—items you can’t live without!

Next figure out what pieces are still in style and discard fad cutouts. You know you’ll never get that old goose cutout done because who would want it?? Are any of your pieces sanded with a base coat on it? Let’s get those done. But remember are they for you or for a gift? I keep a bin in my pantry for painted items to have on hand for a birthday, anniversary, or “just because” gift. If any wood pieces are sanded, decide on a day to do nothing but base coating. But again, are you really ever going to paint this surface?

And lastly, if the wood surface has had nothing done to it, toss it or get it sanded ready for the base coating day! Sometimes I have a piece of wood that I know I was so excited to purchase and months (maybe years) down the road, I forget what I wanted to paint on it. Raise your hand if you are guilty!!

Wood surfaces

Let’s start with wood. Decide what pieces are useful and that YOU will use. © 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.

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Multi-surface paints work well but don’t expect a solid looking finish of your painted area. Glass paints look better with one coat giving it a transparency.

Metal surfaces

Painting these days on wood consists of simple designs and many times elegant. So it depends upon fads, styles, and personal preference if you want to keep that piece of wood. I remember I had a piece of wood cut out to be painted into colonial style houses. Fads changed and I ended up painting the houses to look like birdhouses that I adored with 3-D birds and pieces of ivy. It was an upgrade from my original thought and I kept it for many years as it was converted into a wall hanger for coats (added shaker pegs to it).

Again, sort which of those glass pieces will be useful and a pile for gift giving. One artist friend of mine paints a project for each of her friends in their home décor style, keeps it in her stash bin in her closet, and when the friend’s birthday arrives, she has the gift ready to go. Oh to be so organized!!!

Glass can have a spray of frost on it to allow paints to adhere. And you can use a glass etching cream in your design area, too. Before you start, you should wipe all glass surface with rubbing alcohol. Why you ask? To remove any oil residue that accumulated from our hands. Metal will take almost any kind of acrylic paint plus oil paint. Always nice to get a rusty metal item a new coat of paint (first spray with a clear varnish) and then add your design. Some people love the rusty look and then only have to apply a design. Shiny metal can be a challenge with all paints. Some artists spray that type of surface with a matt varnish spray. I love how black metal looks with a painted design on it. Again on shiny and dull metal, like glass, wipe the surface with rubbing alcohol.

Canvas bags and aprons

If you enjoy painting on glass, you’ll need to know what paint your glass will accept. November 2017 Issue

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Other items are too numerous to list. But I know you have treasures in those cabinets that you put in there to paint someday. Has “Someday” arrived yet? Maybe you have an item that belonged to your grandmother and you have plans to paint a small rosebud in one corner to hide a blemish.

Canvas surfaces

Perhaps you found a candelabra at a flea market that needs to be painted that is taking up space. Are you really, really going to paint it? Ask yourself that question every time you pull an item out of that cabinet.

Canvas comes in so many sizes. And when you find them on sale, you have to buy, right? Then you find that your closet became engulfed with canvases ready to be painted. Let’s work on that stack. Do you have any designs traced onto the canvas surface? That’s right! Start with those first. Think about where all those canvases are going to hang in your house. Are you going to take down older paintings and replace with newer paintings on canvas? What will you do with the ones you take down? Lots of decisions, huh? Only you can answer these questions. Fabric is easy to sort. Does the article still fit? Are they all t-shirts? (I see some night

shirts in your future.) Have you pre-washed any? This is where gallon sized plastic bags come in handy. Place the same colors together, sizes in one bag, and pre-washed in another one. Do you have aprons that need painted? I have one apron that I need to paint and so impressed that I have the pattern with that apron. That one goes in a bag of its own and on the top of my list to paint. If you haven’t painted on RocLon fabric (it’s a drapery lining fabric), you’ll be impressed how well it paints up….floor mats, flags, placemats, etc. You can sew a purse, too, then paint on it. The yardage of RocLon has a plastic bag, too.

Get rid of those surfaces! You know you are going to find more…just like you found the ones cluttering up your cabinet(s). It is fun to shop but just remember how many unfinished projects there are in your studio. Have a garage sale and sell LOTS of those surfaces. With the money, go shopping!! LOL! Designers have to keep up with the latest fads and styles. Keeping a surface around too long will become a discarded item as the fad has come and gone leaving you in the dust! I must admit that I’ve kept you reading this article and have kept you from painting on a surface. So now go clean out the storage area of surfaces and paint, My Friend! Hugs to each!

November 2017 Issue

Vintage style signs never go out of style for the holidays. I am particularly enamored with the graphics style using a monochromatic palette. The simple color palette and silhouette shapes convey a simpler time. I chose the colors from a very traditional palette of reds, greens, and blues. I also used a simple distressed paint finish to set the tone and a Warm White to create the silhouette. You can easily modify these to suit your own tastes.

The Simple Art of Vintage by Tracy Moreau

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About Tracy: Tracy Moreau is a classically trained artist, with 35 years of experience. Educated in Europe, Canada and the US, her work has a great many influences. Her combination of Fine Art, Faux Finishing and the Decorative Arts makes her work unique. Tracy’s design work is varied , from Home decor to Mixed media, she is versatile and creative and is generous with her knowledge and experience. Her sense of humour and relaxed approach to teaching endears her to her students, creating an atmosphere of fun and unabashed creativity.

Surface: • Three 10” x 10” Grooved Panels (shiplap), from Bear With Us, Inc.® DecoArt Americana Decor® Chalky Finish™ Paints: I chose the colors listed, but that is not to say that you must use them; feel free to choose colors that lend themselves to your own decorating style.

• Estate ADC36 • Colonial ADC39 • Enchanted ADC16 DecoArt Americana® Acrylics: • Warm White DA239 • Asphaltum DA180 Other DecoArt® Products: • Americana Decou-Page™ • Glamour Dust™ (optional) • Vintage Effect Wash™ - White DCW02 (optional) Dynasty® Brushes: • 1/2 Black Gold® Angle, Series 206A • #4 & #6 Black Gold® Filbert, Series 206Fil • #4 Black Gold® Round, Series 206R • 10/0 Black Gold® Liner, Series 206L © 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.

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• #2 Faux Squirrel® Rigger, Series 1827RIG • 1/2 Tracy Moreau Stencil Brush Miscellaneous Supplies: • 6” x 9” Snow Flake Multi Stencil #1 STO19, from Tracy Moreau Designs® (optional see “The Stenciling”) • Sanding Sponge • Shop Towels • White Graphite Paper • Transfer Paper • Pencil • Small Wax Candle or Beeswax Stick • Wood Stain of your choice (optional) • 6” Straight-Edged Steel Ruler Painting Instructions: Step 1: The finish for these simple signs is just a matter of preparation. You can achieve different looks depending on how you prepare the surface… If you would like to see a darker wood showing through the paint,

November 2017 Issue

apply a coat of your favorite stain to the surface according to the stain’s instructions. Let it dry before you seal the panels with one or two coats of the Decou-Page. If you would like to see another paint color showing through, apply one coat of this color prior to applying the Decou-Page. Let the Decou-Page dry, and then sand vigorously to remove any rough areas. Wipe the surface with a piece of shop towel.

Step 2: Rub the edges of the panel and along the edges of the grooves with the candle. Wipe off any excess wax bits. The wax will act as a mask of sorts, preventing the paint from sticking to the surface in a few locations and allowing you to distress the surface much easier. If you apply it aggressively, you can get a much harderedged looking finish, as if the paint has peeled away.

Step 3: I chose the colors listed, but that is not to say that you must use them; feel free to choose colors that lend themselves to your own decorating style. Apply one coat of the Chalky Finish color of your choice to the surface, following the grain of the wood. The finish can be somewhat imperfect, as you are going to distress it anyhow.

Let the paint dry thoroughly. (You will note that the paint doesn’t quite grab the waxed areas as well as it does the others.) I chose to paint each panel a different color, but that is not to say they couldn’t all be the same color.

Step 4: With the sanding sponge, aggressively sand the surface in the direction of the wood grain, paying particular attention to the edges where you applied the wax. The paint should come away from these areas quite easily, allowing either the stain or the paint color to show through. Sand off as much as appeals to you to make them as rustic (or less so) as you like.

Step 5: I intended for the designs to be painted with one color. In this case, I have chosen Warm White. The designs are all simple in nature, and you can intermix the text I have included to suit your own tastes. You can enlarge or reduce the fonts to fit. The designs themselves can stand alone as well, should you decide you would prefer no text at all. As I have a penchant for lettering, I had to add at least a little. Use the smaller brushes to fill in the design elements like the trees and the deer. Warm White is a little transparent, so you may need two coats to get it fully opaque. I painted the trees using the small round and a generous amount of paint to give them a bit of texture.

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Use the #6 filbert to base any of the larger spaces. The base white should be fairly opaque, but needn’t be perfect, as you are going to lightly distress it.

The Stenciling: Stencil a snowflake of your choice onto the ornament silhouettes using the base color you used for the panel. I have provided an image in the line drawing if you prefer just to paint it in.

The Lettering: The lettering is one area where neatness DOES count. All vertical and horizontal lines must be straight. Nothing ruins a piece faster than poorly done lettering. I use a 6” straight-edged steel ruler to trace my lettering with to ensure that the vertical and horizontal lines are clean and straight. I then freehand trace the curved areas of each letter.

Use the #2 rigger to paint in the various segments of each of the letters. Try to paint each segment in a single stroke. Once the rigger is loaded, press it into the space until it fills the space, and then pull the stroke. This will help keep the edges straight and clean. Remember that the paint finish will have a distressed appearance when complete, so any small imperfections will be ok. Let the lettering dry well. Apply a weak float of thinned Asphaltum to the background on the right side of each letter to create a slight shadow.

end result should reflect your own personal taste and style. (Besides… if you overdo it, you can always add more paint and try again - it’s just paint.)

The Antiquing: Once everything is dry, you have a couple of options for antiquing… The traditional method is to apply a brown tone. In this case, I used thinned Asphaltum, and rubbed it into the edges of the surface and lightly over the white areas. It catches in rather interesting ways on the white paint. However, using the White Vintage Effect Wash or Warm White over the finished pieces instead of the Asphaltum gives them a nice, soft wintery appearance. You can enhance this with a touch of Glamour Dust.

Final Distressing: Sand the images and the lettering (following the direction of the grain) to lightly distress them. I take a little more care here just to wear the paint thin in a few places. If you prefer a more heavily distressed appearance, by all means, be a bit more aggressive. The

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November 2017 Issue

ALL THE MISSING DRAWINGS ARE ON PAGES 97-99

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Merry Christmas Santa!

by Shara Reiner, CDA

Painting World Magazine

This piece would make a great gift for that special friend. I use mine on an easel on my hutch. It would also hang nicely. Santas are a favorite subject of mine to paint. I have Christmas year round at my house. You can find a five-foot Santa on my fireplace and a decorated Christmas tree on a table. Santa may hold flags in the summer with watermelons. I now have the tree decorated with silver hearts and tea balls. Oh my!

About Shara I have been painting almost 40 years and still love every minute of it!! I am a wife, a mother, grandmother and painter.... I have authored hundreds of pattern packets, written many books, I’m a teacher and have been a shop owner. My life revolves around travel teaching now both in states and

Europe. I love the people I meet and have made lots of friends. I like my painting to be free and HAPPY. I hope each pattern of mine is a new adventure for the painter. Surface: • Scalloped Framed Board #103580, from Cabin Crafters® DecoArt Americana® Acrylics: • Reindeer Moss Green DA187 • Country Red DA018 • Plantation Pine DA113 • Foliage Green DA269 • Hauser Medium Green DA132 • Warm White DA239 • Snow (Titanium) White DA01 • Indian Turquoise DA087 • Wedgewood Blue DA038 • Whispering Turquoise DA305 • Blue Harbor DA283 • Deep Midnight Blue DA166 • Espresso DA271 • Oyster Beige DA313 • Lamp (Ebony) Black DA067 • Zinc DA304 • Tangelo Orange DA196 • Antique Rose DA156 • Spice Pink DA030 • Deep Burgundy DA128 • Warm Beige DA078 • Burnt Sienna DA063 Brushes: • Sizes #6 to #20 Flat Brushes, in good condition • Mop (I like a 3/4” Scharff® Moon Mop, #685)

• #1 Scharff Golden Taklon Liner, #455 • Scrubby Brush Miscellaneous Supplies: • DecoArt® Extreme Sheen™ - 24K Gold DPM04 • Black Identi®-pen Permanent Marker 44101 • White Pen • Ruler • Tracing Paper • Transfer Paper • Pencil • Matte Spray Sealer Preparation: Base the scallops first with two coats of Warm White. The outside is Country Red, and the inside is Reindeer Moss Green. Trace the pattern on with no details. Snowman: Slip-slap the snowman using Warm White. I do let some background show here and there. Let the paint dry, and then give a second coat, adding water to your Warm White. I like a “bumpy” look. Shade the snowman with a very thin sideload of Deep Midnight Blue. Mop to soften. With the same color, shade to separate the head and body next to Santa on the right side. Add very thin Deep Midnight Blue puddles where the eyes, nose, and coal buttons go. Using Snow White and your scrubby brush, add

November 2017 Issue

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a highlight to the left side of the face and body. The eyes and buttons are “coal”; use your liner brush with Lamp Black to paint them. Leave a tad of the blue shadow showing on the right side of each eye and button. The snowman’s nose is Tangelo Orange.

Deep Burgundy on the hat next to the fur, on the coat next to the fur, around the arm, and down the front. Highlight with Spice Pink.

Add the arms with a mix of Spice Pink and a tad of Antique Rose. The dots are thinned Spice Pink.

Wreath: The branch is Espresso and the pine needles are Hauser Medium Green and Foliage Green. Use a small flat brush or flatten your liner brush to stroke in the pine needles. Create the berries with dots: the largest dot is Country Red, the medium dot is Antique Rose, and the small dot is Spice Pink. The ribbon is Indian Turquoise. Shade the ribbon with Wedgewood Blue, and highlight it with Whispering Turquoise. Santa: Base the suit and hat with Antique Rose. Shade with November 2017 Issue

Painting World Magazine

The buttons are dots of Deep Burgundy.

dot the garland using 24K Gold. The star is also 24K Gold.

Santa’s face is Warm Beige. Shade across the top of his face with a mix of Warm Beige and Burnt Sienna.

Bag:

Using the same mix and your liner brush, add his nose. The cheeks are a very thin wash of Antique Rose. The eyes are Lamp Black. For the beard and mustache, use Warm White. Shade under the mustache with Zinc. Use Oyster Beige for the fur around the face, the ball at the end of the hat, the cuff on the sleeves, and the bottom of the coat. Shade the edges with a sideload of Espresso. The lines are pen work. The boots are Lamp Black with a Zinc highlight. The buttons on the front boot are Zinc and the ones on the back boot are Lamp Black.

Base the bag with Espresso, and shade it with thin Lamp Black. Highlight the center with a tad of Oyster Beige + Espresso. The ribbon is Blue Harbor. Shade it with Deep Midnight Blue, and highlight it with Whispering Turquoise + a tad of Blue Harbor. Use Warm White for the packages. Separate them with a sideload of Zinc, dry thin. The back package has dots of thinned Country Red with a ribbon and bow of Hauser Medium Green. Highlight the ribbon and bow with Foliage Green. The front package has stylus dots of Foliage Green and a ribbon of 24K Gold.

Detail the letters to your wishes - I used Country Red for stripes and Warm White for stylus dots. Holly: The leaves are Hauser Medium Green. Shade them with Plantation Pine, and highlight them with Foliage Green. Make the berries with finger dots of Antique Rose. Let the paint dry well. Shade with a sideload of Deep Burgundy, and highlight with Spice Pink. Add a shine dot of Spice Pink + a tad of Warm White. Paint the lines with 24K Gold. Pen Work: Add as much pen work as you like, using the picture and pattern as guides. I used the white pen on some of the lettering. I made the inside line around Santa with the large end of the Identi-pen and a ruler.

Cat:

Finishing:

Use Indian Turquoise for the mittens. Shade them with Wedgewood Blue, and highlight them with Whispering Turquoise.

Base the cat with Oyster Beige. Shade it with Espresso.

The pen does not like liquid! Always spray with a matte spray before using water-based varnish.

Tree:

Use Whispering Turquoise for the ribbon at the cat’s neck. For the nose, use Spice Pink with the liner brush. Add the face details with pen work.

The trunk is Espresso. Base the boughs on with a coat of Hauser Medium Green. Shade with a sideload of Plantation Pine, and highlight with Foliage Green. Trace the pattern for the garland on. Using the end of a brush,

The stripes are thin Tangelo Orange. Highlight the ears, tail, and feet with Warm White.

Enjoy!

Lettering: All of the lettering is Spice Pink; I used my liner brush with lots of paint.

November 2017 Issue

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Top and left side of frame pattern.

Turn this half of the frame letters pattern counter-clockwise 90 degrees and line up with the â&#x20AC;&#x153;yâ&#x20AC;? above.

November 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2zlxsb4

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Download all line drawings ready to print here: http://bit.ly/2zlxsb4

November 2017 Issue

Tulips & Irises Tile piece and Painting (right) by Linda Maxson

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From Canvas to Tiles,

Linda Maxson’s Artworks Are

Skillfully Spirited Spontaneity Linda Maxson captures the vitality of places and living creatures, through a system of order, which allows her expressive freedom. Prior to becoming a full time artist, Maxson had worked in the corporate world, which may seem

to suggest a huge departure from a former life. However, the forthright boldness by Nicole Borgenicht in design and color of her art complements: strength of communication, in any career path. Maxson received an AFA after an early retirement, and takes workshops to further advance her skills, while interfacing together with a network of artists. A mixed media artist, Linda Maxson translates her thoughts and feelings into a representational art piece that has the confluence of design and inspiration. “Whether painting or working with clay, I strive to capture the emotion and energy I feel when creating a piece. I am thrilled when the piece also evokes an emotional response in the viewer. In my paintings and ceramic tile murals, it is achieved with color, texture and subject matter. “ Maxson says. In the year round warm weather of the desert region, Linda Maxson soon began creating tile pieces, which could be hung outdoors. At times the acrylic painting images are similar to the tile pieces, but no two are ever identical. Maxson says, “Since I already had experience in ceramic tile “painting” (which is really a

November 2017 Issue

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The stages of “Ranting Raven”

glaze that is eventually fired), I started using images in my paintings to create similar images using ceramic tile.” While images may be analogous in the two mediums or acrylic painting and tile painting, the process for each is quite different. Linda Maxson describes some of those properties: “The tiles are glazed and installed in a steel frame, which, aside from freezing conditions, makes them weather resistant. No two images (painting and ceramic tile) are exactly alike. There are subtle differences in the design and also in color, since acrylic paint and glaze are chemically different. I usually only make one painting or ceramic tile November 2017 Issue

mural from the same initial image. In some cases, I have been commissioned to repeat the image for a painting or tile mural. In those cases, I alter the image in some way to make it unique.” In her acrylic paintings, there is a whimsical feeling that is joyful and spontaneous, yet with deliberate shapes and colors. Here is how she conjoins structure with free spirited sensibilities. “As artists, we learn various techniques and methods to apply medium and achieve good composition. I spend days working on designing a painting. As I’m sketching the image, I use these techniques but also allow the emotion I’m trying to capture to

guide my hand. My work has movement and flow, a “dance” with the medium. Whether painting or working with tiles, I strive to capture the emotion and energy I feel when creating a piece. I am thrilled when the piece also evokes an emotional response in the viewer. I don’t strive to create art that is pretty. I strive to create art that has emotional content.” From the images shown, in the acrylic painting Ranting Raven we see the first stages of built up texture. Linda Maxson creates a relief on canvas and her method is as follows: “I use Golden Molding Paste®, applied with various sizes and shapes of palette knives to create the relief. The application gives

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me the freedom to make broad gestural, spontaneous impressions across the canvas without the distraction of color. After color is applied, those free Step 1: the sketch

flowing impressions add to the emotive content of the piece.” Next let us refer to the acrylic process in the image of Lucerne.

This piece has been commission by a couple who live in Lucerne Switzerland. Here is Linda Maxson’s process and other specifics about technique such

Step 2: Building the relief with molding paste

Step 3: Applying the ground color over the texture

Step 4: Adding the acrylic colors over the ground color

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On another insider topic, Linda Maxson unveils a lovely use of perspective in the Lucerne piece, whereby colors and shapes share the mood of this period story.

Step 5: Cover with Acrylic Glazing Liquid for a glossy finish.

Linda Maxson says, “When I do a commission, I spend time getting to know the customer and what they are looking for in their specific piece. In this case, the couple from Lucerne wanted a whimsical look that they saw in my other paintings.

as each stage of medium and why it has been chosen.

Gold”. I apply a thin wash of the color using a sponge.

The Lucerne painting is 36” x 48”. The steps in my process are as follows:

Step 4: The paint used in the painting is Golden brand Fluid Acrylics®. Fluid Acrylics are highly intense, permanent acrylic colors with a consistency similar to heavy cream. Produced from lightfast pigments, not dyes, they offer very strong colors with very thin consistencies, and contain no fillers or extenders. I prefer fluid acrylics because they make it very easy to blend colors directly on the canvas. They also have a slight transparent quality that gives depth to the painting when different colors are layered on one another.

Step 1: Once I have a sketch of the painting, I transfer the sketch onto the canvas. Step 2: A “relief” is built up using Golden® brand “Molding Paste”, which is white and has the consistency of thick sour cream. I apply the Molding Paste with various sizes of palette knives. The paste is thick and opaque making it difficult to see the sketch. Therefore, the sketch becomes more of a guideline. Step 3: After the Molding Paste is dry (about 24 hours), I apply a ground color over the entire canvas. The color used for this painting is Golden brand “Quinacridone Nickel Azo November 2017 Issue

Step 5: Once the painting is finished, I apply Golden brand “Acrylic Glazing Liquid” to add a gloss finish and provide added protection.

At the same time, they wanted a representation of their city and themselves. I was fortunate to have visited Lucerne during my corporate career, so I was familiar with the city. I used a less saturated palette than usual to better represent a city that is over 800 years old. Perspective is stretched and distorted, adding to the whimsy. Even though elements are distorted, it is still recognizable as Lucerne, with the distinctive Chapel Bridge, mountains and Lake Lucerne (also known for the swans that thrive there). The customers are an active couple, skiers and wind surfers, which I also included.” Day at the Bay is the brightly colored tile painting example used for this elaborate process. Linda Maxson describes her medium and paint choices and the reasons they are preferred options for her tile works. In addition, she lists some of

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the colors and how they are conducive for this picture-story and its movement therein. The process for making a ceramic tile mural is as follows: Step 1. The tiles are laid out to the correct size for the mural. They are placed, carefully making sure that all corners meet to make a straight line. They are then wiped clean to remove any dust. This is important for glaze to adhere. Step 2. Next, the sketch is transferred to the tile. Red transfer paper is used to transfer the image due to the fact that it burns away when fired. Step 3. After the sketch is transferred, a wax resist is applied around areas where I want to keep a distinct separation between glaze colors. The wax resist is purchased from our local ceramics supply store. Any ceramic wax resist will work. The wax resist also Step 1: Tiles are wiped clean.

burns away when fired. Step 4. After the wax resist is dry, the glazes are applied. I use the colors to help move the viewer’s eye around the piece. The viewer should be drawn to the top portion by the orange and yellow in the sky, then the buildings, which are a variety of colors. The green shapes draw the viewer toward the lower left, and then the bay with sailboats provides interest in the lower right corner. It’s like leading a dance across the canvas. All of the glazes that I use are cone 06 glazes, which are fired to a temperature around 1,855°F. I use a variety of glazes, but the majority of the glazes that I use are Mayco “Foundations”. Foundation glazes come in a variety of colors and fire to a gloss finish. I also use Mayco “Jungle Gems” that contain crystals that when fired, create specks and bursts of different colors. In “A Day at the Bay”,

glazes used were: Foundation glazes: Yellow-Orange FN-044, Orange FN-033, Red FN-004, Green FN-007, Sapphire Blue FN-213, Bright Blue FN-018; Jungle Gem glazes: Blue Caprice CG-718, Pistachio CG-717 and Wildfire CG-954. Step 5. The tiles are then separated and any excess glaze is wiped off the sides and bottom to prevent them from sticking to the kiln shelf when fired. My kiln is a 23” x 23” electric Olympic kiln with a programmable controller. I prefer the programmable controller, which allows me to store settings. The tiles are fired to Cone 06 (1855°F). Once the firing is done, the kiln is left to cool. It is not opened until the temperature drops below 100°F. If opened when the temperature is higher than 100°F, there is a chance that the tiles will crack. Step 6. HardieBacker cement board is cut to fit a fabricated steel frame, then glued into

Step 2: Sketch is transferred to tiles.

November 2017 Issue

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Step 3: Wax resist is applied. The original white will show once it’s been fired.

Step 4: Glazes are applied

place using Loctite PL375 Heavy Duty adhesive. The tiles are then attached to the HardieBacker cement board using tile mastic. In Day at the Bay the images are very imaginative but appear familiar at the same time, thus reminiscent of a positive experience somewhere we may have visited. I wondered if there might have been a personal meaning or connection she has with it. Linda Maxson November 2017 Issue

says, A Day at the Bay was inspired after spending a day in SanFrancisco with my husband and son. It was a beautiful day with a lot of activity at the pier. It was simply a wonderful day spent with my family.”

abound, and process at center, the execution of Linda Maxson’s cheerful spirit is incorporated in each artistic endeavor.

Whether a new adventure in creating tile paintings or mixed media works on canvas, expressiveness in these skillfully produced works is about connections. With energy

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The finished tile mural “Day at the Bay”

The finished acrylic painting “Day at the Bay”

The finished tile mural “Olive a Martini”

The finished acrylic painting “Olive a Martini”

November 2017 Issue

Kitten in the Holly

by Sherry C. Nelson, MDA, TDA

Painting World Magazine

It’s great fun to design for the holidays, and I take pleasure in placing my favorite critters and birds in a setting that can spark holiday cheer. Kittens and Christmas are meant to be… Nothing enlivens that day like a ball of fur romping through the wrappings, getting entangled in the ribbons, and finding a place to nap in the nearest newlyopened gift box. Let Matilda be an inspiration for you to paint your favorite kitten in the holly! This is one of twelve designs in my Wildlife at Christmas Ornament Collection. I created the cutouts especially for use on large wreaths, for a unique display on a door or wall during the holiday season.

fieldwork gives her subjects correct “form and feeling.” Creating realistic birds in their natural Figure 1 habitats holds a special appeal for Sherry. She’s been painting and teaching her wildlife art for more than 47 years. Sherry has taught seminars in 46 states, Bolivia, Canada, Argentina, Taiwan, Japan, and Australia. She also teaches field seminars. Sherry lives, paints, and teaches on 37 acres of spectacular wilderness in the Chiricahua Mountains of southeastern Arizona. Sherry has been an active member of the Society of Decorative Painters since its founding in 1972, and is a pastpresident of the organization. SDP has awarded her with the Master Decorative Artist certification and the Silver Palette Award. Sherry has created 26 instruction books and hundreds of packets featuring the more than 500 bird, butterfly, and animal species she has painted. Surface:

About Sherry Sherry’s life outside painting revolves, as much as possible, around traveling the world to see and photograph exciting wildlife and flowers. Extensive

• I painted the original on a hand-cut birch ornament approx. 6” x 5”, from The Magic Brush, Inc., (you could also use a 10” x 8” hardboard panel for framing)

Winsor & Newton™ Artists’ Oils: (Palette colors are listed in order of placement on palette. See Figure 1) • Ivory Black 331 • Titanium White 644 • Raw Sienna 552 • Raw Umber 554 • Sap Green 599 • Cadmium Yellow Pale 118 • Winsor Red 726 • Delta Ceramcoat® Acrylics: • (for background prep) • Eucalyptus 02569 Sherry C. Nelson® Brushes: • #0, #2, #4, #6, & #8 Pure Red Sable Brights, Series 303 • #0 Red Sable Mix Round (liner), Series 312 Supplies for Background Prep & Trim: • Quick Dry Wood Sealer • Sponge Roller (to apply background acrylic color) • #220 Wet/Dry Sandpaper (for sanding between

November 2017 Issue

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coats of acrylic) • Krylon® Matte Finish #1311 (to spray the prepared background before applying the design) • Krylon Spray Varnish #7002 (for the final finish on the entire piece) • Glue Miscellaneous Supplies: • Tracing Paper • Dark, Oil-Soluble Artist’s Graphite Paper • Fine-Point Ballpoint Pen • Odorless Thinner • Cobalt Siccative (optional) • Palette Pad for Oils • Palette Knife • Viva® Paper Towels • Red Bow • Painter’s Tape • Hanger for the Ornament (if not included) My work always begins with photography, since creatures such as this little kitten are complexly patterned and impossible to remember in perfect detail without a good reference. So a good camera and hours spent learning about the creature marked the beginning of this design, as it does for so many others. When painting animals, it’s our job to create realistic, hair-like texture and pattern - not a simple challenge. For suggestions, see the Baby Lop project in the August 2017 issue of Painting World Magazine in the section called November 2017 Issue

Painting Animal Hair & Fur, which I wrote to give you some encouragement and tips for making it easier. Tips for Wet-on-Wet Acrylic Backgrounds: Remove the lids of new bottles of acrylic, and fill them to the bottom of the neck with water. Replace the lids, and shake well. This will reconstitute paint to the original consistency. Add enough water to bring partially used bottles to the same consistency. Using a Drier: You may add Cobalt Siccative, a drying agent, in fractions of a drop to each patty of oil paint on your palette to speed drying time. I use it EVERY time I paint. If a color does not remain workable on the palette for at least eight hours, you are simply using too much. Dip the palette knife into the drier, bleed off the excess against the side of the bottle, and then touch the knife tip NEXT to each patty of paint. If too much comes off the knife, do not mix the entire amount into the paint. Mix each tiny “freckle” into the paint patty using a clean palette knife. Drying time is six hours to overnight, depending on the particular pigment and relative humidity.

Helpful Hints: I always paint in oils because they are such a forgiving medium and allow me to help my students, even entry-level folks, to achieve a finished work in which they can take great pride. Important to the finished piece is that I used very sparse amounts of excellent artists’ oil colors to achieve the level of detail required for the hair-like texture and the other elements to turn out as realistically as possible. Brush Loading & Blending Basics: You should load color onto the brights from a loading zone, a strip of sparse paint pulled from a patty of paint down on the palette. Make mixtures by moving from one loading zone to another, working back and forth to achieve a mix of two or more colors. Wipe the brush on a paper towel after applying paint to the surface but before beginning to blend. Blend colors WHERE THEY MEET using a dry brush and short strokes. Don’t blend randomly over the entire area; just blend ON THE LINE

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where colors come together, creating a new value and hue with the process of blending. To blend overall will cause loss of values & clarity. Understanding the Painting Process: The painted step-by-step photos are for you to use as a guide along with the written instructions. Read the written instructions carefully, and then work in the given sequence, referring to the multiplestep sequence shown in the photos to determine actual color placement, amount of blending to do, and so forth. I wrote the instructions in the sequence in which I painted the piece; work in that order, and finish each element before going on to another. The initial step for each element shows how the basecoat areas should appear, while later steps normally indicate the first blends, as well as the application of additional darks and lights. The final steps usually include the finished painting, as well as steps leading up to it.

it dampened with odorless thinner for cleanup; I find the larger bristle base gives better pressure for removing any messy paint or graphite lines around the edges of the design. Once the instructions list a brush, stay with that size until I say to change to a different size. Figure 2: Background Preparation: The ornament is cut from a thin birch plywood. Seal both sides of the ornament prior to painting it using a quick dry wood sealer. Allow the ornament to dry, and sand it smooth. Using a sponge roller, base the front and back of the ornament with Ceramcoat Eucalyptus. Let it dry. Sand again with #220 wet/dry sandpaper. Recoat the ornament, let it dry, and sand it again. Spray the ornament with Matte Finish to seal it before applying the design. Figure 2

Brush Sizes: Use the smaller brush sizes, #0, #2, and #4, for most of the design’s elements. But within that range, choose the largest size that is comfortable to achieve the detail necessary. In addition, I always keep my #8 bright handy. While I don’t often paint with that size, I use

Transferring the Design: Next, you’ll transfer the inked design to the painting surface.

Use artist’s graphite for oils, not the papers created for acrylics that are water-soluble. Lay dark gray graphite paper over the prepared painting surface. Place the inked design on top of the graphite paper. Lay a piece of tracing paper on top of the design to protect the original during transfer. Tape the stack into position. Transfer the design completely and carefully with a fine-point ballpoint pen. Retain the details of the hair and eyes and the exact shapes of the ornament and berries, and transfer all the little hair zigzags. Make the transfer as accurate as possible. Check during the process to make sure the design is coming off onto the surface clearly. If it’s too faint, change to a newer piece of graphite paper. Painting Instructions: Figure 3: Base the narrow eye line around the bottom of the eyes with Raw Umber + just a bit of Titanium White using the #0 bright. Base around the top of the eyes with Ivory Black + Raw Umber. Note the variation of value, and adjust the amount of Titanium White in the mix to achieve a warm gray value close to that shown. For the nose pad, base with Raw Sienna + a smidgen of Winsor Red + a bit of Titanium White. Add the nostrils with Ivory Black + Raw Umber.

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Figure 3

Figure 4

Figure 5

Figure 6

Figure 4:

Figure 5:

Figure 6 Eyes:

Shade the nose pad on the edges with Ivory Black + Raw Umber. Highlight centrally on the nose pad with your dirty brush + Titanium White.

Highlight the lower portion of the irises with a bit of dirty brush + Titanium White using the #0 bright. Base the pupils with Ivory Black + a bit of Raw Umber.

Touch on a bit of sparse Titanium White + Raw Umber at the top of the pupils for haze. Highlight with Titanium White using the #0 round brush where shown, tapping a bit at the bottom of each eye, and placing dots of catch light next to each pupil.

Base the irises with a golden green mix of Cadmium Yellow Pale + Raw Sienna + a bit of Sap Green. Use a #0 bright. For the dark areas on the ears, use Ivory Black + Raw Umber. For the light areas on the ears, use Raw Sienna + a bit of Winsor Red + a bit of Titanium White (as you used for the nose pad, but apply it more sparsely for the ears).

November 2017 Issue

Blend the values in the ears where they meet, and then add hairs inside the ears with a slightly thinned mix of Titanium White + odorless thinner. Base sparse Titanium White + Raw Sienna around the eyes and above the eyes where shown. Base with Raw Sienna + Titanium White on top of the nose and on the upper two-thirds of the whisker pads, as shown.

Place areas of gray on the face and head using Raw Umber + Ivory Black + Titanium White, as shown. Base the rest of the whisker pads and chin with Titanium White. Base the chest with a light value gray made with Titanium White + a bit of Raw Umber.

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Figure 7

Figure 8

Figure 9

Figure 10

Figure 7:

Figure 9:

Highlight the chin with Titanium White, fluffing the color on softly using the chisel edge of your #2 bright. Blend between the values on the whisker pads. Stipple whisker marks of Raw Umber using the #0 bright to indicate the shadow at the base of each whisker.

Blend between the values on the face and head using a good chisel edge of either a #2 or #4 bright. Don’t overwork between the areas of fur.

Add darks on the kitten’s forehead and the side of its face using Ivory Black + Raw Umber. Base the gray areas with Titanium White + Raw Umber + Ivory Black. Figure 8: Base the rest of the kitten’s fur with Raw Sienna.

Shade the Raw Sienna areas with Raw Umber. Reinforce the light markings around the eyes with a bit of Titanium White + Raw Sienna if needed. Figure 10: Add the final Titanium White on the chest with slightly thinned Titanium White and your #0 round. Thin a bit of Titanium White even thinner yet using odorless thinner, and apply the whiskers above the

eyes, inside the ears, and from the whisker pads using the #0 round. Tap with the #0 bright on the light values around the eyes to soften them a bit. Figure 11: Base the dark value on the leaves using Ivory Black + Sap Green with the #4 bright. Base the dark value on the branch with Raw Umber. For the berries, base with Winsor Red using the #2 bright. Use the #4 bright to base the dark value on the ornament with Raw Sienna. With the same brush, base the light value using Raw Sienna + Cadmium Yellow Pale. For the cap on the ornament, use the #0

November 2017 Issue

Painting World Magazine

Figure 11

Figure 12

Figure 13

Figure 14

Figure 15

Figure 16

Figure 17

White. Base the light value on the branch with Raw Sienna + Titanium White. Apply shading to the berries with the #0 bright and Raw Umber. Blend the ornament where values meet.

bright to base the dark value with Raw Umber and the light value with Titanium White. Figure 12: Base the light value on the leaves with Sap Green + Raw Sienna + Titanium November 2017 Issue

the berries to soften them into the basecoat. Apply the first highlight on the berries with Titanium White + Raw Sienna. Apply the first highlight on the ornament with Cadmium Yellow Pale + Titanium White.

Figure 13:

Figure 14:

Blend the leaves where the values meet (working in the lateral growth direction) using short chisel strokes of the #4 bright. Use the chisel of the #2 bright to blend lengthwise down the small branch to connect the colors and leave a little bark-like texture.

Dampen the #6 bright in odorless thinner, and blot it on a paper towel. Use the chisel edge to lift out the vein structure in the leaves.

With the #0 bright, blend the edges of the dark values on

Blend the ornamentâ&#x20AC;&#x2122;s light values where they meet the

With the #0 bright, blend the berriesâ&#x20AC;&#x2122; light values a bit to soften them into the basecoat.

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basecoat to soften them. Accent the ornament with Sap Green + Raw Sienna in the darker shadow areas to indicate reflection from the leaves. With slightly thinned Ivory Black + Raw Umber and the #0 round brush, paint the round hanger on the ornament. Highlight the hanger with a bit of the base value + Titanium White.

and then spray the ornament with the Krylon Spray Varnish #7002. Beauty Shot!

Figure 18

Merry Christmas! May you celebrate the season with a kitten under your tree!

Figure 15: Add the final lights on the leaves with Titanium White + Sap Green + Raw Sienna. Add the final lights on the berries with a bit of Titanium White on the #0 bright. Add the final light on the ornament with Titanium White + a tad of Cadmium Yellow Pale. Blend just a touch to connect the values. Figure 16: With your #2 bright, add Winsor Red bands on the ornament. Shade with a bit of Raw Umber. Highlight with a little Titanium White. Figure 17: Add the holly leaf thorns with the leaf highlight mix and the #0 round. Finally, paint the edges of the cutout with the various mixes that meet the adjacent edge of the ornament. Figure 18: Add the hanger at the top of the ornament, and glue the red bow to the top of the ornament. Let everything dry, 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.

November 2017 Issue

Painting World Magazine

The Artist Box

by Kelly Hoernig

I wanted to create something special for artists, and when I received this little box, I knew it would make the perfect studio mate. After all, can we really have too many things for our desks that reflect our hearts and creative November 2017 Issue

spirits, and that showcase our tools so well? I didn’t think so either. About Kelly: Hello from Indiana! So far, I’ve graduated with a fine arts degree and worked in advertising. For the last 19 years, I’ve traveled the US, teaching

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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! I’m a very curious person, and am inspired by details and excited by nature. I chase the muse everywhere, and I love a challenge. Surface: • 9-1/2” x 3-1/4” x 2-1/4” Long Box #0969, from JB Wood Products DecoArt Americana® Acrylics: • Camel DA191 • Mississippi Mud DAO94 • Silver Sage Green DA149 • Persimmon DA293 • Raw Umber DA130 • Sable Brown DAO61 • Slate Grey DAO68 • Soft Black DA155 • White Wash DAO2 • Williamsburg Blue DAO40

Miscellaneous Supplies: • Toothbrush • Palette Knife • Sandpaper • Black or White Graphite Paper (depending on your basecoat color) • Tracing Paper • Pen • Pencil or Stylus • Donna Downey Signature Stencils - Artist DD-068 • Paper Bag or Fine Sandpaper • Large Round Object (i.e. mug, salt shaker, glass) • Tape

Helpful Hints:

Change the background color to match your studio; you’ll love it that much more, I promise!

DecoArt® Mediums: • Media® Liquid Glass DMM14 • Media Modeling Paste - White DMM21 • Americana Matte Spray DAS13 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

Loew-Cornell® Brushes: • #8 & #16 Comfort Grip® Shader, Series 3300 • #1 Comfort Grip Liner, Series 3350 • #5 & #10 Comfort Grip Round, Series 3000 • 1” Mixtique® Wash, Series 8550

Preparation: Sand the piece well, and wipe away the dust. Base the lid with Silver Sage Green. Paint the outside of the box with Mississippi Mud, and wash the inside with Mississippi Mud + water. (Figure 1) Sand all of the painted areas lightly with the paper bag or fine sandpaper. Wipe away the dust. Wash Silver Sage Green onto the lid, and then slip-slap in

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Place a small amount of Modeling Paste on your palette. Mix in Silver Sage Green with your palette knife until they’re well mixed.

Figure 1

Mississippi Mud on the lid’s outer edges and sides. Spatter the lid with Mississippi Mud. Work one side at a time on the base. On the longer sides, wash on Mississippi Mud, and wet slip-slap in Silver Sage Green on the edges; let them blend together softly. Work Mississippi Mud from the center out if you want more brown showing. For the shorter sides, do a wash of Mississippi Mud, and slipslap Silver Sage Green over it all. Spatter on Silver Sage Green with the toothbrush. With Raw Umber and any large, round object (coffee cup, salt shaker, glass), we are going to do the coffee stains. Wet the bottom of the item with water and your finger, and then apply Raw Umber to the bottom of the item with your finger. Press this into the box’s side. Extend it if needed with a #10 round brush of watery Raw Umber.

Holding the stencil tightly in place, paste over the stencil with the mixture, just like you’re frosting a cake. When you’re satisfied with the coverage, lift the stencil straight up. I did both sides. Wash the stencil immediately so the paste doesn’t dry on it. Lightly transfer the drawing to the lid with black graphite paper. If you’re painting with another color, you may need white graphite paper to see it better.

Looking at the drawing, basecoat the numbered areas as follows. When you’re finished, erase any remaining graphite lines. (Figure 2) 1. Brush bristles - Sable Brown; Ferrule - Slate Grey; Handle - Williamsburg Blue 2. Brush Bristles - Camel + White Wash; Ferrule - Slate Grey; Handle Williamsburg Blue 3. Brush Bristles - Camel; Ferrule - Slate Grey; Handle - Soft Black 4. Brush Bristles - Raw Umber; Ferrule - Slate Grey; Handle - Soft Black; Bottom Tip - Camel + White Wash 5. Palette Knife - Slate Grey; Handle - Sable Brown 6. Lead - Soft Black; Flesh Sable Brown + White Wash;

Figure 1

Figure 2

Tape the stencil above and below the area that you want to stencil on. This will make pasting easier, without having to clean up the piece afterward. November 2017 Issue

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Pencil Casing - Camel; Bottom Tip - Slate Grey

5. The #1 and #2 handles - Soft Black

7. Lead & Pencil Persimmon; Flesh - Sable Brown + White Wash

6. The pencil flesh - Raw Umber

8. Raffia - Sable Brown (only one coat) Painting Instructions: Shade the following areas using the colors listed (Figure 3):

7. The #4 brush bristles - Soft Black Use Slate Grey + White Wash to highlight all of the metal. Brighten it again with White Wash. (Figure 4)

1. All of the metal parts Soft Black + Slate Grey

Highlight the #5 handle and the #1 brush bristles with Sable Brown + White Wash.

2. The palette knife handle, the #1 brush bristles, and the #7 pencil - Raw Umber + Persimmon

On the #7 pencil and lead, highlight with Persimmon + White Wash. Add a touch of Raw Umber if itâ&#x20AC;&#x2122;s too bright.

3. The #6 pencil and the #3 brush bristles - Sable Brown

Use Camel + White Wash to highlight the #6 pencil. Highlight with Sable Brown + White Wash on the flesh of #6 and #7. On the #1 handle, highlight with Williamsburg Blue + White Wash.

4. The #2 brush bristles and the #4 handle tip - Soft Black + Slate Grey + a touch of White

Figure 3

Highlight the handles of #3 and #4 with Slate Grey. Brighten the #1, #3, and #4 handles with White Wash. The writing on the #6 pencil is Raw Umber. Highlight over the front half with Camel + White Wash. Deepen the shading on all of the metal with a liner or #5 round and Soft Black + Slate Grey, and then with a line of Soft Black. Highlight the metal with White Wash. Shade with Soft Black + Slate Grey to create the pinch marks on the ferrules; touch in White Wash + Soft Black on this shade where the values are. Re-base the raffia solidly with Sable Brown. Shade it with Raw Umber + Sable Brown. Highlight it with Sable Brown + White Wash. Paint the shadows over the brushes with either watery Raw Umber or watery Sable Brown. Shade the #1 bristles with Raw Umber, and highlight them with Sable Brown + White Wash. Highlight the #2 bristles with Camel + White Wash, and shade with Silver Sage Green + Sable Brown + White Wash.

Figure 4

Use Camel + White Wash to highlight the #3 bristles, and Sable Brown + Raw Umber to shade them. For the #4 bristles, highlight with Mississippi Mud, and then highlight again with Mississippi Mud + Sable Brown. Shade the #4 bristles with Soft Black.

November 2017 Issue

Painting World Magazine

Make sure you have nice, consistent values of lights and darks on all of the pieces. (Figure 5)

the stencil immediately. I made a brush on each of the boxes long sides and the word “Artist” on the top of the lid.

Pour some Liquid Glass onto your palette. Tape off the stencil so just the part you want to include is showing. Place the stencil over the painted area, and then use your palette knife to apply Liquid Glass over it. Lift the stencil straight up when you’re finished. Wash

Let the piece dry completely. Finishing: Spray-varnish everything that you painted with 2-3 light mists.

Wood Surfaces, Pattern Packets and More...

Art by Donna Scully

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

November 2017 Issue

Painting World Magazine

Innovative Corner

with Debbie Cole, CDA

Painting on Glass Painting on glass has become a very hot trend. Painted wine glasses, glass blocks, and other décor items seem to be everywhere. One of the reasons glass painting has become so popular is that there are new paints on the market that make glass painting easy and permanent. While there are many glass paints on the market, the two most popular brands of glass paints for decorative painters are DecoArt’s Gloss Enamels® and Plaid’s Folkart® Enamels™. Both of these enamels are water-based, have opaque coverage, and can air cure or be oven baked.

While you can use the enamels on dishes, it is important to note that the enamels are not safe to come in contact with foods. Therefore, when painting wine glasses or mugs, it is important to keep the design at least 3/4 of an inch from the edge of the glass. You can easily paint plates on the underneath side, so you can paint the entire plate or just the rim. DecoArt® has come out with many other Gloss Enamels that have special effects. Frost Gloss Enamels™ create a translucent, frosted-glass finish. These adhere easily to glass with a cosmetic sponge, and you can use them

Each brand also has a Clear Medium, which makes it possible to create transparent effects. And, you can use these Clear Mediums in place of water for basic acrylic painting techniques. This is important because water breaks down the enamels, and they would not adhere properly if you used water in the painting process. Therefore, whether you are pulling strokes, floating, or creating lines, use Clear Medium rather than water. You can use both brands on multiple surfaces, such as glass, wood, mirrors, plastic, resin, ceramics, and many other craft surfaces. You can use them to create intricate designs or simple, fun patterns with dots, lines, or swirls, making it easy for beginners to paint on glass. © 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.

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paint glass, it is important to clean the surface with alcohol before you begin. While painting, try to hold the glass in areas that you won’t be painting or use latex gloves to keep oils from your hands off the glass. Before painting, shake all the enamels before using them. To apply the enamels to the entire surface, use a cosmetic or mushroom sponge.

instead of aerosol frost spray paints, which have harmful fumes. One big plus is once you’ve applied the Frost Gloss Enamels to the glass and they’ve cured, you can use Americana Acrylics to paint the remainder of the design, making glass painting very easy. However, it would only be decorative and would not be dishwasher safe. Chalky Finish for Glass™ is an ultra-matte paint for glass and glazed ceramics. Like chalk paints, it is opaque and usually can cover glass in one coat. While DecoArt created them to add a vintage or distressed look to home décor pieces, I like to use these paints to undercoat all the images in my designs. It saves time and makes basecoating on glass so much easier.

November 2017 Issue

DecoArt also makes 3D enamel writers that come in translucent and opaque formulas. These add dimension, and you can use them to easily personalize, outline, and create patterns, such as dots or swirls, on projects.

Apply individual images or strokes with brushes. It is best to select a soft synthetic brush when painting with enamels. As you apply the enamels with the brush, use a light touch and keep the brush back so that the tip will not leave marks in the paint. Work quickly and avoid overworking the area you’re painting, because you will lift

DecoArt has also created an entire line of Glass Paint Markers™. These make it so easy to create fun designs on glass, and they require no painting skills. No matter which enamel you use to

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Once you’ve completed the design, tape it to the underneath side of the glass. This will eliminate having to transfer the design. You may then use markers or pull strokes to create the pattern. Once you’ve completed the painting, it is important to allow the enamels to cure.

the paint from that area and dig holes in the paint. Basecoating the entire surface with the Frost Gloss Enamels does help eliminate this problem by adding a “tooth” to the glass and making it less slippery. When basecoating individual images, use the Chalky Finish for Glass paints to undercoat each image. Once the undercoat is down, you can base each image with the Gloss Enamel color with fewer applications. It is important to allow each layer to dry completely before applying the next layer. You can use a hairdryer to accelerate the drying time. When basecoating after rinsing your brush in water, it is necessary to blot it fully on

a paper towel to remove the excess water. Water will break down the enamels. When painting, use Clear Medium instead of water. Stenciling is an easy and fast way to decorate glass. DecoArt has a large selection of selfstick stencils, which eliminate the problem of bleeding underneath the stencil. It is best to use a cosmetic sponge when applying the enamels over the stencils. If more than one application is needed, allow the first coat to completely dry, and then repeat until you’ve achieved the desired coverage. Another easy way to decorate glass is to draw a pattern on white paper. You do not need to know how to draw; it can be simple geometric shapes, abstract patterns, or clip art.

To cure, allow the painted glassware to dry at least 21 days before using the surface. To bake the glassware, place it into a cool oven. Set the oven temperature to 350ºF, and bake for 30 minutes. It is important that the glass heat gradually in the oven to avoid breakage. After 30 minutes, turn the oven off; let the glass cool completely in the oven. Wait 72 hours to use the glassware. Once you’ve baked it, you may place it in the top rack of a dishwasher for cleaning. Thank you for joining me for this Innovative Corner. I have painted the Happy Owlidays glass block for you to practice your painting skills on glass. You can also paint this on a plate or other serve ware for entertaining during the holidays. For wineglasses or mugs, reduce the design or paint each owl individually. I hope you enjoy the design and have a wonderful holiday!

November 2017 Issue

Happy Owlidays! Glass Block

by Debbie Cole, CDA

Painting World Magazine

I have painted the Happy Owlidays glass block for you to practice your painting skills on glass. You can also paint this on a plate or other serve ware for entertaining during the holidays. For wineglasses or mugs, reduce the design or paint each owl individually.

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.

Surface: • Deco Bloc Glass Block with Hole - 8” x 8” 398263, available from Hobby Lobby® DecoArt Americana® Gloss Enamels®:

About Debbie Debbie Cole, CDA is an award-winning 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.

• Antique Gold DAG09 • Black DAG67 • Clear Medium DS89 • Festive Green DAG230 • Hauser Dark Green DAG133 • Indian Turquoise DAG87 • Primary Yellow DAG201 • Napa Red DAG165 • True Red DAG129 • White DAG01 • Frost Gloss Enamels™ - White DAGF02 Silver Brush Ltd® Brushes: • #0 & #2 Monza® Round Brushes from the Debbie Cole Creative Blending Set, DC-2624S • 1/4” & 1/2” Golden Natural™ Square Wash, 2008S • #3 Golden Natural Round, 2000S • #00 Golden Natural Script Liner, 2007S Miscellaneous Supplies: • Basic Acrylic Painting Supplies • Americana Chalky Finish for Glass™ - Everlasting ADCG02

• Sakura® of America Black Identi®-pen 44101 • Rubbing Alcohol • Martha Stewart Crafts™ Large Sponge (aka Mushroom Sponge) • Pre-wired Ribbon • Battery Operated Lights

Helpful Hints:

Since water breaks down the Gloss Enamels, it is important to use Clear Medium in its place. I do not dampen my brushes with water; rather, I load them with Clear Medium and blot them before painting.

Preparation: Prep the glass block by cleaning it with rubbing alcohol. Load the large mushroom sponge with the White Frost Gloss Enamels, working it into the sponge. Apply it over the front of the glass block. Trace on the outer pattern lines, making sure the block is right side up. Undercoat the images with Everlasting Chalky Finish for Glass. This will save time when basecoating.

November 2017 Issue

Painting World Magazine

Figure 1

Figure 2

Painting Instructions: Basecoat all the red areas with True Red and the green areas with Festive Green. Basecoat the centers of the flowers, the beaks, and the feet with Primary Yellow. Finally, basecoat the light blue areas with Indian Turquoise + White (1:1). Line the eyes of the owl with Black thinned with the Clear Medium. Fill in the pupils with solid Black. (Figure 1) Float to shade all the white areas with Indian Turquoise + White (1:1), the green areas with Hauser Dark Green, the red areas with Napa Red, and the light blue areas with Indian Turquoise. Float to shade the flower centers using Festive November 2017 Issue

Green and the beaks and feet using Antique Gold. When floating, do not use water; use the Clear Medium in place of water. In the same manner, float to highlight the flowers with True Red + Primary Yellow (2:1). Float reflective light on the pupils with Indian Turquoise. (Figure 2) Add white glints to the owl’s eyes with dots of White. Add small crisscross lines of White to the fur areas of the red hat. These lines are about 1/8” long. On the body of the owls, you’ll need two colors to pull the lines because you’ve shaded them... To the blue areas, pull lines of Indian Turquoise + White

(1:1) in the shaded areas and White in the lighter areas. To the green areas, pull lines of Festive Green in the shaded areas and Festive Green + White (1:1) in the lighters areas. To the red areas, pull lines of True Red in the shaded areas and True Red + Primary Yellow (2:1) in the lighter areas. (Figure 3) Thin all of the above colors with the Clear Medium instead of water to pull the lines. Reinforce the floats to the white areas with Indian Turquoise. Pull True Red and Festive Green lines on the white scarf, and add white dots to the red scarf. (Figure 4)

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Finishing:

Figure 3

Follow the directions on the bottles of the enamels to bake the glass block before adding the finishing details. Use the narrow tip of the Identi-pen to add all the remaining details to the design. Add ribbon and a bow of your choice to the block. Also, add battery operated lights inside of the block for a wonderful holiday light!

Figure 4

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November 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2zlxsb4

The Gift of Pride

by Leslie Smith

Painting World Magazine

Santa isn’t real... or is he? I painted this face with a fantasy beard and shape to incorporate both a Christmas tree and the American flag; think “Santa meets Uncle Sam.” The project also includes some of the elements of a “real” face to help you build elementary portrait skills. Let’s explore skin tones and facial structure, without getting too serious about it. After all, it’s Santa!

DecoArt Americana® Acrylics: • Antique Gold DA009 • Blue Harbor DA283* • Burnt Umber DA064 • Georgia Clay DA017 • Grey Sky DA111* • Golden Straw DA168 • Graphite DA161 • Lamp (Ebony) Black DA067 • Mocha DA060 • Napa Red DA165 • Snow (Titanium) White DA01 • Traditional Burnt Sienna DA223 • Warm Beige DA078 • Zinc DA034 * = tiny bit used DecoArt® Americana Mediums: • Multi-Purpose™ Sealer DS17 • DuraClear® Satin Varnish DS21

About Leslie

Brushes:

I am the proud grandmother of five. The eldest, John, joined the Navy last November, and we spent our first Christmas without him home. He is currently studying to become a Fleet Marine Force Corpsman, which will enable him to help others make it home.

• Flats, Rounds, & Liners in whichever brand and in the largest size you’re comfortable with (I used a 1” flat to basecoat, I painted the majority of his face with a #10 flat and a #2 round, and I did the lettering with a #2 liner.)

This piece is dedicated to John and to yours, who are or have served our country.

Supplies: • 16-1/2” Tall Wooden Christmas Tree on Stand, available from JB Wood Products November 2017 Issue

Miscellaneous Supplies: • FolkArt® Home Decor™ Chalk - Nautical (Acrylic Paint) 34161 • Usual Painting Supplies & Materials

• C-Thru® Ruler • Wood Filler • Transfer Paper • General’s® Charcoal White® Pencil • Hand Mirror

Helpful Hints: You’ll paint this Santa’s skin mostly with colors in the orange family. You’ll build the shape of his face (more or less a sphere) by using darker colors and lighter colors (value). Shape is also built with changing temperatures; shading and shadows include cool colors (grays and blues). Ethnicity and the ambient light in which a person stands help to determine the color’s hues. In some cases, cool skin colors can even include greens and purples. Health and age also affect the type and placement of skin colors. Older skin both loses its pigmentation and is thinner. Veins show through in an older person’s temples as cool colors. Using blue (orange’s complimentary color) in the shadows will make Santa’s face glow. I painted him with multiple VERY thin layers of paint, and even if the blue basecoat is not obvious, it still contributes to his coloring.

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Preparation: Fill any imperfections with wood filler, and let the piece dry. Sand it gently to remove the excess wood filler. Seal the piece with MultiPurpose Sealer, let it dry again, and sand it gently. Basecoat with Folk Art Chalk Nautical using a large flat brush. Let the surface dry. Repeat if necessary to achieve full coverage.

Helpful Hints: Why use chalk paint as a basecoat? Many acrylic paints (including DecoArt’s Navy Blue) are not opaque. That makes it difficult to get good coverage for the basecoat or to do touchups. But, chalk paints are opaque and make touchups a breeze, especially on the back of the tree where you’ll do lettering freehand.

Transfer the pattern using your favorite method, being sure that his eyes are both at the same height and his features - left and right - are equal in size and shape. Painting Instructions: Face: Define his hat with Lamp Black corner loaded onto the largest flat with which you are comfortable. Walk the paint upward into his hat about 1/4”-1/2”.

Clean your brush. Starting at the center of his brow line, lay in Mocha. Work upward and to the two sides, picking up more and more Traditional Burnt Sienna in your dirty brush each time, until you are working almost completely in Traditional Burnt Sienna. Use very little paint and expect the blue background to show through at this stage. Fill in the top of his eye socket (under his brow) with Traditional Burnt Sienna. Keep this in mind: Eye sockets are round holes in the skull that hold the eyeballs. They are circular, and are outlined by the brow and upper cheekbones. The lower lid and “bags” occupy the bottom half. The visible portion of the eyeball and the upper lid occupy the upper half. Take a vmoment to look at your eyes in the mirror before painting his. Using a liner brush and Traditional Burnt Sienna, outline his cheeks, his eyes, his eyelids, the bags beneath his eyes, the sphere at the end of his nose, and the two alae (the two knobs of flesh that hold the nostrils). Check with the C-Thru ruler to be sure that both sides of his face are the same in position, shape, and size. Is this confusing? Left… right…? As you paint him, he is facing you. The right side of his face is on your left. Don’t overthink it.

There are documented psychological studies that show that we are instinctively attracted to people with symmetric and uniform features. And, we do want people to like our Santa.

Anytime you see a reference to right or left, just look at the photo and/or figures. For consistency, we will use your right and your left. The light is from the left. The highlights are on the left side. The shading is typically on the right side. Using a flat brush, little paint, and soft pit-pats of Mocha, start at his forehead at the bridge of his nose, and paint downward to the knob of his nose. Fill the knob and alae with Mocha; do not lose the lines that define the alae. Shade the outer edge of both alae and the knob with Traditional Burnt Sienna. The shading on the knob of his nose is crescent shaped, and fills the right lower portion. Highlight the length of his nose with a straight blended line of Warm Beige and the upper left of the nose knob with a circle of Warm Beige. Refer to Figure 1 for placement of the highlighted and shaded areas.

November 2017 Issue

Painting World Magazine Figure 1

Figure 2

Fill in his nostrils with Graphite on your round brush. Double check that they are the same size and respective position. Paint his cheeks with Mocha starting in the outer, upper corner (where the highlight is brightest in the photo). Pick up Traditional Burnt Sienna as you approach the outer edges and his nose. By the time you get to the lower edge, your brush should contain mostly Traditional Burnt Sienna. Figure 1 is a black and white copy of the finished painting. Refer to it to see where shades and highlights lay. Figure 2 shows one version of ideal facial structure. Over the ages, many artists have developed their own versions; modern facial recognition software has also contributed

to our understanding of facial structure. This is just one version. Of course, Santa isn’t real, so I just used it as a guideline. (Figures 1 & 2) Join the bridge of his nose to his cheeks with diagonal strokes of Mocha and Traditional Burnt Sienna. Reinforce the bridge of his nose with Mocha, and then Warm Beige, if it has become lost. Paint the cornea of the eye with Grey Sky, the iris with Blue Harbor, and the pupil with Lamp Black. Mix a tiny bit of Snow White and Blue Harbor, and lighten the lower left side of each iris. Outline the iris with a thin line of Lamp Black.

Did you notice that the light is coming more or less from the upper left? Look at Santa’s nose or the eagle. Highlights on the left side of his face are ever so slightly bolder than those on the right side of his face. His beard and hair are brighter on the left side as well. The shading and highlighting in his eye sockets and along the bridge of his nose are different. The nose casts a shadow over the right eye socket, so there are fewer and lesser highlights in the right eye socket. Many of the comparative values are obvious in Figure 1.

A black and white copy or photo of your subject can tell Once that’s dry, shade about you where to place values; the entire edge of the eye a black and white photo or with Graphite. The shading copy of your work can be is stronger on the right side a good evaluation tool and assist in finding problems © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You with depth and value. agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. November 2017 Issue 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

of the left eye and on both sides of the right eye.

in some Zinc. This is the shadow his nose casts.

Outline the tops of the eyes with Burnt Umber as if you are applying eyeliner. Place a second arched line of Burnt Umber above the lid where the lid recesses into the eye socket.

Strengthen the lines about the alae with Burnt Umber if they are not dark enough.

Paint the upper lids with Mocha, keeping them crescent shaped. Shade either edge of the lids with Traditional Burnt Sienna, and then with Burnt Umber. Especially as one grows old, gravity pulls down the flesh that lies between the brow and the upper eyelid. This is why we put highlights under the brow. Use the hand mirror to look at these areas on your own face.

Using a round brush, stroke curved, horizontal lines to form the bags under his eyes. Start with Mocha. Shade both ends of the bags with Traditional Burnt Sienna, and then with Burnt Umber. Highlight in the very center of each linear section with Warm Beige. Place Burnt Umber in a triangular shape between the left eye and nose. This is the shadow cast by the eyeball’s protrusion. Shade the right side of his nose (right eye socket) with Burnt Umber, and then pat

Pat in Mocha highlights at the tops of the eye sockets under the brows on the outside of the face. Drag strokes of Mocha down from above his eyelids to form crow’s feet. On the left side ONLY (his right cheek), reinforce with Warm Beige; confine the Warm Beige to areas that are smaller and within the Mocha. Wash the right side of the piece with diluted Burnt Umber, starting at the right edges of his forehead, cheeks, and nose, and working inward. Also wash downward from his hairline and upward from the lower edges of both cheeks. Add some soft horizontal wrinkle lines across the center of his forehead with Burnt Umber (no more than two). Be sure that they are level. Pat some Zinc into the Burnt Umber in his temples; this dulls the reds and browns of the Sienna and Umber, and it provides cool shading in his temples. Fill in his upper lip with Traditional Burnt Sienna, and darken the two triangles formed by his alae connecting to his face with Burnt Umber. His mustache will completely cover this area, so you don’t need

to add any further detail. Note: His teeth are not white. They are quite gray and barely show. We used Graphite (the same gray we used for his mouth) mixed with White, instead of a lighter gray from a bottle, to make them less obvious. The only slight highlight is on the lower edge of his two front upper teeth. His mustache shadows his teeth. And, he is centuries old. The enamel on his teeth has worn away. The veins in his teeth are visible through the thin enamel. Ask yourself: are his teeth prominent or barely noticeable in Figure 1? Paint the inside of his mouth with Graphite. While the paint is still wet, hint at his teeth with tiny strokes of a mix of Graphite and White. Add a touch of diluted Napa Red to the inside of his mouth, and then add the slightest amount of Mocha in the center of the red area. You may need to touch the bottom edges of his upper teeth with a lighter mix, but it is more likely that you need to shade the tops with Graphite to show the shadow from his lips and mustache. Paint his lower lip Traditional Burnt Sienna; it is narrower

November 2017 Issue

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at the sides. Highlight the left center with a hint of Mocha. Refer to Figure 1 and the photo. It is barely noticeable. Use Traditional Burnt Sienna to lay in his chin; fade out the paint into the background just below the beard line - there is no harsh edge to define his chin. Highlight with a little Mocha, and shade under his lip with Burnt Sienna. Lightly rouge his cheeks, the alae, the middle of his lower lip, and along the left side of his nose with Georgia Clay. The rouge is strongest on the lower portion of his cheeks, and fades out at the sides. Repeat until you are satisfied. Redo the highlights in these areas as needed with Mocha, and then with Warm Beige. Beard, Mustache, & Hair: Using a liner brush and Zinc, stroke in alternating stripes in his beard. While the paint is still wet, add Snow White, leaving the ends of the stripes grayer, especially where the stripe wraps around the flagpole. Do his hair, brows, and mustache in the same manner. The flagpole throws a shadow onto the part of the flag wrapped behind it. This results in us only highlighting the edges of the flag.

November 2017 Issue

Add a second layer of white to his mustache where it meets the stripes and to the curl coming down on the left side of his forehead. Paint a shadow to the right of his curl with Burnt Umber. Paint the red stripes of his beard with Napa Red. The tops of the red stripes contain a few strokes of Antique Gold where they meet his face. The bottom ends of the two red stripes that wrap around the flagpole also contain a few strokes of Antique Gold. The stripes on his beard are not technically correct. An American flag has six white stripes and seven red stripes. But then, it also has 50 stars, and ours doesn’t. You can consider it artistic license or change it. Flagpole, Stand, & Stars: The flagpole is a simple cylinder. Base it in with Antique Gold. Shade both sides of the flagpole with Traditional Burnt Sienna, being more “heavy handed” on the right side. Highlight with Golden Straw, more on the left side of the piece than the right. Wash under Santa’s beard with diluted Burnt Umber. Base the top of the stand (the wooden oval that allows the tree to stand) with Traditional Burnt Sienna. Pit-pat Antique Gold into the wet Traditional Burnt Sienna, allowing some to

show through. Repeat on the left front section of the stand with Golden Straw, and finally with Snow White. The lower section of the stand remains the basecoat color (Nautical). Wash the uppermost area of the tree, under the eagle, with diluted Lamp Black. Let it dry. The focal area is his face. That is what you want people to see first and foremost. His face is the warmest, the brightest, and the most detailed. The flagpole, eagle, and even his beard are just there, and no more. Keep these loose; they deserve little time or effort. There is much less detail and precision outside the focal area. Using a round brush, loosely stroke in the eagle’s form with Traditional Burnt Sienna. Overstroke lightly with Antique Gold, allowing some of the Traditional Burnt Sienna to show. Add some strokes of Golden Straw on the left or upper sections, only as shown in Figure 3. Finally, add a few highlights of Snow White. Paint the eagle wet-on-wet (quickly), so each of the paints blends with the layer beneath it. Paint the stars with diluted Snow White. Have little paint on your brush so the background shows through. Wash with

Painting World Magazine

Figure 3

diluted Zinc if the stars become too bright. (Figure 3) Fact: The colors an object reflects determine the color of that object. Smooth, shiny surfaces reflect all colors, and can therefore seem to be white. The brass is metal; the highlight is white. Flesh is warm; it is not made of metal. Therefore, the highlights on his face should not be white or cool. To insure this, the final highlights on his face are slightly yellow.

There can also be reflected light in shadows and shaded areas. For artistry impact, you can depict this light with the complimentary color of the object or some hue close to the compliment. I applied reflected light to his skin (orange) and the brass of the flagpole and eagle (yellows). To simplify, I chose blue. It is usually safe to add reflected light along the edge opposite to the light source. The light is from

the upper left, so place reflected lights in areas along the lower right. All That Jazz & Pizazz: Add a thin crescent of Blue Harbor to the right side of the knob of his nose, the lower right edge of his right cheek, and the right side of the flagpole. Also add strokes of reflected light to the eagle, as shown in Figure 3. Refine the highlights on both cheeks, the bags under both eyes, and along the upper left eye socket with a mix of White and a bit of Golden Straw.

November 2017 Issue

Painting World Magazine

(This tiny amount of paint did not warrant asking you to buy another bottle of paint.) Use a lighter touch and less paint on the right side of his face. There are no yellowish highlights above his right eye. Evaluate & Look him over: • Are the highlights brighter on the left side of his face, but not so different that it is inconsistent? • Is the brightest/whitest spot the left side of his mustache? • When you look away and then back at him, do you see his face/eyes first? And then see the eagle and flagpole? • Are his teeth subtle to the point that you barely notice they are there? Reinforce highlights and/ or darks as necessary. When you are happy, sign your name proudly on the base. Backside: Use a size 2 liner brush and diluted Snow White to write a statement of your choice. My daughter doesn’t know it yet, but this is one of her Christmas gifts, which should explain both the project and the message I chose. She doesn’t paint, so my secret is safe. Let the paint dry. Finishing: Protect the piece with multiple coats of DuraClear Satin Varnish. November 2017 Issue

Painting World Magazine

Words on the back are optional but a wonderful touch! Enlarge this 200% for a full size tracing.

Download all line drawings ready to print here: http://bit.ly/2zlxsb4

November 2017 Issue

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Directory of Artists Nicole Borgenicht nicoleborgenicht@gmail.com Debbie Cole, CDA debbie@debbiecole.com www.debbiecole.com Phyllis Ekleberry phyllis.ekleberry@gmail.com Kelly Hoernig questions@kellyhoernig.com www.kellyhoernig.com Linda Hollander paintingfool@live.com

Sherry C. Nelson, MDA, TDA birdpainter@me.com www.sherrycnelson.com Shara Reiner shara@angelthyme.com www.angelthyme.com Margaret Riley designsbymargaret@outlook.com Leslie Smith laspaints2@gmail.com Kay Witt kaywitt2@gmail.com www.kaywitt.com

Linda Maxson www.maxsonart.com Tracy Moreau tmoreau7@bellaliant.net www.tracymoreau.net

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Directory of Advertisers & Suppliers Art of the Carolinas www.artofthecarolinas.com Bear With Us ®, Inc. www.bearwithusinc.com 407-347-5939

E-6000® Eclectic Products eclecticproducts.com 800-693-4667 Gamblin® Artist’s Oil Colors www.gamblincolors.com 503-235-1945

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

General Pencil® www.generalpencil.com

Charvin® Art Supplies www.charvin-arts.com

Hobby Lobby® www.hobbylobby.com

Clairfontaine Paper www.clairefontaine.com

Holbein® Paint www.holbeinartistmaterials.com

Creative Painting Las Vegas www.vegaspaint.com 702-221-8234

Jack’s Studio Soap® by Richeson® Art www.richesonart.com

Creative Woodworks www.creative-woodworks.biz 408-923-5239

JB Wood Products www.jbwood.com 508-222-5790

Creative Arts Lifestyle ® www.creativeartslifestyle.com 740-441-1564

Krylon ® www.krylon.com

Cretacolor® Pencils www.apassionforpencils.com Cupboard Distributing www.cdwood.com 937-652-3338 Debbie Cole Designs www.debbiecole.com

Loew-Cornell Brushes www.loew-cornell.com 866-227-9206 Maimeri® Oil Colors www.maimeri.it/en Moebius & Ruppert Sharpeners www.moebius-ruppert.com

DecoArt www.decoart.com 606-365-3193

Plaid® Folk Art® www. plaidonline.com/ brands/folkart

Dynasty ® Brushes www.dynastybrush.com 718-821-5939

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

Royal Talens® Rembrandt® Oils www.royaltalens.com/engb/brands/rembrandt Sakura® of America www.sakuraofamerica.com Scharff® Brushes www.artbrush.com 770-461-2200 Sherry C. Nelson Brushes/ The Magic Brush® www.sherrycnelson.com 512-398-3277 Society of Decorative Painters www.decorativepainters.org Smooth Cut Wood® smoothcutwoodproducts.com 888-982-9663 Stabilo® Pastels www.stabilo.com Totally Tracy® www.tracyweinzapfelstudios.com Truax Printing® www.truaxprinting.com 419-994-4166 Viking Woodcrafts® www.vikingwoodcrafts.com 800-328-0116 Winsor & Newton® www.winsornewton.com World of Color® Expo www.worldofcolorexpo.com

November 2017 Issue