December 2016 Winter Issue 05 Painting World Magazine by Loon Publishing, LLC.

Decorative Painting, Mixed Media, Fine Art & More!

December 2016

Painting World Issue 05

WINTER ISSUE

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magazine

TIPS FROM THE PROS!

Making $$$ With Your Art: Part 3 by Thelma Hamilton Innovative Corner by Debbie Cole

Painting Outside the Box by Tracy Weinzapfel

$7.99 USA $10.35 Canada

Designs from Your Favorite Artists: Judy Diephouse Bobbie Takashima Debbie Cole Deb Antonick Nancy Scott Shara Reiner Kelly Hoernig Linda Hollander Helena Andrejev Barb Bunsey Karen Wisner Patty Stouffer and more...

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Wood Surfaces, Pattern Packets and More...

Cardinal Designed by Anne Hunter

Snow Man Candle Designed by Sue Boerman

Comfort & Joy Designed by Lauré Paillex

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

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About Painting World Magazine Who We Are

About the Magazine

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

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

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

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

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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. December 2016, Issue 05 ©Magpie Publishing, LLC. Painting World Magazine is published 7 times per year by Magpie Publishing, LLC., 3318 Ultimate Way, Dayton, OH 45449, USA. All rights reserved on entire contents of magazine. We are not responsible for loss of unsolicited material. We reserve the right to edit and publish correspondence unless specific commentary and/or name and address are requested to be withheld. Reproduction of editorial or advertising contents in any way whatsoever without the written permission of the Publisher is strictly prohibited. The instructions in this magazine are published in good faith and have been checked for accuracy; however, no warranty, either expressed or implied, is made nor are successful results guaranteed. Subscription rate $29.99 for 7 issues. Distributed in the United States and worldwide.

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December 2016 Issue

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

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

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

100+ classes, demos, special events, and the best decorative arts shopping experience in the Northeast. Thank you painters, teachers, and business partners!

Get registered: www.newenglandtraditions.org

Creative Painting™ Las Vegas

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

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

“Daytona Beach is one of America’s favorite beach destinations. Bring your family and friends, and enjoy four days of painting, shopping, creativity and fun!” Sign up at http://decorativepainters.org December 2016 Issue

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Contents

Telemark Rosemaling Plate by Featured Cover Artist: Judy Diephouse

Owl Always Love You by Debbie Cole

Poire et Pomme by Barb Bunsey

Christmas Cheer by Bobbie Takashima

Make Believe by Kelly Hoernig

Snow Friends by Karen Wisner

White Poinsettia by Nancy Scott, CDA

Winter Deer by Deb Antonick

Sugar Shack Lamp by Linda Hollander

Amaryllis by Helena Andrejev

MORE GREAT ARTICLES! Corner: 20 Innovative Clearsnap! by Debbie Cole

$$$ With 44 Make Your Art: Part 3

by Thelma Hamilton

Winter by Shara Reiner

Sunny Winter Morning by Patty Stouffer

Outside 80 Painting the Box

by Tracy Weinzapfel

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Telemark Rosemaling Plate

by Judy Diephouse

Painting World Magazine

Surface:

• DAO40 Williamsburg Blue

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This plate is an example of the Telemark style of Rosemaling: a large C-scroll in the center, with traditional elements coming off of the scroll. The plate is completed with repeated scroll designs on its border. The colors I used are quite traditional for this style. Rosemaling is a folk art. Feel free to express your tastes and color preferences as you complete this project. I hope you enjoy painting this design.

14” Plate with 9” Center & Single Beaded Inside, from Ideal Wood Products

DecoArt Americana® Palette:

• DA280 Autumn Red* (DAO17 Georgia Clay with a touch of DAO15 Cadmium Red) • DA257 Bleached Sand

• DA166 Deep Midnight Blue

• DA190 Winter Blue

• DAO8 Yellow Ochre

*Discontinued colors - use the original color if you still have it; otherwise, use the provided color combination.

Loew-Cornell® Brushes: • #4, #8, & #12 Series 7300 Flats

• 1/2” & 3/4” Series 7550 Washes

• #6/0, #4, & #6 Series 7350 Liners

Miscellaneous Supplies:

• DA218 Gingerbread* (DAO16 Burnt Orange and a touch of DA311 Natural Buff)

• Light Graphite Paper

• DA106 Light Avocado

• Chalk Pencil

• DA174 Milk Chocolate • DA313 Oyster Beige

• DA167 Payne’s Grey

• DA113 Plantation Pine • DAO93 Raw Sienna • DAO80 Russet

• DA221 Traditional Burnt Umber • DA143 True Ochre

• DAO86 Uniform Blue

• Stylus

• Flexible Ruler

• Satin Acrylic Varnish • Tracing Paper

Preparation:

Base coat the rim of the plate with Deep Midnight Blue. Base coat the center of the plate with Uniform Blue. Base coat the bed of the plate with a mix of Russet and Autumn Red (2:1).

Figure 1

About Judy

I was introduced to Decorative painting in 1975. Very soon after that I was teaching classes in my home. This I did for the next twenty or more years. During this time, I did teach at the National Conventions and at HOOT. In 1994 I teamed up with Lynne Deptula to form “Distinctive Brushstrokes” . We have published over 300 pattern packets and 40 books. Please check out our web site for our current line of patterns and books, teaching schedule, and Home Seminar dates.

December 2016 Issue

Painting World Magazine

Highlight the scrolls with floats of Yellow Ochre. The outlines and additional strokes are Traditional Burnt Umber. (Figure 3)

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Figure 2

Green Stems & Strokes: The stems are Light Avocado, shaded with Plantation Pine. Repeat the shading in the darkest part with a mix of Plantation Pine and a touch of Payne’s Grey. The green filler strokes are Plantation Pine tipped into Light Avocado.

Sand lightly between coats. Trace on the pattern. The design on the rim of the plate repeats 5 times.

Painting Instructions: Large Blue Scroll:

Base coat the scroll with Williamsburg Blue. Highlight the outer edge with floats of Winter Blue. Shade the inside of the scroll with floats of Deep Midnight Blue.

The large strokes at the ends of the curls are Deep Midnight Blue with a touch of Winter Blue. The second large stroke is the same mix with more Winter Blue added.

a mix of Autumn Red and Gingerbread. Highlight the sides of the scrolls with Gingerbread. The strokes on the scrolls are also Gingerbread. (Figure 2) The outlines and additional strokes are Traditional Burnt Umber.

Gold Scrolls:

Base coat the scrolls with True Ochre. Shade them with floats of Raw Sienna. Repeat with floats of Milk Chocolate.

Highlight in the cross hatching areas with lines of True Ochre, and repeat with smaller lines of Yellow Ochre.

Red Center with Cream Side-Petal Flowers: Base coat the cream sections with a double load of Raw Sienna and Oyster Beige. The outline and strokes on these sections are Oyster Beige. The dots between the outlines are Autumn Red.

Figure 3

The outline, strokes on the scroll, and strokes along the inside edge of the scroll are a mix of Deep Midnight Blue and Payne’s Grey. (Figure 1)

Red Scrolls:

Base coat the red scrolls with Autumn Red. Shade next to the blue scroll with Russet. Highlight the top of the red scrolls with December 2016 Issue

Painting World Magazine

Outer Rim Design:

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Figure 4

Do the blue scrolls in the same colors as in the large blue scroll. Do the yellow scrolls in the same colors as in the gold scrolls. Do the large flower and the two small flowers next to it in the same colors as in the red center with cream side-petal flowers. For the small flowers between the blue and yellow scrolls, paint the center Autumn Red, shade it with Russet, and highlight it with Gingerbread.

The red center sections are Autumn Red, shaded with Russet, and highlighted with Gingerbread.

The red side-petals are a double load of Autumn Red and Gingerbread.

The strokes, dots on the stems, and crosshatching on one center are Yellow Ochre.

The outlines and strokes on these petals are a mix of Gingerbread and a touch of Oyster Beige.

Yellow Center with Red Side-Petal Flowers:

Base coat the center petals Yellow Ochre, and shade them with Raw Sienna. The red side petals are Autumn Red, shaded with Russet, and highlighted with Gingerbread.

All additional filler strokes are the dark blue mix of Deep Midnight Blue and Payneâ&#x20AC;&#x2122;s Grey. (Figure 5)

The stroke in the center petal is Yellow Ochre. The outer petals are a double load of Gingerbread and Oyster Beige, outlined with a mix of the two colors. The stems are Light Avocado, shaded with Plantation Pine. The dots at the tops of the stems are Yellow Ochre.

Line the cross hatching between the yellow scrolls with True Ochre.

Figure 5

All outlines and strokes are Oyster Beige. The dots along the stem lines are Yellow Ochre.

Cream Center with Red Side-Petal Flowers: Base coat the cream centers Oyster Beige. Shade them with Raw Sienna, and highlight with Bleached Sand. The strokes on the centers are Oyster Beige.

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

December 2016 Issue

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Shade the bottoms of the lines with Raw Sienna, and highlight the tops of the lines with Yellow Ochre. The dot at the top is Yellow Ochre. The dots between the scrolls are Autumn Red. The filler green strokes are Plantation Pine tipped into Light Avocado.

Outline the edge of the plate with lines and dots of Uniform Blue.

Stroke Work Around the Edge of the Plate’s Center

Mark off 1 1/4” sections around the center of the plate. The fine line and the stroke inside are a mix of True Ochre and Yellow Ochre. The dot between the strokes is the red mix.

Finishing:

Allow the painting to dry thoroughly. Erase any visible tracing lines.

Varnish the plate with three coats of your favorite satin acrylic varnish. Allow 24 hours between coats for complete curing. Enjoy!

The crosshatching between the yellow scrolls and at the base of the blue scrolls are lined with True Ochre.

The other flowers are repeats of the center design flowers.

December 2016 Issue

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December 2016 Issue

Painting World Magazine

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December 2016 Issue

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Owl Always Love You

by Debbie Cole, CDA

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

• Crackle Background • Art Screens (stencils): • “Lovely” (hearts) • “Groovy” (curvy lines)

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A vintage owl valentine card inspired me while I was creating this design. I thought it would be fun to put a new twist on this card by creating a mixed media valentine using the Clearsnap® products to create the background.

About Debbie

Debbie Cole, CDA is an awardwinning artist that is widely recognized as one of the leading contemporary decorative painters of the 21st century. Author of numerous books and pattern packets, Debbie has been a soughtafter instructor who has taught throughout the United States, Japan, Argentina, and Canada. While Debbie loves traditional decorative painting, she also loves stamping, mixed media, and jewelry design. No matter what her medium, Debbie’s main source of inspiration comes from her faith in God. She knows that her creative talent is a gift and feels blessed to be able to share it with others. Her mission is to be able to reflect her joy onto others through her artwork. December 2016 Issue

Surface:

• 9” x 12” Postage Stamp Plaque, from Cupboard Distributing

DecoArt® Americana® Acrylic Paints: • DA250 Bubblegum Pink • DAO22 Burgundy Wine • DA259 Cocoa • DA231 Electric Pink • DA168 Golden Straw • DA111 Grey Sky • DAO67 Lamp Black • DA164 Light Buttermilk • DA215 Peony Pink • DAO68 Slate Grey • DAO1 Snow White • DA304 Zinc

DecoArt Metallic Lustre™: • ML14C Fab Fuchsia

DecoArt Media® Mediums:

• DMM21 Modeling Paste

• DMM20 DecoArt Media Matte Medium • DMM24 DecoArt Media Ultra-Matte Varnish

Clearsnap Products:

• ColorBox® Sponge Stylus • Rollagraph® Jumbo Handle

Rollagraph Jumbo Wheels: • Wordswords • Simple Dots • Faux Postal

Dynasty® Black Gold® Brushes:

• 3/4” & 1/2” Flat Washes • #2/0 Script Liner • #3 Round • IPC Small Point Blender

Miscellaneous Supplies:

• White Cardstock • Circle Template • Detail Scissors • Foam Roller • Palette Knife • Paper Towels • 3/4” Wide Scotch® Magic™ Tape • Palette Paper • Pencil

Preparation:

Use a foam roller to base coat the entire board. Allow it to dry, and repeat until there is an even coverage. Tape off the sides of the board with the Scotch Magic tape.

Painting Instructions: Background:

To create the mottled background, apply a few drops of Light Buttermilk, Peony Pink, and Bubblegum Pink to the surface. Blend them with the Art Wheel (refer to the Helpful Tip). (Figures 1-2)

Remove the Art Wheel from the handle, and add the Wordswords text wheel. Using a 3/4” flat, spread Light Buttermilk very thinly onto the palette paper.

Painting World Magazine

Figure 2

Figure 3

Figure 4

Figure 5

Figure 6

Figure 7

Figure 8

Figure 9

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Figure 1

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Figure 11

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Figure 10

Helpful Hints:

Roll the text wheel across the paint, and then roll it across the surface. Make sure the text is right side up. Repeat the steps until you’ve covered the entire surface. (Figure 3)

Lay the Lovely art screen back over the raised hearts. Load the sponge stylus with Bubblegum Pink, and apply it to the outer corners; work it in, allowing the paint to fade away. (Figure 7)

Place the Groovy art screen horizontally in the upper, righthand corner of the board. Load the Sponge Stylus with Peony Pink, pounce it on the palette to work the paint into the stylus, and then apply it over the stencil. Repeat to the upper left side and to the lower left bottom portion of the board. (Figure 4)

Rub the Metallic Lustre over the outer corners of the heart to deepen the color and add a little shimmer. (Figure 8)

Tape the Lovely art screen into position and spread modeling paste over the upper left corner of the board. Remove the art screen, clean it, and then repeat this step to the lower right side. Allow it to dry completely. (Figure 5-6) Apply the Simple Dot wheel to the handle, and randomly roll some dots over the background with Slate Grey.

December 2016 Issue

Add the Crackle wheel to the handle. Spread Zinc out onto the palette paper, and roll the crackle wheel into the paint. Roll it over the background, referring to the photo for placement. (Figure 9)

Owl:

Transfer on the design. Base coat the owl’s dark areas with Zinc, the owl’s light areas and the branch with Slate Grey, the hearts with Peony Pink, and the beak and feet with Golden Straw.

Using a #3 round brush, add texture to the branch with thinned Zinc, and then with thinned Grey

When applying the drops of paint onto the surface to create the mottled background, use very small drops of paint. Begin blending the colors together with the Art Wheel. While blending, periodically wipe the wheel on a paper towel if too much paint gets built up on it or on the surface. Do not over-blend.

Sky. Pull lines of Zinc + Slate Grey (1:1) on the dark areas of the owl using a #2/0 script liner. Use this color to add the first highlights and lines to the eyes.

Pull Grey Sky lines to the light areas in the same manner as the dark areas. Outline the heart leaves and the branch with Lamp Black. Using the small IPC point blender, dry brush highlights to the center of the heart with Electric Pink + Peony Pink (1:1), reinforced by Electric Pink. Float to shade the heart with Burgundy Wine.

Dry brush the highlights to the beak and feet with Golden Straw + Light Buttermilk (1:1). Float to shade these items with Cocoa. (Figure 10)

Painting World Magazine

Finishing:

Add additional highlights to the lines of the eyes using Grey Sky + Light Buttermilk (1:1). Dry brush additional highlights to the brightest glints with Snow White.

Cut out the butterfly stamp, or your stamp of preference. Apply it to the surface with Matte Medium, using the Art Wheel as a brayer to smooth it into place. (Figure 11)

Thin Bubblegum Pink with water, and wash it over the background of the butterfly stamp. Wash Golden Straw over the butterflies. Allow it to dry, and then float the center of the butterflies with Peony Pink.

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Transfer the lettering onto the heart, and line it with Lamp Black. Add additional lines to the dark areas of the owl with Slate Grey, and to the light areas with Grey Sky + Light Buttermilk (1:1).

Add the Faux Postal stamp wheel to the handle. Spread Lamp Black paint onto the palette paper, load the stamp, and roll it onto card stock.

Use a circle template and a pencil to lightly draw the remainder of the cancellation circle. Line it with Lamp Black. Allow the piece to cure for 24 hours, and then apply multiple coats of Ultra-Matte Varnish.

December 2016 Issue

Painting World Magazine

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Innovative Corner

with Debbie Cole, CDA

Clearsnap® is a company that many know for their ColorBox® inks. However, they started the company in 1986 by developing the Rollagraph® roller stamp system.

This tool began a legacy of innovation by introducing the world to the self-inking, rolling rubber stamp with interchangeable ink cartridges and stamp wheels. While many have used them as paper crafting tools, these roller stamps work wonderfully with acrylic paint.

They are the perfect tools to create interest in backgrounds, or to create borders quickly and with ease.

The Rollagraph has a handle, which holds the interchangeable Design Wheels. The Design Wheels come in many patterns and two different sizes. This is such a fun tool, and it’s easy to use. You can load it with paint by simply spreading paint onto palette paper, and then rolling the wheel into the paint. Once it’s loaded, it’s so playful rolling it onto the painted surface. You can also use it on paper, clay, fabric, wood, and most any surface.

December 2016 Issue

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Another version of the roller stamp system is the Art Wheel. This is similar to the other Design Wheels, but the exception is that there is no pattern.

You can use it in the same way that you would use a brayer. In the Owl You Need Is Love project, I used the Art Wheel to create the mottled background. You can also use it for adhering decoupage papers.

Another fun tool that is both creative and innovative is their sponge Stylus. This has a dual-ended applicator with replaceable sponge tips. While there are round tips available, the

cat’s eye shaped tips are the most versatile when painting.

These are the perfect tool for stenciling. Because the sponge is very thin, it’s easy to load, and it helps maintain a light application of paint, which is necessary when stenciling. The shape allows more control, so you can get into small detail areas of a stencil without going outside the edges. You can also use it to load a rubber stamp with paint.

Clearsnap has also created the ColorBox Art Screens. These are plastic stencils, but they are much thicker than most stencils on the market. Their thickness gives them more versatility.

Not only can you use them for stenciling, but they also work well with mixed media pastes. The small details do not lift as easily, and they lay flusher to the surface than most stencils do. You can also use the Art Screens with a Big Shot™ Machine to emboss paper. You can then decoupage this paper onto a surface to create interest to a project.

December 2016 Issue

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Poire et Pomme by Barbara Bunsey December 2016 Issue

Painting World Magazine

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These elegant paintings are perfect for hanging in your kitchen or giving as gifts. For this project, you’ll incorporate a bit of mixed media to give these acrylic paintings a unique look.

About Barbara

Barbara began painting and teaching over 30 years ago. She’s taught at conferences, conventions, and in her home studio. Early American Life Magazine has named her to the Directory of Traditional American Crafts for over 10 years, and Colonial Williamsburg has commissioned her to paint pieces for its shops. She’s a member of the SDP, Decorative Arts Collection, and Tole Painters of the Western Reserve, where she’s held various board positions.

In 2004, Barbara had an ornament selected for the official White House Christmas Tree, and met First Lady Laura Bush. In 2005, Barbara painted an ornament for the Library of Congress’s Christmas tree. In 2008, Laura Bush chose Barbara out of four artists to paint 1,000+ ornaments, which the Bushes used as gifts for family, friends, and White House staff.

December 2016 Issue

Painting World Magazine

DecoArt Dazzling Metallics®:

Helpful Hints:

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Surface:

• 2 Frames, from Calico Goose

• DA263 Splendid Gold

DecoArt Americana® Acrylics:

Loew-Cornell® Brushes:

• DA146 Antique Gold Deep

• DA172 Black Plum

• Series 7750 1/2” & 3/4” Aura® • Series 7550 1/2” & 3/4” Wash Brush • Series 7000 #2 Round • Series 7050 #1 Script Liner • Series 7500 #8 Filbert

• DA191 Camel

Special Supplies:

• DA238 Canyon Orange

• DA163 Honey Brown

• DecoArt® AGS205-K Fleur de lis Stick-On Stencils • Palette Knife • Scruffy 3/4” Wash Brush

• DA164 Light Buttermilk

Background:

• DA104 Naphthol Red

Sand the background, seal it, and then sand it again. Base the entire surface Camel.

• DA147 Antique Green

• DAO58 Antique White • DA254 Avocado Dip

• DA195 Bittersweet Chocolate

• DAO82 Evergreen

• DA168 Golden Straw

• DA223 Traditional Burnt Sienna • DA143 True Ochre

DecoArt Media®:

• DMM22 Black Modeling Paste • DMM17 White Crackle Paste • DMFA24 Fluid Acrylics™ Phthalo Green-Blue • DMFA50 Fluid Acrylics Hansa Yellow Medium Figure 1

December 2016 Issue

With the palette knife, apply Crackle Paste to the design area to suit your taste. I applied it in the corners - a little heavier at the bottom - and pulled it out, smoothing it as I pulled toward the center. Dry it well and allow it to crack.

I did most of the painting with a fairly dry brush and a buildup of color. I like the warm tones of red, gold, and orange, but you can add more green if you desire.

You’ll scrub the colors on, working them into each other. Do not attempt to get the final look with one coat! You will need layers and layers of color built one on the other to achieve this look. Paint over the surface with one coat of Camel. Using the 3/4” wash brush, wash the surface with Bittersweet Chocolate, letting some areas get darker than others. (Figure 1)

With the same brush, float Bittersweet Chocolate around the edges, walking it out a bit toward

Figure 2

Painting World Magazine Pick up a tad of Naphthol Red with the golds, and begin to indicate indentation at the right and left edges. Make the indentation on the right edge larger and coming in as a “triangle” toward the highlight area. (Figure 6)

Orange in the red/orange areas. Add Avocado Dip in the brighter green areas, including inside the stem depression. (Figure 8)

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the center, and making it widest in the corners. Repeat with Black Plum, mainly in the corners. (Figure 2) Trace the pattern on.

Poire (Pear):

Use whichever Aura brush works for you and fits in the area you’re working on (I used the larger brush for larger areas and the smaller for smaller areas).

Dampen the brush just a bit, and scrub in Antique Gold Deep in the green areas and True Ochre with just a touch of Canyon Orange in the center area. (Figure 3) Establish the highlight area by tapping Golden Straw in a circular area, keeping it brightest in the center and, using less pressure, fading out into the background. This area should be about the size of a quarter. (Figure 4) Scrub in more Antique Gold Deep in the green areas, along with a bit of Avocado Dip in the brighter areas.

Add a bit more Canyon Orange to the True Ochre + Canyon Orange mix, and apply it to the gold area. Scrub Antique Green into Antique Gold Deep, and add it to the bottom and left. (Figure 5)

Reinforce all areas with colors, as in the previous two paragraphs. Add a bit of Antique White to Golden Straw, and add more highlight; again, start in the center, and work out toward the edges. Keep a “halo” of the first color showing around the outside edge. Add Golden Straw to the top of the pear. Add more Canyon Orange to the gold area.

Pick up more Antique White with Golden Straw, and tap in more highlight, as above.

At this point, I switched to the wash brushes, and continued to add color by floating it with a side-loaded brush. Add Canyon Orange, and then Naphthol Red, to the gold/orange areas. Add more Antique Green, and then Evergreen, to the bottom and left green areas. Continue to add color as necessary, so you get a nice blend between the colors. A little “splotchy” look is fine!

Scrub Antique White at the very top, working it into Golden Straw. Add a touch of Light Buttermilk to the Golden Straw + Antique White mix, and tap it in the center of the highlight area. Float Black Plum on the left and across the bottom. The reflected light at the lower left is a light float of Avocado Dip. (Figure 7)

Paint the stem in with the round brush and Bittersweet Chocolate. When the second coat is wet, add thinned Camel to the bottomcenter with the liner brush.

Pomme (Apple):

Using the same technique as above, scrub Antique Gold Deep in the green areas and Canyon

Reinforce all the areas, adding more Avocado Dip to the green area and Antique Green to the lower right area. Add more Canyon Orange to the red/orange areas. I scrubbed just a touch of Canyon Orange on the lower right. Do not clean out your brush after this step. (Figure 9)

With a different brush, pick up Golden Straw along with Avocado Dip, and start making lighter areas on the green areas. Pick up Naphthol Red on your orange brush and begin scrubbing it on; don’t cover up the orange just add color. (Figure 10-11) Add more Naphthol Red as necessary. Add Evergreen to the lower right. (Figure 12)

Add more Golden Straw to the light area in the center. Scrub Black Plum at the left and bottom, and lightly on the right side. Float Black Plum at the top and in front of the stem depression. (Figure 13) At this point, you can float colors on as necessary to blend. Pick up Antique White with Golden Straw, and begin the highlight at the rightcenter, as on the pear.

Pick up more Antique White for more highlight, as above; add Light Buttermilk to the brush, and tap in the brightest highlight. Also scrub this highlight at the front-left. (Figure 14)

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December 2016 Issue

Painting World Magazine Make a wash of Honey Brown. Only do one section at a time, as you need to do this technique while the paint is wet. Wash over one area, and then twirl the dry, scruffy 3/4” wash brush between your fingers to create swirls. (Figure 16)

Modeling Paste mixed with Fluid Acrylics Phthalo Green-Blue and Hansa Yellow Medium (approx. 1:2:3). Dry well. (Figure 19)

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Float Antique White, and then Light Buttermilk, at the top left, and do a light, back-toback float on the left of the stem depression. Float Antique Green, and then Evergreen, inside the stem depression. The reflected light on the right is a light float of Avocado Dip. Paint the stem in with the round brush and Bittersweet Chocolate. When the second coat is wet, add thinned Camel to the bottom-center with the liner brush. (Figure 15)

Outside Frame: This should be based with Camel already.

When the paint is dry, repeat this process using Traditional Burnt Sienna. (Figure 17)

Repeat again using Bittersweet Chocolate. (Figure 18)

Position the Fleur de lis stencil 1/4” from each corner. Using the palette knife, apply the Black

Figure 16

Figure 17

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Inside Frame:

Base the inside of the inside frame with Black Plum using the #8 filbert.

Finishing:

Base the outside edge Black Plum. Using a dry Aura brush, dry brush Dazzling Metallics Splendid Gold to the inside edges of the inside frame. Dry brush Splendid Gold here and there on the stenciled pattern.

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December 2016 Issue

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by Bobbie Takashima

Christmas Cheer

Painting World Magazine Most of all, I cherish my humble beginnings and my dear parents and grandparents for their example and inspiration.

• Raw Sienna • Juane Brilliant • Vermillion • Brown Madder • Brilliant Green • Pine Green • Raindrop • Aqua • Amethyst • Purple Madder • Dioxazine Purple

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“Christmas time is almost here… as families travel, far and near.

An Elf bearing gifts is homeward bound… under twinkling stars… over snow covered ground,

Atop his steed, a rabbit… not deer(?)… to spread a little Christmas Cheer.”

Tagging along with mother to art classes nurtured and inspired my passion for design, painting, and teaching. Formal art classes began in 1960 with a local fine artist and continue to this day.

On any given weekend, you’ll find this old toad traveling to teach seminars across the United States, Japan, Australia, Canada, England, South Korea, Scotland, Singapore, and Taiwan. Telling stories through art is a big part of my art style. If you look closely, you’ll find some of the journeys depicted in my paintings!

Surface:

• Tin/Metal Plate or Tray, 10” across x 7-1/2” inside measurement

About Bobbie:

Being a natural “daydreamer,” visualizing dolls and playthings was easy for me as a child. Then finding the raw materials to create them out of sticks, leaves, paper, and even mud was endless hours of fun! Creating pictures in the sand, building a dollhouse from old paper and wood boxes, and dressing up critters with leaves, weeds, and flower petals to live in the house was a joy! Sharing my art with others by teaching design and painting classes has taken this farm girl around the world and across the entire United States many times throughout my career.

Jo Sonja’s Sure Touch Brushes: ®

• Size 0 & 2 Pointed Round Blender #2040 • Size 2 Sableon Round #3010 • Size 1/8”, 3/8” & 1” Oval Wash #1318 • Size 2 Detailer #1355 • Size 1/2” Angle Brush #1345

Jo Sonja’s Mediums:

• Kleister Medium • Clear Glaze Medium • All Purpose Sealer (or a commercial primer) • Polyurethane Varnish - Satin

Miscellaneous Supplies: • Water Basin • Paper Towels • A Waxed Paper Palette • Detergent soap

Preparation:

Wash the metal surface with detergent soap, and then dry it. You may apply a commercial primer (such as Rust-Oleum®) to the metal, following the manufacturer’s directions, or apply two or more coats of Jo Sonja’s All Purpose Sealer, drying the metal between coats.

Jo Sonja’s Artist Acrylic Paints:

The background color is one coat of Raindrop.

• Titanium White • Burnt Umber • Carbon Black • Naples Yellow Hue • Turners Yellow • Marigold

Techniques Used in this Painting: Layering:

There are multiple layers of pigments to build contrast of

December 2016 Issue

Painting World Magazine layer(s) of pigment to filter through the successive layers.

pressure should become stronger until you run out of paint.

The method I use to load the brush for this technique is to dress a dry brush into Clear Glaze Medium, load it with the pigment, blend them together on the waxed palette, and unload just the excess pigment hanging off the end of the bristles with a touch to the palette before painting.

Brush-Sketching and Shading:

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hues in value, temperature, and intensity; the amount of contrast is a personal choice. Build the effects the way you would like to see them.

You may apply the layering in transparent layers by adding a touch of Clear Glaze Medium and pigment to the brush, and blending them together on the paper palette. Also use this technique any time the instructions mention glazing. Layering with the dry brush painting technique is a lovely way to create a soft, textural effect, allowing the under

Begin all strokes of the brush in the air (yes, you can do this!), and gently touch them to the surface. As you use up more of the paint in the brush, your

Sketching involves short, loose, soft, edge strokes of the Pointed Round Blender Brush; thus, I say brush-sketching. Using the pattern lines as a reference, add or omit lines as desired to create the shapes in a very soft-edged sketch in this first step. This allows you to tighten up the looseness in future layered steps with clean, crisp edges as desired.

Figure 1

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Once you’ve completed the brush-sketching step, shade the shapes along curved edges to make them “bend.” Also shade objects and areas to push them away from the viewer, such as overlapping objects. This “shadow” shading helps create a feeling of space between things!

Value Painting:

The value painting process is very logical and orderly. It builds upon the darker brushsketching and shading steps with hue, temperature, and intensity change as we layer from

dark to light hues. This begins our journey to more color!

This is how I base coat areas with color, yet allow the background to peek through in the receding areas. I do not base coat from the pattern line edges in an opaque coverage.

Painting Instructions: We begin with the brushsketching technique using the #0 pointed round brush dressed in Kleister Medium and loaded in Raw Sienna.

The Kleister Medium is a very forgiving medium, in that it is

very easy to remove by gently patting a slightly water-dampened brush or towel on the wet or dried Kleister + painted area. The medium is slightly thick in texture, and adds a translucency and viscous quality to the paint, which I love. It gives a very soft-edged appearance to the overall painted effect.

Another benefit from the mixture of paint + Kleister is being able to erase the graphite pattern lines from under the painted areas after the paint dries.

December 2016 Issue

Painting World Magazine The shading steps are necessary to create the illusion of depth, which is necessary to create the 3D effect of the shapes that make up the design.

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Figure 1 shows: Step 1. The brush-sketching with Raw Sienna.

Step 2. The shading with Raw Sienna + Purple Madder + a touch of Burnt Umber.

Step 3. The first light value layer of Marigold, which adds volume to the shapes. For this layer, begin the application of paint in the highest point of the round shapes to bring them up and out, away from the background hue, and to emphasize any flat edges.

The dark values after the Raw Sienna brush-sketching of the painting are Purple Madder + a touch of Burnt Umber + a touch of Kleister Medium to the darkest value of Burnt Umber + Dioxazine Purple. You’ll place this darkest value in the deepest “C” and “V” shapes of the first dark shading, which I call the “core darks.”

Figure 3

December 2016 Issue

Painting World Magazine Paint the moon and stars in layers of Marigold, to Turners Yellow + a touch of Naples Yellow Hue. Without cleaning your brush, pick up a touch more of Naples Yellow Hue for the last layer.

Blush all the cheeks, noses, mouths, and ears with Vermillion, and shade them with Brown Madder along the lower halves of the shapes. The highlights at the tops of the shapes are a mix of Naples Yellow Hue + a touch of Titanium White.

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Figure 2 shows the placement of the darkest shading steps.

Layer the value painting steps from Marigold, to Marigold + Juane Brilliant. Without cleaning your brush, add + Naples Yellow Hue, then Naples Yellow Hue + a touch of Titanium White.

Figure 3 shows the value painting steps of Marigold, Marigold + Juane Brilliant, and Juane Brilliant + a touch of Naples Yellow Hue.

I reserve the lightest, brightest mixture of Naples Yellow Hue + Titanium White for the final details of the painting, after I’ve glazed all of the other hues onto the design. These final details include line work and the snow areas on the trees and ground. Adding all the lovely hues to the background and the objects is next!

Softly stroke the sky with short, dabby strokes of Amethyst + a touch of Titanium White loaded in the 3/8” oval wash brush. Think “snow”!

Brush the next mixture of Aqua + a touch of Titanium White onto the background in soft, dry brushed, curvy strokes with the 3/8” oval wash brush.

Finally, use soft, dry brushed strokes to apply a third layer of background color with Titanium White + Naples Yellow Hue + a touch of Kleister in the 3/8” oval wash brush.

Base the iris of the rabbit’s eye in Marigold + a touch of Naples Yellow Hue. Paint the pupil in Burnt Umber, and shade to the right side of it with Carbon Black. Place the shine dot of Naples Yellow Hue + a touch of Titanium White to the right edge of the pupil. The white of the eye is a large “C” stroke of Naples Yellow Hue + a touch of Titanium White to the left of the iris.

The rabbit’s fur is line work of Titanium White + a touch of water (to thin the paint) loaded in the detailer brush. Lighten the fur with a second layer of line work of Titanium White + Naples Yellow Hue on the highest points of the rounded shapes of his head, muzzle, ears, legs, and chest.

Base the blanket on the rabbit’s back in a mix of Amethyst + Dioxazine Purple + a touch of Glaze Medium. Stroke on the checkered pattern with the #2 sabelon round brush loaded with Aqua + a touch of Titanium White.

The trim along the blanket’s edge is short strokes with the #2 sabelon round and Naples Yellow Hue + a touch of Titanium White. For all faces on the design, the flesh areas are layers of the value painting steps using Marigold, to Juane Brilliant, to Naples Yellow Hue + a touch of Titanium White.

Base all the eyes, except the rabbit’s, in Titanium White + a touch of Naples Yellow Hue. All irises are Burnt Umber. All pupils are Carbon Black highlighted with a shine dot of Naples Yellow Hue + a touch of Titanium White.

Base the doggy, the elf’s shoes, and all the toy dolls’ black line work in Burnt Umber line work, and then shade with Carbon Black line work. Stroke a highlight line work of Aqua + a touch of Titanium White on the shoes and the doggy. The red areas include the elf’s cap and coat, the toy soldier’s coat, the ark’s roof, the trim on the drum, the monkey (use less dark red on it), and the roofs of the village houses. For these areas, layer the red hues, and build from light value to dark value using Vermillion, to Brown Madder, to Purple Madder for the first steps. Add the highlights in the forward areas of the shapes with Juane Brilliant, to Juane Brilliant + a touch of Naples Yellow Hue, to a touch of Titanium White. Base the yellow areas of the design, including the toy sack, the horn, the doll hat, the ark’s hull, and the monkey’s body, in Raw Sienna, and then shade them with a mix of Raw Sienna + a touch of Dioxazine Purple.

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The highlights begin with Turners Yellow and go to Naples Yellow Hue + a touch of Titanium White.

the icy ground next to the houses, the paths from house to house, and the ground under the trees.

For the green areas, base the trees, vest, dress, globe and drum in short, wispy strokes of Pine Green with the #2 sableon round brush. Stroke a few wispy strokes of a darker green mix (Pine Green + a touch of Burnt Umber) to one side of each tree. Stroke the tree trunks in Pine Green + a touch of Dioxazine Purple. The highlights on the trees come from the glazed, thinned layers of Titanium White snow.

Base all purple areas (elephant) in Amethyst, and shade them in Dioxazine Purple + a touch of Burnt Umber. Build the highlights up from Amethyst, to Amethyst + a touch of Juane Brilliant, to a touch of Naples Yellow Hue.

Glaze the other green areas (the girl doll’s dress, the elf’s vest, the globe, and the sides of the drum) with Pine Green. Work the green hue lighter by brush mixing Pine Green + a touch of Brilliant Green. Next, add more highlights with a mix of Brilliant Green + Naples Yellow Hue.

All the blue areas on the toy globe, the clothing, and the ice on the ground are glazed, thinned layers of Aqua. To add more depth to the painting, add a few dabs of a darker blue (Aqua + a touch of Dioxazine Purple) on the toy globe, December 2016 Issue

Stipple all the snowy areas on the roofs, trees, and ground with Titanium White in a #0 or #2 pointed round brush. Also stipple the fur trim on the elf’s suit in the same manner.

The lettering, “Christmas Cheer,” is strokes of Marigold + a touch of Clear Glaze Medium with the #2 sableon brush. Dry brush highlights of Turners Yellow + a touch of Titanium White or Naples Yellow Hue over the Marigold. Stroke a fine shadow line in a dark red mix of Brown Madder + a touch of Burnt Umber with the #2 detailer brush. (Figure 4) The red trim around the center scene is a mix of Vermillion + Brown Madder. Base the outer band in a mix of Brilliant Green

+ a touch of Naples Yellow Hue. Dry brush the ridges on the band area with Naples Yellow Hue + a touch of Titanium White.

And now, the best step for last! The “OOooohy… BOOooohy” swirly background strokes on the scene in the sky. These could be airflow or vapor tails from the speedy rabbit! These dry brushed strokes of Naples Yellow Hue + a touch of Titanium White in the 1” oval wash brush are light and wispy. Pull the strokes from the outside of the scene to the center areas, from the tips of some toys, and, of course, from the elephant’s trunk. Have fun with this step!

Finishing:

Applying a coat or two of Clear Glaze Medium, wet-on-dry, over the completed painting will add a barrier coat before varnishing. It’s good to protect your new treasure with several coats of water-based varnish. Wishing you and yours a very Merry Christmas! Bobbie T.

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December 2016 Issue

Painting World Magazine

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Make Believe

by Kelly Hoernig

I wanted to introduce you to an assemblage box, so I created a painting on one side, and added embellishments to the other. I also wanted to experiment with a “lowkey” design, which means everything is middle value - not too bright or too dark.

December 2016 Issue

About Kelly

Hello from Indiana! So far, I have graduated with a fine arts degree and worked in advertising. For the last 19 years, I have traveled the US, teaching and exhibiting in the decorative painting market. I’ve designed over 500 pieces for publications, such as

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Surface: • #0978 Keepsake Box, from JB Wood Products

DecoArt Americana® Acrylic Paints: • DA259 Cocoa • DAO94 Mississippi Mud • DA313 Oyster Beige • DA303 Pebble • DA130 Raw Umber • DA143 True Ochre • DAO2 White Wash

DecoArt® Mediums:

• DS106 Decou-Page™ Matte • DAS13 Americana Matte Spray Finisher

Loew-Cornell® Brushes: • #10 Shader, Series 3300 • #1 Liner, Series 3350 • 3/4” Wash, Series 3550 • 1” Wash, Series 8550

Miscellaneous Supplies:

books, articles, and pattern packets, and have taken more than 10,000 photos.

I became an international artist with my first e-course (which involved more than eight different countries). I enjoy creating in acrylics, mixed media, colored pencil, and

watercolors. And I’m still excited to be creative every single day!

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

• Small Triangle or Ruler (to fit inside box) • Black and White Graphite Paper • E6000® Adhesive • Tim Holtz® Idea-ology® Found Relatives - Occasions Cards • Assemblage Pieces (such as dice, bobbin and sewing thread, ribbon or tape measure, small box, game pieces, cancelled postage stamps, book type, paper flower, etc.) • Removable, DoubleSided Tape (optional)

Preparation:

PLEASE NOTE: When I got this piece all assembled, I felt the painted side needed to be larger to fill more of the box shape.

December 2016 Issue

Painting World Magazine • The spools are Mississippi Mud + Oyster Beige. • The block is Mississippi Mud + Cocoa + Oyster Beige. • The star is True Ochre + Oyster Beige. • The cigar box’s top is Cocoa + Oyster Beige, and its bottom is Cocoa. • The postal box’s edges are Oyster Beige + White Wash, and its front is Oyster Beige + Pebble. • The ribbon is Pebble.

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I’ve adjusted your pattern to the size I feel it should be.

Sand the piece well, and wipe away the dust. Base the entire inside with Pebble. Sand again, and wipe the dust away.

Base the inside again with Pebble. While it’s wet, slip-slap in Oyster Beige toward the inner hinges, and let your strokes show to create movement for the background. The outer edges are Raw Umber, as well as the box’s outside edges. You can decide what color to paint the covers, or paint another design there. A faux finish would also look great to finish it.

Base coat with one coat each as follows: • The envelope and the bottom box behind the star are Oyster Beige. • The dice are Oyster Beige + White Wash.

December 2016 Issue

Helpful Hints:

When creating a project like this, the key is to keep some of the items the same (i.e. dice, bobbins, ribbons) so they go together and complement one another.

Painting Instructions:

I wanted this piece to have a little less finesse to it, so I didn’t blend my shades and highlights; I left them a bit choppier to give the piece a more artsy feel.

When it’s dry, put a layer of Decou-Page over the top of the text. Shade the envelope with Mississippi Mud + Raw Umber + Oyster Beige.

Highlight the envelope Oyster Beige + White Wash. Cut a phrase from a book, newspaper, or magazine, and decoupage it to the front of the envelope. I used the small triangle to ensure straightness.

Deepen the top ribbon shadow with a bit more Raw Umber to the mix. Put a line of Mississippi Mud + Raw Umber under the envelope, and then deepen it with Raw Umber.

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Highlight the dark bobbin thread with Pebble + Oyster Beige. Shade it with Raw Umber. With the chisel edge of the brush and Raw Umber, create thread lines. Highlight and shade again, using the chisel edge to create more thread lines.

Highlight the light bobbin thread with White Wash. Shade the left with Pebble + Raw Umber, and shade the right with Raw Umber. Using the liner, apply threads with each of the colors.

The dice holes are Raw Umber; notice the holes on the sides are lines, not circles, due to their perspective. Highlight the dice with White Wash. Shade them with Pebble + Raw Umber lightly. Shade the block with Raw Umber. Highlight it with Cocoa + White Wash.

Do the cigar box’s opening line with the liner and Raw Umber +

Oyster Beige. Highlight the bottom of the box with Cocoa + Oyster Beige. Shade the bottom with Mississippi Mud + Raw Umber. Highlight the top of the cigar box with White Wash + a touch of Cocoa.

Shade the cigar box’s top near the objects with Mississippi Mud + Cocoa, and deepen the shade with Mississippi Mud + Raw Umber. Along the rim, where the box’s top section meets its bottom section, shade with a line of Cocoa + Raw Umber.

December 2016 Issue

Painting World Magazine Shade it with Cocoa + Raw Umber. Outline in the brightest highlight and deepest shadow areas with the colors listed above to sharpen the edges.

golden hue, but I wanted it to remain a little brighter in the design, because of the darkness of the photo and domino.

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Shade the bottom box behind the star with Mississippi Mud + Raw Umber. Deepen the shade at the top with more Raw Umber added to the mix. Create the tab with a float of the deeper mix. Decoupage a cancelled stamp to the front of the postal box. Cut out some more text, and add it as the location and the person mailing it with Decou-Page. When it’s dry, apply a layer of Decou-Page over all the items. I washed the basecoat color over the text to tone the white of the paper; I had to do this twice.

Highlight the left side of the box with Oyster Beige, and brighten with White Wash. Shade the top with Oyster Beige + Mississippi Mud. Shade the front with Mississippi Mud + Raw Umber; deepen the shade by adding more Raw Umber to the mix. If it needs a highlight, use Mississippi Mud + Oyster Beige. Shade the star with Cocoa + Raw Umber. Add the darker value shades with Mississippi Mud + Raw Umber. Highlight it with True Ochre + Oyster Beige, and brighten it with Oyster Beige. The star’s hanger is Mississippi Mud + Raw Umber, shaded with Raw Umber. Wash the ribbon with Cocoa + True Ochre + Oyster Beige (2:1:1). Add White Wash to the mix to highlight.

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Finishing:

Spray varnish everything that you’ve painted with 2-3 light mists. I do this before the final gluing of the assemblage side of the design.

Assemblage:

Gather items you think might work well for this area. You want a nice variety of sizes and shapes. I repainted the box and some of the toy items to match the piece in color.

If you look at the design of the piece as a whole, the elements are taller in the center (near the hinges), and heavier as they go to the outer edges.

I toned the painted side with antique gold, while I did the assemblage side in neutrals. I did this on purpose so that the painted side would gain your attention because of its lightness in color. Both side have design and composition, but you want them to work together.

The measuring tape gives this side movement, just like the ribbon does on the opposite side. If I’d had a longer section, I would have draped it behind the domino, curling it out from the die.

The postage stamp gave this side a relief of color and texture by being flat, but also because it matches the elements in the painted version. I mimicked the thread in a spool and bobbin, and I added the dice to give a playfulness to the still life. When working, take your time, and try many arrangements. The flower was a last minute addition, because I felt like the composition didn’t move your eye up to the top of the photograph. With it up there, it adds just enough dimension to command your attention. Have fun, and do not glue anything until you are completely satisfied. I used removable, doublesided tape first, before gluing everything down with E6000.

Start with the large item (the photo) and work from there.

I wanted to keep the box in the center of the design so it could create a cavity of interest. I could have painted it in the

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December 2016 Issue

Painting World Magazine

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Making $$$ With Your Art

by Thelma Hamilton Part 3: What’s Next? See Part 1 in the June 2016 issue and Part 2 in the October 2016 issue!

By now you have your business name all picked out, so it is time to get this party started! However, you may be asking yourself, where do I start? What is the most important tool that I need to have? The most important resource you need whether you are selling at the office in the break room, off your front porch, at shows or online is a calling card. Another name for this valuable piece is real estate is a business card. A friend of mine always says to me, as they say in advertising on television, “Don’t leave home without it!” I have engaged people in conversation at the fabric December 2016 Issue

store, as well as, the grocery store or while waiting in line to vote about my hand painted ornaments. You never know when you will run into someone who is looking for what you have to sell. Who better than you to talk about your product. You are your best marketer. However, you need to have the right tools to close the deal.

I was an hour from home, a year or so ago, on a parking lot bus going to the fairgrounds of the New York State Fair. I asked a gentlemen what brought him and his family to the fair that day. One thing lead to another and I found out his mother was a very good customer of mine. He and his family were the recipients of many of my ornaments. They wanted to stay in touch to

add to their collection. You just never know when you will need that calling card. By the way, I call it a calling card as opposed to a business card as I want them to be able to call me, when they are ready to place an order. I have received phone calls from the delivery room at the hospital with family members ordering the baby’s first ornament. What an honor that always is! There are many places on the internet to order your calling cards, as well as, your local printer shops and office

$ $$ $ $ $ $$$$ $ $

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supply stores. In fact, you can print them on your own printer using card stock.

However, for the cost of the investment it is well worth going online and getting professional calling cards made that reflect your Art and what you want your business to be remembered for. Business cards range in price from $1.99 for 100 cards to $29.00 per card for a programmable card where the customer is instructed to tap the card against their phone for updated data! You can change the data as often as you wish and get your message out there. Gotta love technology! Your calling card should reflect your style of art. Take some time to design it so it expresses your products.

My calling card is a 4” Round cut out. I chose a round card as it is different but most importantly because it is a replica of my glass ornaments. It gives my business instant recognition. It has all my information on one side. The information includes my business name, telephone number, website address, logo, and email address.

You may want to include all of your internet selling site addresses. For instance, Your facebook page address, your etsy shop and any other addresses online where you sell your beautiful art. On the opposite side of my calling card is a photo of my hand, painting an ornament, that is not completed yet. Why not a picture

of a completed painting? I’m glad you asked...

I am giving the prospective customer a visual message. These are hand painted ornaments. They are definitely not something that I purchase and resell with personalization. They are my work with my hand painting them. This introduces the customer to my work and to me. I am educating my audience.

There will always be people that are drawn to your art. They may or may not know why they are drawn to it. Sharing your story through your calling card will softly sell them your viewpoint.

Are you painting on canvases? Perhaps you should consider a square card? Calling cards

December 2016 Issue

Painting World Magazine

years ago, I wanted my customers to be able to find me very easily. (This was before computers and internet, yes I am that old. LOL!) I remember it was in August, following a very hot and very long local 3 day craft fair, I had a customer show up at my house uninvited, Monday morning at 9 am to “see my home”. She wanted to see how I displayed my art in my home. My house was trashed as I had prepared for the show and had not taken the time to pick things up. I knew I could do that after the show weekend. When she left, with her friends she had brought with her, I called the printer and had my address taken off my calling cards. I did not have a problem with customers coming to my home, I just wanted to have the advance warning a telephone call allows.

Take for instance a few years back, artist/designer Kelly Hoernig taught a class at the annual National Convention, entitled Shades of Green. It was a 16” x 20” colored pencil rendering of a single dragonfly. The impact of that huge amazing dragonfly left an image in Decorative Painters memories not only of “who” Kelly Hoernig is but what her art focus is. Kelly was thinking outside the box and in turn drew other outdoorsy people to her. It was dramatic and effective. Think about your art and what you can do to let people know “who” you are and where you are coming from. That in itself is a great start at projecting your calling card.

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(business cards) come in all shapes and sizes. Round, oval, rounded edges, leaf shaped, wink, half circle or perhaps you need a “spot of gloss” or raised lettering. Printers offer metallic finishes, as well as, up to 400# paper (thicker than a credit card).

Moo.com® offers many styles and paper weights, as does, Gotprint.com® and Vista print®, to name a few. One look at their websites and you will see that they want to help you to stand out and be unique. If you need help in designing your card, they will help with that also. Just remember everything comes with a price. Don’t hesitate to ask them to send you samples of their paper stock. You will want to keep their samples readily available for reference for ordering business cards and other promotional materials in the future.

This brings me to the next bit of advice I can lend from my own personal experience of having my first calling cards printed. Choose the information you share on your card wisely. When I had my first business cards printed, many, many December 2016 Issue

I feel it should be important to you to make your calling card memorable. However a Calling Card can be more than a piece of paper that you hand out to a potential customer. A calling card can be something that places a lasting impression on your new customers memory recall.

What is your calling card? Is it oval, square, leaf shaped, red, black, electric green or maybe it is a rose scented collage of your favorite prints? How do you stand out from the crowd? Let your business card be your calling card but remember to do it in a unique and memorable way. Think outside the rectangle and draw your customers back to you!

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Snow Friends Letter Holder by Karen Wisner

Painting World Magazine

Surface:

• #20/0, #10/0, & #5/0 Script Liners (long bristles) • 1/4” & 1/2” Mini Mop • #2 & #6 Fabric Round • Old #1 & #4 Round

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This little group of snowman buddies will be sure to make anyone smile. Put in greenery, berries, and a small battery candle to use this box as a decoration, or you can use it to store your favorite Christmas cards. The finished project would be great to give as a gift, or to sell online or at your local craft fair. Enjoy!

• #100109 Small Letter Holder with 4 Inserts, from Cabin Crafters

DecoArt Americana® Acrylic Paints: • DA160 Antique Maroon • DA052 Avocado

• DA193 Blue Chiffon

• DA063 Burnt Sienna

• DA010 Cadmium Yellow • DA259 Cocoa

• DA065 Dark Chocolate • DA128 Deep Burgundy • DA082 Evergreen

• DA098 French Grey Blue • DA161 Graphite

• DA163 Honey Brown • DA067 Lamp Black

• DA164 Light Buttermilk • DA174 Milk Chocolate • DA07 Moon Yellow • DA04 Sand

About Karen

• DA137 Shading Flesh

I have loved art since I was a very young child. I remember getting an art set from Santa when I was 8, that was the beginning. I always wanted to be a cartoonist, so my style of painting is usually whimsical, but I still paint other styles when the mood hits.

I travel teach but have spent most of my teaching time in Italy, which is now my second home with lots of people I love very much. I have authored many books, patterns and magazine articles. Just when I think my creative mind is sucked dry, it starts in again! I love sharing the love of painting with everyone!

December 2016 Issue

• DA068 Slate Grey

• DA01 Snow (Titanium) White • DA207 Soft Sage

• DA012 Tangerine

• DA086 Uniform Blue

• DA040 Williamsburg Blue

DecoArt Americana Mediums: • DAS13 Acrylic Sealer/ Finisher Matte • DS30 Oak Gel Stain

Brushes:

• 3/4” Flat Wash • #1, #2, #3, #5, & #8 Round • #14 & #20 Shader

Miscellaneous Supplies: • Black Micron® Pen 01 • Stylus with a Small End • Dark Transfer Paper • Tracing Paper • Cotton Swabs

Painting Hints:

Use the round brushes to base coat. Use the 5/0 script liner to paint large vines and highlight strokes, the 20/0 script liner for fine detail lines, and the 10/0 script liner for cracks and details.

Use the 3/4” flat wash to float background areas. Use the shaders to float color, shade, and highlight. Use the fabric round to dry brush highlights. Use the mop to blend floated areas. Refer to the line drawing for shading (////) and highlights (::::) as you paint.

Floating a wash of color: Wet the surface, and then load your brush with more paint than for shading, and apply it in the same manner. Use the mop or a Cotton swab to blend; let it dry, and then do other parts of the design. I work from top to bottom, so I never run into a wet paint area. Tip: I clean the mop brush as I use it by lightly scrubbing it on a damp paper towel, and then drying it on my pant leg. This way, it is always clean and dry.

Painting World Magazine Using the old paintbrush and Snow White, stipple the “fluffy snow” areas on the snowmen. Deepen the shaded areas using a light float of French Grey Blue.

Let it dry, and paint the detail lines with Evergreen. Float the edge color using Deep Burgundy.

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Preparation: Sand the wood surfaces, and wipe away the dust. Cover the removable panel with Light Buttermilk. Let it dry, and then repeat for two more layers, allowing the paint to dry between each layer.

Stain the letter holder according to the directions on the stain bottle. Once you’re happy with the color, and the stain is dry, shade around the base and the front frame area using Dark Chocolate. Apply two more layers of shades, allowing each to dry.

Trace the patterns onto tracing paper using the Micron pen. Transfer the basic design lines onto the surfaces using the small end of a stylus and transfer paper. Transfer the detail lines as needed. Base coat the sky area using Blue Chiffon, and let it dry. Shade it using Williamsburg Blue, and let it dry again.

Dry brush highlights where the starbursts will be using Snow White. After you’ve painted the entire design, add the starbursts and make the snow dots using Snow White.

Painting Instructions:

All Snowman Bodies: Base coat the bodies with Light Buttermilk, and the noses with Tangerine. Shade the bodies with French Grey Blue, and the noses with Burnt Sienna.

Dry brush Shading Flesh cheeks. Highlight the noses with Light Buttermilk.

Paint Milk Chocolate cracks on the twig arms; let them dry, and then shade the arms with Milk Chocolate. At the darkest areas, shade with Dark Chocolate.

Paint Lamp Black eyes and brows. Paint the snow areas beside the large and the tall snowman the same as the body snow.

Large Snowman:

Float the hat color and coal mouth using Graphite, and let it dry. Dry brush the inner highlights with Slate Grey. Float the upper and lower hat rim highlights with Slate Grey. Shade with Lamp Black, let it dry, and then paint Lamp Black details on the hat rim.

Float color onto the scarf using Deep Burgundy, let it dry, and then dot the scarf with Deep Burgundy. Paint the scarf design using Lamp Black. Shade the scarf using Antique Maroon, and highlight it using Light Buttermilk. Base coat the holly leaves using Soft Sage, and highlight them with Moon Yellow. Shade them using Avocado; let the paint dry, and deepen the shading using Evergreen.

Base coat the star using Cadmium Yellow, and let it dry. Shade it using Burnt Sienna. Dry brush the highlights using Light Buttermilk.

Base coat the hangtag with Sand, and let it dry. Shade it using Milk Chocolate, let it dry, and then paint the cracks with Milk Chocolate. Deepen the shading and paint the hangtag vine using Dark Chocolate; let it dry, and then paint Sand highlight strokes. Paint Lamp Black letters on the hangtag saying “Snow Friends Welcome”. Dot the ends of the letters.

Spool Candle:

Base coat the candle and flame using Moon Yellow. Float the spool color using Honey Brown.

Dry brush Cadmium Yellow around the flame area. Shade the flame using Burnt Sienna, and the candle using Milk Chocolate. Paint the spool’s line details using Dark Chocolate; let them dry, and then shade the spool with Dark Chocolate. Highlight the candle, flame, and spool using Snow White.

Paint the carrot nose using Tangerine; let it dry, and then shade with Burnt Sienna. Paint the candlewick and the spool eyes using Lamp Black.

December 2016 Issue

Painting World Magazine

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Paint the button and heart stitches using Lamp Black. Paint the body stitches and rusty spring using Dark Chocolate.

Highlight the eyes using Snow White. Paint Snow White strokes on the nose and bedspring.

Snowman Round Tree Ball:

Float color onto the ball using Deep Burgundy, and onto the hanger using Slate Grey.

Paint the hat using Graphite. Paint Graphite lines on the hanger. Do the head as before.

Paint the snow as you did for the snowman body. Paint highlight strokes and stipple small snow areas using Snow White. Paint tiny Snow White lines around the flame.

large snowman. Paint Sand button eyes and a Deep Burgundy heart.

Bedspring Snowman:

Shade the button eyes with Dark Chocolate. Dry brush the center of the heart using Shading Flesh.

Paint the holly leaves and carrot nose as above. Paint Dark Chocolate stick arms.

Paint the body as you did for the December 2016 Issue

Shade the hat and hanger using Lamp Black. Deepen the outer-edge shading on the ball using Antique Maroon. Paint the upper hanger loop, the hanger wire, and the snowman bow using Lamp Black. Paint tiny xâ&#x20AC;&#x2122;s and dot their centers using Snow White. Stipple snow using Snow White.

Painting World Magazine Shade the gingerbread man using Dark Chocolate. Paint Lamp Black buttons, eyes, and hanging wire.

Paint the vine highlights using Sand. Dot Deep Burgundy berries.

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Tall Snowman: Base coat the hat using Uniform Blue. Float coal buttons using Graphite. Highlight the hat using Blue Chiffon. Using Lamp Black, shade the coal and the hat, and paint the hat details.

Gingerbread Man:

Float the body color using Cocoa; let it dry, and then repeat. Paint Sand frosting lines.

Vines, Boughs, and Berries:

Paint the vines using Dark Chocolate. Paint the light bough needles using Soft Sage, and the dark needles using Evergreen.

Finishing:

Spray the entire painted surface using Matte Spray Varnish; let it dry, and then repeat. Fill the piece with vines, pip berries, or goodies.

December 2016 Issue

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White Poinsettia by Nancy Scott, CDA

This beautiful piece is a perfect decoration for the winter season, but can also work for other times of year. The center canvas is easy to remove, so you can paint other canvases to display

in this shadow box frame during different seasons. Follow the pattern for the poinsettia, and then get creative with other types of flowers you want to display!

Painting World Magazine I placed stylus dots of Celery Green around the inside perimeter of the Avocado border. You can put whatever color you like on the backside - I painted it Lamp Black.

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• DAO19 Berry Red • DA172 Black Plum

• DA110 Blush Flesh [DAO25 Dusty Rose + DAO23 Peaches & Cream (5:1)] • DA208 Celery Green • DAO82 Evergreen • DA173 Khaki Tan

• DAO67 Lamp (Ebony) Black

• DA313 Oyster Beige • DA207 Soft Sage

About Nancy

• DA239 Warm White

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

• DAO8 Yellow Ochre

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

Other Supplies:

Surface:

(both available at Michaels®)

• 5” x 7” Canvas (deep sides) • Unfinished Scalloped Shadow Box Frame

DecoArt Americana® Acrylics Palette: • DA160 Antique Maroon • DAO52 Avocado

December 2016 Issue

Royal® & LangnickelTM AqualonTM Series Brushes: • 1” Glaze Wash R2700

• 3/4” & 1/4” Angle R2160 • #12 Filbert R2170 • 10/0 Liner R2595

• Large and Small Mop Brushes • Water Basin

• Paper Towels • Palette Paper

• Tracing Paper • Stylus

• Graphite Paper

• Fine Sandpaper

• Small Velcro® Tabs (to attach canvas to frame)

• Varnish of Choice (I used #1323 Krylon® Satin Finish Spray Varnish)

Preparation:

Lightly sand the wood shadow box as needed, and wipe off the dust. Base coat the inside of the frame with Black Plum, and the scalloped, top side of the border with Avocado.

Base coat the canvas with Soft Sage. I tinted the corners with colors from the palette.

Using the 1” wash, dampen the upper left and lower right corners with clean water. Using the #12 filbert and slightly thinned Avocado, pat this color to the dampened corners.

Quickly wipe off your brush, and, picking up Soft Sage on the dirty brush, blend to transition the colors into the background. I used my large mop to help with the blending. You may find it easier to do one corner at a time. The important part is to blend the corner tints softly into the background color. You don’t want to have a harsh line of demarcation between the tint and the background.

I tinted the upper right and lower left corners with Yellow Ochre using the same process.

When the upper left corner was dry, I added another tint of Antique Maroon. I kept this tint pushed back into the corner a bit, so as not to completely cover over the first tint of Avocado. In the lower left corner, I added a smaller tint of Avocado, tucked down in the corner, over the initial tint of Yellow Ochre. Let it all dry, and trace and transfer your pattern.

Painting World Magazine Paint the stems Avocado. Shade them with Evergreen where they go behind a petal or ribbon.

Warm White along the outside edges of many of the petals where they sort of “bump out” or lay on top of another petal. I floated the Warm White several times to get it bright enough.

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Painting Instructions: Green Leaves:

Base coat the green leaves with Celery Green. Float shading with the 3/4” angle and Avocado at the base of each leaf (where it comes out from behind the flower), and to form the center vein. Deepen the shading in the deepest recesses by floating Evergreen using the 1/4” angle. Float the highlights with Soft Sage, using your small mop to soften. Repeat as necessary to brighten it enough.

I lightly dampened the main, longer stems, and stroked a highlight of Soft Sage in the middle of each one with the liner. Painting the highlight over a damp surface helped to soften and blend it into the base color.

Poinsettia:

Base coat the poinsettia petals with Oyster Beige. Float the shading with Khaki Tan. Float the highlight with Warm White. I also floated some

I “blushed” a soft tint of Berry Red onto some of the petals using the same technique as described for the leaves.

I painted in the little, individual round centers with the liner and Avocado. I tapped in Yellow Ochre to the top of the center’s “head,” and then dabbed a small center of Blush Flesh on top of that.

On the warm leaves (indicated with a “W”), float Yellow Ochre in the highlighted area (on top of the Soft Sage) to warm them up.

Stroke in vein lines using the 10/0 liner and either Evergreen or Avocado, depending on how dark your leaf is.

I floated soft tints with Antique Maroon. To add the tints, I lightly dampened the area with clean water, and then floated the color with the 1/4” angle, and mopped to soften it in. I usually add tints in the mid-value areas.

December 2016 Issue

Painting World Magazine

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Ribbon and Berries:

Base coat the ribbon and berries with Berry Red. Float shading with Antique Maroon. On the ribbon, there is room to float an even darker shading of Black Plum. Keep the darker shading within the first shading, so it is not as wide.

The berries get a highlight dot of Blush Flesh. Float on the ribbon highlight of Blush Flesh. Repeat as needed to get it bright enough.

The stems for the berries are a medium-to-dark brown color I made from mixing Antique Maroon and Evergreen together. You can certainly use a brown paint from your stash (Dark Chocolate or Burnt Umber would do). I just didn’t want to add another color to the list of paints for such a small amount of painting. When you’re done with all the painting, side load Avocado, and tuck in some shading ON the background between the petals and leaves and around the flower centers. This just helps to anchor the design to the background.

Finishing:

When the project is completely dry, varnish it as desired.

I attached the canvas to the inside of the frame using small squares of Velcro that I purchased from Target®. I plan to design and paint some other flowers, and will switch out the canvases with the changing seasons. December 2016 Issue

Painting World Magazine

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December 2016 Issue

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Winter Deer

by Deb Antonick

Painting World Magazine

Surface:

• DAO63 Burnt Sienna • DA272 Purple Cow • DA236 Grape Juice • DA101 Dioxazine Purple • DA269 Foliage Green • DAO51 Leaf Green • DA133 Hauser Dark Green • DAO1 Snow (Titanium) White

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Inspired by Terrye French

This fun wintertime decoration is a perfect accent for your home or front porch. Combine some mixed media techniques with traditional acrylic painting to create this adorable little antlered friend!

• Large Metal Reindeer #RD1001 from Painter’s Paradise

Supplies:

• Tim Holtz® Snowflakes Stencil THS050 • Laurie Speltz® “Snow Piles” Snowflakes Stencil BCS285 • Tim Holtz Holiday Knits Stencil THS028 • Palette knife • Palette Paper • Stylus

DecoArt® Paints & Mediums:

• DMM14 Media® Liquid Glass • DMM20 Media Matte Medium • DMM17 Media Crackle Paste • DAS37 Glamour Dust™ • ADC04 Americana Decor® Chalky Finish™ Paint – Timeless • DS17 Multi-Purpose™ Sealer

About Deb

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

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

DecoArt Americana® Acrylics:

Dynasty® Brushes: Black Gold®:

• #10, #8, #6, #4, & #2 Flat Shaders 206S • #2 Round 206R • #10/0 Liners 206L • 3/8” or 1/2” Angular Shaders 206A • #12 Dome Blender

Decorator Series: • 1” or 5/8” Mop 400

Stencil Brushes:

• Assorted Sizes Golden Stag Long Handle Open Stock 2218

My Basic Techniques:

• DA242 Fawn

Chalky Finish Paint::

• DA180 Asphaltum

I like using the DecoArt Chalky Finish paints for my projects. I love the ultra-flat look and feel. In most cases, you can apply the paint straight to unfinished wood.

• DA277 Spa Blue

• DA333 Aqua Sky

• DA326 Peacock Teal • DA138 Prussian Blue • DA293 Persimmon • DA304 Zinc

• DAO67 Lamp Black • DA215 Peony Pink

• DA276 Razzle Berry

When distressing, wipe over the paint with a warm, damp cloth as soon as the paint is dry to the touch. The longer the paint dries, the harder you have to scrub.

• DA231 Electric Pink

Surface Preparation:

• DA192 Pink Chiffon

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

• DA112 Cranberry Wine • DAO60 Mocha

• DAO93 Raw Sienna

December 2016 Issue

Painting World Magazine

Basecoat:

color so much nicer and easier… and you can quickly wipe off any mistakes.

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Stenciling/Dry Brushing:

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

I dry brush my stenciling using a good quality stencil brush. The brush must be dry.

When dry brushing, I load my paint from a dry surface. Don’t use a wet palette, as the moisture will get into the brush and make the paint go on smudgy. I also keep an old towel handy; it is great for cleaning the brush between colors. To start, load the brush by tipping it into the paint. Blend it out on palette paper, and then wipe any excess paint off on a paper towel.

Lightly scrub it over the stencil, or onto the surface, to apply the color. Start softly, and then press harder depending on how much color you need. The harder you press, the more color you will get.

DecoArt Media Matte Medium:

I mention in my instructions that I coat the entire surface with the Matte Medium after applying the papers. This will seal the paper and the surface, making floating

Adding Texture:

I like to use different texture mediums in my projects. In some cases, I will stipple with a dome blender, and in others, I will use a palette knife.

When using the texture mediums with a stencil, a thin, skimcoat is all that you need.

Preparation:

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

Unless otherwise stated, my stenciling is always imperfect for a bit of a distressed look.

Float/Shade:

I always float my color with the angular shaders. Mop the float to soften it with a mop brush.

I shade around my design elements before base coating; I like the softer look I get when I do this. Unless otherwise indicated, I shade around the entire shape, and deepen the shading in corners and under design elements for more depth.

Line:

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

December 2016 Issue

Painting World Magazine

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Base coat the entire deer with Timeless Chalky Finish paint. Let it dry.

Sand it lightly; this will remove any loose edges. I also like the worn look.

Seal the entire deer surface with a thin coat of the Matte Medium. Let it dry. Trace on the basic pattern lines.

Painting Instructions: Deer:

Stencil the deer body with the Tim Holtz Snowflake stencil and Fawn. Shade the deer with Fawn. Stencil the deer again with the Laurie Speltz Snow Pile stencil

and Asphaltum. Deepen the shading with Asphaltum.

with Razzle Berry. Float highlights with Electric Pink.

Base the nose with Lamp Black. Highlight it with Zinc. Line a highlight with Warm White. Base the eye with Light Buttermilk. Shade it with Spa Blue. Highlight it with Warm White. Dot the pupil with Lamp Black. Line the highlight with Warm White.

Deepen the shading with Cranberry Wine. Brighten the highlight, and then dot the background behind the pocket, with Pink Chiffon.

Base the inside of the ears with Peony Pink. Shade with Razzle Berry, and then highlight with Electric Pink. Deepen the shading with Cranberry Wine. Dry brush with Pink Chiffon.

Trace on the little details. Base the stripes with the #4 flat and a wash of Cranberry Wine. Line either side of the stripes with Aqua Sky. Line across the stripes with Pink Chiffon. Dot the scallops and along the bottom of the blanket with Titanium White.

Blanket:

Snowman:

Base coat the blanket with Peony Pink. Shade the blanket

Base coat the snowman with Light Buttermilk. Shade him with Fawn.

December 2016 Issue

Painting World Magazine Base the face with Mocha. Shade it with Raw Sienna. Highlight it with a brush mix of Mocha and Light Buttermilk.

Sweater:

Base coat the sweater with a wash of Aqua Sky. Let it dry.

Deepen the shading with Dioxazine Purple.

Base the hair with Burnt Sienna. Base the dress with Purple Cow. Shade the dress with Grape Juice, and dry brush it with Pink Chiffon.

Base coat the hat with Spa Blue. Shade it with Aqua Sky. Highlight it with Warm White.

Line the sleeves with Pink Chiffon. Dot the hands with Mocha. Line the bow with Pink Chiffon.

Deepen the shading with Prussian Blue. Dry brush with Warm White.

Line the hat’s stripes with Foliage Green. Line the hat’s highlights with Warm White. Line the hat’s shading with Leaf Green.

Line the wreath with Asphaltum tipped in Lamp Black. Tap in the leaves with Leaf Green and Foliage Green. Dot with Electric Pink.

Dot the heart with Peony Pink. Highlight it with Electric Pink. Dot the eyes with Lamp Black. Dot them again with Warm White. Line the nose with Persimmon.

Candy Cane:

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Highlight him with Warm White. Base coat the scarf and hat brim with Purple Cow. Shade them with Grape Juice. Highlight them with Pink Chiffon.

Base the stripes with the #2 flat and Cranberry Wine. Line between the stripes with Foliage Green.

Gingerbread Man:

Base coat the gingerbread man with Raw Sienna. Shade him with Burnt Sienna. Dry brush him with Persimmon. Deepen the shading with Asphaltum.

Line a highlight with Warm White. Line the bow with Lamp Black.

Tree:

Line the icing with Titanium White. Dot the heart with Peony Pink. Highlight the heart with Electric Pink. Line the bow Aqua Sky tipped in Spa Blue.

Angel:

Base the wings with Light Buttermilk. Shade them with Fawn, and highlight them with Warm White.

December 2016 Issue

Base the candy cane with Light Buttermilk. Shade it with Fawn. Highlight it with Warm White.

Line the tree trunk with Asphaltum tipped in Lamp Black. Line the greens with Hauser Dark Green. Repeat with Leaf Green, and then with Foliage Green; finish with Foliage Green tipped in Warm White.

Texture the sweater using the Tim Holtz Holiday Knits stencil and Crackle Paste. Let it dry.

Shade with Peacock Teal. Dry brush with Spa Blue.

Boots:

Base coat the boots with Zinc. Shade them with Lamp Black. Dry brush the boots with Spa Blue. Line and dot the laces with Light Buttermilk.

Finishing:

Outline as desired with Lamp Black.

Dot the sweater with the DecoArt Media Liquid Glass and quickly sprinkle with Glamour Dust. I did this to create the look of glass beads on the sweater. Dot the snowflake on the tree with Liquid Glass and sprinkle with Glamour Dust.

Dot the eye with Liquid Glass.

Line the snow with Titanium White. Dot the garland with Electric Pink. Line and dot the snowflake with Titanium White.

Painting World Magazine

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December 2016 Issue

Painting World Magazine

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December 2016 Issue

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Sugar Shack Lamp

by Linda Hollander

Painting World Magazine • Bottle Lamp Kit from National Artcraft Supply Co.

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Learn how to prep a glass syrup bottle so it accepts regular acrylic paint. Add a lamp kit, and you have a functional, upcycled accent for your home!

• Lamp Shade of Choice

DecoArt Americana® Paints: • DA180 Asphaltum

• DA257 Bleached Sand

• DA166 Deep Midnight Blue • DA111 Grey Sky

• DA163 Honey Brown • DA173 Khaki Tan

• DAO1 Snow (Titanium) White • DAO97 Rookwood Red • DAO39 Victorian Blue • DA304 Zinc

• DecoArt® Mediums:

About Linda

• DS17 Multi-Purpose™ Sealer

Linda began oil painting as a teen in the early 1970’s, but fell in love when she discovered decorative painting in 1999.

• DAS1 Drying Time Extender™ Medium

Royal® & LangnickelTM AqualonTM Brushes:

Later that year, she began selling painted vintage furniture at local craft shows. In 2000, she stretched her brush further, and began teaching in her home, as well as in local craft stores and community education programs.

• 10/0 Liner Series R2585

Her dream of being published came true in 2006, and was followed by over 170 articles for major painting magazines. Linda joined SDP in 2001, and is available to travel teach. She is a member of her local chapter, Snowbirds.

• Tracing Paper

• 3/8” Angular Shader Series R2160 • #4 & #8 Shader Series R2150

Miscellaneous Supplies: • Graphite Paper • Stylus

• Rubbing Alcohol

• Old Toothbrush or Spatter Tool

Use light coats of MultiPurpose Sealer to seal and protect steps as you work. Don’t worry about painting over the edges of the design area. You can clean up unwanted paint after you’ve completed the painting.

Apply an even coat of Multi-Purpose Sealer to the design area. Let it dry.

Base the design area with Bleached Sand + Snow (Titanium) White until it’s opaque. Let it dry, and then lightly transfer the ground lines.

Painting Instructions:

Preparation:

Remove the bottle’s label and glue. Use rubbing alcohol to wipe the design area clean. Avoid touching the cleaned area with your hands.

Pick up Victorian Blue and, beginning at the top of the sky, stroke horizontally, fading the sky color as you stroke toward

• Lightbulb

• 8” tall x 5” wide Vintage Maple Syrup Bottle (Log Cabin®)

To base coat, use appropriately sized rounds and shaders. To float color, use the angular shader. Where the instructions call for washes or sheer floats, use water to thin the paint.

Apply a thin coat of Extender to the sky area with the #8 shader, and then use the dirty brush to blend in Snow (Titanium) White to the sky.

• Scrap of Homespun Fabric

Surface:

December 2016 Issue

• #1 & #3 Round Series R2250

Helpful Hints:

Painting World Magazine

Figure 2

Figure 3

Lightly transfer the outlines of the cabin, the foreground tree, and the stump with the axe. Make a tracing of the sap bucket and the cabin details.

shading on the sides of the stump with Khaki Tan.

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Figure 1

the horizon. Leave the area just above the horizon light.

While the sky is still wet, blend a small amount of Deep Midnight Blue into the top of the sky to deepen it. Let the paint dry.

With the 3/8â&#x20AC;? angular shader, apply a light coat of Extender to the ground area. Use the dirty brush to float shading behind the ground lines with Victorian Blue + a touch of Deep Midnight Blue. Side load Snow (Titanium) White and highlight the snow drifts. Let it dry.

Paint the distant trees Khaki Tan + a touch of Asphaltum with the #1 round and the liner.

Highlight the front area of the stump with Snow (Titanium) White. Float a touch of sheer Asphaltum under the axe.

Use the dirty brush and a touch of Bleached Sand to dry brush a highlight over the largest trunks.

Base the foreground tree, stump, and cabin walls with Bleached Sand. Wash the tree, stump, and cabin walls with sheer Khaki Tan + a touch of Asphaltum (Figure 1). Let the paint dry.

Base the top of the stump with Bleached Sand. Float

With the liner and thinned Khaki Tan, paint fine branches

December 2016 Issue

Painting World Magazine Let the paint dry, and then repeat a straight float on the walls to deepen the shading below the roof and above the ground.

Asphaltum. Float Asphaltum shading around the door and window details.

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on the foreground tree. Use a touch of thinned Asphaltum to shade under the branches.

Wash sheer Honey Brown over the foreground tree, stump, and cabin walls. Float Asphaltum shading on the tree and stump (Figure 2). Deepen the shading with a second float of Asphaltum.

Transfer the cabin details and the pattern for the sap bucket.

With the #1 round and Honey Brown + a touch of Bleached Sand, base the door and window frames.

Base the roof vents and the dark area of the window with

Use the dirty brush and a touch of Bleached Sand to

Use the #3 round and Honey Brown + Bleached Sand to dry brush the highlights on the foreground tree, stump, and cabin walls. Pick up a small amount of Bleached Sand on the dirty brush, and enhance the highlights.

Use the liner and thinned Asphaltum to add bark details (Figure 3).

Float Asphaltum shading on the cabin walls. Wiggle up and down into the wet float to pull shading downward and to create subtle lines.

December 2016 Issue

Painting World Magazine the left side with a float of Zinc + a touch of Asphaltum.

consistency of heavy cream. Offload the excess onto scrap paper, and then lightly spatter the design, concentrating most of the spattering over the sky. You can easily remove unwanted spatters with a damp brush.

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dry brush highlights. Paint the window muntins with the liner and thinned Khaki Tan.

Base the roof sections with Rookwood Red. With Rookwood Red + a touch of Khaki Tan, highlight the roof edge on the right. Float shading with Asphaltum. Use the liner and Snow (Titanium) White to paint snow on the door and window frames, and on the tree branches. Base the snow on the roof with Bleached Sand. When it’s dry, highlight the snow with Snow (Titanium) White. Base the smokestack Grey Sky. Blend in the shading with the #1 round and a touch of Zinc. Apply the deepest shading with Asphaltum.

Use Rookwood Red to base the bucket’s cover. With the #3 round and Snow (Titanium) White, dry brush highlights on the center of the bucket and the top edge of the cover.

Finishing:

Gently erase the graphite lines. Apply a thin layer of Multi-Purpose Sealer to seal the design area. Let it dry.

Assemble the light kit according to the manufacturer’s directions. Insert it into the bottle neck. Wrap the fabric scrap around the neck of the bottle. Attach the shade and bulb.

Float sheer Deep Midnight Blue all around the edges of the design area.

Load the toothbrush with Snow (Titanium) White thinned to the

Add highlights to the smokestack with a touch of Snow (Titanium) White. Use the tip of the #3 round and a touch of Snow (Titanium) White to paint the steam. With Rookwood Red, base the ax handle. Dry brush the highlights with Grey Sky. Base the ax head Grey Sky. Float shading with Zinc, and highlight with a touch of Snow (Titanium) White.

Base the sap bucket Grey Sky. Use Asphaltum to paint the dark area under the cover, and to float shading on the tree behind the bucket. Float shading on the sides of the bucket with Zinc. Deepen

December 2016 Issue

Amaryllis

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The Sign of the Holidays!

by Helena Rizzaro Andrejev

For me, amaryllis is the first welcome sign of the holiday season. The bright colors bring warmth and happiness into my home and into my heart. Enjoy it as a gift for yourself, for those you love, or better - for both!

Painting World Magazine Originally from Brazil, Helena began drawing figures from comic books before she even learned to write. She’s taught several classes in Brazil and the U.S. With a degree, and years of experience, in psychology, Helena has defined painting as a therapeutic tool that can heal wounds and bring happiness through expressing creativity. She believes art is a great way to communicate our purpose to the world. She lives in Southwest Florida with her husband and two pets.

Mediums & Pen:

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This project will demonstrate step-by-step how to paint with oils on an acrylic background, combining decorative painting with a touch of botanicals. With this project, you’ll be able to learn the basics of several techniques that will make painting with oils enjoyable and easy. Once finished, you can hang this lovely wood plate on doors, walls, or any other place that will brighten your day when you or your guests see it.

Surface:

• 4-1/4” x 17” Wood Sign, available at A.C. Moore Arts & Crafts - another wood sign surface will also work; just adjust the line drawing size on a copier.

Palette:

FolkArt® Acrylic Paint: • 450 Parchment

Delta Ceramcoat® Acrylic Paint:

About Helena

Helena Rizzaro Andrejev is a decorative painter and designer who has been working mostly with oils for over 20 years. She’s an active member of the Society of Decorative Painters (SDP) and the American Society of Portrait Artists. Several painting magazines have published her artwork, and she’s won awards and painting competitions. The SDP chose her artwork to be the theme of a convention, and Helena has an original painting at the U.S. Library of Congress.

• 02442 Stonewedge Green • Hammered Iron [Discontinued color: can substitute 02090 Hippo Grey + 02025 Burnt Umber + 02006 Avocado + 02506 Black (2:1:1:a touch)]

Winsor & Newton™ Oil Colours:

• 644 Titanium White • 426 Naples Yellow Light • 346 Lemon Yellow Hue • 257 Flesh Tint • 4 Alizarin Crimson • 459 Oxide of Chromium • 447 Olive Green • 599 Sap Green • 331 Ivory Black

• J.W. etc. White Lightning White Stain & Sealer • Krylon® Matte Finish Spray (optional - see below) • Krylon 18 Kt. Gold Leafing Pen • Winsor & Newton®: • Brush Cleaner & Restorer • Artists’ Matt Varnish • Distilled Turpentine

Brushes:

Sherry Nelson®: (for oil painting)

• #2, #4, #6, & #8 Pure Red Sable Bright – Series 303 • #0 & #1 Red Sable Mix Round Liners – Series 312 • Loew-Cornell®: (for sealing, background painting, and varnishing) • 1” & 3/4” American Painter™ Wash – Series 4550

Miscellaneous Supplies: Strathmore® Paper Palette • Tracing Paper • Graphite Paper • Stylus or Pen • Fine Grit Sandpaper • Tack Cloth • Masking Tape • Paper Towels

Palette Box for Oils:

To keep the oils fresher longer, I suggest a palette with a lid. There are several in the market; just an inexpensive plastic one will be perfect.

There are rectangular ones and round ones, each with palette paper that fits perfectly inside

December 2016 Issue

Painting World Magazine truly effective. With time, the knot will stain your painted project.

A Note on Working with Oil Paints:

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them. You can also use parchment paper (the kind used for baking), and cut pieces according to the shape and size you need.

I absolutely love these boxes! They keep the oil paint fresh for a long time, ensuring nice, easy blending. You’ll also be able to save a lot of money by using much less paint.

Background Preparation for Wood:

When you don’t properly prepare the wood for painting, the results of the finished project might be frustrating. There is nothing worse than spending hours, days, or sometimes weeks working on a project, only to realize at the end that the imperfections of the wood underneath are visible on your final painting.

Each step of preparation is as important as the painting itself, from sanding following the wood grains to cleaning the piece by removing the dust and applying the sealer. (The sealer assures better adhesion of paint to the surface, increases paint durability, and provides additional protection for the wood.) I don’t like surprises on my projects, and I want to make sure after all that labor of love that my piece will look as professional as possible, and will last for years to come.

I’ve learned from many past mistakes that tracing is another special step for beautiful results... or not. Before I use any graphite paper, I wipe it with a paper towel to remove the excess, and to avoid extreme dark lines that might still appear later. After that, I still test it before I actually use it on the project I’m working on.

Last, and definitely not least, the pressure you apply to trace the design lines is essential; make sure that you don’t press too hard and leave marks indented on the wood surface. If you do, they will show up on the final painting.

Wood Preparation:

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

Background:

Another important point regarding the wood is not to buy any unfinished wood with knots on it. I’ve tried many products for preventing the knots from bleeding through the paint, and yet I have not found one that’s December 2016 Issue

Tracing:

Painting:

Tape the long side of the wood with masking tape, leaving 1/4” for painting the edge. Apply two coats of Parchment to the center, on the front of the wood sign board. Let it dry between each coat.

I’ve tried many mediums, and the one closest to my heart is definitely oils. As they say, oils are very forgiving… and that is so true!

Oils are soft and gentle to apply. You can easily manipulate and blend them, move them around with a brush if you go outside the lines, change their color and value, create cool and warm tones with them, and so on. But wait, there’s more: If we make a mistake, we just wipe that part off and do it again. Now that is the fun part for me!

Apply two coats of a mixture of Stonewedge Green + Hammered Iron (2:1) to the back of the wood sign and the frontal edges. Let it dry between each coat.

Tracing:

Be sure that the design line is in alignment with the background’s painted edge, and then attach the tracing paper with tape. The graphite paper can be loose between the tracing paper and the wood. This way, you can move it and visualize what you’ve traced already, so you don’t miss any lines.

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Dry Brushing Technique:

It creates contrast and dimension, which can prevent the painting from appearing flat.

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Techniques: General Painting Technique:

Always use a small amount of paint when working with oils. When you change colors, wipe out the brush on a paper towel, gently removing as much paint as you can. Only use the cleaners at the end of your painting day.

For the entire project, start by blocking in the colors using the brush mixing technique. Blend the colors by using the wet-on-wet technique. When the painting is finished, use the dry brushing technique to reinforce the darks, the highlights, and the accent colors.

Brush Mixing Technique:

Pull the first color down from a puddle. The plus sign (+) means to pick up some of the next color listed into the same mixture. Do the same with the next color, and mix them with your brush. The first color listed for the mixture is the predominant one. Use a smaller amount of the next color listed, and use just a touch of the last color listed.

Wet-on-Wet Technique:

Use this technique when applying the basic values. Blend the basecoat colors together. Use very soft motions, and blend only where the end of one color touches another.

This technique allows the value tones to be well defined. Do the whole project with this technique.

Use this technique to strengthen the darker and lighter values when you’re finished painting and the paint is dry. Also use this technique to add accent colors. Use a very small amount of the color you need, wiping any excess off on a paper towel. The brush needs to be “dry.” Strengthen the values by using a circular motion to blend them together. I like to start from the darkest color and move to the lightest.

The pressure of the brush is also important. On the darkest part, I apply more pressure on the brush, and then I slowly release the pressure for a softer look.

Line Painting:

Use line painting for scrolls and for the center of the opened Amaryllis flower at the bottom of the design. Using the round liner brushes, mix the desired oil paint color with the paint thinner to create an ink-like consistency. Apply one color first, wipe the brush off well, and repeat with a different value or color when necessary.

Terminology: Blending:

Using light pressure on the brush, move it in short strokes, mixing the blocked colors only where they meet.

Values:

The value is the relative lightness or darkness of a color.

Blocking the colors with three values (light, medium, and dark), and then blending them (only where the values and colors touch each other) can create more values between the original three. You can apply the highlights and the darkest colors with the dry brushing technique, finalizing the format, shapes, and dimensions of each element.

Accent color:

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

Cool and Warm Colors:

Simply put, and without getting into the theory of colors and color temperature, warm colors have some yellow within the mixture, and cool colors have some blue instead of yellow in the mixture. They give dimension to the painting.

Painting Instructions: Creating Harmony with Colors:

To create a more interesting painting, paint some leaves with warm tones and some with cool tones. Some of each type of leaves - cool and warm - have accents. The accent color is pure Alizarin

December 2016 Issue

Painting World Magazine

Blending

Veins & Accent Color

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Basecoat

Crimson; apply it in a very small amount, and only at some edges of the leaves, to create color harmony.

Leaves:

To create a more interesting painting, paint some leaves with warm tones and some with cool tones. Some of both types of leaves (cool and warm) have accents. The accent color is pure Alizarin Crimson; apply a very small amount only at some edges of the leaves to create color harmony. Make sure you apply the veins while the paint is still wet.

Cool Leaves:

Warm Leaves:

The basecoat’s light value is Titanium White, its dark value is Olive Green + Sap Green + Ivory Black, and its middle value is the dark value + Naples Yellow Light.

Blend where the colors meet. Highlight with Titanium White. Darken the leaves with the dark value + a touch of Ivory Black.

Add the accent color and a touch of Alizarin Crimson + Flesh Tint. Use the dry brushing technique with a small amount of paint, and apply it randomly.

The basecoat’s light value is Titanium White, its dark value is Olive Green + Oxide of Chromium + Ivory Black, and its middle value is the dark value + Titanium White.

Veins:

Blend the colors where they meet. Highlight with Titanium White. Darken the leaves with the dark value + a touch of Ivory Black.

Place the veins over the dark value, above the center of the leaves. Pull the color from the base of the leaf, starting from the stem and going to the tip.

Add the accent color and a touch of Alizarin Crimson + Flesh Tint. Use the dry brushing technique with a small amount of paint, and apply it randomly. December 2016 Issue

Use the same process to paint veins for all the leaves. Use the chisel of the brush to apply the light value while the leaves are wet.

Add shade by applying the darker value next to the veins using the chisel of the brush. After the paint is dry, strengthen the values using the dry brushing technique.

Berries:

The basecoat’s light value is Titanium White, its dark value is Alizarin Crimson + Oxide of Chromium + Ivory Black, and its middle value is the dark value + Naples Yellow Light. Blend where the colors meet. Strengthen the values using the dry brushing technique.

Highlight with Titanium White. With the liner, apply a few dots of pure Titanium White to the concentrated area of the highlight. Darken the berries with the dark value + a touch of Ivory Black. Use the dry brushing technique only to strengthen the darks and the highlights.

Amaryllis:

Base coat the center of the flower with a mixture of Sap Green + Titanium White + Naples Yellow Light + a touch of Ivory Black.

Painting World Magazine

Blending

Veins & Accent Color

Basecoat

Blending

Highlight

Basecoat

Blending

Details

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Basecoat

December 2016 Issue

Painting World Magazine

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It is a good medium if you are in a hurry.

I’ve used the spray if I needed to, but since I paint the entire project from top to bottom (I am right handed, so I start at the top left and go down and to the right until the end), by the time I finish the painting, the top part is already dry. Then, I can apply the dry brushing technique without any problems.

Highlight with Titanium White. Darken the shadows underneath the water drops with just a touch of Ivory Black. For better contrast, after the painting is dry, use the liner brush and Titanium White thinned with thinner to an ink-like consistency to reinforce the highlight areas.

Scrolls:

Finishing:

Allow the paint to dry completely. Apply two coats of the Artist’s Matt Varnish, following the manufacturer’s instructions. Let it dry between each coat.

Use the Krylon 18 Kt. Gold Leafing Pen on the contour of the outside edges, following the manufacturer’s instructions. You can choose to use the 18 Kt. Gold Leafing Pen to handwrite a beautiful message on the back of the wood if it is a gift to someone special.

Use the liner brush to mix the warm leaves’ basecoat colors + paint thinner to create an ink-like consistency, and paint the scrolls. Apply Titanium White for highlights. Apply Alizarin Crimson + Flesh Tint randomly as an accent color.

To Spray Dry or Not to Spray Dry?

Some artists use Matte Spray Finish to speed the drying process of the oil color so they can move faster with the painting process. December 2016 Issue

You can decide which technique works best for you, but in doubt, use the spray. Always follow the manufacturer’s instructions, and work in a well-ventilated area.

Now your beautiful work of art is ready to display so everyone can enjoy it! Happy Holidays!

Painting World Magazine

Blending

Details

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Basecoat

Paint the red parts of the petals with a middle value of Alizarin Crimson + Flesh Tint. For the edges of the petals, use a middle value of Alizarin Crimson, with a dark value of Alizarin Crimson + Olive Green + a touch of Ivory Black for where the petals overlap. For the centers of the petals, create light stripes with a light value of Naples Yellow Light + Titanium

Basecoat

White. The lightest value for this section should be Titanium White. Blend where the colors meet. Strengthen the values using the dry brushing technique.

Using the liner brush, mix paint thinner with Titanium White + Alizarin Crimson + Oxide of Chromium, and paint the stamen. Add dark tips to the ends of the

Blending

stamen using Olive Green + Sap Green + Ivory Black. Highlight the ends with Titanium White to create the appearance of pollen.

Dew Drops:

The basecoatâ&#x20AC;&#x2122;s light value is Titanium White, its dark value is Ivory Black + Titanium White, and its middle value is Titanium White + Lemon Yellow Hue.

Details

December 2016 Issue

Painting World Magazine

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December 2016 Issue

Painting World Magazine

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Key Placement: C: Cool W: Warm H: Highlight M: Mid Value L: Light Value D: Dark Value AC: Accent Color

December 2016 Issue

Painting World Magazine

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Painting Outside the Box by Tracy Weinzapfel

Practice what you preach… practice what you paint. How many times have you given advice and needed to follow it yourself? Or how many times have you thought you needed to paint outside the box?

Well, I put my brushes and paints where my mouth is, and had to do just that! I was asked to paint a wine barrel for charity for our local Ramona Art & Wine Festival. My barrel will be auctioned off on November 5th at the festival, and the proceeds will benefit our local art association. They’ve asked me the last two years, and I’ve had excuses not to participate. But this year, I had none, and I was up to the challenge. I took this barrel from drab to fab! I approach most art projects without a lot of planning. However, I did have to submit a concept drawing for them to consider, and I had to do my research on barrels.

I got much inspiration from Laurie Linn and from previous barrels painted for the event. But it needed to me mine.

Here is the thing about undertaking a project like this: It is hardest just to start. Thankfully, this project needed a lot of primer to prep the surface, so there was my start. Then, I had to move this baby into the house to keep it away from the heat and dust outside (who knew an empty barrel could weigh so much?!?). And then the painting began…

You can see my entire creative process on my YouTube channel: https://youtu.be/jMrwKSIth2c The best feeling was being able to varnish the barrel and know I was down the homestretch.

Yes, the size of this project was daunting, and, quite honestly, I did not think I could tackle this. But I stayed true to me, my art, and my soul.

I shared the creative process, and at times it was hard not to compare myself to the work of other fellow artists. I had to remember that this is a reflection of who I am as a person and as an artist. Once I’d completed the project, I was so happy and proud of myself.

Here are the lessons to learn from this project:

• Paint outside the box and outside the lines. • There is no one like you, whether you’re a writer, a painter, a mom, a friend… there is no one. Putting yourself into your work serves you well.

December 2016 Issue

Painting World Magazine

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• Don’t give up when the piece is half done. See it through. • Enjoy the creative process, no matter the size of the project. • Stay true to you! • Do not overthink things. • The hardest part is starting, so just force yourself to start. • Ignore that little self-doubting devil in your brain who compares your work to another. If you can avoid it, don’t look at others’ work until you’re done. • Never say “never.” (Although, to all who have emailed asking me to paint custom barrels, you will have to wait until my back straightens.) On that note, if you should ever take on a project of this size… first build a riser on wheels to make it easier! I am proud to raise money for a good cause through my art. I’m happy to support our local wine and art community, and, most importantly, I am proud to share my work that was way outside the box! I get to spend the day of the festival with like-minded creative souls because of my art. Thanks to my sponsors, DecoArt® and Dynasty® Brush, for providing awesome products to have the right tool for the right job!

December 2016 Issue

by Shara Reiner

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Winter

Painting World Magazine

DecoArt Americana®:

Stencil snowflakes all over the board with Whispering Turquoise plus Warm White; I used several different snowflakes in different sizes. I overlapped the snowflakes, and I brush-mixed my paint to achieve many different shades.

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Welcome the winter season in with this happy snowman. You’ll use stenciling and traditional painting techniques to create this wintery friend.

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:

• 6-1/2 x 13” Board from Cabin Crafters • Hanger from Painters Paradise

• Lamp Black DA067 • Blue Harbor DA283 • Country Red DA018 • Deep Burgundy DA128 • Deep Midnight Blue DA166 • Espresso DA271 • Foliage Green DA269 • Grape Juice DA236 • Indian Turquoise DA087 • Oyster Beige DA313 • Plantation Pine DA113 • Purple Cow DA272 • Titanium (Snow) White DA01 • Spice Pink DA030 • Tangelo Orange DA196 • True Ochre DA143 • Warm White DA239 • Wedgewood Blue DA038 • Whispering Turquoise DA305 • Zinc DA304

Extras:

• Black Permanent Pen • Snowflake Stencil from Figure 1 Laurie Speltz® • Wire or Jute

Add the pattern. Shade around the snowman and the ground with Wedgewood Blue. Use your mop to soften your float. (Figure 1)

Painting Instructions: Snowman:

Using Warm White, slip-slap to base the snowman and the ground. I let some of the background show through. When it’s dry, give it a second slip-slap coat. (Figure 2) Shade the snowman with Deep Midnight Blue. Mop the floats to soften them. (Figure 3)

Brushes:

• Sizes 6 to 16 Flat Brushes in good condition • Scharff 455 #1 Liner • 3/4” Mop (I like the Scharff Moon Mop)

Preparation: Base the entire board with Whispering Turquoise.

December 2016 Issue

Painting World Magazine

Figure 3

Figure 4

Figure 5

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Figure 2

Shade under the hat, under the chin, across the bottom, and around the mitten. Shade on the snow around the snowman with Deep Midnight Blue. (Figure 4) December 2016 Issue

Highlight the snow and the snowman with Snow White on the centers of the face and body, on the top of the hill, and in front of the snowman.

Add the pattern for the eyes, nose, buttons, mouth and stick arms. Shade behind the eyes, mouth, nose, buttons, and arms with thinned Deep Midnight Blue.

Painting World Magazine Highlight it with Tangelo Orange with a liner, and create a plaid of Tangelo Orange.

Bird:

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Add Black pieces of coal for the eyes and smile, letting some of the Deep Midnight Blue show on the left side.

Highlight the coal with a side load of Zinc. Add a Tangelo Orange nose. (Figure 5)

The top button is Blue Harbor. Shade it with Deep Midnight Blue, and highlight it with Whispering Turquoise and a tad of Blue Harbor. The bottom button is Foliage Green. Shade it with Plantation Pine, and highlight it with Foliage Green plus a tad of Warm White. The buttonholes are dots of Warm White. Paint the arms with Espresso using the liner brush.

The mitten is Country Red. Shade it with Deep Burgundy.

Add Tangelo Orange dots where the plaid lines cross.

The cuff is Oyster Beige with Black stripes. Use True Ochre to make a straw nest inside the mitten. Add a few straws of True Ochre plus Warm White.

The scarf is Purple Cow shaded with Grape Juice. Add Warm White dots and Grape Juice fringe dots. The hat brim is Foliage Green. Shade the outside edges with Plantation Pine, and highlight the center with Foliage Green plus Warm White.

The top of the hat is Spice Pink. Shade it with Country Red, and highlight it with a mix of Spice Pink plus Warm White.

Base the bird with Warm White. Shade on the tail and around the wing with Zinc. The checks on the wing are Country Red. The feathers are Indian Turquoise. Shade the feathers next to the wing with Wedgewood Blue. The beak is True Ochre.

Use the liner brush to make the lettering with Blue Harbor. Dry it, and add stripes of Whispering Turquoise with a small flat brush. With Snow White and the liner brush, I added snowflakes to background. I put dots at the end of each line. I made my edges black, with a black line around the inside, using a ruler and a black pen. Use wire or jute to hang the piece from the hanger. Enjoy!

December 2016 Issue

Painting World Magazine

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December 2016 Issue

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by Patty Stouffer

Sunny Winter Morning

Painting World Magazine strives to convey the same sense of immediacy and emotion that she felt while either painting the scene or taking the photo.

Painting Instructions:

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This painting is an example of how shadows and sunlight can bring drama and color to an otherwise nondescript landscape. I intended the painting style of this barn to be loose and unstructured. The barn pattern is not perfectly straight, as I didn’t use a ruler. I didn’t intend it to be an architectural rendering. A bit of crooked lines and lost edges will help the barn fit naturally into the surrounding landscape.

Surface:

• 12” x 16” Canvas

• Frame of your choice

• DecoArt Americana® Palette: • DA239 Warm White

• DAO58 Antique White • DA163 Honey Brown • DAO43 Salem Blue • DAO99 Sapphire • DA161 Graphite

• DA139 Oxblood

• DA172 Black Plum

• DAO97 Rookwood Red

• DAO65 Dark Chocolate • DA155 Soft Black

• DA101 Dioxazine Purple

Loew-Cornell La Corneille® Brushes: ®

• 1/2” Series 7550C Glaze Wash

About Patty

Patty Stouffer was introduced to decorative painting in 1984. She’s had the pleasure of teaching all over the USA at many chapters, regional conventions, and SDP conventions.

Although Patty does all of her designs in acrylic, she has an oil background as well. This contributes to her looser and more impressionistic style of painting. She does most of her designs from actual set ups or photos, or paints them plein air. She December 2016 Issue

• 2, 4, & 6 Series 7450 Chisel Flat Blender

• 1/2” Series 7600 Oval Wash

Additional Supplies: • DAS1 DecoArt Americana Drying Time Extender™

• DAS12 DecoArt Americana Sealer/Finisher Gloss Spray

• Tracing Supplies (light and dark)

Preparation:

Give the canvas a wash of Antique White. Let it dry, and trace on the pattern. Do not transfer any detail only the outlines and shadow lines.

The initial block in is essentially a value study. It will portray the light direction, set the tone as to the time of day, and begin to tell a story. Do the block in with light layers, adding a bit of water to the brush. You don’t need Extender at this point.

Paint the sky and snow with slip-slap brush strokes and a 1/2” oval. Do the barn with vertical strokes and a #6 flat.

Base the sky lightly with a brush mix of Salem Blue + Warm White. Do the snow on the roof and the shaded snow below the barn with a brush mix of Sapphire + Warm White.

Paint the barn siding in the shadow with Rookwood Red. Do the barn siding in the sunlight with Oxblood. Loosely and lightly, base the snow with Warm White. Let the paint dry, and transfer on the details of the design, omitting the muntin bars of the windows. Paint the sky using a 1/2” oval and brush mixes of Salem Blue + Warm White + a touch of Graphite to slightly gray down this light blue mix. Using slip-slap strokes and Extender in the brush, mottle the sky with this light blue, and add Warm White here and there for a suggestion of clouds, or just lighter areas.

Painting World Magazine

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Allow the Antique White to show through the sky here and there, or add it back into the sky blue for a warm glow to the sky. Paint the sky all the way down to the horizon line.

Do the tree line with either a 1/2” flat or a 1/2” oval, Extender in the brush, and brush mixes of Graphite, Dark Chocolate, and Black Plum. Let the top edge fade out into the sky, and try to create a loose variety of colors and textures. Sometimes it helps to bring the sky color down into the tree line. The snow on the barn roof is in a shadow. Base it using a brush mix of Sapphire + Warm White + a pin dot of Graphite. The right side of the roof is slightly lighter than the left.

Base the white barn trim that’s in the shadow using the chisel edge of a smaller flat and the same color mix as for the snow on the roof, Sapphire + Warm White + a touch of Graphite. Do the trim that’s in the sun with just Warm White. Base in the barn siding that’s in the shadow twice, in order to cover it well. Then, darken it even further with Black Plum. Pull these Dark Plum vertical strokes down from the eaves and overhang, and up from the bottom. Keep this streaky. Add some orchid tint to the shadowed areas of the barn siding with a brush mix of Dioxazine Purple + Warm White + Graphite.

The sunny side will only need one coat of Oxblood. The Antique White showing through will give a nice brightness to

the light side of the barn.

Fill in all the windows using a #4 flat and Soft Black. Add

December 2016 Issue

Painting World Magazine throughout the snow with a brush mix of Sapphire + Warm White + a touch of Graphite.

Add highlights to some of the weeds with Honey Brown. Tap some Warm White onto the tops of the weeds or corn stalks to get a snowy look.

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faint suggestions of muntin bars with the chisel edge of the brush and the same color as the trim around the window.

Enhance the snowy field using a 1/2”oval and Warm White. Using choppy strokes, keep the brush rather dry and the edges soft, allowing some Antique White to show through. Or, add the Antique White back in if it’s totally covered. Do the shadow cast from the barn and all the soft shadows

December 2016 Issue

Also paint the corn rows in the field with this same blue-gray mix. They are wider on the right and trail off to nothing on the left. Do the weeds in the field loosely with a 1/2” flat or oval. Pull up from the bottom using combinations of Dark Chocolate and Graphite.

Finishing:

Once the paint is completely dry, spray the piece with DecoArt Gloss Spray to seal it. Follow the manufacturer’s instructions, and let it dry thoroughly between coats.

Painting World Magazine

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December 2016 Issue

Painting World Magazine

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December 2016 Issue

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Directory of Artists & Suppliers

Artists:

Helena Rizzaro Andrejev helenarah@gmail.com Deb Antonick adeb@shaw.ca www.paintingwithdeb.ca facebook.com/deb.antonick Barb Bunsey bbunsey@calicogoose.com www.calicogoose.com

Debbie Cole, CDA debbie@debbiecole.com www.debbiecole.com facebook.com/DebbieColeDesigns facebook.com/groups/creativeinnovation Judy Diephouse distinctj@aol.com www.distinctivebrushstrokes.com facebook.com/judy.diephouse Thelma Hamilton thelmahamilton@yahoo.com www.thelmaLhamilton.com

December 2016 Issue

Kelly Hoernig questions@kellyhoernig.com www.kellyhoernig.com facebook.com/kellyhoernig.artist Linda Hollander paintingfool@live.com

Shara Reiner shara@angelthyme.com www.angelthyme.com facebook.com/shara.reiner

Nancy Scott, CDA artistns@icloud.com facebook.com/nancyscottcda Patty Stouffer patty@pattykay.com www.pattykay.com

Bobbie Takashima BobbieTArts@gmail.com www.bobbieartstudio.com facebook.com/BobbieTakashima

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

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Suppliers:

AC Moore Crafts www.acmoore.com 1-888-ACMOORE

Jo Sonja Paint and Brushes www.josonja.com 888-567-6652

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

JW Etc. White Lightning www.jwetc.com

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

Calico Goose www.calicogoose.com 330-467-7402

Krylon www.krylon.com 800-457-9566

Clearsnap® Products www.clearsnap.com 800-448-4862

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

Sakura of America Pens and Markers www.sakuraofamerica.com 30780 San Clemente Street Hayward, CA 94544

Cupboard Distributing www.cdwood.com 937-652-3338

Loew-Cornell Brushes www.loew-cornell.com 866-227-9206

DecoArt, Inc. www.decoart.com 606-365-3193

National Artcraft www.nationalartcraft.com 888-937-2723

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

Painter’s Paradise www.paintersparadise.com 302-798-3897

Ideal Wood Products idealwoodproductsinc.com 920-631-1646

Plaid Folk Art & Delta Ceramcoat www.plaidonline.com 800-842-4197

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

Scharff Brushes www.artbrush.com 770-461-2200

ScotchTM by 3M www.scotchbrand.com 800-328-6276

Sherry Nelson Brushes www.sherrycnelson.com orders@sherrycnelson.com Winsor & Newton www.winsornewton.com

December 2016 Issue

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