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February 2018 Issue

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February 2018 Issue

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From the Editor Who We Are Painting World Magazine is owned and operated by Magpie Publishing, LLC., which is an independent publishing company. We are completely dedicated to the joy of creating delivered to our readers! We select only the best articles from the top designers in the industry and features all the newest techniques, products and artists. 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 art her entire life. She is also loves to paint in oils, watercolors and pastels. Together with top decorative artists, fine artists of every type, 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 creativity of our readers!

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February 2018 Issue

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Conventions & Events New England Traditions Regional Convention October 2-7, 2018

Best Western Royal Plaza Hotel “Under One Roof”

141 Boston Post Road West Marlborough, MA 01752 100+ classes, demos, special events, and the best decorative arts shopping in the Northeast. Thank you painters, teachers, ad business partners! More info at www.newenglandtraditions.org

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February 25 – March 2, 2018 Tropicana Hotel, Las Vegas, NV Enjoy the “24-hour city” and paint on the fabulous Las Vegas strip! This is one of our largest conventions in this industry. Don’t miss it! Sign up at: www.vegaspaint.com

February 2018 Issue

May 8 – May 12, 2018 Ocean Center, Daytona Beach, FL You’ll return to Daytona to walk on the beach, relax your soul and breathe in the salt water air to stimulate you to paint, paint, paint! Make new friends, see new products, and try new techniques at this annual event. Sign up at: www.decorativepainters.org

Painting World Magazine

Northwest Decorative Artists Regional Convention September 19-23, 2018 Sea-Tac Doubletree Hotel, Seattle, WA Come to Seattle and fine-tune the techniques you have been working on and simply have a blast hanging out with friends, old and new. So many classes in one building, a trade show floor where you can see, feel and check out the surfaces, brushes, stencils etc, right here, right now! Sign up at: www.decorativepainters.org

OKC Painting Palooza 2018 October 22 â&#x20AC;&#x201C; 27, 2018 Sheraton Hotel / Reed Center Midwest City, OK Celebrate all forms of creative arts with OKC Painting Palooza. During this week-long event, learn art techniques from world-renowed instructors offering their best step-by-step tips to artists of all skills levels. Art students can choose from courses like acrylic painting, colored pencils, heat set oils and ink. Sign up at: www.okcpaintingpalooza.com

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February 2018 Issue

Contents

12 Waiting for Spring by Cover Artist: Debbie Cole, CDA

Secret Garden by Chris Jeanguenat

Gypsy Vanner by Kay Witt

Tuscan Box by Rebecca Trimble

White Rabbit Frame by Monique Van Dijk

When Life Gives You Lemons by Leslie Smith

Rosebud by Mabel Blanco

Starfish on the Beach by Susan Boerman

Formal Wear by Diane Trierweiler

Showers of Flowers by Marlene Fudge

Bouquet of Love by Lori Puszakowski-Schmidt

Chickadee Tea by Linda Lineman

MORE GREAT ARTICLES! Corner: Painting with Pure Pigment Paints 17 Innovative by Debbie Cole, CDA On It! The Importance of Sleep for Creativity 49 Sleep by Nanette Rasband Hilton

Waiting for Spring by Debbie Cole, CDA

Painting World Magazine

Most of my life, I lived in Northeastern Illinois. Every year, I would get so excited to see the robins return, as it meant winter would be ending soon. However, it was always hard to see the storms they had to endure before the warmth of spring would finally arrive. I remember watching them and wondering why they would return so early.

Surface: • 12” x 12” Wood Canvas Panel #28-29848 from Cupboard Distributing®

DecoArt Americana® Acrylics: • Antique Gold DAO9 • Baby Blue DAO42 • Burnt Orange DAO16 • Charcoal Grey DAO88 • Dove Grey DAO69 • Khaki Tan DA173 • Lamp (Ebony) Black DAO67 • Light Buttermilk DA164 • Neutral Grey (Toning) DAO95 • Payne’s Grey DA167 • Soft Black DA155 • Snow (Titanium) White DAO1 • Traditional Burnt Sienna DA223 • Traditional Burnt Umber DA221 • Victorian Blue DAO39 • Wedgewood Blue DAO38

Other DecoArt® Products: About Debbie Debbie Cole, CDA is an award-winning artist that is widely recognized as one of the leading contemporary decorative painters of the 21st century. Author of numerous books and pattern packets, Debbie has been a soughtafter instructor who has taught throughout the United States, Japan, Argentina, and Canada. While Debbie loves traditional decorative painting, she also loves stamping, mixed media, and jewelry design. No matter what her medium, Debbie’s main source of inspiration comes from her faith in God. 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.

• Traditions™ Extender & Blending Medium DATM02 • Media® Gesso - White DMM18 • Americana DuraClear® Matte Varnish DS60

Optional Pure Pigment Palette - Winsor & Newton™ Professional Acrylics or Oils: • Burnt Sienna • Burnt Umber • Cerulean Blue • Ivory Black • Naples Yellow • Titanium White • Ultramarine Blue

Silver Brush Ltd® Brushes: • 1/4”, 1/2”, & 1” Golden Natural™ Square Wash, 2008S • #3 Golden Natural Round, 2000S

• #00 Golden Natural Script Liner, 2007S • #6 Golden Natural Bright (shader), 2002S • 1/8” & 3/8” Ruby Satin™ Filbert Grass Comb, 2528S

Miscellaneous Supplies: • Basic Acrylic Painting Supplies • Old Toothbrush • Palette Knife • Sandpaper

Helpful Hints: In this project, I’m providing optional palettes. I painted the project with DecoArt Americana acrylic paints, but I’ve also provided the Winsor & Newton palette for those who would like to paint it with pure pigment tube paints. You can also choose to paint it in oils or acrylics using the mixes provided, because Winsor & Newton pigments are the same in both mediums. When using oils, you will need to use oil blending techniques rather than the acrylic layering technique. Please reference the color charts and mixing palettes when mixing the colors to paint this design. In the color charts, I used Warm White to mix many of the colors. Create this by adding a very small amount of Naples Yellow into Titanium White to tint the white lightly. I give ratios to help you achieve the same colors that I used to create the project. When measuring with bottled acrylics, simply use drops as the measurement. When using ratios with tube paints, using a consistent amount on the tip of the palette knife, such as 1/4”, will help. A touch of color is a

February 2018 Issue

Painting World Magazine very small amount applied to the tip of the palette knife. Also, I use glazing to add depth to the painting. To glaze, load the brush as if to float, and work the paint on the palette paper until the color is completely transparent. With oils, thin the paints with the medium of your choice until the paint is transparent.

Instructions: Background: (See Background Color Mix Chart above) Basecoat the entire wood panel with White Gesso. Allow it to dry, sand any imperfections out, and then wipe away any debris from the sanding process. Mix the Mid-Tone color, and apply one coat to the entire canvas. Allow it to dry. Using a large brush, apply extender over the entire panel. Quickly pick up some of the Mid-Tone color, and slipslap it in the middle section, working toward the top. Pick up some Low Light, and blend it in the lighter areas of the background. Reload the brush with the Mid-Tone color to clarify the brush, and then load the High Dark color, applying it to the darker sections in the same manner. Allow the surface to dry. Thin the Light color with water, load an old toothbrush, blot it, and then splatter the surface. Transfer on the line drawing.

Trees: (See Tree Color Mix Chart above) Base in the tree trunks with the Mid-Tone color and the branches with the High Dark color. February 2018 Issue

Add the highlights to the trunks with the Low Light color and to the branches with the Mid-Tone color.

to the project. Add more depth to the dark areas of the tree by glazing with Payne’s Grey.

Float to shade the trunks with the High Dark color and the branches with the Dark color. Walk out the left side, covering about a third of the trunks, while leaving the right side fairly narrow. You may need to repeat this, building the value.

To add warmth to the trees, glaze the High Light from the bird’s breast in some of the Mid-Tone areas. For the tree behind the bird, wash over the entire tree with a wash of the Background Mid-Tone color.

Using the same color, pull horizontal lines across the trees with a chisel pull motion. To add some texture where the branches intersect with the trees, stipple some of the areas with the same color. To add the Low Light, float and walk out back-to-back floats or dry brush. In a similar manner, add the Dark to the tree.

Bird:

Add the dark texture lines to the trees by dampening the trees with a light coat of water, and then dragging a palette knife filled with the Low Dark across the trees. Practice on paper to understand the technique before applying it

(See Bird Grey Mixing Color Chart next page)

Head, Wings, & Tail: Using a #3 round, loosely block in the Mid-Tone to the head and the dark areas of the wings and tail. Block in the lighter areas with the Low Light color. Thin the Low Light color with water to create a consistency that’s good for line work. Using a 1/8” grass comb and this thinned paint, apply small texture lines to the head and the darker areas of the

Painting World Magazine Thin the Light and High Light colors. Add additional highlights to the head, wings, and tail, beginning with the thinned Light color, and then reinforcing with the High Light color.

Breast: (See Bird Breast Mixing Color Chart) Block in the breast with an undercoat of the High Dark color using a #3 round brush. Once that’s dry, stroke over it with the Mid-Tone color in the same manner. Thin the Mid-Tone color, and apply additional texture using the 3/8” grass comb. Continue to build the texture by adding highlights of the Low Light color in the same manner using the 1/8” grass comb brush. Study the photos for the direction to pull the lines. Add additional texture and highlights in the same manner using the Light color. Glaze the High Dark color over the dark areas of the breast.

Eye: While the eye looks difficult, it is actually fairly easy to paint. Line the outer eye and block in the pupil with Lamp Black. Add the iris with Traditional Burnt Umber. The glint in the eye is a dot of Light Buttermilk or the Warm White mix. Refer to the closeup photos.

Beak: wings. For the lighter areas, use the Light color. Some of the areas on the wings and tail will need a liner brush to add the texture. Add additional texture to the head using the Light color and to the wings and tail with the High Light color in the same manner as February 2018 Issue

the first applications. These will cover smaller areas, so refer to the step photos for placement.

(See Beak Color Mixing Chart) Block in the beak with the Mid-Tone color.

Glaze the dark areas of the head, wings, and tail with the Mid-Tone color. Allow that to dry, and then reinforce it with the High Dark color.

Line the separation between the top and bottom of the beak with the High Dark color. Float to shade with the same color.

Painting World Magazine Float the light areas with the Low Light color. Allow this to dry, and reinforce it with the Light color, covering a smaller area.

Finishing:

Claws:

Allow the piece to dry, and apply one coat of Matte Varnish.

(See Claws Color Mixing Chart previous page) Block in the claws with the MidTone color. Add the lighter areas with back-to-back floats of the Low Light color. Float to shade with the High Dark color. Pull horizontal lines over the legs and claws with the same color using a liner brush.

Thin Snow White with water, and splatter it lightly with an old toothbrush. Cover the head so not too much “snow” gets on it.

Varnish both canvases with gloss varnish. This will bring up the colors and seal the canvases. It will not make them too shiny. Enjoy!

Allow the paint to dry. Dampen the claws, and tap in the Light color with a #3 round brush, keeping the color soft.

Wood Surfaces, Pattern Packets and More...

Design by Laure Paillex Sea Shell Wishes #PPLP556 Wood Surface #328 Packet or surface $8.95 Each

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

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

February 2018 Issue

Painting World Magazine

Innovative Corner Painting with Pure Pigment Paints As I stated in the last issue of Innovative Corner, one of the necessary adjustments bottled acrylic painters have to make when using pure pigment paints is learning how to mix colors, since pure pigments aren’t premixed. This is challenging to acrylic painters who have become dependent on using colors straight from the bottles. The reason it is necessary to mix the color and value scales when using tube paints is because the hues are very vibrant and would be too harsh in most cases to use directly on the painting. Also, there are no premixed shade or highlight colors to work with each hue.

by Debbie Cole, CDA mix color and have not learned to see value. Without learning these basics, it is challenging to grow as an artist. One of the reasons a painter should train their eyes to see value and color is so they can look at an object and see its mid-tone color. Once they’ve established the mid-tone color, they can go on and mix the value scale they need to recreate that object. This gives the acrylic painter freedom from being dependent on using bottled colors. So, if companies add or discontinue colors, it won’t matter, because the painter can simply mix whatever color they need.

Therefore, learning to see value and color is necessary in order to work with these paints.

Therefore, I thought we would go through some exercises to begin learning about value and color.

“Value” simply refers to how light or dark a tone appears to the eye. It is important to understand value to create three-dimensional form or to create interest within a design. Creating realistic dimension within an object will generally take at least five values, beginning with a mid-tone, and adding two tint and two shade values.

This is a gray scale using the Munsell™ numbering system, where a number identifies the value of a color or tone.

I believe bottled acrylic painters are at a disadvantage, because they have not learned how to © 2018 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

February 2018 Issue

Painting World Magazine

This system lists all the tones’ values from dark to light as 1 to 9. 0 and 10 (not shown) would be absolute black and absolute white.

As an exercise, I would like you to try to create the Munsell value scale by using white and black paint.

I added my logo in black and white over the lower sections of the scale so that you can see the contrast with the various tones. Note how the white does not show against the 9 or 8 values, yet is striking against the 5 and lower values.

Begin by mixing the #5 gray. Once you’ve achieved that value, add black to the gray to create the shade tones. Then, add white to the gray to create the tints. This will begin to train your eye to see value without color, which is important to do before moving on to color.

Most artists use the Munsell numbering system on a regular basis to identify value. Another way that artists identify values within a value scale is the Denman Ross method. This nine-step scale describes how values change between black and white; however, it identifies them with words as opposed to numbers.

As we begin to discuss the value in color, it becomes much more complex. I find it easier to focus on the actual value of each hue. We just created a value scale showing tones of gray in between white and

black. Now, let’s look at the values of the pure colors from the color wheel. What is interesting is that the pure colors themselves have different values. On the right side of the color wheel from light to dark there is yellow, yellow orange, orange, orange red, red, red violet, and violet. On the left side of the wheel from light to dark are yellow, yellow green, green, blue green, blue, blue violet, and violet. Note that these were not toned; it is simply the value of the purest pigment of each hue. Look at the value scale in comparison to the values of each hue. Note how the colors compare.

The Denman Ross method begins with identifying the mid-tone or mid-value of a color. Then, you add the three tints and three shades. The tints, in order from dark to light, are “low light,” “light,” and “high light.” The shades from light to dark are “high dark,” “dark,” and “low dark.” White and black are the lightest and darkest colors of the nine-step scale. I’ve used the Denman Ross method in the color charts for the Waiting for Spring project to help you see how it works. February 2018 Issue

Painting World Magazine

red, yellow, and blue. These colors are the purest hues, and you can’t combine any other colors to create them.

As an exercise in learning to see color and value, go through all of your bottled acrylics. Arrange them first in color wheel order, and then from light to dark. The extreme light and dark colors will be the challenging ones, because it is harder to see the true hue in an extremely toned color. I hope you are beginning to see some value scales that you can use in future painting from going through this exercise. To discuss mixing color would take up an entire article or more, but I would like to discuss some basics of color mixing. To understand color, it is helpful to learn about the color wheel. I have used the Prang system, which has three primary colors:

These primary colors are then mixed together to form secondary colors, which are orange (yellow/red), green (yellow/ blue), and violet (red/blue). You can then mix the primary colors with the secondary colors that are close to them on the color wheel to form tertiary colors. Yellow mixed with orange and green becomes yellow orange and yellow green. Red mixed with orange and violet becomes red orange and red violet. Blue mixed with green and violet becomes blue green and blue violet. It is always best when learning to mix color to use pure pigments. My favorite brand is the Winsor & Newton™ brand, because I believe it has the purest pigments. Also, their acrylic and oil hues are the same, so it is the most universal brand. When mixing a value scale, it is best to establish the mid-tone

first. This is the overall color of an object. Once you’ve established that color, you can build the value scale from it. While you can use black and white to tone the mid-tone, it is not always the best choice to do so. In general, I find that you can tone the cooler hues on the color wheel, such as blues, greens, and violets, with black and white, but as the colors get warmer, that is not the case. For instance, yellow hue turns to green when you add black to it. It is much better to use an earth tone or complimentary color to darken it. Earth tones are colors found from the soil, such as umber, ochre, and sienna. Complimentary colors are those colors that appear opposite of each other on the color wheel, such as yellow and violet. Complimentary colors tone one another and work wonderfully to dull or darken a hue. When mixing a value scale, as a rule, it’s best to remember that as a color gets lighter, it needs to be brighter (more intense), warmer, and lighter. As a color gets darker, it needs to be duller (less intense), cooler, and darker. However, there are exceptions to these rules,

February 2018 Issue

Painting World Magazine

which make learning color theory a challenge… With a yellow mid-tone, as it gets lighter, you need to add more pure pigment yellow along with white, which will make it warmer, brighter, and lighter. As yellow gets darker, a complimentary color or earth tone will make it cooler, duller, and darker.

Have you ever put a shade color down and it looked too muddy? Then you may want to look at it again, and see if it violates these rules. It could be that it is too dull or too dark. It is too big of a value jump for it to lay down on the previously applied value.

Also, if you have ever put in a highlight and it looked too chalky, it may have needed more pigment in it. It could also be too big of a value jump, or it lost the intensity too quickly.

When creating shade values for red, it is also best to work down the color wheel, choosing a red violet, such as alizarin crimson, and then moving into violet. You may also add black, but with much caution, so it will not get too muddy. Learning to see value and then mixing colors can be challenging. I hope that these basic guidelines and exercises have opened your eyes to see. In the project “Waiting for Spring,” I provided the DecoArt Americana® palette I used to paint the project, but then I mixed the Winsor & Newton equivalents, so you may paint it with oils or acrylics.

One color that stands out from the rest is red. Reds are generally transparent, and therefore you can alter them too quickly. Also, what you add to red can make a big impact on the object that you’re painting. To add white to the mid-tone makes it pink and generally causes it to be too chalky. Most of the time, it’s best to work up the color wheel when selecting a highlight for red by adding orange and/or yellow into the mid-tone color. You can also add white along with these hues, but not so much that it will be chalky. February 2018 Issue

Adding white to red for a highlight can turn it pink and chalky. Try using a color near red on the color wheel instead!

Walk Through the Secret Garden Painting World Magazine

by Chris Jeanguenat ÂŠ 2018 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

February 2018 Issue

Painting World Magazine

The beautiful scene in this painting could be straight out of a fairytale. You can paint it with acrylic paint, chalk paint, or a combination of both. So grab your brushes and your favorite paints, and let’s get started!

• Light to Medium Blue (i.e. Annie Sloan Chalk Paint Duck Egg Blue)

• Dark Blue • Medium Brown • Varying Shades of Green (I used Plaid FolkArt Citrus Green 2552 and Lime Green 2553)

• Red

Brushes: • Flat-Edged Brush • #2 & #3 Fine Brushes • Tapered Brush

Miscellaneous Supplies: • Compressed Graphite Stick • Damp Cloth • Paper Towels • Black Artist’s Marker (I’ve used Sharpie® markers, Crayola® markers, and everything in between) • Fixative Spray

About Chris Chris Jeanguenat paints whimsical woodland creatures, paintings for children, and all things found in a secret garden. Her studio, Wanderlust Gallery, is located in “Old Town” Suffolk, Virginia, where she lives with her husband, youngest son, and two sweet pit bulls. She shows her work in Blue Skies Gallery in Hampton, Virginia and HIP Boutique in Newport News, Virginia.

Surface: • 16” x 20” (or larger) Stretched

Acrylic or Chalk Paint: • Any Soft Blue Chalk Paint or Acrylic Paint (I used Rust-Oleum® Chalked Paint Serenity Blue 285139)

• Yellow (I used Plaid® FolkArt®

(Figures 1-4) Step one is easy peasy. I use chalk paint for the basecoat for all my paintings. For this one, I used Rust-Oleum Serenity Blue (Figure 1), but any chalk paint or acrylic paint in a soft blue will work. Paint the entire canvas in one good coat, and let it dry.

Sketching: This step takes a little time, but is relatively straightforward. I used a compressed graphite stick to sketch the girl, beginning with her face, neck, and shoulders. If you make any mistakes, you can easily erase your lines with a damp cloth and redraw them. Once you’re happy, it’s time for her dress, hair, facial features, and arms. Sketch those out, and correct for any small adjustments.

School Bus Yellow 827)

• White (I used DecoArt Americana® White Wash DAO2)

• Bright Turquoise Blue (I used DecoArt Americana Sea Breeze DA256)

• Pink (I used Annie Sloan® Chalk Paint™ Antoinette; a good alternative is Plaid FolkArt Conch Shell 6447)

February 2018 Issue

Background: Canvas Prep:

You can draw the tree limbs as shown, or make them go in any direction you please. The curvier and more twisted, the better.

If you want, Figure 1 you can replace the little owl resting in her palm with a heart or a bird. For the owl, start with her head, approximately 5” above the girl’s hand; rest the owl’s feet on the girl’s finger. Fill the owl in with tapered feathers. You can draw the hanging lanterns as shown or on other limbs. You’ll draw the leaves and flowers at the end.

Instructions: (Figures 5-10) You’ll need acrylic paint for the painting. I used small bottles of craft paint and chalk paint. For me, the easiest way to begin is to paint the largest “open” areas first, leaving the smallest details (the leaves, owl, etc) for the end. I began with the pink dress using a flat-edged paintbrush and working the graphite into the pink along the edges for a shadowing effect. Finish her dress with a white collar, blending the graphite lines along the edges for shading. Use yellow and white for her hair; alternate the colors on the brush, letting them blend together. Use more white paint for the highlights in her hair. You can use the same yellow for the lanterns. Dot with white paint for the brightest top portion of each lantern, where a flame would be. For her skin tone, I used white and a small amount of yellow, blending them as I painted her face and body. Be sure to keep your brush touching the graphite lines (which will transfer to your brush)

Painting World Magazine Figure 2

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February 2018 Issue

Painting World Magazine

Color Wash Adding Depth:

to sweep them into her arms, face, and neck for shadowing. Use a bright turquoise blue for the tree limbs; any medium color blue will work well. The trees are the fun part. You can bend them in any creative way you want! Pull as much graphite from your brush into the limbs as you can for nice shadows and texture. Paint the owl’s body and face white and paint her crown with a medium blue, touching the ears with a fine brush. You can substitute any color combo you like for the feathers. I used white, a light blue, and a darker blue. With a fine brush, paint the whites of the girl’s eyes and the owl’s eyes. I used a soft blue for both the girl’s and the owl’s eyes. (Figures 11-12) For this next part, you’ll need a clean, medium fine brush and water. You’re going to trace all those graphite lines with a wet brush (to prepare for the next step). It’s important to get all of the lines wet for the next step. Once the wet graphite lines have dried, you’re going to trace them with an artist’s marker. Be sure to use a light hand so the lines are not too thick. Figure 11

February 2018 Issue

(Figure 13) Have a small batch of medium to dark brown acrylic paint to add shadowing. You can be playful with this. Dab a small amount of paint onto a very wet brush (making the paint translucent). Start with the part of her hair, and use your brush to darken different areas, leaving the lighter yellow highlights. Use this same technique for her dress, her face, her body, the owl, and the lights. Dab with a paper towel as needed. Have a small batch of dark blue/ navy blue paint to darken the top half of the sky, creating the feel of a sunset. Use a wet brush, and add translucent blue paint between the tree limbs. Use a paper towel to pull up any extra wet paint.

Add red with the flat of your brush over some of the pink flowers to create a variety of flower petal colors.

Finishing: Once the piece is dry, spray it with fixative. This is an extra step to “age” your painting… Dab a clean cloth or paper towel in medium brown paint. Apply a very thin layer of paint over the whole painting, wiping the excess off. (Figure 14) Allow your painting to dry, and you’re done!

Figure 13

Step 15 Draw stems, leaves, and flowers using your artist’s marker. You can be creative here as well; you can draw them as shown or go in different directions. Paint the leaves in varying shades of green. I used FolkArt Citrus Green and Lime Green. Create flowers using a tapered paintbrush dipped in pink. Press your brush onto the canvas twice, creating a “V” for the flower petals. Figure 12

Figure 13

Painting World Magazine

Due to the large size of this painting, the drawing has been reduced by half. Enlarge 200% for full size painting.

Note toDownload reproductionall companies/stores: bearertoofprint the original magazine line drawingsThe ready here:color http://bit.ly/2CTdqWQ has full rights to have this drawing reproduced and enlarged one time for personal use. This notice has been printed in red ink for verification of authenticity.

February 2018 Issue

Gypsy Vanner

by Kay Witt

Painting World Magazine

This project is perfect for beginners and those interested in learning some basic skills with pastels. Readers will learn how to create a lifelike horse by applying pastel pencils and hard pastels to Clairefontaine® Pastelmat® Card. You can use this technique to create all types of animals. By learning these techniques, you may create animal and pet portraits for wonderful gifts that will make lasting treasures for years to come.

Stabilo® CarbOthello® Pastel Pencils: (Note: CO used as abbreviation in the text)

• Payne’s Grey 770 • Warm Grey 1 700 • Bister 635 • Sky Blue 440 • General Charcoal Pencils: • 9B Graphite Pencil • 4B Graphite Pencil • White Charcoal Pencil

Nupastel® Pastel Sticks: (Note: NP used as abbreviation in text. )

• White 211 • Black 229 • Chrome Yellow 207 • Warm Deep Gray 209 • Warm Medium Gray 219 • Indian Red 263 • Pale Vermilion 266 • Van Dyke Brown 283 • Cold Very Light Gray 299 • Titian Brown 333 • Cordovan 353

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

Surface: • 9-1/2” x 12” Brown Clairefontaine Pastelmat Card, available in pads of different colors & individual sheets.

• X-ACTO® School Pro® Classroom Electric Pencil Sharpener 1670 • Sanding Block with 150 Grit Sandpaper • Möbius & Rupert™ Round, Double Hole Brass Sharpener (for sharpening Nupastel sticks),

Miscellaneous Supplies: • Blending Stumps in Assorted Sizes • 1/2” Masking Tape • Paper Towels • Hand Towel • Black Construction Paper • Transfer or Carbon Paper • Kneaded Eraser • Drawing Board

February 2018 Issue

Painting World Magazine Figure 2

Figure 1

Figure 3

Figure 4

excess dust on a towel. Use this process for creating sharp hairs.

• Baby Wipes • X-ACTO® Knife or SingleEdge Razor Blade

Helpful Hints: Make sure your pencils and pastels are very sharp, and wipe the dust off on your hand towel after sharpening. Sharpen the edge of your Nupastel stick by holding it perpendicular to the sandpaper and rubbing back and forth to make a flat, smooth edge. (A video of this process is available on YouTube®. Just search “Kay Witt”.) Then, wipe off the February 2018 Issue

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

Preparation: Cut or obtain 9-1/2” x 12” paper. Tape the paper to your drawing board.

Transfer the pattern to the surface of your paper with transfer paper. Darken your drawing with a 9B graphite pencil if necessary. The brown paper will serve as the middle value/ color of our horse and as the background for the horse.

Instructions: Eye: Outline the eye with a 4B charcoal pencil, and then go over the lines and darken the pupil with 229NP (Black). The brown paper will be the iris color.

Painting World Magazine

Add a light to the eye in the lower right corner with 266NP (Pale Vermilion), and add just a little 207NP (Chrome Yellow) on top of the red to really brighten the eye. Blend with a stump or the tip of your finger if necessary.

white charcoal pencil for the star and blaze on the horse’s face.

Add a highlight with the CO 440 (Sky Blue) pencil in the center of the pupil, and add a bright dot with the white charcoal pencil on top of that highlight. (Figure 1)

Use 229NP (Black) to add the dark shadows in the nostrils and the shadow cast from the nostril. With the same color, add the shadow cast under the face that falls on the neck and the shadow cast under the forelock of the mane.

Face – First Stage: Block in the colors on the face using, 219NP (Warm Medium Gray) , 353NP (Cordovan), 229NP (Black), 263NP (Indian Red), and 283NP (Van Dyke Brown). Follow the placement of the colors on the photo. Use the Figure 5

After adding the colors, blend them into each other with a stump.

Nose & Mouth:

Use 229NP (Black) to define the separation in the lips. Use the CO 700 (Warm Grey 1) pencil to add the light areas on the lips, nostrils, and mouth, and to add highlights to the gray areas. Blend. (Figure 2)

Ears: Block in the ears by outlining them with 229NP (Black) and filling them in with 209NP (Warm Deep Gray). Blend. (Figure 3) Block in the forelock with 229NP (Black) by adding it on the edges of each shape, and blend it in toward the middle. (Figure 4)

Face – Second Stage: Start adding darker shading with your CO 770 (Payne’s Grey) pencil, making scratchy strokes close together down the side of the face. (Figure 5) Add CO 635 (Bister) underneath the CO 770 (Payne’s Gray), also down the side of the face. Lightly use the 4B charcoal pencil to go over the pencil you just put down to darken the area further. (Figure 6)

Figure 6

February 2018 Issue

Painting World Magazine Figure 8

Figure 7

Add light areas to the face with your CO 700 (Warm Grey 1) pencil; use the white charcoal pencil on top of the gray to kick it up a notch in brightness.

Use 229NP (Black) to add any additional darks as needed. Add a white highlight in the corner of the eye with the white charcoal pencil. (Figure 8)

Use the CO 700 (Warm Grey 1) pencil to outline the left edge of the horse’s body and to draw a few hairs from the body into the background. (Figure 10)

Add lights to the nostrils and lips as well. Use 333NP (Titian Brown) to add lighter hairs in the lower part of the face, in the jaw area. (Figure 7)

Horse’s Body:

White Area of the Body:

Block in the color on the horse’s neck and back with 263NP (Indian Red), 353NP (Cordovan), and 283NP (Van Dyke Brown), following the placement in the diagram/photo. Blend very well. (Figure 9)

Block in the white spot on the horse’s back with 299NP (Cold Very Light Gray). Use 219NP (Warm Medium Gray) to add some shadowing to the area. (Figure 11)

Always work in the direction that the hair grows. Blend all these strokes together lightly with a “clean” stump. Add light hairs in the ears using the CO 700 (Warm Grey 1) pencil. Blend. On the forelock, use the CO 700 (Warm Grey 1) pencil to add the highlights and use the white charcoal pencil on top. February 2018 Issue

Use your fingers (or a stump) to blend well and push the pastel into the paper. Add some additional darks using 353NP (Cordovan). Blend well.

Blend very well. Add 211NP (White) over this area to finish the spot; apply it smoothly, and blend well. (Figure 12)

Mane: Add randomly placed shadows throughout the mane with 219NP (Warm

Painting World Magazine Figure 9

Figure 11

Figure 10

Figure 12

February 2018 Issue

Painting World Magazine Medium Gray). Use 229NP (Black) to add the black hairs at the top of the horseâ&#x20AC;&#x2122;s head and in the forelock. Blend. Also use the 4B charcoal pencil to draw out fine, black hairs. (Figure 13) Use 211NP (White) to add the hairs of the white mane. Draw it in sections, blending well with the clean side of a stump. Use the white charcoal pencil to draw in the remaining hairs. Draw in additional black hairs in the forelock with the 4B charcoal pencil. (Figure 14) Figure 13

Figure 14

February 2018 Issue

Painting World Magazine

February 2018 Issue

Painting World Magazine

Tuscan Box

by Rebecca Trimble

You can paint this project on a box, like I did, or on a surface of your choice. It would make a great decoration for your home, or you could use it as a gift box that the recipient can keep to decorate their own home.

About Rebecca

I’ve been painting for over 25 years, and have been teaching during most of that time. I currently live in St. Augustine, February 2018 Issue

Florida, the oldest city in the USA, with my four children and husband. I own a busy store in Florida, Urban Designs, where we sell custom painted furniture and teach painting classes. I’ve been published in all the painting magazines, and I teach at most of the national painting conventions, have many books and pattern packs available, and travel teach. Two new books will be coming out soon!

Painting World Magazine • Raw Umber DA130 • Rookwood Red DAO97 • Russet DAO80 • Sable Brown DAO61 • Saffron Yellow DA273 • Soft Black DA155 • Terra Cotta DAO62 • Snow (Titanium) White DAO1 • Uniform Blue DAO86 • Wisteria DA211

DecoArt® Mediums: • Americana MultiPurpose™ Sealer DS17 • Americana Gloss Spray DAS12 • Media® - Modeling Paste - White DMM21

Loew-Cornell® Brushes:

Surface: • 10” x 3-1/2” Wood Box with Lid (your choice of box; also looks great on a canvas)

DecoArt Americana® Acrylics: • Antique Green DA147 • Asphaltum DA180 • Avocado Dip DA254 • Black Green DAO83 • Bleached Sand DA257 • Cadmium Yellow DAO10

• Cinnamon Drop DA308 • Dioxazine Purple DA101 • Driftwood DA171 • French Mauve DA186 • Georgia Clay DAO17 • Hauser Light Green DA131 • Light Buttermilk DA164 • Orange Twist DA266 • Payne’s Grey DA167 • Plantation Pine DA113 • Purple Rain DA327 • Raw Sienna DAO93

• #6 Classic Bristle Flat Brush, 121F • #6 Round Scumbler Brush, 2014 • 3/8” Crescent Brush, 247 • 1/4”, 1/2”, 5/8”, & 1” American Painter® Angular, 4400 • 1” La Corneille® Glaze/ Wash, 7550C • #10/0, #0, #1, & #4 La Corneille Round, R7000 • #10/0, #1, & #2 MidLength Liner, 3370 • #2, #6, #8, & #12 La Corneille Shader, 7300 • 1/8” & 3/8” Deerfoot Stippler, 410

Miscellaneous Supplies: • Tracing Paper • Transfer Paper • Pen • Pencil or Stylus • Sea Sponge • Sandpaper • Blue Shop Towels® or Paper Towels • Q-tips® (optional) • Palette Knife (optional)

February 2018 Issue

Painting World Magazine

Preparation: Paint the box with the AllPurpose Sealer. Sand it smooth. Basecoat the box lid with Light Buttermilk.

The Stippled Effect: With a fairly damp sea sponge (wet, but not dripping), pounce Asphaltum all over the lid of the box. It’s ok if the color is dark, as you’ll be adding lighter colors over it. Allow the lid to dry. Repeat the process with Driftwood, and then with Titanium White. Very lightly transfer on the land lines. You need to be careful about transferring the lines; since you’re only washing the paint on, the color won’t cover the transfer lines. When you float the background colors on, be careful not to overlap any of the colors. If a color gets where is should not be (like if the blue for the sky overlaps the hills), take a damp paper towel, and wipe it off. I find that the Blue Shop Towels work best for painting, as they don’t leave any lint behind.

Background: Wash the background (sky and land) colors on softly. It’s better to do a few light coats than one heavy coat. You might want to lightly dampen the area you’re working on first. The sky is Uniform Blue; float the color downward using a large brush. Work the color about 2/3 of the way down. Float on the horizon area of the sky with French Mauve, working the color upward.

February 2018 Issue

The green hills are a mix of mostly Antique Green + some Plantation Pine + just a touch of Asphaltum (the paint ratio is not at all important, as this is a very light wash). Hint #1: Streaky washes are good, as they add texture. Hint #2: Keep Q-tips or wet paper towels handy to clean up your lines (such as the French Mauve if it goes over the green land areas). Wash the brown hill with Sable Brown first. Allow that to dry, and then wash it with French Mauve. Very lightly transfer the rest of the pattern on.

Raw Umber mix, and paint this right up next to the shrubs.

Purple Crop Rows: Paint the purple crop rows the same way as you painted the red ones, using Payne’s Grey for the first color, Dioxazine Purple for the second color, and Wisteria for the highlight color. Add just a tiny touch of Titanium White for the final highlight. Remember NOT to clean your brush between each lighter color. Shade the same as above, but shade on the left side instead of the right side.

Tall Thin Trees:

Base all of the red crop rows with Rookwood Red using the 1/8” deerfoot brush. Allow the paint to dry, and then work one row at a time, working wet into wet.

Using a deerfoot brush, pounce on Black Green in the shape of the trees. Base all of the trees at the same time so they can dry. After that, you’ll be painting one tree at a time, working wet into wet.

Go back, and repaint a row with Rookwood Red. Wipe the brush, and then paint the row with Georgia Clay, allowing the darker red to show through still.

Repaint one of the trees with Black Green. Wipe the brush, and add Hauser Light Green, then Avocado Dip, and finally just a touch of Cadmium Yellow.

Add Orange Twist to the tip of the dirty brush, and pounce on this highlight color, keeping it at the tops of the crops. Add a little Cadmium Yellow to the dirty brush, and tap on this final highlight color, being sure to keep this color at the very tops. Finish each row.

Be sure that each lighter color stays toward the left side and that you add less color as they getter lighter. You still want to be able to see the darker colors underneath. Paint the rest of the trees.

Red Crop Rows:

Tip: If your brush is getting too full of paint, just wipe it off onto a paper towel; don’t wash the brush between the different colors. Next, you’ll use a #4 round to shade the ground on the right side of the crops. Dip the tip of the round brush in a very watery Payne’s Grey/

Houses: Paint the houses Bleached Sand and the roofs Terra Cotta. Shade using Raw Sienna on the right sides of the houses, and highlight with Titanium White on the left sides. Deepen the shading using Raw Umber. Shade the roofs with Russet, and then deepen the shading a bit with Payne’s Grey.

Painting World Magazine Highlight the left sides with Saffron, and then a little Titanium White. The windows are Soft Black. Add a thin line of Titanium White along the bottom and right side of each window. Make a watery mix of Raw Umber + Payne’s Grey. Using a small round brush, add a thin line of this mix color along the top of each house, right under the roofline.

The Box:

Finishing:

I added texture to the box using the Media Modeling Paste. Just spread some on the sides of the box using either a brush or palette knife, and allow it to dry. Paint it with a few coats of Dioxazine Purple, and then dry brush over that with Wisteria.

Carefully erase any transfer lines. I sprayed my finished painting with a few coats of Americana Gloss Spray. If you have questions about this, or about any of my other projects, please contact me anytime!

Add a thin line of Titanium White right along the edge of each roof.

Shrubs: You’ll paint the shrubs at the bottom of the painting using the crescent brush. Basecoat the shrubs using the deerfoot stippler and Payne’s Grey. Let the paint dry. Now, use the crescent brush to re-base the shrubs with Purple Rain. While that’s still wet, add Wisteria, then Hauser Light Green, and finally a little Titanium White. You should be painting with a dirty brush; just wipe off the brush onto a paper towel before you add the next color. Be sure to keep all the lighter colors toward the top and left side.

Other Trees: Paint the green trees in the back the same as you did the shrubs, using Black Green, then Hauser Light Green, and finally Avocado Dip. Use the same method for the red tree, with Payne’s Grey, Russet, and Cinnamon Drop.

February 2018 Issue

Painting World Magazine

February 2018 Issue

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

White Rabbit Frame by Monique van Dijk

Painting World Magazine

This fun mixed media project is the perfect decoration for spring. And, you can substitute colors and embellishments that match the room where you want to display it, making it a great gift idea. So gather your supplies, and let’s start painting! The best projects reflect the style and taste of the creator, so use your creativity to add your own touches and colors to match your own decor. DecoArt makes a huge range of colors and products for every crafting need.

Anton Pieck, and Salvador Dali, and she is a fan of Disney® and Tim Burton. In her leisure time, Monique likes to travel and see as much of the world as possible. She enjoys her family, and is a dedicated cat lover.

Surface: • 24cm x 30cm (9-1/2” x 12”) Canvas Cardboard: • 2 Pieces 24cm x 40cm (9-1/2” x 15-3/4”) • 1 Piece 20cm x 15cm (8” x 6”) • 1 Piece 16-1/2cm x 20cm (6-1/2” x 8”) • Some Smaller Pieces (large enough to make the banner die cut and the pocket watch) • Vellum Bristol Board (optional)

DecoArt® Paints & Mediums: For the Rabbit:

About Monique A Native of the Netherlands, Monique van Dijk is a mixed media artist and designer with a love for the darker side of art. Monique loves all kinds of projects, from art journaling to painting and everything in between. She has a quirky style, and although she likes darker subjects, the colours she uses are often very vibrant. Monique has taught mixed media classes and has a YouTube® channel where she posts tutorial videos. Several international magazines have published her work. Monique is also a DecoArt® helping artist and demonstrator. Her inspiration comes from artists like Hieronymus Bosch,

February 2018 Issue

• Americana® Snow (Titanium) White DA01 • Americana Baby Pink DA031 • Americana Saffron Yellow DA273 • Americana Coral Shell DA316 • Americana Indian Turquoise DA087 • Americana Blue Chiffon DA193 • Americana Neutral Grey DA095 • Americana Lamp (Ebony) Black DA067 • Americana Hauser Dark Green DA133 • Americana DecouPage™ Napkin DS126 • Media® Gesso - White DMM18

For the Background: • Media Gesso - White DMM18 • Media Mister Shimmer Turquoise DMM09 • Media Mister Shimmer Yellow DMM11 • Americana Snow (Titanium) White DA01

• Americana Lamp (Ebony) Black DA067 • Media Ultra-Matte Varnish DMM24

For the Frame: • Media Gesso - Black DMM19 • Elegant Finish™ Metallic Paint Emperor Gold DA148 (or Dazzling Metallics® Emperor’s Gold DA148) • Americana Multi-Surface Metallic™ Chocolate DA552 • Americana Red Alert DA301 • Americana Carousel Pink DA274 • Americana Sour Apple DA275 • Americana Desert Turquoise DA044 • Media Crackle Glaze DMM16 • Triple Thick Gloss Glaze™ TG01 • Americana Glazing Medium DS18

Artist Brushes: • Loew-Cornell® 1” White Nylon Flat Glaze, Series 798 • #4 & #6 (optional #8) Flat Shader • #2 Round • 005 Fine Liner • 01 Script Liner/Scroller (optional) • Foam Brush (optional) • Dry Brush (optional) • DecoArt Stencils (for the background): • Americana Stencils - Timeless Treasures (12” x 12”) ASMM01 • Andy Skinner Stencils - Old Film (12” x 3”) ANDY04 (or something similar) • Andy Skinner Stencils - Have Your Say (6” x 6”) ANDY53 (or something similar)

Rubber or Clear Stamps: (If stamps aren’t available, hand paint the images using a fine liner)

• Gears (in several sizes) • Clock (to fit the pocket watch die)

Painting World Magazine • Small Alphabet Set (to stamp the quote on the banner)

Miscellaneous Supplies: • Craft Mat (or Gloss Palette Paper) • Transfer Paper • Tracing Paper • Pen • Pencil or Stylus • Black Cardstock 220GSM Approx. 16cm x 20cm (6-1/4” x 7-3/4”) Old Book Page (big

enough to fit the rabbit pattern)* *Note: Any page will do that you find interesting. You can age it by applying a light wash of sienna and/ or umber using a 1” flat glaze brush and paint thinned to a watercolor consistency, preferably with a Glazing Medium. DO NOT use coffee or tea - the acid will damage the paper.

• Black Foam Board (or paint a white foam board black w/ at least 2 coats) • E6000® Glue (or any glue that adheres to metal, wood, & paper) • Purple Wire

Embellishments: (i.e. Metal Frames, MDF Flowers, Buttons, Rhinestones, etc.; refer to the pictures for inspiration)

• 10cm (4”) Chain, for pocket watch (or paint it in w/ DecoArt Dazzling Metallics Shimmering Silver DAO70, referring to the picture) • Foam Brayer (optional) • Black Waterproof Stamp Ink (i.e. Ranger Archival Ink™ Jet Black AIP31468 or StazOn® Jet Black SZ 31) • Baby Wipes • Craft Knife or Sharp Scissors • Paper Towels • Sponge (optional)

Dies & Embossing Folders: (I’ve provided a pattern so you

can cut similar shapes by hand

if you don’t have a die cutter) • Sizzix® Tim Holtz® Alterations™ Bigz™ Die Regal Crest 656637 • Sizzix Tim Holtz Alterations Movers & Shapers™ Die Mini Clock Key & Pocket Watch 658561 • Sizzix Tim Holtz Alterations Texture Fades™ Embossing Folders Patchwork (comes in Bingo & Patchwork Set 656643) • Cuttlebug® Embossing Folder - Heart Blocks • Cuttlebug Embossing Folder - Floral Fantasy 37-1806

Painting Instructions: Rabbit: Transfer the rabbit pattern to the book page using transfer paper. Cut out the main shape using a craft knife or sharp scissors. Add a thin layer of the Media White Gesso. DecoArt made their Media line expressly for use on paper - the effect will not be the same using other products. Start shaping the rabbit’s face using Neutral Grey shading in the parts around the eyes and next to the nose and along the sides of the ears next to the hat; use a sideloaded #6 flat shader in most areas and a #4 flat shader in smaller, tighter areas.

blending toward the center of each shape.) You may need to use the #4 flat shader for the blending. For the eyes’ irises, use a #2 round with Hauser Dark Green and Indian Turquoise. Refer to the photo for color placement. The pupil is Lamp Black. Use Lamp Black to trace over all the lines again so they will be visible. Add the striped pattern on the jacket collar. You will probably find a fine liner is easiest for this step. For the jacket, basecoat using Blue Chiffon. The collar and hat are Saffron Yellow and Baby Pink. Create highlights using Snow White on the hat, the collar, the nose, the eyes, and the insides of the ears. Tip: To make the highlight dots in the eyes, use the end of a paintbrush or marker or a ball stylus; dip it into paint, and stamp. Try this on a piece of scrap paper first. I also used this technique later

Use Snow White for the rabbit’s face, ears, teeth, neck, and eye. (DON’T go over the hat and jacket - we want the book text to show through.) Pat in the color and smooth it using a #6 or #8 flat shader. Use Coral Shell mixed with a little Snow White for the insides of the ears and the nose. (You can create a L’ombre effect by using the color from the bottle, and then patting in a lighter mix from the top down,

February 2018 Issue

Painting World Magazine Figure 1

Figure 2

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for the dots on the jacket and the dots where the whiskers will be. For perfect “dip dots,” make a small puddle of paint on your palette paper, and dip the handle of your liner brush just into the paint (not enough to touch the palette). Lift straight up, and then “dot” where you like with a short, vertical motion. Using a sideload of Neutral Grey, float under the collar and chin and float on the head next to the ears and under the hat; see the picture for reference. A #6 flat shader should work best for this step.

Background: Cut a piece of cardboard to fit inside the canvas frame, and use White Gesso to prepare it for painting. Apply at least two coats of the gesso using a 1” flat glaze bush or a foam brush; apply one coat vertically and one coat horizontally, letting it dry between coats. Allow the gesso to dry completely. (Figure 1) February 2018 Issue

When the gesso is dry, use the Yellow and Turquoise Misters to spray the background. Use a paper towel (crumpled up to make a puff) to lift some paint off in a circular motion, turning the paper towel puff around while doing so. Some of the White Gesso should become visible again. (Figure 2) Using stiffer paper towels will result in a different texture than using softer towels. Experiment to get the effect you want. Let the piece dry before going on to the next step. Use the Timeless Treasures stencil with Lamp Black to add clocks to the background, as shown in the sample photo. You can use either a brush or a sponge to do the stencil technique; offload some paint onto a paper towel to get a softer stencil effect. Let the paint dry. (Figure 3) Put some Snow White paint on the craft mat (or gloss palette paper), and use a paintbrush to spread it out. Use the paint to stamp the gears on the background. Make sure you

Figure 3

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clean your stamps immediately after stamping. (Figure 4) Note: You can also use a foam brayer to “ink” the stamp using the DecoArt acrylic paint. Always offload some paint from the foam brayer to get a soft coat on the stamp and to keep the lines crisp. Add the text using the “Old Film” and “Have Your Say” stencils and Snow White. Make sure the rabbit’s head will not overlap the text. (Figure 5) When the paint is completely dry, add a layer of Ultra-Matte Varnish, and let it dry. Again, the Media line products are made expressly for use on paper and will minimize wrinkling – using other products will not achieve the same effect.

House Frame: Cut out two cardboard house shapes, one for the back of the canvas and one for the front, to cover the wooden frame, like the one in the picture (use the frame for the exact measurements). Also cut out a triangular cardboard

Painting World Magazine shape to fit the top part of the frame (15-1/2cm base x 8cm high; 6-1/8” x 3-1/8”). (Figure 6) Emboss the black cardstock, and cut it into pieces to fit the front of the frame, as shown in the pictures. This is to create a symmetrical mosaic look. Therefore, you might need to emboss the same pattern multiple times. (Figures 7-8) Adhere the embossed pieces of cardstock to the frame and to the triangular shape. Next, add the triangle to the “roof” of the frame, like in the picture. Cover the cardboard frame with a layer of Black Gesso, and let it dry. (Figure 9) Also use Black Gesso to go over the part of the back that will be visible (next to where the wooden frame will go). We don’t want pieces of raw cardboard showing through when we’ve assembled the project. Remove the fabric from the canvas; we only need the wooden frame. Paint both the wooden frame and the cardboard frame using Elegant Finish Metallic Paint Emperor Gold (or Dazzling Metallics Emperor’s Gold). You will need two or Figure 7

three coats - let the paint dry in between coats. (Figure 10) When the gold paint is dry, go over it with the Metallic Chocolate. Don’t let it dry completely; work fast, and wipe away the paint using a baby wipe. This way, some of the Chocolate paint will be just in the lower bits of the embossed parts of the frame, giving it more dimension. (Figure 11) You may find adding a bit of Glazing Medium to the paint will help keep the paint “open” in this step. Only do this on the frame - NOT on the triangle shape where the pocket watch will be. Let this layer dry, and then do the same technique using Red Alert, Carousel Pink, Sour Apple, and Desert Turquoise. Use the colors randomly in a way you like, or look to the picture for reference. Avoid letting the colors become muddy or blended. The intention is to give the frame an aged look, like there are many layers of paint there that have worn off. Again, only do this on the frame, and not on the triangle shape where the pocket watch will be. Using a dry brush, sponge, or crumpled paper towel and offloading some paint to Figure 8

keep the illusion soft will help give a range of finishes. When you are satisfied with the result, let the paint dry completely.

Banner & Pocket Watch: While the paint is drying, start working on the banner and the pocket watch. Use cardboard and the Sizzix dies to die cut the banner once and the pocket watch three times. (Figure 12) You can cut your own shapes if you do not have the dies. A good substitute for the cardboard if you’re cutting your own shapes is vellum Bristol board; paint it on both side with two or more coats of gesso and let it dry overnight before cutting it. Remove the inside circles of two of the three pocket watch die cuts, and paint all of the die cuts in Emperor Gold (again, two or three layers, drying between layers). (Figure 13) When the paint has dried completely, make an impression on the pocket watch die that still has the center in it using a clock stamp and black waterproof stamp ink. If you do not have a clock stamp, use a 005 liner and Lamp Black to paint the design; be sure your paint is an inky consistency. If you are Figure 9

February 2018 Issue

Painting World Magazine Figure 10

Figure 11

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an adept painter, you could also use a fine scroller for this step. For dimension, glue the two pocket watches without insides on top of the one with the clock stamp. Stamp (or hand paint) the quote “The hurrier I go, the behinder I get” on the banner. (Tip: If you want the text perfectly centered, count the letters and spaces; start stamping with the letter that is in the center, and work to the outside.) If you’re hand painting the quote and need a pattern, make a pattern on your home computer using a similar font and size to fit the banner. Transfer the pattern to tracing paper, and use transfer paper and a stylus to transfer it to the banner. Then, hand paint carefully using your liner and #2 round. February 2018 Issue

Figure 12

Make sure the stamp ink (or paint) is completely dry before going on to the next step.

Embellishments: When all the paint and ink is dry, add a layer of Crackle Glaze over the complete frame, the pocket watch, and the banner, and let it dry naturally. Don’t use a heat gun - the glaze won’t crack if you do. (Figure 14) While the Crackle Glaze is drying, start working on the embellishments. (Tip: Save broken jewelry. I used a pair of earrings for one of the embellishments, and I used a part of a necklace for the pocket watch. (Figures 15-18) I made my embellishments from metal frames, MDF flowers, buttons, and rhinestones. Paint the MDF flowers gold. Next,

follow the steps on Picture 16 for the order to glue all the parts together. Use the other pictures for reference, or make them the way you like. (Figure 19)

Finishing the Rabbit: Use Neutral Grey mixed with a bit of Glazing Medium to add some shading on both sides of the hat and on the insides of the ears (in the pink parts) next to the black outlines. Add a little Coral Shell into the inside corners of the eyes. Give the rabbit some blush on its muzzle using Baby Pink. Make dots on the jacket using Baby Pink as well. When the paint on the muzzle is dry, make three Neutral Grey dots on each side. This is where the whiskers will be. I also added some Indian Turquoise and Baby

Painting World Magazine Pink around the eyes and a bit of Baby Pink on the chin.

Turquoise paint into the cracks and into some of the embossed parts.

When the paint is dry, use Decou-Page Napkin to adhere the rabbit to the background. DecoArt specially designed Decou-Page Napkin for use on thin, fragile paper; using other Decou-Page glues may cause wrinkles or tears. (Figure 20-21)

Do the same with the banner and the triangle piece using Desert Turquoise and with the pocket watch using Lamp Black. When you’re done, let the paint dry.

Finishing the Frame: Once the Crackle Glaze is dry, use Desert Turquoise to go over the frame. Don’t let it dry completely; wipe it off using a baby wipe, but make sure the paint stays inside the cracks. Go over the entire frame bit by bit and rub Desert

To give the piece protection and more dimension, apply a smooth, even layer of Triple Thick Gloss Glaze over everything. Use an extra layer of Triple Thick Gloss Glaze inside the pocket watch, so it will look like it actually has glass in it. (Figure 22)

Assemble the frame. Before attaching the front of the frame to the wooden frame from the canvas, add some foam board to fill up the empty space in the frame’s “roof.” (Figures 23-24) Attach the front of the frame next, and put the rabbit inside the frame. Add all of the embellishments. Use wire to make whiskers, and glue them onto the rabbit. (Figures 25-26) When you’re all finished, your project should look something like this. Have fun creating! (Figure 27)

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February 2018 Issue

Painting World Magazine

February 2018 Issue

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

Painting World Magazine

Sleep On It... by Nanette Rasband Hilton

Nanette Rasband Hilton is an artist and writer based in Las Vegas, NV. When not in her creative studio, you may find her cycling the world. She considers her family her greatest work of art.

How many times have you heard “I’m not creative! I can’t even draw a stick figure!” when people discover you’re a painter? This myth initially draws many people to decorative painting because they think the use of patterns, following instructions and methods developed by others somehow side-steps their need to be creative. What, exactly, is creativity? Is it artistic? Is it original? Is it talent? Maybe. Creativity is hard to pin down, like air. We know it’s out there, that it’s valuable, desirable—even essential but, like air, it’s invisible until you do something with it, like blowing it into a balloon. This analogy works for me. When air is added to a balloon, the otherwise limp balloon takes shape and becomes buoyant.

Similarly, when creativity is added to life, our otherwise boring existence takes shape and becomes lively. Creativity is actually the spice of life. “In the beginning,” according to the Bible, “God created...”1 meaning that life, itself, required an act of ultimate creativity.

I love to watch cooking shows like The Great British Bake-Off or Diners, Dives and Drive-In’s where I see people making creative stuff I’ve never made—stuff I want to eat! I passed a car rally the other day where a bunch of old dudes gathered to admire each other’s restored vintage cars—I admired them, too. I heard a radio announcer on my favorite jazz station quip “We put the funk in your trunk, the pep in your step and the glide in your stride.”2 In my personal reading I discovered a determined woman, Ida B. Wells, who crusaded against mob lynchings in southern 19th-century America, effectively bringing them to an end. All this is creativity at work! Examples like these show how EVERYONE works in creative ways: • The other day I got my first pair of prescription glasses from an optician who resolved several of my needs with one pair of trifocal glasses. • A neighbor up the street built community and increased safety by inviting our police department to present a Neighborhood Watch program, complemented by a potluck dinner. • My two-year-old granddaughter is very adept at getting what she wants without saying a single word. You are creative. We are ALL creative!

Creativity doesn’t require talent, invention, or originality, though they might be involved in specific creative events. However, the universal constant that creativity does require is effort. In that moment between sleep and wakefulness, a state psychologists call hypnagogia, our mind is busy creating. HuffPost® writer, Carolyn Gregoire, reports that this time is “similar to REM sleep--… when our dreams occur [and] the mind is cycling through thoughts, ideas, memories and emotions, making free and often distant associations between diverse concepts. But unlike REM, during hypnagogia you’re conscious enough to be at least partially aware of what’s going on.”3

I find it interesting that creativity is even a part of our most inert moments, like sleep. We just can not NOT be creative! If people were more aware of their unconscious creative achievements, perhaps

February 2018 Issue

Painting World Magazine they’d be more confident consciously creating. The other day I tried to capitalize on hypnagogia—that unconscious creative window of opportunity. I intentionally considered a specific problem I was having as I started to drift asleep. Voila! In those magic minutes I hit upon a brilliant idea which proved instrumental in moving me toward a solution to my problem. As Gregoire reported, I was indeed awake just long enough to remember the solution when I awoke. It works. What a fabulous resource we each have in hypnagogia! In case you’re worried about promoting sleep-onset insomnia with presleep creativity, remember that if you’re relaxed and stress-free, your mind will take it in stride allowing you to fall asleep as usual.

As reported in the Journal of Exercise Nutrition and Biochemistry, insomnia or hypersomnia (excessive sleepiness) may result from “irregular sleep patterns, anxiety, stress, overwork, excessive exercise, jet lag,

February 2018 Issue

and endocrine disorders in the pineal gland” 4 and is not related to relaxed musing on creative approaches to life as one falls asleep. Nurture moments of hypnagogia by fostering healthy sleep habits which, according to the National Sleep Foundation5, include: • Putting away the electronic light-emitting screens, like cell phones, laptops and computers, which keep you on high alert and are counterintuitive to sleep. • Create a “chill zone” in which you let your mind relax, at least thirty minutes before bed by doing something like reading a book or listening to calming music with dimmed lighting. • Practice meditative breathing to release tension and relax your mind. • Leaving the bedroom if you’re failing to fall asleep. Take a “time out” from sleep, relocating to another room and repeat your relaxation routine, such as reading or listening to music, for at least twenty minutes before attempting sleep again.

• Set your body clock by following a daily routine of waking and going to bed at the same time—even on the weekends. • Getting your quota of exercise (twenty minutes) and sunlight (at least twenty minutes of indirect sunlight) helps regulate your circadian rhythm, making waking and sleeping natural. Notes: 1. Genesis 1:1. The Bible. Authorized King James Version. 2. KUNV-Las Vegas, The Source, Live from UNLV—The Jazz Lounge, 91.5. 3. Gregoire, Carolyn. “Hypnagogia, The State Between Sleep and Wakefulness, Is Key To Creativity.” HuffPost, 02/22/16. huffingtonpost. com/entry/hypnogogia-dreams-cr eativity_s_56c5d16ce4b0c3c550 53de38. Las accessed 11/08/17. 4. Journal of Exercise Nutrition and Biochemistry - Vol. 18, No. 3, p301-309 5. “What to do When You Can’t Sleep,” National Sleep Foundation, 2017. sleepfoundation.org/insomnia/ content/what-do-when-you-cantsleep. Last accessed 11/08/17.

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When Life Gives You Lemonsâ&#x20AC;¦

Why Not Sketch Them? by Leslie Smith, CDA

Painting World Magazine

Trompe-l’œil is the French name for a style of painting that translates to “to fool the eye.” The goal is to simulate objects with such reality that it appears that they are real and not painted.

• Forest Green DA050 • Plantation Pine DA113 • Burnt Umber DA064 • Raw Sienna DA093 • Cadmium Yellow DA010 • Burnt Sienna DA063

Mediums: • DecoArt® Americana MultiPurpose™ Sealer DAS17 • DecoArt Americana DuraClear® Gloss Varnish DS19 • DecoArt Americana DuraClear Matte Varnish DS60 • Krylon® Matte Finish 1311 or your favorite matte fixative spray

Brushes:

About Leslie

(Use whichever brand you prefer in the largest size you’re comfortable with)

I’ve been painting for almost thirty years. It’s brought me friends and peace. I love being able to share that with you. Feel free to reach out to me!

• A Fine Roller (to basecoat) • Flats • Rounds • Liners

Surface: • 11” tall x 12” wide flat surface that one would expect to lay horizontally.

A table would work well. The sample is a vintage silverware box I found at a thrift shop; I added feet to it. I attached a handle and latch to another one, and I carry my colored pencil supplies in it. I added feet to a second box as well. Avoid surfaces that you would view vertically, such as a wall hanging.

DecoArt Americana® Paints: • Lamp (Ebony) Black DA067 • Snow (Titanium) White DA01 • Buttermilk DA03 • Driftwood DA171 • Zinc DA304 • Hauser Dark Green DA133

Miscellaneous Supplies: • Usual Painting Supplies • Tracing Paper • Transfer Paper • Stylus • Tape (for masking) • C-Thru® Ruler • 2H Graphite Pencil • DecoArt Americana Wood Filler DS103 • Sandpaper

Helpful Hints: I design my patterns to teach. I’ve provided instructions to do that. Tips, techniques, theory stuff, and the explanations for some of the choices in the design are in the colored “Learning Theory Tip” boxes. You can learn from the comments, or ignore them and just paint.

February 2018 Issue

Painting World Magazine Please read all the instructions before beginning to paint to eliminate surprises later. Refer to the photos often.

There are several “rules” for Trompe-l’œil to work: 1. The objects must be realistically sized 2. The objects must be in perspective from where the viewer will be looking (for many trompe designs, you can only view them from one location) 3. The objects must lie so that they do not defy gravity 4. Shadows, colors, and other details must be realistic 5. The objects must be complete, and cannot extend off the surface

Preparation: Fill the imperfections with wood filler, and let it dry. Sand gently to remove excess wood filler. Seal the piece with MultiPurpose Sealer. Let it dry, and gently sand again. Basecoat the surface with Lamp Black using a fine roller. Let the paint dry. Repeat if necessary to achieve full coverage. If you are painting a box, decide if the bottom of the design will be by the box’s opening or the box’s hinges. Compare the pattern to your piece, and reduce or enlarge the outline of the paper (and lemon sketch) as necessary. Do not enlarge/reduce the entire design; the pencil and sharpener need to stay realistically sized, or you’ll destroy the illusion. Transfer only the outline of the paper using your favorite method. February 2018 Issue

Painting Instructions: The Paper: Tape around the outline of the paper. Paint the inside edges of the paper with Lamp Black, and let them dry. This will help prevent the paint from bleeding under the tape when you paint the paper. Let the paint dry to seal the tape. LEARNING THEORY TIP: Even though it looks white, the paper is painted with Driftwood with Buttermilk. The contrast between the grey paper and the black background makes the paper appear lighter than it really is. Value (how light or dark a paint is) is relative. Albert Munsell created a scale to describe the differences in value (lightness versus dark). A copy of his scale can be purchased at many craft supply stores or found online. Using his scale, the Black background is 1; the paper ranges from 6-8 and the flip highlight is about 8.5. In addition to the alternating and varying values, this design uses changes in temperature to create depth. Slip-slap (broad “x” strokes with a large flat brush) Driftwood onto the paper. While that’s still wet, slip-slap Buttermilk down the center of the paper. Work a little Zinc into the lower left corner by the flip. Because you’re applying the paint wet-on-wet, the corner will not be as dark as Zinc.

Transfer the flip onto the lower left corner. Working around the flip (not on the flip), darken the paper with Zinc. You should blend the gradation in values well. At this point, negative space defines the flip. Darken the very outer edge of the flip (the edge of the paper that starts to roll up) with Zinc. Attach the flip to the two edges of the paper with Zinc. Place a blended line of Buttermilk along the top of the flip’s roll. The very tip of the flip is still Driftwood. Do not let the highlight extend too far in either direction; it should only be on the crest, or highest part, of the flip. Let the paint dry completely. If the paper edge is raised from the tape line, use a fine grade sandpaper and very light touch to knock it down under the pencil and where the shavings and shadows hit. (Figure 1)

LEARNING THEORY TIP: Veins on leaves curve; on lemon leaves they curve only slightly (at least that is how they look on my Myers Lemon). Veins do not extend to the tip of the leaf. They are not always in the center and moving them to one side will help turn the leaf. Experiment. Lemon leaves are very rich green and quite dark. They are glossy. Smaller, lighter leaves are only seen in spring, before the lemons appear.

Repeat if coverage is not solid. Let the paint dry.

Painting World Magazine

The Sketch: Transfer the lemon branch, leaves, and lemons using a light touch. Do not trace the dotted lines.

Figure 1

Sketch over the transferred outlines with a standard 2H graphite pencil. Be loose to support the idea that someone sketched these lines. You can even erase the lines and make corrections until you are happy. Mist with Krylon Matte Finish 1311, or your favorite matte fixative spray, to set the pencil lines. Let that dry. Always use sprays in areas with adequate ventilation. Hold the surface horizontally. Shake the can well, and spray the air above the surface. Let the mist fall down onto the painted surface; do not spray directly onto the painting. LEARNING THEORY TIP: Always use sprays in areas with adequate ventilation. Hold the surface horizontally. Shake the can well and spray the air above the surface. Let the mist fall down onto the painted surface. Do not spray directly onto the painting.

the design or in the “holes” in the center of the design. The brown areas are smaller than the green areas and are closer to the center of the design. Brown will dull the green. If it is too dull, go back and wash in some Plantation Pine or Hauser Dark Green. The areas near the center of the design should be almost opaque.

Using a liner brush, paint the stems and branch in the upper portion of the design with short, angular lines, changing colors often. One small branch could have sections of many colors. Choose from Lamp Black, Burnt Umber, Raw Sienna, Hauser Dark Green, and Buttermilk based upon the area in which the stems lie.

Figure 2

Starting at the top of the design, use a large flat brush to slip-slap a wash of Plantation Pine casually into the background in the areas defined by the dotted lines. Let the strokes show. Work downward, getting lighter as you go and leaving the background untouched on the lower portion of the design. Go over the Plantation Pine with slip-slap strokes of Burnt Umber, keeping close to the edges of © 2018 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

February 2018 Issue

Painting World Magazine Using a fine liner, randomly edge the leaf with very thin, short, broken highlights of Snow White. Moisten the two areas where the bright highlights lie with Hauser Dark Green.

Figure 3

Pit-pat Cadmium Yellow into the green, starting at the center of the highlight along the leaf’s edge. Use increasingly less pressure, and do not reload your brush. LEARNING THEORY TIP: The pit-pat process makes great highlights, especially on textured objects, like lemons. A small round or flat brush is used, much like stippling.

If the background area is dark, make sure to include some lighter colors. If the area is light, include some darker colors.

Base in the topmost leaf (cupped upward) with Hauser Dark Green.

Using the photos as references, note whether the highlights on each leaf are near the center vein or on the edges of the leaf. This determines if the leaf is cupped upward, forming a trough, or downward, forming a hill.

Working wet in wet with the side of a flat brush and Lamp Black, put the vein in the leaf. It should curve SLIGHTLY and fade out before the leaf tip. It should resemble the curvature of the branch and stems. Walk the Lamp Black out in both directions toward the side edges of the leaf.

Paint each of the leaves in the same manner; only the placement of lights and darks should differ.

Wash the leaf with Lamp Black on the end that attaches to the branch; this shaded area is triangular.

Repeat this with Snow White, but cover a smaller area and only a portion of the yellow. Up close, this will not look well blended. But, from a viewing distance, it will sparkle, as do glossy lemon leaves. Now, let’s do a leaf that cups downward. Base in the leaf with Hauser Dark Green. Working wet in wet with Lamp Black and the side of a flat brush, put the vein in the leaf. Walk the Lamp Black out only far enough to keep the vein from being a sharp line. Wash the leaf with Lamp Black on the end that attaches to the branch.

Figure 4

February 2018 Issue

Painting World Magazine Figure 5

crescent shaped. Separate each lemon from its knob with a shaded area of Burnt Sienna. Establish the highlights first with Cadmium Yellow using the pit-pat method. You may have to repeat this to get the degree of impact you want.

Moisten the area between the vein and the side edge with Hauser Dark Green. Pit-pat Cadmium Yellow into the center of the green, working outward in both directions (toward the vein and the leaf’s edge). Use increasingly less pressure, and do not reload your brush. Repeat this with Snow White, but cover a smaller area and only a portion of the yellow. The location of this highlight - how close it is to the vein or leaf’s edge - helps the leaf to turn. Figure 2 Using the photos as references, continue to paint the leaves. Leave the ones in the lower part of the design unpainted or only partially painted. The edges where the paint ends on the partial leaves should be ragged to simulate pencil strokes. Base the lemons in with Raw Sienna, and shade them at the tops and right sides with Burnt Sienna. The shaded areas on both the lemons and their little knobs are

Wet the yellow area with water or a wash of Cadmium Yellow, and pit-pat in a highlight of Snow White. Let some of the pitpat strokes show to give the “bumpy” texture of the lemon. Wash the top of each lemon with Plantation Pine in an area that doesn’t quite cover all of the Burnt Sienna. The upper lemon is hiding behind the leaves, while the lower left lemon is dominant and coming forward. There is an easy “trick” to strengthen the dominant highlight… LEARNING THEORY TIP: The light source for the sketch is lower left. The light source for the full design is upper left. This deliberate disparity helps to support the illusion of Trompe-l’œil. Paint the highlight as you did above for all of the lemons.

Wash over the highlight with Cadmium Yellow. Redo the highlight with Snow White, but cover a smaller area. You can repeat this process of “wash and re-highlight, but smaller” until the highlight gets too small. (Figure 3) Adjust the stems and branches to make sure that the leaves and lemons are not suspended in air. Let the paint dry really well, as the next step involves using tape to mask.

The Pencil: Transfer the pencil outline onto your piece. Use tape to mask, and seal it with Lamp Black or Driftwood, depending on the area. Once that’s dry, basecoat the pencil with Cadmium Yellow. If you have trouble getting coverage, mix a little Buttermilk into the Cadmium Yellow for an undercoat, and then basecoat with Cadmium Yellow. Shade the top and bottom of the pencil with a blended edge of Raw Sienna. The shading is wider on the bottom edge than it is on the top edge. Highlight just above the middle line with a liner and Snow White. The stripe at the end is curved. Paint it with Buttermilk, shade it on the bottom edge with Driftwood, and highlight it with Snow White. Hold your breath, and remove the tape. At this point, the pencil looks like it’s floating in mid-air, doesn’t it? It also looks too fat. Touch up the background as needed. Paint the wooden pencil point with a liner and alternating strokes of Raw Sienna and Buttermilk to give the appearance of wood grain.

February 2018 Issue

Painting World Magazine The pencil lead is Cadmium Yellow. If you can get it in, there is a triangular shade of Raw Sienna on the bottom. The highlight is a dot of Snow White. (Figure 4)

The Sharpener & Shavings:

Paint the shavings with the same paints as you used for the pencil: Buttermilk, Raw Sienna, Burnt Sienna, Cadmium Yellow, and Snow White. Use a liner and zigzag strokes. (Figure 5)

Figure 6

Transfer on the outline of the sharpener; rely more on your C-Thru ruler than the line drawing. Mask with tape, and seal it with LEARNING THEORY TIP: Lamp Black. Shadows are not all just When that’s dry, black. They have values basecoat the and are darkest near the sharpener with object casting them. Their Forest Green. color and temperature Remove the tape, are dependent upon and touch up the color of the surface the background on which they rest. if needed. Using a liner brush, add streaks of Lamp Black in the depressed sections, as shown in Figure 5. Highlight the raised edges with a mix of Driftwood + Forest Green (this small amount of paint did not justify buying another color). These lighter areas are more obvious in the upper right and lower left corners. Paint the blade with Driftwood and the sharp edges with Buttermilk. The little brass fastener consists of dots of Burnt Sienna, Raw Sienna, and Cadmium Yellow. Highlight it at 2 o’clock with Snow White. The hole in the middle is Lamp Black. Give height to the brass fastener by painting the area around it with streaks of Lamp Black. For the rust, paint streaks of Burnt Sienna. Then, paint streaks of Lamp Black in a smaller area within the Burnt Sienna. February 2018 Issue

The Shadows: Very lightly transfer the shadows for the shavings, the pencil, and the flip, or estimate them and do them freehand. Paint the shadows with Zinc. Before the paint dries, pick up some Driftwood on your dirty brush, and work this mixture into the edges of the shadows so they fade away. Wash the shadows close to the objects (pencil and shavings) with diluted Lamp Black. When you’re done, the shadows should fade from dark to light and should be “fuzzy” at their edges. You can achieve the shadow for the sharpener by using diluted Lamp Black to wash over the shavings.(Figure 6)

Evaluate: Look your project over. Technically, the project is done at this point - you can skip to the “Finishing” instructions. But, some people like to putter (I like to putter… can you tell?). And maybe there’s something you’d like to improve. I’ve provided the following suggestions for those who

Painting World Magazine wish to go that one step further. You can try any combination, or all, or none.

Figure 7

All that Jazz & Pizazz (tying it all together): This is my favorite part of painting - I love to putter. And, there are always a few ways to improve any painting. LEARNING THEORY TIP: While the sketch of the lemon branch is quite nice, it is really mostly background to the story: someone is sketching. The design’s intended focal area, where your eye is first drawn - is a triangle, defined by the pencil, dominant lemon, and sharpener. The pencil and sharpener are perpendicular to one another (an optical trick; the eye loves right angles.) If you want to explore this further, compare a black and white print out of Figure 6. You should be able to see that the focal area is brighter, lighter, warmer. And, you should see that your eye is drawn more forcibly to the focal area in the rendition with Jazz. A B&W photo is also good for finding the mistakes in your work. These optional steps are generally considered more advanced. At this stage, your painting may require other adjustments or work in other areas depending on how heavy- or light-handed you were with your brush.

Play with Contrasts: Adjust the values, hues, intensity, and temperature. Here are some ways you can play with contrasts… Further darken some of the areas tucked into and behind the branch with a wash of Lamp Black. Darken the lower portion of the pencil’s wooden tip with a wash of Burnt Umber to help it contrast with the paper. Lighten the paper below the pencil and shadow with Buttermilk to make the background even lighter than the shadow and pencil point. Lengthen the pencil’s shadow to extend slightly beneath the point. Give light sparkles (Buttermilk or Snow White) to some of the branches in the darker areas. Accent some of the branches in the lighter areas with dark lines (Burnt Umber or Lamp Black).

LEARNING THEORY TIP: A colored pencil artist would never allow the shavings to touch their work; they would soil the paper. But, ours clearly did. That faux pas adds to the story. And, to further draw the eye to this area and ensure that the leaves cannot “take over the design,” you can place a tear along the edge of the paper. “Where?” you ask? On the diagonal line that runs from the sharpener to the pencil point. Now, you’ll draw the eye even more to the area that extends from the sharpener, through the bright lemon, across the bright, light paper, and to the pencil. (Figure 7)

February 2018 Issue

Painting World Magazine

Add Reflected or Accent Colors: It’s best to do this in the focal area. Cadmium Yellow and Forest Green mix to create a chartreuse-like green. You can place it on the edge of the dominant lemon diagonally from the highlight to create reflected color. In addition, a wash of Cadmium Yellow will accent the slanted depressions of the pencil sharpener and the leaf directly below the top lemon.

Add the Unexpected (Sparingly): Use Lamp Black to create the rip. Highlight the bottom edge with Buttermilk, and then with a little bit of Snow White. Shade the top edge with Zinc. Un-paint: Look at your painting. It is so easy for decorative artists to get in the rhythm of a process and forget to stop painting. You may choose to remove some of the green in the lower leaves, the mottled background, or the branches by painting over the green with the background color for that particular location.

Finishing: Go back and evaluate your piece again; decide if you need to do more. If you’re pleased, sign your piece with pride. People who paint Trompe-l’œil can be passionate about varnish. A glare prevents the viewer from seeing the painting, and it can add an unrealistic feel, especially if the subjects are not supposed to be shiny. On the other hand, matte varnishes on dark surfaces can be cloudy, especially if you apply several coats. Some more zealous Trompe-l’œil artists will paint each area with a different finish to try to support the realism. I protected the sample with multiple coats of DuraClear Gloss Varnish and a final coat of DuraClear Matte Varnish.

February 2018 Issue

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

Painting World Magazine

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

February 2018 Issue

Painting World Magazine

Rosebud by Mabel Blanco, DACA

February 2018 Issue

Painting World Magazine What better way to welcome the spring flowers than to paint them? In this project, I’ll teach you how to paint a beautiful rose that will brighten your home and remind you of the flowers that spring is bringing.

About Mabel Mabel is an Argentinian artist, and a Senior Lecturer on drawing and painting. She’s a member of the National Society of Tole and Decorative Painters and the Tango Decorative Artists of Argentina. In 2013, she was an honorary member of Decorative Painter Italia. She’s also a member of the board of directors of the National Museum of Decorative Painting in Atlanta, Georgia. Mabel has been a Helping Artist and a Traditions Artist for DecoArt®, and Jansen Art gave her the title “Traditions Artist” in 2004. She’s taught many classes, including classes at seminars and conventions. She participated in a national TV program in Bolivia in 2011, and taught at some seminars in Milan, Italy in 2011 and 2012. Mabel has won several awards over the past twenty years, and is the founder and coordinator of a school that helps artists become decorative painting teachers. © 2018 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

February 2018 Issue

Painting World Magazine

Figure 1

Figure 2

Figure 3

Figure 4

Figure 5

Figure 6

Surface:

Synthetic Brushes:

• 30cm x 40cm (12” x 16”) Canvas (with a Frame)

• #1, #6, & #10 Flat/Shader • #1 & #3 Round

DecoArt® Traditions™ Acrylics:

Miscellaneous Supplies:

• Burnt Sienna DAT44

• Mil Artes® Stencil Sm95 (Eiffel Tower) • Masking Tape • Small Sponge • Paper Towels

• Burnt Umber DAT46

Background:

• Naphthol Red DAT02

Basecoat the surface with Medium White and your #1 shader. If necessary, apply a second layer, allowing the paint to dry between layers.

• Titanium White DAT35 • Hansa Yellow Medium DAT52 • Pine Green DAT19

• Burgundy DAT01 • Medium White DAT37 • Cobalt Blue Hue DAT55

February 2018 Issue

When the surface is dry, tape the stencil in place. Dampen a small sponge with water, load it with Cobalt Blue Hue, and then wipe the excess off on a paper towel. Tap it over the stencil, working from the inside and moving outward. Remove the stencil very carefully, and let the paint dry. (Figure 1)

Painting Instructions: Paint color next to color, referring to the photo and the color map.

Petals: Mix Titanium White + Naphthol Red + Burgundy (1:touch:touch) for the color of the rose.

Painting World Magazine

Figure 7

Figure 9

Use more Titanium White to create lighter shades and more Burgundy to create darker shades. You can lighten or darken the mixture to obtain a wider range of color, always adding Titanium White to lighten and Burgundy to darken. Paint each petal from the base to the edge. Observe the light and shadow areas in the photo to give the correct shape and volume to the petals. (Figure 2) Place Titanium White on each petal, and then place the mixtures according to the value map. Then, softly blend between the light and dark areas

Figure 8

Figure 10

using the #10 flat. (Figure 3) Outline each petal with the #1 round brush and Titanium White, and fade the white in. (Figure 4)

Figure 11

The brushstroke must always go from the petal’s base to its tip to give it its proper shape and volume.

Use the dark mix to shade at the base of each petal and in the folds between petals.

Another important thing to note is that you should direct all of the petals toward the center of the rose.

To give the petals volume, we have to highlight the light areas and shade the dark areas well. Use White in the lightest areas.

Put a touch of Pine Green at the base of the rose, and blend. (Figure 5)

An important thing to know is that if you’re painting a convex petal, you should only shade on its base and edge, leaving all of the center light.

Using Burnt Sienna and your #1 round brush, outline all of the petals with broken, choppy lines. (Figure 7) Especially focus on the petal under the leaves that supports

February 2018 Issue

Painting World Magazine

Leaves & Stem:

Add Burnt Sienna to intensify the shading on the leaves. Dilute Burnt Umber with water, and outline the leaves and veins with your #1 round brush. (Figure 11)

Paint the leaves with Pine Green and your #6 flat brush, highlight them with Hansa Yellow Medium, and blend. Always refer to the photo as a guide. (Figure 9)

Paint the stem just like the leaves. First, basecoat it with Pine Green. While thatâ&#x20AC;&#x2122;s still wet, add Hansa Yellow Medium to the light areas, and gently blend.

the rose. Refer to the photo, and gently blend the lines out from the petals. (Figure 8)

Finally, shade the stem using Burnt Sienna. (Figures 6 & 10) When the piece is completely dry, apply two layers of varnish, allowing the first layer to dry before applying the second one. I hope you enjoy painting this rose. Thank you.

Due to the large size of this painting, the drawing has been reduced by half. Enlarge 200% for full size painting. Note to reproduction companies/stores: The bearer of the original color magazine has full rights to have this drawing reproduced and enlarged one time for personal use. This notice has been printed in red ink for verification of authenticity.

February 2018 Issue

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Starfish on the Beach

by Sue Boerman

Painting World Magazine

It’s never too early to start creating new summer decorations, and what says summer more than a visit to the beach? In this project, I’ll teach you how to paint sand, stones, and starfish with realistic textures. So let’s get started!

Jo Sonja’s® Acrylics:

Techniques:

• Aqua JS002 • Burnt Sienna JS006 • Burnt Umber JS007 • Island Sand (Clear Collection) JJ3453 • Naples Yellow Hue JS599 • Paynes Grey JS031 • Raw Sienna JS034 • Raw Umber JS035 • Scarlet Runner (Autumn Hues Collection) JJ3670 • Titanium White JS048 Jo Sonja’s Mediums:

Create the texture of the sand by spattering Burnt Umber, Raw Umber, Burnt Sienna, and Island Sand separately using a toothbrush. Wet the toothbrush, rub it in the appropriate color, hold the bristles face down, and run the skewer across the bristles toward you. The more water in the brush, the larger the spatter.

• All Purpose Sealer • Clear Glazing Medium

Brushes: • 3/4” Plaid® FolkArt® One Stroke™ Flat, Series 1176 • #8 Loew-Cornell® Comfort Grip™ Shader, Series 3300 • #2 & #6 Loew-Cornell Comfort Grip Filbert, Series 3500 (discontinued; can substitute with the Artist’s Club Papillon Filberts, Series 20122) • #0 Loew-Cornell American Painter® Shader, Series 4300 • #1 Royal® & Langnickel™ Gold Taklon Round, from RSET-9158 Set

About Sue I’ve been drawing and painting most of my life, and have my Bachelor of Arts degree from Bridgewater State College in MA. Until I took a class in the late 1980’s, I knew nothing about acrylics. Outside of drawing, I was only familiar with oils, colored pencils, and pastels. Since my discovery of acrylics, I’ve been hooked! I learned techniques from other artists, and then developed my own style.

Miscellaneous Supplies:

I started teaching in 2000, and eventually started doing my own designing, which led to two books and a number of pattern packets. It’s been a fun ride so far, and I look forward to seeing what the future holds for the art world!

Surface: • 12” Sq. Framed Panel 0320, from J.B. Wood February 2018 Issue

• Tracing Paper • Loew-Cornell White Transfer Paper • Pen • Pencil or Stylus • Fine-Grit Sandpaper • Toothbrush • Skewer • Small Sea Sponge • Paper Towels • Krylon® Gallery Series™ UV Archival Varnish 1378 Matte

Dry brush the cast shadows, shading, and highlighting on the starfish, stones, and bubbles using filberts. Do not wet your brush. Load the color, brush off the excess onto a paper towel, and lightly brush in the appropriate area and along the contour of the object. A light touch works best. You can make the color brighter or darker by adding multiple layers. Create the first layer of texture on the starfish with a sea sponge. Wet the sponge, and squeeze out the excess water. Dip it into the paint, and pounce it over the starfish. You can squish the sponge tight to get into small areas. Be sure not to cover the basecoat completely. Add the second layer of texture on the starfish by dabbing the paint from the tip of the round brush.

Helpful Hint: The pattern has shaded areas you can refer to when applying cast shadows or shading.

FYI: Not all the bubbles are on the pattern. Create as many or as few as you want to make it your own! I will confess, the process can be a little tedious. If you would like to work on canvas, the only change would be with the dry brushing technique.

Painting World Magazine The brush would have to be a little damp when working on canvas for the paint to sink into the weave.

Painting Instructions: Sand: Use the 3/4” flat brush to brush on the All Purpose Sealer over the entire surface. Let it dry, and lightly sand until the surface is smooth. Paint the entire piece with a mix of Island Sand + Raw Umber + Burnt Sienna (3:2:1) and the 3/4” flat brush until you’ve completely covered the board. Let it dry. Wet the toothbrush, tap out the excess water, and load it with Burnt Umber. Spatter the paint over the entire piece including the edges. Rinse, and repeat with Raw Umber, then with Burnt Sienna, and finally with Island Sand until you have a nice, even texture.

sand by dry brushing a mix of Burnt Umber + Paynes Grey using a #6 filbert. The light source is coming from the upper left, so the shadows are on the right. Each shadow is darker up against the starfish and gradually fades out as you pull away from it (Figure 1). There’s a little shadow on the bottom tip of the arm that’s sticking in the water.

Starting the Water: Thin Titanium White with water to an inky consistency. Use the 3/4” flat brush to paint the water, starting from the shoreline. Paint back and forth, walking the paint on the diagonal until you reach the corner of the board. You should be able to see the sand through the paint, except along the shoreline, which can be a little more opaque. Do not let the white dry.

Trace on the edge of the water and the outline of the starfish. You don’t have to trace on the edge of the water as intricately as the pattern shows. You’ll form the lacey edge later.

Quickly wipe off the excess paint from the brush, and load it with Aqua. Start painting at the corner of the board, and walk it down (again on the diagonal) toward, but not to, the shoreline.

With a flat brush, apply the Clear Glazing Medium on the area where you’ll paint the water.

The Aqua color should be a little bolder at the corner and be lighter as it mixes with the white as you paint away from the corner (Figure 2).

While that is drying, add the cast shadow of the starfish onto the Figure 1

Figure 2

If you need to repeat the previous steps, add another layer of Clear Glazing Medium first. While this is drying, we’ll move to the starfish.

Starfish: Paint the starfish with Raw Sienna using the #8 shader. Let it dry. Wet the sea sponge, and load it with Burnt Sienna. Pounce it over the entire starfish (Figure 3). Let the surface dry, and then trace the lines onto the starfish. Dry brush the shading on the starfish with Burnt Umber + Burnt Sienna, (almost 1:1, but with a little more Burnt Umber) (Figure 4). Next, with the #1 round brush, dab Island Sand along the traced lines. Rinse the brush. Load the brush with Naples Yellow Hue, and dab over the rest of the starfish; add a little more water to the paint when dabbing in the shaded areas so the color will fade a bit (Figure 5). Rinse the brush. Load it with Island Sand again, and dab sporadically on each side of the spines on the arms. Do not dab over the entire arm (Figure 6). Let the surface dry. With a #2 filbert, dry brush a Burnt Umber + Burnt Sienna mix here and there in between and around the dabbed colors to create a little more texture. Figure 3

February 2018 Issue

Painting World Magazine

Figure 4

Figure 5

Figure 6

Figure 7

Figure 8

Figure 9

Next, with a #6 filbert, dry brush Naples Yellow Hue along each outside edge of the arm that sticks into the water, the left edge of the arm to the right of it, and the left edges of the two arms to the left of it (Figure 7). Rinse and dry the brush. Lightly dry brush Scarlet Runner here and there to brighten up the starfish. Rinse and dry the brush. Dry brush Aqua here and there on the shaded areas. Re-dab Naples Yellow Hue with the round brush in the areas where you just added the color.

Bubbles: Use the round brush to create the bubbles with Titanium White thinned with water. Create the shape of each bubble with two strokes: a C and a backward C.

February 2018 Issue

If you try to paint the circle all at once, it may come out too thick. Paint various sized bubbles smaller ones more tightly packed together along the shoreline and larger ones more scattered apart further into the water. The smaller ones along the shore will help create the foaminess of that area. Break up the smooth edge of the water by painting some bubbles outside the line you traced initially. This will help the edge look lacey. Paint as many bubbles as you like. You don’t need to do as many as I did. Make sure the bubbles look scattered and not lined up in rows. Cluster some, and leave some single (Figure 8). Next, you need to fill in the spaces between the small

bubbles along the shoreline and here and there in some clusters you may have formed. To do this, paint with Titanium White, using the round brush in small areas and the #0 shader in more open areas that you need to fill. This step will make these areas look more like foam. You may have to create more bubbles in these areas, or you may end up covering some (Figure 9). Once this is done, you need to “ground” most of the rest of the bubbles to the water. Some smaller bubbles can just stay the way they are. Dry brush Titanium White around most of the bubbles with a #2 filbert. Use a light touch so it looks more like a glow and not like an outline (Figure 10). Also dry

Painting World Magazine brush here and there if needed along the left edge of the foam so it softly connects to the water.

of the bubble. Also add some highlights on some bubbles that you didn’t shade (Figure 12).

The next step is to add a shadow inside all of the large bubbles, most of the bubbles away from the shore, and some here and there in the foam. Mix Raw Umber + Aqua (almost 1:1, but with a little more Raw Umber), and load it into a #2 filbert. Lightly dry brush this color along the inside edges of the bubbles from 9:00–12:00. It should be a little thicker than just an outline (Figure 11).

With a #2 filbert, dry brush the water’s cast shadow onto the sand with Burnt Umber + Paynes Grey. Keep it soft so it won’t look like an outline.

When you’re done with that, give each bubble with the shading a Titanium White highlight. Use the round brush to paint a dash from 10:00–11:00 on the shaded area a bit in from the outer edge Figure 10

Figure 13

Stones: Trace on the stones. Shade the cast shadow on the right side of each stone with Burnt Umber + Paynes Grey using the #2 filbert. Darken the shadow up against each stone, and let the color fade out to the right (Figure 13). Each stone is made up of the same colors: Burnt Umber, Paynes Grey, and Titanium White. From these colors, make three puddles: a light mix (which Figure 11

Figure 14

has more Titanium White), a medium mix (which has more of an even ratio of each color), and a dark mix) which has more Burnt Umber and Paynes Grey). Paint the top stone with the medium mix, the bottom left stone with the light mix, and the bottom right stone with the dark mix (Also Figure 13). Let everything dry. Using the #2 filbert, dry brush the shading on the right half of each stone with the base mix plus more Burnt Umber and Paynes Grey. Create a little texture to the stones unless you want them very smooth (Figure 14). Rinse and dry the brush. Dry brush the highlight on the left half of each stone with its base mix plus more Titanium White. Figure 12

Figure 15

February 2018 Issue

Painting World Magazine

Figure 15

Again, you can create some texture if you like. Keep adding more white if you want them brighter (Figure 15). With a #2 filbert, dry brush Raw Sienna in the shaded areas of the top stone and along its bottom edge. Rinse and dry the brush. Dry brush Scarlet Runner here and there on the bottom left stone. Also dry brush Scarlet Runner on the bottom right stone in the shaded areas. Rinse and dry the brush, and then dry brush some Raw Sienna over the highlighted area of the bottom right stone (Figure 16).

Finishing: Spray the piece with Krylon Gallery Series UV Archival Varnish 1378 Matte.

February 2018 Issue

Painting World Magazine

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February 2018 Issue

Painting World Magazine

Formal Wear

by Diane Trierweiler

In this project, I’ll teach you to use watercolor pencils to paint these beautiful dresses. If you already have a set of watercolor pencils and they aren’t the same brand I used, you can still use them. The colors February 2018 Issue

may not match exactly, but that’s alright. It’s your painting, so get creative and have fun with it!

About Diane I have been painting for about 40 years. I first started painting in oils in the fine arts. My love of

painting evolved into watercolors and acrylics. I also enjoy teaching people how to paint, so 32 years ago, I opened a shop called The Tole Bridge in Norco, California. I teach classes all year long in my shop, and I have a full line of painting supplies. From there, I

Painting World Magazine • Water Tub • Paper Towels • Wet Palette (optional, but very efficient)

Helpful Hints: The nice thing about using watercolor pencils is that you have the control at the beginning of the painting to place the colors where you want them without having them bleed out.

Surface: • 12” x 15” 140- or 185-Pound Cold Pressed Paper

Derwent® Watercolor Pencils:

(or pencils of your choice; you may also use pastel chalk pencils instead. I used General’s® brand pencils.)

• Copper Beech 61 • May Green 48 • Crimson Lake 20 • Mineral Green 45 • Golden Brown 59 • Rose Pink 18 • Brown Ochre 57 • Imperial Purple 23 • Kingfisher Blue 38 • Terracotta 64 • Deep Vermillion 14

Miscellaneous Supplies: • #4 & #8 Royal & Langnickel™ Majestic LH Round Brush, Series R4100R • DecoArt® Craft Twinkles® - Crystal DCT1 • Black Ultra Fine Point Sharpie® 37001 • Tracing Paper • Chacopaper™ (or very worn graphite or a light box) • Piece of Watercolor Paper (to test your colors on) ®

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

The next step of putting the water over the pencils is also simple. Watercolor paper has a sizing on it that is removed when you wash water over it. Until then, the colors will not flow where the seal hasn’t been broken. Do be careful, though, not to flood an area with too much water. With watercolor, you will be starting with the light value first, and then gradually adding the darker shadows. I have included a photocopy of my painting in black and white to show you where the shadows will be and where there is not color. Always be sure to test your pencils on another piece of watercolor paper before you place them on your actual surface. Avoid sharpening your pencil too ofter or pressing too hard when you place the colors on. Sometimes these impressions will not go away. Many times, the colors in the pencils look a lot different when you put water over them. Better to make a mistake on the practice paper than on the finished piece.

Preparation: Trace your pattern.

February 2018 Issue

Painting World Magazine Transfer the pattern onto the watercolor paper using Chacopaper or very worn graphite. You may also use a light box to transfer the design on.

Shade with Vermillion, and blend the colors together with water. Tint with a little Kingfisher Blue here and there.

Painting Instructions:

Place in the hanger and the detail lines on the dress with the Sharpie.

(From left to right)

Dress #3:

Dress #1: Apply Rose Pink to the dress, leaving empty spaces here and there. Use your brush to apply water loosely, moving the water around to create more intensity in some areas and less in others. Use Crimson Lake to apply some shadows. Use your brush with water to blend the shadows into the Rose Pink.

Add shadows with Crimson Lake, and then blend the colors together with water. The waistband is Crimson Lake. Also use Crimson Lake to add shadows to all the red areas on the dress. Blend the colors together with water.

Allow the dress to dry, and then tint here and there with Vermillion. Blend with water. Use Copper Beech for the hanger. Shade the ends of the hanger with more Copper Beech, and blend it together with water. Use your brush with water to blend the colors. Let the dress dry again, and use your Sharpie to apply detail lines loosely.

Dress #2: For this dress, use Golden Brown for the gold areas and May Green for the green areas. Use your brush with water to blend the colors together. Make sure to leave empty spaces with no color. Use Mineral Green for the shadows. Loosely blend the colors together with your brush and water. For the waist belt, use Deep Vermillion. Leave an open area in the middle for the highlight. February 2018 Issue

Use the Golden Brown, Terracotta, and Crimson Lake pencils to place the colors on. Loosely blend them together with water.

The hanger is Copper Beech. Add a little more Copper Beech for shading. Blend together with water. Loosely add your detail lines with your Sharpie.

Dress #4: Use Imperial Purple where you see the lavender, Golden Brown where you see the touches of gold, and Kingfisher Blue where you see the turquoise. Use Crimson Lake where you see the red, and use Terracotta for accents. Blend the colors with water. Shade with Crimson Lake, and blend with water. The waistband is Golden Brown. Leave empty areas of paper for highlights. Shade with Golden Brown.

Dress #5: Use Imperial Purple where you see the lavender and Kingfisher Blue where you see the blue. Leave larger areas open with no color. Blend the colors together with water. Add shadows with Imperial Purple, and blend again. Tint here and there with Golden Brown. Use a smaller brush to add the flower at the waist; do this with May Green for the leaves and Crimson Lake for the flower. Touch it with a little water to blend. Loosely add your detail lines with your Sharpie.

Finishing: Add a little water underneath each dress, one at a time. Wash in a little Brown Ochre under each dress. Make sure that you’ve removed all of the Chacopaper lines during the process of painting. Paint on the Crystal Glitter paint over the dresses. When you frame the project, make sure it is behind glass. This will protect it from dirt and handprints. There shouldn’t be any buckling of the paper if you used at least 185-pound paper. If you choose to use 140-pound paper and it buckles, you may iron the back of the paper to flatten it out.

Loosely add the detail lines with your Sharpie. Also add the hanger and straps with your Sharpie.

Painting World Magazine

left side

Dress #1

Dress #2

Dress #4 Dress #3

Dress #4 right side

Dress #5

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

February 2018 Issue

Showers of by Marlene Fudge

Flowers

Painting World Magazine

Make your rainy days a lot more cheerful and bright with a unique handpainted umbrella. This fun design is a great gift idea for Mother’s Day, birthdays, or any occasion.

Surface:

We will be using three values of the peach colors for each flower…

• Black Umbrella

DecoArt Americana® Paints: Multi-Surface Satin™: • Black Tie DA539 • Green Beret DA521 • Paprika DA512 • Peach Silk DA542 • Woodland Green DA565 Multi-Surface Metallic™: • Champagne DA554

Loew-Cornell Brushes: ®

About Marlene I live in scenic Lehigh Valley, Pennsylvania with my wonderful husband of 31 years and all of our kitties. I have two beautiful daughters, who are out in the world doing amazing things. We are very proud parents! I have been decorative painting for over 20 years and have enjoyed trying many different mediums, but I always seem to come back to my favorite...acrylics. In the last several years, I have had a lot of fun with the designing side of decorative painting. Some days I have so many ideas in my head that I wish there were more hours in the day to paint! I am a member of the Society of Decorative Painters as well as two local chapters, the Lehigh Valley Decorative Painters and the Pocono Painters. I am also proud to be a DecoArt Helping Artist. I am so grateful to be able to do what I love and for all the wonderful painting friends I have met along the way!

• #4 & #6 La Corneille® Filbert, Series 7500 • #4 La Corneille Round, Series 7000 • #10 La Corneille Shader, Series 7300 • #10/0 La Corneille Script Liner, Series 7050

Miscellaneous Supplies: • Clothespins (or Chip Clips) • White Transfer Paper • Tracing Paper • Pen • Large & Small Styluses • Regular Painting Supplies

Preparation: Transfer the pattern using white transfer paper and a stylus or pen; use clothespins (or Chip Clips) to hold the pattern onto the umbrella.

• Light Value: Peach Silk • Medium Value: Peach Silk + Paprika (1:1) • Dark Value: Paprika

Flower #1: Basecoat the outer petals with Paprika using the #4 round brush. Shade the petals where they tuck under the center with Black Tie using the #10 shader. Highlight the outer edges of each petal with Peach Silk using the same brush. Using the #4 round, basecoat the center with Peach Silk. Add a shimmery highlight on the outer edge with Champagne using the #10 shader. Add the stroked petals using a #6 filbert for the larger flowers and a #4 filbert for the smaller flowers. Load the brush with Paprika, and tip the end into Peach Silk. Starting at the top of the petal, hold the brush flat against the surface, slowly turn the brush onto the chisel edge, and pull the stroke down to the bottom of the petal. Flower 1

Helpful Hint: It helps to hold something underneath the umbrella, like a little box lid or piece of cardboard, so you have a hard surface to draw on while you transfer the pattern.

Painting Instructions: Please note: All of the basecoats will need at least two coats to make them opaque.

February 2018 Issue

Painting World Magazine Flower 2

Load the brush again, and repeat this for each petal. Add a dot of Champagne on the bottom of the flower with the large stylus.

Flower #2: Basecoat the outer petals with the Medium Value mix using the #4 round.

Flower 3

Add a touch of water to Paprika to thin the paint to an inky consistency. Using the liner, pull little lines out from the center. Add shimmering highlights to the outer edges with a float of Champagne using the #10 shader. Paint the next layer of petals with Paprika using the #4 round brush. Add a little water to Black Tie, and pull lines out from the center with the liner. Using the small stylus and Champagne, put little dots on the outer edges of these petals. The center is Peach Silk with a little dot of Champagne in the middle.

Flower #3: Flower 4

February 2018 Issue

Base in the center with Paprika. Use the liner brush to pull some strokes up into the petals. You’ll add the Champagne dot at the bottom after you’ve painted the leaves.

Flower #4: Paint the outer petals with Paprika using the #4 round brush. Using the #10 shader and Black Tie, shade along the center and shade to separate the petals. Highlight these petals with the Medium Value mix. The center is Peach Silk. Highlight along the top of the center with Champagne. Next, you’ll add the outer strokes using the #6 filbert brush. Load the brush with the Medium Value mix, and tip the end in Peach Silk. Starting at the top of the stroke, slowly turn the brush onto the chisel edge to bring it to a point. Reload and repeat for the other stroked petal. The dot at the bottom of the flower is Champagne.

Base in the outer petals with Paprika. Shade with Black Tie using the #10 shader. Highlight these petals with Peach Silk using the same brush.

Flower #5:

The next layer of petals is the Medium Value mix. Shade toward the center with Paprika. Use your liner to pull some strokes of Paprika out from the shaded area. Outline these petals with Champagne using the liner brush.

Mix together Paprika with a touch of Black Tie, and then add a touch of water to this mix; using the liner brush, pull strokes out from the center of each petal. Highlight the outer edges of the petals with the #10 shader and Champagne.

Add the next layer of petals with Peach Silk using the #4 filbert brush. It’s okay if it’s slightly transparent. When that’s dry, load the same brush with Champagne, and pull some highlights down toward the center.

Paint the next layer of petals with Peach Silk using the round brush. Pull thinned Paprika lines out from the center with the liner. Then, highlight the outer edges of these petals with Champagne.

Base the outer petals with the Medium Value mix using the round brush.

Painting World Magazine The center is Paprika. Using the stylus, add some Champagne dots around the outside of the center and a few inside.

Flower 5

Leaves & Vines

Little Sprouts of Flowers: Thin some Peach Silk, and pull some tiny strokes out of each bud with the liner brush. The bases of the buds are Green Beret.

Leaves & Vines: Basecoat the leaves with Green Beret using the #4 round. With the #10 shader and Black Tie, shade each leaf along the bottom where it meets the stem. Paint the vein lines with thin strokes of Woodland Green using the liner brush. Add the vines with thinned Woodland Green using the same brush.

Strokes: Add the strokes using the #4 filbert brush and Champagne. Load the brush, and hold it flat against the surface; slowly turn the brush onto the chisel edge while pulling toward the vine, and bring it to a nice point. Add the Champagne dots to the bottoms of the #3 flowers.

Finishing: Remove any remaining tracing lines. Let the umbrella cure for at least four days before closing it. After use in the rain, keep it open to dry completely. When itâ&#x20AC;&#x2122;s closed, I prefer to keep the strap open to prevent the painted areas from creasing.

February 2018 Issue

Painting World Magazine

February 2018 Issue

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

Painting World Magazine

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

February 2018 Issue

Bouquet of by Lori Puszakowski-Schmidt

Love

Painting World Magazine • Citrus Green 2915 • Ink Spot 2925 • Aqua 2921 • Licorice 2934 • Lavender 2928 • Cobalt Blue 2926 • Violet Pansy 2956

Brushes: • 3/4” & #12 Flat • #10 Filbert (optional)

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

• Plaid FolkArt Floating Medium 868 • Tracing Paper • Transfer Paper • Pencil • Paper Towels

Painting Instructions: Begin the project by tracing the pattern onto your canvas using tracing paper and a sharp pencil. After your lines are legible, start with a #12 flat and Licorice, and outline the pattern to achieve a darker, painted design. (Figure 1) Figure 1

Surface: • 16” x 20” Canvas

Plaid® FolkArt® MultiSurface Paints:

Background:

• Thicket 2918 • Magenta 2898 • Yellow Ochre 2910 • Berry Wine 2941 • Titanium White 2938

Pick up Aqua with a 3/4” flat, and outline the flowers and vase on the right side of the canvas (approximately 2” in width). Extend the horizontal line to the right and left of the vase to create a table line and formulate the background. (Figure 2)

February 2018 Issue

Painting World Magazine and trim the back edge of the table to create a horizon line between the wall and table.

Figure 2

Load the 3/4” flat with Cobalt Blue. Begin to paint with the flat of the brush on the left side of the vase; push up and use vertical strokes, stopping about halfway to the center of the vase. (Figure 6) Next, load the same brush with Titanium White. Blend with Aqua on the right side of the canvas using a crisscross stroke, pushing the flat of your brush back and forth. Showing the painted Aqua shades of dark to light creates the sunlight highlights shining on the right side of the canvas. (Figure 3) Pick up Citrus Green with your 3/4” flat, and push the paint in a horizontal movement back and forth to the right and left of the vase, filling in the table portion of the design. Add hints of Yellow Ochre, Thicket, Cobalt Blue, and Aqua to enhance the highlights of the table. (Figure 4)

Vase: Load the 3/4” flat with Violet Pansy. Push the paint with the flat of the brush back and forth in a crisscross motion to the left side of the flowers and vase. (Figure 5) Dry your brush on a paper towel, and ever so lightly add a small amount of Lavender; blend it next to the Violet Pansy. Next, pick up a hint of Cobalt Blue, and blend the colors directly next to the Violet Pansy on the left side of the flowers and vase. Finish with a hint of Aqua and White to complete the left side of the painting and the background.

February 2018 Issue

Wipe the brush on a paper towel again. Quarter load Titanium White at the tip of the 3/4” flat brush, and add white highlights to the vase, still using vertical strokes. (Figure 7)

Leaves:

Table:

When that’s finished, load your 3/4” flat with Licorice,

Wipe the 3/4” flat brush with the Cobalt Blue paint on a paper towel, and load it with Aqua. Paint the remainder of the vase with Aqua.

Pick up Licorice on the 3/4” flat, and fill in/brush along the inside and around the flowers, as shown in the picture. (Figure 8) Next, brush off the 3/4” flat brush, and pick up a hint of Thicket. Lightly brush strokes using a back and forth motion (like an X stroke) directly on top of the Licorice to create a lighter hue of dimension.

Flowers: Rinse the 3/4” flat, and pick up Berry Wine with a #12 flat or a #10 filbert (whichever is more comfortable to you). Begin pushing the flat of the brush, starting at the bottom of the flower and working almost to the tip of the flower. Leave the tip of the flower open, layering flat, quick petals about the size of the width of the #12 flat brush. (Figure 9) Still using the #12 flat or #10 filbert, add Magenta to the brush; layer it on top of the flower, starting 1/3 of the way up the flower (leave the Berry Wine at the bottom of the flower to show a dark dimension). (Figure 10)

Rinse the brush off in water. Pick up White with the #12 flat, and gently dab white, short petals using a downward motion to create a highlight on top of each flower. (Remember not to cover the entire flower, but to leave space underneath to show the Magenta and Berry Wine.) Now, the painting has a finished look, and you can stop at this stage. (Figure 11)

Finishing Touches: The final stage is to darken the areas around the flowers and the background. Load a #12 flat with Violet Pansy, and push the paint with the flat of the brush around the left side of the vase, continuing to the top of the bouquet. Wipe the brush. (Figure 12) Using a chisel edge of the #12 flat and a hint of Floating Medium, retrace the horizon line. Using what is left on the brush, paint in front of the vase to create a darker shadow. (Figure 13) Wipe the paint off on a paper towel. Pick up Ink Spot, and darken the right corner. Still using the #12 flat, retrace the horizon line again. You can use the rest of the Ink Spot to shade the front of the vase to create shadowing. Wipe the brush off, but don’t rinse it. Pick up Thicket with your #12 flat. Darken the right corner of the painting and glide over the horizon line with the chisel edge of the brush. Use what is left on the paintbrush to shadow the right side of the vase. Continuing with the Thicket on the brush, push the paint on the flat of the brush, and move back and forth in horizontal strokes to finish the tabletop. (Figure 14)

Figure 3

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Figure 8

Figure 9

Figure 10

Figure 11

Figure 12

Figure 13

Figure 14

Painting World Magazine

February 2018 Issue

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

Chickadee Tea by Linda Lineman

Painting World Magazine

Learn to adapt your project from a photograph. You need to look closely at your photo, and decide what you want to use and what you should leave out. For example, the actual photo for this project showed buildings reflected on the shiny teapot, and I left them off my painting. I also chose not to include the snow or rope on the handle in my painting. Just because something is in the photo doesn’t mean you want it on your painting.

About Linda I started out painting on ceramics, wood, saws, tin, and the occasional canvas with acrylic paint. In 1980, I learned the beautiful art of porcelain painting, and I’ve been a porcelain artist ever since. In 2016, I began designing patterns that painters can use for both porcelain and acrylic painting. My husband and I live in a small town along the Allegheny River in Western Pennsylvania. It’s in these surroundings full of God’s beautiful handiwork that I get much of my inspiration to paint. In November 2007, I was the first artist to open a studio in the historic John D. Rockefeller’s National Transit Building in Oil City, PA. I’ve taught at several seminars, and I’ve mailed artwork throughout the US and to Australia, New Zealand, and Germany. I’m a member of many artistic groups, including WPPA, PPA, WOCP, and the IPAT association.

Surface: • 8.25” x 8.13” x 1.75” Darice® Unfinished Cigar Box (Wooden)

February 2018 Issue

• Stylus • DecoArt® Americana Matte Spray DAS13 • DecoArt Americana Drying Time Extender™ Medium DAS1 • Cardboard • Dark Green Velvet-like Material • Aleene’s® Tacky Glue®

Painting Tips:

DecoArt Americana® Acrylics: • DA208 Celery Green • DA132 Hauser Medium Green • DA133 Hauser Dark Green • DA067 Lamp (Ebony) Black • DA265 Tuscan Red • DA308 Cinnamon Drop • DA179 Alizarin Crimson • DA324 Watermelon Slice • DA128 Deep Burgundy • DA304 Zinc • DA163 Honey Brown • DA064 Burnt Umber • DA143 True Ochre • DA03 Buttermilk • DA01 Snow (Titanium) White • DA94 Mississippi Mud • DA068 Slate Grey

Royal® & Langnickel™ Brushes: • #4, #8, & #12 Royal Knight Shader, Series L7150 • 1/8” Royal Knight Angular, Series L7160 • 20/0 & 30/0 Mini Majestic Monogram, Series R4200M • #1 Mini Majestic Liner, Series R4200L

Miscellaneous Supplies: • Royal White Graphite Paper #RD201

Painting Style: I use a wet-onwet painting style. First, apply the basecoat and let it dry. Then, put a second coat of the base color on the brush, corner load with the shading color, and apply it. Blend your colors when you add in the highlight or shade. I use the Drying Time Extender Medium to help blend. Always finish the back and inside of your project to compliment your painting.

Directions: Transfer the pattern onto the box with your graphite paper and stylus. Have fun painting this project. A very talented friend of mine, J. Marie Schwab, took this photo and gave me permission to use it. She is an amazing photographer! My advice to painters is to never worry about not being the “best” - the more we pursue it, the better we become.

Leaves: Use Celery Green to basecoat the leaves according to the pattern and picture. Shade with Hauser Medium Green. Be sure to leave light areas for highlights. (Figure 1)

Shepherd’s Hook: Paint the shepherd’s hook with Lamp (Ebony) Black. Highlight with Zinc. (Figure 2)

Figure 1

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Figure 7

Figure 8

Figure 9

Figure 10

Figure 11

Painting World Magazine

Background:

Grey. Then, draw the lines with Lamp (Ebony) Black.

Paint the first background coat using Hauser Dark Green. (Figure 3)

Paint the ring around the eye with Slate Grey. Always put a highlight dot of Snow White and a reflective (softer) highlight in the eye to give it life. (Figure 10)

Paint the second coat with Hauser Dark Green and Lamp (Ebony) Black in the darkest areas. Be sure to leave leafshaped areas with only the first coat of paint. (Figure 4)

Finishing:

Stems: Basecoat the stems with Honey Brown. Use a corner load of Burnt Umber to shade them. Highlight them with True Ochre. (Figure 5)

Teapot: Paint the highlight shapes with Cinnamon Drop. (Figure 6) Next, following the pattern and picture, paint in the shadow color (Alizarin Crimson). I also used Deep Burgundy in the very darkest areas. (Figure 7) Now, add your main color Tuscan Red. (Figure 8) In some areas, this may take two coats to get it smooth and even.

I always finish the backs and insides of my projects. Paint the box with Hauser Dark Green. Then, seal the box inside and outside with Americana Matte Spray. I found a dark green velvet-like material to match the base color. Cut two pieces of cardboard to fit inside the bottom and lid. Glue the material onto the cardboard cutting, and fit the corners so that there will not be a large lump of material. Put the pieces under a heavy cookie sheet or book until the glue is dry. Now, glue the covered cardboard into the box. (Figure 11)

Finally, use Watermelon Slice for the lightest highlight.

Bird: When painting the bird, I started with Buttermilk for the belly area. The upper chest is Mississippi Mud. You then add colors - Honey Brown, Slate Grey, and Lamp (Ebony) Black - over both the chest and belly areas, and build the bird feather area upon feather area. (Figure 9) Bird feet are always big and basically ugly, but much needed. Base the feet and the eye with Lamp (Ebony) Black, and highlight the feet with Slate February 2018 Issue

Painting World Magazine

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February 2018 Issue

Painting World Magazine

Directory of Artists Mabel Blanco mabelblanco25@gmail.com www.mabelblanco.com Susan Boerman srboerman@comcast.net www.susanvilleart.com

Lori Puszakowski-Schmidt secondher@aol.com facebook.com/Lori-PuszakowskiSchmidts-Art-1408966809366500 Leslie Smith laspaints2@gmail.com

Debbie Cole, CDA debbie@debbiecole.com www.debbiecole.com

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

Monique van Dijk Mdijk67@live.nl www.phoebekattebeest.blogspot.nl

Rebecca Trimble rebecca@rebeccatrimble.com www.rebeccatrimble.com

Marlene Fudge paintingmarlene@aol.com

Kay Witt kaywitt2@gmail.com www.kaywitt.com

Nanette Rasband Hilton nanettehilton@gmail.com www.nanettehilton.com Chris Jeanguenat acjeanguenat@gmail.com handletteringobsessively.blogspot.com

February 2018 Issue

Painting World Magazine

Directory of Advertisers & Suppliers Aleene’s® Glue Products www.aleenes.com MailOrder@AnnieSloan.com

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

Ranger® Ink www.rangerink.com 732-389-3535

Andy Skinner® Stencils www.andyskinnercrafts.com

Heart of Ohio Tole® Chapter www.heartofohiotole.org 614-863-1785

Royal Langnickel® art.royalbrush.com 219-660-4170 Rust-oleum® www.rustoleum.com

Annie Sloan® Chalk Paint www.anniesloan.com Bear With Us®, Inc. www.bearwithusinc.com 407-347-5939 C-Thru® Rulers www.westcottbrand.com Clairfontaine® Paper www.clairefontaine.com Creative PaintingTM Las Vegas www.vegaspaint.com 702-221-8234 Cupboard Distributing® www.cdwood.com 937-652-3338

JB Wood® Products www.jbwood.com 508-222-5790 Jo Sonja’s Folk Art® www.josonja.com 888-JO-SONJA

Sharpie® Markers www.sharpie.com 800-346-3278 Silver® Brush Ltd. www.silverbrush.com 609-443-4900

Just Fine Designs® www.justfinedesigns.com JstFnDsgn@aol.com

Smooth Cut Wood® smoothcutwoodproducts.com 888-982-9663

Krylon® www.krylon.com

Society of Decorative Painters® www.decorativepainters.org

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

Stabilo® Pastels www.stabilo.com

Debbie Cole Designs® www.debbiecole.com

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

Truax Printing® www.truaxprinting.com 419-994-4166

DecoArt® www.decoart.com 606-365-3193

Pin-It Canada!® www.pin-itcanada.com 519-232-9047

Viking Woodcrafts® www.vikingwoodcrafts.com 800-328-0116 Winsor & Newton® www.winsornewton.com

February 2018 Issue