December 2017 Winter Issue 12 Painting World Magazine by Loon Publishing, LLC.

Decorative Painting, Mixed Media, Fine Art & More!

December 2017

Painting World Issue 12

WINTER ISSUE

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magazine Cover Artist: Kay Witt

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December 2017 Issue

Painting World Magazine

From the Editor HEY SNOWBIRDS!

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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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ALL RIGHTS RESERVED ON ENTIRE CONTENTS. PAINTING WORLD MAGAZINE (ISSN 2472-694X). December 2017, Volume 07, Issue 12 ©Magpie Publishing, LLC. Painting World Magazine is published 6 times per year by Magpie Publishing, LLC., 3318 Ultimate Way, Dayton, OH 45449, USA. Subscription price $29.99 per year. Periodical postage paid at Dayton OH and additional mailing offices. POSTMASTER: Please send address changes to Magpie Publishing, LLC., PO Box 1236, Miamisburg, OH 45343-1236. All rights reserved on entire contents of magazine. We are not responsible for loss of unsolicited material. We reserve the right to edit and publish correspondence unless specific commentary and/or name and address are requested to be withheld. Reproduction of editorial or advertising contents in any way whatsoever without the written permission of the Publisher is strictly prohibited. The instructions in this magazine are published in good faith and have been checked for accuracy; however, no warranty, either expressed or implied, is made nor are successful results guaranteed. Subscription rate $29.99 for 6 issues. Distributed in the United LLC OH. States, Canada and worldwide. Printed & Shipped by Truax Printing®, Inc. Loudonville,

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December 2017 Issue

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

Painting World Magazine

Conventions & Events New England Traditions Regional Convention October 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

Creative Painting™ Las Vegas! The Largest Art & Painting Convention In The West!

February 25 – March 2, 2018 Tropicana Hotel, Las Vegas, NV Sign up at: www.vegaspaint.com

Back to the Beach!

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

Heart of Ohio Tole Chapter’s 38th Annual Convention “Painting Fun in the Sun” August 7-11, 2018 Arena Hyatt Regency Hotel in Columbus, OH Sign up at: www.heartofohiotole.com © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

December 2017 Issue

Contents

08 Winter Song by Featured Cover Artist: Kay Witt

Blooming Christmas by Alessio Meggiato

Knife & Fork by Diane Trierweiler

Winterâ&#x20AC;&#x2122;s Beauty by Debbie Cole

Thyme for Baking by Karen Wisner-Dyar

12 Days of Christmas by Terry Holte

Special Feature!

Youâ&#x20AC;&#x2122;re On My List! by Sonja Richardson

Peacock Ornament by Sherry C. Nelson

Winter Evening by Theresa Prokop

Blue Poinsettia Pillow by Phyllis Ekleberry

MORE GREAT ARTICLES! Corner: Canvas Painting 37 Innovative with Pure Pigment Acrylics by Debbie Cole, CDA 21st Century Skill: 54 Essential Building Your Creative Muscles by Nanette Rasband Hilton

of Larisa Pilinsky 30 Art by Nicole Borgenicht

of Artists, 94 Directory Advertisers & Suppliers

Winterâ&#x20AC;&#x2122;s Song

by Kay Witt

Painting World Magazine

In this project, readers will learn how to create a lifelike wolf by applying pastel pencil and hard pastel to Pastelmat® card made by Clairefontaine®. Readers can use this technique to create many furry animals, including dogs, cats, horses, etc. By learning these techniques, the reader may create animal and pet portraits for wonderful gifts that will make lasting treasures for years to come. Surface: • 9-1/2” x 12” Light Gray Clairefontaine Pastelmat Card, available in pads of different colors and individual sheets

Pastels & Pencils: • Glacier Blue Cretacolor® Pastel Stick 151

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

• Payne’s Grey 770 • Neutral Black 750 • Cold Grey 4 726 • Dark Flesh Tint 680 • Caput Mortuum Violet 640 • Burnt Sienna 670 • Ultramarine Blue Middle 430 • Grey White 110 • Ivory 105

General Charcoal Pencils: • 9B Graphite Pencil • 6B Charcoal Pencil • White Charcoal Pencil © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

December 2017 Issue

Painting World Magazine

Nupastel® Pastel Sticks:

• Hand Towel • Black Construction Paper • Transfer or Carbon Paper • 150 Grit Sandpaper • Kneaded Eraser • Drawing Board • Baby Wipes • X-ACTO Knife or Single Edge Razor Blade • Glassine Sheet or Wax Paper

• White 211 • Black 229

Helpful Products: • X-ACTO® School Pro® Classroom Electric Pencil Sharpener 1670

Miscellaneous Supplies:

Helpful Hints:

• 1/2” Masking Tape • Paper Towels

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

Helpful Hints: This project is painted on light grey Pastel Mat by Clairefontaine. Other colors are available, but the grey paper is most suitable because it is neutral in color. It can be purchased through many art suppliers. It can be purchased from Dick Blick or Jerry’s Artarama in the United States. The project uses Stabilo Carbothello pastel pencils and NuPastel hard pastels. When transferring your line drawing use transfer paper. When you search my name, Kay Witt, on YouTube, you will find several demonstrations on my YouTube Channel. These will give you further assistance in the method of painting used in this project. December 2017 Issue

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 excess dust on a towel. 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 paper size 9-1/2” x 12”. 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.

Painting Instructions: Nose: Darken the black areas of the nostrils and mouth with the corner of your 229 Nupastel (Black). Use 770 CO (Payne’s Grey) to draw in the middle tone hairs on the nose and 750 CO (Neutral Black) for the darker areas. For the light area on top of the nose and the edges of the nostrils, use 430 CO (Ultramarine Blue Middle). Use the white charcoal pencil over the blue to brighten it. Add the colors using a scratchy motion. (Figure 1)

Mouth: Use 770 CO (Payne’s Grey) on the side of the muzzle near the nose and on the lower lip. Then, use 670 CO (Burnt Sienna) at the corner of the mouth. (Use a scratchy motion for all these areas, as shown in the illustrations.) Darken the lower lip and the edge of the muzzle with 750 CO (Neutral Black). Use the 6B charcoal pencil to darken the fur in the area further. Highlight the teeth with the white charcoal pencil. Add highlights on top of the lip with 430 CO (Ultramarine Blue Middle). Brighten the teeth with the white charcoal pencil and 211 Nupastel (White).

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

Painting World Magazine Figure 1

Add small hairs at the corner of the mouth with 110 CO (Grey White). Add white hairs on the muzzle with the white charcoal pencil. (Figures 2 & 3)

Eye: Use 770 CO (Payneâ&#x20AC;&#x2122;s Grey) to add the fur (still using a scratchy stroke) in the area over to the right toward the eye. Outline the eye with your 6B charcoal pencil. Add brown strokes to the area around the eye using 640 CO (Caput Mortuum Violet) and 670 CO (Burnt Sienna). Figure 4

Figure 2

Figure 3

Use 750 CO (Neutral Black) to add darker strokes (values). Use a scratchy motion to place the color with your pencil. Make sure to keep the pencils sharp. Add the light hairs with 110 CO (Grey White) and the white hairs with your white charcoal pencil. Use the edge of the 211 Nupastel (White) to add the brightest whites. (Figures 4 & 5)

Top of Head & Ear: With the 6B charcoal pencil, add black hairs across the top of the head. Next, place the

black hairs at the base of the ear with the 6B charcoal pencil. Add hairs in the outer ear and on the rim using 640 CO (Caput Mortuum Violet) and 670 CO (Burnt Sienna). Use the 6B charcoal pencil for the dark area in the ear. Place a layer of strokes with 726 CO (Cold Grey 4) on the outer ear. Use 110 CO (Grey White) to place the little hairs on the top of the head and on the ear; follow with some white charcoal pencil for the longer hairs in the ear. (Figure 6)

Figure 5

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

December 2017 Issue

Painting World Magazine Figure 6

Figure 7

Throat: Mark the dark areas with your 6B charcoal pencil and 770 CO (Payne’s Grey). Add some hairs with 640 CO (Caput Mortuum Violet). Use 110 CO (Grey White) for the light hairs. Use 430 CO (Ultramarine Blue Middle) for the light hairs on the right, and follow with the white charcoal pencil and the edge of the 211 Nupastel (White) for the brightest lights. Work across the throat with 770 CO (Payne’s Grey) for the middle value hairs. Use 110 CO (Grey White) for the light hairs, and the white charcoal pencil for the lightest hairs. (Figure 7)

Fur: Continue to work across the wolf from left to right in the same manner, using the edge of your 229 Nupastel (Black) for the darks and adding other colors as needed. (Figure 7) Below are guidelines to show you what colors to use to December 2017 Issue

create the different colors of fur. Use these colors where you see them on the wolf.

Gray Areas:

Flesh Tint) for the medium color hairs, and then use 110 CO (Grey White) over the top for the lightest hairs. (Figures 8-10)

Place the darkest hairs with the 6B charcoal pencil and the 229 Nupastel (Black). Use 770 CO (Payne’s Grey) and 726 CO (Cold Grey 4) for the medium color hairs. Use 110 CO (Grey White), the white charcoal pencil, and the 211 Nupastel (White) for the light hairs.

When finishing an area, go back with 750 CO (Neutral Black) and add more dark hairs to add definition in the fur. Use short strokes going in the direction the fur grows. Figure 11-13 show the progression of adding color that is described above to complete the fur on the wolf.

Brown Areas:

Background:

Place the dark hairs with the 6B charcoal pencil and the 229 Nupastel (Black). Use 640 CO (Caput Mortuum Violet) and 670 CO (Burnt Sienna) for the medium color hairs. Use 105 CO (Ivory), the white charcoal pencil, and the 211 Nupastel (White) for the light hairs.

Cream Areas:

Break off about a third of the Cretacolor Pastel Stick 151 (Glacier Blue), and use it as a basecoat for the background. Use it on its side to rub the pastel into the background. Use the 640 CO (Caput Mortuum Violet) on its side and the 770 CO (Payne’s Grey), also on its side, to create a marbled effect in your background.

In areas that have a more cream-colored appearance, you may use 680 CO (Dark

Make round dots in the background with 110 CO (Grey White) for snow effects.

Painting World Magazine Figure 8

Figure 9

Figure 10

Figure 11

Figure 12

Figure 13

December 2017 Issue

Painting World Magazine

Use the white pastel pencil for brighter flakes. Be careful not to overdo the snow. Make the dots different sizes, and smudge them a little with your finger.

Figure 14

Use the edge of the 211 Nupastel (White) to make small, round dots in varying sizes and in random placement on the wolf in a few spots. To add a light dusting of snow, gently rub the X-ACTO knife or single edge razor across the side of the 211 Nupastel (White), and let the dust fall on the background to represent snow. Lay a piece of clean paper on your background, and press gently to set the pastel. (Figures 14 & 15) Figure 15

December 2017 Issue

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

December 2017 Issue

Blooming Christmas

by Alessio Meggiato

Painting World Magazine

During the Christmas holidays, each one of us has bought these beautiful poinsettias in the city’s flower shop. We’ve decorated balconies, doorways, and corners of our homes, making the Christmas atmosphere more and more magical. So, I decided to paint them. I love this flower, because when you see it, you know Christmas is coming, ready to give us some special moments.

and since then, I’ve started to work with several international artists, publishing projects in popular painting magazines. With the help of Terrye French, to whom I will be forever grateful, I had the chance to be a part of the “Painting with Friends” book. I’ve attended many classes with the best international artists, both in Italy and in the United States. I’ve been sharing my passion and knowledge by teaching in several stores around Italy, and am honored to be a part of the “Helping Artist” team by DecoArt®. From now on, you’ll also be able to find my projects within the pages of this magazine, where I’ll share with you what I love the most. Often, my heart speaks through my hands. Creativity and fantasy are my daily “addiction”… or maybe the best cure I’ve ever experienced.

Surface: • Skurar Candle Dish, Black 203.195.06, from Ikea®

DecoArt Americana® Hi! I’m Alessio Meggiato! I travel Acrylics: About Alessio

all over the north part of Italy for my job, and all over Italy for my “hobby.” Despite my job keeping me very busy, I have this huge love… painting. I feel the need to cut some time out of every day to create. I was introduced to country painting about 10 years ago,

• Antique White DAO58 • Black Plum DA172 • Burnt Umber DAO64 • Cinnamon Drop DA308 • Deep Burgundy DA128 • Foliage Green DA269 • Neons™ - Fiery Red (Neon) DHS4 • Lamp (Ebony) Black DAO67

December 2017 Issue

Painting World Magazine

• Margarita DA299 • Midnite Green DAO84 • Plantation Pine DA113 • Primary Yellow DA201 • Soft Black DA155 • Sunny Day DA325 • Snow (Titanium) White DAO1

Loew-Cornell® Brushes: • #1, #2, #4, #6, & #8 La Corneille® Round, Series 7000 (to basecoat) • # 4 & #10 La Corneille® Filbert, Series 7500 (to basecoat) • #12 & 16 La Corneille® Shader, Series 7300 • 1/2” & 3/4” Maxine’s Mop, Series 270 • #10/0 La Corneille® Script Liner, Series 7050 • 1/2” La Corneille® Wash Glaze, Series 7550 • #6 Fabric Dye • 1/2” Scarf Texture, Series 265

Miscellaneous Supplies: • DecoArt® Dazzling Metallics® - Splendid Gold DA263 • DecoArt Americana MultiPurpose™ Sealer DS17 Figure 2

December 2017 Issue

• Decoart Americana DuraClear® Matte Varnish DS60 • Sea Sponge • Tracing Paper • Black & White Graphite Paper • Pen • Paper Palette • Stylus • Stencil with a Swirl Pattern (similar to the swirls on my painting) • Swarovski™ Create Your Style™ Xirius Flat Back Crystals (Yellow, Dark Green, & Light Green) • Aleene’s® Super Thick Tacky Glue® • Cosmetic Sponge

Preparation: With a sponge, extend the Multi-Purpose Sealer on the area of the tray you want to paint. Let it dry. Then, apply Lamp Black with a sponge, tapping on two coats.

When that’s dry, paint them with two coats of Cinnamon Drop. When the Cinnamon Drop is dry, transfer on the petal details. Paint the branches using the script liner and Burnt Umber. While the paint is still wet, add Antique White. (Figure 1) Load half of the wash glaze brush with Foliage Green, and load the other half with Plantation Pine. Start to stroke, connecting the darkest color against the branch. Fill in all the branches, starting with the longest one. Superimpose some pine needles. Push the brush (the lightest color) from the outside toward the branch. (Figure 2)

Figure 1

Basecoat Poinsettias & Branches: Transfer on the outline of the poinsettias. Base the poinsettias in with two coats of Foliage Green. Figure 3

Figure 4

Figure 5

Load the wash glaze brush with Margarita, and add pine needles on the whole branch. Repeat with Titanium White. (Figures 3-4) Shade the parts of the branches that are against Brush technique for the branches

Figure 6

the flowers with floats of Midnite Green. (Figure 5)

Highlights: Dry brush to highlight the flowers using a fabric dye and a mix of Cinnamon Drop + Sunny Day. (Figure 6)

Shades: Shade the petals with Deep Burgundy. (Figure 7) Deepen the flowersâ&#x20AC;&#x2122; shading with Black Plum. (Figure 8) Deepen the shading between the flowers with Soft Black. Soften the two

Painting World Magazine

Figure 7

outside flowers where they go under the middle flower with Soft Black. (Figure 9)

Petal Texture: Stipple on the central areas of each petal with Hot Shot Fiery Red and the scarf texture brush. Then, line the holes in the center with Lamp Black. (Figures 10a-b)

Finishing & Details: Paint the border on the petals using the script liner and Lamp Black. Add the veining inside the petals with a mix

December 2017 Issue

Painting World Magazine Figure 8

Figure 9

Figure 10a

Figure 11

Figure 12

December 2017 Issue

Painting World Magazine

of Soft Black + Cinnamon Drop (2:1). (Figure 11) Stipple inside the pistils using a scarf texture brush and Plantation Pine, then Foliage Green, then Margarita, and finally Primary Yellow. Place a swirl stencil wherever you like. With a cosmetic sponge, tap on Sunny Day first, and then Dazzling Metallics Splendid Gold. (Figure 12) Before applying glue to the Swarovski gems, varnish the painted surface. Then, glue the Swarovski gems over the pistils. They will give your flowers a sparkling effect. (Figure 13) I hope you have fun. Happy holidays! - Alessio

Figure 13

December 2017 Issue

Painting World Magazine

December 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

Knife & Fork by Diane Trierweiler

Painting World Magazine

The size of these two paintings allows you to place them in small spots in your home. They’re a perfect addition to a kitchen or dining room. Looking at the photos, they seem difficult to paint, but they’re actually very simple to accomplish. Shading and dots give the pieces a great deal of dimension. Also, you may want to change the background color to fit your decor. You can do this with almost any dark color; I don’t think that pastels would give you enough contrast. Have fun!

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 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.

Surface: • Two 8” x 24” Polyester Canvases, from Diane Trierweiler

DecoArt Americana® Acrylics: • Burnt Sienna DAO63 • Deep Burgundy DA128 • Graphite DA161 • Grey Sky DA111 • Lamp (Ebony) Black DAO67 • Primary Red DA199 • Slate Grey DAO68 • Snow (Titanium) White DAO1

Royal® & Langnickel™ Brushes:

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 December 2017 Issue

• #20 Imia™ Bright (2” Bristle), R21AB • #8 Golden Taklon Shader (flat), R150 • 1/2” Golden Taklon Angular, R160 • 10/0 Golden Taklon Script Liner BRS, R585

• Small Sabletek™ Standard Round (blender), #L95005

Miscellaneous Supplies: • DecoArt® Dazzling Metallics® - Shimmering Silver DAO70 • Graphite Paper • Tracing Paper • Pen • Pencil or Stylus • Water Tub • Paper Towels • Wet Palette (optional, but very efficient) • DecoArt® Americana DuraClear® Gloss Varnish DS19

Preparation: I began my painting by using two 8” x 24” box canvases. I prefer polyester canvas, because it’s very smooth. It is much easier to paint details with a smooth canvas. Use a 2” bristle brush to slip-slap Deep Burgundy and Primary Red over both canvases. You should be able to see both colors and the mix of both when you’re done. Let the canvases dry. Place the pattern for the outline of the knife on one canvas and the pattern for the outline of the fork on the other canvas.

Painting Instructions: Knife: Use your #8 flat brush to base in the knife with Slate Grey.

Painting World Magazine

You will need to base in the knife twice for good coverage. Let the paint dry, and transfer the detail lines on with graphite paper. Use your 1/2” angle brush and Graphite to add shadows on the knife. With your small blender brush, dry brush Grey Sky highlights on throughout the whole knife. Add a second highlight with a smaller layer of Snow White. You may need to touch up some of the detail lines again using Slate Grey. Continue adding more shadows here and there using Lamp Black. This layer should be slightly smaller than your first layer of shadows.

Let the paint dry, and then dry brush on a little Shimmering Silver to add a little pop. Use your stylus tool to add Shimmering Silver dip dots throughout the design. When that’s dry, use your liner brush to add dashes of Snow White throughout the design. Shade over the Snow White highlight lines with a little Graphite to tone them down. Dry brush Graphite shadows over the blade of the knife using your small blender brush. This will age it a bit. Add tints (20% paint to 80% water) of Burnt Sienna throughout the knife. This will add more aging to the blade.

Wash on the shadows that are reflected on the background of the knife with Graphite. Repeat with a little Lamp Black in a smaller area.

Fork: Use your #8 flat brush to base in the fork with Slate Grey. Paint it twice for good coverage. When that’s dry, add the detail pattern lines on with graphite paper. Add shadows on the fork using your 1/2” angle brush and Graphite. You may need to touch up some of the detail on the fork with Slate Grey as you go. Use your small blender brush with Grey Sky to

December 2017 Issue

Painting World Magazine

dry brush highlights on throughout the entire fork. Continue dry brushing another layer of shadows on with Lamp Black. This layer of shadowing should be narrower than the first layer of shading.

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

With Snow White, dry brush a second highlight. Dry brush a little Shimmering Silver here and there over the entire fork. Use your stylus tool to place dip dots of Shimmering Silver in the appropriate places. Let everything dry, and then use your liner brush with Snow White to place in some slash highlights. Shade over the Snow White highlights with a wash of Graphite. This will tone them down a little. When the paint is dry, tint (20% paint to 80% water) here and there with Burnt Sienna. This will give the fork an aged look. Wash on the shadows that are reflected on the background of the fork with Graphite. Repeat with a little Lamp Black in a smaller area.

Finishing: Wash in the letters for Knife and FORK with a brush mix of Deep Burgundy and Lamp Black. Use your liner brush with Shimmering Silver to line the left sides of each letter.

December 2017 Issue

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

December 2017 Issue

Painting World Magazine

December 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

December 2017 Issue

“Time to Blossom” Acrylic on Glass by Larisa Pilinsky

Painting World Magazine

Mystical Landscapes or Abstract Collages: Larisa Pilinsky’s Art Invokes Imagination & Discourse Internationally acclaimed artist Larisa Pilinsky, a vanguard creative spirit is a member of the maverick Bunker Art Group. Before coming to the United States she went to Togliatti Art School, which is no longer in existence, but she says, “Like all art schools in Russiait was a good one.” In America Pilinsky attended art classes at Santa Monica City College and then met her mentor

by Nicole Borgenicht known as “Kiki” who is from Armenia, and one of the Bunker Art Group founders there. The Bunker Group is known for freedom of artistic expression, plus spiritual and philosophical insight. “When I arrived in 1993 to the US I met Kiki Grigor Mikayelyan, the leader of a dissident group of artists from the former Soviet Union named ‘Bunker’. At this period Kiki was creating collages on canvas

December 2017 Issue

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process, as well as methods of the Bunker Group that she is honored to be a part of. “I started creating artworks as pure collage/assemblage and gradually proceeded to add colors: first ink, then acrylic spray, then acrylic and oil paints. Now sometimes I do the opposite, by starting with pure painting and then gradually add collage elements and objects.” Pilinsky says. As a teacher, she provides workshops and private study in collage and painting.

Larisa Pilinsky

and boards. First I assisted him in this process and then I became inspired to create my own artworks. It was my step into the unknown world of creative freedom. In Russia, when I grew up, only realism was accepted by this totalitarian society.” says Pilinsky. It was 1994 when Larisa Pilinsky developed her characteristic, innovative style. Soon after 1995 she gladly accepted an invitation to be a part of the Bunker Art Group and Pilinsky proudly participates in the Armenian Art Expo in Yerevan “with Kiki, Sev and Narine” she says. Pilinsky’s art has developed into an inventive, animated style with an enchanted flair. At times her approach is different from the Bunker Group art, nonetheless her mentor Kiki lauds it. Larisa Pilinsky’s progress therefore embraces her own December 2017 Issue

These diverse styles are shown herein of new original images with which Pilinsky shares her formula for each creation.

A few specific technique alternatives used by Larisa Pilinsky are important to know in order to understand her system. First of all she never uses a separate palette; instead her palette is part of the early painting itself. In addition, she typically does not blend her colors together creating a new one prior to the work itself. She says, “I rather prefer to watch what happens when two or many separate bright colors talk to each other and mix up spontaneously, watching the miracle happen.” (Her painting) Time to Blossom is a great example of this technique. “I also prefer to see clear colors rather then too much

mixture which can cause loss of brightness.” Pilinsky admits at times the spontaneous nature of mixing colors does not always have a usable piece of artwork, nonetheless she says, “Sometimes the many attempted artworks at the end are the best set up, when a miracle finally happens as a multilayered sophisticated creation. So basically you have to risk in order to produce a marvel.” A frequent international journeyer, Larisa Pilinsky works at her uplifting spirit and art through practice to include spiritual retreats in Japan with her teacher Buddhist Monk Gayuna Cealo, leader of Global Harmony Foundation. About this kind of experience she notes, “Nothing could compare to the direct contact with the great spiritual beings.” Pilinsky also goes to kundalini yoga classes weekly, and meditates nightly gaining physical and spiritual balance that entices her artistic endeavors through an overall present state of being. As inspiration for her painting Time to Blossom, she reveals this following travel story. “I recently was in Japan, and got charmed by its nature going through double cherry blossom, when the regular and wild sakura trees open their beautiful petals together. Almost every school in Japan has at least one Sakura tree in the yard. The streets and

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parks of Tokyo were flooded by blossoming sakuras and people celebrate this season by having picnics in the open air. Although I did not plan to paint the particular landscape, my subconscious, I think, brought this beautiful reflection of blue sky and white blossoming sakuras back to me.” Transformational nature paintings by Pilinsky fall into the enchanted genre, which captivates viewers magically into a fantasy experience of their own. “Time to Blossom belongs to my Enchanted World Series. I don’t need to do anything special, but to be enchanted myself – this time by cherry (sakura) blossoms – while painting. People just want to be in this place, where they are transported in the realm of their higher blessed self. Many people have told me that my paintings make them feel joyful and it means a lot to me. Although sometimes to accentuate the fairytale qualities of my art, I make my tree bright blue or pink and even red.” Says Pilinsky.

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Here are Larisa Pilinsky’s steps for the enchanted forest of Time to Blossom Step 1: I chose material on which to paint – in this case it was a glass from an old frame. I love painting on glass, there’s something magical and unpredictable in the transparency of glass and its reaction to paint. Also I love the square shape – a very harmonious geometrical figure. Then I put droplets of different colors on the glass.

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There is brown cardboard under the glass; this makes the scratches that I am planning to do more visible. But it could be practically any color beneath the glass. For the paint colors: I love Golden brand colors for their brightness, stability, even consistence and slick texture which works well in the Art of Touch, as I call this painting method. I used: Golden® acrylic colors: Bismuth Vanadate Yellow, Aureolin Historic Hue, Alizarin Crimson Hue, Anthraquinone Blue, Chromium Oxide Green Dark, Azurite hue; Liquitex® Basic colors: Titanium white, Gold and Iridescent Medium. © 2017 Painting World Magazine Digital Edition. All rights reserved. Not for distribution, resale or reproduction. You agree to follow all international copyright laws as well as the terms and conditions outlined at paintingworldmag. com. You may NOT reprint or make copies, even for non profit uses. Any violation of these terms will result in a nonrefundable cancellation of your subscription and possible prosecution with fines up to $150,000 USD. http:// www.copyright.gov/title17/ Please contact info@paintingworldmag.com if you have received this PDF illegally.

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Step 3:

Step 4

This step is discovering the best tools to use, rather than paintbrushes. These tools are – a piece of cardboard, old greeting or credit card, the back side of the frame, especially standing frame, peace of wood, Plexiglas®, small candy box, etcetera - you name it.

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Step 4:

Step 2: In mixing paint briefly, I take some of my tools, with smooth surfaces and press droplets of colors to the surface of the glass. As part of step two I turn my painting different directions and press colors again, distributing them evenly on the surface of glass. December 2017 Issue

This step is very important because of the scratching I did on the painting through the color to the surface of glass. The tool in this case was the end part of the tube of Golden color, but could be anything else sharp enough to do scratches – such as ends of brushes, nails and so on.

Step 5: I decided spontaneously to change the color of the main tree trunk from light green to brownish; it wasn’t necessary; however I follow my intuition.

Also there were a few more details I was moved to change. When people ask when I consider my artwork finished – I answer very easily: when I fall in love with it! Whether developing an enchanted artwork or a mixed media collage, Pilinsky chooses diversified tools and materials, and she works in a variety of sizes. In both Time to Blossom and Power of Women, she used acrylic Golden and Basics brand paint. Although in earlier works she had once painted in only oils, today Pilinsky may use oil paint between the acrylic layers. She consistently creates art not only with multifarious medium and ground-base, but also size. Larisa Pilinsky is an artist who paints gorgeous miniatures, providing an accessible price point for any one who wants to choose and own an original Larisa Pilinsky masterpiece. “I love to paint on different sizes of canvases and boards, starting from 2 x 2 inch miniatures to 6 x 7 feet which is my biggest canvas for now. The Power of Women collage/ painting size is 38” x 30”, and Time to Blossom is an 8” x 8“ painting.” Says Pilinsky. In Power of Women she says, “I used my Art of Movement method. The name of the style is mine,” Pilinsky uses each “Art of: (Touch/Movement) method in teaching her art students. In comparing art genres abstract to fantasy methodology and

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importance, Larisa Pilinsky has this to say: “For me creation is a dialogue with the world. I listen to voices that could lead my hand, and watch things that appeal to my eyes. Using the interaction of spiritual meditation and art materials I encourage images to appear from my subconscious. So sometimes the result is totally abstract artwork and other times when nature-like images start appearing on canvas, wood or glass, I then help my inner vision become clear. So the process is the same, the result is different. I would call it pure abstract and abstract landscape. Both are important to me and I would like to experiment further to see where my meditative process will take me.” There had been a specific event as inspiration for the abstract piece Power of Women. Pilinsky describes her philosophy about women as a driving force for her art that is a symbol of changing less favorable beliefs. “Women historically were placed into secondary roles and their power was suppressed by men. Only in the last few centuries, women started rediscovering their inner power and showing their creative talents. But the collage Power of Women is not an aggressive piece; it is flexible and fluid. It is: power of love.” Says Pilinsky. Painting in public is not intimidating to Pilinsky who has participated in art walks in downtown Los Angeles.

Using found objects as her tools to paint with and black poster board laced with notes from a Women’s Leadership Conference on the flip side, she worked openly in spiritual confluence composing the initial artwork Power of Women at a significant ceremony. She says, “I started to create this painting/collage at the inauguration event of the City of the West Hollywood new mayor - Lindsey Horvath. I was asked to paint live spontaneously in front of big crowd of people.“

Step 1: I used Liquitex Basics acrylic paints: Primary Yellow, Cadmium Orange Hue, Titanium White, Phthalocyanine Step 1 Green and Iridescent Medium on the surface and continued working with the dynamic powerful circular gestures with a big piece of cardboard as my tool. As a result I had the middle and top part, which had been cut out from the first cardboard along with images of women and the following words from the

other side: passion, community, and advocate. Then I glued my big cut outs on the second white board and I initially titled it: Discovering the Power.

Step 2: I then glued smaller cardboards, photos and word cutouts from the first black poster board on the second white board with Elmer’s® and Aleene’s® Quick Dry Tacky Glue. So basically the whole artwork is created from the poster board that was from the Women’s Leadership Conference.

Step 3: I felt that something was still missing, maybe the

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Step 2

background looked too white. In a month or two I decided to try a red ink, which I splashed here and there, just from the droplet. I also glued with the glue gun several found objects - wire, pieces of red plastic and small metal parts. It was dramatic, but was still not enough or maybe too much in a way. Finally after an additional month or so, I decided to do a really risky step, which could improve my artwork, or spoil it, you never know. I took good quality Golden brand paints â&#x20AC;&#x201C; Anthraquinone Blue, a little of Alizarin Crimson Hue, Zink White and Bone Black - and I painted with a brush this time, going with the flow and the energy of the collage that I already had developed. At this point I knew the new title of the painting Power of Women was born, and I was part of it.

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An artist dedicated to creative risk, she teaches her liberating techniques to student artists, and gives back to the artist community as president of Lark Gallery online with popup gallery schedules. Larisa Pilinsky is a dynamic force and inspiration to art students, professional artists, museum visitors and collectors worldwide. Her paintings and collages are in numerous museums and international collections to include: Swedish-American Museum of Art, Chicago, IL; Modern Art Museum, Yerevan, Armenia; Civitella Museum of Art, Italy; FOX Production Studious, Los Angeles, CA; Chalice Recording Studious, West Hollywood, CA; Rodeo Dental Studious, Brentwood, CA; AC Pain Control Clinic, Torrance, CA; Hollywood Art Council, Hollywood, CA. http://www.larkgallery.org

December 2017 Issue

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Innovative Corner

with Debbie Cole, CDA

Canvas Painting with Pure Pigment Acrylics Canvas painting with pure pigment acrylics is the hottest trend leading the craft industry right now. Being a water-soluble paint with the consistency of oil paint, acrylics provide the opportunity to experiment with both watercolor and oil painting techniques. There are many brands of pure pigment acrylic paints available. However, they vary greatly by viscosity and pigment strength. Viscosity is the fluidity, or thickness, of the paint. Most tube or jar acrylics are either medium or heavy body in viscosity.

There are many brands on the market, but the best pure pigment acrylics are from DecoArt®, Golden®, Liquitex®, and Winsor & Newton™. It is important always to choose an artist quality over a student quality, because of the pigmentation in the paints.

Heavy body pure pigment acrylic paint is often referred to as “high viscosity.” Its thick consistency makes it good for traditional art techniques that involve using palette knives and brushes. Because of their thickness, heavy body acrylics are perfect for mixed media and impasto applications. Impasto techniques are when an artist applies the paint with depth using a brush or palette knife. Heavy body acrylics can retain clean, clear knife marks and brush strokes. They’re also very creamy; this aids blending, because the paint has a longer open-working time. In general, the heavy body acrylics also have the greatest amount of pigment, which is important when painting on canvas. Medium body pure pigment acrylics have a thinner viscosity than heavy body acrylics, but are still very thick compared to bottled acrylics. Because they’re a little thinner, they move easier on a canvas and you can apply them with a thin application or use them with mediums to create a heavier texture. They’re creamy and blend very well, but do dry a little faster than heavy body paints. I find these medium body acrylics are easier for bottled acrylic painters to get used to, because they’re easier to mix and artists can use them with similar techniques, such as scumbling, sideloading, and dry brushing.

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There are many mediums that have been created for pure pigment acrylic paints…

The versatility of medium body paints is outstanding. You can blend them in the same manner as oil paints, or layer them as with bottled acrylics. It’s easy to apply them just by using a stroking motion and working the paint out. Brushstrokes play a leading part in painting techniques with medium body paints, becoming an integral part of the image, the composition, and the mood of a painting. Brushstrokes can vary in direction, paint thickness, texture, and width. Also, using medium body paints for stenciling is better than using bottled acrylics, because they are less fluid and do not bleed as easily. December 2017 Issue

The first is gesso, which you use on the canvas in preparation for painting. It is different from white acrylic paint, and dries harder while priming the surface for painting (making the surface ready to accept acrylic paint). This allows the paint to move easily on the canvas. Without gesso, the paint would soak into the weave of the canvas. You can add texture medium to the paints to give them an even heavier viscosity. As the name implies, painters use texture medium to create texture by combining it with the paint. Once they’re combined, you can use

the paint to create threedimensional effects on the canvas; you can also impress the paint with rubber stamps. Painters use extender mediums to open the drying time of the paints. This allows you to blend the acrylics in the same manner as oils. You can also add extender medium directly into the paints, making them just a little creamier to work out if you’re using the acrylic layering techniques.

One of the adjustments that bottled acrylic painters have to make when using pure pigmented paints is that the paints are not premixed; therefore, painters need to learn how to mix colors…

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The pure pigmented paints can last for a few weeks, giving the artist plenty of time to finish their projects.

The paint directly from the tubes is very vibrant, and does not have shade or highlight colors to work directly with it. Therefore, learning to see value and color is necessary in order to work with these paints. Generally, painters mix them on palette paper and transfer them to separate containers or onto a stay wet palette. Also, since acrylic paint dries so quickly, it is important to have a mister to spray the colors on your palette to keep them from drying out as you work. While painting, it is helpful to mist the canvas lightly to keep the paint workable. Always use distilled water for the stay wet palettes, so mold doesn’t form.

Most brands of pure pigment acrylic paint offer dozens of different colors to choose from. You do not need to purchase all of them in order to paint with pure pigment paints. The project “Winter’s Beauty” (next page) has a very limited palette, and is a good example of this.

When first starting out, begin with the basic colors, purchasing at least twelve hues. I would suggest getting all of the colors from the color wheel, white, black, and then some earth tones. From these, you can create almost any color, and you’ll have a complete value scale for creating shade and highlight colors.

Synthetic brushes work better with acrylic paint, because acrylics are hard on natural fibers. They can dry the natural fibers out and cause them to become brittle and degrade over time. Synthetic brushes made of filaments that mimic the traits of natural fiber brushes are better suited to acrylic paint. They move easily, and provide the spring needed to paint with acrylics. Working with pure pigment acrylics will allow the bottled acrylic painter to grow in their medium and will open up the opportunity to experiment with new techniques. It offers the ability to paint more realistically without having to learn other mediums, such as oils or watercolor. It also allows the acrylic painter to be more creative as they explore more innovative techniques with the medium that they prefer.

Thank you for joining me for this issue of Innovative Corner, and I hope you have fun exploring with pure pigment acrylic paints.

December 2017 Issue

Winterâ&#x20AC;&#x2122;s Beauty by Debbie Cole, CDA

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My inspiration for this design came from a white poinsettia that I received as a gift last year. I kept it by the window, so it always had a bluish tint to it from the outside colors. I loved the frosty look of it, and hoped to capture that look in this 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.

Surface: • 12” x 12” Canvas

DecoArt Americana® Premium™ Acrylics: • Cadmium Yellow Hue DTA44 • Carbon Black DTA37 • Phthalo Green-Blue DTA23 • Titanium White DTA40 • Ultramarine Blue DTA33 • Yellow Oxide DTA15

DecoArt® Americana Mediums:

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.

• Premium Mediums White Gesso DTAM07 • Premium Mediums - Extender Medium DTAM03 • DuraClear® Matte Varnish DS60

Silver Brush Ltd® Brushes: • #0, #2, #6, & #8 Monza® Round Brushes from the Debbie Cole Creative Blending Set, DC-2624S • 1/2” & 3/4” Monza Glaze, 2608S • #00 Golden Natural Script Liner, 2007S • #12 Stencil, 1821S

Miscellaneous Supplies: • Graceful Snowflakes Stencil - 7-5/8” x 10” STCL161, available from Creative Arts Lifestyle

Basic Acrylic Painting Supplies • Large Sea Wool Sponge • Tracing Paper • Transfer Paper • Pencil or Stylus • Pen • Tape

Background: Basecoat the entire canvas with the White Gesso. Allow it to dry. Mix the background Base Color, and apply it to the entire canvas. Repeat if necessary. Using a large sea wool sponge, pick up the background Base Color and the First Highlight color to pounce all over the background. When that’s dry, apply the Second Highlight in the same manner. Allow the canvas to dry. Transfer on the poinsettia lines. Tape the stencil to the upper corner of the canvas, and pounce the background Second Highlight color on. Use just a residue of this color during the stenciling process.

December 2017 Issue

Background Values

Stem Values

Flower Values

Mixing Colors:

Poinsettia:

Stem & Center:

I have listed the base, highlight, and shade color mixes below with ratios for each color. Please refer to the value scales when mixing them.

The poinsettia will be a warmer blue thatâ&#x20AC;&#x2122;s brighter in intensity.

Base Color: Poinsettia First Shade + Phthalo Green-Blue (3:1)

Base Color: Ultramarine Blue + Titanium White + Phthalo Green-Blue (8:8:1)

First Highlight: Base Color + Titanium White + Cadmium Yellow Hue (1:1:touch)

Background: The background color will be a cool, dull, dark blue. Base Color: Ultramarine Blue + Carbon Black (5:1) + a touch of Yellow Oxide to tone it First Highlight: Base Color + Titanium White (5:1) Second Highlight: Base Color + Titanium White (3:1)

First Highlight: Base Color + Titanium White (1:1) Second Highlight: Titanium White First Shade: Ultramarine Blue + Titanium White + Phthalo Green-Blue (9:5:1) Second Shade: First Shade + Ultramarine Blue + Carbon Black (1:1:touch) Glaze Color: Second Shade + Carbon Black (3:1)

Second Highlight: First Highlight + Titanium White (1:1) First Shade: Poinsettia Second Shade + Phthalo Green-Blue (3:1)

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Figure 1

Figure 2

Figure 3

Figure 4

Poinsettia: Thin the Base Color with a mixture of water and Extender Medium to create a transparent application of color. The technique you’ll use to add the highlights is a layered application of color, rather than blending two colors

together. The paint is rich and creamy, and will be easy to layer. To have more open time, use the Extender Medium. Pick up the first highlight color, and add the highlights using a #8 Monza round brush. Set the brush down where you want the lightest application, and drag the

brush toward the center of the petal. This is a wet dry brush technique, where full strength paint is in the brush, and then fades away as you apply it. Build layers until you’ve achieved a smooth and even application of the First Highlight over the entire flower.

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To add the shades, dip a 3/4” glaze brush in Extender Medium and then into the First Shade color. This is similar to floating, only you’re using the Extender Medium in place of water. Now, add the Second Highlight color in a similar manner, varying the sizes of the Monza rounds according to the size of the area that needs painted. The Second Highlight will cover a smaller area than the first - do not let it grow outside the First Highlight. Move on to a 1/2” glaze brush, and add the Second Shade areas in a similar manner to the first. The Second Shade also covers smaller areas than the First Shade.

Using the First Shade color and a #2 Monza round, stipple the center blossoms. Sideload a 1/2” glaze brush with the First Shade color to shade the stem. Stipple the highlights of the center blossoms with a #0 Monza round brush. Add additional highlights to the stems and the center blossoms with the Second Highlight color.

Finishing: Allow the painting to cure for 24 hours. Apply matte varnish over the entire surface to protect the painting.

Glaze the darkest area of the poinsettia with a very transparent application of the Glaze Color. To do this, load the brush in the same manner as for the first shades, but work the paint into the brush until it becomes transparent. Apply this to the darkest areas of the poinsettia. Glaze some of the First Highlight color from the stem onto the flower to warm it up. Keep this very transparent.

Stem & Center: Basecoat the stem with the Base Color. Apply the First Highlight using a #2 Monza round brush. Allow the paint to dry.

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Download all line drawings ready to print here: http://bit.ly/2yKE3iF

December 2017 Issue

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Thyme for Baking

by Karen Wisner-Dyar December 2017 Issue

Painting World Magazine

When I think of the holiday season, baking and sharing with family and friends is the first thing that comes to my mind. I hope you will enjoy painting this design of snow friends who are eager to help you during your holiday “baking and mess making.” This design would be great to paint on an old cutting board or cookie sheet as well. Enjoy!

About Karen I have loved art since I was a very young child. I remember getting an art set from Santa when I was 8, that was the beginning. I always wanted to be a cartoonist, so my style of painting is usually whimsical, but I still paint other styles when the mood hits. I travel teach but have spent most of my teaching time in Italy, which is now my second home with lots of people I love very much.

I have authored many books, patterns and magazine articles. Just when I think my creative mind is sucked dry, it starts in again! I love sharing the love of painting with everyone!

Surface: • Paper Towel Holder Folk Art Tin™ FT-3046, from Della & Co.®

DecoArt Americana® Acrylics: • Antique Maroon DA160 • Avocado DA052 • Burnt Sienna DA063 • Cadmium Yellow DA010 • Dark Chocolate DA065 • Evergreen DA082 • French Grey Blue DA098 • Graphite DA161 • Honey Brown DA163 • Jade Green DA057 • Lamp (Ebony) Black DA067 • Light Buttermilk DA164 • Milk Chocolate DA174 • Moon Yellow DA07 • Raw Sienna DA093 • Slate Grey DA068 • Snow (Titanium) White DA01 • Tangerine DA012 • Tuscan Red DA265

Brushes: • 3/4” Flat Wash • #1, #3, #5 & #8 Rounds • #14 & #20 Shaders • #20/0 & #0 Script Liners • 1/4” & 1/2” Mini Mop • #2 (small) & #4 Fabric Round • Old #1 Round, 1/4” Deerfoot, & 1/4” Angular • 1/4” Stencil Brush

Miscellaneous Supplies: • DecoArt® Americana Matte Spray DAS13 • DecoArt Acrylic Gesso™ TXFP06 • Tim Holtz® Snowflakes Layering Stencil THS050 (optional) • Pigma® Micron® Black Pen 01 XSDK01-49 • Stylus with a Small & Large End • Dark & Light Transfer Paper • Tracing Paper • Q-tips® • 1” Piece of Sea Sponge

Painting Hints: Use this guide to determine which brush to use when painting:

• Use the round brushes to basecoat • Use the #0 script liner to paint large vines, details, and boughs • Use the #20/0 script liner for fine detail lines • Use the 3/4” flat wash to apply the Light Buttermilk background base and for large shades and color floats • Use the shaders to float color, shade, and highlight • Use the fabric rounds to dry brush highlights • Use the mops to blend floated areas, and use the Q-tips as miniature mops • Use the old round, deerfoot, and angular brushes to stipple snow for the bodies and the snow areas

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Helpful Hints: I clean the mop brush as I use it by lightly scrubbing it on a damp paper towel, and then drying it on my pant leg. This way, it is always clean and dry.

• Refer to the pattern for shading (////) and highlighting (::::) as you paint. • To float a wash of color, wet the surface. Then, load your brush with more paint than for shading, and apply it in the same manner. Use a mop or Q-tip to blend, let the paint dry, and then do other parts of the design. I work from top to bottom, so I never run into a wet paint area.

Preparation: If you’re painting these designs on the tin paper towel holder, clean the tin and wipe it dry.

Transfer the outside edges of the entire design (not the snowflakes) using the light transfer paper and the stylus. (If you are painting on a wood surface, skip the following step using the Gesso, and start with the Light Buttermilk basecoat step.) Dip the sea sponge into water, and squeeze out any excess water. Dip the sponge into a puddle of Gesso, and then sponge it onto the tin surface you’ll be painting; use an up and down motion. Let the Gesso dry, and then apply a second coat. Allow the second coat to dry. Apply a coat of Light Buttermilk over the entire surface that you’ll be painting; let it dry. Repeat this process two more times, allowing the paint to dry between coats.

Trace the patterns onto tracing paper using the black Micron pen. Once the prepped surface is dry, transfer the basic design lines onto the surface using the small end of a stylus and dark transfer paper. Transfer the detail lines as needed.

All Snowman Bodies & Snow Areas: Basecoat the noses with Tangerine. Shade the bodies with French Grey Blue and the noses with Burnt Sienna. Using an old paintbrush and Snow White, stipple the “fluffy snow” areas on the snowmen and snow areas; do not stipple the snow piles that sit on things - you’ll do this at the end. Deepen the shaded areas using a light float of French Grey Blue. Paint Milk Chocolate cracks on the twig arms. Let the paint dry, and then shade with Milk Chocolate.

Base Color Floating

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At the darkest areas, shade with Dark Chocolate. Use Graphite to float the coal eyes on the small and large snowmen and the button eye on the stitched snowman. Paint Honey Brown stitches on the button eyed snowman. Paint the stitched nose using Burnt Sienna. Float the red buttons on the large snowman and the scarf on the small snowman using Tuscan Red. Shade the buttons and scarf using Antique Maroon. After the paint is dry, dot the scarf with Antique Maroon. Shade the button eye and the coal eyes using Lamp Black. Paint the button stitches and threads with the same color. Paint the space by the twig arms using Charcoal. Float the snowman hats using Graphite. Shade the hats using Lamp Black. Let them dry, and then paint Lamp Black cracks on the large hat. Float a Tuscan Red band on the large hat. Let the paint dry, and then paint Light Buttermilk stripes. Once the stripes are dry, shade with a small amount of Antique Maroon. Highlight the hats using Slate Grey (float outside the highlights, and dry brush the inner highlights).

Stars: Basecoat the stars with Cadmium Yellow. Once the stars are dry, shade them using Burnt Sienna, and let the paint dry. Dry brush the highlights using Snow White.

Holly Leaves: Basecoat the holly leaves using Jade Green. Shade the leaves using Avocado, and let them dry. Highlight the leaves with Moon Yellow. Deepen the shading between the leaves and anywhere there would be a darker shadow using Evergreen. Paint the leaf details using Avocado. Float a small amount of Tuscan Red on parts of the leaves (see photos).

Rolling Pin: Float color using Honey Brown, and let the surface dry. On the upper handle, float Tuscan Red. Shade the brown areas using Milk Chocolate. Let them dry, and then paint the cracks and detail lines with Milk Chocolate. Paint cracks and detail lines on the red handle using Antique Maroon; let the paint dry. Then, shade the red handle with Antique Maroon. Deepen the shading on the brown areas with Dark Chocolate. Float a wash of Tuscan Red over the handle again, and let the surface dry. Deepen the darkest shaded areas on the handle and

pin using a small amount of Graphite. Dry brush the upper pin highlight using Light Buttermilk.

Rusty Cookie Cutters: Float Slate Grey on the rounded, topped cutter and the gingerbread man cutter. Let that dry. Shade using Graphite, and let the paint dry again. Use Burnt Sienna to float the rust spots. Deepen the shading in the darkest areas with another layer of Graphite. Dry brush the highlights on the gingerbread cutterâ&#x20AC;&#x2122;s arm and head using Snow White.

Wooden Spoons: Float color on the wooden spoons using Honey Brown. Let the paint dry, float another layer of Honey Brown, and let it dry again. Paint the detail lines and cracks using Milk Chocolate, and let them dry. Shade with Milk Chocolate. Deepen the shading using Dark Chocolate, and let the surface dry. Dry brush the inside highlights and float the edge highlights using Light Buttermilk. Float the darkest shades using a small amount of Graphite (see the photos).

All the Cookies: Float the chocolate chip cookies and the cookie with the small tree in the center using Honey Brown. Float the brown areas

December 2017 Issue

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Base Color Floating

of all the remaining cookies with Raw Sienna. Let the floated colors dry, and then repeat with another coat. Basecoat the green tree frosting and the small tree on the cookie center using Jade Green. Paint Milk Chocolate chocolate chips on the two cookies. Using Light Buttermilk, paint stripes on the small snowman’s hat cookie. Paint Jade Green stripes on the cookie behind the scoop. Paint Tuscan Red berries and a Burnt Sienna nose on the snowman cookie (on the large snowman’s hat). Dot the large chocolate chip cookie and the cookie with the tree at the center using Milk Chocolate. When that’s dry, shade the two chocolate chip cookies and cookie with the small tree in the center using Milk Chocolate. December 2017 Issue

With Dark Chocolate, paint tiny strokes on the gingerbread man cookie, and let them dry. Then, shade that cookie (including the frosting areas) with Dark Chocolate. Float the gingerbread man’s buttons and eyes using Graphite.

and paint the berry stems on the snowman cookie.

Paint tiny Light Buttermilk strokes and make Tuscan Red dots on the large tree cookie. Let the paint dry.

Float the wood area color using Honey Brown. Float the metal area using Slate Grey. Paint the cracks and lines on the wood using Milk Chocolate, and let them dry. Then, shade the wood with Milk Chocolate.

For the remaining cookies, shade the brown areas using Dark Chocolate. Let that dry, and then make Dark Chocolate dots. Shade the tiny tree and the large tree’s frosting using Avocado. When that’s dry, float another layer of Avocado shading at the darkest areas. With French Grey Blue, shade the white frosting area of the snowman cookie. Use Lamp Black to dot the eyes

Dry brush and float the cookie highlights using Snow White. Highlight the gingerbread man buttons using Slate Grey.

Scoop:

Shade the metal areas using Graphite. Deepen the shading on the wood areas using Dark Chocolate. Float the rust areas on the metal using Burnt Sienna. Deepen the shading on the wood and metal with a shade of Graphite in the darkest areas. Dry brush a Light Buttermilk highlight on the side of the scoop.

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Ginger Spice Can: Float the light area using Honey Brown. Float the metal lid using Slate Grey. Float the label center using French Grey Blue. Shade the lid with Graphite and the light can areas with Milk Chocolate. Paint the house using Tuscan Red. Paint the roof using Graphite. Use Burnt Sienna to float the rust areas on the lid and light areas. Paint the green design using Avocado. Shade the house using Antique Maroon, and let it dry. With Graphite, paint the door and windows. Ink or paint Lamp Black lettering (“Ginger”) on the can, and then dot the ends with Lamp Black. Stipple the tiny snow mounds in front of the house using Snow White. Make Snow White snow dots around the house.

Paper Towels: Float the paper towels using Honey Brown, and let them dry. Shade them

with Milk Chocolate. Paint the darkest areas of the hole (by the snowman’s twig arm) using Graphite. Highlight the paper towels using Snow White, and let them dry. Then, paint Honey Brown lines on the paper towels.

Hangtag: Float the hangtag color using Honey Brown. Paint the cracks and lines using Milk Chocolate. When they’re dry, shade with Milk Chocolate. Highlight the folded over corner using Snow White. Dry brush the center tag highlight with Snow White. Deepen the shading under the fold using Dark Chocolate. Ink or paint Lamp Black lettering (“Thyme for baking and mess making”) on the hangtag. Dot the letters and paint the hole using Lamp Black.

Vines:

Paint the dark vines using Dark Chocolate and the lighter vines

using Honey Brown. On the button-eyed snowman, paint the wire attaching the star to the twig arm and the bow and wire ends with Lamp Black. Paint the pine boughs using Avocado for the darker needles and Jade Green for the lighter needles. Dot Tuscan Red berries using the large and small ends of the stylus. Stipple the snow areas with Snow White.

Snowflakes & Snow Dots: Paint or stencil large snowflakes using Snow White. If you stencil them, paint a Snow White stroke from the center point to the lower tip of each flake arm. Using the handle tip of a liner brush, dot Snow White snowflakes and the center of each stenciled snowflake.

Finishing: Spray the entire painted surface using the Matte Spray varnish to seal it. Let the varnish dry, and then repeat.

Finished

December 2017 Issue

Painting World Magazine

December 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

December 2017 Issue

Painting World Magazine

Essential 21st Century Skill by Nanette Rasband Hilton

Nanette Rasband Hilton is an artist and writer based in Las Vegas, NV. Her work can be found licensed and published worldwide and can be seen at www.nanettehilton.com. When not in her creative studio, you may find her cycling the world. She considers her family her greatest work of art.

Fall means back-toschool for many kids, including me, this year. I re-entered the classroom as a graduate student three decades since my first college class. New web-based instruction and PDF annotating were two particular challenges I faced. I wondered if I could learn it all fast enough. I’m in the process. I’m writing this column on the heals of synthesizing 300+ pages of 18th Century literary criticism. This world we live in is certainly December 2017 Issue

fast-paced, demanding all of our resources but most especially CREATIVITY. Creativity is your greatest resource. In fact, in an interview of esteemed British educationalist, Ken Robinson, conducted by Senior Associate Editor for the ASCD (Association for Supervision and Curriculum Development), Amy Azzam, it was noted that creativity has been flagged as one of the essential 21st Century skills. Robinson pointed to the fact that Fortune 500 companies are looking for people who are innovative and can think differently. He related that America is facing its biggest challenge, that of maintaining its economic global position, and that “high levels of innovation, creativity, and ingenuity” are the answer. In our last article we discussed how to nurture and access our creativity. How

are you doing with that? If you’ve felt like you’re dipping into an empty well, you’re not alone. Conjuring creativity out of thin air is a magician’s fete and a daunting task for most of us. But creativity can be learned, according to experts on the subject. Robinson teaches that “we can teach generic skills of creative thinking, just in the way we can teach people to read, write, and do math. Some basic skills can free up the way people approach problems—skills of divergent thinking, for example, which encourage creativity through the use of analogies, metaphors, and visual thinking.”

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Hallmarks of creativity, according to the George Lucas Educational Foundation, include the ability to: • Synthesize ideas in original

and surprising ways; • Ask new questions to build upon an idea; • Brainstorm multiple ideas and solutions to problems; • Communicate ideas in new and innovative ways. This is an “aha” moment when you realize that every artistic endeavor you engage in builds your creative muscles. The last time you pulled out a brush and used it in a way

new-to-you or altered a painting pattern to fit an unusual surface, you were synthesizing ideas in original ways. Look at you go!

Research also shows that creativity thrives on collaboration. “Collaboration” is a new buzzword in academia as researchers realize discovery and innovation happens more readily when great minds converge. The last time you asked a question of another painter or communicated a newfound painting technique, you were collaborating.

All those paint-ins with friends (complete with chocolate, of course) were creative collaboration sessions—you can actually say that when defending your rendezvous with painting pals.

“I am building my creative muscles! I am collaborating in the name of creativity! It’s an essential 21st Century skill I’m honing!” may very well be your war cry as you head out the door. Carry on, my creative friend!

December 2017 Issue

Painting World Magazine

Youâ&#x20AC;&#x2122;re On My List!

by Sonja Richardson

December 2017 Issue

Painting World Magazine

• Marigold DA194 • Hauser Dark Green DA133 • Reindeer Moss Green DA187 • Raw Sienna DA093 • Peaches ‘n Cream DA023 • Cherry Red DA159 • Burnt Orange DA016 • Burnt Sienna DA063 • Black Plum DA172

About Sonja I was born and raised in Vienna, Austria. Being the only child, I was encouraged to use my imagination. Both my mother and father were very talented. When I married and moved to the United States to raise our two sons, I started to miss following my dream to express my imagination. Each original design I paint has a piece of my childhood and young adulthood. I love to share with you. Come paint with me!!

Surface: • 11-1/2” x 8-1/2” x 2-1/4” Regular Rectangular 4-Corner Box WD1180 S, from Hofcraft

DecoArt Americana® Paints:

Santa is on a lastminute run - there’s no time to stop, but he has little Christmas elves to help him. Have fun!

• Sapphire Blue DA099 • Winter Blue DA190 • Desert Turquoise DA044 • Midnite Blue DA085 • Lamp (Ebony) Black DA067 • Snow (Titanium) White DA01 • Hauser Light Green DA131 • Hauser Medium Green DA132

Royal® & Langnickel™ Brushes: • #4, #10, & #12 Majestic Shader, Series R4150 • #2 Majestic Short Liner, Series R4595 • #2 Nylon Fabric Dye Rnd Scrubbr B, Series R395 • 3/4” Majestic Glaze Wash, Series R4700 • China Mini Mop, Series R999

Miscellaneous Supplies: • DecoArt® Americana Matte Spray DAS13, or varnish of your choice • Paper Towels • Pencil • Water Basin • Tracing Paper • Carbon Paper • Palette Paper • Star Stencil (optional)

Helpful Hints: The most important thing for me is deciding what base color I’m going to use. After I have my piece prepped, I draw directly

December 2017 Issue

Painting World Magazine

on the surface as I go. My least favorite part is copying the painted design (sorry). I save my palette paper so I know exactly what colors I used. Be sure to mark the palette paper pages with the title of the project just in case you’re like me; I might just go on to another design, and leave the one I just completed to type later. Preparation: Basecoat the entire top with Winter Blue. I pushed back the grain with a piece of tracing paper (not carbon paper). It is a wonderful sanding paper for just pushing back the grain between coats. After the base is dry, add the sky color in a pit-patty way using a large brush sideloaded with Sapphire Blue. Try not to cover all of the background. Leave it soft and contrasty.

Painting Instructions: Trace on the design. I like to start from the left side and work my way across.

When you have the moon done, come back on the inside with Sapphire Blue, and darken around the moon. Highlight with Marigold on the outside lower part of the moon. Pit pat Marigold across the moon and a bit over the Sapphire Blue.

Fairies: You’ll paint all of the fairies the same way. Base the bodies, heads, legs, and arms with Peaches ‘n Cream, and shade them with Burnt Sienna. The eyes are dots of Sapphire Blue, and the cheeks are Cherry Red. Paint the hair with curls of Burnt Sienna. Add just a little highlight of Snow White on the fairies’ legs, arms, and hands. The dresses are all Snow White, as are the wings. If you need to shade to separate them, use Sapphire Blue. Also, come along the outside of the fairies with Sapphire Blue to make them stand out a little more.

First Tree to the Left:

Moon: Base the entire moon in with Marigold. Paint the eye and mouth with Burnt Sienna. Add a bit of Burnt Sienna shading for the nostril. December 2017 Issue

The cheeks are Cherry Red. Shade them with Burnt Sienna. Then, come back and add some Cherry Red spot shading. Use Snow White to highlight the moon.

Base this tree in with Hauser Light Green. Shade it with Hauser Medium Green. Paint the trim line along the inside edge with Hauser Medium Green.

Shade between the two trees with Hauser Medium Green for the “first shade.” (Note: Whenever I call for a “first shade,” make it a little wider. If you don’t make it wide enough, when you shade the second time, you’ll just cover up the first layer.) Each of the dots is Sapphire Blue with a smaller Snow White dot. Shade below the dots with Sapphire Blue.

Second Tree: Base the second tree in with Desert Turquoise. Make a first shade with Sapphire Blue. Then, shade a second time with Sapphire Blue. Shade again with Midnite Blue, this time on both trees. Highlight both trees with Reindeer Moss Green. Paint Cherry Red hearts along the tips of some of the boughs. Add Snow White highlight dots to the hearts. The highlight along the right side of the second tree is also Snow White.

Note on Softening Edges: Even though the colors are intense, keep it soft; I used my mop brush to soften all the edges and paints. If you are not used to using a mop brush, remember that I used a small mop, which will give you more control. Practice softening your edges.

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When painting, I always use my large brush sideloaded, so I have a paint edge and a water edge. While the edges are still wet (before the water edge next to the paint dries), use your mop to soften them with a very light touch. You are not trying to eliminate the paint; you are just trying to move it.

Houses: Base both houses completely in with Burnt Orange. Add the windows using a brush sideloaded with Marigold. Paint a Snow White trim line on the left side of each window. The shading on the houses is Black Plum. Use Raw Sienna to base the roof. Shade it with Burnt Sienna, and highlight it with Snow White. Paint the chimney with Burnt Orange, letting the background show through for the mortar. Highlight here and there on the mortar with Snow White. Paint the top plate Burnt Orange, and shade it with Black Plum. Shade the left side of the roof with Sapphire Blue. Highlight the right side of the roof between the house and the roofline with Snow White. Add the roofline and chimney with a wash of Raw Sienna. Shade with Burnt Orange. Shade again with Sapphire Blue, but not on the whole

roof - shade with this color more toward the bottom. Highlight with Snow White. Add a final shade of Sapphire Blue along the right side of the roof.

Sleigh: Paint the sleigh and runners with Raw Sienna. Use Sapphire Blue to shade and to add the trim lines. Highlight with Snow White.

Santa: Base Santa’s face with Peaches ‘n Cream, and shade it with Burnt Sienna. Make his eyes with dots of Sapphire Blue. Highlight Santa’s eyelids and nose with Snow White. Add his cheeks with Cherry Red. Paint the hat and coat using Cherry Red. Shade with Black Plum. Highlight with Marigold. Santa’s gloves are Hauser Light Green with Sapphire Blue shading. Highlight them with Snow White. Paint the fur, pompom, hair, and mustache with Snow White. Shade with a light gray (Snow White + Lamp Black) mix between the mustache and beard; also add some light gray dabs on the fur.

Reindeer: Base the reindeer with Raw Sienna. Shade with Burnt Sienna, and then reshade with Black Plum.

Highlight with Marigold, and then with Snow White. Begin the eyes with U strokes of Burnt Sienna shading. When those are dry, come in with Snow White and add the eye, leaving some of the Burnt Sienna showing along the outside. Add Lamp Black dots for the pupils. Paint the nose and mouth with Burnt Sienna. Overstroke the mouth with Lamp Black, and add a small dot of Snow White in the corner of the mouth. The antlers are Raw Sienna. Shade them with Black Plum + a tiny bit of Lamp Black. Highlight them with Snow White.

Clouds: If the sky around the sleigh is light, darken it up a bit with Sapphire Blue so that the clouds will show. Sideload a large brush with Winter Blue, and add the clouds. I have my paint edge at the top of the cloud and my water edge along the bottom. Remember - soft! When the paint is dry, come back with a little Snow White on some of the clouds. The clouds run across the reindeer, the runners, and part of the sleigh.

Packages: Paint the package on the right side of the reindeer head with Midnite Blue.

December 2017 Issue

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Outline it with Winter Blue. Next, paint a Snow White package next to Santa’s head. Shade it with Peaches ‘n Cream, and paint a Cherry Red bow. The package on the left side of Santa is Cherry Red with Black Plum shading and a Snow White trim line.

When that’s dry, very faintly write “believe” with a mix of Winter Blue + Snow White (just so you can see it). With Sapphire Blue, shade the inside rounded edges of the letters.

Sides, Bottom, & Inside of Box:

Paint the package behind the fairy with Hauser Light Green. Shade it with Hauser Medium Green. Use Marigold for the highlight and bow. The package that Santa is dropping into the chimney is Winter Blue with Sapphire Blue shading. The highlight and bow are Snow White.

Before adding the stars and snowflakes, I painted the edge of the lid in Midnite Blue and the edge of the bottom of the box in Sapphire Blue. Add Midnite Blue shading and Winter Blue dots to the edge of the bottom of the box. Use Winter Blue for the outline on the right side of the top of the box.

You may use the picture as a guide for placement.

Snowflakes: Paint the snowflakes using Snow White in various patterns. Scrub a highlight of Snow White over the stick snowflakes. Again, use the picture as a guide.

Accent Shading: When you’re finished painting the design, come back with a large brush sideloaded with Midnite Blue to add some accent shading. For example, shade across the moon, along the left side of the trees, and along the bottoms of the trees and houses.

There is a little Hauser Dark Green greenery sticking out from behind the package and ball.

Base the inside of the lid with Midnite Blue and the inside of the bottom with Winter Blue. Shade the inside of the bottom with Sapphire Blue.

Words:

Ball:

The oval is Midnite Blue, and the lettering is Sapphire Blue. Everything else is Snow White.

Speckling:

Paint the ball with Winter Blue. Shade with Sapphire Blue. Create Cherry Red dots, and add a Snow White highlight.

Bear: Base the bear with Marigold, shade it with Raw Sienna, and highlight it with Snow White. Use Lamp Black for the eyes, nose, and mouth. The bow is Cherry Red.

Smoke: Paint the smoke from the chimney in the same way as you painted the clouds. December 2017 Issue

Add the words “you are on my list” with Winter Blue. Paint highlight strokes of Snow White on the right sides of the letters.

Stars:

Make the first layer of speckles (the very fine ones) using Snow White.

Paint all of the stars using the following method. (Note: I do not use a stencil, but it is up to you if you want to. I like the stars to look more whimsical, and I feel that when I draw them in, they are never the same size or angle.)

Create the second layer of snowflakes (I call them “wet dots”) with Snow White and some water in your liner brush. Touch the brush to the surface. The dot should spread a little. If it spreads too much, you have too much water in the brush.

Base the stars in with Marigold. Create a light accent shade with Cherry Red. Highlight the stars with Snow White.

Finishing: Finish the piece with a varnish – my choice is DecoArt Americana Matte Spray.

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

December 2017 Issue

Painting World Magazine

December 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

December 2017 Issue

Wood Surfaces, Pattern Packets and More...

Art by Donna Scully

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

TRUAX PRINTING brochures • catalogs newsletters • flyers business cards • forms magazines • books postcards • direct mail and much more...

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(419) 994 - 4166

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Peacock in a Pine Garland by Sherry C. Nelson, MDA

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It’s great fun to design for the holidays, and what pleasure to place my favorite critters and birds in a setting that can spark holiday cheer. Likely this peacock ornament will forever be one of my personal favorites. Can you even imagine the beauty of a tree covered in a few dozen of these, lit with sparkling blue lights? Get busy with those brushes, and plan to add some flashy iridescent birds to your Christmas tree. This is one of twelve designs in my Wildlife at Christmas Ornament Collection. I created the cutouts especially for use on large wreaths, or a glorious tree, for a unique display in your home during the holiday season. About Sherry Sherry’s life outside painting revolves, as much as possible, around traveling the world to see and photograph exciting wildlife and flowers. Extensive fieldwork gives her subjects correct “form and feeling.” December 2017 Issue

Winsor & Newton® Artist’s Oils: • Ivory Black (B) • Titanium White (W) • Raw Sienna (RS) • Raw Umber (RU) • Sap Green (SG) • Winsor Red (WR) • French Ultramarine Blue (FUB) • Phthalo Turquoise (PhT) Creating realistic birds in their natural habitats holds a special appeal for Sherry. She’s been painting and teaching her wildlife art for more than 47 years. Sherry has taught seminars in 46 states, Bolivia, Canada, Argentina, Taiwan, Japan, and Australia. She also teaches field seminars. Sherry lives, paints, and teaches on 37 acres of spectacular wilderness in the Chiricahua Mountains of southeastern Arizona. Sherry has been an active member of the Society of Decorative Painters since its founding in 1972, and is a past-president of the organization. SDP has awarded her with the Master Decorative Artist certification and the Silver Palette Award.

Surface: • Hand cut birch ornament ~7” x 5” from The Magic Brush, Inc®. (You could also use a 10” x 8” hardboard panel for framing.)

Palette: Colors are listed in order of placement on palette. See Figure 1.

Delta® Ceramcoat Acrylics for Background: • Eucalyptus #02569 • Black #02506

Sherry C. Nelson® Brushes: • Red Sable Brights, Series 303, #0, 2, 4, 6, 8. • Red Sable Round, Series 312, # 0 liner

Miscellaneous Supplies: • Sponge roller, to apply background acrylic color • #330 wet/dry sandpaper, for sanding between coats of acrylic • Krylon® Matte Finish, # 1311 (to spray the prepared background before applying design) • Krylon Spray Varnish, # 7002 (for final finish on entire piece) • Tracing paper • Artist’s graphite paper, dark, oil soluble • Ball Point Pen • Odorless Thinner

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• Cobalt Siccative (optional) • Palette Pad for oils • Palette knife • Paper towels, Viva® My work always begins with photography, since creatures such as this peacock are complexly patterned and impossible to remember in perfect detail without a good reference. So a good camera and hours spent learning about the creature marked the beginning of this design, as it does for so many others.

Background preparation: (Figure 2) The ornament is cut from a thin birch plywood. Seal both sides of the ornament prior to painting using a quick

Helpful Hints: I always paint in oils because they are such a forgiving medium and allow me to help my students, even entry-level folks, to achieve a finished work in which they can take great pride. Important to the finished piece is that I used very sparse amounts of excellent artists’ oil colors to achieve the level of detail required for the featherlike texture and the other elements to turn out as realistically as possible.

dry wood sealer. Allow to dry and sand smooth. Using a sponge roller, base with Ceramcoat Eucalyptus on front and back of ornament. Let dry. Sand with #220 wet/dry sandpaper. Re-coat. Let dry. Sand again. Spray with Liberty Matte Finish to seal before applying design.

Tips for Wet-on-wet Acrylic Backgrounds:

Remove lids of new bottles of acrylic and fill to bottom of neck with water. Replace lid and shake well. This will reconstitute paint to original consistency. Add enough water to bring partially-used bottles to the same consistency. Transferring the design: Use the inked design to transfer to the painting surface. Lay dark gray graphite paper over the prepared painting surface. Place inked design on top of graphite. Lay a piece of tracing paper on top of design to protect original during transfer. Tape stack into position. Transfer design

completely and carefully with a fine point ballpoint pen. Retain details of eyes and feathering, exact shapes of ornament and berries, and make transfer as accurate as possible. Check during process to make sure design is coming off on surface clearly. If too faint, change to a newer piece of graphite. Use artist’s graphite for oils, not the papers created for acrylics that are water soluble.

Palette: (Figure 1) Ivory Black (B), Titanium White (W), Raw Sienna (RS), Raw Umber (RU), Sap Green (SG), Winsor Red (WR), French Ultramarine blue (FUB), and Phthalo Turquoise (PhT). Ceramcoat Black acrylic in a puddle on lower right of palette.

Using a Drier: Cobalt Siccative, a drying agent, may be added in fractions of a drop, to each patty of oil paint on your palette to speed drying time. I use it EVERY

Figure 1

December 2017 Issue

Painting World Magazine

time I paint. If color does not remain workable on palette for at least 8 hours, you are simply using too much. Dip palette knife into drier, bleed off excess against side of bottle, then touch knife tip NEXT to each patty of paint. If too much comes off knife, do not mix entire amount into paint. Mix each tiny ‘freckle’ into paint patty using clean palette knife. Drying time is 6 hours to overnight, depending on particular pigment and relative humidity.

Understanding the Painting Process: The painted step-by photos are to be used as a guide along with the written instructions. Read the written instructions carefully, then work in the sequence given, referring to the multiple step sequence shown in the photos to determine actual color placement, amount of blending to be done and so forth. Figure 2

December 2017 Issue

Instructions are written in the sequence in which I painted the piece; work in that order and finish each element before going on to another. The initial step for each element shows how the basecoat areas should appear, while later steps normally indicate the first blends, as well as application of additional darks and lights. The final steps usually include the finished painting, as well as steps leading up to it.

Brush Loading and Blending Basics: Color should be loaded onto the brights from a loading zone, a strip of sparse paint pulled from a patty of paint down on the palette. Mixtures are made by moving from one loading zone to another, working back and forth, to achieve a mix of two or more colors. Wipe brush on a paper towel after applying paint to surface, but Figure 3

before beginning to blend. Blend colors WHERE THEY MEET, using a dry brush and short strokes. Don’t blend randomly over the entire area; just blend ON THE LINE where colors come together, creating a new value and hue with the process of blending. To blend overall will cause loss of values & clarity.

Brush Sizes: Use the smaller brush sizes, #0, 2 and 4 for most of the elements of the design. But within that range, choose the largest size that is comfortable to achieve the detail necessary. In addition, I always keep my #8 bright handy; while I don’t often paint with that size, I use it dampened with odorless thinner for cleanup, because I find the larger bristle base gives better pressure for removing any messy paint, or graphite lines around the edges Figure 4

Painting World Magazine Figure 5

Figure 6

Figure 7

Figure 8

Figure 9

Figure 10

Figure 11

Figure 12

Figure 13

of the design. Once a brush is listed in the instructions, stay with the size suggested until instructions indicate changing to a different size.

on the bird’s wing. When finished, rinse out the brush in water and blot on paper towel. You’ll be able to use it back in your oils almost immediately.

Figure 3:

Figure 4:

Sometimes, to prevent a wait for drying time, I use black acrylic for markings on a bird or animal. Then I can paint adjacent to them with my oils almost immediately without risking smudging wet paint. Use the chisel of the #0 or #2 bright to put in the zig-zag markings

Base background behind crest feathers with B + SG. Paint the base of the crest feather tufts with B using the #2 bright. Lay in lines of thinned W directly over the green acrylic base coat, using the chisel edge of #4 bright.

Figure 5: Pull B lines from the base of the feather tufts to soften a bit into the W Lines. Base rest of each tuft with PhT + W, using a #2 bright. Soften edges of this mix into the B, but don’t overwork. Base the eyeing with RU + a bit of W using the #0 round. Base the beak with RS + W using a #2 bright.

Figure 6: Base eye with B using either #0 round or #0 bright. Narrow eyeing to correct shape with

December 2017 Issue

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the dark mix of B + FUB around eye. Base with B + FUB on throat, gradually adding more FUB and less B as you base the auricular (cheek). Divide beak with a line of dark mix and outline nostril opening with same.

Figure 7: Soften darks previously added on beak. HIghlight beak with W. Place highlight in eye with dot of W. Base light areas around eye with W + RS using a #0 bright.

Figure 8: Using a #2 or 4 bright, base rest of head and neck of bird with FUB. Base dark value on back with B and rest of area with FUB.

Highlight head and neck with W + PhT using a #0 or #2 bright.

December 2017 Issue

Figure 13:

On the back of the bird, use the same mix, but with a good #2 or 4 bright, applying with the chisel edge to create a layered look.

Now begin to highlight breast area using W + PhT. Use a #2 bright and choppy strokes done with the corner of the brush to give some texture and individual feather-like markings.

Figure 10:

Figure 14:

HIghlight markings on face, and beak with W, using the #0 bright. Add stronger W at base of shafts of head feathers, using slightly thinned W on a #0 round.

Amount of highlight on breast and back in this image is good, sufficient to indicate the iridescence without getting too overworked with chalky light values.

Figure 11:

Figure 15:

Base with B in shadow areas on throat, next to wing and behind the greenery. Use sparse paint and apply with a #4 bright.

Base greenery with SG + B (2-1) in light areas and a darker mix with higher proportion of B in darker areas. Base branches with RS + RU.

Figure 12:

Figure 9:

Figure 14

Tap corner of brush to add a little texture to the surface.

Base remainder of breast with FUB. Base around acrylic markings on shoulder with W + RU, a light grey.

Figure 15

Figure 16: Lift out the needles in the pine branch with a good chisel edge #4 or #6 bright dampened in odorless thinner and blotted Figure 16

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Figure 17

on paper two. You’ll be able to do a few, then have to redip brush in thinner and reblot for the next few. Don’t forget to add a small cluster of needles in the triangular area of green behind the bird’s neck. Highlight branch with a bit of RS + W, applied in choppy horizontal strokes with a #2 or 4 bright for bark-like texture.

Figure 17: Highlight the pine branch in several areas with lighter needles of SG + W using a #4. Base white band on ornament with #2 bright: Dark value/ RU + W. Light value/ W. Red areas, # 2 or 4: Dark/ WR toned with a little SG. Light/ WR. Place darks on metal cap on ornament using RU with #0 bright. Base hanger on ornament with slightly thinned B using the #0 round brush.

Figure 18: Finalize greenery with more detailed light green needles if needed.

Figure 18

Ornament: Blend values on white band. Highlight with W. Blend values on red areas. Highlight with a bit of W + RS, just blending slightly with length of ornament to suggest shine. Using #0 bright, base rest of cap with W and blend where values meet. Highlight hanger with a bit of slightly thinned W on #0 round.

Figure 19

Figure 20

Figure 19: Voila - the painting is complete!

Figure 20:

Merry Christmas! May you celebrate the season with peacocks by the dozen on your tree or wreath!

Let dry and spray with final finish. Add the ornament hanger at top and glue on the red bow if desired.

December 2017 Issue

Painting World Magazine

December 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

12 Days of Christmas Tote by Terry Holte

Painting World Magazine

Remember getting ready for Christmas as a child? Stringing popcorn, making paper rings to hang around the house, baking cookies and making candy all bring back fond memories. Now we can reach back into your childhood days and do some Christmas coloring with this project…. Or better yet, why not prep another bag for the kids, grandkids and you color together making a new Christmas Memory.

Painters and Pacific Coast Artists in Southern California. She recently began teaching at Chapter Paint Ins. She currently lives in Southern California with her husband.

Surface: • Heavy Canvas Shopping Tote Bag 18” x 14” I purchased from the Totebagfactory.com® • The neutral canvas area we will be dealing with is 18” x 11-3/4”

Other Supplies: • Color coordinated ribbon and charm • IDenti-pen® black and red • 30mm Old English Lettering Stencil (lower case) from Hobby Lobby® • Assortment of Colored Pencils (I used Prismacolor®) • A colorless blender (Prismacolor) • Vaseline • Camp Dry® Water repellant spray (Target®, Wal-Mart®, Amazon®) • Fabric Glue

Preparation: Make a tracing of the pattern, lay out your boxes to fit on the bag and ink in. (Figure 1)

About Terry Terry started painting in the early ’80s at a shop in Redlands, meeting up with her sister halfway so they could do something together. She is a charter member of Orange County Tole and Decorative December 2017 Issue

Using the stencil, place the numbers in the upper left corner of the boxes and ink. Transfer the rest of the design onto the canvas bag and ink. (Figure 2) Glue on your ribbon and add charm

Helpful Hints: When I had a choice of color I used red to tie into the color of bag. It just sort of helps to bring it all together.

Coloring Instructions: The Numbers and Title “The 12 Days of Christmas” were done in red with the IDenti-pen. The remaining is colored with the pencils, dipping the tip in the Vaseline. The Vaseline acts as a medium to help move the color around on the canvas and blend two or more colors together. Remember to base the figure in with a medium color, use a darker value to shade and a lighter value to highlight. So for example, the Pear and Holly leaves are first colored in using Vaseline with a medium green value, highlight using a yellow green value and shade using a dark green value. Use the Colorless Blender to help blend the shades together, giving a smoother look. The Holly Berries and Heart have a white highlight. If you can’t get it white enough with your pencil use a white Sakura pen or Deco Art Snow White Acrylic paint to dab in. The first block with the pear and California Partridge (has the plume on the head) is done in brown and gold and yellows with white highlights. The second block is Turtle Doves also using yellow,

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white gold and brown with a touch of black.

is more of an antique white, neutral and beige color.

The third block is a French Hen with gold and brown straw, and antique white, neutral and white for the head and body. The comb and wattle is red.

The seventh block is a white swan with black mask. I used blue at the top of the water line and white at the bottom.

The fourth block is the Calling Birds (American Version of the song). The Original is colly birds, which is a black bird. I did these Blue, with a pinkish belly and white breast. The fifth block is yellow and goldâ&#x20AC;Ś. You could get very creative and add some gold sparkle to this one. The sixth block is a brown Goose with white markings on the head and white eggs. The rest of the body

The eighth block is white milk in a light gray/dark gray bucket sitting on a brown and beige stool. The ninth block the dancing lady is flesh colored with hair and dress colors of your choosing. The tenth block is a gentleman leaping. I used flesh colors for the skin and you can color his clothes anyway you like. The eleventh block is a flute or pipe and is gold.

The twelfth block is a drum; pick your own colors here as well.

Finishing: The last thing I did to the bag is spray it with some Camp Dry. This is a water repellant spray that is typically used on Camping equipment, like the tent. It will stink for a couple of days and then the smell will dissipate. I usually leave mine hanging in the garage until the smell is gone. Your bag is ready to go with you for a Christmas shopping spree or to cart those gifts to the kids/grandkids for a happy Christmas gathering. Enjoy!

December 2017 Issue

Painting World Magazine

December 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

Winter Evening by Theresa Prokop

Painting World Magazine

Nostalgic memories flow as you look at this charming Winter Evening Village painting. You get a feeling of the warmth that lives within each house, as it is told with paint on this canvas. The glow from the moon, the streetlights, and the house window lights with their touch of bling make this the perfect winter painting to grace any wall.

About Theresa I’ve been painting for what seems like my whole life, and I paint a LOT. I won’t say how old I am, but to give you a clue, I remember holding a sign that read “I LIKE IKE”! My surfaces have been as diverse as my subjects and mediums have. I teach painting to all levels of painters. I also have a line of Whimsical Doodles All Occasion Cards that seem to fill my fun time of painting. December 2017 Issue

Surface: • 12” x 36” x 1-1/2” Gallery Wrapped Canvas

DecoArt® Paints: • Americana® Neon Lights® - Radiant Yellow DA342 • Glamour Dust™ Glitter Paint - Ice Crystal DGD09

Americana Acrylics: • Multi-Purpose - Night Sky DA529 • Snow (Titanium) White DA01 • Antique White DA058 • Multi-Surface - Blue Lagoon DA526 • Buttermilk DA03 • Cadmium Red DA015 • Cadmium Orange DA014 • Desert Turquoise DA044 • Soft Black DA155 • Raw Sienna DA093 • Hauser Light Green DA131 • Hauser Dark Green DA133 • Shading Flesh DA137 • Bleached Sand DA257 • Warm White DA239 • Grey Sky DA111 • Ultramarine Blue DA225 • Teal Green DA107 • DeLane’s Dark Flesh DA181 (or substitute Terra Cotta DA062 + Napa Red DA165 [2:1])

Traditions™ Artist Acrylics: • Burnt Umber DAT46 • Burnt Sienna DAT44

Dynasty Brushes: ®

• #3/4 & #1 Black Gold® Flat Washes (206FW)

• #1, #2, #3, #4, #5, & #8 Black Gold Rounds (series 206R) • #4, #8, #14, & #20 Black Gold Shaders (Series 206S) • #20/0, #10/0, & #5/0 Black Gold Liners (Series 206L) • #1/8, #1/4, #3/8, & #1/2 Deerfoot Stipplers (Series 300)

Miscellaneous Supplies: • DecoArt Americana Matte Spray DAS13 • Tracing Paper • White & Gray Transfer Paper • Double-Ended Stylus • Paper Towels • Baby Wipes • Painter’s Tape • Water Bin • Old Toothbrush • Fine-Tip Black Permanent Marker (I used a 03 Micron® Pen XSDK03-49) • Q-tips® (optional)

Preparation: With a 1” wash brush, paint the entire canvas Night Sky. I continued to paint the sides of the canvas as well as the front. Trace the pattern onto tracing paper. Transfer the main pattern lines using the white transfer paper and stylus. Transfer the details as needed as you continue to paint. Refer to the photographs often. They will help guide your painting.

Painting World Magazine Figure 1

Painting Instructions: Sky & Moon: To basecoat the moon, pick up Titanium White and a touch of Night Sky, and then move your brush in a circular motion to paint. Let that dry. (Figure 1)

Figure 2

Next, load a 1/4” stippler brush with Night Sky, and dry brush a shadow on the left side and bottom part of the moon. Tap Titanium White on the right side for a highlight. Pick up White and a tad of Cadmium Red to make a light pink color. With a side-to-side motion, dry brush a few drifting clouds across the sky. When the sky is dry, spray the sky area with a mist of the Americana Matte Spray. Let it dry. Run a dampened old toothbrush through some White, and fleck the sky area. It’s okay if some of the flecks fly elsewhere.

Figure 3

Background Trees & Bushes: Congratulations! You are about to become a “Master Stippler,” because when you’re through painting all the trees and bushes, you’ll deserve a title. Transfer the designs for the trees and bushes to the appropriate areas on the canvas using white transfer paper. You’ll tap in the trees and bushes before painting the houses and snow.

Figure 4

Use different-sized stippling brushes to paint the trees and bushes. Moisten the area before tapping in the foliage. Pick up a mixture of Soft Black and Night Sky, and tap it in where the trees and bushes will live. (Figure 2) There are a lot of bushes and trees to paint. Pick up a load of paint, and tap in a section at a time. Use the appropriate-sized brush for the area you are painting. (Figure 3) Go back to these areas, and see if there’s more that you think you need to do. Remember to paint in an up-and-down motion when tapping in the shapes. Use a round brush to paint the trees trunks and the long, thin pine trees. You may have to repaint

December 2017 Issue

Painting World Magazine Figure 5

Figure 6

the tree trunks when you apply the White for snow, but at least you will have them painted as a guide for their placement. You’ll paint the twigs and branches after you paint the snow. Let the surface dry. Go back to the trees and bushes, and pick up a mixture of Titanium White and a tad of Blue Lagoon. Using the appropriatesized brush, tap on the snow. When that’s dry, tap on some Warm White, and then Titanium White, at the top of the trees and bushes for a bright highlight. You can always go back to paint more snow. (Figure 4) You’ll tap Radiant Yellow on some of the trees and bushes after you’ve painted the houses and streetlights. Refer to the pictures.

Paint all the windows and the lantern parts of the lampposts with Raw Sienna. Float Cadmium Orange at the top and bottom of each window. Using the back of a brush handle, dot in Radiant Yellow for a bright glow. When the paint has dried, use a fine-tip black permanent marker to draw in windowpanes and outline each window. On the left sides of some of the larger windows, I added an additional float of Cadmium Red.

Small Houses & Church:

Houses: You might want to tape the sides of the houses before painting them to keep them straight. I used a fine-tip black December 2017 Issue

permanent marker to draw in the detail for the roof shingles, the houses, and the chimneys.

Beginning at the top of the canvas and working from left to right, these are the colors for the smaller houses (Figure 5):

• Burnt Umber with a Cadmium Red door and trim. The roof is Soft Black.

• Bleached Sand. The roof is Burnt Umber. • Cadmium Red with Buttermilk trim. The roof is Soft Black. • Buttermilk with a Burnt Umber door. The roof is Soft Black. • Teal with Cadmium Red trim. The roof is Soft Black. • Cadmium Red. The roof is Soft Black. • The church is Raw Sienna with a Cadmium Red door and trim. The roof and steeple are Soft Black.

Burnt Umber House: Moving on down to the right side of the canvas… Basecoat the house with Burnt Umber, and trim it with Hauser Light Green. (Figure 6) The chimneys are Dark Flesh, and the tops of the chimneys are Grey Sky. Float with shades of Soft Black. If you like, you can use a permanent marker to draw in the brick lines and the shingles on the roof.

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Dry brush a mixture of a tad of Night Sky and White, and, in a circular motion, dry brush smoke coming up from the chimneys.

Raw Sienna House:

Cadmium Red House:

Paint the door and trim with Desert Turquoise. Paint the roof with Burnt Umber. Shade with floats of Burnt Sienna.

Next, move down to the left side of the canvas, and basecoat the house Cadmium Red. (Figure 6) Paint the chimney with Dark Flesh. Shade with floats of Soft Black. Use a black permanent marker for the brick lines. The roof is Grey Sky, and the trim is Buttermilk. The door and porch trim are Desert Turquoise. Dry brush a mixture of a tad of Night Sky and White, and, in a circular motion, dry brush smoke coming up from the chimney. Use a black permanent marker for shingle lines. Paint the flag White. Add an Ultramarine Blue square and Cadmium Red stripes. The pole is Soft Black.

Figure 7

Move down and to the right side of the canvas. Basecoat the house with Raw Sienna. (Figure 7)

Use a black permanent marker for shingle and detail lines. Dry brush a mixture of a tad of Night Sky and White, and, in a circular motion, dry brush smoke coming up from the chimney.

Green House: Now, move to the left side of the canvas. Basecoat the house with Hauser Light Green, and shade with Hauser Dark Green. (Figure 7) The trim is Buttermilk, and the door and roof are Cadmium Red. Shade the roof with Soft Black. The chimney is Grey Sky. Dry brush a mixture of a tad of

Night Sky and White, and, in a circular motion, dry brush smoke coming up from the chimney. Use a black permanent marker for shingle and chimney lines.

Antique White House: Finally, move on down to the bottom center of the canvas, and basecoat the house with Antique White. Shade with a float of Burnt Sienna. (Figure 8) Paint the roof and chimney with Grey Sky. Shade with a float of Soft Black. Paint the shutters Cadmium Red. Dry brush the center of each shutter with Cadmium Orange. Paint the door with Hauser Light Green, and shade with Hauser Dark Green. Paint the trim with a mixture of Antique White and White. Use a black permanent marker for shingle and chimney lines. Basecoat the front stairs with Grey Sky. Shade with Soft

Figure 8

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Black. Use a black permanent marker for the detail on the rocks in the steps. Using a side-to-side motion, dry brush a path from the house’s stairs to the stone wall with Night Sky and some White.

Snow:

Stone Wall:

Finishing:

Basecoat the stone wall with a mixture of Night Sky and Soft Black (dark gray). Paint in the shapes of the stones using a 20/0 liner and Soft Black. Highlight some of the stones with Warm White and Grey Sky. Tap on Titanium White dips of snow.

Look over the painting, and paint in some White and some Burnt Sienna lines for trees and twigs.

Paint all the snow areas in sections. Paint each section, working from the top down, first with a mixture of Blue Lagoon and White (light blue in color). Let some of the Night Sky color show at the bottom.

Lampposts:

Then, float soft, rolling hills and yards with floats of Warm White, and then of Titanium White, to lighten and brighten the snowy areas in the same way. Refer to the photos.

Paint the grills with Soft Black.

Long Winding Road: Using a 3/4” flat brush, paint the long, winding road from the top of the canvas to the bottom of the canvas with Night Sky. Shade with Soft Black.

Tall Tree on Bottom Left & Birdhouse: Basecoat the tree with Burnt Umber. Shade with Soft Black, and dry brush on highlights of Shading Flesh. Tap Titanium White clusters of snow on the branches. Paint the birdhouse with Desert Turquoise, and paint the roof and trim with Cadmium Red. Paint detail lines with Soft Black. Tap on Titanium White snow.

December 2017 Issue

Paint the posts Soft Black. Paint the tops of the lanterns with Raw Sienna. Shade with floats of Cadmium Orange, and then of Cadmium Red.

Dry brush the centers of the lanterns with Titanium White first, and then tap in Radiant Yellow for a glow. Dry brush beneath the lanterns, first with Titanium White, and then in a downward motion with Radiant Yellow. Add some trees and highlight some bushes… Using a small stippler brush and Hauser Light Green and White (light green color), stipple the tops of a few trees and bushes that you want to be lit from the glow of the streetlights and house lights.

Dry brush areas that you feel might need more highlights, tap in areas you feel need more snow, and stipple in areas you feel might need more trees or bushes. When you’re through painting, stippling, and dry brushing, spray the entire canvas with Americana Matte Spray, and let it dry. This will allow you to remove any flecks that you might not want in a certain area with a Q-tip or the point of a small round brush. Next, using a dampened old toothbrush dipped into Titanium White, fleck snowflakes over the entire canvas. Then, spray the entire canvas with Americana Matte Spray. Let the piece dry well. Spray it again with two coats of spray. Happy winter, “Master Stippler”

To paint the glow from the lights shining on the snow in some areas, dry brush the area with Titanium White first. Then, dry brush the same area with Radiant Yellow. Brush the moon, some snow areas, and each window with Ice Crystal Glamour Dust. Refer to the pictures.

Painting World Magazine

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

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

December 2017 Issue

Painting World Magazine

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

December 2017 Issue

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

Blue Poinsettia Pillow by Phyllis Ekleberry

Painting World Magazine

Poinsettias come in a rainbow of colors in today’s world. I hope that these fit somewhere in your Christmas decorating scheme. You should be able to sit down and paint them in one afternoon. So let’s go!

Surface: • 18” Square of Fabric, prewashed using NO fabric softener in the wash cycle or the dry cycle (If you are

a seamstress at all, it helps tremendously if you zigzag or serge around the outside edge. This keeps the fabric from unraveling when you wash and dry it.)

Jacquard® Textile Color Fabric Paints: • Spruce 126 • Sapphire Blue 112 • Sky Blue 111 • Super Opaque White 220 • Maroon 109 • Apple Green 116 • Olive Green 118 • Yellow 101 • Black 122

Global Art® Supply Ersatz Brushes:

About Phyllis Phyllis Ekleberry was born and raised on a cattle ranch in the Texas Panhandle. Phyllis has used art to manage her physical adversities, placing one goal at a time in the forefront and striving to meet that goal. She obtained her Artisan’s Certificate and her Teacher’s Certificate from Genesis in the 1990s. She went on to receive her Master Zhostovo Artist Certification after studying under Master Artist and Teacher Slava Letkov from Russia. Phyllis was the first U.S. citizen to obtain this coveted accreditation. Her favorite quote from Émile Zola is “If you ask me what I came to do in this world, I, an artist, will answer you: I am here to live out loud.” December 2017 Issue

• 3/4” Wash, GAB13 • #4 Round, GAB01

Miscellaneous Items: • Jacquard Colorless Extender 100 • 1/2” Angle Brush • Largest Brush You Own • Palette Knife • Viva® Paper Towels (There are cheaper paper towels, but they don’t absorb as much, leaving you to use more. And, these don’t leave lint behind on your project.) • Water Basin • Diaper Wipes (for those messes)

• Butcher Paper or a Wet Palette (a must for this paint; see note below) • Small Container or Medium Lid of some sort (to put colorless extender in)

Making a Wet Palette: There are two methods that you can use when making a wet palette and using Jacquard Textile Color Paints. You can purchase a Masterson® Sta-Wet® palette from any art supply store or Amazon®. I make a homemade wet palette using Cabinet Wax butcher paper (a thin wax butcher paper). I place two Viva paper towels in between pieces of the butcher paper, and wet it. Then, I place it on a flat surface, and smooth the wrinkles out with a credit card. This helps adhere the wax paper to the paper towel, thus making sure it doesn’t dry out. Why do I use this? Because preMasterson Sta-Wet palettes, this is what we used, so I kept on using it. And it’s cheap!

Transferring Pattern: The trickiest part of this project is getting the pattern onto the fabric. I don’t like to use transfer paper, as it gets all over the fabric. So, here are four other ways I know of that you can transfer a pattern onto fabric. Method 1: Make a copy of the pattern with a copy machine that uses powdered toner, and then iron on the pattern. This iron-on pattern should be good

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for several uses. Be careful, as the first time you iron on the pattern, it’ll come out dark. Method 2: Use Aunt Martha’s Hot Iron Transfer Pencils, found on amazon.com.

Method 3: Trace the pattern with a fine point black Sharpie®, and then place the pattern onto a light box. Tape down the pattern and then the fabric. With diluted light paint (using the colors we’ll use later in the project), trace the pattern. Method 4: (Figure 1) Trace the pattern onto tracing paper with a black Sharpie. Tape this traced pattern onto a windowpane that the sun shines through. Then, tape the fabric taut across the pattern. Trace the design with paint that you’ve premixed (see below) and diluted either with Colorless Extender or water (water can bleed out on some fabric). I trace the pattern using the color that is relevant to each object; I use Warm Green to Figure 1

trace the warm leaves, Cool Green to trace the cool leaves, etc. Doing this will enable you to look at your piece and easily know at a glance what is what. These poinsettias are simple, so please don’t make them hard. Take a deep breath and relax - just have fun.

Definitions: • Dry-wipe means to place your brush or palette knife between layers of a dry paper towel and your two fingers. Pinch the brush, and pull it through the paper towel. This will remove most of the paint. NEVER slap your brush willy-nilly on a paper towel hoping that the paint comes out, because it won’t. • A tint is the color + White. • An accent is the pure color applied to the outside or inside of an area.

Preparation: The object of making the light and highlight blue for your poinsettia pillow is to make a blue that YOU like. It may be a shade that’s a bit different from mine, but the pillow goes in your house, not mine, so please yourself. Take out a good size pile of Super Opaque White, about the size of two fifty-cent pieces, and divide it into two. Then, dry-wipe your palette knife, and dip it into Sky Blue. Pull out about the size of a quarter, and place it onto your wet palette.

Prepare the following mixtures/colors: • Blue Highlight: In one pile of White, place a very small amount of Sky Blue. Remember that you can always add more, but if you put too much Sky Blue in, you will have enough highlight color to paint two or three pillows. • Light Background Color: Use the other pile of White and a bit of Apple Green to make a pretty, bright, light green. Remember that you can always add more, but it takes a lot of white to calm down Apple Green. • Warm Light Green: Olive Green + Yellow + White (4:1:touch) • Warm Highlight Green: Warm Light Green + White (+ Yellow) - we don’t need much of this • Warm Dark Green: Olive Green + Sapphire Blue + Black (4+1+.1) • Cool Highlight Green: Spruce + White (4:1), White Before we paint each poinsettia petal and leaf, we will completely cover it with the Colorless Extender using the largest brush you own. We will place on the dark, sometimes place on the light Apple Green tint or Maroon or a blue accent, and place on the Blue Highlight color we made. You’ll blend by gently pulling these colors together with an angle brush.

December 2017 Issue

Painting World Magazine Figure 2

Figure 3

It will be easy to over-blend, resulting in ONE COLOR. Right before you think you are finished, STOP! You want to see vein lines/ruggedness.

Painting Instructions: Flowers Bottom Right: I started with the poinsettia on the bottom right. Shade with Sky Blue and Sapphire Blue. (Figure 2)

Blend all the colors you have placed on in the direction that you want your veins to go. When I was teaching classes, I always told my students to put their arms in the air and chant “touchdown”! That is how they could remember which way the veins in their leaves, poinsettia petals, etc. would be going. If this helps you, go with it.

Place the vein line in each petal, dividing the petal into 1/3 dark and 2/3 highlight. (It just looks better if you don’t have a half-and-half petal.) Then, with your 1/2” angle brush, drag strokes away from the middle at a 45-degree angle.

Now, look at the petals at 9, 10, and 12 o’clock. These all have an accent of Maroon. But before adding the Maroon, place a bit of Sapphire Blue, and then place the Maroon. Or, vary the look on some petals - on some, omit the Sapphire Blue and just add the Maroon, and on others, do both.

For your light color, use the Blue Highlight color, leaving a few places open for the accents or tints.

Evaluate: Do you need a bit more highlight? If you do, you may add a touch more with straight White.

This flower has quite a few bright tints of Highlight Green; place the Highlight Green in where you see it in the photo. (Figure 3)

If the White just seems to melt in, let the paint tack up a bit. We can come back in 30 minutes and try again. It will hold then.

December 2017 Issue

Figure 4

Center Flower: Now, go to the center flower. Use Sky Blue for your dark color. (Figure 4) Look closely at the petals at 12, 3, and 4 o’clock. After I used Sky Blue on these petals, I also used Sapphire Blue to deepen the blue next to the center and where the petals go under other petals. On this flower, I also placed Sapphire Blue on a few places along the outside edges. Refer to the photo. Fill in the remainder of the flower petals with your light color. Blend with your angle brush in the same direction as you blended the first flower’s petals.

Top Right: Next, we’ll paint the upper right-hand flower. (Figure 5) Start with the dark colors. Using Sky Blue, place vein lines and darks. Reinforce some of the darks with Sapphire Blue

Painting World Magazine Figure 5

(petals at 1 and 8 o’clock). Put your light Apple Green tint on the large petal at 5 o’clock in the highlight area. Finish the petals by filling in the remainder of the unpainted areas with the Blue Highlight mix, and blend.

Bottom Left: Going on to the flower at the bottom left. (Figure 6) Shade with Sky Blue on the vein lines of the petals at 9, 10, 1, and 3 o’clock; also shade some on the outer edges. These petals are quite large. Figure 8

Figure 6

Deepen the dark areas on petals 9, 10, and 1 o’clock. Add Warm Light Green to the left outside edge of the petal at 10 o’clock. Fill in the remainder of the petals with the Blue Highlight mix. Then, blend slightly by connecting the strokes gently with your angle brush - remember touchdown? For the small green petal, paint the dark areas with Warm Light Green and the light areas with Warm Highlight Green. (Figure 7) Figure 9

Figure 7

Finish the poinsettia by following the same directions that we have been using for all of the flowers; nothing is different. Look at the photo, and apply the color. It’s easy. If you have a problem, I am but a private message on Facebook away!

Top Left: Finally, we’ll paint the top left flower. Shade with Sky Blue, and deepen the shading in some areas with Sapphire Blue. (Figure 8) Tint with a bright Apple Green highlight on the 12, 6, and 7 Figure 10

December 2017 Issue

Painting World Magazine Figure 11

Figure 12

o’clock petals. Add accents of Warm Green on the 9 o’clock petal and Maroon on the 6 o’clock petal. (Figure 9) Fill in the remainder of the highlights with the Blue Highlight mix, and blend lightly. (Figure 10)

Using the Cool Highlight Green mix for your light color, fill in the remainder of the leaf, and blend. Highlight with White. (Figure 12)

Leaves: Using the 1/3 to 2/3 rule again (we don’t want a halfand-half leaf - it just doesn’t look good), apply the darks and lights, and add the tints and accents. (Figure 11) Leaves are color carriers. They will transport your color all around your piece for you. If you need your blue to move from one place to another, add a leaf! Your colors should appear in your piece about every 3”.

Far Right Bottom: For the cool leaf on the far right lower corner, use Spruce for the shade color, placing down the vein line where the December 2017 Issue

leaf meets the light leaf and the flower petal and at the tip. Add accents of Sapphire Blue on the outer edges of the dark side and the light side.

I blended the leaves the same way I blended the petals, except I tried to make the leaves not as rough as the petals. I wanted a difference in texture here and there, and the streaks denote texture.

Bottom Center: This photo shows the two warm leaves at the bottom center of the pillow. (Figure 13) Use Warm Dark Green as your shade color down the vein line, next to the flower, and on some of the dark edge’s outer edge (refer to the photo). Using Warm Light Green as your light color, fill in the remainder of the leaf. Place Warm Highlight Green highlights

Figure 13

right next to the center vein line with a pressure stroke. Blend. If you seem to lose your dark or light, let your paint tack up a bit, and we can come back to it in about 30 minutes and do it again.

Bottom Right: Next, we’ll paint the cool leaves at the bottom right corners. (Figure 14) Use Spruce as your shade color along the vein line, next to the flower petals, along the highlight edge, and along the tip of the leaf. Use Sapphire Blue or Sky Blue to place accents on the light side (just on the inside) of the outermost leaf (refer to the photo). Add Maroon accents on the other leaf on the light side toward the tip. (Figure 15) Fill in the remainder of those two leaves with the Cool Highlight Green mix as your light color. For the outside leaf, blend as usual. For the leaf that has the Maroon accent, blend the dark side

Painting World Magazine Figure 14

first, and then dry-wipe the brush. Next, blend the dark bottom, and dry-wipe the brush again. Now, gently, with as few strokes as possible, blend the Maroon into the green. If you’re having any problems, pick up a mop, and blend that way. Why be careful? The complement of green is red. Try adding green and red together in equal parts, and you get a muddy brown. So, when placing the complement of another color, blend gently. Place a White highlight right next to the vein line with a pressure stroke, and barely blend if you blend at all. Figure 16

Figure 15

Left Side:

Top Left:

Time to paint the cool leaves on the left side. (Figure 16) These are fairly dark leaves, as they are under flowers all the way around. So, we won’t use much light color.

Apply Warm Dark Green as your shade color down the vein lines, where the leaves go behind the flower, at the tip of the flower, and on the dark edges. Accent with Maroon along the outer edge of the right leaf and with Sky Blue along the dark edge of the outside leaf. Use Warm Highlight Green as your light color. (Figure 17)

Using Spruce as your shade color, place down the vein line and shade where the leaf goes behind something. Add Sapphire Blue accents on the light side of the outermost leaf, between the dark and the light. Use Cool Highlight Green as your light color. Blend the colors, and move to the upper-left warm leaves.

Blend lightly. Remember barely blend when getting near the Maroon. Use White to highlight on the leaf that is nearer to the center of the pillow.

Figure 17

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Painting World Magazine

Poinsettia Centers: Base the poinsettia centers with Spruce; use Cool Highlight Green to base some of the ones on the top. (Figure 18)

Figure 18

Highlight them with the Light Background Color. Accent along the bottom left edges with Maroon. Base the upper part of the pillow between the leaves and flower petals with the Light Background Color. And yes, I undercoated this with the Colorless Extender, too. The paint just seems to go on smoother if you do this step. As I moved down into the painting, I switched to Black for painting in between the petals and leaves to give the image depth. When going down into the pillow to paint the Black, you may find it hard to paint the Colorless Extender in the small places. It doesnâ&#x20AC;&#x2122;t matter if you get the Colorless Extender onto the already painted flowers and leaves; it does not make the fabric harder/stiffer, nor does it make the image glaze over. In fact, it is a safety net. If you get Colorless Extender on a flower, and you happen to get the Black on the same flower, the Black will wipe off because of the Colorless Extender.

December 2017 Issue

Let the background dry, and then place strategic strokes of your Blue Highlight color here and there. Refer to the overall photo. I used a #4 flat to place these stokes on, laying the brush flat, and then pulling and twisting, coming to where I could use the edge of the brush to pull the majority of the stroke. I hope you have had fun and learned something from this lesson. Please visit me on my Facebook page. I would love to hear from you and see your pillow. May your days be full of painting!

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

Painting World Magazine

Download all line drawings ready to print here: http://bit.ly/2yKE3iF

December 2017 Issue

Painting World Magazine

Directory of Artists Nicole Borgenicht nicoleborgenicht@gmail.com

Larisa Pilinsky www.larkgallery.org

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

Theresa Prokop nefolkartist@gmail.com www.newenglandfolkartist.com

Phyllis Ekleberry phyllis.ekleberry@gmail.com

Sonja Richardson sonjastreasures@aol.com

Nanette Rasband Hilton nanettehilton@gmail.com www.nanettehilton.com

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

Terry Holte tholte@mac.com facebook.com/terry.holte.1

Alessio Meggiato alessio.meggiato@gmail.com facebook.com/creareperpassione

Karen Wisner-Dyar kdolls.designs@gmail.com homespuncountrycollectibles.com Kay Witt kaywitt2@gmail.com www.kaywitt.com

Sherry C. Nelson, MDA, TDA birdpainter@me.com www.sherrycnelson.com

December 2017 Issue

Painting World Magazine

Directory of Advertisers & Suppliers Aleene’s Glue Products www.aleenes.com

General Pencil® www.generalpencil.com

Sakura® of America www.sakuraofamerica.com

Bear With Us®, Inc. www.bearwithusinc.com 407-347-5939

Global® Art Supply www.globalartsupply.com 717-361-2136

Clairfontaine Paper www.clairefontaine.com

Golden® Artist Colors, Inc. www.goldenpaints.com 607-847-6154

Sherry C. Nelson Brushes/ The Magic Brush® www.sherrycnelson.com 512-398-3277

Creative PaintingTM Las Vegas www.vegaspaint.com 702-221-8234 Creative Arts Lifestyle® www.creativeartslifestyle.com 740-441-1564 Cretacolor Pencils www.apassionforpencils.com ®

Cupboard Distributing® www.cdwood.com 937-652-3338 Debbie Cole Designs® www.debbiecole.com DecoArt® www.decoart.com 606-365-3193 Della & Company® www.dellaandcompany.com 254-772-6927 Dynasty® Brushes www.dynastybrush.com 718-821-5939

Hofcraft® www.hofcraft.com 800-828-0359 IKEA® www.ikea.com/US Jacquard® Textile Paints jacquardproducts.com/ textile-color.html 707-433-9577

Silver® Brush Ltd. www.silverbrush.com 609-443-4900 Society of Decorative Painters www.decorativepainters.org Smooth Cut Wood® smoothcutwoodproducts.com 888-982-9663 Stabilo® Pastels www.stabilo.com

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

Tote Bag Factory® www.totebagfactory.com 714-425-9504

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

Liquitex® www.liquitex.com 888-422-7954 Loew-Cornell Brushes www.loew-cornell.com 866-227-9206

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

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

December 2017 Issue