bleome to this issue of Folk Art & Decorative Painti / magazine reaches you tn the middle of the Christmas breakt d we bope vou have the opportunity not only to share some tin jour family and friends, but also to paint some of the projects i saved for the holidays. And what a wonderful array of these Pee have for you. If you love country themes you will enjoy the. ht tmriing milk churn Carmen Hannan bas painted for us and the © Marge pine plaque which Jessica Kate has decorated with lovely « i b vegetables. In our Colour & Design article, you will begin to learn about perspective. Because this is an aspect of design which requires detailed instructions, we bave spread the information over ssues, and the stunning design that Tracey Sims “and Susanne Barrett have painted will also be brought you in two parts. So don't miss next month's issue for the conclusions of both of these. If cite and cuddly is your preference, you'll enjoy painting the bears Margrit Nutter bas designed on a canvas bag. As always we have , included in the projects loads ne techniques to vell as “me i waey oe ‘tm ome Na oe Yr ga Sani ncn, ie bk Mas isan ‘aon romya wen ei ini taut enc amas, emit paz ie 38 1 dlmsteemnetiomon SARA TDG ce ine eat mrss stra ems » Cont 3 eprron's pace retin var te dss ins ast ences Preattatieay 8 SPRING BULBS BREAD BOX Tricia Greening nee Pome ge HO 12 BASKET OF BLOOMS Annacbitsa Buchholz 18 CHEESE BOARD WITH ROSES Jl Christian, ree a ty Va Ban 954 22 VICTORIAN BOX Helen Kuster ‘Sy 2esand Duran 26 roukways Deborah Kneen 30 county narvest Pew Jordan 36 PROFILE Carmen Hi ba tates roms rn Soha ase “user ot Iriness saw ssf 4988 40 FARMYARD CONFRONTATION (Carmen Hannan 46° recunicaumes Heath and Annette Johnsonents 50 54 58 62 66 TEACHER LISTINGS: SWEET-FACED CLOCK c Johnson HYDRANGEAS ON ‘A POWDER BOWL Bernadetie Zammit COLOUR AND DESIGN TUSCAN SCENE ~ PART 1 Tracey Sims and Susanne Barrett TEXTURED DAFFODILS Luanne Wykes WAITING FOR THE MOMENT Chris Risbey AUSTRALIAN WILDFLOWER WREATH. Lesley Warson 88 nwortrppiEs ON ASUITCASE Mangrit Nower 92 surterriy Box June Williams 96 _ wwstness inecrory 98 vextissue AND STOCKISTS 8s FOLK ART & DECORATIVE PAINTING¢ Spr Wy bulbs read Wox Tidy up the kitchen bench by using this bread box, painted by TRICIA GREENING, to store the bread and to provide some cheer with these pretty spring blooms. MATERIALS * Wooden bread box: 370mm high x 180mm across x 180mm deep. + Graphite transfer paper No 3 round briash No 10 flat brush ++I Sonja’s Background PREPARATION: Sand the box. and wipe away the dust with the Use the sponge brush to basecoat the outside of the box with two coats of Oakmoss, sanding lightly between ‘coats, Allow ic to dry. Apply the Magic Tape 5mm from the top exlge ‘ofthe box and 10cm up from the +10 Sonje’s Artists! Colouis: Teal Green, ‘Mess Green, Warm White, Diox Purple, Turners Yellow, Yellow Oxide, Yellow Light, Burgundy, Rich Gold, Raw Sienna +10 Sonja’s Water Based Polyurethane amish — Satin TECHNIQUES INVOLVED * Sponging + Applying washes -¢ Flat brush techniques: bottom, Paint the top edge, bottom borer, lid, hase and inside of the bax with two coats of Forest Green, Remove the tape carefully and allow the paint to dry. Use the dampened sea sponge 10 dab watery Oakmoss over the bottom border, Paint the knob and the routed edge of the base with FOLK ART DECORATIVE PAINTINGRich Goll and also use ths colour to outline the borders. TRANSFERRING THE DESIGN Trice the design pom the pattern sheet ‘onto tracing paper snd transfer it using the siylus and the transfer paper PAINTIN THE DESIGN: Tulip, daffodil and Jonquil leaves — toad ‘he flat brush with Tea Green und Moss Gree «dab the brush into both colours so they are together on the brush but nor mixed. Every Jouded, aim to get a lifereny mix of the greens si that each the brush is tapering at the tip of the feaf. Adda lite Warm White to the leaf colour using the liner brush, Grape byucinth feaves ~ Loi the ound! brush with, Teal Green, Mens Green and occasionally pick wpa little Waern White, Pull the strokes from the base of the arch to create small clumpsand at the centre of each clump, paint taller stem Daffodils ~ Base the daffouits with Wares White aid allow them todlry before applying two ects of Turners Yellows, Use the tht brush 1 shailing with Raw Sienna at the A down the mide of exch petal, the base of the trumpet and behind the opening, 10 Reload the brush with Turners ind siete fy with Warm, around the inside of the trumpet, pushing the Warm White to the ouside edge. Float a ‘© stroke of Raw Sienna inside the throat and then add at few Moss Green andl Wart White dots Tulips ~ Base the pink abeush-mix of Warm White ips with ul FOLK ART & DECORATIVE PAINTING Burgundy, making Some darker and same lighter by varying the ar of Burgundy in the mix. Float the shading with a darker mix (add me Burgundy) where the petals over and back-to-back dawn the centre of the front petal, leaving a small space between the two lines, Use the liner brush and the shading colour to paint fine linescoming from the hase of the petals tevabwot halfway ap, Make upa lighter mix by adding mare Warm White, and! use the round brush to lightly pull this colour from the edges of the pe towards the stem at an angle to cower about half of each petal Wash a little Moss Green at the base of the flawer Base the whice flower with Warm White and shade with Smoked Peart and the edge the petals with a m White and Songuits ~ Base the petal with ‘one thin coat of Smoked Peat, Keeping in mind that there are three front petals and three hack petals arranged alternately around the centre Base the cenire with two coats of Turners Yellow. Lead the round brush with Warm White and lightly ‘brush this from the tip of the petals cowards the centre Allow the Smoked Peal toshow ia through where each petal overlaps petals with Titanhum Whi a ine dawn the centre of each petal Usethe flac brush and Raw Sienna to float a °C" stroke half scmnss the centre. Whichever way this stroke faces will be the direction the flower will fave. Outline the centre with dots of Turners Yellow Burgundy (111), Dry-brash a little Warm White ‘on the outside of the cup then add seme white dots in the threstt Grape hyacinths — tase the flowers with circles of Diox Purple/ Warm White (1:1) then ald a smaller dot of Dios Purple Inside each circle, Outline the straller citvle that is the throat, swith small dots of Warn White ep ptt of the apply two coats of varnish 1 at the base of each petal Use the liner brush to outline the and paint Tricia can be contacted on M628 1311. LEA & CAROLYN'S National Paint Away ft Loa & Carulyn’s National Phint Away in conjunction sith DecuArt™ proudly announce the forthcoming tour of Sop Peat ek ES ‘ey Wii Brent Zama 2) 85 0 SHITE MELWOLHNE — APIRIL 1- 1.2002 en a's Nil lat v0) 950 81 Ayes Pi 071 te 97) 35 SST sDecoArt- DAVID JANSEN 10s cstster decorative sin) APRIL 2002 Aviernativnally eran fall an decorative painice Dal Jamen bs coming wo share hie ‘exert an ral uf Lanier gael wer many many years Davi capsilly Anew fbi sh ste Aiea ail be wil Ie Arathi is wt aintingtheve inverse i Australia, Mare of Davia beautiful wrk ea be ser hie eh ste www Janeen ders tudincam ating this 3 ays Setninde yu wil ing set three nest {ahlen. The tab sill be jaite ie Davi wnique sigle a Incorporate a sense alsa lira WORKSHOP COST 550,00 exetuing ulfaen cont) lnclaing CST (per person for S dye. Ths bnrtdee all pts com eta fr eassro use wel Lay ‘morning end after tens ey SURFACE COST ~ $110.00 ineluding 6ST gr he i omit PO B0X3047, MURRUMBEENA VICTORIA AUSTRALIA 3163, 4 PHONE/FAX: (03) 9563 4149 eee) POLK ART & DECORATIVE PAINTING aaFolk artist, ANNA-LISA BUCHHOLZ, has created a stunning design incorporating full-blown roses spilling out of a woven basket. They are painted with the round brush multi-loading technique. Gf Burt Umber, Titanium Craftwoos took box: Snow) White, Oxblood 310mm x 350mm x 60mm Beoattt!Amertcana Back Metallics: Emperar’s Gold, Glorious Gold DecoArt Perfect Crackle Steps 1 and 2 DecoAt DuraClear Exterior/lnterior Varnish: Gloss Sandpaper Tracing pape White transfer paper Stylus Damp s na sponge Kneadable eraser + Tin fat brush Habica series TOF 4 round sable brush DeeoAnt Americana Acrylic Paints: Lamp Black, Multi-foading Geongia Clay, Hauser Dark Sp ld De ged back Green, Anti Liner work Yellow Light, Bri Crackling PREPARATION: Baweoatwith Leave the area under the curved line wo coats of Lamp Black using the in the background colour. Paint the flat brush and sanding between pages with Georgia Clay and when dry, brush with both golds Lia the damp sea sponge with Paiat the back of the Antique Gold Deep and, starting, Oxhlockt Lamp Black (4:1 at the upper righthand comer of when dry, brusha heary coat of he lid, sponge dower to halfway Step 1 Perfect Crackle onto the back. Then add Hauser Dark Green to the Let itelry, then brush a heavy coarof followed by a touel at the bottom Limp Step 2 Perfect. Cmekle over ttand in, let it ry FOLK ART & DECORATIVE PAINTINGTRANSPERRING THE rum the patter sheet onto tracing paper. Using de transfer paper and the stylus, transfer the design omitting the tamed: petals in front of the rose bowls andl the lines on the foluge, these are for direction only. Also omit the Uewonitive lines on the basket Note: his motifs painted using, she one brush multifoati technique: Multitoading technique: The paint is mixed with the brush on 1¢ palette and itis only washed ‘when changing colour Usually the colour mix s left on the brush but irthete is too much paint ont, ‘wipe it off on the palette and usteit when re-loming. The brush shouk fiever be blnated, The second colour is syept once oF ‘one aide of the brush and the third colour is placed! on top of the second colour, fie states, sweep in Thranium Whiteand ald more Titanium ‘White this means that the fist white is blended onto the brush to make-a mien value and the ‘white loaded stays dn the beush 3s a crisp cokoue ‘Sweep back tn the dark colour means that sou pres the dark side of the loaded bhnish onto the edge tf the dark puddle of paint sind seep some more dark eolour ‘ante the brush, This way the lighter colours pushed inte the bristles and a lark line surrounds the stmke when itis painted with: the light colour facinig dawn, PAINTING THE DESIGN: Basket ~ Load the rourkl brush with “Antique Gold Deep and base each ri and the base with even strokes. When dy, load the brush swith Titanium White, sweep through Antique Gold Deep on one side of the brush andl then through Buent Umber on the 4 fold side. Commence in the centre holding the Hight side of the brush to the surface and pulling even suttkes foreach section, As you mene outwards, sweep through Burnt Uniber which will ereate darkness on the sides of the wke Relowd and punt the base of dye basket in twos ‘even strokes, commenting at the nitsie with each one ‘When dry, mis lutle Lamp Black into the Burn Ube watery consistency. Draw the three are hnies onto the asked using this mix. Lend the brush the same way ais for the tate ana pull dhe strokes onto the rs and the bettom Foliage ~ Note: Bish allows varlation in the diferent leat 0%. Do not wash the brush white painting the foliage Brishenils Hauser Dark Green, laimp Blick and Antique Gold Deep, through Antique Gold Deep and finally Tranium White on top of the Antique Gold Deep, Hold the fight side of the brush to the surftce and heginning atthe base of the leaf, pullone comma stroke along the vein, Then immediately beginning at the hase, pull strokes sideways und towards the tip. This enables you w pant the lights and shadles in one stroke. To paint the tumed ees of some of the leaves, load the feat ¢olour into the brush as befiare This ume hold the darkeside-of the brush to the ouitstle of the leaf pull a thin-thick-thin steake ak the edge. Add Sonne dark slemsto the lea FOLK ART & DECORATIVE PAINTING Paint the backward leaves with a Highter yrven with some pi lel On these leaves the tight lines are inted with very light green int the leaves of the sores with lighter mix of the green. Commencing at the tp, hold the light to the outside. Backward rose ~ Crest dark fed by brusti-mixing Brillant Red anel Lamp Blick. With this colour loaded on the brush, sweep m White repeatedly then turn the brush and sweep he dark red again, Hold the light side of the brush to the nd paint the bottom petals ReJoad and paint the base of the rose, lightening up as yen come to the centre, Paint the turned tips of the petals with thievthick-thi strokes and the white held to the ‘outside of the ower, The broken seyments should be painted with two short even back-to-back strokes, holding the white 1 meet the whi in the middle. Paint the ¢ patting the resebudls rose is pal brush with the sane colour that was used) through Tkaniuin White an one side ‘of the brush and then q White on the top of the white Hold the light side of the brash to ue bach the ick of the throat and paint loose oma strokes in tight rows to fillin the throat Reloxel the lyrush and paint the bowl holding the light side of the the brush und enisure that you have an Titanium White on one sidecof itand! clean dark on the other anel that the colour is blended bets Paint the exter petals one anil reload the hrush for Commence with the front pet as this is underneath the others Holling the light side of the beush the outside of the petal, paint fat soma stroke to where dhe nintehies are. Load more Traplum White onto the light side of the brush and! paint the tumed, broken puts of the petalMEW DESIONS BY CHERIL BRADSNAW LOULEY the set siting tay pattern, ard ful structions Ena monde eee canbe Paice $18.00 vec lus PAM 63.50 He El Chris Rey's Ss Decoratty TV" eprrk, Dit. Biches $8.50 each available mailorder includes GST and Post ‘Gath id Dye rg ie Stick Chie Row Dy 16 FOLK ART.& DECORATIVE FAINTING | PO Box 34, Corrimal East, NSW 258 Australia,New Publication Australian Folk Art Scenes Hoattable by mail order This series now covers FLOWERS, BIRDS, ANIMALS and SCENES, providing a comprehensive range of designs with patterns and step by step instructions on uniquely Australian themes. EACH BOOK $17.60 includes postage € handling Australian Folk Art Flowers Cheek ut the Bonn Accord svete: wnabonraccordcom peterbanbonnsceor.com in the northern suber of ‘Wollongong. Boon Accord Ars Cats hs an exterive rae of Flk Art ‘supplies wood podcts and decoupage papers ~ mall onder also avalable- 2 PU ulm) eta Orly PU n mele ted Tot tatAeCese Goud with ROses This versatile project, painted by Jit CHRISTIAN, could double as a cake plate and is adomed with beautiful roses. C MATERIAL White, Black Plan dnie eo ¢ 4 Roo ae: hase “Gee iain pers Sine ad Wes St vee ew Finite ‘ag aoe oe Fon tare = sania ine wa anaes is San oni the front of the hair and pain the sear in Naprhol Red Light Figure 3 ~ Using the No2 round brush paint the hui in Brown Ear ailing dabss of Red Earth and then Nonweyghin Orange: Reatab with Napehol Red Light followed by some touches Of Yellow Light. Basecoar the shirt in Warm White, and when dry, shade with Nimbus Grey. Basecout the wakteoat in Nimbus Grey, then highlighted in Warm White, Basecoat the fruntof the waistenat in Carb Black then use this colour to paint the belt. Paint dhe pants in Sapphire and touch of Warm White for the light colour on the front ly, base of the back ley and boriesm, Dry-brush with Warm White for extra haghlight and shade in Paynes Grey. Paint the shoes in Brewwa Barth and then add the arims in Carbon Black, Panne the Hirao in Burne Uber ana lighlighs the bristles an dhe hoo with Yellow Oxide, followed by Yellow LighyWarm White (2:1) using the tine brush Figure 4 ~Paint the hat in Nimbus Grey, shade in Paynes Grey and highlight in Warm White. Paint the scarf in Napthol Red Light Bascenat the shirt in Teal Green and highlighted with Sapphire. Paint the stripes in Carbon Black. Paine the bet in Carbon Black, Paint the pants inthe same coloursas for figure 3 Paint the shoes in Brown Earth Dog 1 — Basecoa in Brown Earth and highlight by clr-brushing with ‘Tumners Yellow Dog 2 ~ Hasecoat in Carbon Black sand ighlighe with Warm White Red ebooks ~ Wise in Res Barth and when dry, highlight in Nonwegein Orange, Re-highlight with Yellow Light. White chokes ~ isisecvnt the feathersin Wurm White and the beak and legs with Yellow Oxide The antiquing the end sufficient for shir. Completing the chooks ~ Basecout the combsanel wattles with Napthol Red Light, Use this colour to FOLK ART & DECORATIVE PAINTING. paint the eye area then plice in the eve with a Tumers Yellow clot Add a Carbon Black dot in the centre of this. Use this colour to carefully outline all the chooks using the liner brush, FINISHING THE DESIGN: Look over the work area and aed touches ofall the colours usex! to brighten and add interest ‘throughout the picture. Using the No 6 round brush Joadedl with watery Carbon Black, tap this brash witha pen.or pencil to produce small amount of spatter, ‘over the shoulder of the can, ANTIQUING: Dampen ang with rurpstinseed oil (35) and add small sf Burnt Umber oi paint. Spread this yer the entire ‘work area, Then using a clean ra wipe olfany excess lewinig some areas dirk for shadows, Carmen can be contacted on (02) 18722136,Feiig Pexste |) Folk Art Designs of WA i el Vieki Nicholson Unit 2,2 Ledger Road, Balcatta 6021 WA Ph: (68) 9240 1071 Fax: (08) 9948 3326 Sup by Sep Ceo Np Ietrantens | dae rome Rev Silane os 42 Badges Pon names Jas) == Phone: 355615220 Aorene ern seeetweanglate coe Zane |) te oti nt | fey me ‘ : Epos, | shg al levels of Folk An and decorative parting, y and afternoon fied teach Vick! also conduat been! taught both nationally and A) Hee ts Centre * 2002 CALENDER This ively cinder conta 12 erent paintings. Each of hem was handled by renowned atts Lint eerie Ans > ane. The pice 1 12 pr enter ze: AS whe Spe) 8 $2 page and ackng anyhare mn ht nquiries: telephone (02) 9416 6428 or fax (02) 416 5408 fie find my | cheque! | Money Orie of tor Decontive or charge my [\eanicard [Visa |) Mostercargor [| Amevcan Exress ot Expy Date Name (block capita) _ = _Sonature — ____Postcote: I mi coapon wih pajtant fo: Decorative Arts Centre, 14 Moore Ave, West Lindfield NSW 2070 Now u FOLK ART & DECORATIVE PAINTING 45\ , “as / yr Continuing our regular series to belp you become more familiar with your flat brushes, we will now take a look at some specific brushstrokes and the many ways they can be utilised in your folk art projects. ‘igeag strokes, both of which are executed tsing, a flar brush that has been double-loaded. Baxecoat several sheets of eardhoard so that you have plenty of prepared surfaces to practise on. *S' stroke ~ Double-load a sin fat brush with a dark colour on one side and a light enlour on the other side: Blend on the pafeite until you have a light colour ‘on one side of the brush, a dark colour on the other side und a blended medium colour in the middle, Commence the stroke by placing the brush at a 45.degree angle on its chisel edge so that the top point 1 o'clock and the bottom point is at 8 o'clock. Yo form the tip of the stroke, stay on the chisel edge and slide the brush a short distance to the left then, pull the brush towards you, applying pressure to futten the hairs, The stroke follows the direction of a fattened “S' (see step photographs) and, as you reach the bottom of the stroke, bring the hrush back up onto ity chisel edge and again slide it to the left. The top and bottom of the stroke should be parallel. I this issue we will be looking at ‘S) strokes and Pigure 1 ~ Reginning the sirolee with lines to represent $5 degrevs Figure 2 ~ Middle of stroke with ‘arrows for direction Technicalities Flat Brushes —Part 3 ather Lownds and Annette Johnson As previously discussed in Folk At & Decorative Painting Vol 7 No 8, itis important to care for your brshes propery ane ts load them with paint that ‘sof the correct _consistency. If you are having trouble with these aspects, yu vel fe loads of valuable suggestions and hints in the Technicalities column of that issue. It fs very important to have-clean brushes that do ‘not have a build-up of paint near the ferrule. The hairs ‘of brushes eft in this condition tend to separate and ‘when you hold them with the chisel edge facing Ys er wl eat BO ae fois ‘These problems will result im unsightly bruststrokes. Brushes that have a hole in the middle will produce: thick lines at the beginning and endl of an ‘5 sroke. and also leave stripy Tines through the stroke. °S! strokes cin be used to paint leaves and ribbons, and also as part of the design for borders Zigzag stroke ~ Double-load a flat brush with a dark colour on one side and a light colour on the other side and blend on the palette as for the 'S’ stroke. Figure 3 ~ Finishing the strokw with direction arrows and parallel lines top and botiom. 46 FOLK ART & DECORATIVE PAINTINGTechnicalities To practise the action of this stroke draw wo parallel chalk lines north to south an the prictice board placing them 15mm apart. (See figure 4), Hold the loaded brush so that the hairs are facing away from you and the handle is pointing over your shoulder. Place the brush s0 that the lefthand side of the hairs is resting against the lefthand chalk line. Apply a little pressure on the brush and make it ‘dance’ from side to side (pretend you are mopping a floor) ax you move the brush towards you ~ the brush should touch the chalk lines as you move back and forth, The stroke should be slightly ruffed ‘on the edges If you have loops on the edges you are being too flamboyant and putting too muc! effort into the lateral movement of the brush (See figure 5). If you have seratchy edges, your t is not moist enough (figure 6) and if you huve fine pointy edges, more pressure is needed, on the brush. (See figure 7) Now we are going to practise this stroke by painting a leaf. For right- handed painters, begin at the bottom of the leftchand side of the leaf — the brush will be held at 45 degrees with th handle facing away from you and the top point ‘of the hairs resting at 10 o'clock and the bottom point —_ Some painters prefer to paint the righthand side of at 4 o'clock. (See igure 8), Move the brush from side the leaf by turning the board upside down and, to side as in the first exercise and, as you move beginning at the widest part, pulling the brush towards towards the tip of the leaf, release the pressure and them as they move from side to side. Annette, however, continue to move it from side to side, gradually prefers to begin at the tip of the leaf, on the chisel of turning the handle away from you, The left-hand side the brush, adding a little pressure and beginning to fof the brush should move to the 10 o'clock position bring the brush around to the 1 o'clock position, then releasing the pressure slightly and you Continue to to the 2 o'clock position. Finally the brush should! be move the brush as before, gradually turning it until pointing from the 2 o'clock to the 8 o'clock position. ittouches H o'clock. Release the pressure further and The stem can be painted either by pulling the the brush will come upright-on the chisel edge andthe chisel edge through the centre of the leaf, or with / stroke should finish with it resting at 12 o'clock. the linerbrush, ‘This completes the left side of the leaf. ‘Once you master this interesting and versatile stroke You will be tempted to include It on every project but try to resist using them for the leaves and the flowers in the same project as they will then Tose their impact, Its a stroke that can be usedt for leaves, pansies, violets, ballerina skirts on dolls and bears, bear collars, hibiscus and sweet peas. Both these strokes are very useful and will encourage you to sid some pretty accents to your painting. & Figure) ART & DECORATIVE PAINTING 7e~ Figure 6 Figure 7 48 FOLbonn accord arts and crafts TINKAT ALLEY ART & CRAFT STUDIO eS australan folk art spacalais —classas & supples Specialists in Folk and Decoratice Art. Classen ‘ale and peter broadfoot ‘available for all levels. Huge range of supplies and pen mon-satph 02 42680288 fx 02 4282116 timber pleces. Call for a full class and workshop list, 17Ta princes twy bull - po box 171, woorona 2517 44 PACIFIC HWY BLACKSMITHS NSW 2281 acacia coe PH 4971 5336 FAX 4945 1387 Discovery Picture Framing www.timeout4me.com The World's Best Handicraft'Do It Yourself” Hobby sites Everything for the Folk Artist be it the begimer or more experienced person. [FREE GLFT WITH EVERY ORDER ‘We sk map ahs cg ple of Arias Acyl Past Cnt 0 Py (02) 9SBR $333 Fax: (02) 9588 7172 ently Classes run Tuesday both morning and evening along with Wednesday any aspects of Australiana iE traditional style to Ma Francine Cant Ph: 02 6204 1523, 49 Wood Loop, Gordon ACT 2006 Fax: 02 6294-1563 Ce SUN POLK: ART & DECORATIVE PAINTING 49ren Hy ir peer eee tar Pee et eters bata aelhasstal Pverey eee eee ee Pr ao ee GOLKLOR Fet Supplies PENRITH PATCHWORK Ph/fax: 4721 1213 Rear: 978 Henry Street, Penrith 2750 (Sopar Place, carpark between Belmore St & Henry St) \e he Painted Robyn o acive Are Sendiol Traditional, Decorative & Fine Art Friendly, Relaxed Classes Beginners to Advanced Robyn Sherer 12 High Victoria ne ( (03) iyo Maker Danddenony Upstairs, 399 Ho tC itunes E : & STUDIO “| Melrossa Dot Studie utmers Road, PO Be 1336, Traratyun Vie Mt Temes eeu) eat aa eee 30 FOLK ART & DECORATIVE PAINTINGCARROLLS WOODCRAFT SUPPLIES Stockist of (Clock Movements, Insert Clocks, Weather Movements, Wextminster Chime Movements, Wooden Pens & Cases, Mune Boxes, Lacy Susan Bearings, Shellaweax, Rustins & Organ vil Finishing Products. Pyragrapihy Machines, woudrnins) Wood Turning Tools & Lathes, . 244 ries 3, Teowoonbn 4380 A Phone: (07) 4832 1857 Mail Order Specialist aI 66 Murradoe Riad, Drysdale ee ae Ph ORSRST S74 Email: carr “Jan's Serenity Studio i : inforsetion cel | ¥ Fal & Decne 4) | fovaduertioing hl scott: ceooew ate ee Aida Hamade ‘ALSO WORKSHOPS & COMMISSIONS 3) National Advertising Manager eb Ca fen) amar =a we Australian Folk Art Decorative WEST ss RSS = AGORS-EE Painting ‘Email: ahamadetexpresspublications.com OPPO ‘Phe: (02) 9748 0599 Fax: (02) 9748 7468 l Decoart- Americana ill paints and canvas mediums Stockists of: » Plaid — Folk. Fabulous wooden products ~new designs ariving regularly 100's of books and pattern packets CLASSES HELD DAYS AND EVENINGS "WORKSHOPS CONDUCTED WEEKDAYS & WEEKENDS INFORMATION ON CURRENT WORKSHOPS AND VISITING ARTISTS CAN BE OBTAINED BY TELEPHONING OR VISITING THE STUDIO FOLK ART & DECORATIVE PAINTINGDecorative artist ANNETTE JOHNSON has: painted this sweet-faced pansy clock as a practical project to highlight the strokes featured in the Technic Wooden clock: 310mm x 220mm (12in x 81/3in) * Long-shaft clock mavement and black hands » Stylus White Saral papes Tracing paper Kneadable eraser Basecoating brush Sanding pad tin fla brush No 3 round brush * Liner brush Juin angle shader sisin Hat brush DecoAt Americana Acrylic Paints; Silver Sage Green, Antique Gold, PREPARATION; Basconat the clock with Silver Sage Green using the basccoat hush Allow ic to dry then sand lightly with the sanding pal. Apply another cot of paint and alow it to dry. Paint the routed edge with Khai Tar tse the Yin far brush toapplya thin ext of Extender oveethe entire surface, then float a sheer coat of Eveqgeen mixed with a touch of lities column of this issue. = Burnt Sienna, Olive Green Burnt Umber, Titanium White, Evergeen, Dioxazine Purple, Deep Burgundy Lamp Black, Khaki Tan, Deep Midnight Blur Cadmium Yellow * DecoAnt Americana Brush ‘9 Blend Extender DecoAnt Americana Sealer/Finisher: Satin + Floating +S! strokes + Zigzag strokes Note: Ifyou wansfer a panern before the Extender is 100 per cent dry, the ‘raisfer lines will ailhere tenaciously to the damp background making them extremely difficult to remove after the painting tus been complete, Larip Black around the edge of the lock using the Tin flat brush, Allow 10 dry very thoroughly before transferring the panern, 54 FOLIART& DECORATIVE FAINTINGPATTERN: ‘rice the design from the pattem sheet onto tmicing piper and transfer only the basket to the clock PAINTING THE DESIGN: Basket — ase with wo or three coats of Antique Gold using the Nod round brush and allow #00 dry: Use the Skin angle shacler 10 foot the first shading with Burne Sienna sind when this és dry strengthen it by floating Burnt Umber over the Burnt Sient allowing the Burnt Sienna sha to remain wider than the Umber shading. Use the round brush to dry: bbeush some ighlights onto the asker using a brushemts of Antique Gold and Titanium White, Paint some fine Burnt Umber lines with the liner brush t represent the hasket weave Transfer therest of the pattern ont the elock Leaves ~ The leaves on the lock face nee painted with watery rergreet usin the round brush, ‘The remaining leaves are painted using the agai strokes — refer to the Technicalities column in this issue for the technique involved for painting them. Use the Yin ar brush and ltd one side of the! with Evergreen ancl side with Olive Green. Blend on the palette before painting the zigzag, strokes for these leaves. Occasionally add alide Tianium White ‘or Cadmium Yellow to the Olive Green side of the tprush for variation in colour ‘The tendrilsand stems are painted swith the liner brush load with byrushomis of Evergreen and Olive Green, Outline some of the leaves ‘on one side using the same brush and Bvengn Pansies and buds ~The stokes used for painting the pansies and buds are not zigzag strokes, but “overlapping strokes to fil in each petal 56 toad the Vin flat brush with a dark colour on one side and a ight colouron the other side and blend well on the palette before painting, The: snugested colours for the dark siele of the brush are listed first followed after the dash by the colours forthe light side of the brush *Frush-mix of Diox Purple and Deep Burgundy - Titanium White ant a of Diox Purple “Deep Midnight Blue — Titanium White *Cadmium Yellow Deep ~ Deep Burgundy *Deep Burgundy and a touch of Lamp Black ~ TitaniamWhite with a touch af Deep Burgundy When the pansies and buds have been completed, use the Hiner brush to paint ‘Cadmium Yellow tru the centre of the front petal and the swo side petals of each flower, bringing the colour about halfway our onto the petal. Allow ito dry Lox the liner brush with Lamp Black and paint fine lines on the ‘same petals as the Cachan Yellow, ‘overlapping the yellow area slightly and being careful not to paint the lines to the very edge of the petals, Paint an Olive Green dot in the uch) FOLK ART & DECORATIVE PAINTING entre of each pansy. Lead the liner beush with Titanium White and paint small comma each sidle of the front petal and outline some of the petals Paint the calyx of each bud Using the liner brush loaded with nel icle-Joaced! with Ribbon — Loach the Vain flat brush with a bish-mbx oF Dioaaine Purple. Deep Midnight Blue and Titanium White, Paint the ribbon with continuous ‘S strokes, Allow it to dry before dry-brushing on some Tiranium White highlights, Float the shading with the vin flat brush and Dioxazine Purple/Deep Midnight Blue (1:1), FINISHING THE DESIGN: Use the up of the round brush to paint the small lois on the clock face with the bon colour. ‘The stripes in the Fight-hand ‘coener are painted with the same ‘colour using the liner brash for the fine lines and the })sin flat brush for the wider lines Alloy i 40 dry and enase any remaining transfer lines with the jeadable eraser VARNISHING: Spy with two coats of satin varnish. Annette can be contacted on (02) 9624 6851.‘upplies oI Weaden sfolkart 39 Cobos Rie Rod per Cobre 014570 hs (7) 98 982 Fen: (7} 532 3 Emo lian arwebpsomex bt Color™ we Bae mest cost efficent pat erer deveooed Not an aryl. not no buta toe syndhete Genesis wil rover dy ot got ‘Over 200 nooden pics 10 boos from, sti cn the true ce alta, Unive ot cee an watercolour pats that crete by al & exprienad deamon ry", Goness wi renin i a tong, utery ste iedefiate'yuntt {atinetmaloc AI lees ar igh quality you choose to dry it Packaged in conta irs Try ome today, We have 0 quick mail order service Australio Wide, ‘Our ccologue pred ot $9.80 hich Incdes pape, end inddes © $5 9 ouha ob ve en tha fet Wood Oder 01525 or more. Send name, ores ond ‘money ord, chuqoe or cet cd deta ‘to our odes ont & catdogue wil be Patiora Peck oviebe fat $8.95 Seem ANTIST COLOURS SAUESOOAALETEL FOLK ART tage. Send Money Order, Prat Og 6, Mate B37 ‘hone (02) yaru 6272 Git Cod Detlt. Wood Pieces ‘Phone: (0) 8653 41111 tx (6) 8978 9722 Sel eas ax (8) 8053 4144 ‘eoille. ot on DECORATIVE ANTS DTHERUTORS (WH) D ebitional cos. Phone: O#11 118 180 J facto) ea i 2002 DIARIES and CALENDARS ARE AVAILABLE NOW! rey rate ieatocacineee eee Ne eee Soe Purchase any 2 items for only $25.00 and Purchase any 3 items for only $30.00 and SA YES! Please send me Australian Country rats Handmade at 2002 Diary FOLK ART & DECORATIVE PAINTING.This beautiful powder bowl, painted by BERNADETTE ZAMMIT, has captured hydrangeas in a special way. a sia . Jo Sonja’s Antist’s Powder bow! Colours: French Blue, 300mm (112/sin) diameter Diox Purple, Moss Green, Transter paper Titanium White, Olive Tracing paper Green, Smoked Peat, Stylus Red Violet Sandpaper * Jo Sonja’s Polyurathane: Knondable eraser Water Based Varnish: Satin 4/ain lat brush No 3 round brush ¥6 (000 Tiner rush ECHNIOL Vain dagger brush : Tin basecoating brush NVOLV Jo Sonja’s Background ¢ Flat brush strokework Colour: Lavender Blushes PREPARATION: Basecoat the PAINTING THE DESIG: box using the basecoat brush leaded he No 3 round brush, in Lavender. Allow to dry, sand baseciat the leaves that are marked lightly then apply second coat with an 26 on the pattem with Olive Groen, The rest of the leaves only ‘TRANSFERRING TH need a thin wash of Olive Green. DESIGN: Tracethe design from. Highlight the leaves miarke! 'X’ with the pater sheet onto tracingpaper creamy brushemts of Olive Green tnd transfer it onto the bos using ane Smoked Pear by paint the transfer paperant the stykus direction given on the step sheet 8 POLK ART & DECORATIVE FAINTINGrer brush with Moss: hy Redd remainder of the leaves is painted in Olive Green us the liner brush. Ribbon ~ lout the round bru with a wash of Titanium White apply tt ribbon. Allow dry, then add the details with the lin bbevsh and stylus using thie same colour. When «bry, ald Of Moss Green and then Red Violet Hydrangeas - With a brush-mix neh Blue and Diox Purple apply one ecat to the hyclrangea on the beft- hand side. When dy load one side of the fat bash with vitan nite tinal the other skle ‘of the brush with French Blue Diox Purple (1:1) and blend well on the palette. Paint in the petals using the work ect as a gukle, starting, ‘on the owter edge and working into the centre. Use the stylus to dot the centres inv Moss Green and Titanium White FOLK ART DECORATIVE PAINTING The hydran sidets painted using method in Red Violec Di ‘on one site of the brush andl Titanium White on the other The ¢ i painted with Moss Gre sie of the brush and Titaniurn Whit theather When dy, apply lashes of Red VARNISHING: Removeall acing lines using the kneadable sser and apply two or three coats ‘of satin varnish Bernailette can be comacted onSAVE $3.00 per copy PLUS Receive gifts valued at $33.90! when you subscribe to Folk Art & Decorative Painting magazine Receive fan Australian Country Craft and Decorating, 2002 Calendar fand a 2002 Dia valued at $33.90 when you subscribe wo Folk Art & Decorative Painting ® Enjoy these extra subscriber benefits ~ * free home delivery ¢ priority despatch © guaranteed rates © substantial savings SUBSCRIPTIONS BENEFITS VOUCHER (0 PER COPY & I VE GIFTS VALUED AT $33.90! 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Diners 1800 801 647 email: subs@expresspublcations.comau Signature Prone: (__) Free Post: Expiess Publications Pty Lid, Reply Paid 60476, Siverwater NSW 2128, website: wwvwexpresspublications.com.au Fax: (02) 9797 8017LD Olotls “ and Y CHG o By Tracey Sims and Susanne Barrett 1 and Susanne continue their practical and enlightening series of articles (0 | help clarify the mysteries of colour and design in decorative painting, CF* Previous issues S eave ouch € on some of the more hasic principles of perspective Perspective is the art of painting and drawing so that the elements represented bave apparent depth | and distance Imagine yourself ting in the country looking our over the landscape, What do you notice about the | appearance of the distant hills? They appear smaller, pater. and bluer with less value contrast. and colour intensity than hills that are closer. This change in appearance of distant objects 1s referred 10 as ferial perspective and is due to the effect that the (where the land or sea seem to meet the sky) that the atmosphere has on the light (ravelling through it. sky and earth appear the palest. Factors such as pollution, moisture and heavy cloud The colour of far-off warm, bright objects appears cover allow more of the blue range of the spectrum to greyer and cooler than they really are because warm pass through the atmosphere, thus giving distant colours such as red, orange and yellow are the firt (0 objects a bluer appearance. It is at the horizon line be affected by distance Figure 1 — Naive painting by Pam Taylor 62 FOUN ART DECORATIVE PAINTINGFigure 2 - Tuscan Harvest ~ Instructions commence on page 66 The effects that aerial perspective has on distant ‘objects are * Colours appear bluer, cooler and duller th in the foreground * Sharp cdges and detail are lost cre is less val There is another type of perspective that affects the way things appear in the distance. Have you noticed how the sides of a road appear to converge as the road recedes from you? And the further it goes the more they converge, until they meet at a distant point, known as the exnishing point which is on the horizon line. This type of perspective is known as one point linear perspective One point linear perspective occurs when lines thoe converge to a point on the boris ‘One point perspective 1 the reason that objects appear smaller the further away they are. Refer back to Folk Art & Decorative Painting Vol 7 No U1 where we first spoke about eye level and the horizon line as being the same. Keep in mind that buildings o hills may hide the horizon line. (Please note that the church featured in this month's project is deliberately drawn front ‘on, so that its appearance is not affected by Two Point Perspective ~ we will deal with this ina future edition) By simulating the effects of aerial and one point perspective you can give added depth and dimension to all your paintings — not only landscapes. In many past is spoken about making the elements at the back ‘of 4 painting cooler, less intense and with less detail than those in the foreground — this is aerial perspective at work Although knowledge of perspective is essential for believable trompe Loeil picees and is Invaluable when painting stilFlife studies, it will help you no matter what subject or style you swish to paint. Have you ever looked at a painting and thought that ‘something? was not quite right? Perhaps the table was tilted so that you would expect venthing on it would slide off, or the sea was heading “uphill, Remember the ‘floating mug’ of a few articles back? These are examples of poor perspective ‘Compare the photographs of landseapes shown, Figure 1 is a naive painting by Pam Taylor. In this charming style of painting, little or no attention is paid to perspective, its appeal lies in its simplicity. Pam's painting ofa rural scene combines vibrant colours with 4 relatively simple interpretation of rural life Although this month's project, “Tuscan Harvest’, is painted in a decorative rather than a realistic style, it ine FOLK ART & DECORATIVE PAINTING 63Colottland Design has been drawn in perspective. + More detail, value contrast and warmth is present ‘The following perspective eriteria have In the foreground all been observed * The furrows and rows of crops in the fields all * The distant hills are painted light converge to their own vanishing point on the blue with no added derail horizon line «The sky and hills on the horizon Figure 3 shows a mural painted by Gu (marked on the pattern) are palest Fplentals. Gundars wanted to portray local scenery + Less detail and colour intensity és evident industry in a realistic way and, if you look at ph in the fields in the background. his mural, you will be able to see how he has achieved this by using perspective In planning ‘Tuscan Harvest’, we used photographs of the Malian countryside inspiration. The centre of interest of the painting is the Church of St. Francis of Assisi. We deliberately painted dark pine trees behind the church, which is the lightest element in the painting, to make it stand out, the road, vineyard and field of cabbages all lead toward the church and help co draw attention to this area. The fields and vineyards behind the church are drawn with their own vanishing point on the horizon line: ‘The geraniums and vegetables in the large pot at the front of the painting could have easily competed with the church for dominance but keeping their values similar to each other and the background has prevented this Look at figure 4, which Is an extract from the pattern The lines of the road and fields on either side have been extrapolated to the! vanishing points on the horizon line behind the church, Look at the patiern and find the vanishing FOLK ART & DECORATIVE PAINTINGEye level (bortzon tine) Figures point for each small field behind the church by extrapolating in the same way, This leads to the frequently asked question, where do you place the vanishing point on the horizon tine? IF you were working outdoors, or from photograph, you would measure the angles of elements in relation to vertical and horizontal lines to determine their vanishing points. (More ahout how to do this next fssue,) When you are imagining a design, as we have in “Tuscan Harvest’, the choice is yours. Establish the size you wish to make the main element, say a flekt of ccabbages, and then try a few different vanishing points to sce which works best for your design. Figure 5 shoms a field with furrows drawn using three different vanishing points. You can see how the shape and aspect of the field changes depending on the position fof the vanishing point, Eye level (borizon line) mK \ my TRS PS HH yyan, Hy CN ATS ny Fi UES Like many rural areas, the Tuscan countryside is a beautiful patchwork of different colours, shapes and extures. To create this appearance in our painting, we used varying colourmixes applied with a variety of techniques, including stippling, basecoating and dry- brushing. Bach ficld was drawn with a different vanishing point to emphasise the undulating nawre of the land Because this is such a big project, it will be covered ‘over two issues. This project has been painted with Jo Sonja’s wonderful new Designer Palette Series, "The Porting Shed Collection’. In this issue, instructions are included for painting the background and fields, with, final instructions for completing the project next month. Enjoy! Trey ciel rete Figure 5 —Field using different vanishing points. FOLK ART & DECORATIVE PAINTINGFor a while now, SUSANNE Barrett and TRACEY SIMS have been leading us through the many interesting aspects of colour and design and they have devised an intricate and colourful scene which incorporates many of the elements covered in earlier issues. It is such a delightful project, it would be a shame to miss any of the detail, so we are presenting one part in this issue and will complete it in the next one. Pine-framed board: Insert =230mm x 290mm. (91 x 11Yin) Tracing paper White and blue wax transfer paper eries — The Potting Shed Collection Colours Comflower, Wild Grape ‘Mouse, Stillwater, Raindrop, Vines, Seedlings, Mustard ble eraser: Seed, Marigold, Geranium, Claret Rose, Blackberry # Jo Sonja’s Atists’ Colour Stylus Ruler II plece of mustin Jo Sonja's Gesso: White Warm White, Moss Green, Jc Sonla's Barter: Pine Green, Teal Green, Designer brushes Yellow Light, Smoked Pear 904 No 20 long shader Raw Umber, Brown Earth, 905:No isin, ley He Nopithol Red Light, But Umber and /sin angle shaders oni’ Polyurthane R576 No, 6, 8, 10,12 and 16 smudge tint brushes 909 No 2,4 and B fiber: brushes Water Based Varnish: Satin 900 No 1, 4, and 5 round brushes Stippling 9011 No 4 liner brush ng 904 No 6 flat brush Highlighting 66 FOLK ART & DECORATIVE PAINTINGPREPARATION: Use the Chinese bstle brush w apply three cenats of gesso in short, choppy, cersscross sttukes. Allow it to ry between coats without sanding. “TRANSFERRING THE DESIGN: Trace the design from the pattem sheet onta tracing paper and when the boar is complerel dry, transfer the background ‘elements and the church using the blue transfer paperand the stylus. PAINTING THE DESIGN: Sky = Lightly dampen the piece of mustin with water. Paint over the sky Using the Retareer loaded 0 the No 20 fla brush, working it back and. forth to push the Retarder into the texture of the gesso. Add a touch of Retarder to Cornflower Wild Grape G:l) and paint the sky using the same brush, starting atthe top of the board and pulling the paint down towards the hills, White the paint is siill wet, use the damp mustin to rub ‘out some clouds. Allow ito dry Side-Joad the sme brush with |Waem White and emphasise the top of the clouds with short fully strokes, again softening by rubbing lightly ‘with the muslin, Float the bottom of the clouds with the same brush side-loaded in Mouse plus a touch of Retarder and again soften the effect by rubbing back with the musi. necessary, oat more sky-mibx over the blue areas, keeping in mind that the sky must be darker atthe twp of the board and paler where it meets the hills, Allow it co dry thorough Hills and fields — Basecost the hulls choosing the brush best suited foe the size of the area being worked, from the No filbert beush and No 4, Gor 8 smuclge tint brushes *A" bills — Basecoat with sky-mix Wild GraperWarm White (I:touch:1) When dey use the No 6 smudge tint brush to push these hls well. Track by cry-beushing them with the sky-mix. ‘8’ hills ~ Stipple with Sullwater ‘Warm White (2:1). When drys dry= brush aver the top of them with the 68 ‘A’ hill basecoat mix, leaving the base slightly slarker. 5€" hill - Stipple with Vines" hill mixSeexllings (Icl:touch), “Dt bills - Use the filbert brush to asec with Marigold Mouse (1:1), Float the furrows using the Min angle shaclerand Bren Earth, When dry, brush the back area with the sky-mix. 4E' hills ~ Supple the back area swith Stillwater and the from with Vines, then stipple over the margin of the two areas to blend, Use the Not smudge tint brush an follow the contours on the pattern to add royws of grapevines with Teal Green, Float this colour on the field directly behind the trees. Tree areas ~ Stipple first with Pine Green and then tip the betty into various amounts of Seedlings, Vines, Mustard Seed! and Raindrop, to give the impression of a forest Phill = Basecoat with Vines Mustard Seed 2s!) and then stipple in the grapevines with Fine Green. ‘G" bills Stipple with Vines/Teal Green (2:2) and when dry, stipple lightly over the top with Seedlings so that the basccor enlour shows through, SH bill ~ Hasecent with Mostar Seed/Mouse (I-touch) then float Brown Farth qn either side of the lines on the patter to represent the furrows Area in front of the church — Paint the footpath with Mouse. The bright green area is stippled with Seedlings Yellow ght (2:1) Vineyard ~ Staring mt the top near the church, laisecoat with Mustard Seed. As you pirogress down the board make the fick! darker by POLK ART & DECORATIVE PAINTING dldinig niore and more Marigold to the Mustard Seed, In the area of the eraniums and! pot (marked on the patter with a dosted line) auld a touch of Brown Earth to the Mustard Seed, This area will be shale more heavily after the pot and geraniurns have been painted. Usethe white transfer papet to transfer the rows of grapevines. (Refer to the step shieet to see haw these rows are wider at the bottom, tthe top of the field). swith a brush-mis of Pine Green and Teal Green, then add highlights with Vines and Seedlings. Paint tiny Brown Earth postsalong the rows, ensuring that they too get smaller towards the chureh Pick up Wild Grape plus a touch of Warm White on the tip of the No 1 soundlbeush and dot in afew tiny grapes: Field of cauliflowers — fksccoat ‘with the same colours anel method as the vineyard. Referring to the step sheet for placement, sipple the follage with Pine Green and Teal Green ensuring that it reduces in sie aay you move back towards the church, ‘Ade te highlights wath Vines ‘When dey, mark in the positions of the cauliflowers — bigger at the frontand smaller and closer to each other tenwarls the ba cauliflower with Mouse plus touch of Returder. Sidetoad the shadee with Smoked Pearl and paint small strokes 10 reprewent each, ‘cauliflower, Only a few in the very Frome will have any deal. Highlight with Warm White. Pulla couple of leaves aver the front cauliflowers and shade under them with a float of Green, Float a shadow of Brown Earth on either side of the rows with, the Sain angle shader Road ~ Basecoat with Mouse using the No 8 flat brush. When dry, re-coat with Mouse plus Retarder and while wet, highlight the left- hand side with Warm White, blending it into the wet paint Do the same on the right-hand side with Brown Earth and then use this ‘colour loxled on the Sin angle shader to shade along both outer edges Sripple each mangleRub out clouds eee row, trees and church, Ade Warm White to cloud tops. Add Mouse to hase of clowils. Ta weld light detail to the road, loud the fat brush with a dilutext mix of Raw tlmber plus Retarder and remove the eacess on a paper towel Make random streaks down the road asshown on the step sheet and when dy, repeat with Warm White Dry completely and highlight the road by dry-brushing st with Warm White loadlee! on the Nev 16 smudge tint brush, Pine trees ~ Workingon one at atime, starting from the back, fest stipple with Stillwater. Shade with a stipple of Teal Green and highlight by'stippling with Raindrop. The tree ui the front are painted in the same FOLK ART & DECORATIVE PAINTING sdeled by stippling with varying mounts Join us next complet af this project Tracey ant be contacted on Susanne can be contacted on (07) S48 85. 69| NOW 1S THE TIME | ras expanded! I made this wooden wine-cask holder after a student approached me requesting a Christmas gift suitable for a male acquaintance, It was painted using a Russian technique, which is my favourite style of painting and was inspired by Russian Masters whom J invited to Adstralia for a seminar Sea Knott Darling Downs Folk Art 244 Herries Street Toowoomba Qld 4350 And start planning Telephone (02) mY 1857 your uo Fs painting project J web site built by www.gwb.com.au 70: FOLK ART & DECORATIVE PAINTINGa fe pra ge et 0 38 Heritage mine che 0 ei) 41 ETUARS (mover snark nun ADS Mail OrderS Folk & Decorative Art and Craft Mail Order Catalogue an Craft pecs trims, ermal Country Wie - Ovenens Onlers Wel! talogue plus L year’s membership is 11.00 (incl. GST & Postage) ‘Cheques; Money Orders, Visay Mastercard, Bankcard, American Express Please make chequesimoney 2 orders payable to: re ADS Mail Order (2 POLK ART & DECORATIVE PAINTINGTSF eatit ca Diyffordils LUANNE WYKES was inspired to paint these stunning textured daffodils when, from amongst the weeds in her garden, several of these blooms appeared. They thrive on neglect and appear every spring. Now Luanne can enjoy them all year round. MATERIALS # Decost Faux + Craftwood candle sconce: Glazing Medium 355mm x 160mm # DecoArt Decorating Paste (4inx 6'/4in) @ DeooArt Americana © Jin flat basecoating brush Acrylic Paints: Buttermilk, Magic Tape Blue/Grey Mist, Dusty Rose, Masking fluid o Frisk fil Eggshell, Midnite Green, ‘¢ Tracing paper ‘Moon Yellaw, Shading Flesh, Transfer paper Shale Groen Stylus @ DecoArt Americana + Kneadable Eraser Dazzling Metallics Palette knife ‘Glorious Gold fLint-free cotwun rag + Decont DuraClear No 15 mop briash Satin Varnish @/oin flat brush: No 3 round brush tH # Old No 3 or 4 sable TECHNIQUES round brush INVOLVED White Geso’ ¢ Faux background Sanding sponge Shading + Film canister + Textured design elements: PREPARATION: Reme ‘Using the basecouting brush, candle cup and paint the apply as many coats of Buttermilk with to coats of Gesso, sanding, as necessary to achieve solid after each coat, concentrating an coverage. Allow each cuat to dey the routed edges fie. smooth finish thoroughly 2 FOLK ART & DECORATIVE PAINTINGWet the cotton rag and wring it ut so itis damp but not dipping ‘wet, then nist into a rough roll Working quickly, so thac the paint doesn’t dry, use the mop brush casually apply patches of ‘water- thinned Shale Green over onimately hf the basecosted areas, leaving bare patches in beaveen, Wipe the brush then pick up water thinned Eggshell andapply this to the remaining patches s0 that the whole candle sconce is covered. Using frm pressure, roll the twisted rag over the wet paint revealing ppatiches of the Buttermilk basecout. Allow it to dry thoroughly, ‘TRANSFERRING THE DESIGN: Trice the design fram the pattern sheet onto tracing paper, ‘centre the pattern and using the transfer paper and stylus, truce the outer border only, Glazed border ~ Rene the pattem and mask off the border using Magic Tape for the straight sidles and either masking fluid oF Frisk Film on the curved top, Allow the masking fluid to dry,and then working on small areas ata time, ghize the border area and the routed edge of the platform using the $i flat rsh toned with Midnite Green Faux Gltzing Medium (13), Before the ghize iscdry, dab with a damp ‘loth wrapped around Your fingertip to soften the brush marks. Ifthe colour iy not dark enough when it hus dried, repeat this step, Carefully remove the Magic Tape and masking fuk Reposition the pattem and trace the remainder of the design ‘onto the canlle sconce. Wash leaves —Usinisthe colour photograph as a guide, paint ia these Teaves frechand using a wash of Midnite Green ~ they are not on the pattern as it hecomes too confusing. 14 Make sure they arenor too heavy, the mixshould be mostly water with just touch of paint 1¢ doesn’t really mutter where they are placed, the {dea is just to soften the background, BLOCKING-IN: Leaves and stems ~ Paint using various beush mises of Blue\Grey Mist and Eggshell. Don’t be coo fussy about the mising, aim to have some leaves darker and some fighter. Daffodils ~ Using shape-following siraes block.in the daffoll skirt petals nel the buds with Burtermilk find the trumpets with Dusty: Rose When thoroughly dry. remove any visible tracing fines with the Kneatlable eraser, Shading ~ (sing thve sin fat ‘beush, float the shadows on the leaves with Midnite Green and the daffodil trumpets with Shading Flesh. Use Eggshell to shade the daffodil buds and to separate the skirt petals on the Mowers Gee step sheet). ‘Adding Texture ~ Using the palette knife, scoop a generous amount of Decorating Paste out of the jarand place it an the patlete, To create agood consistency, aide a few drops of Faux Glazing Medium at a time-and mix well using the patente knife in a squashing action rather than stirring which would create bubbles. ‘The desired consistency is similar o toothpaste — ifitistoo thick you won't be able to control placement very well on your work, hut ifit is too thin, it will atten out and not hold its shape asit dries, You need to he able to manoeuere and seulpt the paste, bur retain maximum height and shape. When you are happy with the sib, transfer it tora film canister, ‘Take out small amounts ata time to warkewith, placing it ona wet palette so it won't thicken too quick! FOLK ART & DECORATIVE PAINTING ‘The paste probably won't go ‘exactly where you want itto the first time, but as long as itis nearly there you Gin move it around litte, nd sculptit, with a clean damp brush, Ifyou have trouble with the paste sticking to the brush, wipe i¢through a litdesalaze medtium to make it more slippery. You cin build up the desired amount of texture all in one 30, oFin several thinner layers. You can add wet paste over the top of wet or dry paste. A hairdryer may be useed to hurry along the dying process, bur i Is better to allow the paste 10 dry naturally. ‘Wash your brush oust frequeritly Using the old sable brush, apply the paste to the leaves and petals Prime the brush for applying the paste by workinga litte Faux Glazing, Medium and paste mix into ito stick the bestles iogether. Fhitten the brush by wiping it on your patente and then sidle-load the brush by scooping up some paste on a Matrened side. Ava general rule, hold the side-loud towards the outside of the design element. tay the paste imix along the edge, wipe the excess from the brush, flatten it on the palette by wiping it through a litle Faux Glaze Medium, then smooth, shape and sculpt the paste. ‘To create the daffodil skirt petals, pile lots of paste on the ‘edges, flatten the brush on the palette, then laying the brusti down quite Nar for minimum pressure, smooth the paste towards the centre ‘ofthe flower with shape-following strokes, Don't be afraid to pile it on ~ the more paste mix applied! in the first hyer the beiter the end result Don't wory about smoothing out all the brush marks, they aud interest as Jong as the direction is correct. ‘Tum backs can be created by heavily side-loading the brush, sindpainting,’S’ strokes with the side- loael of paste directed to the centre of the petal. Guile and shape the paste with the brush, eitherthan squashing it. Allow the skirt petals to dry before starting the trumpets. »baild up the trumpets, start by ing small beads of paste around the hack exge of the trumpet tip, Smooth towards the hase of the trumpet. Build up thestame sith dots of paste then pile a large amount along the threat shading, line ~ this will form the front sie ‘of the trumpet. Smoot this paste back towards the hase-of the trumpet using a flattened brush and very gentle pressure. Shape the paste sa its highest In the centre and falls away to each side. When yousire satisfied with the trumpets, allow them te cry thoroughly hefore: adding the fill across the front with beads of paste, For the leaves, create raised! edtes Con the folds with side-loads, or build Up the centre by placing at dob of paste in the micklle-and smoothing. it out from each end. After the paste has dried, assess if further building of certain elements sary before applying the final shading colours, Stronger Shadows — tat sot shadows on the background, around es andl Mowers with Midni This ts now intended to outline eveything but mitherte sofien, add shadows and give exim dimension, Apply the colourin a hig and miss fashion, working it out further to give heavier coloue where you woul logically expect shadows ta be. When the paste is thoroughly dry, wast Moon Yellow over the base of the daffodil skirt petals, buds and ‘stamens, Use watery Dusty Rose and then Shading Flesh to colour the paste an the trumpets, leavin x highlight in the middle. Strengthen the shadows onthe leaves where desired with Midnite Green, You ‘may want (o wash some watery palette greens aver the dry paste fon the leaves if they look too white. When the Moon Yellow is dry, strengthen the shadows between the petals and around the centre with FOLK ART & DECORATIVE PAINTING cen then aukl at auch, of Midnite Green to the stamens Wash a brownish mixture of Midnite Green and Shaving Flesh fover the top of the stemy where the two buds emene. Gold edging ~ Paint the fine lines around the routed edges with Glorious Gold. VARNISHING: When you have finished the project, allow t to-dry thoroughly and apply three coats Of satin varnish using the iin flaw brush ormop brush, being quite generous with the fit coat. Lay the brush down ais fat as you can and smooth it ut, Don't brush back five vigorously as this will cause froth to form around the textured ‘work, You will also get litte puddles of airnish collecting around the thicker parts of the paste, so be sure Co pull these out and asia from the roused paste and smooth them with the brush tip. it Anan can be contacted on (03) 5174 7853. © 75Curis Rissey designed and painted this picture to capture the serenity and patience of the kingfisher, waiting to catch the dragonfly. MATERIALS tie sponge Oval wooden frame with ‘oA Brush ‘1 Bh + DecoArt Americana insert: frame 60mm (24/ain) swide to fit insert 320mm x 70mm (121/2in x 10V3in) Fine-grade sand pay Acrylic Paints; Titanium White, Country Blue, al Hi-Lite Flesh, Baby Blue © Yellow, Antique Teal, Paynes Grey, Ultra Blue Deep, Raw Umber n Mist, Cadmium » Fine-tipped felt pen + Paper towel » Adhesive tape Kneadable esaser Buttermilk, Sea Aqua, Wet palette (for storing paints) Lamp Black, Bumnt Sienna, Waxedl palette (for blending) Burnt Umber, Napa Red, Tin flat brush No 6 filbert brush # DecoArt Americana Dazzin h by Metallics: Glorious Gold, in mop brush Champagne Gold, Oyster round sable brush paavan'sentite + Vain and ein angle shaders Vain and 3/ain flat brushes: Vroin deerfoot brush Sealer/Finisher Spray: Satin 1/4in filet rake brush E Fineliner brush NVOL No 8 hog bristle flat beush Bs oeencunet thaneling # Hairdryer sist Flee ¢ Floating bChalkipenel » Highlighting Stylus: Shading Glue andl white Saral paper 2 Stpsting Winer mising bottle oe ae Maal wiag Round brush mult-loading 76 FOLK ART & DECORATIVE PAINTINGPREPARATION: Use the lin flat bonus to basco the insert sith two coats of Titanium White, Do nox sand this atall a the Tooth’ or roughness of the Surface is netted for effect Basercoat the frime with two cowts ‘of Country flue, saling lightly between cents, Allow it to dry FAUX FINISH FOR THE FRAME: Note: Do noi begin untilevenything requires is assembled and ready as this process cannot be interruptest, {eis important that the paint be eps quite moist at all times ~mist with the wester bottle IF ries. MATERIALS: Place ppucille of the following fon the palette: Ultra Blue Deep, Country Blue, Sea Aqua, Glorious id, Champagne Golit, Turquoise incl a tetich of Napa Red. Have read the Nos hog bristle flat brush a piece of plastic wrap lange enough to cover the whole frame and the ‘water misting battle Spray the entire frame wit water ‘until tis quite moist but not runny. Quickly pick up generous amounts ‘ofthe colours at random with the fat Dinush, but be sparing with the Napa all olours 78 Real, and place them around the frame in: slight ziyzaye pattern. When all the colours are jn place respray the whole area with water and then place the plastic wrap over the entire frame, Using both hands, push and move the phistic over the paint until you ean see ablending 6f colours beneath it. Ino blending, Isoccurring, either there is not enough paint or the area is t00 dry, soit the plastic nel acid wh ‘required. When you are suisfed ‘sith the effet, it the plstie off «quickly, using both hand's For an even softer effect tum the plasthe 180 degrees and repeat the ad mowing. Bry it with the then use the synth sponge to pounce mix of Glorious Gold and Champagne Gold on the ‘extaeme inner and outer edges Note: To ‘swcep" means frst Joading the main colouron the ound beush and rolling off the excess paint, then Hattening the brush, pulling a small amounc of sinothee colour onto one side and then sweeping the brush repeatedly on the palette until the colour on both the palette and the bbrush has softened, ‘Plus® means adding the next calouroa top of the previous colour: POLK ART & DECORATIVE PAINTING Strike back ~ Means wiping the base-cofourside of the brush back across the base-colour blending are, of the palette, Drysbrush ~ Means baiting the whole brush ie the calours specified. Aattening it on the palette anil giving, intle wiggle to separate the hats then stroking it onto the paper towel once or twice to wipe olf the excess coloue. ‘TRANSFERRING THE DI Trace the design from the patter sheet onto tracing paper using a felt-ip pen, but transfer only the horizon line onto the insert. Colour mixes: Green — Green Miss, Tanwar White, Baby Bie 241) green — Groen (ns, Cadmium Yellow, Brush 0 Blent (Calitouch) Blue green — Greets mix. Antique ‘Teal, Brush 'n Blend (1:t:touch) Brown blue ~ juurmnt\imber, Lites Blue Deep, Oyster Peat! (2 Aqua peart ~ Sea Aiiis, OVS" Pearl (1)8) Blue peart ~ (ira Ble Deep, Ace Blue (11) Light brown ~ Kase Vines, Buttermilk (2:1) Dark brown — any Black, Raw Umber (1:1) Grey ~ Bowers rd tiny conic ‘of Lamp flack PAINTING THE DESIGN: iat: When painting the sky owas, the direction of the brushstrokes ts vital and in this. pene, the sky and the water will be painted sith smooth herizootal strokes, When blending colours for ‘both sky and water, do nor oversurk them asthe effect should be soft streaks, gradually moving from: Night 10 dark, Avoid stop-start marks and abrupt colour changes. ‘Shy ~ Load the Sin fiat brush with Brush ‘n Blend and paint t over the ‘entire sky area, Then while it iy still‘wet, load the brush with Titanium whe egin at the horinn line andl nt the entire area above the Fran ine hie te area i stil et, pick up a touch af Country Blue bi one corner of the hrush. Then beginningat the top, wark the Country Blue across and down into the Titanium White, ensuring the colour flows smoothly from a deep blue at the top to almost pure white in the lower sextion, ick up a touch of Hisbte Flesh on the dirty brush andl work this from the horizon back into the face blue Pick up a lttle extra Titania White and blend it lightly into the heavy bluearea to create a salt cloud effect, Water — tise below the horizon line with Brush 'n Blend and Titanium White, Lose the dltty brush with a heavy load of Country Blue, begin painting from the botom of the board.and work actos and up towards the horizon ine. Acabout the halfway point, pick up Baby Blue fon the brush and continue to blend towards the horizon, allowing the colmur to beconte lighter without Jessing the blue completely Straighten the horiann line by using the brush on its chisel edge. Load ‘more rush ‘n Blend and atouch & {Ultra Blue Deep and work this inves the foreground.area, adding touches ‘of Payne's Greyand Green Mist rowardls the front to add movement Lael a clean /4in fat rash with ‘Titanium Whiteand place highlights with the chisel edge of the brush, Dry the background with the hui dlryer andl teattter the lily eaves using the white Saral paper andl the stylus. Lily leaves ~ Paint these wet-on- wetand complete each ne before proceeding to the nest Laud the No 6 filbest brush with Brush ‘fn Blend and the green mix, andl ‘nase the entire leaf. Then while the ‘paint is sul wet, load the in angle der with light green and float it across and into the hick of the leat Low the dirty brash with blue _gteen and float itaeross the front ares of the back leaf, ten a little way facross the forepaart of the front leat, and into the centre 6f both leaves, and finally nto the creases OF the front leaf only Addl highiighes using the angle shader, then flow with green: ‘Twanium White (12) narrowly along the front edge and the front ofthe creases on the leaves Use the Sain fat brush to apply a thin coatof Brush ‘n Blend to €ach leat. Then while sull wet, lod the liner brush with watery blue green and paint the veins, beginning each ‘one from the centre: Soften the veins ‘with the map brush. Allow icto dry thoroughly then apply a eet oF Brush ‘n Blenid to the front leaf nd pine it swith a thin enue af Oyster Peart ALi the angle shader with Payne's Grey snd! float a shadow under the front of the leaf on the water. ‘Transfer the: remaining design deta. Reeds Loni the round brush swith a brubh-mis oF Antique Tea and Bumt Umber, then sweep through Bowtermik then, with the Buttermilk to one side, paint a single stroke, stopping at the water line. Wher all the reeds have been painted, prepare a watery mix of ‘Bumt Limber and Country Blew paint reflection at the base of each reed andl tt to dry. lead the fin Mat rush with, Titanium White and using the chisel edge, flick in u highlight stroke on the water beneath each reed Watertily buds and stems ~ Base these with Green Mist using the round brush, Sweep Buttermilk onto FOLK ART & DECORATIVE PAINTING the dirty brush, strike back into, alittle Nupat Red and, with the [Buttermilk facing down, begin paintingat the base of the butt fon both sides (see the te Sneep more Butteonitk onto the light side of the brush, strike back Into the Napa Red and beginning, with the stroke under the bud and, the red side ficing up, paint down the stem. Sweep into Antique Teal on the ity sicko af the brush and, with this side facing up, paint the other side of the stem, beginning at the waterline Pick up extra Buttermifk and blend the point where the wwo strokes meet. Then paint the reflections as, for the reeds, Trunte ~ Bose with a coat of Brush ‘n Blend, then load the Mar brush swith Burt Limberand pounce it over the trunk using the chisel edge ‘ofthe brush. Pick up Bumt Sienna and blend! it randomly into the Burnt Umber. Repeat with Buttermilk on the upperside, andadd a few Lamp Black touches on the underside and then pounce over lightly with the cerfoot brush to soften it, Moss — Work wer-onswer and paint one clump ata time, Use the toc of the deerfoot brush loaded ‘with Green Mist and pounce from the branch down into the long strands, Then while wet, det Antique Teal 0 the brush andl pounce tt into the green, Repeat this with a litle Raw Umber, 79Highlight eich piece with a touch of Buttermilk clase to the trunk, Kingfisher ~ Base wccoring to the numbers on the pattern sheet using the filbert brush, Area 1 ~ Use nso coats of Payne's Grey Area 2, Zand 4~ Nit Ulira Bive Deep to the dirty Payne's Grey brush. Area 5 ~ Adil Sei Aus to the diny filbert brush Area 6, 7 and 8 ~ Load the clean filbert brush with a bbrush-mix of Burtermitk plus a touch of Raw Umber, Base the beak with the round Jprush foaded with a brush-mis of Burtermitl and Raw Umber. The eve is blocked-in with Lump Black. Allow all the painting to dry before transferring the detally of the feather placement. ‘To-complete the til, load the fibert rake brush with Oyster Pearl Ultra Blue Deep (1:touch) Pall short strokes from the edge of each tal feather into the middle. Wipe most of the paint off the brush, load it with Ultra Blue Deep and Payne's Grey and draw a centre tine down each feather with this leading, then shade on the tal beneath the swings, Clean the brush and feel with alittle Oyster Pear, and adel afew highlight strokes near the hottom of the tal Use the Hin angle shader toacted ‘vith Ultra Blue Deep to shade beneath the wing fe Load the clean filbert brush with Titaniuin White and paint the feathers on areas band 7, wo towards the head. As you reach the exigés of the wings and just under the beak, sekd a tiny touch of Burt limber to te brush to deepen these areas. Wipe the excess paint off the brush and continue with more Tuanium White. Brustt-mbx Tikanium White and Oyster Peart and repeat the Feitherson the entire chest area Paint both the wing tips wiht stripes that are-altemate toads of brown blue and aqua peatt using the filbert rike brush (see step sheet), Commence with the front wing 2 80 and complete the three bands of colour, then Joad the rake with Ultra Blue Deep Sea Aquat (1:1)and work Up the top half of the wing 2a with short feather strokes. Adel more Ultra Blue Deep anid paint the rest of the wing adding a touch of Paynes Grey near the centre 2b, Add more ‘Aqua to the diy brush and, starting at the very narrow pint ofarea 5 work up into the open ¥ shape near the head, acl moee Sea Aquitas you work towards the neck. Finish off with highlights ofaqua peat Paine the top wing 3 with the four ands of eolour as before, then load the filbert rake with Ulta Blue Deep, Brush in feathers over the whole not forgetting the extra hand of brewn blue ab. Load Titanium White onto the clean brush and paint the feathers in areas 7 and 9. Clean the brush, load Jn Ultra Blue Deep anid beginning at the neck, sitike in feathers over area 4, Add more Payne's Grey and work around the eye and into area 4a. Load the brush inte clean Titanium White and paint the small patch of white feathers just above the beak 8, Lid the rake with blue pearl and dley-brush a few highlights on the {ap of both wings and the head, Re-ioad with Tranium White tind use the chisel to pull outa few feathers from areas 6 and 9 ‘onto the wing, FOLK ART & DECORATIVE PAINTING Complete the eye with the liner Ibrush loaded in grey and paint «small line in the top leftchand ‘eomer and bottom right-hand ‘comer. Pick up Titanium White and plice wo white dots in the top. fght-hand comer, aint the beak with the round brush anid light brawn. Load the liner brush with Lamp Black and paint thin line down the middle. Load the round brush with dark brown and dry-brush the shading where the beak meets the head, fading, away as it reaches the print. ‘Load the liner with grey and base the leg and the foot, then pick up Lamp Black and paint tiny comm for the claw. Dragonfly ~ base the bey usin the liner brash loaded with Unt Blue Deep. Load the rake brush ‘with Oyster Pearl andl base the wings. Load the liner brush with Lamp Black and! a litle Oyster Pear and prtnt the legs and outline along the hase of the body, pulling a few lines into the body itself, Abo outline the ‘wing and paint fine veins on them. Use the "sin angle shader dipped fn Brush °n Blend and shade with, Raw Umber between the wings and under the body Drops ~ Load the same brush with Raw’ Umber and float across the top anid down the right side ‘of the bubble. Highlight with Buttermilk along the leftchand sile andl the bottom, Loa with equal parts of Raw Umber and Antique ‘Teal and float a shadaw on the leaf on the left of the bubble. Paint « Titanium White dot in the Jefchand comerand two small dots {in the top right-hand corner with the liner brush. VARNISHING? Remove any remaining ttanser lines withthe Ienealable eraser and apply thre coats of sin varaish, Chris can be contacted on (02) 4751 A921Exbibitions, fetes, fairs, lecture tours ~ we keep you up to date with tmportant events in the craft world. The His Craft Market wil be hel a he Castle il Shemprosad, Caste Hill NSW. Cher Ine sats of to qualry Austalan tended caf, plants are ypourmet fos. Ope 03pm Whcekhir a stoles fel, vii: (02) 9820 6118 San-dpn Fey NOVEMBER 30-DECEMBER 2 Genres Cat aie atthe Up-To-Date Store Genabie St, Comlariy NSW, with qualey proceso sola badgers Open tO Se. Eo Chet O'teen (02) 27 2010 ‘9 Rone Bg (02) (T3522 AND, DECEMBER 1 The prompts fo the 2042 Dol Rama sradie Rstseagatiy Wo be bed June 2628, at Me Southam Schoo on th Gok Catt Qa, Income pom: Prompectusen cost $11 ail he Fabulous Folk Art i7prajets wth pattern sests 18 pects with paler sheets 100 100 pages HOW TO ORDER soe Bee nh han ae ito |) Frcs Pt ag, PAMT DHS se cae 7 panne meng Wh or ote ainises [se ny psn baat EERE Ye B= Beers ios wactny Cotas (Mata haa Samer Doe fatto ——— Fax (62) 797 8017 proces dary i ot ary 1S injure: Nowlene Thompson, As Prac Rxtrrayanss PO Bea 225), Neca (QU 4211 ee email noelene. plus coma DECEMBER 1 ‘Cobloty Vlg Markets at Cabby Pray Sclwol, Cablaty NSW, rome span 10 stalls ied woh quahty hanya! pods ‘Open Man 1pn, ngulces 0488 512 728 JULY 28-DECEMBER 2 The Zakreestt Sper Whieel Collection it the National Bin) Nase, 26 Medrabont St Goel Vie The enero represent the cvoluon of handpainted fen issn che presen cy. Open 9an-Sp ey ies (0) $227 0701 eee 05) 5322 1018 ert Cea air tS toes Soom, fori ale ma Seve NSW: Quay aaa Ope an Sp Konuires (02) DASE 7 IRDER NOW AND SAVE $2.00 PER COPY! (EYEE ORDER NOW AND SAVE $2.00 PER COPY!) Folk Art Projects FOLK ART & DECORATIVE PAINTING DECEMBER 7 The ls Craft Market wills hoki 2 spoil ight fat Ue Cane Hill ‘Shogo, Cafe Ml NSW, Over 100s ‘of 9 quality Australian handmade exalt plan aid gourmes foods Open 5 Wheelchair and sirller friendly Enjunies (0) 96 6118 erp Frans DECEMBER 15-16 Wallce House Quien present the Nos Federation Quilt Show, 7 Walle De Nonevile Qh with sn exhibition fama Ihseri quits. Open amp ‘Anne Hunt (07) $455 Ss owt: DECEMBER 29-JANUARY 6 SSunfinwers at Nari anid sake by rn Mie ana hee ast. at hire Naramly’ Faer, Princes Maha Mion NSW: Opp tbam-ipen day Ages: (2) 44954148 Roses, 8, Ribbons & Lace 16 projects with pattern sheets 100 pages ‘YES! Please send me Fibs Foth Ant fer omly SRS exh 1 Fall An Prt feconly $895 exch ___ Ries, Rom & Lace Facaly $805 echAustralian Vf iy VOW er Wreath Leste WATSON has used a vibrant blue as the background to set off the strong colours of some of Australia’s gorgeous wildflowers. MATERIALS ¢ Round mire frame: 490mm (191/sin) with a 110mm painting surface Transfer paper 1 Stylus Chalk pencil No.2, 4 and 6 filbert brushes No 6/0 liner brush 4No 2and 4 round brushes ¢ No 00 script finer brush # Vain angle shader + Voinane Vain deerioot brushes + Tin and 1/ain flat brushes Block Sealer 4 10 Sonja’s All Purpose Sealer ++ Jo Sonja's Artists” Colours Napthol Crim: White, Olive Gr Pale Gold, Moss Green, Raw Sienna, Burnt Sienna, Burgundy, Yellow Light, Turners Yellow, Ultramarine Norwegian Orange, Titanium White, Gold Oxide, Yellow Oxide, Carbon Black, Pine Green, Burnt Umber French Blue, Brown Earth, Permanent Alizarine ¢ Matise Flow Formula Paints: Australian Si + Envimtex t TECHNIQUES INVOLVED # Shadling + Highlighting # Stippling. +Gilding FOLK ART & DECORATIVE PAINTINGPREPARATION: Basecoat the mirror framie with to coats of Ultramtrine using the Lin flat brash, FERRING THE Nz Trace the design from the pattem sheet onto the tracing paper andl transfer tonto the mirror frame using th BLOCKING-IN: Bow ~ Basecot using the 1/ain flat hrush foaled with Yellow Oxide and, when dy paint ater iewith Pale Gold using the same brush, Gumleaves and gumnut base ~ Basecoat using the No 6 ilbert beush ‘sith the light olive green mix Bottlebrusb ~\sing the Yin flat brush, wash undler the red bottkebrush with Permanent Alizatine ane under the yellow bextlebrush swith Raw Sen Banlesia ~ Supple the head of the flower with the 44in deerfoxst brush in Gold Oxile msec with a tle Retarder. Pick up some Burnt Slenina fon the tip of the brush and apply t tothe ede of the flower: With the dirty brush pick up Yellow Oxide on the tipand apply it 10 the middle of the flaner. Banksia and Christmas bell leaves — Basexoat with Pine Green using, the No 6 filbert brush Christmas bells ~ sing the Not round brush blocktn the backs of the lowers in Burgandy and the fronts ffthe Berers in Napkhol Crimson, Pincushion bakeas ~ ascot the lawer eile in Burgundy Bow ~ Trusferthe detail onto the bow using the transfer pape the stylus, Apply the Tanni Sealer to the striped arcas and allow it toad clear. Apply the fil gilding with the matt side towards the mieror 84 painted with the Tanning Block Sealer tind tub your finger over firmly Using the angle shader loacled ‘with Burnt Umber, shade the bow. Then using the liner brush and the same colour, outtine the bow. Adld highlights with Titanium White the angle shader, Banksia and Christmas bell leaves - Note: Paint one leaf There ate several ayers of paint tobe applicd w each leaf using Retarder to keep the surface wet. Its important that the Returder stays moist throughout the painting of the leat Retard the leaves by rubbing touch of Retarder aver them with sour finger, With the No filkert brush side-toaded in Bumnt Umber, serakesin the eentre veins. Pick up Permanent Allzirine on the brush tind wash ic across the tip of the feat oad the same brush with khaki paint comma strokes from the the tip of the leaf Side-load the same brush with Yellow Lightand paint in the next layer of commas. Follow this ‘with afew highlight strokes of Warm White. When dry. outline the Keaves using the liner brush loaded in the khaki mix with a touch of Warm White ade. Gumieawes — Retire the eal ant, using the No 6 filbert brush side: loaded with Burnt Umber, paint in the veins, Wash the brush and load with a litte Fermanent Alizarine then paint across the tip of the leaf Establish the colour on the leaf with long vertical strokes of Mass Green and French Blue followed by Yellow Light and then Warm White. Very Joosely outline with Moss Green land then Warm White using the liner beush. Dab in the rust marks with Burnt Umber using the same beust. Gummut flower ~ apply a sivall amount of Ketarder to the flower Sidesload the Noa filbert brush with FOLK ART € DECORATIVE PAINTING nu along the battery ofthe flower. Load the sime brush rushers und Yellow Lighvand paint across from. the rightchand side. leaving some of the Burnt Sienna showing, Working weteon-wet, load the No2 filbert Fors with Warm White andl highlight Yellow stamens ~ (sini, the liner Jorush paint the siamens in Turners Yellow followed by Yellow Light and then Warm White. Addl Yellow Light dots to the end of the strokes Red stamens ~ Using the sat brush, load with Burgundy followed by Burgundy White and gradually Tighten the colour to finish with Warm White. Add Warm White dots fo the ends of the strokes and whe dlry, oat But Umberand then Burgundy between thie base anc! the staryens. Glizee with Red botilebrush —Usinysthe ip of the No 4 round brush, «tab in the centre with a brushsmis af light olive green and Warty Whit boll Moss Gree script liner brush leaded in Pes ually adding Warm Write to the misand finishing with Warm White. Scatter Yellow Light dots around the edie Yellow bottlebrush = this ls painted in the same red bottlebrush. Dab in the centre wwith a brush-mis of Hight olive and Warm White. Build up the layers with Yellow Oxide Turners Yellow and then 2 baushmie of Yellow Light and Warm White. The dotsaire painted! in Yellow Aight. Whe: wash with down the centre of both flowers Banksia ~ sin: the ain deerfoor brush fowded with Burnt Umber stipple the top of the flower, Laid the liner torush with Yellow Oxide, and paint small circular strokes aver the flower: Warm White to the brush Add somWhite using the tiner brush anel Using the N ound brush loaded in a brushamix of Tumers Yellow anal Warm White the bell sttokesin the front edge ¢ When dry, ghoe with A Pincushion hakeas shader float in Burt Umber to one side of each hakea, Float Tumers Yellow on sic With the liner brush, stecke-in thy stamens in Burgundy: and Warm White. Add small dots of Warm W and, when dry Sienna on the dagger brush, Gumnuts ~ Load the No A round ith Norwegian Orange and id with Turners Yellow, Paint crescent stroke each side ofthe we with Australian gumnut with the yellow fac towards the centre. The lid of the gumnut ls painted us rush foadex! in Bum Sienna and side-Joadied with Warm White, sith the white facing the outer edge FINISHING THE DESIGN: Glaze the whole design with Australi leaves. De Burnt Umber if necessar {Using the No4 round brush ext with ‘Warm White, steoke in splashes df mma radiating from the design. VARNISHING: Remove all und continue to stroke inte circular —beish Load the Yin deerfootbrush transfer lines using the knead rescents. Follow sith Yellow Light with Noqweghan Orange and tip with eraser and seal with All Purp axl finish with Warm White Turners Yellow. Holding the deerfoot Sealer. Finish with Envirotex Add small dons to the edge ofthe bash vertically to the frame, pounce ‘This isa twospart varnish whic flower in Yellow Lightand Wann White, in the wattle starting from the ti an be a little ricky to apply Butterflies ~ Baseccn in Yello and working back up the clus itis very important to follaw the nile using the No 4 round brush, Add a litle Yellow Light to the dirty manufacturers’ instructions to thi Apply Fanning Block Sealer, allow brush and apply some highligh letter. Lestte fins that tf yous appl to dry-and apply fol gilding as for Finish with small Yellow Light dor slayer of Bnvirotex using 3 bristh the bow. Use the liner brush loaded sie brash peush along both edges of the flat with Carbon Back to paint the fine Christmas bells Apply Retariler surface of the mirror frame and then ines. Highlight in Warm White us exer the bellsand, using the No 4 pour the rest ofthe pre-mixed esate heush filbert brush, basen again in vamish qnto the remainder of th Branches — Using the liner Napthol Grimson, Shade the eu flat surfice, it will spread out ro meet brish, wrigele inthe benches with with Burgundly then pick up Tumers the vamish already'applied. This will a combination of Bumt Sienna, Yellow and oserstroke it highlight jot as abarrier and. stop it running Brown Earth aind Warm White towards the centre. Side-oad the wer the edges. Wattle — te area yer brush with Warm White sind paint lightly then dab Brown Earth under this over the Turners Yellow, Line Lesley ceani be contacted on the cluster using the No 4 filbert the hack of the flower in Warm 07) 4D5.2030. FOLK ART & DECORATIVE PAINTINGGEDA sovernnavee rou « oeconanve a WHOLESALERS OF FOLK ART & CRAFT BOOKS AND PAINTING aucnt od 3, 1 + Retail/Wholesale Wet abot 000 kes octal al. ASTRAL tk ple he wll Na ESSER, WE IS AMERICANS Discounted Folk Art Supplies Ph: (02) 9631 7095 "Escape & Paint’ mmammwmarme cs. Tt | | ing fi ct f Morea eps ution an Yr netismoe tay rau Wren ‘obyne Brooks: Leonie Mita 4 " FeLLear veratepn “siecGese ane” WAL RAY Wotan mice Mecue + Outstanding Tes HALE DAY Works 8 ALE BAY Workshop @& £5 esr, Boeitliou an G8 gH a0 | Email: kelbrey@bigpond.com www.users.bignond.convkelbrey 86 FOLK ART & DECORATIVE PAINTINGFOLK ART & DECORATIVE PAINTING BACK ISSUES | boy mss ary oF THESE GREAT ISSUES? | HURRY AND ORDER NOW AS SOME STOCKS. ‘ARE LIMITED) 00k ‘Vol. 7 Na. t Vol. 7 No, 4 Vol. 7, Nov CORATIVE PAINTING ‘Back Issues’ indi Val. [1 Vol. 7 No. 6 Vol. Vol. 7 No. 5 Vol. Vol. 7 No. 4 Vol. Vol. 7 No. 3 Vol. Vol. 7 No. 2 Vol. 2000 Yearbook Vol. 7. No. 1 Vol. Vol. 6 No. 10 .. ORDER ame: St] Me Ms / ) ORDER Free Call: 1800 801 647 Free Post: Express Publications Pry Led Reply Paid 476, Silverwater NSW 2128, Adis Ra marenyaat ‘stage my Crt Cad No ‘eal: yyy expresypnblications coma Via © Banke, Website: wikw.espresspublications.com. a Aes © Dinets foes Expy Date Suture:These cuddling teddies, painted by Maxcrit Norter, would be a delight for any child and most adults # Canvas suitcase: 400mm x 260mm (16in x 101/4in) + Tracing paper eTransier paper Stylus Magic Tape #No 2and 4 round brushes + Liner brush No 4.and 6 flat bristle brushes torcut the flat bristle: brushes into Sharp scissors teddy brushes TRANSFERRING THE DESIGN: Trace the slesign from he patiern sheet ont tracing pape Make sure the teddies ate centred ancl look Iatlancexd, then secure the itease with the Transfer the ( ont the Magic Tape into the suitcase using paper and the stylus, ees PAINTING THE DESIGN: Using the No 4 round brush loaded with Burnt Sient lectingthe ¢ Where the tnicing lines sind ears 4, futint the reclilies, 88 FOLK ARI & DEE #0 Son Colours: Carbon Black, Warm White, Raw Umber, Burnt Sienna, Pine Green, Yellow Deep Anists Jo Sonja’s Polyurethane Water Based Vartish: Satin (optional) Short dabbing strokework Highlighting pauls are. This will be the shading, Ifyou use a colour forthe bsickgraund you will hace to sh the teddies with black along all of the inside lines. Basecoat the with Pine Green and when dry, erase all tracings lines: Fur ~ Note: The teddies’ farts painted with dhe cut bristle brushes, lusing the brush sie that is appropriate for the area you are painting, Using the No 4 cut bristle brush loucled with Burnt Sienna/Yellow Deep Gol), paint the fur starting at the ear and using outward strokes,vlar shor on the head arms, lc. Paine the pupil boxly-and legs, making h, } Carbon Black and add rok oi the | | ne highligh with: Wire hat the far grows Vi} White loadext oa the he stepalieet), Paint . liner nish, Use the same shuly-aver the shadow push to ale Yellow areas ay these should Deep highlight the now through. Don't bé ec! BurntSicn) ST eters Divide the bristles into three and cut the tiwo outer Samohi Hh Be aes cas ere of arts off balfioay, Cut ltl cas te middle part Cae ck rial ‘th big brushes you will get four to six gaps, Se shin Pe cates oni with smaller brushes only thre aoe paged dn is Yellow Deep Burt Sietina (1:1) Paws and foot — (sing the fect and highlight the tp and Start at the ears and work down No 2 cound hrush loaded with Raw front of the scarves the feet, letting some: of the flest Limbér, paint in the paws and fee fur colour show through, Highlight using the same brush, VARNISHING: Because the The third layer is painted in ith a forush-mix of Burnt Sienna paint is absorbed in the material manner as dhe and Yellow De there i$ no need to varnish, but ¥ Deep/Burnt Sienna Face = Retrice the derail of the youwant to varnish uses water nix Wine White with th faces untes the design using the based! varnish as it will absorb i r ine sire small short transfer paper and the stylus: Using the-carivus Strokes petint tn the highlights an round brush, paint the eve he top af the ears, head, n and! nose in Carbon Black. Fill the Meargrtt can be contacted on as, pate lyand eyes with Bure Sienna, leaving 2 1840.Subscribe NOW Handmade Foe the ceaft lover. Hundiad quintessential magazine for the general crafter. Beautifully ilastrate with er 20 fabulous eaty to follow projects in every ive. Whether you have a penchant foe Patchwork, an affection for Applique ‘or passion for Papercraft, Handmade is ‘sure to be a wonderful souree of ins aad delight. RRP 7.95 (Incl GST) isthe ‘Stamping & Papercraft esautiflly presented and illstrated, Starnping & Papercralt poovides pructical and insplratlogal ideas for heen can. gift ‘and papercraft artists of all ages. With 9 projects in ench issue as well ay fabolous ‘heaves for festive occasions, Stamping and Papercraft has something (yt all levels of ‘ill from the heginnerto the expe. RRPS895 (Incl. GST) Artists Palette + maine forthe aspiring and shod anist lke. 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GST) Australian Ceramics & Pott Whither you're a studio owner, a novice ‘or an advanced ceramicists, Australian ‘Ceramics and Pottery offers readers 1 great range of creative ideas from contemporary to tradtonal, With as many as 1S projects Pottery is filled with sensational designee pisces each with devign outline aad echnical advice for you tore-create ‘and enjoy. RRP $8.95 (Insl, GST) PBS UU NS GIFT SUBSCRIPTION The ideal Christmas gift that's received all year raund. Wor rt ova gh ncgton smn sore ne ard nee crt eee reper Savery en our be 9 semen time et Pate 1B Fes Clk 1800 807 647 Free Post. Expres Puatans Py Lid Reply Pid 60476, Siverwater NSW 2128, Fac (02) 9737 9017 ‘mall subeCespresspbiatons.com.ay Wwob: wr xprecepubieations com aeAustralia is lucky enough to have an abundance of beautiful butterfli Jue Witiams has che en eight of these gorgeous winged creatures to decorate a handy box. MATERIALS Craftwood domed box: 330mm x 130mm x 130mm (13in x Sin x Sin) + Tracing paper + Stylus Sanding biock + Black and white transfer paper + Magic Tape Small sponges + Kneadable eraser 4 Large flat brush for baseccating No 2 and 4 round brushes Fine linet brush sin fat brush + Jo Sonja’s Atist’ Colours Paynes Grey, Raw Sienna, Raw Umber, Aqua, Ble Iridescent, Carbon Black Rich Gold, Pearl White, PREPARATION: Rasecoat the box tssice, using the karge flat brush loaded in Burnt Umbe lng between coats, Working on the sides and ends of the hox, measure and mark off 20mm borders using the and sun Smoked Pearl, Brown Earth Napthol Grimson, Cadmium Yellow Mid, Burnt Umber Pthalo Blue, Warm White, Purple Iridescent, Iridesent, Burnt Sienna, Pale Gold, Sapphire Nonwegian Orange Vermilion, Gold Oxide. Turners Yellow Jade, Ultramarine # Matisse Flow Formula: Cerulean Blue Jo Sonja’s Water Based Polyurethane Varnish: Satin Tec INVOLVED # Using iridescent paints » Shading o Highlighting Ma the sides of the tape and, using the fe Tape, Press dawn firmly on fin flac brush, paint the exposed edges with two ec ww Sienna this should sull alow the Burnt Umber to show through. sof 92 FOLK ART & DECORATIVE PAINTINGWhen dry, sponge the border with Pthalo, Blue and, when this is dry responge using Blue Iridescent Remuve the tape and kevtt ry TRANSFERRING THE SIGN: Trace the design from the pattern sheet onto the tracing. Paper and teansfer the outline of the butterflies using the white transfer paper and the stylus; Basecoat the butterflies with Warm White ~ these ‘will need several coats 10 cover Sponge the areas between the butterflies lightly using Raw Sienna, When dry, transfer the details of the butterflies using the black transfer Paper and the stylus. PAINTING THE DESIGN: Note: The No2and4 mound brushes are used throughous the design except forthe pon the ‘wing. feelers and eyes-where the Jiner brush is used, Refer wo the step-by-step sheer for placement of colour details, Ulysses butterfly ~ Worckcin the inner wings in Cerulean Blue and, while the paint is sill wet, streak litle Aqua fmm the bey dd 3 touch of water te Blue Iridescent eas When wings and paint aver the: blue: dry, transfer the veins of using the white transfer paper. Paint the body and the puter exlges of the ‘wings using Carbon Black and then use this colour loaded on the liner brush to paint the veins and spons. Using Carbon Black, éry-brush the wings from the bady outwards an the blue area, 4 Add a touch of P White to the C Blick andl, using the No2 round brush, inv the markings on the upper wings. Les the liner brush in the same colour und paar the: fines on the lower wings. Add a touch more Pest White to this mix and paint the fine lines around the wings:and body, ard also the mmarkinys on the body. Dey-beush Blue Iridescent ta the centre area of the body of the butterfly pening brown butterfly ~ Using Norwegian Orange, blockein the upper wings and the tops half of the lawer wings. Base-in the lower section of the wings in Raw Sienna and biend where the two colours meet. When dry, nice on the details Of the wings. Brush-mis a touch of Pearl White to Vermilion and paint in the patch on the upper section of the wing, then streak out the same colour from the bouly of the butterfly Brush mix touch of Smoked! Pearl to Burt Limber and paint in the brown a ng from the ide edges ofthe wings and the exly. Add a touch more Smoked Perl and paint the feelers and body markings. Using Burnt Umber, pant in the darker brown patches on the upperwings und the eyes. Paint in the dots using Warm White Sword grass butterfly ~ sins ‘Brown Earth witha touch of Warm White added, bise-in the wings ancl, when dry, transfer the details to the wings. Brush-mix Gold Oxide with steuch of Warm White and paint ia the patches on the wings. The spots on the upper wings ate in PUhuko Blue with smaller Waren White dots addled when dey. The spe lower wing i in Napehol Crimso with 4 Wis dry. Base in the body using Burnt Umber paint in the veins, Add athin line of Turners Yellow, 2 tle way the outer edges ofthe wings Common grass yellow butterfly ~ bse tie Wing ‘Cactmium Yellow Mid and. when dey White dot addexl when nd, with the same colour, from FOLK ART & DECORATIVE PAINTING trace On the details. Using Burnt Umber, paint the outer section of wingsand the detail on the iw sections. Basin the body with a brush-mix of Cadmium Yellow Mid and atoueh of Burnt Umber and, when dry, paint in the detail the feelers, andl outline the wings in Smoked Peat. Regent skipper butterfly ~ Block-in the wings using Carbon Black and, when dry, transfer the details onto the buttery, Paint the patches and the body markings using ‘Cadmium Yellen Mid for the yellow ns andl Jude for the sections, Paint a wash of Green Iridescent over the: Using Brown Barth, paint the eles of the wings, the the veins on the wings Common oak blue butterfly Blocksin the wings in Sapiph Base in the body using Burnt t with a touch of Smoked Pearl and highlight the body using the same coloue. Using Violet Iridesc shadle over the blue area from the outer edges of the wings, leaving some of the blue showing closer to the boxy, Now add a touch of Warm White to Sapphire and highlight the blue area, also adding a small patch don the body, Using Raw Sienna, paint Jn the bottom sections of the wings, The vein are iv Carbon Black Common egg fly butterfly (open) ~ Blockein the wings and the body using Paynes Grey. Add patches with Ultramarine and then Warn) White, Using the same colour dl fine lines on the outer edge, Beush {Warm White with a touch oF P «! paint in the body mal aire dots of Carbon tslack. Common ex fly butterfly (closed) ~ Base tie wings and boxy using Burt UmbeeBurt Sieur (1:1), Shade using Burnt Siena Raw Sienna (2:1) from the body towards the ute, adda touich of Smvoked P to this mix and paint the legs and beay nuirkings When dry, ase Warm White for the patches and spots. Red-bodied swallow tail ~ Basesin the wings using Carhon Black. Using a brushami of le sectionsBe Eire Tie eed rT RSE hss . a eeeeeniee ; Cis pvr etree Ct Nd ron ten ro Cansei ips eas Umber with a touch of Smoked The body markings are alse in /ARNISHING Pearl added, paint the markings Naptho! Crimson and the eye ts oye all tmavings lines with the onthe upper wings, leps and feelers in Warm W kneadlable eraser and varnish with and, when dry, streak with Warm, raves and stems ~The leaves (wo coats of the satin varnish White. Paint the red dots on the ane painted using water-thinned. lower wings with Napthol Crimson Rich Gold and the stemsare painted Junecan he contacted on and the other dors with Warm White. with Pale Gold, 774 SUT. FOLK ART & DECORATIVE PAINTING