CRAFT COLOURS & MEDIUMS Matisse Acrylic colours are the product of Australian technology and design innovation. At the Matisse laboratories in Sydney, the technical team developed a unique and highly advanced method of saturating acrylic paints with ultra high levels of pigment. This results in you the artist benefiting in being able to use what are considered by many as the strongest most pure colours available anywhere in the world. And we're not resting there. At Matisse we're continually bringing out new colours and different mediums for Folk & Craft Artists (such as the new Matisse Flow colour "Bronze" released recently). So when you next use a Matisse product = AUSTRALIAN "geueerers. MANSSE you can be sure that you're using a top OWNED. quality product that is not only made in a Australia but designed in the Clever ADE, DERIVAN Country as well. ee 1 NORTHOOTE STREET, MORTLAKE 2137 NSW, AUSTRALIA. PH(02) 736 2022 FAX(02) 736 3637 INTERNATIONAL (612) 736 2022Join us as we present our inaugural Fole Art and Decorative Painting yearbook. In tis tse we pay tribute tothe romantic side of buman nature with projects by some of the countrys leading painters. Glynne MeGrgor bas created a charming heart-shaped box, Debbie Campbell walks you through ber hand pained tribute to friendship, and ‘Heater Lownds presents ber charming pen and wash erecting ‘In this issue we present an elegant fabriccovered stool and a band- ‘Painted porcelain tea set ideal for garden parties, We aso acknowledge the child i all of us with a happy-go-lucky scarecrow design, and a ereepyreraucy' magazine box. Add to these @ Victorian- inspired loral lamp, a beart-warming patcbueork trunk, ad an Australiana tea caddy, and you've guaranteed to find inspiration. We aso showease the work of three bighly regarded Australian folk artists and decorative painters - Chris Whipper, Julie Neilson-Kelly ‘and Carel Sharpe, while our raga columns tackle the art of face Sinishes and the intriguing bstory of bearts. Wit so much to offer we're sure youll embrace the next isue of Folk Art and Decorative Painting as beartly as we have. Bui that’s not al the good neus. Ii with great pleasure that we announce the winner of the subscription competition, a bola forfour people to Los Angeles alee a: more ian $23,000. Drawn on October 6 ‘he lucky winner was R MeMillan of Bilocla in Quoeasand. Congratulations! PAINTED FRAME BY HEATHER LOWNDS FOLK ART AND 3. DECORATIVE PAINTINGFOLK ART AND. DECORATIVE PAINTING EDITOR Sue Aiken CRAFT EDITOR Robyn Wilson. ASSISTANT EDITOR Lic Gini CRAFT OFFICE CO-ORDINATOR Jeanette Marlow PHOTOGRAPHERS Tim Connolly Clayton Glenn Stefan Jannides Helen Pinel STYLIST Robyn Wilson. Helen Lupton GRAPHIC DESIGN Lindetack Benson ILLUSTRATION Lesley Grifith ADVERTISING ENQUIRIES ‘National Advertising Manager Howard Shaw Tel (02) 748 0599 Fax (02) 748 1956 PRODUCTION CONTROLLER Robina Mackenzie PRODUCTION ‘CO-ORDINATOR Sonia Spiteri PUBLISHED BY Express Publications Pty Ltd ACN 057 807 904 under tence from EP Investments Pty Ltd ‘ACIN 003 109 055 (1995) AM Rights Reserved, 2Stanley Street, Silverwater NSW 2128 Tel (02) 748 0599 Fax (02) 748 1956 PRINTED BY Times Printers Pre Led, Singapore DISTRIBUTED BY Network Distribution Company 54 Park Street, ‘Sydney NSW 2008 Tel (02) 282 8777 NORTH AMERICAN DISTRIBUTOR Stonehouse Publications 85 Chambers Drive. Unit #2 ‘Aix, Ontario. Canada LIZ E2 Tel I 1800 461 1640 ‘At mace in dis wagaie i copyrghe and cannot be reproduced n partor full wthove wren pemision from the publsher. Prices and dites quoted fis Ise were correc time of gong © press but may be subse to variton. Page 82 COVER: Let your spirit soar with this delightfil collection of projects from some of the country’s leading ariits. Enjoy tea for two served in a delicate tea set, present a feast fit for royalty on our tea time tray, create a patcbwork sampler trunk, thrill children with a notsoscarey scarecrow, and explore your romatic side aided by a charming selection of heart inspired project. 12 16 20 22 26 38 44 48 54 58 EDITORS’ PAGE ARTISTS’ STORE ‘The latest products BOOKCASE FOLKWAYS with Deborah Kneen BRUSH WITH HISTORY Symbol of Sentiment A HEARTY COLLECTION Glynne McGregor PEN AND WASH WELCOME HEART Heather Lownds LOVE, LAUGHTER AND FRIENDS Debbie Campbell PROFILE julie Neilson-Kelly HEIRLOOM LILIES Julie Neilson-Kelly GECKOS ON CORRUGATED IRON Christine Roy AUSTRALIANA TEA CADDY Robyn Roberts PROFILE Christine Whipper TEA TIME TRAY Christine Whipper62 PORCELAIN TEA SET Judy Allen 66 FABRIC PAINTED FLORAL FOOTSTOOL Deborah Kneen 72 PROFILE Carol Sharpe 76 GRANDMA’S GARDEN TRAY Carol Sharpe 80 BRUSHSTROKES 82 VICTORIAN ROSES ON CERAMIC LAMP Basia Zilenska 86 PATCHWORK SAMPLER TRUNK Chris Cort 90 NOT-SO-SCARY SCARECROW Leanne Milhano Page 38 94 TECHNICALITIES 98 STOCKISTS & NEXT ISSUE Page 44NEW FROM ELSA’S FOLK ART By popular request, more Flat Brush Flowers Eight exciting including styles of roses hydrangea, including small open reses, PG rococo roses as viola and well as scroll poppies. work. UT PANERA Choose any 3 of Else’s pattern books and pay only $18.00 each. These books may be purchased separately for $19.95. MC Leen Sy ay | Ny TO ORDER: Send completed coupon to: Eli's Fok Art Sudo, FREE POST AAASO. DESRPTON cart | race | suptorar P OBOX 94, Pennant Hils, NSW 2120 (no slamp required). a tsk Fowes Vola Nome: - ‘7ekes: ‘slan Caan = ‘soon Wid Fowes Todd & Decor FORA. enclose my cheque/ironey order [name and ockhess on back) mode payable Eopean Spring Flowers to B's Fok Ar Stucio OR Please debit my Ci Bankcord i Maslreard CI Visa | Tod ens Toy ox a | lat Brush Flowers & Lace Cord No:_---/----/----/---- ExpiryDoe _ / | Fos Bie ee Cordholder's Signature: Eopean ald Fer Cordholder's Name: Pestege & Hordling $3.50 TOS Hease allow 28 days for deivary wsPAPER THE BACKSTREET . Backstreet has a range of découpage papers you can use to decorate your kitchen cupboards or table tops. The range includes old country labels, nostalgic seed packets, and all the modern favourites including sunflowers and teddy bears Tris high-quality range contains dozens of muti- sized pieces which are easly adapted to any size project. A book of ideas and helpful hints is also available. Backstreet's découpage papers have limitless decorating posstilties. Stockists and trade enquiries: Ceramic & Craft Centre on 3343-7377 LIGHT UP YOUR LIFE Argyle Art Studio and Gifs presents The Country Cottage Night Light kit, including a timber box, craftwood insert, light fittings and bulb, photo, patierns and instructions all for just $54.95. ‘The centre offers day and evening classes and workshops in folk and decorative art, decoupage, paper tolé, water colours, and teddy-bear making. The classes are taught by both local and guest teachers. Situated on the New England Highway in Scone, the studio is ideally located for 2 ‘Stop over. It features an extensive range of timber pieces as well 2s hundreds of books, brushes, abundant paint supplies and a vast array of gilts including limited edition collectables. Enquiries: Argyle Art Studio and Gifts, 105 Kelty Street, Scone NSW 2337 (055) 451 822. Open seven days a week A HEARTY BEAR If you're looking for a special gift try Lugarno Graft Cottage. Included in its range is this country wire heart, measuring 32em x 32cm x 18mm, with teddy bear design and powder coated wire. The blank heart is available for $19.50 including p&h. Classes are available for this and many other projects. Friguiries: (02) 584 1944 FOLK ARTAND 7 DECORATIVE PAINTING-the { your E kart & Do. craft supplies store company - Beginners classes available Country orders welcome Credit card convenience open Mon to Sat shop §, 272 Victoria Ave Chatswood. NSW. 2067 (Cnr Neridah St & Victoria Ave) 02413 1781 Millmerran Cottage Crafts Captures Australia’s wildflower ‘magic with this decorative folk art calendarfnotice board holder & floral WelcomelKitchen sign, Designed as beginners’ projects at very affordable mail order piece, pattern and full Instructions for you incl, P&H 19.95 0 pa Ne Millmerran Cottage Crafts 67 Campbell St, Millmerran, Qld 4357 Phone: (076) 95 1730 ARTISTS’ LIFELIKE REPLICAS The Lindfield Decorative Art Centre has @ range of hand carved wooden items from Bali and Chang Mai now available. The pieces are all unpainted and include photo frames, welcome signs, roosters and ducks (shown below), and carved wall hangings. The duck, measuring 400mm x 160mm, and the rooster 430mm x 140mm, lend themselves to faux finishing or folk art painting and are priced at $54.50 and $78 respectively. Allow $12 for postage and handling for each piece in addition to the listed prices. These items would be a charming addition to your home, or alternatively add visual interest to your garden, They can be ordered from Lindfield Decorative Art Centre Enquiries: 14 Moore Ave, West Linfield 2070 Telephone (02) 416 6428 or fax (02) 416 8002 for delivery anywhere in Austrata FOLK ART AND. § DECORATIVE PAINTINGA CUT ABOVE THE REST ‘Wildwood Strawberries presents three useful fools for inclusion in every folks artist’s tool box. ‘The gold pen or Kemper tool is suitable for drawing clock numbers, Russian borders and lace work, They are available in fine and medium tips and are priced at $18 each plus 70 cents for postage and handling, ‘The Safe-T Compass is used in conjunction with the gold pen, and can be used to draw circles from 1/4 inch to 10 inches in diameter. The com ‘works well with fine Texta pens, colouring pencils and most ballpoint or felt tip pens. Iris priced at $6.50 plus 70 cents for postage and handling, The Safe-T ruler is great for borders on bos cards. The ruler can also be used with the gold pen or Kemper tool. Its priced at $7 plus 70 cents for postage and handling. Enquiries: Wildwood Strawherries, 7 Anchor Girewit, Mermaid Waters Qld 4218 (075) 72 7831 nd ROYMAC FOLK ART AND 9 DECORATIVE PAINTINGARTISTS'€— =, STORE | TEDDY BEARS PICNIC Bist This beautiful teddy picnic basket is part of the Cheryl Braclshaw Teddy Story range exclusive to the Craft Tree & Decorative patter pack for $11.95 plus $2.50 postage and handling, The store offers a range of ic pattern as well as other appealing designs. ‘The outlet also holds more than 40 experienced folk artists AL Children’s creative workshops are | popular, Enquiries: Craft Tree & | Decorative Art Workshop, 411 Bay st, Brighton Vie (03) 9596 3690. ee Eger SIVVOR EMIS SOLE Le NESE eS EL ESET SS TE NDS: ANNETTE JOHNSON'S GOLLY and RAGEDY ANNE Lu ar 7 0 (WORKSHOP) aes ANNETTE JOFINSON'S Design & Pattern Packets ‘ PATTERN PACKETS @ § 9.50 EACH: P&it ADD fo FOR PEER ORDER’ PL OOOOS 90009 OOOO OOOO O9 OOO O0O4: ¢ ¢ e o e ° ¢ ¢ ° e 2 ¢ 2 ¢ e ¢ @ ¢ @ oa e e INATU eaeesaacscesennocegecaecsesssoserasooossesoseesoeed i FOLK ART AND 1) DECORATIVE PAINTINGARTISTS’ ¢—Z ppp LORE Ss MATISSE ACRYLICS’ EXPANSION The Australian company, Matisse Derivan, has expanded its colour range introducing || new colours in the structure formula range and 14 new colours in ‘he flow formula line-up. There is also a group of new Matisse skin tones for acrylic portrait painting which should suit artists who find it frustrating to mix their ‘own skin tones, Some new pastel shades and Unbleached Titanium have also been released. Acrylic landscape artists have not been forgotten in this expansion, with a colour called Australian Sienna, purposely made for Terra Australi landscapes. ‘Other useful new colours include Alpine Green, permanent Green Light and an appealing Venetian Red, All these colours are now available from art retailers nationwide. Enquiries: Matisse Derivan, | Northcote Street, Mortlake NSW 2137 (02) 736 2022, CRE PAINCED GARDEN is proud to release these exclusive and original kits designed and painted by Bernadette Zammit (A) CALICO UPHOLSTERED HANDTURNED PINE FOOTSTOOL (AS seen in this issue, painted by Deborah Kneen) (Can also be used for Tapestry or Cross Stitch) $85.00 (8) CRAFIWOOD FOOTSTOOL. $48.00 CO With Upholstered Cushion $68.00 (C) SETOF 2 UNPAINTED PANELS (Sam x 35cm) (Guitable for cushions or footstool) $30.00 11 Dusty Blue ©) Dusty Pink 0 Cream (D) COMPLETED HANDPAINTED FOOTSTOOL O Crattwood $110.00 o pine $130.00 1 ROSE & TULIP PACKET PATTERN $8.50 ALL KITS INCLUDE FULL INSTRUCTIONS & COLOUR PHOTO Postage & Handling included in cost. To order — send Money Order, Cheque or Credit Card details to the Painted Garden 1/16 INGLEBURN RD, INGLEBURN, NSW 2565 PHONE: (02) 829 2201 FOLK ARTAND 1] DECORATIVE PAINTING10 STE Sy EO.s PAINTED oN cas THE BEST OF PAINTED FURNITURE by Florence de Dampierre Published by Weidenfeld and Nicolson, London RRP $49.95 Painted furniture is rapidly becoming one of the more popular ficlds of antique collecting among decorators, auctioneers, and private collectors Presented by Florence de Dampierre, the owner of a New York gallery specializing in painted furniture, the book explores the history and the current uses of one of the liveliest areas of the decorative arts. It includes excellent tips on conservation and restoration as well as a beautifully-illustrated history of this enduring art form. Enquiries: Allen & Unwin (02) 901 4088. FOLK ART AND 12 DECORATIVE PAINTING: FABULOUS FOLK ART GIFTS by Judly Allen & Deborah Kneen Sally Milner Publishing RRP $19.95 This book will inspire you to transform ready-made objects, available cheaply from chain stores, into unique handpainted gifts for all occasions. Two of Australia’s leading folk antsts, Judy Allen. and Deborah Kneen, give easy-to- follow instructions for making more than 50 fabulous projects from decorating hairclips, pens, linen, candles, glasses, picture frames and more. New designs include roses, cottage blooms, wildflowers and teddy bears, The book also inclucles many practical tips. Enquiries: (02) 555 7899. COTTAGE FLOWERS by Leanne Milbano Published by Country Lane Collectables RRP $19.95 Cottage flowers have always been popular adornments both within and outside people's homes. This book presents 35 different flower designs with an easy-to-follow format. An additional feature of the book is the painting-in-action section where, by flipping the pages, you can actually see just how to paint the strokes, Enquiries: Country Lane Collectables (08) 234 5443, “EMERG ay FINDERS KEEPERS FOR KEEPS by Pegi White Published by Viking Folks Art Publications, Ine. RRP $18.50 The painting technique of pen and wash has become extremely popular over the years and prompted the publication of Finders Keepers For Keeps. The book includes nine projectsrepresented with photographs of finished works and preparation tips, as well as technique and finishing instructions. Each of the projects, and every design, is intended to beckon beginners and inspire a variety of artists, stitchers and crafters Enquiries: (02) 971 2129. DECOUPAGE by Dee Davis Published by Thames and Fluson RRP $39.95 The highly respected Dee Davis covers every aspect of this craft from the history of paper-cutting to the major artists and découp- curs of the 20th centusy. This is a definitive history and practical guide to a form of artistry that is as satisfying and accessible as it is almost limitless in scope. ‘The easy-to-follow instructions are ideally-suited to newcomers to the craft, helping them discover an exciting and fulfilling activity. Meanwhile the experienced découpeur will find the book full of ideas to enhance their knowledge and their expertise. This book is a valuable resource for any artist wanting to expand their découpage skills Enquiries: (03) 646 7788. FRENCH PROVINCIAL TABL by Jan Galbraith Sally Milner Publishing RRP $7.95 Jan Galbraith presents a beautiful design of hydrangeas and fruit that can be painted on a small table, or any other suitable object Clear and comprehensive instructions for rendering the design make this project suitable for beginners as well as for more experienced painters. There is also the challenge of a little sponging and drybrushing, Enquiries (02) 555 7899. PAINTED FRUIT CLOCK by Kate Coombe Sally Mitner Publishing RRP $7.95 As part of the series of Milner Pattern Craft Books, Kate Coombe presents a colourful and luscious- looking fruit design. The step-by step instructions for rendering the design include explanations of drybrushing and wet-on-wet blending, Patterns are also provided. Beginners and experienced! folk art painters alike will find completing this project a satisfying and enjoyable experience, ancl the end product will prove a useful and beautiful addition to any househoid., Enquiries: (02) 555 7899. DECORATIVE FOLK PAINTING by Jean Payne Published by Cassell RRP $39.95 This fully-llustrated book looks at folk art with a fresh new approach and a well-researched historical account of folk painting in Europe and North America, There are 20 challenging projects, each one containing instructions, clearly drawn pattems and pictures of the finished work. The delightfully illustrated projects generally makes this book suitable to flick through and enjoy by all members of the family, adding a richness to anyone's book collection. Enquiries: Capricorn Link (02) 899 8322. FOLK ART AND ]3 DECORATIVE PAINTING:BAUERNMALEREI FOLK ART Wholesale Craft Books & Supplies Contact us for exceptional service For the latest in Folk Art books —by Australian artists ‘and Pipka, Scottie Foster, Jo Sonja, Jackie Shaw and others. Also: Pipsqueaks, Finders Keepers Series ‘And: Jo Sonja Paints, Designer brushes, Accessories ‘Scotties Antiquing Patina For trade enquiries or nearest stockist PO BOX 616, NARRABEEN, NSW 2101 PHONE (02) 971 2129 FAX (02) 971 2296 FOLK ART SUPPLIES & CLASSES 21-28 Anthony Drive, Mount Waverley, Vic 3149 Ph: (03) 9886 1413 MEDIAEVAL CLOCK Ceaser KIT $44.00 PLUS $6.00 P&H KIT contain: Crafovood wl dock (Gem 4em),clck movement nd and, cols pct, complete ina la eye Phone for Cit Cand onder Platelets 28 day for delicry Todt pew conoe ar tents deve es Nootka eeped ese Chae Mey Orde ot GREAT NEWS KATE BROADFOOT’S Bonn Accord Arts & Crafts {The Austalans Folk Act Specials in Dull) wll ‘occupy NEW PREMISE! ‘rom January 1996 BIGGER SHOP, MORE CLASSES, FANTASTIC DISPLAY of painted pieces and HEAPS OF PARKING — now located in Council Depot Ra, Bulli, turn left off Princes Highway at the Black Diamonds Bridge after you come down Bulli Pass — ph: (042) 68 3288 Fax: (042) 83 2116 Discover the amazing beauty of Khancoban when you join... CAROL e SWAN'S SNOWY MOUNTAINS WORKSHOP -MAY1996- Participants will complete at least one substantial piece during the week and bring home a magnificent reminder of this delightful alpine resort. Write to: Queens Cottage PO. Box 7, KHANCOBAN NSW 2642 Phone (060) 769511 Fax (060) 76 9496NEW RELEASES FROM AUSTRALIA’S LEADING CRAFT MAGAZINE PUBLISHER ‘THE PAINTED PAPER COLLECTION - FOR DECOUPEURS AND FOLK ARTISTS ‘This is an innovative collection of five spectally designed papers for folk artists and découpewns, painted by some top Australian folk artists. There's an amazing diversity of themes - from flowers, teddy bears and Ausiralian scenes to historical motifs and nostalgically costumed ladies from the Edwardian era. The papers can be applied to almost anything for découpage or combined with a painted background or folk art. As well, there are fabulous, clear instructions for découpage projects put together by renowned découpeur Nerida Singleton There are also tips on bow to fix common problems and a fascinating bistory of découpage. On sale now, $9.95. mucin! a i LU) TRADITIONAL FOLK ART In this magazine we have drawa on the expertise of established folk art teachers from throughout Australia. Among the delightful projects to inspire you are a Fruit and Floral Tray by Ros Jenke, a tio of colourful pots by Lee Dobeson, an Empire Style Cutlery Box by Ann Orr and a Comucopia Lap Desk by Lore Barratt. A cane shopping basket and purse have been designed for us by Anne Crozier, a charming naive scene painted on an oval table by Annie Holcombe, lidded powder bow! with Slavic inspired design by Suc Iliov and a colourful Turkish platter all introduce a variety of different painting styles and techniques. We also feature the work of Vicki Nicholson and Dos Austin, Take a leaf from these pages, $7.95 AUSTRALIAN STITCHES, Vol 2 No 2 The Autumn issue looks at choosing the correct patterns, line, shape, colour and texture for the “top beavy’ figure with expert advice from a lady who bas taken her sewing career on the path of planning corporate ward- robes and image consulting. The Perfect Fit section focuses on collars, cuffs, sleeves and plackets for blouses. We feature tips on interfacing, kids casy pyjamas, andl dressing gowns: to make, as well as profiles on three extremely talented women; Michelle Pullen, a Batten + Burg lace specialist, bramaker Lee-Ann Burgess, and Irene Courie from Janome. Australia’s own sewing magazine, $5.95. AUSTRALIAN COUNTRY CRAFT AND DECORATING 1996 ANNUAL ‘There's a wealth of crafi projects and an abun +e of leisure reading in this issue. Diana Lampe has designed 2 beauiful kumquat and flowers picture to embroider. Joy Sherbon shares her folk art expertise in @ trompe Toeil key cupboard, There's a crisp blue and white quilt in a clever - and easy - variation on the traditional Drunkard’s Path, a crazy patchwork country cushion and an opulent machine-embroidered one, plus a craft you've probably never tried - salt dough modelling. As well there are profiles of talented crafts people, book and product news and a listing of craft guilds, associations and courses. Pick sip the threads of yesteryear, $4.95 DOLL SPECIAL No 2 This second wonderful Doll Spectal magazine ts packed with exctting profects and collections for you to admire and discover. The magazine features a story on the origin of Raggedy ‘Ann and Andy dolls, and looks at an intriguing collection of Oriental dolls. Readers will enjoy and revel in the opportunity to make the many projects in this publication. The projects include a fanastic button doll, a flopsy cloth doll and four pretty doll outfits. There are also instructions on bow to make a delighiful miniature display box, a filigree brooch, 4 country style quilt and a charming foll ari pram in which you could display a selection of your dolls. This magazine is a must for every doll lover, $7.95. Fok ar ann [5 DECORATIVE PAINTINGCo ICTORIAN FAI aH V FOLK ART, STENCILS & DECOUPAGE Shop 3, 160-164 Torquay Rd Grovedale 3216 P.0.Box 339 Belmont Vic. 3216 Phone/Fax (052) 432 333 ‘WOT Rectangle Placemat. 225 WO| Hanging Frame with WOR Rectangle Coaster. $0.60 Mimo 30em2 $1330 WE ae ‘W94 Rooster Doorstop... $10.20 ‘WII Scalloped Placemat... $320 ‘W29 Small Plate $470 W959 Hea Dootstop nnn $9.20 W3O Mea Pte S545 E WI6MeDamtep $9.20 eae ree ‘abe STS b { W97 Cow Doorstop .....---$10.20 oc Han } Rede ao E = 5 3 ‘W98 T-pot T-pot Stand ..... $6.40 WSS Pal BOC WOO eel Box Ez . W67 Round Placemat ¥ W65 Scalloped Coaser | SPECIALS W93 Mini Screen «men, $495 ze p Cl Frame with glass ‘W83-6 Round Box 5. $1295. 20M aero $695 W83-7 Round Box #7... $1495 r (freestanding andlor hanging W88 Hanging Frame Z C14 A Round Frame with an Glass 4Sem2 .... % Minor 59cm $22.95 199 Hanging Frame C1EB Round Frame vith with Mirror 40cm? ..... $17.50 Mirror 40m eeneenes $17.95 CL4C Round Frame with ‘Mirror 25em SIL9S i (C15 Frame with Glass WO2 Small Tray sennnn $10.95 ‘W03 Picture Frame = d iS Bort F995. ‘with Glass 95 = (freestanding and/or han ging) W37 Small Tse Box... $880 es C16 San Plater nn $25.90 W38 Large Tissue Box.....$9.75 A : LD2 BOOK BOR seen $20.50 W44 Victorian Letter RACK on WS2 Flower! ven 96.20 : ‘W53 Recipe Book Holder $10.80. © ? is WS¢ Plaque for Home : : SPECIALS aoe ae ‘Stan | i C2Mediu Oral nnn SHAS age Round Plater WY6 Large Jewel Box .... $24.40 C3 Medium Welcome $3.50 WT Lage Oval Plater $1845 Li CHANGE Cie one SIS W79 Trinket Box. wos $15.50. i 3 ‘W83-] Round Box #1 $2.95 M4 eeteae se W33-2 Round Box #2... $4.95 : CO Large Oval .. $6.50 W333 Round Box #3... $695 C10 Large Welcome... $470 W534 Round Box #4... $895 A ‘i W825 Round Bon #581095 fo ' C1 Sma Welcome $80 W865 Solid Three Panel k s i C12 Smaler Circle $195 SOLED snennnrnn $121.00 C13 Small Oval $195 Please dont hesitate o cll us on PAYMENT DETAILS: 052) 432 333 and request a mail order catalogue. Please enclose your cheque/ money order made Weave over I craftshapesto chonse from payable to Viclrian Fir o forward your Credit aa great range ofstencs, decoupage papers, card details inashes an accessories. lease note that all Phone orders are ten for eet card bolder. finshed items photograptied are for display Please noe that orders over $75.0 ae freight purposes only. free. Any orders under $75.0 will have a 85 Allfinisted pieces by Pet Steele for Vietorian Fair WOI Large Teay news SUSHeritage Arts Studio Designs by Jan Potter. Perfect for Nurseries and Lovers of Teddies — Gollies. Pattern packet $7.500a (P&H incl). Easy to follow instructions, pattern sheet, colour photos and lists of paint and other materials roquired. sod other patterns cing (049) 38 5157 or Fax (049) $8 5157 ‘otsemil ches oF money ort Ae Fils Studio 16 KING ST, PATERSON, NSW 2421 FOLK ART WATCHES Suitable for painting 2 differen styles, available sizes ge & sm neshonn, Cian any velus pach i. Opening nstuctors (528 nc He ALSO HANDIAINTED WATCH FOR {i ind MP) Pease orl money oder or chee FOLK ART WATCHES (les se 28d fer diver BK ornare wale Ins ser, Bron wa cette same seas ik rau Dressinc TABLE Mirror Unit with Drawer ‘tindude: Fine Wood Pieces Detailed, instructions,Pattern &¢ Colour Phot AMFARAY cuplta'eche uneele mail order pieces avaible, WORKSHOPS HELD WITH Leanne MILANO ax Lyn Foster SIME ReU anno NON GUILDFORD NSW 2161 02 892 4587 KAYE’S FOLK ART AND PAINTING CENTRE By PONDER bows bos fee box suitable fora vaiety ofiseson your desser top. ine tox pte Fetaiecceignet) ES ea ‘At our Matooehydove sto we have beginers ant advaont se FOLK ART — DECOUPAGE — PAPER TOLE. ALSO: ART CLASSES with a specialis teacher. (Chilren’s holiday classes avallae) SUPPLIES ARE AVAILABLE BY MAIL/PHONE ORDER, KAYE’S FOLK ART AND PAINTING CENTRE SHOP 7 OCEAN COURT, OCEAN STREET, MAROOCHYDORE, QLD 4558. PH: (074) 437 8514 Glynne WMeGreqor Le HE HEART IS A UNIVERSAL DECORATIVE SYMBOL REPRESENTING PIETY AND SENTIMENT. IT HAS APPEARED IN ALL MANNER OF DECORATIVE FORMS THROUGHOUT THE AGES AND WAS DEPICTED IN FOLKLORE. incorporated into everyday sayings such as: "Absence makes the heart grow fonder” and ‘You're wearing your heart on your sleeve", This cliche is derived from an ancient Roman custom which involved young men drawing the name of an unattached lady from a lottery:The man would then wear the chosen name upon his sleeve as an indication of his intentions toward the lady S © popular is the heart that it has been A long-standing Shaker saying, “Put hands to work and hearts to God and @ blessing will come your way” is certainly a reflection of the Shaker society's strong religious beliefs and attitude toward the humble heart. The Shakers also favoured the use of heart and hand symbols, a Popular combination indicating love and hospitality Heart shaped symbols and sent- iments of love were embroidered on early American samplers. Such messages include “Embroidered upon my heart’; “And write thy name thyself upon her heart"; and “If 1am right, oh j teach my heart” = hile heart symbols were freely used as in expression of love in marriage quills throughout American history, there were some restrictions. Young pioneer girls, not yet spoken for, were forbidden to use any such symbols of sentiment in their patchwork quilts.he simple heart form is said to have evolved from a diamond shape ‘However, other indications point 10 the heart shape originating from a stylised version ‘of the anatomical heart. In ancient times, the Egyptians and the Chinese once held the heart in the highest esteem. Believed to be the most vital organ, “the giver of life” and the seat of all knowledge and learning, it was common practice for the Egyptians, who were highly skilled in embalming, to remove the brain and all internal organs, except the kidney and the heart, They believed that in doing this they would ensure the survival of the soul, a necessity for the aftetife. he heart is also a significant symbol for the Christian faith. This is illustrated in sach common Christian phrases as “The Sacred Heart” of Jesus Christ or the Virgin Mary, which represents mankind’s eternal love for God. tts colour, blood red, is said 10 represent the fire or passion people feel for God Known in the 16th century as the “folk” heart ~ the centre of all feeling - this symbol was represented mostly with the monograms of Jesus Christ or the Virgin Mary. The heart itself, was either decorated with the crown of thoms or a swag of roses, Occasionally the heart would appear inscribed with the names Jesus or Maria. During this period the heart was often incorporated at the base of a design symbolising ‘the tree of life’. In the Alpine regions of Medieval Europe, the heart was carved or cut out, and later appeared painted on furniture such as chests, schranks, cradles, chairs, bridal boxes and other houschold items. uring the 17th D and 18th cen- turies, immi afl grants fleeing religious ‘persecution in Europe brought the heart symbol to America, A typical characteristic of a Pennsylvanian Dutch heart is the broad shape which was mostly drawn with the aid of a compass. The geometric heart form was incorporated into Hex designs and painted on the sides of bams to ward off evil spirits. The heart motif also featured throughout much the of Pennsylvanian Dutch decoration of furniture However, the symbol was used much more extensively in a variety of stylised forms in Frakturs (painted documents) such as baptismal, birth and marriage certificates. The heart represented love and marriage and was used as a cartouche. he Victorian era ushered in a wave of | romantic Fashion and sentimentality, which saw the heart symbol transform into an expression of sensual encounters, or love for another individual. This was seen in the popularising of romantic fashion, jewellery and other accessories. The vogue was for valentine greetings representing chubby-winged cherubs, vivid red hearts pierced by artows, romantic ‘verses, satin ribbons and elegant luce. It even catered for unrequited love, with tokens of broken, weeping hears. During the two major wars of the 20th century, and the uncertain period between them. Long separations were sometimes necessary and sadly unavoidable. linesses and death were also unpredictable and inevitable. As such there ‘was a strong demand for love tokens such as this verse: “Hand and heart, Shall never part, When this you sce, Remember me’. Also popular were interwoven locks of hair which often accompanied decorated hearts. presented in a vast array of designs, hearts BR Sie sstet ot tear madi on a variety of surfaces. They have been produced in religious art, heraldry, furniture, gravestones, targets, cards, Frakturs, jewellery Christmas decorations, cookies and confectionary. ‘The heart shape has been carved, punched, stencilled, painted, gilded, woven, embroidered, quilted and tattooed. The symbol has also been fashioned in gold, silver and other precious metals and gems, twisted into wire shapes, sculptured, wrought in iron, moulded from papier maché, clay, glass, plastic and cement. ‘These are but 2 few examples, and if you take but 2 few moments to muse over it, I'm sure you'll discover many more. No doubt you will be able to add to the evergrowing list.Collection Inspired by a traditional Tolzer Schrank (cupboard), this heart-shaped box was designed by Glynne McGregor as a keepsake for her collection of cut-out heart shapes. MATERIALS = Trsic heart-shaped box, | approximately 25.5cm | (x 25.5em x 11cm | 6 Jo Sonja Artists’ Quality Background Colours: Spice Dolpbin Blue, Sky Blue + Jo Sonja All Purpose Sealer | + Lange background brush | ‘or sponge brush + No 220 sandpaper +» Tracing paper + Black transfer carbon and stylus | * Masking tape © Old candle and matches * Palette knife + Fine steel woo! | Jo Sonja Flow Medium (optional) and Clear Glaze Medium * No 5 and No 3 round sable or synthetic brush 1 liner brush | «No 3 Berna bristle brush Gor antiquing) | ¢ Jo Sonja Artists’ Acrylics: Storm Blue, Burnt Umber, Brown Earth, Raw Sienna, Yellow Oxide, Cadmium Yellow Light, Napthol | Red tight, Smoked Pearl Thantum White + Scotties Antiquing Patina '» Burnt Umber Oil paint * Jo Sona’s polyurethane solvent- based varnish (satin finish) * Liberon Wax or other good furniture wax 1 | ROLK ART AND 22 DECORATIVE PAINTING Preparation: Sand the heart shaped box inside and out, taking, particular care with the routed edges. For one-step backgrounding, mix together the Spice background paint with the all-purpose scaler and apply over the entire surface. Allow to dry thoroughly then lightly sand the surface to remove burred edges, once again taking care with the edges of the box. Apply a second coat of Spice and sand again. Apply an even coat of Dolphin Blue background colour Cover the previous background colour, including the interior of the box. Do not worry if the previous coat shows through. Allow to dy. Wax Technique: The wax tech- nique gives the effect of aged and peeling paint, Light the candle ancl wait a second or two for the candlewax to melt, Drip candlewax. at random over the blue background, NOTE: be mindful of where your pattem falls. Do not overdo this technique or the effect is overkill, Allow the wax to set before proceeding, Apply the final background colour using one generous coat of Sky Blue, but exchide the interior of the box. Do not panic if an uneven coating occurs as it will enhance the ageing process when hater distressed. Allow to dry. Transferring the Design: For the lid, trace the pattern onto tracing paper and then centre the pattemcarefully on the top. Secure the pattern with masking tape and position the transfer carbon under the tracing paper. Check if the transfer carbon is the right side down before beginning. Transfer the pattern using a stylus. For the sides of the box, centre the fabric swag pattern on the side of the bottom section. Proceed to transfer the pattern as for the lid. Use the same pattem for the front and back sections of the lower box, only. this time shorten the swag to fit the space. It is a good idea to trace each end of the pattem and freehand the swag section in the centre, Painting The Lid Design: Mix paint to a creamy consistency using small amount of flow medium. Foliage: Using a No 5 brush ‘combine Storm Blue, and touches of Burnt Umber and Smoked Pearl. Dress the brush in this colour mix and double load into Smoked Pearl, applying basic comma strokes Change t a No 3 brush and apply Smoked Pearl as highlight strokes For contrasting shadow strokes use a small amount of a mix of Storm Blue and Burnt Umber. Tulips: Combine Yellow Oxide and Raw Sienna with a touch of Brown Earth, Dress your No 5 brush in the yellow mixture and double load into Smoked Pearl. Paint the tips of the tulip petals with Smoked Pearl Change to the No 3 brush and create further highlight strokes on the tips of the tulip petals. With a liner brush and a mixture of Brown Earth and flow medium, outline the tulip petals and paint in detail overstrokes at the base of the tulips. Daisies: Create daisy petals with your No 3 brush using generous comma strokes of Smoked Pearl. Paint the centre using the yellow tulip mix. Mix a small amount of Napthol Red Light and Brown Earth together and outline with the liner brush the daisy’s yellow centre Apply a Smoked Pearl highlight ‘comma on the left side of the centre. Using a touch of the foliage mix (Storm Blue and Burnt Umber), create numerous dots around the daisy centre using a stylus or the point of your liner brush, Tolz Rose: Base the rose using your No $ brush with a mixture of Napthol Red Light, Brown Earth and a little clear glazing medium. Paint the centre with Brown Earth, adding Smoked Pearl dots using the point of your liner brush. Create the fingerlike overstrokes (see painting instructions), Begin with shadow strokes, using your No 3 brush and Brown Farth overstrokes, start from the top and work your way down to the base, indicating subtle curves. Repeat the same action for highlight strokes using Smoked Pearl. Tolz Rosebud: Base as for the Tol rose. Using the No 3 brush create shadow lines at the base of the bud with Brown Earth. Using the same action, create a highlight on the tip Of the rose bud with Smoked Pear! Paint in the bud petal, with the main colour double loaded into ‘Smoked Pearl Sacred Heart Motif: Base the same as for the Tolz rose. Mix a little clear glazing medium with the heart basccoat mixture and recoat While still wet load your dirty brush with Brown Earth and create shadow by blending on the right side of the heart and a litle on the op left side, Also add shadow to the right side of the neck of the heart vessel, Mix a little of the original mis, Napthol Red Light and Brown Earth, with a touch of Cadmium Yellow Light and clear glazing medium. Apply to the left side section and a little in the right side to bring up the highlight area To highlight further, mix a touch of Cadmium Yellow Light with ‘Smoked Pearl and add a touch to the left side of the heart and a little ‘on the right side, Finally, highlight the lip of the heart vessel and down, the left side of the neck. Crown of Thorns: Pencil in the crown of thorns as 2 guideline. Using a mixture of Storm Blue and Burnt Umber paint in the design with a liner brush. Highlight the crown here and there with Smoked Pearl. It is wise to make sure your highlights are understated. Golden Rays: Paint the rays using your No 5 brush and a mixture of Yellow Oxide and Raw Sienna. FOLK ART AND 24 DECORATIVE PAINTINGHighlight each ray with a dry brush and a mix of Cadmium Yellow Light and Titanium White. Indicate the detail lines between the rays by using a liner brush loaded with Storm Blue and Burnt Umber. Finally, indi highlight lines with Titanium White Box Side Border Pattern: Paint in the fabric swag using your No 3 brush dressed in Storm Blue and Burnt Umber. Indicate folds in the fabric by highlighting with floated colour using the previous mixture lightened with Smoked Pearl Emphasis dark folds with the Storm Blue mixture and a liner brush. Rings Holding Fabric Swags: Block in the rings with a mixture of Yellow Oxide and Raw Sienna While still wet, paint the right side of the rings with a mixture of the base colour and Brown Barth. Highlight the left side of the ring and knob with a touch of Cadmium Yellow Light and Titanium White. Distressing: Take a palete knife and carefully scrape back all candle ‘wax, Distress these areas using steel wool and a light touch, Also distress the paint around the rims to reveal undemeath coats of paint and lightly distress the interior of the box. Selective Antiquing: Prepare in a jam lid, a small amount of Burnt Umber oil paint combined with a few drops of Scottic’s antiquing patina. Pour a small amount of patina on to a clean lintless cloth and wipe over the entire project. Using your No 3 Eterna bristle brush loaded with the Burnt Umber mixture, paint along the contours of the box. Paint around the base of the roses and tulips where the foliage meets the heart vessel and over distressed areas. Gently wipe off exeess oll paint with 2 tissue, then using a clean cloth, blend the remaining oil paint. Repeat the same method for the sides of the box, interior and base. Allow 48 hours to dry in fine weather and longer if unsettled. NOTE: It is important to immerse all patina rags in water and dispose of carefully. Used patina rags have been known (0 self combust if left standing for a while. Fintsbing: As there will be some residue of wax left on the painted surface, a varnish finish will not be applied. Coat the entire outside surface of the box with wax, which is applied with steel wool. Allow ‘wax (0 set for an hour or more. Take a clean soft cloth and rub and buff the waxed surface to a satin sheen, The interior of the box is given two coats of Jo Sonja's polyurethane solvent-based varnish, Heart Motifs: If you wish ‘0 start your own collection of cut-out heart shapes, refer to the Brush with History - Symbol of Sentiment anticle for some typical examples. FOLK ART AND 25. DECORATIVE PAINTINGCt Wiese Dele Ww, Flcart Pen and wash is fast becoming a popular form of folk art, Heather Lownds shows us that a professional, well-finished piece can be achieved by anyone, be they 4 novice or an experienced painter. MATERIAL: Wooden beart, approximately 25cm wide + 1.5m of Sem wide ribbon * Small gold ring for hanging + 5 minute Araldite glue # siyius ‘+ Masking tape + Kneadable eraser * Ruler * Blue saral paper + Artline 0.1 black pen * No 6 Philbert brush + No 2, No Gand No 10 flat brush | = Liner brush + Basepeaint: Jo Sonja Warm White with a touch of Yellow Oxide + Jo Sonja Artists’ Acrylics: Napthol Crimson, Brown Earth, Sapphire Blue, Plum Pink, Faun, Rich Gold, Raw Sienna, Titaniuena White, Yellow Oxide, Ultramarine, Indian Red Oxtde © Matisse Paints: Antique Green + Americana Paints: Avocailo Green + J0 Sonja retarder + Fasycraft satin lacquer NOTE: Pen and wash will work to perfection if you choose and use the right equipment. Many pens are permanent until a coat of lacquer is applied. The combinations used in this project work together. IF you don't have access to this equipment, try doing a small project (including lacquering over the pen) before you attempt a large item. Preparation: Basecoat in a cream basepaint (do not add sealer). When this is dry, sand lightly before continuing to basecoat until an opaque coverage is achieved. Do not sand after the final coat. Allow to dry overnight Transferring the Design: Trace the design shown on the pattern sheet onto tracing paper. Use masking tape to secure the tracing to your wood piece. Transfer the design using your blue saral paper and a stylus. It is not essential to trace every dot and dash when doing this, just trace the basic outline. Place a mark at the end of each of the straight lines (these are best done later with your pen and ruler). Pen Work: Holding your pen in an upright position and applying no pressure (allow the pen to do all the work) draw in all of the outlines. Keep your design and painting instructions next to you as you fill in the details. Draw the straight lines using your ruler in an upside-down position so that the pen doesn't bleed beneath it. All the pen lines are now complete. Allow your pen work to dry for at least an hour, then gently rub off any blue saral lines using a kneadable eraser. FOLK ART AND 26 DECORATIVE PAINTINGFOLK ART AND 27 DECORATIVE PAINTINGPainting: A)\ the painting is done as a wash, The wash, made up of 80 per cent retarder and 20 per cent paint, should be a transparent mix on your palette. It is better to have your paint pale and do a second coat than have a dark colour to begin with, Use the Philbest brush for the larger areas and the liner brush for the small areas. Mix the paint and the retarder with your brush, mop the brush on a piece of Paper towel to remove excess wash, and fill in the areas with the appropriate colour, Any mistakes can be tidied up with a clean damp cotton bud. Use Brown Farth to paint the handle of the umbrella, wood portions on the fan and the last section of the lamp base, An even mix of Napthol Crimson and Brown Earth are used to paint all of the flowers, the ribbon with hearts and the bottom book. The umbrella, tea set, ribbon and top book are Sapphire Blue while the straw hat, ovo hearts on the ribbon, and the second book are painted with an even mix of Yellow Oxide and Titanium Whit. Use Plum Pink and Fawn to paint the purse and pink portions of the lamp. Paint the fan with Titanium White. All the leaves, the third book and one heart on the ribbon are painted with Antique Green. The last two hearts are Ultramarine while the second last band on the lamp base and the spoon are Rich Gold. Shading: Use a flat brush as large as you are comfortable with dampened with a little retarder. Sideload the brush with the desired colour and blend backwards and forwards on the palette until the colour is blended on the brush but does not cover all of it The roses, leaves, purse, lamp, bow on the hat, umbrella, brown areas on the fan and the umbrella handle, bow and hearts, and the last two books are all shaded with their original wash colour. Shade the hanky and table cloth with Raw Sienna, Use this colour t0 shade the banner (applying two coats in the dark portions) and the glass portions of the lamp, as well as the ruffle. The fan is shaded with Sapphire FOLK ART AND 28 DECORATIVE PAINTING Blue however all the other blue areas are shaded with Utramarine. The hat and second book are shaded with Brown Earth while the pages of the book are washed with Rich Gold Use Antique Green to put shading around the inside of the ruffle. A second wash is painted onto the band on the top portion of the lamp. Paint the lettering using the liner brush and Brown Earth, The binding on the ruffle is painted in exactly the same manner using Indian Red Oxide. Finishing: Allow all work to dry before applying two coats of Fasyeraft satin lacquer. Tie a large bow at one end of the ribbon and then cut the ribbon close to the base of the bow. Tuck the ends under and sew to the back of the bow. Divide the remaining nbbon in half and turn the ends under and sew to the back of the bow. Cut tails off at an angle. Place the wooden heart approximately 10cm from the bottom of the ribbon end and glue in place with Araldite, Sew ‘a small ring at the back of the bow for hanging,ue Fomouecay or supple Professional and student quaty ‘sEgensee rage of seppes for Folk Are. Decoupage’ Day ecening ave wekend clases availble * Limited edton gift and ser if eas for every occasion "NW ere nly opt dpa at acl Coming workshops sremteyer eka + hr Migr ik * ime lon: eae Mikey = Dia rane Flee 1 Codon Fle ond Mawes + Lp ur lke 1 Pel MeCan Vitel Ty Tey Sear Making PHONE FOR FULL CLASS LIST - OPEN7 DAYS. 105 KELLY ST SCONE NSW 2337 PHONE : (065) 45 1822 DECORATIVE FOLK ART " pease i 43/B WOODVILLE ROAD —s500eaen, ‘Garis WOODVILLE SA 5011 Redeemable ‘This Deauttul & unique coat peg otlerea by Ingrid Jelfs through mail order, can be bought as € full kit $50.00 (includes P&H) and includes all paints, brushes, raw timber as well as colour photo and instructions. Unpainted Kits are available at the cost of $21.00 (includes Pax) & includes colour photo, | raw timber & instructions, etc. || We also provide a full range of Folk Art Supplies. ‘as well as ongoing classes. For further information or to place an order send. your cheque or mail order tor swith ist PH: (08) 347 2022 tyeFOLK ART AND 30, DECORATIVE PAINTINGMATERIALS + Large crafitwood bear, approximately 33cm * Fine grade saneipaper * Tracing paper and stylus = No 3 round sable brush + No 10,flat brush + Sponge brush ‘+ Americana Acrylic Paints Buttermilt, Avocado, Antique White, Sable Brown, Dark Chocolate, Burgundy Wine, Grimson Tide, Moon Yellow Lavender, French Blue Grey, Snow White, Country Blue + Americana Satin Varnish Preparation: Remove the wite bracket and lightly sand the timber Basecoat with Buttermilk using a sponge brush, Allow to dry, sand again and apply a second coat. Mix Avocado with Buttermilk and add water for a milky consistency Using a wide flat brush, paint in @ crosshatch fashion where the While still wet crosshatch again with water only to blend the paint for washed look. ‘Transfer the design shown on the pattern sheet onto tracing paper and transfer the scroll onto the timber using graphite paper and a stylus, Paint the scroll with Antique White using the flat brush and allow to dry before applying a further coat, Use Sable Brown for shadows and highlight with Buttermilk, Transfer the letering and paint it with Dark Chocolate using a round brush, Now transfer flowers will be a subile FOLK ARTAND 3], DECORATIVE PAINTING fo L Hove, Laughte 2 oz: OC Sreentdts There's nothing so sweet as the sound of laughter carried on a summer breeze, of carefree friendships and heartfelt greetings. Decorative painter, Debbie Campbell, pays Iribute to friendship with this delicate floral design. the outline of the flower design but do not trace any other details at this stage as they will only be painted over Roses: Using green rose leaves by mixing Avocado and Buttermilk. Add a litle Burgundy Wine to this mix for pinkish leaves, For roves 1, 2 and 3 follow the step-by-step illustrations and use a flat brush, Rose 1 is painted in Crimson Tide and Buttermilk, rose 2 in Sable Brown and Buttermilk, and rose 3 in Moon Yellow and Buttermilk. Outline the roses faintly. Use a round brush for all remaining flowers brush paint the Blossoms: Mix Antique White and Buttermilk, or Avocado and Buttermilk, and highlight the flowers with Buttermilk. The centres of the blossoms are painted in Moon Yellow, the dots in Sable Brown and the veins in Sable. Lilacs: Mix Lavender with French Blue for the dark value, adding litle Snow White for the medium value and almost all white for the light value. Dab the medium value over the Lilie desi underside with the dark value and then highlight with the light value. Indicate four small leaf flowers step-by-step) and dot a few centres swith Moon Yellow Small Blossoms: Mix Avocado ‘with Buttermilk for a medium value and highlight with Buttermilk Create the flower centres with Moon Yellow and dot withAvocado and Snow White. Outline faintly with Avocado. Forget-me-nots: Use Country Blue for the petals, Moon Yellow for the centres, and Avocado for the leaves. For the maiden-hair fern, use Avocado for the leaves and lighten, with Buttermilk, Finishing: Paint the side of the heart with a mix of Avocado and Buttermilk. Basecoat the back and sides of the piece and date it, perhaps with a trail of maiden-hair fern, Erase all tracing lines before applying at least two coats of varnish, NOTE: If you intend to hang the heart outside be sure to place it under cover. FOLK ART AND 32 DECORATIVE PAINTINGFolk Art Designs of Western Australia ‘WELCOME TO OUR STUDIO ‘OUR AIM 6 TO TEACH YOU USING A STEP-BY-STEP MeTHOO WHICH ‘WILL ENABLE YOU TO ADVANCE AT YOUR OWN PACE EACH LESSON HAS 82810 DESGNED TO GE YOU A NEVY SELL, WHICH ‘WiLL_LEAD YOU INTO ANOTHER SKLL INA HARDER PROJECT FOLK ART SPECIALISTS a ‘OUR TEACHERS ARE: + Vicxi NicHotsow PROPRIETOR * Lee DoBESON * Ros JENKE © MICHELLE CLARK Deseie Gyn + Manie Brown THE STUDIO Has EVERYTHING FOR THE DECORATIVE ARTET, INCLUDING [ALAAGE RANGE OF EXCUSE ‘WOODWARE, AS WELL AS. TINWARE, BOOKS, BRUSHES, PATTERN JO SONIA BASE COATS, PHONEO) 20 1071 EOE MOVEMENTS ‘AND LOTS, LOTS MORE Now our Famous Varnish and Sealer come in a size to suit everyone, From 125mls up to 20 litres. § f MICRO MESH KITS « NOW AVAILABLE ¢ § ‘@ Wealso stock Matisse, Francheville and Raphael Brushes, Decoupage Wraps & Supplies, ‘Annette Johnson Pen & Wash Cards and products. 56 Hotham Parade, ARTARMON 2064 PHONE: (02) 439 7321 PAX : (02) 439 2697 ‘Trade Only Supplied ; First in Folk Art jepgfield DMisiatine Shes Contre Elizabeth White NEW HANDBAG OFFER ‘ ree New exclusive handbag designed and handpainted. Eiwien Wie ea The Decorative Arts Centre presents this mail order offer for a beautiful practical handbag and pattern packet. ‘The handbag, pattern packet and step-by-step instructions are available for $50 plus $5 postage and packing anywhere in Australia Create your own fashion accessory. Size 220mm W x 140mm H. TEL: (02) 416 6428 FAX: (02) 4165408 ‘To tla he cope rie al pn fcr poe rnd it | Nunterottn pied Msto# etter: Band pla ay Chae CMe Orr of {66 nner Detrtine A Ca Kit I es ! J occtnge my ntart CV or Cec I “1 ! ! Ne. ’ Signa on Nae Weck aia) pe -- Ponca ween Teo . ! nhs coupen vi pore I [Prom ance hoe he We init Aloe 0 28 yf cy Offer 008 an ec et ee eo ee co olPROFILE _ TEXT LIZ GINIS * PHOTOGRAPHY CLAYTON GLENN, Julie Neilson-Kelly’s artwork reflects the personality of its creator, drawing as it does on a diverse range of media to showcase her exquisite decorative paintings. xything Julic Neilson-Kelly urns her considerable talenis to tums to gold, ‘The South Australian artist hay the Midas touch, and the ability 10 create terpieces on almost ‘medium. ‘One such medium Julie delights in is silk. Not only does it provide a striking backdrop, it can be transformed into a wearable piece of aut, Julie first experimented with the idea while planning her wedding. “I painted a Viewrian-siyle shawl [ wore on my weeding day,” Julie recalls. “People saw it and the requests came flooding in.” She now paints bridal and christening gowns as well as children's wear, A selection of her hand-painted children’s work is available from Adrienne and the Misses Bonney at Double Bay in Sydney Julie's success as from a childhood filled with creativity a always been @ part of my life,” she As a child 1 would spend Ftist stems. FOLK ART AND 35 DECORATIVE PAINTH hours painting and drawing. My mother was devoted to craft and was always experimenting with different projects, while my aunt « me needlework and embroidery.” This carly initiation into the world of needles and threads has seen her continue the raft throughout her life, drawing inspiration from the work of Kay Pyke. “Kay is wonderful and her encouragement throughout the years has been ceaseless.” cer early interest in art lead to a career in visual design, working in the art studios ‘of large department stores. in Adelaide. Not satisfied with knowing only about her field, Julie studied commercial art and graphic design as a matureage student, and nually educating herself. “I iys undertaken courses (© widen my knowledge about nything and everything, from fashion design and drafting to aromatherapy,” she explains,A collection of Julie Neilson-Kelly’s delighifual art work adorns her South Australian bome. During her years as a single mother, Julie owned a beauty therapy partnership and worked for a financial institution, while holding art classes at night. ‘Teaching porcelain art became her love and, being a member of the Australian Porcelain Art Teachers Association and the International Porcelain Art Teachers Inc, she passed on her skills 10 students for 15 years. She then decided to tum her hand to other media She now hosts workshops at her studio, Ant tic Renditions, in South and teaches regularly at the Victorian Academy of Decorative An and Sydney's Rose Tree Cottage. Julie says her workshop subjects vary from techniques for decorative FOLK ART AND 36 DECORATIVE PAINTING art and painted finishes to decoupage, creative embroidery, non-traditional and creative dolls and figurines, and tassel making. Julic’s studio, office and home reflect her diverse talents ~ the walls are covered with interesting objects and art pieces. "My beautiful garden with its roses, lilies, pansies, , jasmine and other aromatic plants is the greatest inspiration for my painting,” she says. “I love to constantly change the garden, adding plants of interest and beautiful flowering annuals. I always paint from life, whether it be on a canvas in fine art or for decorative art. [always teach in this manner and encourage my students to do the same. ulic’s work is 30 popular that four of her floral designs featuring pansies, roses, Ith nd vines have been released as gift wrap and découpage papers and are distributed by Easyeraft, NSW, “1am a collector at heart and love collecting and creating beautiful things like hat pins, perfume hotles, china, jewellery and silver as well as cherubs and angels. All of these are an important part of my inspiration and the creative process that I hold so dear,” she says. Julie can be contacted at ber studio on (08) 332 8317.Li Lemont Gororative Ant Hudio ‘AGN 00700054 Hoop t Reboue Parada Werston Hels 258 Plone {0/624 0851 ‘Specialising in Folk Art Classes & Workshops ‘We carry alarge range of Pine Wood Pieces, Books, Paints and Decoupagé papers. Send $3.50 in stamps for Catalogue. PRINGOALLAH CRAFT SUPPLIES Specialists in quality wood supplies for Folk Art or Decoupage. Large selection of new and unusual items. WHOLESALE & RETAIL ENQUIRIES ta Phone or write for MAIL ORDER CATALOGUE, PO BOX 21 LINTON VIC 3360 PHONE (053) 44 7490 = Ait & Craft Ply Limited ‘ACGAN, 008 £20 796 WHEN ONLY THE BEST WILL DO ARTISAN IS THE SUPPLIER AND PROVIDER (UNDER NEW MANAGEMENT) FOR ALL YOUR FOLK ART AND CRAFT NEEDS. SUPPLIERS OF LOWE CORNELL GOLDEN NYLON BRUSHES. RAPHEL BRUSHES, VARNISHES AND STAINS. JO SONJAS TOTAL PRODUCT RANGE — Including Archival Oils and Atelier Impasto — w Sensational Odourless Medium. that replaces turps. ~ Art on U Paintable Waiches ~ } Pebeo Imitation Leadight ~ Liberon Furniture Finishes ~ Rice and Decoupage Paper ~ ( ale mE Clay and Ceramics Duncan and Skutt Kilns ~ Heimar and prays and Products - Framing and Screen Printing Supplies ~ Elegant Wood Pies leading Asis Books NEW RELEASE ANTIQUING MEDIUM AS USED BY MELINDA NEIST. WASH BACK GLAZE EXCLUSIVE TO GUESS WHO. NO MIXING, Resident Arts's: Melinda Neist, Rose Mayer Decoupage, Lite & Langdale, Folk & Faux, Fon Cottey Oil Painting Together with leading Local and Inter State Guests, Three Studios. ‘Continuing Classes and Workshops, Send for programme. New Zshastova with Melinda WHOLESALE-TRADE AND RETAIL Artisan Art & Craft MAIL ORDER PO BOX 190, FYSHWICK, ACT 2609 ‘TELEPHONE: (06) 280 6673 (3 LINES) FREE FAX 1800 818606HKocirtoorn The beauty and legen PMAES 1 of the lity inspired South Australian artist Julie Neilson-Kelly to paint her ‘Martage de Lilies’ découpage paper and tran: it into this stunning ax MATERIAL: + Large timber decorative tray approximately 46cm x 42cm + 7 piece Mariage de Lilies paper Jrom Basyerapi © Liguitex gloss medium and varnish to seal © 2in foam brush © 42 in flat brush * Black acrylte patnt * Craft blade and self-bealing cutting mat, or fine scissors © Hard rubber roller + Découpage glue © Gilding sheets and size, or gold paint tapol varnish © French crackle medium from Ganson + Black oil paint * Wax and soft cloth (optional) Preparation: Seal the tray and both sides of the paper with Liquitex gloss medium and varnish form itique-look heirloom tray. using the 2in foam brush. Next basepaint the tay in acrylic Black using the flat brush Cutting the Paper: Make a template of the inside edge of the tary and use as a cutting guide for the shape of your paper. Using the craft knife and ccuting board oF fine scissors, remove all the white areas in the background of the paper (see below). Gluing the Design and Gilding: Glue the sheet to the base of the tray using découpage glu applying glue t0 both surfaces. Use the rubber roller on the surface to eliminate any air bubbles and ensure excess is removed (se overleaf). Allow 16 dry thoroughly overnight. Apply the gilding or gold paint using the fat brush. Applying the Varnish and ‘ackle: Using your flat brush apply the ageing vamish with small even strokes. Allow it 10 go acky FOLK ART AND 38 DECORATIVE PAINTING—before applying the crackle varnish on top with a clean brush using the same method (see bottom right). The drying and cracking process can be hurried by using a hairdryer. Allow to dry completely before continuing. Highlighting: Apply the oil paint with a soft cloth. Be generous in all over application and then wipe back with a clean cloth in the central area. This will highlight, the cracks over the design. Allow the shading of the oils to grade to a deeper cover around the edges. Antiquing, black patina can also be used Finishing: Allow the oil paint to dry thoroughly before proceeding with the vamishing. Varnish as for traditional découpage. Build layers in alternate directions and sand approximately every 10 layers with 1200 Wet and Dry sandpaper, wiping off dust before applying next coat. Apply 30 layers of varnish to obtain a beautiful finish. Should air bubbles occur while varnishing they can be removed by blowing on them, through a drinking straw, The depth of colour in the vamish will depend on how many coats are applied. The more coats the deeper and richer the colour becomes. It is optional to wax the top surface or you can leave it with a high sheen If you are going to use your tray for functional purpeses, please allow plenty of time for the varnish to cure before placing items on top. FOLK & DECORATIVE ART GUILDS FOLK ART AND DECORATIVE ARTISTS ASSOCIATION OF AUSTRALIA INC. Lynne McKechnie (Pres) 162 Hudson Pde Clareville 2017 (02) 918 3642 SOUTH AUSTRALIAN FOLK ARTISTS GUILD INC. Fiona Dempsey (Pres) PO Box 501 Plympton SA 5038 (08) 298 1358 € SOCIETY OF FOLK AND DECORATIVE ARTISTS OF VICTORIA INC. Sharon Bacon (Pres) PO Box 234 Ringwood Vic 3134 (03) 728 4687 € DECORATIVE FOLK ARTISTS OF QUEENSLAND INC. Julie O'Halloran (Sec) 9 Logan Court Clear Mountains Qld 4500 a (07) 298 5554 Fok ar AND 4Q DECORATIVE PAINTING FOLK ARTISTS OF WESTERN AUSTRALIA INC. Lee Dobeson (Pres) 3 Jope Place Duncraig WA 6023 (09) 448 3710 € FRIENDS THROUGH FOLK ART GUBLD Bemadette Zammit (Pres) PO Box 176 Penshurst NSW 2222 (02) 580 3874ABER TURN QUALITY CRAFT SUPPLIES & LARGE CAR PARK OPPOSITE PENRITH PLAZA 606 High Street, PENRITH 047 21 8488 4-3 Shepley Avenue, Panorama, SA 5044. Tel: (08) 277 5056 Fax: (08) 277 5540 Wonderful World of Folkart WITH TERESA TOWNSEND 5 BEAUTIFUL PROJECTS AVAILABLE FOR $6.95 EACH Includes postage and handling ALL PATTERN PACKETS INCLUDE: - Informative step-by-step written instructions ~ Helpful painted step-by- step colour w/sheer ~ detailed pattern = photo of project ROSE HEART Beaucifil Roses with ler Aowere with exciting ice Lovely homestead stein sunset swith Chests bel garden. yWERS IN, { moe z ee ae leiou stay ofsunowers HYDRANCEAS cinanebcpea |tme Ghiioiinccenmet —Abuuitlayoftce mane. falpande sy oage {ee lee pial and white hydeanges nano.PAINTED ITEMS COURTESY OF CHRIS Loh = ‘ iyChristine Roy's playfitl geckos on corrugated iron design makes an ideal gift for the man in your life. ‘The patiern can be transferred onto any surface, and the geckos, spider, leaf and nuts can be enlarged, however the corrugated iron always remains the same stze. The wood panels can also be adjusted accordingly. Preparation: Sand the article (0 a MATERIALS smooth finish and basecoat the Ripon abprommaey outside of the magazine holder in 30cm x 30cm Pale Grey. Basecoat the inside of sRavearane candpope? the holder with Black basecoat and let dry. Sand lightly then apply « further coat on each and allow to dry thoroughly. sfer the pattern for the corrugation channels, wood, and top and bottom curves onto the surface © Black basecoat + Pale Grey basecoat ++ White transfer paper + White chalk pencit * Ruler and rubber Jo Sonja Clear using the pattern if it fits. IF not, Glaze Medium measure the channels for the + Matisse Crackle corrugations, making them 6cm Medium apart, using 4 chalk pencil. Next + 3/4in flat brush tule even lines along the top and +38 in flat brush bottom, about 4em wide, for the wooden slates, Use the pattem as a guide to draw the curves of the corrugation on the top and bottom. | Basecoat the wood areas and curves in Casbon Black. © No3 round bru No 000 tiner + Jo Sonja Artists’ Acrylics Warm White, Carbon Black, Paynes Grey, Raw Umber, Nimbus Grey, Raw Sienna, Shading: Yo create the illusion of Burnt Sienna, corrugated iron use Clear Glaze Brown Earth, Medium. This allows the different Napthol Grimson, colours to show through each layer. Gold Oxide, Dampen the 2/4 in flat brush in Smoked Pearl Clear Glaze Medium, and sideload ere wanih it in Paynes Grey. Blend the paint into the brush by wiping it up and FOLK ART AND 44 DECORATIVE PAINTING —FOLK ARTAND 45 DECORWith a litle practice you too can create this inspirational desk. down on the palette. There should only be paint on one side of the brush. Smoothly paint down the left side of the channel. While the paint is still damp reload the brush, and paint down the right side using the same technique, referring to the step-by-step. Continue painting. all the channels the same way, Allow this to dry then add the next layer of colour in the same manner using Raw Umber, Paint the stroke over the Paynes Grey, adding more depth to the channel. To add a touch of rust t0 the tin dampen the 3 in flat brush in Glaze Medium, sideloading with Gold Oxide, and paint streaks down the channels, and spots on the ridge. Highlight the ridge of the corrugation with Warm White sideloaded with Glaze Medium Lightly brush this colour on, Wood: Paint the crackle medium over the black basecoat on the wood. Allow it 10 touch dry. Load the 3/4 in flat brush in Brown Earth, adding Raw Sienna to one side of the brush and Warm White to the other. Paint the wood area with short sideways strokes, adding different amounts of colour to the FOLK ART AND 46 DECORATIVE PAINTING brush to achieve the streaky look. The paint will start to crack, so do not go over the ‘area too many times. Allow time to dry. Using the liner brush, and Carbon Black, paint the nail holes and cracks. The 9/8 in flat brush is used to add shade under the wood. Using Glaze Medium and Raw Umber sideloaded, curve the shade into the depth of the channel, Transfer the Pattern: When the wood is completely dry trace the pattern onto the surface. The geckos sit over and on top of the wood, while the spider and web go underneath it. The gum leaf and nuts are also trapped underneath the wood panels. Gummuts and Leaf: Basecont the leaf with your No 3 round brush, loaded in Brown Earth and sideloaded with Raw Sienna. Use the same colours to base the nuts before shading them with Carbon Black and highlighting with Raw Sienna Add Warm White with a dry brush for shine. ‘Quiline the whole leaf and nut with Carbon Black. Spider and Web: Thin Warm White with a little water and paint thin shaky lines from under the top of the wood to the bottom of the wood, and add connecting lines, Paint a small fly on the web. Paint the spider's legs using a liner brush loaded in Carbon Black and tipped in Raw Sienna. Refer to the step-by-step instructions for any assistance. Paint the body in Carbon Black with a Napthol Crimson. strip down the centre of the back and outline in Warm White. Add a little shade using the 3/8 in flat brush loaded with Raw Umber. Geckos: Basecoat both geckos in ‘Smoked Pearl with the No 3 round brush, The eyes are painted in RawSienna with black strokes. Watery Raw Sienna is used to paint the stripes on the top gecko with Raw Umber outlining the stripes. Using a fine stylus, paint dots of the same colour over the stripes. Outline the gecko in Carbon Black. Use Raw Umber to shade the legs. The bottom gecko is dotted with your stylus the same as the top one Gee step-by-step instructions). Outline with Carbon Black and highlight the eyes with Warm White outlines. Shade as before, Nails and Spots: Use a No 3 round brush loaded with Nimbus Grey, and sideloaded with Carbon Black (o paint the nails. Paint small circles with white highlights and outline in Carbon Black. Next add the shading, The spots on the wood are painted with Nimbus Grey tipped in Gold ‘Oxide. Outline the bent nails with Carbon Black on a liner brush. To finish add some fine splatter marks with Carbon Black and a stiff brush, Finishing: Make suce the shadows are in place and highlight anything that needs it. Apply two coats of satin varnish inside and out and you are ready to enjoy your creation,FOLK ART AND 4 DECORATIVE PAINTINGMATERIALS * Wooden tea caddy, 30cm x 16ene x 15cm © Wood 'n’ Resin Gel Stains Chery, Maple, Walnut ++ Cotton rag to apply wood stain ‘+ White bousebold candle cand matches © Graphite or Sarat paper + Decosit Sparkling Sandstone True Granite + 2in sponge brush * No 2and No 4 round brushes + '4 tn Pbilbert brash (optional) + Americana Acryli Whtte, Buttermilk, Cadmium Yellow, Georgia Clay True Blue, Forest Green, Leaf Green, Dark Chocolate, Dioxazine Purple, Paynes Grey © Spray Sealer ++ Polyureibane Satin Varnish Titanium Preparation: Remove screws and hinges. Basecoat the timber with Titanium White and allow to dry. Light a white household candle and, holding the candle in one hand and the box in the other, angle the candle downwards to about 45°. Flevate the box above the candle and proceed to move the candle back and forth randomly under the surface of the FOLK ARTAND 49. DECORATIVE PAINTING JOUMPULLANE Tea Caddy The charisma of this rustic tea caddy 1s created with an adventurous technique Robyn Roberts calls candle branding’. The dry heat of the outback is reflected in the clever use of wood stains and the grainy texture of sandstone paint. : wood at an angle 10 create black smoke which will discolour the asecoat in places. NOTE: [ris nox necessary to actually burn the wood with the flame, however do not panic if the flame sometimes minimally touches the surface. The smoke is somewhat unpredictable but try to get it to rise up the surface from the bottom so it creates elongated plumes and does not cover the entire surface. This technique is challenging yet fun. When you are satisfied with the ‘outcome extinguish the candle and lightly rab the smoked areas with your fingers. This is done to fuse the edges into the basecoat, Spray with sealer and stain, Staining: Using a smooth cotton apply Cherry and Maple stain t0 both sides, the fd ancl back section above the lid. Apply Walnut stain to the front of the box only. all staining should be applied with a light touch and allowed to dry completely. Transfer the pattern using graphite or Saral paper and with your 2in sponge brush, lightly apply Sparkling Sandstone to the front, sides and lid, creating a sandy | texture. Start at the lower edge of the sides and lid, pulling upwards allowing the paste to expire the higher it travels. Be careful that you do not obliterate the transferred pattern, You are now ready to paint.Painting the Front: Using « Philbert or No 4 round brush paint in the background shrubs at the horizon level using Forest Green and Paynes Grey. Deepen at the base with an addition of Dack Chocolate to the dirty brush. Use a wash of Paynes Grey for the two tall trees on the left hand side as well as some lower foliage. Use a wash of Dark Chocolate, with a hint of Buttermilk, for the taller trees fon the right hand side. You ‘may wish to use a liner brush for the finer branches using only the Dark Chocokite. Pat the foliage in with Leaf Green and True Blue and add a little Cadmium Yellow to the brush for the tree foliage behind the house. Use the No 2 round brush for the smaller, more detailed work. Basecoat the house with a ‘wash of Buttermilk and over this wash some Georgia Clay. Add Dark Chocolate to the brush and muffle (my word for giving the suggestion of) in the door, windows and shadows on the right hand side of the building. ‘The roof and verandah covering is basically painted in the ‘manner as the cotiage with the hint of Dioxazine Purple. Be sure to watch the direction of your brush work on the roof areas, painting at an angle from the direction of 1 o'clock to 7 o'clock. Use a liner brush and Dark Chocolate to paint the verandah poss and roof lines Wash the shadows, pathways and surrounding grazing area with palette browns and greens leaving some areas light. Paint the fence with Dark Chocolate and Buttermilk: and place weeds at the base of the poles to cover the ends The sheep are suggested with Titanium White, Truc Blue and a hint of Dioxazine Purple for the ears and shadows. Do not be too exact with the wildlife on this box as they need only appear as Teft band side panet: Basecoat the tree trunk lightly in Forest Green, Paynes Grey and Dark Chocolate. The main branch is the same, and is highlighted with Buttermilk and deepened with Dark Chocolate. The foliage is painted to look pendulous and muffled using Forest Green and Paynes Grey. ‘The fence is painted with Georgia Clay and shadowed with Dark Chocolate while the weeds are washed at the base of the poles ‘The wire is threaded through the Dark Chocolate hol The echidna is suggested with a hase of palette brown while the details are completed with Dark Chocolate. The cockatoo is painted with Titanium White, shadowed with a light brown, and detailed with Dark Chocolate, The cockatoo crest is Cadmium Yellow Right band side pane! horizon by washing lightly greeny-brown palette mix. Suggest the back tree trunk with light brown and the foliage with Forest Green and True Blue. Paint the foreground tee trunk with a wash of True Blue, Buttermilk and Dark Chocolate Detail with Dark Chocolate and add some lines of Paynes Grey. The foliage is a little warmer, as it is closer, so add a iule Cadmium Yellow loosely to the Leaf Green Shade with Forest Green if you deem necessary. Scrub in growth at the tree base using a mixture of palette browns and greens, The kangaroos are painted with brown tones to give their bodi shape. The closer kangaroo is highlighted with Buttermilk, Once again there is no need to go overboard on details, just merely FOLK ART AND 5() DECORATIVE PAINTINGsuggest the shapes. Stand away from your work and see if the shape works at a distance. Lid: Paint the attached plate label ‘with Cadmium Yellow, a dash of Leaf Green and palette brown. Make the inner area of the label slightly darker by washing with a little more palette brown. Detail the outer and inner edges with Dark Chocolate. When this is dry, paint the letters using palette brown highlighted with Georgia Clay. Add a litle orange or red if you have it “The screws are painted with Dark Chocolate and shadowed with a wash of the same with the addition of a little Forest Green. Back Panel: The gumnuts are Chocolate Brown deepened with Paynes Grey. The leaves arc a mix of Forest Green and palette brown highlighted with Buttermilk, Finishing: The edges are finished with a dark mix of colours already on the palette. Coat with satin varnish, applying about three thin FOLK ART AND 5] DECORATIVE PAINTING coats. Be careful not to do away with the sandy texture by coating too heavily with varnish, The box interior may be coated with a dark palette mix and then varnished. PLEASE NOTE: Due to a printing error in Folk Art and Decorative Painting Volume 1 Issue 3, the final page of Robyn's Shortcuts project was not printed. We offer our sincere apologies to Robyn and our readers. If you would like the final steps please contact us and ‘we will send you them post haste.arora rae Ss e Si, aes 'The sweet scent of a summer garden inspires the magnificent work of decorative painter Christine Whipper. Christine is in harmony with nature and this kinship bas helped ber become one of the country’s premier decorative painters. er Newcastle home is surrounded by flowering annuals and shrubs from which she draws her inspiration, “Smells are the most important part of my painting,” Christine says. ‘They con mind.” And it was ‘smells’ that spired her award-winning 1995 sydney Royal Easter Show floral painting on a wood panel. It won rst prize in the decorative painting ‘ction as well as the Show Stewards’ Prize and the Frances Binnie Memorial Perpetual Trophy for the best craft exhibit of the show. Christine’s fondness of nature is reflected in her earlier landscape paintings as well as her present decorative art. “I learned to paint by observing a tree of flower, and how the light fell on the flower’s petals or on the bark of the tree,” she Nature itself has been my ways will be.” re up colours in my classroom and The human figure also fascinates her. “I really enjoy painting people because the human form is so beautiful. I's a real challenge Everyone knows what a body looks like and if you get it wrong you can't cover up the mistake.” reating eye-catching designs has always been a passion Christine says. “Even as a youngster I couldn't get enough of painting and drawing. I'd run out of paper to draw on and would take to the walls of my parents’ hou Needless to say they weren't terribly impressed!” Today Christine favours other media, including timber platters, toy boxes, trays, and frames. Her husband Ron creates most of the wood pieces for Christine's asses and projects, “Ron is so supportive ‘of my work,” she says. “He's my best friend, my constant companion, FOLK ART AND 55 DECORATIVE PAINTING —and 1 couldn't operate successfully swithout him.” friend coerced Christine into folk art, giving her a beginners’ course as a birthday present. “We laughed and painted our way through the classes,” Christine recounts. “I continued with folk art for about six ‘weeks but decided it wasn't my cup of tea. It was too stylised, a flower is painted just one way, whereas I like to create my own designs, my own style “I think folk artis pretty but I can't do it because I'm not a pretty painter, My work is more masculine with its deep, rich colours. Christine then veered toward decorative painting and discovered her niche. “I took a few things 10 show Lyn Foster at her studio. She loved them and asked me to teach there and I did for 18 months. he popularity of her paintings and her talent for teaching saw Christine team up with gifted faux finisher, Alan Himsworth, two years ago. She currently holds workshops at Alan's Neweastle studio, Illusion Alley, and also at Betty Cant’s Folk Art Studio in Singleton, the Argyle Art Studio in Scone and the Lindfield Decorative Ans Centre in Sydney. T teach my own designs, patterns and techniques,” Christine says of her classes. “That's the one thing 1 stress when people enrol. I feel 1 Christine's painted work includes this adorable blanket box. would be stealing if | were to paint somebody else's work.” But Christine says she was not always so self-assured:“Without Shicley Minty, Coral McAlister, and Deborah Kneen's confidence in my ability 1 could never have achieved all this. I think most of us ‘mad’ people who paint lack confidence in our work and sometimes in ourselves, but others see something special and help us explore it fully. These three women saw something special in my work and for that I am extremely grateful.” espite the accolades heaped ‘on her painting, Christine believes it is far from perfect. “While ever you are critical of your own work you will continue (o grow (as an artist). However, if you become complacent you won't improve, you'll become stagnant, like a swampy, neglected pond.” Christine’s work was recently featured in The Painted Paper Collection, a selection of découpage papers painted by some of Australia’s finest decorative artists. Christine can be contacted on (049) 527 624. FOLK ART AND 56 DECORATIVE PAINTINGYou put your heart mto it... so do we. FOR YOUR NEARESiT MATISSE RETAILER PLEASE CALL: Sydney Adolaids Melbourne Matisse Derivan. Axt Stretchers Art Stretchers Phe (02) 7362022 Ph: (08) 2122711 Ph: (03) 387 9799 Perth County Lane Collectables Brisbane Hot Shop, Ph: (08) 2345443) Max Muller Ph: (09) 3285437. @ — Pa: (7) 2667411 Folk Art ProductsServe a feast jit for royalty on this deliciously decorated tea time tray designed and painted by Newcastle’s Christine Whipper MATERIALS Wooden tray, 50cm x 30cm * Siyus + Sandpaper + Magic tape + White Carbon + No 2and No 4 round brushes + Jo Sonja Artists’ Acrylics: French Blue, Smoked Pearl, Provincial Beige, Yellow Oxide, Warm White, Green Oxide, Pine Green, Burnt Umber, Brown Earth, Carbon Black, Burgundy, Yellow Light + Burnt Sienna Oil Paint for antiquing + Varnish Preparation: Basecox the way in French Blue and wash with Smoked Pearl. When dry, sand with fine,sandpaper. Tape off around the outside of the pattern and paint the inside of the square with Provincial Beige. When dry trace your pattem from the pattern sheet onto the tray with white carbon. Use the No 4 brush for the majority of painting and the No 2 brush for the finer details. The Border: When painting the flowers use Burgundy and a touch of Smoked Pearl. Use Smoked Pearl for the highlights. The leaves ate painted using Green Oxide, the dots using Smoked Pearl, and the background wall using Burnt FOLK ARTAND 5§ DECORATIVE PAINTING Umber. The stripes in the table loth are a combination of Smoked Pearl and Green Oxide. Cherry Cake: Using Yellow Oxide and a touch of Burnt Umber brush down from the edge of the cream. Once this is dry apply a wash of Yellow Oxide and shadow under the cream and down the edges with Burnt Umber. For the cream, swirl Smoked Pearl on the top of the cake and then swirl Warm White over this Use Burgundy and a touch of Carbon Black with Warm White highlights to paint the cherries and a Carbon Black and Smoked Pearl mix for the stems. Chocolate Cake: Block in the cake using @ mix of Bumt Umber and Carbon Black, Use Brown Earth for the top of the cake and the sides of the slices. Complete the edge of the slices and cake with a watery Smoked Pearl. The coconut is painted with Smoked Pearl. Napkin around Chocolate Cake: Block in Yellow Oxide and paint the border, which is the same as the border on the outside of the pattern. The first highlight is Yellow Light and the second Warm White while the shadows are a watery Burnt Umber. Vanilla Cake: Using 2 4:1 mix of Yellow Oxide and Smoked Pearl brush down from the icing. UseBurnt Umber to paint the edges, and highlight the centre with Warm White. Block in the icing using a 2:1 mix of Burgundy and Smoked Pearl Use Warm White, Yellow Oxide, Green Oxide and French Blue to paint the hundreds and thousands. Crockery: These are all painted the same. Block in Smoked Pearl, shadow with a watery Burnt Umber, and highlight with Warm White, To paint the tea, swirl Burnt Umber and then a watery Smoked Pearl Use Warm White for the milk and Green Oxide for the bands around the crockery. Cup Cakes: Use a 4:1 mix of Yellow Oxide and Smoked Pearl for the cup cakes. The cream on top of the cakes is painted by tipping Warm White straight into the paint and draggin, Use Burnt Umber to paint the edges and the corrugations in the paper cups. Use Burguncly and a touch of Carbon Black to paint the cherries FOLK ARTAND 6(Q DECORATIVE PAINTING arm White to highlight, Knife: Paint the handle with Brown Earth and shadow with Carbon Black. Use Carbon Black and Smoked Pearl to paint the blade, and lighten with Smoked Pearl Finishing: Allow paint to dry thoroughly and with a soft eraser rub out any pattern markings Antique with Burnt Sienna and varnish accordingly with your preferred brand.These beautifully shaped boxes with thelr sensuous lines provide wonderful pieces from which to create your own family heirlooms with folk art painting, découpage or other decorative finishes. A. The Large Jewellery Box with curved sides and ball B. The Small Jewellery Box with curved sides and feet has a removable inner tray, brass caich and hinges, drop-in id, This jewellery box has a lft-out tray and small Two serew eyes are positioned in the lid and side wall so feet that a cord fabric or chain stay can be attached to suit Box B your design Dimensions L 242mm x W 147mm x H 76mm Price $13.95. The lid ean be supplied as shown, or with an optional * Lificout trays vith compartments are supplied with both recess on the inside to fit a mirror, or an inset fabric axes, dividing each box into tuo levels. covered pad of your choice. ‘The larger jewellery box could also be used asa Box A tabletop sewing box. ‘Oyerall dimensions: L 320mm, W230mm, H 120mm. + Botti boxes are made from Craftwood™ to give a Price $49.50 precise and consistent wood finish. Inner Lid Recess, additional $1.50 Ceo) ete Cig e) Del tes alert acter gc an ttc OME BEAR OED OL (CE) AECL ES Hin este agveg oes, Poclosed i my) Cheque Money Order for § Gide Real 50 for ch ect eget FRET orcharge my Bankcard QMscterCard Visa eecaeeu Rugelenelay Doce 3.50 R__ Card No. Ex Die Te aston o set Sie cao Nine Ader Frponage $500 ai Pole Phone ‘aid coup to COLWICH CRAFTS MCBOX 1046 SOUTHEAST MAIL CENTRE VIC 31a v From the brush of decorative painter Judy Allen come these delicate porcelain tea set designs, 4 naive country cottage scene and pastel floral sprays. MATERIALS * Porcelain tea pot, sugar bot, and mill jug * Clean cloth * Scissors © Magic tape + Black graphite paper Sptus + Jo Sonja Tile & Glass Medium © No2€4 flat brush * No 00 tiner brush Yo 1&2 round brush = 4m supple brush + Jo Sonja Artists’ Acrylics: Burnt Sienna, Carbon Black, Dioxide Purple, Fawn, French Blue, Indian Red Oxide, Plum Pink, Pine Green, Smoked Pear}, Teal Green, Warm Whit Yellow Oxidle + Water-hased varnish (optional) Preparation: Wipe porcelain pieces with a clean cloth, Cut out design, tape onto pieces and trace using the black graphite paper and stylus, When tacing the cottage design, trace the circle, the hills and sky border, and cottage first before moving on to the bird house, gardens, fences and pond. NO’ In order to make your paint adhere well to the porcelain you will need to mix the tile and glass medium, into all the paint at a ratio of 3:1. Sky: Mix a small amount of French, Blue into Warm White (creating a FOLK ART AND 62 DECORATIVE PAINTING pale blue colour). Load the No 4 flat brush and paint in two coats of the sky colour. Allow to dry between the coats. Clouds: When the sky is dry dampen the No 2 flat brush and corner into Warm White. Paint as shown on the work sheet Land: Mix a small amount of Pine Green into Fawn, add water and make a wash. Load the No 4 brush and then paint in the land and the bushes Cottage: Basecoat the roof in Fawn, applying two coats. When dry, load the No 2 flat brush in Fawn, tip into Smoked Pearl and paint small strokes. Basecoat the walls in Smoked Pearl and paint a Pale Grey (Carbon Black and Warm White) wash in all windows. Paint around the windows and door in Teal Green and Warm White. Shade the outline of the house and the bottom of the roof with Burnt Sienna, Busbes: Put Pine Green, Yellow Oxide and Warm White on the palette using the stipple brush. Dab into these colours and pat onto the piece. Roses: Paint rose 1 using Indian Red Oxide (Dark); rose 2 with a mix of Plum Pink and Smoked Pearl (Medium); and rose 3 using the medium colour but addingFOLK ART AND 63. DECORATIVE PAINTINGextra Smoked Pearl to lighten (Ligh. Load the No 2 brush into the rose colour and corner into ‘Warm White before blending and painting the rose, Leaves: Load the No 2 brush into Pine Green and comer into Warm White to paint the leaves. Double Joad into Pine Green and Indian Red Oxide and corner in Warm White for some of the leaves. Buds and Stems: Load the No 1 round brush into the colour of the roses and paint the buds. Paint all the stems with the No 00 liner brush, loaded into Pine Green and Upped with Warm White Blue filler flowers: Mix a small amount of French Blue into Warm White to achieve a medium blue Load the No 2 flat brush into ‘medium blue and comer into Warm White. Load the brush for each petal. Paint the centre with Yellow Oxide. Small filler flowers: Load the No 1 round brush in medium blue, tip into Warm White and paint small petals. The centre is Yellow Oxide, Finishing: Allow time to dry. To heat set, place the pieces in a cold oven and set the temperature to 150 degrees Celsius. Heat set for 15 minutes and then tum the oven off. Remove the pieces from the oven when cool. A hairdryer may also be used to heat set. Hand wash pieces in warm water, and do not place them in a dishwasher. A coat of water-based varnish may be added for a gloss finish, FOLK ART AND 64 DECORATIVE PAINTING* Folk Art and Deseo Sos eae ces cic Kol ence sete oa }) teachers, beautiful projects. ba lee eo aloes | items for sale. eae ee se Nt as) Tee ela ~ WOOD PIECES TA “BOOKS 150 DIFFERENT WRAPS ~PAINTS-10 Sonja PAPER MACHE Matisse,Folk API “OD Cf ‘OUNTRY WARES Americana BRIC-A-BRAC BRUSHES -Franehevilie » ANTIQUES Raphael, Sable, ~ DECOUPAGE SUPPLIES + Ap Basies + DRIED FLOWERS ~Hesigner Tools ~ PAPER TOLE IE you haven't come gut to see us, NOW 1§ THETINE | WE CAN HELP YOU WITH ALL | YOUR CLOCK NEEDS © Quality Clock Movements & Fit-ups. luge Choice of Hands & Numerals ¢ Folk Art Boards & Boxes. | COME TO OUR SHOWROOM \8 * JONATHON KNOWLES: Unit 11, 71-83 Asquith St, * We also SILVERWATER NSW 2128 _,jhtd ml order: Phone prea Ce) 737 9088 Fax:(02) 737 9092]| THUR 8.30 ot PHOTO | IN A CLOCK] By JONATHON KNOWLES |} ‘rm PERFECT TIMEPIECE Grrr | 8 PLEASE - genathon Knowles: Designs || }| 30x 6766 l PRD TOOR fre Rew ane | hone: (02) 737 9088 F: PHOTO CLOCKS i ADDRESS...Unusual textured fabric-painting techniques add a special touch to this elegant footstool, painted by Deborah Kneen. ‘The footstool was designed to complement Deborab’s bedroom decor, and would make a charming addition to your home or a delightful gift _for someone special. NOTE: The floral design of the footstool is painted dircetly onto the padded cushion inser. Preparation: Remove the cushion insert before starting work. Sand the footstool with fine sandpaper following the direction of the grain. Take care when sanding around the routed rim not to sand off the mouldings. Wipe clean. Staining the Footstool: Mix Antique Green with Clear Glaze Medium until you have the consistency of thin gravy. Start staining on the underside of the stool to check the colour and consistency are satisfactory. Use the basecoating brush to paint the mixture onto the wood, working in the direction of the grain Remove excess with a soft cloth, rubbing lightly in the same direction. Work quickly to avoid dark overlap areas. If you feel the colour is too light or too patchy when it dries, repeat the staining process until satisfied. When the paint is dry, use a cloth to rub Rich Gold around the moulded top edge of the stool Transferring the Pattern: Trace the entire pattern, shown on the pattern sheet, onto tracing paper with a permanent black felt per Then trace over the reverse side of the pattern f. tracing paper pattern right side up on the cushion and centre the design. Secure it in place with pins, Now iron over it with a warm iron to transfer the design. This is not easy on a convex sur ‘ou will need to reposition the iron as you work around the cushion, Check under an edge 10 ensure the pattem is transferring. Alternatively, you can use grey graphite transfer paper, but it may cause dirty smudges which a difficult to remove Patnting the Dimenstonat Outlines: Using dimensional paint 4s like piping icing — the paint is squeezed from the bottle. Remember to shake the bottle well to remove air bubbles and practise ‘on paper first to acquire a feel for the varying pressure required for dots, sirokes and lines. Clogged tips can be cleared with a pin or a —FOLK ART AND 66 DECORATIVE PAINTING ——FOLK ART AND 67 DECORATIVE PAINTING:MATERIALS + Pine footstool with lift-out callico-covered cushion insert * Cord for trim + Pickling colour for wood: ‘Matisse Antique Green + Lint-free cloth ++ Fine grade sandpaper * Jo Sonja's Clear Glazing Medium * Tracing paper + Permanent black felt pen + Fabric transfer pen, iron and pins # Jo Sonja’s Textile Medium © Large basecoating and narnishing brushes = No 2 or 3 round brush + Old flat brush or fabric scrubber for applying thickener © White or white pearlescent dimensional paint, such as Matisse Slick-a-Matazz '* Old tc0-cube tray + Jo Sonja Artists’ Acrylics for cushion: Rose Pink, Red Earth, Smoked Pearl, Warm White, Brown Earth, Yellow Oxide, Dioccazine Purple, Paynes Grey, | Grey Oxide, Frencb Blue, Aqua, Pine Green, Raw Sienna * Plaid FolkArt Thickener + Trim colour for wood: Jo Sonya Rich Gold + Water-based matie or satin varnish piece of thin wire. Unfortunately mistakes cannot really be removed, 50 you will have to camouflage any that may occur. Outline the edges of the flowers and leaves with white or white pearlescent dimensional paint. Note that you do not need to outline every single edge. Add dimensional stems and dot flowers as appropriate. Don’t overdo it. You can always add more after painting. Allow to dry for at least 24 hours before painting in the flowers. Making Fabric Paint: Before painting you need to transfer the ordinary artists’ acrylic paints into fabric paint. For each colour mix two parts paint to one part Textile Medium. An old ice-cube tray is ideal for this purpose. Cover the tray with plastic wrap if you tke a break from painting, Painting the Flowers and Leaves: Use a No 2 of 3 round brush for the flowers and leaves. Colours can be blended wetin-wet, or alternatively, shadows and highlights can be dry brushed. Add Folkart Thickener (a lear liquid) to the paint to dilute it This will aid blending, Where desired, go over the dimensional paint with the chosen flower or leaf colour but leave some dimensional lines in the original white. This applies in particular 10 the pansy and anemone outlines. Also leave some of the dot flower spikes in white. If you accidentally paint over a dimensional line which you want to leave white, imply remove the coloured paint with a damp cotton bud. Otherwise, you can paint it with dimensional Paint later in the project. Roses: Use a base colour of Rose Pink, shacled in Rose Pink phis Red th and highlighted in Smoked Pearl. Add a very light value highlight of Warm White at the frilly top edges of the bow! and blend in. The throats are Brown Farth and the dots Yellow Oxide Pansies: To paint pansies use a base colour of Warm White and Dioxazine Purple, shaded in Dioxazine Purple plus Payne's Grey and highlighted in Smoked Pea plus a light value highlight in Warm White. Add a Yellow Oxide dot in the centre, When dry, paint a smaller Gold Oxide dot on top. Anemones: Use a base colour of ‘Warm White with a touch of Yellow Oxide. Shade the base of the petals where they meet the centre, using Brown Earth. Dry-brush some Yellow Oxide over the petals, but don’t go as far as the edges. The centres are painted with Yellow Oxide. When dry, paint Warm White dots on the centre. The central dimenstonal dot is painted Brown Earth. Paint the circular dimensional outline which runs around the centre with Gold Oxide Flve-petalted Blue Flowers: Mix 3 soft grey-blue with French Blue. Aqua and Warm White and paint the petals. Shade at the base of the petals with grey-blue plus Paynes Grey. The centres are Yellow Oxide, Paint the central dimensional dot with Brown Earth. Dot Flowers: Use Dioxazine Purple double-loaded with Warm White for the purple flowers and a grey-bhue colour made with a mix of French Blue, Aqua and Warm White for the blue dot flowers. Leaves: Use Pine Green brush- mixed with Yellow Oxide or Raw Sienna, Add a few lighter leaves, by using double-loaded Pine Green and Smoked Pearl. Shade some leaves at the base by blending in a little Brown Earth. Keep the white central vein and the white outlines on some leaves Colour Washes: For colour washes fn fabric you should not use water to dilute the paint because this will prompt uncontrolled bleeding and blooming, Instead, pre-wet the area with thickener, applied with an old flat or fabric scrubber brush, Use a No 2 of 3 round brush. Very litle actual paint is needed, so wipe excess off on a paper towel. In addition, each time you load the round brush to paint the washes add litle thickener to the paint to thin it. Paint colour washes of the leaf colours in the gaps at the centre of the design, As you work out from the centre, make the washes more subtle so they fade out into the — FOLK ART AND 68 DECORATIVE PAINTINGbackground before reaching the edge of the design. Do not take the washes out beyond the design area, Allow the cushion to dry thoroughly. Assessing the Painting: Wf any of the flowers look too bright, they can be antiqued down, but be very careful about this process. It is not a procedure that is recommended for beginners. Antiquing on fabric cannot be removed, as it can on hard surfaces. Mix a tiny amount of Brown Farth with FolkArt Thickener to a watery consistency. Next, paint over one flower at a time and immediately blot excess with a soft cloth. There should only be a suggestion of the Brown Earth colour showing. Allow time for the paint to dry. At this stage, decide if you want to add any extra white dimensional work, or reinforce the existing outlines. For example, additional dot flowers may be required to balance out the composition Alternatively, you might decide more stems and outlines are needed. If you add any extra dimensional paint, allow it to dry thoroughly before proceeding, Heat Setting the Flowers: Do not attempt to heat-set the painted flowers on the cushion by ironing them, as it will flatten the dimensional paint. Instead, heat-set for about five minutes using a hair- dryer on meditum heat. Allow ample time t0 c091. Finisbing: Varnish the wooden footstool with two or three coats of water-based matte or satin varnish, If desired, spray the cushion with Scotchgard. Finally, replace the cushion insert and glue on the cord to form a trim FOLK ART AND 69 DECORATIVE PAINTINGAdd a New Dimension To Painting with DecoArt Decorating Paste, the paintabjétextural ge! ne , ‘Add 3-dimensional accents to home decor items such, as picture frames, vases, decorator boxes, baskets, ornaments, and more. Decorating Paste is compatible with wood, papier maché, plaster, clay,pots, ceramic bisque, primed metal, canvas, andanly surface that accepts heavy applications of acrylic paint. Colbr may be added before of after application for unlimited color combinations. Decorating Paste is available in two convenient hard jar sizes, 4 and 8 ounce. Decorating Paste is easy to apply with a To compliment versatile Decorating Paste, we offer you our n g Paste. this kit includes 4 designer tips, 2 couplers, 3 deco 402. and 12 Boz jars 12. DAS6 Decorating Tip Kits; 12 DBF17 Decorating Paste ides Booklets. inoudes tul-color header. Aytaiere, 2118 Phan: (¢2) 68-4083PROFILE TEXT LIZ GINIS * PHOTOGRAPHY STEFAN JANNIDES Carol Sharpe gives ber beart free reign when designing her striking JSolk art and decorative painting. She is lead by an innate sense of style, preferring not to succumb to the latest trends. rol Sharpe is a woman destined to pursue a life filled with colour and creativity. The talented folk artist, and decorative painter has a sunny outlook on life, 2 character trait reflected in her home at Mesmaid Waters on Queensland's glorious Gold Coast Carol says she cannot remember a time in her life when ant was not a obsession. “im a twin and am sure my mother said: ‘Here's a pencil, g0 draw’, just to keep us out of her hair,” she recalls. “At school I was always the one conned into drawing, class projects, but U didn't mind because I loved it.” It wasn't until Carol's children started school that she began exploring the realms of both watercolour and oil painting. “I knew my drawing skills had advanced to a point where it was time to investigate other media, Oil nd water painting provided me with another outlet for my artist bent 41 found that I enjoyed the new challenge and was quite good at it,” she says, So good in fact that her paintings, centered in competitions such as the Gold Coast Art Prize and the GIO Art Awards, received praise and commendations from judges a members of the public. “I dich win any major awards for them, b they were being bought, and that itself is a great reward,” Carol says. arol’s first tentative steps into ( the world of folk art came at the invitation of a friend who asked her to decorate antiques desperately in need of a facelift. “At the time [ wasm' really interested in folk art,” Carol says. “But I enrolled in an eight-week course and before the first lesson had finished 1 was entranced. I swallowed the bait — hook, line and sinker. ‘No-one on the Gold Coast was really doing folk art at that stag T continued on alone. [ practised FOLK ARTAND 73. DECORATIVE PAINTINGevery day without fail, sent away for books and meticulously studied them for hints and instructions.” During that formative period Carol ‘was greatly influenced by American techniques, primarily because the market was flooded with America books. Since then she has developed a style which blends 19th-century Russian folk art and colonial- Australia decorative paintin An enthusiastic admirer of Australian poetry and folklore, Carol often draws inspiration from a kine or phrase written by some of our nation’s literary greats, including Banjo Patterson and Henry Lawson. “Australian folklore fascinates me, she says, “Its heroes, its heroines, its raw humour, and its old-world charm. P'm drawn to these tales like a moth to flame, I'm quite sure 1 was born in the wrong era altogether.” Carol's decorative painting book Outback Colours, reflects this love of Australian history, and features her original Australian designs. She is overwhelmed by its national and international success, but says there are no plans for a reprint. arol’s colourful past inch C period as the owner of a craft shop, Creative Characters, but says it inhibited her painting too much, prompting her to close the store. AS proprietor she formed the Wood 'n’ Tole group, the precursor to what is now the Decorative Folk Artists of Queensland. She was lected the founding president of the ‘group in 1991, and has since watehied member numbers swell to 300. ‘One of her more recent piec serving tray decorated with apples, was awarded the Best Exhibit of the Royal National Show in Brisbane last year, while her entry in the Australiana section, Fruits of the Rainforest, won third prize. Carol, who enters competitions for their educational benefits rather than personal glory, is adamant she will never stop learning or improving her painting technique. “For the last four years 've applied for entry into the Certified FOLK ART AND 74. DECORATIVE PAINTING Decorative Artists of America group,” she says. “They send you a line drawing and board and you paint it. You send it back, it’s juclged and critique notes made. From the critique notes you discover what you're doing wrong, and consequently Jearn more about your craft." A pass is 75 per cent and this year Carol received 70. he talented artist has been invited to exhibit her work at the Gold Coast Art Gallery in December this year, and has willingly taken up the challenge “Pll have to work really hard for that,” Carol says. And work she will, adding this latest venture to her ever-increasing list of things to do including weekly classes, spring and summer workshops, and teaching tours throughout Queensland. “There ate so many opportunities available to folk anists,” Carol says. “Polk art is an interpretation of a person's private vision. You're only ever limited by your imagination, by what you sce and perceive.”Queensland folk artist Carol Sharpe created this striking Russian-style floral tray for her grand daughter Tory, who adores the brightly-coloured blossoms in her Grandma’s Gold Coast garden. Here Carol shares her design secrets with you. MATERIALS * Wooden tray, ‘approximately 45cm x 35cm + Jo Sonja flow, retarder and antiquing mediums, sealer and varnish * Fine-grade sandpaper + Brown paper + White pastel pencil * Tracing paper + White graphite paper * stylus * Basecoat brush No 10 flat brush + No 4 Philbert brush © No 1 quill liner brush * Jo Sonja Artists’ Acrylics: Carbon Black, Pibalo Blue, Pthalo Green, Aqua, Warm White, Raw Sienna, Yellow Light, Rich Gold, Pale Gold, Pine Green, Burgundy, Napthol Red Light + Deco Art Americana Paints: Napa Red * Gold pen or Kemper tool © Full-gloss varnish Preparation: Sand and seal the wood piece, giving the sealer a chance to cure before sanding, Using the No 10 brush basecoat with Carbon Black and let dry before sanding the surface with brown paper. Measure 4em in from the edge and mark lightly with a pastel pencil. Glaze this area lightly with retarder and antiquing medium, then randomly slip-slop Aqua onto the border Centre the design and tace using | white graphite paper and a stylus. Painting the Leaves: Using the No 4 brush place a light wash of retarder and Pine Green on the centre leaves and allow to dry. Apply two thin washes of retarder sideloaded with Carbon Black down the centre of the leaves and under the rose petals. The tips of the leaves are sidloaded with Burgundy. While this is still damp pull S strokes in an even mix of Pthalo Green and Warm White. Continue these $ strokes to the tip of the leaf without loading the brush again, Repeat for the other side of the leaf. While this area is still damp highlight by adding a lite more Warm White to the previous mix. Add a fine outline FOLK ART AND 76 DECORATIVE PAINTING —| é = 3 5‘on the outer edge of the leaf with Raw Sienna, and the veins in Pthalo Green and Warm White. For the outer leaves apply a thin h of retarder and Pthalo Green, dry and apply a wash of Pt Green and retarder on the outer es. Allow to dry. Apply a thin h of retarder and Carbon Black down the centre of the leaves Sideload Burgundy on the tips While still damp pull S strokes without reloading, do’ bottom of the leaf using an even mix of Pthalo Green and Warm White highlight by adding a little more Warm White to this mix. Use an even mix of Pthalo Green and n to the Using shorter strokes, FOLK ART AND 78 Warm White for the liner work and veins. The leaves can be given more highlight and shading if needed when the flower designs are completed, Red Rose: Basecoat the rose with retarder and Napa Red and allow to dry. Start at the back peta work in towards the centre. Apply a light wash of retarder over the bow! of the rose, Sideload Napa Red pulling commas from the centre ack to the side using a little more paint on the brush s you come the into the centre of the rose. J front petals to the back peta connecting at each side. The front section, or bowl of the rose, is DECORATIVE PAINTING completed last. Apply a wash of retarder to the petals and sideload Carbon Black where the petal meets the how! of the rose. While still wet pull strokes from the brightest side of the petal to the back using Napa Red. Apply a light wash of retarcer and Napa Red to the bow! of the rose to form the petals. Apply linework in Napthol Red Light, and dots in the centre of the flower in Raw Sienna Pink Rose: Employ exactly the same technique as for the red rose, basceoat the rose with retarder and Napa Red. Allow to dry. Wash with and establish the centre n Bla with Cath . Sideload the Nowith Napa Red and Warm White for the back petals before joining the front and back petals Apply a light wash of retarder Sideload Carbon Black on the petals they meet the bowl of the While still damp, apply strokework on petals in Napa Red and Warm White each petal without reloading Highlight with a litle Warm White Paint the bow! of the rose in Napa Red and Warm White and highlight with Warm White, Apply washes of saw Sienna and Napa Red on the warm side. Keep the highlights free from the washes. Apply a little more highlight of Warm White if the washes are 100 heavy Pull strokes on FOLK ART AND White Rose: Using the same technique as the Red Rose, basecoat with a thin wash of retarder and Warm White. Allow to dry. Apply a wash of retarder over the rose and establish the centre with Napa Red and the back pet h Raw Sienna and Warm White. Join the front petals sideloaded with Warm White, Wash the skirt or petals with retarder before sideloading Napa Red where the petals meet the bowl of the rose. While still wet paint petals with Warm White and a touch of Raw Sienna. Paint the bowl of the rose in Warm White and a of Raw Sienna, touch Tulips: Apply 2 thin wash of Pthalo Blue and retarder. Allow 10 dey. Establish the centre with antiquing medium, Pthalo Blue and Carbon Black. Add strokework with Pthalo Blue and Warm White. The stamens are Napthol Red Light while the tulip stems are Green and Warm White. The linework around the front petal is Pthalo Blue and Warm White Daisies: Basecoat a thin wash of Warm White and retarder, and allow to dry Establish the centre with ntiqy mand Carbon Black. While damp pull P commas for the under petals Add more paint on the brush for the opaque petals. Apply linework lightly around the outside edge of the daisy keeping it loose and free flowing. Accent the colour with Raw Sienna Small Blue Flowers: Basecoat with a thin wash of Warm White and retarder, and allow dry. stablish the centre with arbon Black, and while still wet, C stroke Pthalo Blue and Warm White. Complete time to linework with the same mix adding a touch of Warm White. add dots of Napthol Red Light and Yellow Light to the flow Small Rose Buds: Wash the rose buds with retarder and Napa Red Paint € strokes with a sideload of Napa Red, and highlight with Napthol Red Light. Complete the leaves surrounding the buds with a tich mixture of Pthalo Green and Warm White Small Red Flowers: Wash with suill arder and Napa Red. Whi wet, © stroke with Napa Red highlight the inside of the p with Napthol Red Light. Paint the flower centres with Raw Sienna, highlight with Yellow Light and then add dots and linework in Napthol Red Light. Finishing: Use your gold pen or Kemper tool for liner work The small flowers on the horder of the way are painted in Warm White with Rich Gold centres and a Warm White highlight. Wash two or three of the petals with Pthalo Blue. The leaves are completed with Rich Gold and Pale Gold and highlighted with k. Use the gold pen for the dots around the outside of the tay Varnish with a full gloss, and allow ample time to dry before use. Now all that’s left to do is sit back relax and enjoy your creation 79 DECORATIVE PAINTINGBrush Strokes COTES EO Sree ea A a ere Oa arcane re Re thinned paint and rofl to a good point. Carefully pick up some thick paint on the tip of the brush. Dear at ae Ka ig ae Vee gta a a Pace rT er ae Var cere a aaa Ca Nore sey anceanr or irae Banco) The S stroke is niade hy touching the paper Ooi aarao CaaS ae an canoe gradually appbying pressure while pulling in ‘an S shape, lifting to return to a fine poiat. Rear coe Brae Rae aR Apply pressure and lift while pulling in a tine to create a scalloped top and a fiat base. oa De Ne ce De Ree) Ce ee ec aa Ree Pe een ae oer ees even rows of dots, re-dip the brush every third or fourth dot. SIDELOADING Dr are Re are arr ear 2 rae 10) soe RODD Pri ne Liars Deiat caer a Neyer ar sr reece AAW aero Pare tie ara ar a ae eT ar ar ee area Cra Sea Mao ee Lea one ee Pane Nerang arian icra teal Pee tener icc ait rear Dea a eee acre trataVictorian Roses on Ceramic Li Luasiye Basia Zielinska evokes an ambience of old-world charm with this Victorian-inspired rose and ribbon design painted on a ceramic lamp and shade. MATERIALS ‘Ceramic lamp base and shade, approximately 75cm bigh * Clear Glazing Medium = Duncan's Grackle Medium | Jo Sonja Retarder + Sea sponge + Tracing paper + Black grapbite paper + Stylus + 144 in angle brush + No 3 rownd brush v0 1 liner rush + Basecoating brusb + Jo Sonja Background Paints: Antique Gold ‘and Titanivom White + Jo Sonya Arists’ Acrylics Titanium White, Danish Blue, Burgund) Pine Green, Moss Green, Smoked Pearl, Brown Eanb, Rich Gold, Raw Umber ‘© Water-hased satin varnish Preparation: Seal the lamp with Clear Glaze Medium and hasecoat with Antique Gold base paint When it is dry, evenly apply the crackle medium with a sea sponge, working toward the centre of the lamp where the design wi be painted. Allow to éry for about 30 minutes before applying the Titanium White base coat with the sea sponge, making sure all the area to be crackled is evenly coated. When the crackling has stopped trace on the pattern shown on the pattern sheet Ribbons: Load the round brush with Danish Blue and wash in all the ribbons (see Step 1 of the painting instructions). Reload the brush with Danish Blue, sideload with Titanium White and paint in the second coat ensuring that the white is at the edge of the ribbons (see Step 2). Leaves: Using the angle brush mix Pine Green with a litte Raw Umber and tip with Titanium White. Paint in the top side of the leaves with a shaking motion, starting at the base and ending at the tip (see Step 1). For the second half of the leaves, tip the dirty brush into Burgundy and, beginning at the tip of the leaf, wiggle down towards the base Paint the vein with a dirty white mix (see Step 2), Roses: Load the round brush with, a mix of Burgundy and Moss Green and paint in a watery circle for the rose (see Step 1). Next float Burgundy at the base and throat of the rose (see Step 2). Load the round brush with the rose colour and sideload with Smoked Pearl FOLK ART AND 2 DECORATIVE PAINTING —FOLK ART AND 83 DECORATIVE PAINTINGand Titanium White, Paint in { the three back layers of | petals with the sideload to the top of the rose (see Step | 3). Reload the brush and lose up the front of the rose with a “broken stroke’, with the sideload to the top. Add more sideload colour and paint the main petals starting at the back, keeping the sideload to the outside of the | petal (see Step 4). As you paint cach petal push your brush into the sideload and paint the outer petals in the same way, also beginning with the back petals. As you paint, do not reload with rose colour, but simply keep adding the sideload colour. You may dip your loaded brush into water if necessary, but don't wash it. By painting in this methodical way your roses will be lightest at the centre. Dry brush some highlights on the front petals of the rose by dipping your dry, round brush into Titanium White and stroking some | sparse strokes across the front of the rose. Paint in the centres by tipping your dirty brush into Titanium White and dotting at the base of the throat. Buds: Load the round brush with the rose mix, sideload with Titanium White and paint two commas with the white to the centre. Next load the brush with Pine Green, with Titanium White and paint in the ‘comma calyx (see Step 2). Blossoms: Add Moss Green and Titanium White to the rose mix, load the angle brush, tip with Titanium White and paint the petals (see Figures 1 and 2). Dab Brown Earth in the centres, and add some Moss Green dabbing around the base and Titanium White at the top - ve) se 4 Gg vet * rie With clean Titanium White on the liner brush paint a circle of dots around the centre of the blossom, Finishing: Carefully paint some Rich Gold lines to decorate the top and the base of the lamp. Antique the lamp base using Jo Sonja Retarder and Raw Umber, keeping the antiquing strongest at the top ‘and base of the design. Be sure t0 keep the antiquing light over the painted design and rub back the FOLK ART AND §4 DECORATIVE PAINTING t & roses and blossoms. Varnish with two coats of water-based satin varnish. Allow to dry thoroughly. Lampsbade: This pattern can be casily adapted to a lamp shade of any size (refer to the pattem sheet). Paper shades are painted exactly the same way as the lamp, but Textile Medium needs to be added to your paints if the shade is fabric. Ask your local electrical supplier to fit in the electrical appliance.Traditional folk artist, Chris Cort, helps you create this charming patchwork irunk design aglow with warm blossoms and fine lace, the perfect addition to a cosy room. MATERIALS Wood trunk, approximately 32cm long, 22cm wide | and 17cm bigh + Wood filler * 600 Grit Sandpaper + Folk Ari Apple Spice or Matisse Pimento Basecoat colour + Jo Sonja All Purpose Sealer + Palette knife ‘+ aniline pen + Challe pencil + Graphite paper + Masking or Magic tape + Spylus | * 1 in flat brush or sponge brush | * No 3 round brush + No Oor 1 Hiner brush * No 10/flat brush + Jo Sonja Artists’ Acrylics: Teal Green, Burgundy, Warm White, | Yellow Oxide + Matisse Oil Anviquing Patina + Burnt Umber Artists’ Oil Paint + Soft cloth Preparation: ‘ill any holes with ‘wood filler and allow time to dry, Sand well, then use a tack cloth to remove any surplus dust. (Please note if you are sanding craftwood, make sure you wear a mask and sand in a well ventilated area outdoors.) Apply two coats of Apple Spice or Pimento with your basecoat brush or sponge, to the outside of the box, sanding lightly between coats with the sandpaper ‘Mix equal parts of sealer and Teal Green and apply two coats to the inside of the box, sanding lightly between coats. Using the pattern provided (refer to the pattern sheet) trace on the patchwork sections Using masking or magic tape, mask off the relevant sections. It is now time to apply two coats of TTeal Green to these sections. Transferring the Design: Transfer the design onto tracing paper using an Arline pen. Then use graphite paper and your stylus to transfer the design onto the trunk, As the size of your trunk may vary you may need to adapt the size of the lace which goes between the patchwork sections on the lid. Mark evenly spaced intervals (ours are 12cm) with your chalk pencil along both ides of the sections, then join up with a curve to give you a semi- Gircular pattern on either side. (int ‘You can either use a coin for this or buy a circle template available from most newsagents.) Painting the Lace: \Jsing your liner brush and Warm White thinned to a milky consistency with water, paint in all crosshatching. Paint all transparent washes with a round brush and Warm White again thinned to a milky consistency. Paint all comma strokes and daisy-style flowers with @ liner brush. Add dots with thick Warm White paint and ‘your stylus. Refer to the step-by-step Painting instructions as you go. Sides of Trunk: Using your liner brush and thinned Warm White paint the crosshatching. Paint comma strokes to form flowers as shown. Paint the leaves with a round brush loaded with a 2:1 mix of Teal Green and Yellow Oxide. When dry, apply a second coat and while still wet, sideload the brush into Yellow Oxide and paint highlights at the top of the leaf. Load the liner brush into the green mix and put through Yellow Oxide, Paint a line down the highlight side of cach leaf and add the centre vein, Roses: Using, the round brush and an even mix of Burgundy and Yellow Oxide block in the roses with two coats of colour. Sideload in Burgundy and shade the lower half of the ball and throat of the rose. Reload into the Burgundy and Yellow Oxide mix and then sideload Warm White to paint crescents around the rose as shown in the step-by-step. Add Warm White dows to the throat of the rose with stylus. Tulips: Load the round brush with Yellow Oxide and paint tu using $ strokes and commas. Apply two coats. Sideload into Burgundy and shade the lower edge of the outside petals and the left side of the centre petal. Load the liner brush with Yellow Oxide and pull through Warm White. Paint textured ‘commas at the edges of the petals LID OF THE BOX Carnation: Using the round brush loaded with Teal Green and Yellow Oxide, and tipped with Yellow Oxide, paint comma strokes down the stem of the flower. With the liner brush and the same mix pull down stems and add tiny commas to the sides of the curled stem. Load the round brush with an equal mix of Burgundy and Yellow Oxide, sideload Warm White and paint comma-stroke petals. Add Warm White crosshatching through the centre with the finer brush and Yellow Oxide dots at the base. Ball Flower: Paint the leaves with a round brush and an even mix of Teal Green and Yellow Oxide, applying two coats, Sideload Yellow Oxide and highlight as shown, With your liner and the same mix, pull down the stem, Base ball with a 2:1 mix of Yellow Oxide and Burgundy, applying two coats. Overstroke using a liner brush with Burgundy on the low side and Yellow Oxide ‘on the top. Extra commas are also painted in Yellow Oxide. Tulips: Base with two coats of Yellow Oxide using « round brush. Sideload into Burgundy and shade as shown. Using a liner brush with Yellow Oxide on it, tip into Warm White and paint your comma FOLK ART AND 7 DECORATIVE PAINTINGFOLK ART AND §8§ DECORATIVE PAINTING overstrokes. With your round brush and an even mix of Teal and Yellow Oxide paint comma stroke, leaves. Add a Warm White dot at the base of the tulip. Daisies: Using a round brush and an equal mix of Teal Green and Yellow ‘Oxide paint the leaves, applying two coats. Sideload Yellow Oxide and highlight the top of the leaf. Wich your liner loaded in the green mix, tip into Yellow Oxide and paint comma overstrokes and veins. Roses: With a round brush and an. even mix of Teal Green and Yellow Oxide, base the leaves, applying two coats. Sideload Yellow Oxide and highlight the top edge of the leaf, With a liner brush leaded in the green mix and tipped with Yellow Oxide, add overstrokes and veins. Base roses with the round brush and a 2:1 mix of Yellow Oxide and Burgundy, applying two coats Sideload with Burgundy and add shade to the base and throat. Sideload into Warm White and add crescents to form the rose. Now add Warm White dots in the centre of the throat. Russian Floral: Using comma strokes paint the leaves with a round brush loaded in Teal Green and Uipped with Yellow Oxide. The calyx fs an equal mix of Teal Green and Yellow Oxide. Overstroke with liner and more Yellow Oxide. ‘The petals are commas, painted with a round brush loaded in Yellow Oxide and Burgundy, while the liner overstrokes are painted with Burgundy. Centre Lace Panel: Wash the outer circle with thinned Warm White using your round brush. With a liner brush and thinned Warm White, paint fine lines on the outer points that surround the circle. Also with a liner brush add textured commas to the outer edges. Dot around the inner and outer circle with Warm White. Paint initials or a short poem of your choice in the centre of the panel.Not. So- Searey Searecrvot Hluminate your life w th this s imply irresistible scarecrow designed and created by South Australian folk artist Leanne Milhano. MATERIALS * Wood cut-outs: scarecrow, | Powers, bee, base (approximately 30em 2 Gem), small dowel and thin wire © Transfer paper + Stylus & Pencil * Tracing paper +14 in flat brush ‘for basecoating + "2 1n flat or stant shader for floating No 1 liner brush + No 3 round brush ‘© Matisse background palette: Forest Green, Haymarket, Capitol Blue, Brown, Pale Beige, Straw * Matisse palette: Mars Black, Cadmium Red Medium, Titanium White, Raw Sienna, Chromium Green Oxide, | Cadmium Yellow Medium Preparation: Trace your pattem (from the pattem. sheet) and apply the main pattern areas using wansfer paper and stylus. Leave out the finer eiails at this stage, Basecoating: Basecoat the main areas listed! helow in the colours indicated. Use Forest Green for the daisy stems, flower stems and leaves, and base; Haymarket for the daisy petals, the bee's body, and the scarecrow’s shirt; Capitol Blue for the trousers and Brown for the scarecrow's pole, straw of hands, feet, head and tear. Use Pale Beige for the head, Straw for the hat, Mars Black for the crows, Cadmium Red Medium for the flower, and Titanium White for the bee's wings Apply the pattern detail using wansfer paper and a stylus. Floating in Colours: To float colour, moisten your brush with ‘water and lightly apply a light wash fon the area to be worked. This must not be wet and puddly, just damp. Dip one corner of your brush into the desired colour and pick up a litle paint ~ a dot as big asa pinhead is all that’s required. Blend the paint on your palette by pressing on the bristles and gently pulling the brush in a shor line. Go over and over the same blending line cach time pressing down on the brush to spread the bristles and allow the paint to travel across the brush. Work the paint to a third of the way across the brush. You are now ready to paint Hat: Basecoat the hat band in Chromium Green Oxide and float aw Sienna shadows. For the head float in Raw Sienna shaclows, Basecoat the cheeks and nose in Cadmium Red Medium, Use Mars Black to dot in the eyes and adel Titanium White for highlights on the cheeks. Straw: Paint wet-on-wet strokes of Raw Sienna, Cadmium Yellow Medium and Brown using a liner brush. While one colour is still wer, pick up the next colour in the brush and paint haphazard strokes over the wet area. FOLK ART AND 9() DECORATIVE PAINTINGTrousers: Float Mars Blick shadows and Titanium White highlights for the trousers. The patch is basccoated in Titanium White with Cadmium Red Medium dots. Shirt: Paint the shirt stripes with Cadmium Yellow Medium using the liner brush. Line with Cadmium Red ‘Medium and shade with Raw Sienna floats. The patches are basecoated with Cadmium Red Medium and Titanium White, with Cadmium Red Medium criss-cross stripes, Crows: Paint the crow’s beaks and feet with Haymarket. The cheeks are painted with dots of Cadmium Red Medium while the eyes are painted with dots of Titanium White and Mars Black. Float Titanium White highlights on the wing's of the crows and around their bodies Flowers: For the daisies overstroke each petal with Cadmium Yellow Medium on your round brush. Dot the centre with Mars Blick. For the remaining flowers float Chromium Green highlights on the stem and leaves, and dot the centre with Cadmium Yellow Medium, Bees: Recoat the body of the bee with Cadmium Yellow Medium, and the stripes with Mars Black FOLK ART AND 92. DECORATIVE PALI Finishing: Add final details with permanent ink pen. Cut short lengths of dowel to your desired length, Drill holes into the bottom of the wooden shapes and wooden base. Push dowel into the holes in the shapes and then position shapes in the holes on the base. To mount the bee tovist a length of thin wire around a pencil to form a spring, Drill a small hole in the bee shape and the base to hold the wire. Varnish as desired and stick the buttons on the braces and flower centres. For furtber information contact Leanne Mithano on (08) 234 5443 or fax (08) 234 9118. $$$.eet [epee praetor Please send me the folowing 3 Painting Books indicated witn Ms | circle — 1,2, 3, 4 6 6 7,8, 9 for $48.00 including postage, | Please send me the folowing 4 Sowing Books indicated with acirle — 10, 14, 12,19, 1815, $6, 17, 16,19, 20 or 1 $45.00 inctvingposiags Ls t: ub, 32 Gray Streot, Plympton, SA 5038. re Phase Si eee mae OS erobiry CBanees Cia Cuan tiTechnicalities Which Faux Finish? By Heather Lownds of Lomond Decorative Art Studio any varied and interesting effects can be produced with our folk art paints. The different effects can be used alone or in conjunction with folk art designs. Aptly named faux finishes, faux meaning false or fake, the technique has been used for centuries by people who could not afford to buy the ‘real thing’ During restoration of many old buildings it has been revealed that clever artists were employed to produce some amazing faux finishes in place of costly slabs of marble. Inlaid woods were painted on cupboards and floors to represent costly, time consuming effects at a fraction of the cost. S come finishes were produced to represent various woods, and others were cheap timber enhanced to appear to be more FOLK ART AND 94 DECORATIVE PAINTING: expensive woods. Gem stones were another favourite finish to be copied. We will be looking at one of these in this issue together with an effect called distressing which is often used to make timber look old. You'll be surprised how easy it is to produce a professional result. LAPIS LAZULI ‘This is a French gem stone highly valued for its many colours and intricate pattern. It looks very attractive on bangles, bowls and wooden boxes. Painted in conjunction with timber effects it makes a stunning effect on table tops. This finish is enhanced with the addition of many coats of lacquer when the paint is dry. MATERIALS * Sea sponge & Palere + Water basin * Basepainting brush + Feather or liner brusb + Jo Sonja Artists’ Acrylics Sapphire Blue, Ultramarine, Teal Green, Aqua, Yellow Oxide, Diowxazine Purple, Titaniwn White, Rich Gold, Carbon Black + Feast Watson full glass varnish Basepaint the desired surface with Sapphire Blue and allow to dry. Sand lightly and recoat. When you are ready to start the next step organise your paints. You will need Ultramarine, Teal Green, Aqua, Yellow Oxide, Dioxazine Purple, a medium value mix of Teal Green and Titanium White, Rich Gold and Carbon Black. Using the basin of clean water dampen the sponge. ‘Wring it out and press onto a paper towel to remove any excess water. ‘When sponging on the colours ‘Step One Step Two ensure your sponge is slightly damp before picking up the required colour. Pounce the sponge onto the palette 10 remove excess paint and lightly sponge onto the work, The Sapphire Blue basepaint should never disappear. Wash the sponge thoroughly between colours and dry on a paper towel. Sponge Ultramarine in drifts across the surface, allowing the basepaint to show through. Add Teal Green and Aqua in drifts one after the other. Sponge Yellow Oxide in three or four places (be sure not to make a square with your placement). Next add Dioxazine Purple in three orStep Three Step Four four places, ensuring that it is not placed on the Yellow Oxide, Now add Teal Green and the Titanium-Teal mix so that it overlaps the Aqua. Place small amounts of Rich Gold next to and on top of the Yellow Oxide. Using a feather or liner brush and Rich Gold pull out several Rich Gold lines from the gold sponged area to form ‘star burst’ shapes. Finally, sponge over the entire area with Carbon Black thinned with water. Be careful with this step as too much black will detract from the overall effect ‘when completely dry apply six coats of varnish following the ‘manufacturer’ instructions. NOTE: If you have time, mix water-based varnish with each colour. You will need to allow time for each colour to dry before proceeding with the next step. This will provide a deep, layered look to your work. DISTRESSING This is a process we carry out on wood. If you don't like your first attempt at this finish don’t despai Simply allow your work to dry and then begin again. MATERIALS * Sanding sponge & Chux clotb + Jo Sonja Artists’ Acrylics: Titanium White and Indian Red Oxide '* Antiquing medium and varnish Distressing can be done on either timber or craftwood however you ‘will get a more grained appearance ‘on timber. Disiressing can be used when painting any design, be it traditional pattems or to enhance soft pretty pastel designs. Any colour combination can be used but you need two contrasting colours. Apply a coat of Titanium White, painting in the one direction if using craftwood or following the grain when using timber. Allow time to dy and do not sand. Apply a coat of Indian Red Oxide in the same direction as the Titanium White and allow to dry. Now sand off some of the top kiyer ‘of paint thus exposing areas of the colour beneath. Wet your sanding sponge and your painted surface. Sand lightly in the direction in which you have painted. IF you are working fon craliwood it is easy t0 sand right back to the wood, To combat this problem sand a litle area with a wet chux and wipe over the surface to reveal how much paint you have removed. Add more water to the sanding sponge and continue to sand and wipe until you have a surface which reveals both of the colours you have used. If you sanded back to the wood don't be ‘distressed! just allow the wood to dry and begin again. The exposed effect sometimes acids to the overall finish Having learned these techniques now js the time to apply your folk art pattern or altematively, antique the piece. Both procedures should only be carried out when your work has FOLK ARTAND 95. DECORATIVE PAINTING————— Step Two dried for 24 hours. Finish off with two coats of your favourite vamish, NEXT ISSUE: WE LOOK AT THE MARVELS OF MARBLING AND. ‘THE TECHNIQUE OF FAUX. FINISHING WITH GLAD WRAP.NEXT ISSUE FOLK ART & DECORATIVE PAINTING VOLUME 2 NUMBER 1 In our next issue of Folk Art & Decorative Painting we feature an array of superb projects: 2 Helmut Jager presents his Dutch- styled Hindeloopen designs 2 Robyn Roberts introduces us to her Teddy and Friends w Di Lamont shows us how to paint on fabric e Lyn Foster paints an ethereal rose and cloud drawer All this plus profiles of leading Australian folk artists and decorative painters as well as our regular features: Folkways with Deborah Kneen, Glyune McGregor’s Brush with History, Artists’ Store, Bookcase, Brushstrokes and Technicalities. DON'T MISS OUT ON YOUR ISSUE ON SALE APRIL o.,. 1 (gills, STOCKISTS NOTE: General proxiuess. GECKOS ON and folk art supplies such CORRUGATED IRON ‘as graphite paper, brushes, Timber magazine box styluses, palettes and craft) available from Bonn knives, craft gine ‘Accord Arts and Crafis sandpaper, wax, mylarand (042) 834 165. ctate for making stencils AUSTRALIANA are avalible fom folk st TEA CADDY and craft shops, Specific Timber te caddy avaiable product information and fom Jes Crt Shoppe, contact telepione numbers cnr of National and Sixth have been included. Aves, Loftus NSW 2232 PAINT SUPPLIES (02) 542 3298. Jo Sonja retarer and sealer TEA-TIME TRAY | and Jo Sonja anists’ paints Large timber tray available are distributed by Chroma from Timber Turn ‘Acrylics (02) 457 9922. (08) 277 5056 Matisse Folk Ant products PORCELAIN TEA SET are distributed by Matisse celain stems available Derivan (02) 736 2022. David Jones. The pieces wer’ bought separacly, and were not pan of a et | FLORAL FOOTSTOOL Pine footsiool witt cushion aaa Insert from The Painted cate 2) CPN Garden, 1/16 Ingleburn Liguitex paints are oxi, Ingleburn NSW 2565 distributed by Binney and (02) 829 2201, Smith (03) 9560 5633. Folk Art paints are distributed by Myast (02) 558 5544, Americana pain dlistibmted by Pioneer RUSSIAN FLORAL TRAY Burnt Umber oll paint and Timber tay available from antiquing patina are Wikdwwood Straw distributed by Art Basics 7 Anchor Court, Mermaid ‘Waters Queensland 4218 (075) 727 7831 02) 807 2222, A HEARTY COLLECTION Rustic heart shaped box VICTORIAN ROSES | ON CERAMIC BASE, Less Emerprises Ceramic Lamp base ancl shade available from | pam 19 diate a FEN AND WASE Centre, 14 Moore Street, ‘WenCCene BEART ‘West Lindfield NSW asoniea sie Salona fom lonond Decorative | | Asi, Shop 1 Rebeca FAECHWORK | Parade, Winston Hills NSW Be | 2153 (02) 624 6851 availble from More or LOVE, LAUGHTER AND FRIENDS NSW 2575 (as) 712 153, large erafiwood hear SG S0'SCAEY available at Lugarno Craft SCARECROW Cop semect, SOF agi, fiverod 397210, Tabe cut ous aa (a) 504 IM. Collectables, 1 HORIOOM LIES _—_Barholomew Sreet, Timber ry tadsbe at facond South Atal Timber Turn (05) 295055, 3053 CO 294563Gor BOSS SE foe 50 |Z 0Qe eS 200 e@ Qo ® ° 8 ° Qo 2 69 © & °Oo COVES 900 Qa oa “ 2 oOo a Oke BOLooe @er0eNOT-SO-SCARY SCARECROW Design Outline( \ NG Design Outline Enlarge to suit size A HEARTY COLLECTIONg Zz z a 2 4 : s g e e ss o ic we 2° aa 62 ca Oa ge vu oe = q [eaAUSTRALIANA TEA CADDY AUSTRALIANA TEA CADDY Design Outline for Left Hand Side Design Outline for Lid Enlarge to suit size Enlarge to suit sizeAUSTRALIANA TEA CADDY Design Outline for Right Hand Side Enlarge to suit sizesel) e 658 CED we? ee gt [8 ee, 0%. 208 oss OFS (9)PATCHWORK SAMPLER TRUNK Design Outline for LaceworkRS BGOTEA FOR TWO Design Outline for Sugar Bowl COPYRIGHT EXPRESS PUBLICATIONS PTY LTD. 96 FOR PRIVATE USE ONLY TEA FOR TWO Design Outline for Teapot TEA FOR TWO Design Outline for Milk Jug Se nTTTTTNDIE aT IDTEa ITT frac NUT En C aby Te | VICTORIAN ROSES ON CERAMIC BASE S Y } Design Outline for Lampshade : | os SEIN TIS ES Ze Sie ee NN ee ee ( “\