In lieu of flowers - Society of Decorative Painters

In Memory
Obituaries of Society members
Beth Browning
Beth Browning died on May 23, 2006, after a
long and courageous battle with cancer. A
member of SDP since 1975, Beth was a past
SDP board member and was also an active
member of the Society of Craft Designers
(SCD) and the Stencil Artisans League Inc.
(SALI), serving on various committees for the
three organizations. Teaching classes and
leading business discussions at conventions kept Beth busy,
but she always had time to chat with an old friend or meet a
new one. With a talent for painting and writing, and with an eye
for good design, Beth founded the Decorative Arts Digest in
February 1986. As the editor for more than 13 years she saw
many changes in the magazine, including the name change to
Decorative Arts Painting and later to Painting. The mother of
three children, Beth always found time for painting and teaching as well as being in charge of Extrav, a painting convention in
Orlando, for several years. Throughout her life she supported
and encouraged artists. As a correspondent for the Orlando
Sentinel she authored the “Osceola County News Creative Corner” column. Beth came into my life many years ago at a press
event. Although I was a novice at the time, she treated me with
dignity and respect. As I came to know her I learned that this
was just the way Beth was: always willing to give the newcomer a chance. Truly she was a wonderful person and one
who will never be forgotten.
—Nancy Snellen
Ellen Stamilio CDA
Ellen Stamilio CDA, a member of the Pennsylvania Mountain Laurel Chapter, lost a courageous battle with cancer on May 15, 2006.
Ellen received a bachelor’s degree in education with an art minor. While living in Illinois
in 1977 she discovered the world of decorative painting. In short order she was teaching
classes, earning a reputation for being a generous and sharing educator. Ellen became a member of the SDP,
received her CDA and won many awards as a juried member of
the Pennsylvania Guild of Craftsmen. Her unique style of folk art
painting led to the publication of her book, Touchstones, and the
foundation of her successful packet design firm of the same
name. Her designs have been printed in numerous national
painting publications, and her original artworks were featured at
both the White House and Blair House, the vice president’s residence. While Ellen’s design work incorporated various old
world European styles, as well as techniques used in Early
American folk art, it was refreshingly unique and created a
sense of warmth and whimsy. Favorite subjects included
angels, flowers and fruits, her favorite cat friends and scenes
from her beloved Pennsylvania countryside. The outpouring of
affection and well wishes sent in the form of cards, letters and
phone calls during the nine months of her illness only goes to
show that her work and artistic influence will live on in all those
whose lives she touched with her quiet elegance, sharing heart
and uncompromising artistic vision.
—Susan Stamilio
Anna Maria Jones, Sage Brushes chapter
member, died June 2006. She resided in Odesssa,
Texas.
Jean Metcalf, Tucson Decorative Painters
Guild member, died May 2006. She resided in
Tucson, Ariz.
June Seay, member of Central Oklahoma Tole
and Decorative Painters (Tole Diggers), died
June 2006. She resided in Oklahoma City, Okla.
Send “In Memory” notices to The Decorative Painter,
attn. In Memory, 393 N. McLean Blvd., Wichita, KS 672035968 or e-mail TheDP@decorativepainters.org. Please
include full name, date of death, city of residence and
involvement in chapter(s) or painting industry, if applicable.
In lieu of flowers,
consider contributing memorials in
honor of your friends or family to the
Society of Decorative Painters.
Pieces of artwork or funds may
be sent to: SDP Foundation,
393 N. McLean Blvd.,
Wichita, KS 67203-5968.
If you remember SDP in your estate
plan, you can be assured that all
donations will be used to support
SDP’s mission and the future of
decorative painting. All SDP
Foundation gifts are eligible for tax
deducations.
The Decorative Painter
Issue No. 5, 2006 121
Certification Corner
Jan Pierson MDA
Certification Committee chair
Tips & Hints
re you satisfied with your painting skills? Do
you find yourself looking at other paintings
and wonder why they look so outstanding
compared to your own work? Your family and
friends are wonderful for support and boost your
ego, but can they give you an honest and knowledgeable critique of your work?
The answer to your questions may be the Certification Program. This program was developed
as a method of self-education. It offers an applicant the opportunity to have his or her painting
skills evaluated against a predetermined standard
of excellence by a panel of Master Decorative
Artists. This program is a test of your ability to
use the correct principles of painting in a design.
We need to study when we take any kind of test
and that is what this program is: a test, not a
contest.
When you enter this program it is something
that you have to do yourself. You alone must
think it through. You cannot go to your friends
to get ideas or help. It is a very private and personal achievement and one that is so thrilling to
have accomplished. However, here are some
wonderful tips and hints from CDAs and MDAs
to use whether you are working on a Certification piece or a design of your own.
A
Arlene Beck MDA
■ I always did one or two preliminary workup
boards when I started. That way I knew where I
was going, so I wasn’t making any changes on the
real thing!
■ Paint clean, paint in colors that you like,
take a deep breath and don’t get too hung up on
the rules.
Shirley Nan Ruchong CDA
■ If the prep of your surface leaves something
to be desired, start over! You will have a hard
time fixing it later.
■ Mix your colors on a glass or piece of acetate
that rests on a palette-sized piece of cardboard
painted in your background color. This enables
you to check the color immediately.
■ Reduce the pattern and trace onto a prepared surface. Use this sample to try out your colors and firm up your mixes. Paint the design
relatively quickly—it is not necessary to paint
extremely well to see how the color will travel.
■ For the Master Floral, apply different types of
leafing to a matte frame and antique. Place it
against your surface to decide what colors would
work the best. I suggest that you do the leafing
and antiquing before painting the design in oils.
Seal to protect before handling.
■ When using white graphite on a light background, rub, with your hand, common house dust
over the graphite and it will appear gray and
make it easier to see. The background must be
well cured before this will work.
■ To cut down on “grungies” in your sprayedon varnish, wet an expendable bath towel and
lay in a protected area where you plan to spray.
Place a nonporous shallow object (such as a
plate) under the surface to raise it up off the
towel. Spray as usual. You will find that the wet
towel captures the floaters in the air and they
will not land on your surface.
Barbara Jenkins CDA
The first thing I do is get all the information
I can find on the subjects in the painting books. I
do a lot of reading about painting techniques so I
can refresh my memory. I also try to find the
objects (usually on eBay) so I can photograph a
setup for a still life.
■ I do a colored pencil rendition of the painting using several color schemes. Once I have settled on an idea, I do a color workup on a small
piece of wood or masonite just to get the color
flow and color position within the painting.
■ During the painting process, I use my digital
camera to take black-and-white pictures to
check value change as I go.
■
MENTORS AT
YOUR SERVICE
Who better to provide
advice on the Certification
Program than the artists
themselves? Ten Certified
and Master Decorative
Artists offer nearly 30
hints to improve your
chances of earning your
Certification designation,
as well as improve your
overall painting skills.
Ginko Otaka MDA
Purchase your portfolio as early as possible
and then make a plan. Give yourself enough
time to review, refine and varnish.
■
The Decorative Painter
Issue No. 5, 2006 123
When you paint long
■ Post the line drawing everyadjustments in the color before you
where in your house, in front of
start the actual painting.
■ For a stroke design, trace the
your kitchen sink, on your painting
design elements but use only a sintable, in the bathroom, and etc.
gle line to indicate the curve and
Study the design and get a feeling
length of the strokes and linework.
of where you want the light to
Make multiple copies of this traccome in, the color scheme, the
ing so you can use them to practice
center of interest, etc.
■ For the stroke design, proof
your strokes and linework. This
your tracing and make sure that
helps you learn the curve of the
you have included every element.
strokes and linework and continues
Study the design to understand the
to keep you familiarized with the
flow of the strokes.
flow of the design. Two months
■ Check the symmetry of your
prior to painting the actual test,
—Ginko Otaka MDA
strokes in a mirror. Having a big
start practicing your strokes and
mirror in your painting room and
linework by doing half of the
looking at the reflection of the design is very helpful.
design every morning and then the other half that same
■ To choose a color scheme try using acetates. Trace the
night. Repeat this process every day if possible.
■ Try to keep in mind: this is a learning process and your
line drawing on the acetate sheet by using a black fine-line
marker. Place the acetate over your background and paint art evolves. If you don’t pass, it doesn’t mean your painting
samples of your colors on it. This way you can try many is not any good, it means your work needs improvement to
combinations of color schemes and background combina- meet the standard that it has been judged by for that particular category.
tions because the acetate is easy to wipe off.
■ When you paint long linework, the direction of your
Jean Archer MDA
eyes is very important. It’s like driving a car—you look at
■ Copy the design on a transparent film. Before varnishwhere you are going, not where you are. Don’t look at the
ing, lay the transparency over your painting to make sure
point of the brush; look at the line’s direction so the brush
you have included every element of the line drawing. Havcan be stroked smoothly with a natural flow.
ing to reduce a score for a forgotten leaf or tendril on an
■ For a still life category, the setup is very helpful and
otherwise passing entry is heartbreaking for the judges.
important. You can confirm the form and shadows. Even if
you do not have the same items, you may make a similar Jan Pierson MDA
■ If you are having difficulty with a color you’re using in
form of the object by piling dishes, cuttings of Styrofoam,
clay forms and so on. If you don’t know how a shadow may your design, try laying different objects around your home
lay from a tendril try using wire.
of various colors on your background. Stand back and
■ For the floral category, try a variety of leafing on a
view. You may find a color that is more compatible to your
piece of acetate to test different colors of antiquing before background than the one you first chose.
you do it on your final board.
linework, the direction of
your eyes is very important.
It’s like driving a car—
you look at where you are
going, not where you are.
Gayle Oram MDA
Elaine Russell CDA
■ Shrink your design to the size of a regular sheet of
paper. Copy the design onto acetate with a permanent
pen. Paint the color scheme you have chosen onto the
objects, not exactly, just to see the progression of lights to
darks on each object. Use folders cut in half to paint different background colors on. Lay the painted acetate over
these backgrounds and you’ll find the best match. This is a
huge help when doing a test board.
Suzanne Foy CDA
■ Do a color workup. First do some color workups with
colored pencils. When you have one that you think has a
good color flow, try it painted on some poster board. This
process will really give you a head start on how the color
will look before you start to paint and you can make
124
The Decorative Painter
Issue No. 5, 2006
■ Tape a copy of the design on your kitchen cupboard,
bathroom or any place you spend a lot of time so you
become familiar with the design. Make notes on it while
you are washing dishes or doing other everyday activities.
■ Remember what your mother told you: practice makes
perfect. Practice your strokework; one stroke will do it!
Yuki Nishizawa MDA
I always think that the first impression I see in the
design helps achieve my painting. Sometimes it is the
color of the center rose, or it is the color of the background. Remember your first impression! y
■
Achieve Certification
To order a Certification portfolio, use the order form published in
The DP (July/August issue 4, 2006) or call (316) 269-9300 ext. 114.
Certification Showcase
■
Society members’ passing entries
Sachiko Sato CDA
Akimi Fujita CDA
Tochigi, Japan
Master Decorative Artist
Floral
Kanagawa, Japan
Master Decorative Artist
Floral
Barbara Jenkins CDA
Mami Ando CDA
Mississauga, Ontario, Canada
Master Decorative Artist
Floral
Gifu, Japan
Master Decorative Artist
Floral
Hiroko Okada CDA
Chieko Yuguchi CDA
Osaka, Japan
Master Decorative Artist
Still Life
Ibaraki, Japan
Master Decorative Artist
Still Life
Advertisers at a Glance
this issue’s supporters
Goods and Services
The Decorative Painter
accepts advertisements
from reputable advertisers that are SDP business members. Despite
the care with which the
advertising department
screens photographs
and text submitted by
its advertisers, it can’t
guarantee quality of
services advertised in
its pages or offered for
sale by its advertisers.
It can’t accept responsibility for misunderstandings that may arise from
purchase or sale of
objects or services
advertised in its pages.
All American Crafts................................120
www.allamericancrafts.com
Ampersand ............................................126
www.ampersandart.com
AppleCheeks Publications .....................108
www.judymorgan.com
Artful Endeavors ....................................108
www.artfulendeavors.net
Banbury Fair...........................................112
www.banburyfair.com
Bitsnbobs...............................................108
www.bitsnbobs.com
Bruce’s Woodworks.................................88
www.bruceswoodworks.com
Calico Brush Holder ...............................108
bestbrushholder@aol.com
Chroma...................................................108
www.chromaonline.com
Coup de Pineau......................................126
www.passioncouleurs.com
DecoArt Inc. .............................................57
www.decoart.com
Della and Co...........................................108
www.dellaandcompany.com
Delta Creative.........................................111
www.deltacrafts.com
Distinctive Brushstrokes........................109
www.distinctivebrushstrokes.com
Dux’ Dekes ...............................................99
www.duxdekes.com
Folk Art Enterprises..................................88
www.folkartenterprises.net
Gayle’s Art Enterprises ..........................110
www.gayles-art.painters.life.co.jp
General Pencil Co. .................................118
www.generalpencil.com
Heart of Ohio Tole Inc.............................118
www.heartofohiotole.org
Home to the Heartland Seminars...............8
www.decorativepainters.org
Homestead Designs...............................109
www.homesteaddesigngourds.com
Janelle Johnson CDA ..............................109
www.janellejohnson.com
Kauffman Museum ................................109
www.bethelks.edu/kauffman
Karl-Heinz Meschbach ...........................110
www.karl-heinzmeschbach.com
Kingslan and Gibilisco Decorative Arts......99
www.kingslan.com
Kumi Pickford Designs...........................110
www.kumipickford.com
Liliedahl Fine Art Studio ...........................49
www.lilipubs.com
LuminArte Inc. .........................................48
www.luminarteinc.com
New England Traditions Convention......112
www.newenglandtraditions.org
Painter’s Corner .....................................112
www.ddent.com
Painter’s Paradise.....................................88
www.paintersparadise.com
Pumpkin Ridge Design...........................109
www.pumpkinridgedesign.com
Royal Brush Mfg. ...................................116
www.royalbrush.com
Stan Brown’s Arts & Crafts ...................122
www.stanbrownartsandcrafts.com
Steph’s Folk Art Studio ..........................118
www.stephsfolkart.com
Sue Bailey Publications .........................109
www.suebaileypub.com
Susan Scheewe Publications ................IBC
www.painting-books.com
Thurmond’s Ltd. .......................................99
www.thurmondsltd.com
Tole Country..............................................88
www.tolecountry.com
Vesterheim Norwegian-American
Museum.................................................112
www.vesterheim.org
Village Designs.......................................110
www.deerhurst.com/village
Zim’s Crafts .............................................BC
www.zimscrafts.com
Skiillbuilder
Acrylic
Letter Perfect
Patti Euler
tampbord is an amazing super-smooth clay-coated surface that can be
used with all types of paint such as watercolors and acrylics, rubberstamp inks, markers—-just about anything you own. Teamed with this
beautiful floral alphabet set used for your pattern, this makes for a quick,
easy and elegant project for yourself or gift giving.
S
STEP 1
Ink the rubber stamp with black waterproof ink. Stamp the image onto a
2-by-2-inch Stampbord tile.
STEP 2
Paint your floral design and letter with Twinkling H2O’s using a light wash.
Then, apply additional color to deepen and shade the image parts. Let the
surface dry completely.
STEP 3
With a scratch knife tool, scratch into the surface to create fine detail
lines and highlights. Add glitter to the finished art. Attach a pin back and your
art is ready to wear!
SUPPLIES
Ampersand Art Supply: Stampbord 2-by-2-inch Tiles, Scratch Knife Tool,
Claybord Fixative, www.ampersandart.com
Serendipity Stamps: Floral Alphabet set 5261FCL & 5262FCL,
www.serendipitystamps.com
Luminarte: Twinkling H2O’s Wine & Roses, Playful Peony, Kiwi, Scarab
Beetle, African Jade, wwwluminarteinc.com
Plaza Art: Princeton Arts 4050 Series Watercolor brush #2 round,
www.plazaart.com
Art Institute Glitter: Butterfly ultrafine transparent glitter, Designer dries
clear Adhesive, www.artglitter.com
Clearsnap: Ancient Page Waterproof Ink, Coal Black, www.clearsnap.com
Jewelry Finding: Suze Weinberg’s Perfect Pin Backs,
www.schmoozewithsuze.com
You may write to Patti at The Queen’s Ink, 8600 Foundry St.,
Savage, MD 20763 or e-mail queens@queensink.com.
128
The Decorative Painter
Issue No. 1, 2005