Vesterheim

Vesterheim
Norwegian-American Museum
New! 2006 Rosemaling Card
Designed by Vesterheim Gold
Medalist Eldrid Arntzen. Each
comes in a package of eight
cards and envelopes.
With Christmas greeting
in Norwegian and English.
DP3392 $9.95 + shipping
Without greeting.
DP3393 $9.95 + shipping
Rosemaling By Lars Stana.
Full color pictures and
patterns. Hardcover, 120 pp.
DP2767 $65.00 + shipping
To order call 1-800-979-3346 or 563-382-9682 or check on-line at <www.vesterheim.org>.
New Videos From Dorothy Dent!
ACRYLIC TECHNIQUE SET OF 5
3-ACRYLIC LANDSCAPES
5-FLORAL & STILL LIFE IN OIL
4-LANDSCAPES IN OIL
Check the website for full color and ordering
information. Videos and DVDs available now!
Painter’s Corner, Inc.
107 W. Hwy 174, Republic, MO 65738
Phone: 417-732-2076 Fax: 417-732-1127
E-mail: ddent94587@aol.com
“The Copper Kettle”
www.dorothydent.com
Painter’s Paradise
C-10 950 Ridge RD
Claymont, DE 19703
(302) 798-3897
Fax (302) 798-0224
2006 Seminars
November 10-12
Ann Kingslan MDA
December 1-3
Johnnie Liliedahl
2007 Seminars
January 12-14
Brenda Stewart CDA
March 14-18
Maureen
McNaughton CDA
September 26-30
Ros Stallcup
Ann Kingslan MDA
seminars held in
Wilmington, DE
www.paintersparadise.com
Cheryl Zeichik
combines
Christmas,
painting and
music (she’s a
harpist!) into this
lesson. Only the
ornament instructions
are given here; please
contact her if you would
like the instructions
for the harp.
Ornaments
Acrylic
Musical
ORNAMENTS
designed by Cheryl Zeichik
SURFACE
The round wooden ornament
(item no. 99-003) and teardrop
wooden ornament (item no. 99-005)
are available from Zim’s Inc., 4370
South 300 West, Salt Lake City, UT
84107, (800) 453-6420, www.zims
crafts.com. Different shapes of bisque
ornaments, such as the oval one I
used, may be found at Jo-Ann Stores
and Michaels.
The Harpsicle harp is available
from the Sylvia Woods Harp Center,
915 N. Glendale Ave., Glendale, CA
91206, (800) 272-4277, www.harp
center.com.
PALETTE
DELTA CERAMCOAT ACRYLICS
Black (TCS BK-5-1-9)
Black Cherry (TCS RE-6-4-8)
Black Green (TCS GR-5-3-9)
Deep River Green (TCS GR-3-5-8)
Green Sea (TCS GR-5-4-6)
Light Ivory (TCS WH-8-2-2)
Napthol Red Light (TCS RE-6-2-6)
Royal Plum (TCS RV-5-8-9)
Straw (TCS YE-5-5-5)
White (TCS WH-5-1-1)
DECOART AMERICANA ACRYLICS
Cadmium Orange (TCS RO-5-1-7)
Tangerine (TCS YO-5-1-4)
DECOART DAZZLING METALLICS
Glorious Gold
BRUSHES
ROBERT SIMMONS BRUSHES
Sapphire Series S51, no. 10/0
liner or Tolemaster Series T51
no. 10/0 liner
Bless your tree
with music-themed
beauties.
Tolemaster Series T85 no. 3 round
LOEW-CORNELL INC.
Series 798 White Nylon 3⁄4-inch
flat (if applying a water-based
varnish)
Series 7400 1⁄4-inch angle shader
SUPPLIES
3
⁄4-inch Scotch tape
Chartpak Transfer Rub-On
Letters (24-pt. Commercial
Script)
Cotton swabs
Dressmaker’s measuring tape
J.W. etc. Right-Step Waterbase
Varnish (satin) or Krylon Spray
Varnish (satin)
Job Squad paper towels
Old brushes for basing
Pencil
Small sanding oval or paper
Sponge makeup wedges
Stylus (medium and small sizes)
Super Chacopaper (blue)
Tracing paper
Water basin
Waxed palette pad
Wood glue
Wood sealer
PREPARATION
Take the wooden ornaments
apart, then apply wood glue around
the inside edges to permanently glue
the ornament together. Let dry. If
the seam is uneven, use the sanding
oval or paper to smooth the edges as
much as possible. Seal the wood
then sand. The bisque ornament
needs no preparation. Pour a large
puddle of Light Ivory on to the
palette pad. Dip a makeup sponge in
to the puddle of paint. Gently
pounce all over the ornaments to
basecoat. Repeat until you have
opaque coverage. The ornaments
should have a soft eggshell finish.
Let dry. Base the hanger part of the
ornaments with Glorious Gold. Let
dry. Transfer the designs with Chacopaper and a small stylus.
PAINTING TIPS
■ After a design is transferred,
apply the rub-on letters. On the
teardrop ornament, apply the letters
after the Light Ivory strip is painted.
To protect the letters while you are
painting the rest of the design, use
the no. 3 round brush to apply two ro
three coats of varnish just over the
letters. Let dry.
■ To measure the strips on the
teardrop ornament, it is easier to use
a dressmaker’s measuring tape than a
straight ruler.
■ A dimensional technique that
you might like to try is to layer the
paint. I applied at least seven layers
of paint to each element of the
The Decorative Painter
Issue No. 6, 2006
83
designs creating an embossed look to
the design.
■ When shading and highlighting,
apply layers of floats instead of one
heavy coat of paint.
LET’S PAINT
OVAL ORNAMENT
Using the liner, basecoat the ribbon with Napthol Red Light. No shading or highlighting is done on the
ribbon. Using the no. 10/0 liner and
Glorious Gold, line the full length of
each curled scroll line. The Glorious
Gold can be transparent. You may
need to go over the linework more
than once. With the no. 3 round,
make a comma-stroke on the end of
each curled scroll line, carefully joining the comma-stroke in to the line.
Base the holly leaves with Green
Sea. Using the 1⁄4-inch angle brush,
shade the leaves with Deep River
Green. Highlight the leaves with
White. If you use too much White,
wash some Green Sea back on to the
leaf. Shade a second time with Deep
River Green at the base of the leaves.
Also use Deep River Green to glaze
the leaves where needed, to tone
down the White and separate the
leaves one from another. With the
no. 10/0 liner and Glorious Gold,
make a long comma-stroke in the
center of the leaves for a center vein.
Following the shape of the leaves,
make small side veins. With Black
Green, shade a third time along the
shade side of the long comma-stroke
vein, at the base of the long commastroke vein and in the deepest areas
of the leaves. Use the liner and Black
to make the small holly points on
the ends of the leaves.
Using the medium end of a stylus
and Napthol Red Light, dot the
berries. You may like to try the layering paint technique when doing
these. Dot the paint on to the wood.
Let dry. Dot again. It is important to
let each dot dry thoroughly before
applying the next dot. Be careful not
to indent the dot of paint that has
84
The Decorative Painter
dried when you add subsequent dots
of paint. With the small end of a stylus apply a highlight dot with Glorious Gold.
ROUND ORNAMENT
Use the no. 10/0 liner and Napthol
Red Light to base the ribbon. Base the
leaves with Green Sea. Base the holly
vines with Black Green.
With the 1⁄4-inch angle brush and
Black Cherry, shade the ribbon by
floating. Walk the color out. Shade
over the Black Cherry with Royal
Plum. Do not walk the Royal Plum
out as far as you did the Black Cherry.
Highlight the ribbon with Cadmium
Orange, walking the color out. Highlight over the Cadmium Orange with
Tangerine. Do not walk the Tangerine
out as far as you did with the Cadmium Orange. Highlight over the
Tangerine with Straw. Do not walk
the Straw out as far as you did with
the Tangerine. Lightly glaze over the
whole ribbon with Napthol Red Light.
Be careful not to glaze so much that
you lose the highlights. The glaze
will tone down the Straw and pull all
the colors together. Varnish over the
ribbon to protect it while you paint
the leaves.
Paint the leaves using the same
steps as on the oval ornament. Using
the small end of a stylus, dot on the
berries. Highlight them with dots of
Glorious Gold.
TEARDROP ORNAMENT
Basecoat the Light Ivory strip. The
strip is the same width as doublewide 3⁄4-inch Scotch tape. Center a
long piece of tape over the center
seam. Use a pencil to draw a line on
each side of the tape the circumference of the ornament. Remove the
tape. Using an old brush, base the
strip with Light Ivory.
On each side of the Light Ivory
strip, use the no. 10/0 liner and Glorious Gold to paint a 1⁄16-inch-wide
stripe all the way around the ornament. Using a large old brush, base
Issue No. 6, 2006
the rest of the ornament with
Napthol Red Light.
On the bottom tip of the ornament, paint a 1⁄4-inch-wide gold
band. From the tip of the ornament
measure up 115⁄16 inches and, with the
pencil, draw a line all the way
around the ornament. From this line,
measure up 3⁄16 inch and draw another
line. These two lines form another
stripe, which you should basecoat
with Glorious Gold.
Apply the lettering following the
instructions in Preparation. Transfer
the designs on to the top and bottom of
the ornament. Paint the leaves using
the same steps as the oval ornament.
Dot the berries on to the ornament using the end of the 3⁄4-inch flat
brush. I used the layering of paint
technique described in the the oval
ornament instructions. Using a
floated C-stroke, shade around the
base of the berries with Black Cherry.
Deepen the shading with Royal Plum.
Add a highlight dot using the small
end of a stylus and Glorious Gold.
Below the 3⁄16-inch gold band there
are six scrolls evenly spaced apart.
Just above the gold tip on the ornament, there are three scrolls evenly
spaced apart.
FINISHING
Apply water-based varnish using
the 3⁄4-inch flat brush. If you prefer,
you may use spray varnish. y
Artist’s Sketch
Cheryl Zeichik CDA
has been painting
since 1988 and
became a Certified
Decorative Artist in
1992. Her designs
have been published in
major decorative painting magazines
and she has painted ornaments for
SDP’s donations to the White House,
Blair House and Longwood Gardens.
You may write to Cheryl at 19400
Wyandotte St. #37, Reseda, CA
91335.
Ornaments
Acrylic
Color Step by Step
RIBBON
Basecoat with Napthol Red Light.
Shade with Black Cherry and Royal Plum.
Highlight with Cadmium Orange, Tangerine
and Straw. Glaze with Napthol Red Light.
HOLLY LEAVES
Line the vines. Base the leaves and berries. Shade and highlight the leaves.
Add a second leaves shade.
Add veins to the leaves.
OVAL ORNAMENT
ROUND ORNAMENT
Add a third shade to the leaves.
Add holly points. Shade the
large berries and dot on
the highlights.
Finished Design for Small
Holly and Ribbon Motif
The Decorative Painter
Issue No. 6, 2006
85
Very Light Highlight
Highlight
Shade
Center line on ornament.
Cut Out
OVAL ORNAMENT
Overlap
TEARDROP ORNAMENT
Center between : and ...
ROUND ORNAMENT
Ornaments
Acrylic
Nature Study: Butterfly
Sherry C. Nelson MDA, TDA
utterfly wings consist of thousands of tiny overlapping scales,
like shingles on a roof. Each one
refracts light, creating a luminous
iridescence. You can create this look
with oils by stippling the paint with the
tip of a round brush. The tiny peaks
thus formed make the wing appear iridescent. The red spots for which this
butterfly is named appear on the underside of the wings. Blue iridescence is the
dominant effect on this dorsal (top)
view of this common American RedSpotted Admiral Butterfly.
B
PALETTE
WINSOR & NEWTON ARTISTS’ OIL
COLOURS
Burnt Sienna (TCS BR-6-2-5)
Cadmium Scarlet (TCS RO-7-1-6)
Cadmium Yellow Pale (TCS YE-4-1-5)
French Ultramarine (TCS Bl-5-1-6)
Ivory Black (TCS BK-5-1-8)
Raw Sienna (TCS BR-1-2-5)
Raw Umber (TCS BR-8-5-7)
Sap Green (TCS YG-3-2-6)
Titanium White (TCS WH-5-1-1)
Winsor Violet (TCS VI-5-1-7)
DELTA CERAMCOAT ACRYLICS
Cadet Blue (TCS BL-5-7-7)
BRUSHES
SHERRY C. NELSON BRUSHES
Series 303 nos. 0, 2, 4 and 6
red sable short brights
Series 312 no. 1 red sable round
SUPPLIES
220-grit wet/dry sandpaper
Liberty Matte Finish
Sponge roller
PREPARATION
Using a sponge roller, basecoat the
painting surface with Cadet Blue
88
The Decorative Painter
acrylic. Let dry. If applicable, sand with
220-wet/dry sandpaper. Recoat with
Cadet Blue. Let dry and sand again.
Spray with Liberty Matte Finish.
LET’S PAINT
FOREWINGS
■ Step 1: Use the no. 4 bright brush.
Basecoat the red areas of the forewings
with Burnt Sienna+Cadmium Scarlet.
Base around the red areas with Burnt
Sienna+Winsor Violet.
■ Step 2: Blend with the length of
the wing where values meet, using the
flat of the brush. Following the growth
direction as you blend, gradually allow
a few streaks to occur to indicate wing
veining. Base the margin of the wings
where the spots occur with Burnt
Sienna+Winsor Violet+Ivory Black. You
may carefully go around the tiny markings, or base over them. If you choose
to go over them, lay an accurate tracing of the butterfly on the wet surface
and draw over the spot shapes on the
tracing with a ballpoint pen, etching
the spot pattern back in to the wet
paint as shown. Add white spots with
Titanium White using the tip of a round
brush.
■ Step 3: Begin detail at the edge of
the wing. Create white scalloped
markings using the tip of the round
brush. Roll the brush to a point in Titanium White. Create each marking with
groupings of tiny straight lines laid
next to each other for a textured, fuzzy
appearance. Create the second row of
markings in the same way, using French
Ultramarine+Titanium White. The partial third row of red markings is done
the same, using Cadmium Scarlet+
Burnt Sienna. Finally, stipple (tapping
paint on with the point of the brush) a
small area of French Ultramarine+Tita-
Issue No. 6, 2006
nium White on the inner edge of the
wing where shown. Then flatten the
tip of the round between a fold of
paper towel. Use the flattened tip to
walk and tap the edge of the blue paint
upward, creating a value gradation as
well as the stippled texture that indicates iridescence.
HINDWINGS
■ Step 1: Use a no. 2 or bright brush.
Base the dark margins with Ivory
Black+French Ultramarine. Go around
larger markings on each wing. Shade
at the base of the wings near the body
with Burnt Sienna+Cadmium Scarlet.
■ Step 2: Lay the traced design on
the surface and draw over the small
wing markings with a ballpoint pen,
etching them in to the wet surface as
shown. Using a round brush, with the
point rolled in to French Ultramarine+
Titanium White, apply the blue markings as shown in a series of straight
lines. The markings should be uneven.
■ Step 3: Add detail markings beginning at the wing’s edges as you did for
the forewings. Use Titanium White for
the edge markings and French Ultramarine+Titanium White for the blue ones.
Stipple the wing sections above the
markings with French Ultramarine and
Titanium White again, as you did for the
forewing, using the tip of a round brush
to stipple on French Ultramarine+Titanium White initially, then tapping with
the dry, flattened tip of the round
upward to create a value gradation.
BODY
■ Step 1: Basecoat the dark portion
of the body with Burnt Sienna+Winsor
Violet. Base the light portion with
Burnt Sienna+Cadmium Scarlet.
Project | beginner
Oil
STEP 1
STEP 2
STEP 3
The Decorative Painter
Issue No. 6, 2006
89
Project | beginner
Oil
■ Step 2: Shade inside the body with
Ivory Black, creating curved markings
across the abdomen with the chisel
edge of the no. 2 bright brush.
■ Step 3: Highlight at the wing base
next to the body with Cadmium
Scarlet+Burnt Sienna. Add detail on
the body between the curved dark
markings using Raw Sienna+Titanium
White.
TROUT LILY (INNER PETALS)
■ Step 1: Using a no. 2 or 4 bright
brush, basecoat the upper half of the
petals with a dark-value mix of Cadmium Yellow Pale+Raw Sienna. Base the
light value using Cadmium Yellow
Pale+Titanium White.
■ Step 2: Blend each petal individually, with the growth direction of the
petals, where the values meet. Highlight with Cadmium Yellow Pale+Titanium White.
■ Step 3: Blend the highlights where
the values meet. You may stipple on a
bit of additional highlight mix with
the flattened tip of the round brush to
add texture, if desired, on the tips of
the inner petals.
TROUT LILY (OUTER PETALS)
■ Step 1: Basecoat the dark area
with Winsor Violet+Sap Green. Base
the rest of each petal with Cadmium
Yellow Pale+Raw Sienna.
■ Step 2: Blend each petal individually, with the growth direction of the
petals, where the values meet. Highlight the inner edge of each petal with
Cadmium Yellow Pale+Titanium White.
■ Step 3: Blend the highlights where
the values meet.
TROUT LILY STEM
■ Step 1: Basecoat the dark portion
of the stem with Burnt Sienna+Winsor
Violet. Base the light portion with Sap
Green+Raw Sienna+Titanium White.
■ Step 2: Blend slightly lengthwise,
where the values meet just to connect
the colors. Highlight in the center of
the stem just a bit with the light green
mix+a bit more Titanium White.
■ Step 3: Blend the highlight mix
just to soften.
TROUT LILY LEAVES
■ Step 1: Basecoat the dark portions
of the leaves with Ivory Black+Sap
Green. Base the light portions with Sap
Green+a little Raw Sienna+Titanium
White. Apply color sparsely, and break
edges where values meet.
■ Step 2: Blend where values meet
using the chisel edge of the no. 6
bright, following the lateral growth
direction of the leaf. Highlight with
Sap Green+Raw Sienna+a bit more
Titanium White. Lay this mix along the
edge of the rolled edge to define.
■ Step 3: Blend once more where
the values meet, following the growth
direction. Add a bit of texture by tapping with the flat of the brush, because
trout lily leaves are often very patterned. Add accent color with a bit of
Burnt Sienna+Winsor Violet, blending a
bit to soften in to the leaves. Add vein
structure with the chisel edge of the
brush and the light green mix. y
Artist’s Sketch
Sherry C. Nelson
MDA, TDA has been
painting and teaching
wildlife art for more
than 35 years. Extensive field work gives her
subjects the form and
feeling of their particular species. A popular workshop teacher, Sherry has combined her love of birds and animals and
her painting skills into a busy and productive career. She lives and paints on
37 acres of spectacular wilderness.
An active member of SDP since
1972, Sherry is past president of the
Society and received the prestigious
Silver Palette Award in recognition of her
promotion of decorative painting.
You may write to Sherry at The Magic
Brush Inc., P.O. Box 16530, Portal, AZ
85632. Visit www.sherrycnelson.com
for information about instructional
materials, seminars and supplies.
United States Postal Service Statement of Ownership, Management, and Circulation. 1. Publication Title: The Decorative Painter. 2. Publication Number: 015-823. 3. Filing Date: September 15, 2006.
4. Issue Frequency: Bimonthly (every other month). 5. Number of Issues Published Annually: 6 issues. 6. Annual Subscription Price: Not for sale to public ($20 dues supports subscription).
7. Complete Mailing Address of Known Office of Publication: 393 N. McLean Blvd., Wichita, Sedgwick County, KS 67203-5968. Contact Person: Cheryl Capps. Telephone: (316) 269-9300 ext. 112.
8. Complete Mailing Address of Headquarters or General Business Office of Publisher: Society of Decorative Painters, 393 N. McLean Blvd., Wichita, KS 67203-5968. 9. Full Names and Complete
Mailing Addresses of Publisher, Editor, and Managing Editor. Publisher: National Society of Tole and Decorative Painters (DBA Society of Decorative Painters), 393 N. McLean Blvd., Wichita, KS
67203-5968. Editor: Cheryl Capps, 393 N. McLean Blvd., Wichita, KS 67203-5968. Managing Editor: Cheryl Capps, 393 N. McLean Blvd., Wichita, KS 67203-5968. 10. Owner:
Society of Decorative Painters (not-for-profit organization), 393 N. McLean Blvd., Wichita, KS 67203-5968. 11. Known Bondholders, Mortgagees, and Other Security Holders Owning or Holding 1
Percent or More of Total Amount of Bonds, Mortgages, or Other Securities: None. 12. Tax Status Has Not Changed During Preceding 12 Months. 13. Publication Title: The Decorative Painter.
14. Issue Date for Circulation Data Below: September 2006. 15. Extent and Nature of Circulation. Average No. Copies Each Issue During Preceding 12 Months. A. Total Number of Copies (Net Press
Run): 26,000. B. Paid and/or Requested Circulation. (1) Paid/Requested Outside-County Mail Subscriptions Stated on Form 3541: 18,063. (2) Paid In-County Subscriptions Stated on Form 3541: 97.
(3) Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and Other Non-USPS Paid Distribution: 1,967. (4) Other Classes Mailed Through the USPS: 1,019. C. Total Paid and/or
Requested Circulation: 21,146. D. Free Distribution by Mail (Samples, Complimentary, and Other Free). (1) Outside-County as Stated on Form 3541: 0. (2) In-County as Stated on Form 3541: 0.
(3) Other Classes Mailed Through the USPS: 17. E. Free Distribution Outside the Mail (Carriers or Other Means): 11. F. Total Free Distribution: 28. G. Total Distribution: 21,174. H. Copies Not
Distributed: 4,826. I. Total: 26,000. J. Percent Paid and/or Requested Circulation: 99.87%. No. Copies of Single Issue Published Nearest to Filing Date. A. Total Number of Copies (Net Press Run):
26,000. B. Paid and/or Requested Circulation. (1) Paid/Requested Outside-County Mail Subscriptions Stated on Form 3541: 18,777. (2) Paid In-County Subscriptions Stated on Form 3541: 101.
(3) Sales Through Dealers and Carriers, Street Vendors, Counter Sales, and Other Non-USPS Paid Distribution: 2,122. (4) Other Classes Mailed Through the USPS: 0. C. Total Paid and/or Requested
Circulation: 21,000. D. Free Distribution by Mail (Samples, Complimentary, and Other Free). (1) Outside-County as Stated on Form 3541: 0. (2) In-County as Stated on Form 3541: 0. (3) Other Classes
Mailed Through the USPS: 17. E. Free Distribution Outside the Mail (Carriers or Other Means): 11. F. Total Free Distribution: 28. G. Total Distribution: 21,028. H. Copies Not Distributed: 4,972. I. Total:
26,000. J. Percent Paid and/or Requested Circulation: 99.87%. 16. Publication of Statement of Ownership. Publication required. Will be printed in the November 2006 issue of this publication.
17. I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits materials or information
requested on the form may be subject to criminal sanctions (including fines and imprisonment) and/or civil sanctions (including civil penalties). Cheryl Capps, Editor. September 18, 2006.
90
The Decorative Painter
Issue No. 6, 2006