Page 83 - The Decorative Painter Spring 2016

PROCEDURE
STAGE ONE - MAP 3
I paint in four stages. This is the application of paint
to create the design, form and temperature. When fin- ished with stage one the flower should be well blended, showing growth lines (softened streaking), showing con- trast between the lights and darks, and no distinctive line between values. When finished the lights will not be as light as you want nor will the darks be as dark.
STAGE TWO - MAPS 5 AND 6
Stage two is painted while the surface is still wet. This is adding higher lights, darker darks and strengthening the accents. You might want to clean up the background at this time but this can be done when the background is painted. If you want to do it now dip a clean, sharp chiseled flat into Winsor-Newton Blending & Glazing Me- dium (B&G), pinch-wipe and, painting on background,
PAINTING TIPS
PALETTE: I like to mix on safety glass with the color of the background under the glass. This way I will know that my val- ues will work on this color. Adjustments are minimized. Paint a cardboard piece that is the size of your glass Black Green. Put into palette keeper and place the safety glass on top or use a 12" x 16" waxed palette.
MR STICKEY: Stretch out to make pliable then flatten out. This is used to remove paint from rakes and mops without using turpentine. You can also ball it up then use to pick up wet paint placed where you don’t want it. When Mr Stickey is covered in paint, fold into itself, stretch out, fold and repeat until the surface is clean. Eventually it will end up the color you have used the most.
RAKE: Use this brush to blend the applied colors after chisel blending between values. IMPORTANT: You must wipe the brush on Mr. Stickey after each stroke or you will carry color where you do not want it! The 1⁄8" rake will move paint more readily. The 1⁄4” rake is used over larger areas – it will not move the paint as much as the 1⁄8” size. Use to soften the top layer of paint – like a mop.
If the rake cannot move the paint then you have not used enough paint – reapply values and proceed. If the rake blends the values together, creating the appearance of one or two val- ues, then you have used too much paint. Place a single ply of tissue over the surface and brush over, lightly. This will remove a significant amount of paint. Reapply values, if necessary, and proceed with rake.
BLENDING VALUES: Apply all the values listed. By strad- dling the line with your flat brush (choosing the size that best fits the space) soften where they come together, losing the hard line, by making small “X” overlapping strokes. Pinch-wipe brush often on paper towel so as not to carry paint into ar- eas that you don’t want it to appear. If you don’t, the colors get muddy and your lights will be where the darks are and vice
clean up edges around the Calli. Pinch-wipe the brush often so as not to carry color, re-dipping in B&G as nec- essary. Add vein lines according to Map 6. Dry painting.
STAGE THREE
This stage is painted on a dry surface. This is the glaz- ing stage and the purpose is to enhance by lightening, darkening or adding more tints of color. It is similar to stage two but when it is done on a dry surface the colors will hold better. You may thin the paint down slightly, if necessary, by loading brush in B&G, pinch-wiping out and loading in the paint.
STAGE FOUR - MAP 6
Paint the background using this opportunity to do any
reshaping of Calli and stem as necessary.
OIL
versa. Do not rake until this is done. The design will have an overall softer look with the direction of growth clearly estab- lished. Rake and the values will soften together and will not be so distinctive. This is preferable! If lighter or darker values disappear you can reapply gingerly and rake but do not overdo as you do not want the flower to appear heavy.
PINCH-WIPE: Place brush between two pieces of paper tow- el. Holding towel between thumb and first finger apply pressure as you draw out the brush. This removes excess paint, strength- ens the flatness of the brush and protects the chisel edge.
GLAZING TECHNIQUE: Apply Winsor & Newton Blending & Glazing Medium (B&G) to brush and pinch-wipe. Load with lightest or darkest values to add higher lights and darker darks. This is not repainting – just deepening or lightening areas that would not hold before. Blend edges into the background paint with a flat as the rake will not move this paint.
REDUCING GLASS: As you are painting, you need perspec- tive on how the colors and values are coming together. Usu- ally you place the painted piece several feet away to judge it but there is an easier way! Viewing your painting through the glass tells you immediately if you are on the right track or need to make adjustments.
DRYING: I often will place my painted piece in my oven to dry overnight. Turn oven on to lowest setting. When temperature is reached turn off oven and turn on oven light. Place piece on middle rack and shut door. Place a note on the oven door as a reminder! Next morning it should be dry.
CERAMIC TILE: To preserve paints for future sessions place oil mixes and values on the tile. Cover well with plastic wrap and press down around the paint. Place in freezer to preserve.
JO SONJA’S BRUSH SOAP will clean up paint even if dried. Soak for 5 minutes or so and clean with water. This soap is also a conditioner and will not affect sables.
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The Decorative Painter • ISSUE NO. 1, 2016 81