Page 51 - The Decorative Painter Spring 2018

STROKEWORK AND FINE LINE DETAILING
With practice, it’s easiest to view the finished piece and freehand on the strokework. Graceful strokework does take hours of practice to make those nice smooth, even curved strokes, but once learned, the mind and hand follows forev- er more. It’s a fabulous way to fill in negative space on many different designs, especially florals. If you’re unsure, trace only the outer curve lines that I’ve made solid in the pattern. Dash lines indicate a floated load of faded away color. Fine line detailing is rarely done best by tracing it on. Refer to the pattern, decide your path and go for it.
Each of us has a comfort area that allows our wrist to function smoothly from point A-B. This is along the out- side of each curve. If you look at the examples, some are just a pair of opposing outside curves and others feed off alternately to cover a longer space or border. Use nos. 6 – 10 flat shade brushes and sideload the near side. To create the darker outside of each curve smoothly, turn/pivot the angle of the piece to keep my angle comfortable. Over the years, my left wrist has become an efficient turntable for
my work. If you are unsure you are holding the project to enable you to do the best stroke, always air-paint the stroke before you apply the paint to the surface. It's ex- tremely important to learn to pull these strokes in BOTH directions! Away (wider) in toward the design (skinnier) point, and skinny point toward the outside end. You need to practice this a bit, which is why on page 48 are some possibilities you could do on paper and then use for small- er pieces without any other design elements. Change your projects angle to suit the easier directional pull.
Note that there is always a graduated load of each curve, dark on outside and light on the inside. For mine, I used Antique Maroon. When all of the required broad strokes are in place, use a no. 1 liner brush to do the fine line detailing and comma strokes with Splendid Gold. Al- ways have the handle of the brush as near to perpendicular to the surface as possible to make a good fine line. Using the tip of the brush will allow the paint to track rather than splay. Do not try to follow the exact shape of any stroke. Let the detailing flow spontaneously – remember, practice makes perfect.
ACRYLIC
artist’s sketch
Jean Zawicki began rosemaling in the mid-1960s and took up teaching within two years. In the late 1960s and ’70s decorative painting caught on like wildfire, and there was great demand for classes. She joined SDP in 1976. From 1978 to 2008 Jean travel-taught, and to date she has written 29 books and dozens of packets. Jean held booths at SDP Conferences from 1978 through 2000. She finds it refreshing to have students who are interested in a large variety of subjects, especially her favorites: fruit and flowers. Currently, retirement allows Jean to indulge in her passion to create fired, hand-painted china and decorating her hoard of accent furniture for family. You can write to Jean Zawicki at 430 Louisiana Ave., St. Cloud, FL 34769; call her at (407) 892-6383; or email her at jzawicki@cfl.rr.com.
Design is 40% of original. Enlarge 250% for actual size.
For a free design at actual size, affix two first-class stamps to a #10 SASE and send to:
The Decorative Painter
Attn: DEW KISSED ROSE
ISSUE 2 - 2016
393 N. McLean Blvd.
Wichita, KS 67203-5968.
Allow four weeks for delivery.
DECORATIVEPAINTERS.ORG
The Decorative Painter
• ISSUE NO. 2, 2016 49