Page 28 - The Decorative Painter - Fall 2019

Painter’s Checklist
SURFACE
Oval fabricated wood tray 22" x 18"
(56 x 46 cm); 14" x 17" inside design area (35.5 x 43 cm) painted area
PALETTE
PLAID FOLKART ACRYLICS
Alizarin Crimson Dark Hydrangea Hot Pink Lavender
Navy Blue
Old Ivy
Pure Black Pure Gold Raw Sienna Teal
Titanium White
MARTIN F. WEBER PERMALBA OIL COLORS
Alizarin Crimson Cadmium Red Light Cadmium Yellow Medium French Ultramarine Blue Paynes Grey
Permalba White Quinacridone Violet
Raw Sienna
Sap Green Permanent
BRUSHES
ROBERT SIMMONS EXPRESSION
Series E32 1" bristle basecoater Series E51 nos. 10/0 & 0 liner Series E52 3/8" oval mop Series E55 1⁄2" & 3⁄4" flat wash Series E67 nos. 6, 8 & 10 filbert Other brush sizes may be useful
SUPPLIES
Basic painting supplies (page 96) Acrylic-based varnish – sheen of your choice Compass
Odorless Turpenoid
Sandpaper 120 grit
Sharp white chalk pencil
Weber Oil Painting Medium
White transfer paper
Wood sealer
SOURCES
• Permalba Oil, mediums and Tupenoid available at Weber Art Products; weberart.com; (215) 677-5600
• Brushes available from Daler-Rowney daler-rowney.com
• Oval wood tray available from Heather Redick; heatherredick.com; information@heatherredick.com
Comma-strokes
Load your brush evenly with one color. Start with your brush perpendicular to your work. Touch the chisel edge of the brush to the surface. The angle will change the look of the stroke.
The second example from the left starts with the chisel of the brush pointed to the “x” or destination of the stroke. This is the comma-stroke most widely used for flowers. Press down on the brush, allowing the bristles to spread. Gradually and evenly lift and pull in a fluid motion to the end of the stroke. Do not turn the brush as you move through the stroke. (Fig. 1)
S-strokes
Load your brush color. Start with the brush perpendicular
to your work. Touch the chisel to the surface. Move the
chisel edge with no pressure to begin the stroke. Then change direction (lean in the direction of the stroke), gradually applying pressure until the maximum pressure is in the center of the stroke; continue moving, gradually lifting, releasing pressure, back onto the chisel. The fullest part of the stroke is in the middle, with the beginning and ending of the stroke, the same. Three examples include a finished stroke and two unfinished strokes with wisped ends. (Fig. 2)
C- or U-strokes
Begin and end on the chisel edge of the brush. Move slowly through the rounded shape of the stroke, applying pressure to the center (without turning the brush). The fullest part of this stroke is in the center of the stroke. (Fig. 3)
26 TheDecorativePainter • FALL 2019