Kingslan & Gibilisco Art Views Issue Two

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1 Kingslan & Gibilisco Art Views Issue Two Welcome to our second issue of our newsletter. We thank you for your warm reception to our first effort. If you did not receive the first issue, it is on our website at ready for you to download. Our big news this month is that we have added a video monitor system to our studio. Now there truly is no bad seat. The two 25 monitors are positioned at 7 feet above the floor on opposite ends of the studio teaching room. We are able to zoom in on small areas so now the student misses nothing! Our maiden voyage of the new system was our Colour Sense seminar last week. The students could not have been more excited or appreciative. Our teaching studio In February, our web master Judy Miller completely redesigned our website. If you have not visited recently, you are in for a treat! Go to Peek inside our newsletter and you will find an assortment of tips, our new paintings, our seminar schedule, a free lesson plan, and a discount coupon! Ann and Mary

2 Just Released Magazine Articles: Ann has an article in this month s Decorative Artist Workbook on Magnolias, a new issue has been released in our ongoing series in PaintWorks. The issue features the colour yellow in the form of lemons. If you wish to subscribe, or receive back issues call (800) Next up in PaintWorks is Water drop and Puddle Study, Hydrangea (study of green) and Autumn Cornucopia (study of orange). PaintWorks: Luscious Lemons Decorative Artist Workbook: Magnolias New SDP Book: The Society of Decorative Painters is celebrating its 30th Anniversary. The Society is releasing a design book. Ann s piece called Kay s Teapot is pictured at the right. Contact the Society at for ordering information after May 15th. SDP 30th Anniversary Design Book: Kay s Teapot New Packets: Two new packets have just been released: Betty s Vase is a study in textures. Learn to paint shiny metal, velvet cloth, tattered books, fuzz on peaches and smooth granite. Our other new piece is Tea and Roses. Create a beautiful box to hold your tea bag assortment and spoons. Learn reflections and cloth! Go to our web site for ordering information. New Packet: Betty s Vase ($16.95) New Packet: Tea and Roses ($14.95)

3 Tips and Techniques Question: How do I get brush hairs out of my wet paint? Ann learned this tip while teaching at Sue Pruett s studio in CA last month: Remove fallen brush hairs from the wet surface with a corsage pin. Attach a teensy amount of Plasti-Tak to the pin if the hairs remain stubbornly embedded. Use a mop to smooth the disturbed paint. Question: Do you have any ideas on how to become a more efficient painter? Here s one: When doing close detail or line work, cut a small piece of Wingate palette. Transfer the mixes to this mini-palette and attach to your surface with Plasti- Tak. This not only promotes efficiency, but also saves the eyes from having to focus from small to large. Question: How can I seal and stain under the Genesis Paint? What works best for us begins with the choice of wood. When staining, we only use birch, poplar, alderwood or bass wood. We stain with the JW Etc line of stains following the manufacturer s instructions. This line contains the traditional brown tones as well as blues, greens and violets. When the stain is dry, we varnish with two coats of JW Etc Gloss Varnish. This seals off the stain without making the surface too slick to accept paint. The varnish stands up to the effects of the heat gun. Question: How do you wet sand? Wet sanding is used during the varnishing process. The point of wet sanding is to remove impurities in the varnish. It should not be performed over unprotected paint. This is the process: varnish with the varnish of choice (we like JW Etc) building up at least three coats. When the varnish is room temperature to the touch, begin the sanding process. Soak 1000 grit wet/dry sandpaper in water for a few minutes. Sprinkle a good deal of water onto the painting. Begin sanding using little to no pressure. Stop sanding when the piece feels smooth. If any colour is visible in the water, stop sanding immediately. Either too much pressure was used or there was not enough varnish protection applied. With a smooth cloth, wipe off the water. The surface may have highs and lows and/or white areas. This is fine!!! Stop hyperventilating! The next coat of varnish will level the piece and remove the white areas. Repeat as often as necessary to create a beautiful finish. Question: How do you use the Goddard s Wax? After the piece has been adequately varnished (at least three coats of varnish) it is time to wax. The advantage of waxing is two fold. The most obvious is that is adds a layer of mellow luster that varnish cannot. Secondly, if the piece becomes dirty through use or environmental effects, the wax is easily removed taking the dirt with it. The process is as follows: Take a tablespoon of Goddard s wax and put it on a palette. Then fill a small piece of 1000 grit steel wool with the wax. Apply the wax to the painting with pressure. Allow the wax to dry until it appears milky. Buff it out with a soft cloth or lamb s wool. If the wax won t move, it is not ready to be buffed. More layers of wax may be added but only the first layer is applied with the steel wool. Subsequent applications are applied with a soft cloth.we prefer Goddard s because it contains no petroleum distilates that could melt varnish.

4 2002 Omaha, NE Seminars Saturday Class Schedule taught by Mary Kingslan Gibilisco, BFA, CDA Tea and Roses Saturday, May 4 & June 1, :00-5:00 Class fee: $25.00 per session Seminars by Ann Kingslan, MDA and Mary Kingslan Gibilisco, CDA Teaching Decorative Art Level II ($275) April 23-27, 2002 Mary will teach you how to teach the Academic Kingslan Method. Level I is NOT a prerequisite. You will learn to paint leaves, flowers and fruit as well as how to teach it to others! Floral Study ($350) July 18-22, 2002 Join Ann and Mary and learn to paint in the style of the Flemish Old Masters. This is the only time this back by popular demand piece will be offered. Lars Kristiansen will teach faux finishes July He will show how to faux finish the arch frame that houses this piece. Still Life Study Seminar $350 September 17-21, 2002 This painting will teach the method behind still life items such as silver, glass, cloth, fruit, etc. and the theory behind each such as value control, texture, shines, shadows, drafting techniques and colour harmony. Would you like to join us for a seminar? Send a 50% deposit to our studio, fax in your credit card information (see page 1) or register on our web site at

5 2002 Omaha, NE Seminars Weekend Workshop: Coloured Bottle Glass Study ($75) October 12-13, 2002 (Back-to-back with October Colour Sense) Learn how to paint realistic glass from Mary. We will explore coloured, clear and translucent glass and the method and theory behind it all! Colour Sense Training ($350) October 15-19, 2002 Our most popular seminar is based on a concept developed by Ann and Mary. Four months prior to the seminar, the student receives two line drawings and the rules of the game guidelines. At home, the design is developed to the best of the student s ability. The piece is then analyzed through before and after slides. During class, the student receives a personal summary of strengths and weaknesses as well as on going assistance in the finishing touches. The seminar also consists of lectures, demos and exercises such as colour harmony, creativity enhancement skills, glass theory, shadow workshop, perspective and personal requests. Teaching Decorative Art Level III ($275) November 5-9, 2002 Mary will teach you how to teach the Academic Kingslan Method. Level I or II is NOT a prerequisite. You will learn to paint more advanced leaves and flowers, glass and realistic copper and brass Guest Teacher Class Schedule Janelle Johnson Coloured Pencils Johnnie Liliedahl $450 November 4-8, 2003 Butterfly Trompe L oeil October $100 class fee Iris and Wren July $100 class fee By popular demand, we are hosting a Johnnie Lilidahl a five day seminar November 4-8, Paint your own Waterhouse of the Lady of Shallot reproduction using the grisaille method of gray underpainting followed by tonal washes. As one of our students stated, Johnnie is so knowledgeable and has changed my way of approaching a painting. Watch for Peggy Stogdill September 23-26, 2004!

6 Dutch Old Masters Seminar in Wilmington, Delaware ($350) June 18-22, 2002 Join Ann and Mary for their only joint teaching seminar on the East Coast. Learn the style and subject matter of the Dutch Old Masters. The piece is painted on a curved front cabinet or a 16 x 20 frameable surface. Hosted by Jo Lutness of Painter s Paradise. Sign up by visiting Jo s website at Delaware is in the heart of the art world. Experience Longwood, Brandywine River Museum, Winterthur and so much more. You can plan a whole art vacation to reinforce your seminar learning. Your seminar fee includes a Continental Breakfast and afternoon snack. If you need help finding a hotel or roommate, assistance is available. Also shop tax free (no sales tax) East Coast Seminar Join us to experience this unique learning experience (two world class instructors at one time) and have fun, too. Our warehouse will be open in the evening so that you can see all the fun things that paradise (Painter s Paradise) has to offer Omaha, NE Seminars Floral Fire Screen $350 March Back by popular demand - our high key or low key firescreen. Choose either one to paint during the seminar. You can paint it on a firescreen, bed headboard, framed surface or your own idea! Weekend Workshop: Silver Reflections $210 April This painting will teach the method behind still life items such as silver, cloth, fruit, etc. and the theory behind each such as value control, texture, shines, shadows, drafting techniques and colour harmony.

7 2003 Omaha, NE Seminars Weekend Workshop: Rolling Pin Still Life $210 July Back-to-back with the Flower Study Seminar This painting will teach the method behind still life items such as ceramic, glass, cloth, fruit, etc. and the theory behind each such as value control, texture, shines, shadows, drafting techniques and colour harmony. Flower Study Seminar $350 July From on Focus on Realistic Roses book, we will teach flower theory. Explore every type of flower from the rose to the daisy. Weekend Workshop: Complementary Daylilies $210 September Back-to-back with Colour Sense This painting will teach the method behind painting light flowers on a dark background. Learn how to paint raspberries as well! Colour Sense Training Seminar $350 September Our most popular seminar is based on a concept developed by Ann and Mary. Several months prior to the seminar, the student receives two line drawings and the rules of the game guidelines. At home, the design is developed to the best of the student s ability. The piece is then analyzed through before and after slides. During class, the student receives a personal summary of strengths and weaknesses as well as on going assistance in the finishing touches. The seminar also consists of lectures, demos and exercises such as colour harmony, creativity enhancement skills, glass theory, shadow workshop, perspective and personal requests. Weekend Workshop: Colour Theory Still Life $210 October Back-to-back with Colour Mixing and Theory This piece is poly chromatic so you will learn to mix a value scale for every colour on the colour wheel. A great introduction to colour theory. Colour Mixing and Theory $350 October Spend a day and a half on pure colour theory. Then spend three and a half days on the application of your new found knowledge. The wreath is also a colour wheel! This piece is poly chromatic so you will learn to mix a value scale for every colour on the colour wheel. A great introduction to colour theory.

8 Newsletter Lesson Plan Brass and Orange in Genesis Heat Set Oils Surface The surface is an 8 x 10 piece of masonite or canvas. Preparation Sand the Masonite to break the seal. Remove the sanding dust with a cloth moistened with water or alcohol. When dry, paint with two coats of DecoArt Milk Chocolate. Roll the paint on with a fine sponge roller to achieve an eggshell finish. Allow this to cure for several hours. This should cure overnight. Also take the extra precaution of heat setting the prepared surface in order to eliminate any moisture. Palette Genesis Heat Set Oils: Titanium White (TW), Genesis Yellow (Y), Genesis Red (R), Ultramarine Blue (UB), Quinacradone Crimson (QC), Raw Sienna (RS), Burnt Umber (BU), Pthalo Blue 5 (PB), Mars Black (Blk) Transfer the Design Do not transfer any details such as the decoration on the pitcher. Brass and Orange This piece is a study of textures. The shiny brass contrasts with the velvety cloth which contrasts with the unique texture of the orange. Procedure The painting is accomplished in stages. The first stage creates the form of the objects, the second stage adds the details such as the design on the pitcher and the final stage adds the exciting shines and shadows. Create the first stage by placing the values according to the placement guide. Tapestry Medium Value Light Value Dark Value Low Dark Value BU + RS + TW Med + TW + RS Med + BU Dark + BU + UB The tapestry is developed in two stages. The first stage creates the form of the tapestry using a warm brown value scale. The actual blue colour is glazed on once the tapestry is dry. Brass Pitcher Medium Value Light Value High Light Dark Value Low Dark Value Y + RS + a small amount of QC Med + Y Y Med + RS + BU Dark + BU + UB The form is developed according to the map. After the shape is developed, add the rims. Load a small flat with Low Dark. Staring in the dark section of the pitcher, walk a line of dark to create the rim. When the paint starts to change in value (getting lighter), wipe the brush and reload. Now begin walking a line from he right side of the pitcher until it meets the first line. The two step process will allow the rim to stay dark. Through the center of the rim, add light value with the lightest value above the light section of the pitcher. Blot the rim with a tissue and then mop the wet paint down slightly. Brass Pitcher Decoration While the pitcher is still wet, lay the tracing over the pitcher and etch the decoration into the wet paint. No graphite needed. Smearing will not occur if the tracing is placed and removed straight up and down. Thin Warm Black (Blk + BU) with the Thinning Medium and draw on the decoration. Blot and mop when finished.

9 Newsletter Lesson Leaves Develop according to the map Medium Value TW + Blk + Y Light Value Med + TW + Y High Light Light + TW + Y Dark Value Med + Blk + Violet (QC + UB) Low Dark Value Dark + Violet Orange Medium Value Light Value High Light Dark Value Low Dark Value Y + R + TW + RS Med + TW + GY Light + TW + Y Med + QC + GR Dark + QC + UB Texture: Once the orange rind is developed, add the texture with alternating lights and darks. Place small random, close together dots of paint. Use one value darker or lighter than the section. For example, in the medium section of the orange, place light value dots and dark value dots. In the low dark section add reflected light dots with PB + TW. Backgrounds Develop according to map Medium Value Warm Black + BU + RS Light Value Medium Value + Light Orange Value High Light Light + High Light Orange Value Dark Value BU + Warm Black BEFORE PROCEEDING, DRY PAINTING WITH HEAT GUN OR OVEN Tapestry Thin UB with Glazing Medium. Apply this glaze over the entire tapestry. While the glaze is still wet, add the tapestry texture. Load a #0 mop with a meager amount of warm white (TW + Y). Set the brush on the lightest section of the tapestry (in the center of the folds especially the area in front of the orange and pitcher) and pounce up and down to crate a nappy look. This pouncing is repeated to a lesser degree elsewhere in the tapestry to add texture. BEFORE PROCEEDING, DRY PAINTING WITH HEAT GUN OR OVEN Buy 3 packets and Receive your 4th one Free!!! Take 15% off your next order placed on our web site at (excluding seminars and classes) After your last name, enter the code KGAV2 and when we bill your order, we will deduct the lowest priced packet! (The calculation will not show up on the screen - offer expires 5/30/02)

10 Shadows Refer to the photo as a placement guide. Begin the transparent shadows with Blk thinned with Glazing Medium. The shadow should be weak at this stage. Make the shadow darker by using Blk without any thinning medium. The darkest spot is where the object touches the surface and gradually fades toward the outside edges. Watch that the shadow behind the pitcher conforms to and follows the rolls found in the tapestry. Orange Shines Build the shines on the orange by adding warm white dots in the highlight area. Brass Shines Begin the shinning process by applying the last value used in the highlight area only. Disperse the edges of this application of paint with a #0 mop. In the center of this shine add Y. Spread this paint out but keep it contained within the first application of paint. Then add a high shine in the center of the second application of paint. This is not dispersed. Reflected Shines Bounce back or reflected shines are darker in value than primary shines. Use PB + TW to add the reflected light on the left side of the objects. Finishing Varnish with either Genesis Heat Set Varnish or JW Etc. Gloss Varnish. Other water based varnishes do not adhere as well. The varnish should not be applied until the surface has cured for at least 24 hour. Sources Most of the items listed are available through mail order from Kingslan & Gibilisco Decorative Arts.

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