Projects

	Bee Hive3″ x 2″ x 2″ (7.6cm x 5cm x 5cm)
	Bee Hive Shelf2 3/8″ x 1 1/5″ x 1/2″ (6cm x 3cm x 1.3cm)
	Birdhouse4″ x 1 1/4″ x 1 1/4″ (10.2cm x 3.2cm x 3.2cm)
	Chair2″ x 2″ x 1/2″ (5cm x 5cm x 1.3cm)
	Table top – 3 1/2″ x 3 1/2″ x 1/2″ (8.9cm x 8.9cm x 1.3cm); base – 1 3/4″ x 1 3/4″ x 1 3/4″ (4.5cm x 4.5cm x 4.5cm)
	Pumpkin1 1/2″ x 1 1/4″ x 1 1/4″ (3.8cm x 3.2cm x 3.2cm)
	Lantern 1″ x 1″ x 1 1/4″ (2.5cm x 2.5cm x 3.2cm)
	Sheep2 1/2″ x 1 3/4″ x 1 3/4″ (6.4cm x 4.5cm x 4.5cm)
	Geese1 3/4″ x 1 1/2″ x 1 1/4″ (4.5cm x 3.8cm x 3.2cm)
	Owl Chair books for seat – 1 1/2″ x 1 1/4″ x 3/8″ (3.8cm x 3.2cm x 1cm); candles – 2″ x 3/8″ x 3/8″ (5cm x 1cm x 1cm); owls – 4 1/4″ x 3 1/2″ x 5/8″ ( 10.8cm x 8.9cm x 1.6cm); foot rest – 2″ x 1/2″ x 1/2″ (5cm x 1.3cm x 1.3cm)

About the Author

Betty Padden and her husband, Bob, own Wooden Apple Signmakers in Auburn, Mass. They have been professional sign carvers for 35 years and have been teaching their craft to students for more than 30 years. They are the creators of SantaCarls®, a unique figure that has been sold at Disney parks and Busch Gardens. Betty also designs and paints for Ne’Qwa Art and Blossom Bucket, among other companies. Visit bettypadden.com for cut outs, patterns, and designs, and help for woodcarvers struggling with projects. See more of Betty’s work at woodenapplesignmakers.com.

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This week, Betty Padden demonstrates how to create realistic stone texture. Betty has taught carving and painting tips to students for more than three decades. Her most recent work—the Mythical Woodland Cottage—was featured in WCI Spring 2020 (Issue 90), and the upcoming Summer 2020 (Issue 91). Be sure to subscribe to Woodcarving Illustrated to learn how to carve and paint your own ethereal escape.   Now, sit back, relax, and enjoy this week’s video!

For more of Betty Padden’s paint guides and blending techniques, be sure to check out her recent book Carving and Painting Noah’s Ark: Easy-Build Ark Plans Plus Step-by-Step Instructions and Patterns for Classic Animals. This comprehensive guide shows you how to create your own big in-the-round Noah’s Ark to use as either a delightful children’s toy or a functional art collectible. Betty also reveals her layered techniques for transforming a major project into simpler, doable carvings, while adding a touch of whimsy along the way.

About the Author

Betty Padden and her husband, Bob, own Wooden Apple Signmakers in Auburn, Mass. They have been professional sign carvers for 35 years and have been teaching their craft to students for more than 30 years. They are the creators of SantaCarls®, a unique figure that has been sold at Disney parks and Busch Gardens. Betty also designs and paints for Ne’Qwa Art and Blossom Bucket, among other companies. Visit bettypadden.com for cut outs, patterns, and designs, and help for woodcarvers struggling with projects. See more of Betty’s work at woodenapplesignmakers.com.

Get the Spring 2020 issue: [button link=”https://foxchapelpublishing.com/woodcarving-illustrated-issue-90-spring-2020.html” bg_color=”#ff0000″]Purchase the Issue[/button] For more articles like this, subscribe to Woodcarving Illustrated magazine. [button link=”https://foxchapelpublishing.com/magazines.html” bg_color=”#ff0000″]Magazine Subscription[/button] Plus! Get digital mini magazines in your e-mail between printed issues. [button link=”https://woodcarving.zeeframes.com/enews/” bg_color=”#ff0000″]Subscribe to Strop Talk[/button]

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by Lora S. Irish

This article was originally published in issue 46 of Woodcarving Illustrated.

In this project, I use stain, oil paint, and acrylic paint to enhance the project without obscuring the wood grain. This fun wood spirit, whom I call Woodie, is carved from basswood. While basswood is great for carving, it can be a bit bland visually. After completing your carving, prepare for the finish by removing any remaining chips, fibers, or dust with a stiff brush and a lint-free cloth.

Applying a Base Coat

Create a colorful base coating on the wood spirit using acrylic paints. On your palette, mix approximately three parts titanium white with one part raw sienna. You want a mixture close to the original basswood color. Add a couple of drops of water to thin the mixture slightly so it easily fills the deep grooves and tight joint lines.

Using a large ox-hair brush, scrub one coat of the mixture onto the entire work. Allow it to dry for one-half hour.

When the first coat is dry, apply a second coat of the base mix. I turn the work upside down to get color into areas the first coat may have missed. Allow the second coat to dry well.

Add an equal part of raw sienna to the remaining base-coat mixture. Load your large ox-hair brush with the new mixture and blot off any excess color. Working vertically, pull several random streaks of color across the carving.

Repeat the streaking step, using unmixed raw sienna. Mix a small amount of burnt umber to the raw sienna and add a few more streaks. For final streaking, use titanium white.

Allow the streak coating to dry well. Your carving should be colorful at this point, with changing streaks of color throughout the work.

Applying the Oil Stain

When the base coats of acrylic are dry, apply several light coats of polyurethane spray sealer to the entire work. Let each coat dry well before applying the next. Follow the directions on the spray can.

In a small pan, mix one part burnt umber oil paint with one-half part linseed oil to create a stain. The mixture should be thin, but not too runny.

Using a large soft staining brush, apply one coat of the mixture over your work. Work the oil stain into the deep crevices.

After covering the work with oil stain, wipe the piece using a lint-free cloth. As you wipe, the stain will saturate your cloth. Refold the cloth so you are using a clean area to remove the excess oil stain. Your work should have a light- to medium-brown look on the high areas with heavy staining in the deep crevices.

Slightly moisten a clean cloth with turpentine. Wrap the cloth around one finger for support and lightly rub it over the high areas of the carving to pick up the burnt umber oil stain from just the highest ridges. Allow the oil stain to dry overnight.

Your carving should have a wood-grain look with changing color tones that range from the base color of the wood on the highest parts to dark umber tones in the deepest crevices.

Dry Brushing and Roughing

When the oil stain is dry, apply several light coats of polyurethane spray sealer to the entire work. Let each coat dry well before applying the next coat. Follow the directions on the spray can.

For the face coloring, place a small amount of raw sienna oil paint on a palette. Add a drop or two of linseed oil until the paint is thin, but not runny. Wrap a clean lint-free cloth around your finger and pat the cloth into the mixture. Pat most of the color off the cloth on a paper towel. Using a circular motion, rub the cloth over the skin area of your carving. A very fine coating of raw sienna will adhere to the work. You can apply several coats. Two or three coats will create a nice medium skin color.

Mix a small amount of cadmium yellow medium and cadmium red oil paints to create an orange tone. Pick some color up on a cloth-wrapped finger, blot, and then apply the color to the cheek areas and the tip of the nose. One coat may be enough, but add a second coat for a stronger blush.

Rubbing thin layers of oil paint over a stained work is called roughing. This is a great technique to use for color buildup because the color sits on top of the stain, not under it, keeping the color bright. If you need more than a few layers of color, add a layer of polyurethane spray between coats.

The hair is highlighted by dry brushing the textured surface with acrylic paints. Place a small amount of titanium white on your palette. Moisten a small soft shading brush with water and then blot the brush on a paper towel.

Pick up a small amount of titanium white on the tip of the brush. On a clean area of the palette, work the white into the brush by pulling it back and forth across the palette several times. Pull the brush across the hair area. A small amount of white will be left on the high ridges of the texture, but no white will reach the deep brown crevices. Apply one light coat of dry-brushed white to all of the hair sections.

Pick a few sections of hair that you want brighter than the rest. Dry-brush a second coat of white just to these areas. I chose the mustache, eyebrows, temple hair, and his bangs. Add a third coat to just a few places and along the edges of the hair clumps. My third coat went on the eyebrows, bangs, temple hair, and on the edges of his mustache.

Painting the Eyes

The eye area will be darkly colored from the oil stain. Apply one thin coat of titanium white on the round areas of the eyes. Add a small amount of burnt umber to the titanium white to create a medium-brown tone. Load a soft square shade brush with the mixture and blot most of the color from the brush on a paper towel. Use the lightly loaded brush to pull a shadow on the round area of the eye under the upper eyelid. This shades the eye, giving it a more natural look.

Let the paint dry thoroughly. Give your work a final coating of polyurethane.

Materials & Tools

Materials:

• 1″ x 6″ x 101/2″ basswood
• Acrylic artist paints: titanium white, raw sienna, burnt umber
• Oil artist paints: burnt umber, raw sienna, cadmium yellow medium, cadmium red
• Polyurethane spray sealer
• Linseed oil
• Turpentine
• Paper towels

Tools:

• Band saw or scroll saw
• Straight chisel
• Round gouge
• V-tool
• Skew chisel
• Bench knife or chip carving knife
• Assorted paintbrushes of choice
• Soft lint-free cloths
• Water pans, mixing pans
• Paint palette

Pattern:

• Main pattern
• Relief-carving layers (1 highest, 5 lowest)
• Sketch

About the Author

Lora S. Irish is a prolific designer and author. She and her husband, Michael, have put together an enormous warehouse of digital carving patterns at artdesignsstudio.com.

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by Bob Duncan

This version of this article was published in issue 67 of Woodcarving Illustrated.

When you carve or build something for outdoor display, you want it to last, whether it’s a sign or a garden decoration. Ordinary indoor finishes will not stand up to rain or the sun, and even heavy-duty products will break down and will need to be reapplied. To stretch the years between maintenance, choose products that have a reputation for durability.

The best place to look for glues and finishes that withstand the elements is at marine (boat) supply stores. Watercraft are exposed to very harsh conditions, from abrasive salt water to punishing sun, so the products used to build them are designed to stand up to extreme abuse.

Outdoor Glues

Most wood glues are water-based, which is why you can remove wet glue with soap and water. Unfortunately, over time, moisture will break down even dried water-based glue, causing the bond to fail. To combat that, companies change the chemistry of the glue to make it more resistant to moisture. Ultraviolet (UV) rays from sunlight can also break down glues over time.

Titebond, Elmers, and Gorilla Glue each make pre-mixed glues of varying water resistances. The basic Elmers and Titebond are not waterproof at all. Titebond II and Gorilla Wood Glue are water resistant, and Titebond III is considered waterproof. Elmer’s Max and Gorilla Glue are both polyurethane glues, which are considered waterproof, but they require acetone or mineral spirits to clean up.

To get stronger and more waterproof bonds, you must sacrifice the convenience of pre-mixed glues. DAP Weldwood plastic resin glue is an urea formaldehyde glue that comes as a powder you mix with water. Marine resorcinol glue, also available from DAP, is even stronger, but also must be mixed before using.

Regardless of the glue you choose, outdoor joints will benefit from mechanical supports. Consider building interlocking joints, such as mortise and tenon, or reinforcing the joint with screws or nails so the glue doesn’t need to work as hard.

Outdoor Finishes

Often the durability of a finish depends on its thickness and how well it blocks UV rays. Because wood expands and contracts depending on the seasonal moisture changes, a finish must remain flexible. UV rays break down the finish so it can no longer flex, so it cracks instead. When the finish cracks, moisture can get into the wood, which speeds up the deterioration.

A properly primed exterior oil paint is the longest lasting choice for outdoor projects, although there are a few options for a clear finish. Clear finishes will, however, need to be reapplied on a regular basis.

Spar varnish is the most durable varnish finish because it includes chemicals that block UV rays. Several companies make spar varnish. While the chemical compositions of the varnishes vary, the thickness of the application determines its durability.

Steve Smith, a paint chemist and the proprietor of Smith & Co. (www.SmithandCompany.org), explained how to best prepare and apply a finish. “Any brush-applied UV-protective topcoat will thin at the corners and edges if not properly applied, and the finish will start to fail in these thin areas. Projects exposed to the elements should have curved edges instead of square edges (to make it easier to get a decent life when applying a finish by brush, as most folks are not set up to spray finishes). You must brush toward the edge or corner instead of brushing away from the edges. Use a brush smaller than the radius of the edge to smooth the finish along the edge without pulling finish from the adjoining surface.”

A few years ago, Fine Woodworking magazine did extensive testing of clear outdoor finishes. They found that clear penetrating epoxy sealer (such as Smith & Co.’s CPES) under a high-quality spar varnish, such as Epifanes (www.Epifanes.com) lasted the longest.

According to Steve, the best way to maintain a proper thickness for the varnish, after sealing the wood with a penetrating epoxy, is to use a quart of varnish for each 20 square feet of wood. If you use Epifanes and CPES, Steve says that when you go to refresh the finish with another coat of varnish after five years, you can double the coverage area of that quart to 40 square feet.

If you don’t use Epifanes and CPES, how often should you renew the finish? According to Steve, when the varnish no longer looks glossy, it’s starting to break down. When most of the gloss is gone, it’s time to reapply the finish.

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By David Stewart

This article was first published in issue 59 of Woodcarving Illustrated.

All chip carvers seek a strong, clear finish that does not interfere with the reflection of light in the clean facets of their cuts. Many achieve this with spray lacquer, but I don’t like the fumes, messy overspray, and drips of lacquer. So, I use shellac.

Shellac is a natural product made from the secretions of the lac insect. The original plastic, shellac was once used for many products, including pre-1950 records. It creates an outstanding finish and, for small items like most chip carvings, it is easy to apply with just a brush. Shellac is non-toxic and even edible—it is sprayed on apples to preserve freshness and make them shine—but it is usually dissolved in poisonous denatured alcohol. If you plan to use shellac as a food-safe finish, dilute it with pure ethanol (grain alcohol).

For success with shellac, follow a few simple rules and techniques. Shellac is not waterproof or alcohol-proof, so it isn’t a good finish for kitchen tables or bars, and it should not be used as an exterior finish. Otherwise, it provides a strong and hard coating that will protect delicate ridges well.

Shellac is available premixed or as dry flakes. I prefer flakes because canned shellac has two drawbacks: it has a six-month shelf life after you open the can, and it comes in a limited variety of colors. Shellac flakes last a long time because you can make the size batch you need for each project. Flakes are also available in a wider variety of colors—clear blonde, darker garnet, and the deep brown tones of buttonlac and seedlac.

De-waxed vs. Waxed Shellac

De-waxed blonde shellac provides a nearly transparent finish. The shellac is de-waxed so it provides less protection than shellac with wax in it. You can apply an oil finish or oil varnish over de-waxed shellac and it is especially good for sealing wood before the application of an oil stain to prevent blotching.

Buttonlac shellac contains wax, so it isn’t a good sealer for wood because it’s not compatible with oil stains. But, the wax provides more protection to the wood, which is why I use it as the final top coat or as a one-step finish for carvings. I like the look the wax gives the carvings. In shellac, the colorant is dissolved in the finish which sits on the top of the wood, so shellac provides a transparent color that doesn’t blotch or interfere with the light reflecting off the facets.

Mixing and Using Shellac

The ratio of dry shellac to denatured alcohol is called the cut. One pound of dry shellac dissolved in one gallon of denatured alcohol is a 1-pound cut, which is what I suggest for finishing chip carvings. I measure 1/4 pound (4oz or 113.5 gr) of shellac and add it to
1 pint (.5 l) of denatured alcohol. Let the shellac dissolve in the alcohol, shaking it vigorously. Waxed shellacs, such as buttonlac, take longer to dissolve than de-waxed shellac. This mixture is a 2-pound cut. To use the shellac, I mix a small amount, perhaps a capful, of shellac with an equal amount of denatured alcohol to create a 1-pound cut.

If you decide to use canned shellac, which is usually a 3-pound cut, thin one part shellac with two parts denatured alcohol.

Shellac Brushes

Artist-quality Taklon brushes are essential to achieve an ultra-smooth finish with shellac. It’s safe to invest in the brushes because they will last for many projects. Furniture restorers love shellac because it is easily repaired. This is because additional layers of shellac don’t just sit on top of one another; the new coat of shellac partially dissolves the old one and creates a new bond. This means you never need to clean brushes. After applying the finish, just let the shellac dry on the brush. Then, before using it, soak the brush in denatured alcohol until it is clean, pliable, and ready to use.

Applying Shellac

Dip the brush in the thinned shellac. Quickly brush the shellac from the center out to the edges. Apply a light coat, and stop when the brush begins to drag. Allow the shellac to dry for five minutes, and then apply another coat. I apply up to three coats before allowing the finish to dry overnight. Shellac dries dust-proof in minutes so, unlike with oil finishes, airborne dust is not a problem. You can build up as many coats as you want; in French polishing, you apply enough layers to polish the finish rather than the wood. For chip carving, I apply six to nine coats.

Applying a Three-Part Finish

I finished the Ravens of Odin plaque with a traditional three-part finish of oil, shellac, and wax. First, brush on a coat of boiled linseed oil, wipe off the excess using another clean, dry brush, and set it aside to dry for two weeks. The boiled linseed oil adds a yellow tone and enhances the wood grain so much that it competes for attention with the chip carving. The oil also adds a beautiful depth to the wood.

Next, brush on buttonlac shellac to darken the carving and even out the color, subduing the wood grain while allowing the depth of the oil to shine through. Apply three quick coats on two consecutive days for a total of six coats of shellac. It is not necessary to build a thick coat of shellac because we are not going to polish the shellac to a high-gloss finish. A high-gloss finish interferes with the reflection of light off the carved surfaces, so I do not use or recommend it. Buff the carving lightly to give it a low-gloss finish. Because even the finest steel wool catches on chip carvings, use a shoe brush to buff the carving.

Finally, brush on some paste wax and buff it with the shoe brush to produce a soft satin sheen.

Materials & Tools

Materials:

• Wood of choice
• Boiled linseed oil
• Buttolac shellac
• Denatured alcohol
• Paste wax

Tools:

• Chip carving tools
• Paintbrushes, artist-quality Taklon
• Shoe brush

Pattern:

• Download the pattern here

About the Author

David Stewart lives in Brooklyn, N.Y., and thinks finishing is as much fun as chip carving.

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by Vicki Rhodes

This article was first published in issue 42 of Woodcarving Illustrated.

In its simplest form, a paintbrush is a collection of fibers formed into a specific shape, then tied and glued to a handle. Making informed decisions when purchasing your brushes, and caring for them properly, will give you the best value and results.

Choosing a Brush

When it comes to brushes, you get what you pay for. Think of your brush as a carving tool and purchase the best you can afford.

Handle: The handle should have a natural curve from the ferrule to the tip for a comfortable, well-balanced shape. It should have several coats of enamel or lacquer finish and have the size, series number, and brand imprinted on the handle. Select a length you are comfortable with.

Ferrule: The ferrule should be firm and fit seamlessly around the brush handle. A good quality brush will be crimped on the ferrule. Double crimping assures the ferrule is securely attached to the handle with no wobbles.

Bristles: Natural fur is the most expensive and synthetic bristles are the least expensive. Shorter bristles give the artist more control. Longer bristles are used for lining, striping, and lettering. The finer the tip, the more control the artist has. The bristles should look hand-shaped, not sharp cut, and be well-formed with no stray or wild hairs.

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Square wash and oval glaze brushes are used to apply a final finish.

Basic Brush Types

Brushes come in a wide variety of shapes and sizes. While certain types of brushes are created for specific functions, it is important to experiment and discover the effects that each brush is capable of.

Basecoat: A flat or oval shape works best to cover large areas. Use a soft bristle brush, as stiff bristles will leave texture. Select the brush size that is appropriate for the area you are going to basecoat. Use a worn brush when basecoating, and save newer brushes for techniques that require the brush be in the best possible condition.

Line Work And Details: Round and liner brushes have a fine tip for more control. Choose as large a brush as you feel comfortable with. More bristles will help the brush last longer and don’t require you to apply as much pressure. Longer bristles hold more paint. The shorter the bristle, the more moisture you will need to add to the paint.

Varnish: Purchase the best you can afford and use it for varnish ONLY! With proper care you will never have to replace it. Select a brush appropriate for the size of the projects you most often paint; 1″ to 11/2″-wide brushes are most common. A larger brush eliminates over-brushing and the possibility of lifting or rolling the previous layer of varnish.

Cleaning Your Brushes

When using your brushes, NEVER walk away and leave paint in the brush. It’s a good habit to rinse a brush before you lay it down, even if only for a moment.

About the Author

Vicki Rhodes is the author of several books and numerous magazine articles.

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by Vicki Rhodes
Carving by Dennis Thornton

This article was first published in issue 45 of Woodcarving Illustrated.

Many carvers paint their work with acrylic paints. Acrylic paints clean up with water while wet, dry quickly, and are waterproof when fully cured. For best results, and to ensure the longevity of your painted finish, seal your carving prior to painting.

Preparing for the Sealer

The surface of the carving must be smooth and clean before you apply the sealer. If you sand your work, be sure to work your way up to at least 220-grit sandpaper. Remove all of the sanding dust using a soft brush or short bursts of canned air. The canned air helps remove dust in hard-to-reach areas. Do not use a tack cloth. Tack cloths can leave a residue that interferes with sealers, paints, and stains.

Sealing Before a Paint Wash

A light sealer, such as Jo Sonja’s clear glaze medium, helps prevent thin washes of paint or stain from blotching. The glaze seals the wood slightly and allows the wood to absorb the stain or wash evenly. Apply the clear glaze to a piece of scrap wood and allow it to dry. Apply a thin wash of acrylic paint. If the surface does not absorb the thinned color, the glaze sealed the surface too much, making it slick. Mix one part glaze with one part Jo Sonja flow medium, apply it to the scrap, and test the sealed area with thinned paint. Softer woods will absorb the sealer easily and require a thick sealer, while harder woods require you to thin the sealer more.

Decide which sealing mixture you prefer and apply it to your carving. Allow the mixture to dry and brush your fingers over the sealed surface. If the sealer raises the grain, sand any rough spots with 220-grit sandpaper. Apply your paint washes or stain.

Sealing Before Opaque Paints

If you plan to use opaque paint to finish your carving, use a pallet knife to thoroughly mix one part Jo Sonja all-purpose sealer with two parts artist or background colors. You can use one color to apply a base coat to the entire carving or mix the sealer with different colors for the first coat in each area.

This method prepares the wood in one step and makes it easy to apply the final colors. Applying a base coat mixed with sealer is also useful if you plan to use a dry brush technique on the carving.

Whether you apply a single-color base coat or mix the sealer with various colors for different areas, apply the paint and sealer mixture with a brush. Make sure this initial coating is smooth. To make it easier to get a smooth coat, you can thin the mixture slightly with water and apply two thin coats.  If you do not allow the base coat to dry between applications, the paint may lift.

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by Vicki Rhodes

This article was first published in issue 44 of Woodcarving Illustrated.

Having a dedicated area set up to paint is as important as having an area set up for carving. It could be an extension of your carving area, but make sure it is organized, convenient, and comfortable. Keep it simple to eliminate clutter and time lost searching for materials or tools.

Specific items were covered in WCI Fall 2007 (Issue 40). This article focuses on how to arrange the items in an orderly fashion to make the most of your space and time. If you plan to paint for long periods, a footstool may keep you from hunching over your work. Make sure the area is well lit at all times.

Place a hand towel or place mat over your work area. When soiled, this can be washed or changed.

Disposable Palette: Disposable paper palettes are available in pads. They are used for color mixing and dry palette blending. Place a disposable palette to the right of your work area, within easy reach, for color mixing and blending. Buy a 9″ x 12″ pad and cut it in half to save space on your work area.

Wet Palette: The wet palette is a shallow container used for paint storage. Position it on top of the dry palette. A wet palette may be as simple as a paper plate or a Styrofoam meat tray. An airtight food storage container keeps paint workable for several days or weeks.

Brush Basin: A divided brush basin makes it easy to clean your brushes. Position it above your palettes. Most basins have two sections: one to clean the brushes in and the other to pick up clean water to dilute the paint as you work. Dirty water will change the color of your paint so keep the water in this side of the basin clean. Fill the basin no more than 2/3 full of water on either side.

Blotting Paper: Fold a good quality paper towel in quarters and place it under your wet palette or along the side of your disposable palette. This will be used to remove excess paint, medium, or water from the brush while painting. Refold as needed to keep a clean spot to wipe your brush.

Paint: Select the colors needed for your project and arrange them directly in front of your work area. Many people find it helpful to store the paints in a shallow container that can be moved. Place them so the colors can easily be seen. I sort them into color families.

Mediums: Keep a small container for each of the mediums you use regularly while painting. A container for your mediums may be a lid from a jar, or a small prep bowl or egg holder from the kitchen.

Brushes: Brushes may be stored bristles up in a drinking glass, bottle, or wide-neck vase. After cleaning, allow the brushes to dry on their sides before returning them to their container. Store pencils, palette knife, scissors, and other miscellaneous supplies in a separate container to the left of the work area.

This simple method of organizing your painting supplies allows you an open work area to focus on your project, with your supplies neatly arranged for easy access. Each artist will have their own preferences, but the layout suggested is a good place to start. Feel free to tweak the set up to best suit your individual needs.

About the Author

Vicki Rhodes is the author of numerous articles and three books.

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