Pixelated Palette Feb 2020

February 2020 Table of Contents Deb Antonick Gnome Bunny

5-11

Marlene Fudge, CDA

Chris Deason Spring Flower Cart

Winter Creek Ornaments

81-86

41-46 Bobbie Campbell, CDA Hopeful 12-16

Nancy Scott, CDA Mulberry Blossoms

18-23 Anita Campanella The Spring Bunny

Sandy LeFlore

Michael Cheek

Soft on the Inside

Tuscany Hillside

49-55

87-93

Elisabetta de Maria, CDA

Sandy Kelsey When Pigs Fly

Afternoon Tea

94-104

56-62

Sharon Bond Seeds of Love

64-71

March Preview

Page 3

24-30 Deb Mishima Nellie

32-40

Lorraine Morison

Anticipating Spring

72-79

Editor in Chief: Lindsey Applegate palettepixels@gmail.com Executive Editor: Susan Mynyk pixelatedsusan@gmail.com Copyright Notice: Š2020 Pixelated Palette. The Pixelated Palette is produced 12 times per year by Cupboard Distributing, 1463 S US Highway 68, Urbana, Ohio 43078. All rights reserved on entire contents of this digital magazine. The information contained within this publication is presented in good faith. As the author(s) and publisher have no control over the application of the information presented, the results are not guaranteed.

Reproduction of editorial content is strictly prohibited without written permission of the Publisher.

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March 2020 Sneak Peek

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Hello painting friends - Ɛ / ǁƌŝƚĞ ƚŚŝƐ ůĞƚƚĞƌ͕ ƚhe sun has not shone in Ohio in almost two weeks; to keep those winter blues suppressed, within the pages of this issue, we are bringing spring with beautiful blossoms, adorable bunnies, and whimsical gnomes!

The bright and whimsical Gnome Bunny by Deb Antonick is our cover design for the month. Deb’s use of pastels and background patterns provide the perfect spring palette for this design. Gnome Bunny, with his adorable slippers and plaid bow, is sure to put a smile on your face!

We continue our commitment to introduce new artists in the Pixelated Palette. Italian designer Anita Campanella’s The Spring Bunny, features one of her passions…rag dolls. This adorable rag bunny would be perfect for an Easter gift or even a little girl’s bedroom wall.

Susan and I want to thank you for all the wonderful feedback on the flip book format. We both think this makes viewing the issues more like a physical magazine, while still permitting subscribers to download the same PDF format as before.

We’ve had some suggestions about the table of contents and we’re listening. I’ve worked to develop a new format, complete with both designers and the return of titles, which had previously been removed due to space constraints. Speaking of table of contents, we have a tiip p for you! To help with organization, consider printing the front cover and table of contents of each issue and devoting a binder to them.

That way when you need a specific project, you can grab that binder and search the contents for the perfect design!

When this issue hits your inbox, I will be on my way to the Creative Painting Convention in fabulous Las Vegas! If you’ve never attended, please consider coming; Jayne and her crew put on a fabulous convention! Be sure to stop by the Cupboard Distributing booth and say hi to me as I ring up customers!

And, while you’re there, if you renew your subscription at the show, you will get a free thumb drive as a gift. This thumb drive will come loaded with the 2019 Cover Artists issue, but it also provides a dedicated storage device for all your Pixelated Palette issues! Tell your friends that don’t subscribe to be sure to visit Cupboard Distributing, in Booth #506, and sign up!

Oh, and for those of you not attending the Creative Painting Convention in Vegas, join Susan on our Facebook page for Pixelated Palette's Staycation Convention! Join the fun on Facebook at https://www.facebook.com/pixelatedpalette/ Happy painting! ~Lindsey

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Š 2020 Deb Antonick Designs, Painting with Friends www.paintingwithdeb.com Bunny ears and bunny slippers‌some bunny knows how to have fun!

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Surface: x 1 in. Garden Plaque # 31-/ www.cdwood.com Supplies: x Usual Acrylic Tools x Fine Grit Sandpaper x Piece of drywall mesh tape Stencils: x M2 6x6 stencil 1/2� Buffalo Check www.tracymoreau.net or www.sandymctierdesigns.com x Stencil – M2 6x6 stencil 1/4� Polka Dots www.tracymoreau.net or www.sandymctierdesigns.com x Stencil - #BCS254 Curly Backgrounds – www.lauriespeltz.com Paints: DecoArt Americana Acrylics: x Cocoa x Cotton Candy x Espresso x Lamp Black x Lavender x Light Buttermilk x Mocha x Orange Flame x Purple Petal x Scarlet x Shoreline x Snow “Titanium� White

x x x x x x x x x x x

Snow “Titanium� White Spa Blue Sugared Peach Summer Squash Tangerine Toffee Tropical Blue Turquoise Blue Vintage Pink Warm White Wild Berry

Mediums: x DecoArt Multi-Purpose Sealer x DecoArt Ultra Matte Varnish Brushes: Dynasty Black Gold, available from www.thebrushguys.com 206 Series #4, #6, #8, ž� Flat shaders x 3/8� or ½� Angle Shaders x #8 Wave Filbert Brush 206WAVFIL or # #10 Flat Wave 206WV x #2 Fandango brush 206FD x 10/0 Script liner 206SL #2 Liner Other Series x 5/8� Mop Brush (Decorator Series 400) x ½� Dynasty Stencil Pro brush x Medium Mezzaluna brush (for Drybrushing) x Ÿ� Deerfoot

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Preparation: Basecoat the board with DecoArt Multi-Purpose Sealer mixed 1:1 with Warm White. Let dry.

Sand lightly.

Basecoat the board with Warm White only.

Stencil the Buffalo Check with Summer Squash.

Using the Curly Backgrounds stencil and Shoreline, stencil the background.

Stencil a bit of Purple Petal here and there with a piece of drywall mesh.

Transfer on the design.

Shade around the design with Summer Squash.

Painting Instructions:

Bunny Ears and Slippers: (note – do the slippers after the beard) Basecoat with Toffee.

Shade with Cocoa.

Stipple with Sugared Peach.

Float highlights with Sugared Peach.

Deepen Shading with Espresso.

Stipple and then highlight again with Warm White.

Basecoat inside the ears with Cotton Candy.

Shade with Vintage Pink. Deepen shading with Wild Berry.

Line the plaid with Warm White.

Line the bow on the slippers with Turquoise Blue.

©2020 Deb Antonick

Gnome Hat: Base coat the hat with Shore Line.

Shade with Turquoise Blue.

Drybrush, then float the highlights with Spa Blue.

Deepen shading with Tropical Blue.

Drybrush, then float brighter highlights with Warm White.

Stencil the ¼” Polka dots with Warm White.

Bow and Band: Basecoat with Light Buttermilk.

Shade with Summer Squash.

Highlight with Snow “Titanium” White.

Paint the purple stripes using #4 flat and watered-down Purple Petal.

Line the remaining plaid stripes with Green Tree, Shoreline and Vintage Pink.

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Eggs E Pink: P Basecoat with Cotton Candy. Shade with Vintage Pink.

Drybrush with a 1:1 mix of Cotton Candy and Snow “Titanium” White. Deepen shading with Wild Berry.

Dot with Warm White.

Purple: Basecoat with a 1:1 mix of Purple Petal and Snow “ “Titanium” White. Shade with Purple Petal. Drybrush with the 1:1 mix of Cotton Candy and Snow “Titanium” White.

Deepen shading with Lavender.

Line the stripes with Warm White.

Blue: Basecoat with Spa Blue. Shade with Shoreline. Drybrush with the 1:1 mix of Spa Blue and Snow “Titanium” White. Deepen shading with Turquoise Blue.

Dot with Warm White. Highlight all the eggs with a float of Snow “Titanium White.

Carrots: Basecoat with Tangerine.

Shade with Orange Flame.

Deepen shading with Scarlet.

Drybrush, then float highlights with Summer Squash.

Line the greens with Kelly Green tipped in Green Tree.

Beard: (See Step Photos on Next Page) Basecoat the beard with Purple Petal using the Wave Filbert Brush. I like the wispy ends this brush creates and it helps you to create a beard like pattern for the hairs.

©2020 Deb Antonick

Note: When using the Wave brush, water the paint down as you would for the liner brush.

Paint the first beard layer with Cotton Candy.

Shade under the nose and mustache with Purple Petal.

Paint another layer with Light Buttermilk.

Basecoat the teeth with Warm White. Shade with Toffee. Highlight with Snow “Titanium” White.

Enhance the shading with a bit more Purple Petal, including under the teeth.

Paint another beard layer with Warm White, this time using the #2 Fandango for a wispier look.

Repeat with Snow “Titanium “ White.

Finish by stroking in hairs with the liner brush and Snow “Titanium “ White, pulling from the tips of the beard inward.

Nose: Basecoat with Mocha.

Shade with Cocoa.

Highlight with Sugared Peach.

Deepen shading with Cocoa mixed with a touch of Scarlet.

Line a highlight with Warm White.

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Beard Step by Step Illustration

Finishing: Line all stitching and bows and outline as desired with Lamp Black.

Following manufacturer’s directions, varnish with Ultra-Matte Varnish.

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March Pixelated Palette 2020. Copyright © 2020 Deb Antonick and Terrye French Designs. “Painting with Friends” – All Rights Reserved.

Photocopying or mechanical reproduction is strictly prohibited. May be painted for fun or profit. No mass producing 10

March Pixelated Palette 2020. Copyright © 2020 Deb Antonick and Terrye French Designs. “Painting with Friends” – All Rights Reserved.

Photocopying or mechanical reproduction is strictly prohibited. May be painted for fun or profit. No mass producing 11

“

”

By Bobbie Campbell, CDA A

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Having never been “partial” to winter, I always hope spring is just around the corner; even if it happens to be January. Spring brings hope – a fresh start and new life for everything that grows. A southern favorite is the dogwood tree, brimming with its beautiful blossoms.

I’m hoping these dogwoods will brighten your day and I hope, that for all of us, spring is just around the corner.

Surface x MDF Cross, available from https://bobbiecampbell.com/ Supplies x Usual Acrylic Tools Paints: DecoArt Americana Acrylics x Avocado x Black Green x Burgundy Wine x Burnt Sienna x Burnt Umber x Camel x French Mauve

x x x x x x x

Jade Green Light Avocado Light Mocha Purple Cow Royal Purple Sand Snow White

Mediums: DecoArt x Multi-Purpose Sealer x Media, Ultra-Matte Varnish Brushes: Royal & Langnickel, https://art.royalbrush.com/brush-collections/ Aqualon Series #2150, Flats #8 & #10 Aqualon Series #2595, #4 Liner Aqualon #2950, Flats 1/2" - 3/4" flats Brushes: Bobbies Blenders x https://bobbiecampbell.com/products.php?cat=21 Preparation Seal the surface using DecoArt Multi-Purpose Sealer. If necessary, when dry, sand lightly.

Basecoat the surface with a mixture of Light Mocha + Purple Cow (1/3 – 2/3). When complete coverage is achieved and the surface is dry, lightly spatter with thinned Royal Purple. When all is completely dry, apply the line drawing and base or wash colors as directed.

Bobbie’s Tips: If you have never taken a class with me, this is to make you aware that I RARELY float.

I walk my color out on my pre-dampened surface and soften that color with my specially designed blenders. Typically, when using my blending technique, two shading applications and two highlight applications are all that is needed to create the effects I have achieved.

Editor’s Note: To learn more about using Bobbie’s Blender Brushes, go to: https://bobbiecampbell.com/dosdonts.php

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Dogwood Petals: Basecoat the petals with Sand; when dry, reapply the line drawing for the petal separations.

Wash in the centers of the dogwood with a heavy wash of Burgundy Wine. Shade petals apart using Royal Purple. Accent the edges of some of the petals using Camel and when dry re-accent with Burgundy Wine. Use the Burgundy Wine to accent the dimples at the end of each petal. (This is done twice) Highlight the petals with Snow White. The detailing will be done later when the rest of the design is finished.

Branches and Twigs: Wash in the limbs and twigs using Burnt Sienna.

When dry, shade with Burnt Umber. Using the liner and Burnt Sienna, add a few small twigs here and there in some of the areas.

Leaves: Wash in the Small Leaves with Jade Green.

Wash in the Larger Leaves with Light Avocado.

When dry, Shade the Small Leaves with Light Avocado; shade the Large Leaves with a mixture of Avocado + Black Green (50/50).

Small leaves have no highlight; but the larger leaves have a highlight of Camel.

The vein work on each of the larger leaves is also done with thinned Camel.

The stems attaching the leaves to the twigs and the branch are done with thinned dark green mix. To tie the leaves to the palette, I added a small amount of the Burgundy Wine here and there on the larger leaves.

Berries: Base with French Mauve and after drying, shade berries apart using Burgundy Wine. Highlight is Snow White.

Background Shading is added next using the Royal Purple. Tuck this shading in here and there to recess the background and to lift the design.

Lettering: Base in “Hope� with thinned Royal Purple.

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When all the shading has been completed, use thinned Snow White to outline each of the dogwood petals, the vein lines on the petals and add circles for the pollen in the center of each flower.

Trim Color: Basecoat with a mixture of Purple Cow + Snow White. (2/3 – 1/3).

Finishing When thoroughly dry, erase graphite lines. Following manufacturer’s directions, apply two coats of DecoArt Media Ultra-Matte Varnish.

I truly hope you enjoy painting my design as much and I enjoyed designing it. I have been painting for many years and still enjoy both designing and teaching. I hope to see and meet some of you in one of my classes at conventions or in Seminar. Whether we meet, or whether we don’t, I wish you “Happy Painting.”

Line Art is at 100%

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Submit an original design to the Pixelated Palette For 2020 Contact Email: pixelatedsusan@gmail.com

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by Nancy Scott, CDA Love, love, love painting on these tin surfaces from the Dollar Tree! Inexpensive, readily available and easy to display in a tabletop easel. The vivid colors in this fantasy floral will brighten up your home decor this Spring!

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Surface: x 10” round tin plate available from Dollar Tree Project Supplies: x Usual Acrylic Tools x Water Bucket x Paper Towels x Tracing Paper x Grey Transfer Paper x Palette Paper Paints: DecoArt Americana Acrylics x Antique Maroon x Berry Cobbler x Cocoa x Hauser Med Green x Jade x Lt. Avocado x Mocha x Mulberry x Peony Pink x Plantation Pine x Sea Glass x Sugared Peach x Thicket x Vivid Violet Mediums: x DecoArt Chalky Gesso in Grey x Spray Varnish (such as Krylon Satin Finish #1323) Brushes: Royal & Langnickel

x x x x x x x

Aqualon Series R2700 Wash - size 3/4” R2160 Angles - sizes 3/4”, 1/2”, /4” R2170 Filberts - size 10 R2250 Round - size 5 R2595 Liner - size 10/0 R2585 Script Liner - size 4 RBOBBIE Mop - size small

Preparation Using the 1” wash brush, paint entire plate with 2 coats of Chalky Gesso, letting dry well between coats. Use the gesso straight from the bottle, as is. Do not thin with water. It is selfleveling and will dry smooth. Your plate will be ready to paint.

Base coat the design surface to solid coverage with Sugared Peach. The border is Mulberry. The decorative “relief” raised edges are Lt. Avocado.

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Trace and transfer pattern using grey graphite.

Before painting the design, float Mocha around the outside edges of the pattern in the middle area of the design. Follow up with a little darker float of Cocoa in some areas.

These colors do not go all around all the flowers and leaves. Refer to pattern (dotted lines) to see where placement is indicated.

Light Pink Blossoms Using the round brush and a mix of Sugared Peach/Vivid Violet (1:1), base coat each flower, leaving a teeny tiny space between petals (so you know where to float shading and highlight) Float shading at the base of each petal and to separate them using the appropriate size angle (at least the 1/2�) and Vivid Violet. Keep this first shading soft by blending well and walking it out on the palette while blending. This will help reduce the intensity of the color. Use the mop to soften. (Fig.1) The 2nd shade is Mulberry. Keep this shade smaller using the 1/4� angle for this float. (Fig. 2) In some of the deepest, darkest recesses (think triangles here), float a 3rd dark using Antique Maroon. Keep this very dark much smaller and only tuck it in the darkest areas.(Fig. 3)

A highlight of the Sugared Peach/tiny touch of base coat color, is floated at the tips and sides of some petals (refer to photos). In the large flower, use this light value and apply with a back to back float on some of the petals to help turn them back. (Figure 4 ) Using the liner, pull very fine texture lines from the base of each petal with thinned Mulberry.

Dark Pink Blossoms Base coat each flower (same as the light pink ones) using a mix of Mulberry/Berry Cobbler (1:1). Float shading using Antique Maroon at the base of each petal and to separate them.

(Fig 1) Float Peony Pink at the outer edges of each petal and to separate. Repeat this lighter 20

value 3-4 times to make it bright enough. (Fig.3 previous page) Pull texture lines, using the liner and Antique Maroon.

The centers of both the dark and light flowers are tapped in, using the round brush, with Hauser Medium Green. Tap a little Plantation Pine on one side of the center for a darker value. Pull stamen lines and add pollen dots with Warm White. (Fig. 5) Leaves Cool Leaves (indicated with a “c” on your pattern) are base coated with Sea Glass/tch of Thicket. Float shading with Thicket.

Repeat shading once or twice to make it soft and smooth. Float Sugared Peach on outside edges. This will soften them into the background a bit (known as creating a “lost edge”). Float soft tints, here and there, with Vivid Violet. (Fig. 6)

Warm leaves (indicated with a “w” ) are base coated with Jade. Float shading with Light Avocado at the base of the leaf petals and to help separate them as needed. The 2nd, darker shade, is Plantation Pine. Keep this darker shade smaller. Float a light value of Jade Green/Sugared Peach to outside edges. Add more Sugared Peach to this lighter green and go brighter as necessary. Float a soft tint of Mulberry here and there. (Fig. 7)

Stems and flowing curved decorative lines are Thicket. Darken the stems where they go into or behind a flower by adding a little Plantation Pine using your liner.

Finishing When all is dried and any remaining pattern lines erased , spray with 2 coats of Krylon following all manufacturer’s instructions.

Now go to Dollar Tree, pick up a half dozen of these adorable tin plates. Prep all of them at once so you always have a surface ready to go for a project such as this!

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Illustrations Enlarged to Show Details

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The Spring Bunny

By Anita Campanella anita.campanella@libero.it

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Rag dolls are my passion. Since I'm not very good at sewing, I decided to paint a beautiful bunny. Exactly as the approaching spring, she is a soft brown with touches of color. It is my hope that her sweet appearance and delicate colors will help brighten our homes.

Surface: x Wooden surface of choice, 8.5” x 15” Project Supplies: x Standard Acrylic Tools x 400 Grit Sandpaper x Ball Stylus Paints: DecoArt Americana Acrylics: x Antique Green x Antique Maroon x Antique Rose x Antique White x Burnt Umber x Buttermilk x Country Red x Deep Midnight Blue x French Mauve x Honey Brown x Khaki Tan x Lamp Black

x x x x x x x x x x x x

Leaf Green.

Light Buttermilk Marigold Mississippi Mud Payne’s Grey Plantation Pine Raw Sienna Snow White Soft Black Uniform Blue Williamsburg Blue Wisteria

Mediums: DecoArt x Multi-Purpose Sealer x Americana Matte Spray Sealer/Finisher Brushes: Dynasty x Black Gold Shader, sizes 4, 8, 12, 20 x Dry Brush series 200, #’s 4 and 6 x MOP series 400, ¾” and ½” x Black Gold Liner 10/0 , 20/0 x Black Gold Angle/flat wash 1/2 , 1/4 , 3/4 x Black Gold Fan series 206FN n.4 x Large Flat for applying Sealer Preparation: Sand the wood surface, remove the dust with a damp cloth and apply a coat of Multi Purpose Sealer using an old brush. Allow to dry well and lightly sand again. Remove the dust with a damp cloth. When sealer is completely dry, apply three coats of Khaki Tan. Using black graphite and a ball stylus, transfer the design from your tracing to the surface.

Anita’s base coating tips: I use a Shader brush to apply the base coats. I always thin the color with just a little water.

The paints dry quickly, so thinning the paint allows me to create a perfectly smooth base without color buildup. Once your bases are dry, if you notice that they are not smooth enough, don't worry, just sand with a very fine-grained sandpaper.

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Basecoat: Antique White: Face, Ears, Neck, Arms and Feet of all rabbits Buttermilk: Apron, Trousers Painting Instructions: Note: Unless otherwise specified, the shading and highlighting is created with a side load, floating technique. Although I use an Angle brush, if you prefer, you can use a flat brush.

I always use a Mop to soften the Floating and I choose various sizes depending on the area I'm going to work Rabbits: Highlight in the center of the face, along the ears, along the arms, and along the legs of all the rabbits by dry brushing with Buttermilk.

Large Rabbit: Using Raw Sienna on the largest brushes best suited for each area, shade along the entire perimeter of the head, along the upper part of the neck close to the face, on the right and left sides of the neck, where the ears meet the face, on the right and left along the entire length of the ears, all along the bust, along the entire length of the arms to the right and to the left, on the legs below the hem of the trousers, along the entire length of the legs and on the feet along the floor.

Also with Raw Sienna, add the shading on the face along the entire perimeter of the nose, on the face along the entire perimeter of the eyes, along the eyelids close to the eyes and along the entire right side of the eyelid on the right and along the entire left side of the left eyelid.

With the same color, starting from the base of the nose going downwards, along the upper lip, to the right than to the left and inside the mouth. Excluding the right side of the right ear, the right side of the neck and the right side of both arms, strengthen all the shadows with Burnt Umber.

Bloomers: With French Mauve, add the shadows on the pantaloons below the apron, along the right and

left side of each leg, along the lower base close to the cuff, along the right and left side of both cuffs, along the part of the edge above the cuff and above and below the “elastic� part of the cuff. Reinforce all the shadows with a 1:1 brush mix of Antique Maroon and Burnt Umber.

Reinforce again with the same color mix, just behind the apron and at the base of the 26

bloomers, close to the cuff. Transfer the details to her bloomers. Create the pattern using the Liner and Antique Maroon. The contours of the details are with the Liner and Buttermilk.

The highlights on the hem ruffles are floated with Buttermilk. The light in the middle her bloomers is a Dry Brush with Buttermilk.

Face Details: Eyes: Basecoat the eye area with Buttermilk. The iris is Williamsburg Blue and the pupil is Lamp Black.

The shadow inside the eyes close to the eyelids is with Soft Black. The lights are with a Stylus and Buttermilk.

The nose is a Basecoat with Wisteria and the shadows along its entire inner perimeter are with Payne's Gray. The seams are with a Liner and Soft Black, once dry they are shaded along the bottom side with the same color.

The cheeks are a Dry Brush with Antique Rose.

Create the Blouse: Use a fully loaded brush with a sheer, wash of light Buttermilk.

With a brush mix 1:1 of Burnt Umber and Raw Sienna, add shadows on the shirt, along both sides of the suspenders, close to the apron, close to the collar and close to the cuffs.

Reinforce the shadows with a 1: 1 brush mix Burnt Umber and Soft Black. Intensify with Soft Black only close to the collar.

Create the texture of the shirt with a Fan brush and Light Buttermilk . Dilute the paint with clean water and add “cross hatched� lines. Highlight the pattern only in the center of each section of the shirt, using the Liner and Snow White.

Reinforce the highlights of the blouse with Light Buttermilk. The shading on the arms, against the cuffs, is Burnt Umber.

Collar: Basecoat with French Mauve.

Apron: (Refer to picture) With Light Buttermilk, dry brush the center of each section of the apron, the center of the pocket, and down the center of each shoulder strap. Shade the apron along both sides of the straps, against the collar, close to the upper edge, above and below the hem and inside the folds, with a 1: 1 brush mix of Honey Brown and Mississippi Mud.

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With the same color mix, shade below the waistband, along both sides of the apron on the right and left and under the arm left of the bunny.

Using the same mix, shade around the pocket, the lower side of the cuff of the pocket, inside the pocket along its entire perimeter and under the bunny's hand.

Intensify all the shadows with Burnt Umber.

With Soft Black, strengthen the shading only on the apron, under the left arm, and on the pocket, under the left hand of the bunny. The lights along the lower edge of the apron are Light Buttermilk. The stitches on the apron are with the Liner and Antique Maroon Buttons: Buttons on the shirt and apron are made with a ball stylus and Antique Maroon. The buttonhole is with the Liner and Lamp Black. The light on the buttons is a comma with the Liner and Light Buttermilk. The shadow on the apron behind the buttons, on the left side of each, is with Soft Black.

Collar Details: Create highlights in the center of the collar with a dry brush of Light Buttermilk. The shadows along the perimeter of the collar are Burnt Umber. Then with Soft Black only on the left, along the separation line. The stitches are with the Liner and Antique Maroon.

Flowers: The flowers in the pocket and on her head are Marigold, shaded with Raw Sienna. The centers are Honey Brown.

Tulips: The Tulips are Country Red shaded with Soft Black and the leaves are Antique Green shaded with Plantation Pine. The shadows on the floor along the left side of the feet is with Burnt Umber.

Pocket Bunny: Using a liner and Burnt Umber, add the stitches. The eye is a Lamp Black dip dot. Add the X eye, the details of the mouth and the with the Liner and Lamp Black. Dry Brush the little bunny cheeks with Antique Rose.

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Flag Bunny: (see picture on 1st page) Basecoat dungarees with Uniform Blue. Highlight overalls with a Dry Brush of Buttermilk.

Shade with Deep Midnight Blue. Add dip dot eyes and the button with Lamp Black. The nose is Soft Black. The flag is Leaf Green, Light Buttermilk and Country Red. The bar of the band is Burnt Umber.

Finishing If you like, add fine outlines with the Liner and Soft Black.

With a 3/4 brush and Burnt Umber, add a sheer float around the outer edge of your surface.

Follow manufacturer’s directions to apply DecoArt Americana Matte Spray.

Happy spring to all!

Line Art is at 100%

I really hope you enjoyed painting your bunny -

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Line Art is at 100%

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By Deb Mishima 32

Seems to me, if you want to eat mushrooms, why not eat pretty ones grown with love by a beautiful gnome named Nellie.

Surface: x 12” x 14” Pallet Plaque available from Cupboard Distributing www.cdwood.com Project Supplies: x Usual Acrylic Tools x Circle Template x Ball Stylus x White Graphite Transfer Paper x White/Grey Chalk Pencil Paints: DecoArt Americana Acrylics x Aloe x Black Plum x Bleached Sand x Canyon Orange x Desert Sand x Dried Clay x Fawn x Hauser Medium Green x Heritage Brick x Laguna Specialty Products: Galaxy Glitter x Clear Ice Comer x Supernova Berry x Bronze Asteroid

x x x x x x x

Lamp Black Light Buttermilk Purple Petal Sea Glass Snow White Wild Berry Yellow Ochre

DecoArt Chalky Finish Paint: x Timeless Mediums: DecoArt x All Purpose Sealer

Brushes: Dynasty Black Gold Series 206 x ¼” and ½” Angular Shaders x #5 Round Series 206R x 10/0 Liner Microns: x 2/0 Pointed Flat x 5/0 X-Long Detail x 10/0 Detailer Other Brushes: Assorted Stencil, Dry Brushes and Scumblers 2” Palmer White Bristle FSAFIL Series #37036 Preparation: Do Not Sand MDF Based on the surface you are using, if necessary, sand surface until smooth.

Apply Multi-Purpose Sealer and lightly sand again to knock down any raised grain

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Painting Instructions: Basecoat the background with Chalky Finish, Timeless. Drybrush the background randomly using the Palmer 2� brush and Snow White.

Transfer on the pattern. Shade around the pattern with Fawn.

Nellie, Mistress of the Mushrooms: Basecoat all Nellie’s body parts with Light Buttermilk. Transfer on the face details.

Shading: With Dried Clay, shade around the inner ears, along the top of the ears, in the dip along the bottom of the ears, under the headband, around the outside of the eyes, around the nose (except the top), along the arms where they touch the vest and overalls, down the outside of each leg and above the boots and below the cuffs of the shorts.

Highlight: Using Snow White, highlight above the shaded area on the inner ears, along the top of the headband, the top of the nose, down the outside of each arm and the inside of each leg. Deepen the shading, albeit very softly, with Wild Berry here and there (especially along the sides of the nose). Drybrush with Snow White in the middle of the inner ears, the forehead and between the eyes, in the middle of the nose, here and there down the length of the arms and along the middle of the legs working towards the inner length of the legs.

Facial Details: Basecoat her eyes Lamp Black. Basecoat the outer area of the eyes with Snow White. Line and dot the eyes Snow White. Line the eyelashes and eyebrows Lamp Black. Line the nose Snow White.

Note: Her hair will be added after the headband and bow are complete Headband: Basecoat headband and bow Sea Glass.

Shade: With Laguna, shade along the top of the headband, around the knot, along the top of the bow sections, around the right ear and where the bow touches the knot.

Highlight: Using Snow White, highlight where the outer bow touches the inner bow.

Drybrush Snow White along the headband and here and there on the bow to shape it.

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Bow: Basecoat the inner bow and knot with Wild Berry.

Shade Heritage Brick where the inner bow touches the outer bow and along the bottom half of the knot. Highlight Snow White along the inner bow where it touches the background.

Drybrush Canyon Orange on the inner bow and the knot. Deepen the shading very lightly with Black Plum. Line the inner bow with Snow White.

Line the hair Snow White. Line the bows on the hair randomly with Laguna, Purple Petal and Wild Berry.

Short Overalls: Basecoat the overalls with Yellow Ochre.

Shade Canyon Orange where the overalls touch the vest, in the middle to shape the legs, down the sides and above the cuffs, walking the color into the middle. To help shape, highlight in the middle of the of the leg areas and above the “V� with Snow White. Deepen the shading here and there with Wild Berry. Highlight Snow White where the left pant leg touches the right pant leg. Line the stitching and pleat marks with Lamp Black. Line some of the creases at the bottom very lightly with Canyon Orange. Line the vertical stripes on the overalls with Bleached Sand.

Cuffs: Basecoat with Wild Berry. Drybrush along the middle with Canyon Orange. Highlight along the top of the cuffs with Canyon Orange. Drybrush again lightly with Snow White. Line the stitching and vertical stripes with Canyon Orange. Dot the buttons on each cuff with Laguna.

Dot again with Snow White.

Vest: (see picture on previous page) Basecoat with Sea Glass. Shade Laguna under the nose, down the outsides and along the bottom. Highlight the opposite sides with Snow White. Randomly drybrush along the middle with Snow White. Line the checks with Snow White. Add lines of Purple Petal horizontally and vertically. Dot the buttons with Wild Berry. Line the threads with Lamp Black.

Boots: Basecoat the boots with Sea Glass. Transfer on the details.

Shade Laguna along the inside edge of the boots, down the left side of the left boot, around the bows and buttons, where the left and right boots touch and along the bottom of the boots, above the soles. Highlight Snow White along the top of the boots and down the right side of the left boot Drybrush randomly with Snow White. Shade again with Purple Petal.

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Line the stitching and stripes Wild Berry. Line the creases on both boots with Laguna.

Basecoat the buttons with Purple Petal. Drybrush with Snow White.

Basecoat the bows with Yellow Ochre. Shade with Canyon Orange. Highlight with Snow White.

Line the button, threads and bows with Lamp Black.

Dot the right boots randomly with Purple Petal, Wild Berry and Snow White.

Basecoat the soles with Snow White.

Mushrooms. (All Stems): Basecoat all the stems with Bleached Sand. Shade with Fawn under the tops, down the left sides and where they touch anything else.

Highlight the right sides with Snow White.

Drybrush with Snow White.

1 6 5

3 4 2

Mushrooms (By Number): 1: Do a wash of Sea Glass. Shade along the right side and around where it touches the other stem, the overalls and the other mushroom. Highlight along the left side with Snow White.

Using the Circle Template or freehand, apply the dots with Snow White. Dip Dot randomly with Snow White and Purple Petal. Shade around the right side of the large white dots with Purple Petal. Line the cross stitches with Laguna. Line irregularity with Snow White to create the tip of the mushroom and around the edges. Line again with Laguna down the tip. Line the string with Lamp Black.

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2: Basecoat with Wild Berry. Highlight the right side with Snow White. Drybrush with Canyon Orange. Drybrush again softly in the middle with Snow White.

3. Basecoat with Bleached Sand. Shade Sea Glass down the left side and where the mushroom touches the overall, cuffs, legs and boots. Continue the shading down the left side of the stem.

Highlight along the bottom with Snow White. Drybrush with Snow White. Apply the large dots using the circle template (or freehand) and Canyon Orange. Shade the left side of each dot with Wild Berry. Highlight the right side with Snow White. Dot with Snow White. Shade around each large dot with Sea Glass. Dip Dot with Wild Berry.

4: Basecoat with a was of Canyon Orange. Shade Wild Berry down each side and along the bottom walking all the shading towards the middle. Highlight Snow White along the top walking down. Drybrush down the center with Snow White. Apply the dots using the Circle Template (or freehand) and Canyon Orange. Shade the right side with Light Buttermilk.

Drybrush softly with Snow White. Dot with Snow White. Shade around the large dots with Laguna. Dip Dot with Laguna. Line randomly around the mushroom with Snow White.

5: Basecoat with a wash of Purple Petal. Shade around the left side and the other mushrooms with Laguna. Highlight down the right side with Snow White. Drybrush randomly here and there with Snow White. Dip Dot with Sea Glass and Snow Whit. Line randomly using irregular lines using Snow White around the mushroom and coming out of the top. Line coming out the top with Purple Petal. Line the string with Lamp Black.

6: Basecoat with a wash of Wild Berry. Shade down the left side with Wild Berry walking inward. Highlight the right side with Canyon Orange walking inward. Highlight Snow White down the right side and along the edge that meets the stem. Drybrush down the middle with Snow White. Apply a light wash for the large dots with the Circle Template and Wild Berry. Dip Dot and line the mushroom with Snow White. Add a shade of Laguna to the underside of the mushroom. Line randomly around the edges and out from the top with Snow White.

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Grass: Using Aloe and Hauser Medium Green and a rounded brush, sweep the strokes up, randomly from the bottom.

Sign: Line all the string coming from the bow and through the sign with Lamp Black.

Basecoat the sign with Bleached Sand. Shade around the edges with Desert Sand. Drybrush in the middle with Snow White. Apply the button using the Circle Template and Purple Petal.

Shade along the left side with Laguna. Drybrush in the middle with Snow White. Line the letters and numbers with Lamp Black. Line around the sign with Lamp Black.

Final Details These mushrooms need a little magic, so let’s add some glitter.

(Add glitter by mushroom number) Mushrooms No. 1, 3 and 5 Randomly brush on Galaxy Glitter Clear Ice Comet Mushrooms 2 and 4 Randomly brush on Galaxy Glitter Supernova Berry Mushroom 2 and 6 Randomly brush on Galaxy Glitter Bronze Asteroid.

Randomly line around some of the pieces so help define them using Lamp Black.

Apply several coats of All-Purpose Sealer, making sure to allow each coat to dry completely before applying the next.

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Line Art is at 98%

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Line Art is at 98%

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By Marlene Fudge CDA Paintingmarlene@gmail.com

My inspiration for these little mason jar ornaments was a wintery snow globe effect. They were created as a set; if you align them closely you will notice that a portion of each design is continued on the adjacent ornament. However, they each can be painted and displayed individually. With the added sparkle and snow spatter, they are perfect to keep out all winter long.

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Surface: x 3- Mason Jar Ornaments 6” x 2 7/8” x ¼” -Item #31-L352 (cdwood.com) Project Supplies: x 1 - ¼” Sparkle Snowflake Item #31-L052 (cdwood.com) x 20 Gauge Silver wire x E600 Glue x Clear Dry Craft Glue x Flora Craft- Twinklets Diamond Dust x Pliers x Toothbrush Mediums: x Minwax Polycrylic Protective Finish- Clear Satin Paints: DecoArt Americana Acrylics x Grey Storm x Hauser Dark Green x Snow White x Spa Blue x Thicket DecoArt Glamour Dust Ultra Fine Glitter Paint x Ice Crystal Brushes: Dynasty Black Gold x #6 & #16 Shader- 206S x #2 Round- 206R x #5/0 Liner- 206L x Mezzaluna- Large x ½ Mop- 400 Painting Instructions: Base coat the jars with 2 coats of Spa Blue. Let dry between coats. Transfer pattern, leaving off the large trees in the front and the bushes along the bottom.

Hint: While painting these ornaments, keep them lined up together so the design is continuous through each ornament.

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Sky: (fig 1) Dampen the sky with a touch of water. Use the#16 Shader to add a wash of Thicket across the top of the sky. Use the mop to soften the colors. Add a very light wash of Thicket throughout the water area with the same brush. Keep the strokes horizontal when doing the water areas. (fig 1)

(fig 2)

Back Row of Pine Trees: (fig 2, above) Mix equal parts of Spa Blue + Thicket. Using the Mezzaluna brush, hold the brush vertically and tap in the trunk of the tree first. Then starting at the top of the trees, hold the brush horizontally and pounce in the branches of the trees. Using the same mixture and the #6 Shader, float this color along the ground next to the water in front of these trees. Let dry. Mix together equal parts of Spa Blue + Snow White and float a highlight along the top of this little bank. With this same mixture, tap in some snow onto the branches with the Mezzaluna brush.

Ground: (fig 3, below) Using the Spa Blue + Thicket mixture and the #16 Shader, float this color along the water line on both banks and along the bottom. Mop to soften in the direction of the hill. Let dry. Float the highlight on the tops of the banks with the same brush and the Spa Blue + Snow White mixture.

Let dry and repeat this step to make a brighter highlight.

(fig 3)

(fig 4)

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Larger Pine Trees: (fig 4, previous page) These pine trees are pounced in with the Mezzaluna brush in the same banner as the back row of pine trees using Thicket. Add some water to the Thicket and tap in a very light shadow from the pine trees onto the bank and into the water. Mop to soften the float. Use the Mezzaluna brush to tap in some snow on the branches with Snow White.

Snow and Water: (fig 5, below) Using the #16 Shader and Snow White, float some extra highlights on top of all the snowbanks.

Use the #6 Shader back hill to highlight the back hill. Using the #6 shader, add some water lines along all of the banks and into the water by holding the brush up on the chisel edge and adding little water lines. Keep these lines horizontal. Let dry and transfer the pattern for the trees and bushes in the front. (fig 5)

(fig 6)

Large Trees: (fig 6, above) Mix together equal parts of Thicket + Hauser Dark Green. Use the #2 Round brush to add the trunks of the large trees. Switch to the liner brush for the small branches. Add a choppy highlight along the center of the trunk with the #6 Shader and Snow White. With this same brush, use the tree mixture to float a shadow down from the trunk.

Bushes: (fig 7, next page) Double load the Mezzaluna brush with the large tree mixture on one side and Snow White on the other side. Hold the brush vertically with the White side up and pounce in the branches. The colors will blend as you go up the branch. Wipe off the brush and reload if the paint becomes too muddy. Add a few grasses here and there with the liner brush and the large tree mixture.

Thin White with a touch of water and dip the toothbrush into the mix and either using your finger or the end of a brush, pull the bristles back towards you to splatter the snow onto the ornaments. Let dry well. Remove any remaining transfer lines. Using the #16 Shader, brush on 2 coats of Glamour Dust, letting dry well between coats.

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(fig 8) (fig 7)

Jar Lids: Base coat the metal lids Grey Storm with the #16 Shader. Mix together equal parts of Grey Storm + Snow White. Using the Mezzaluna brush, dry brush the ridges onto the lid.

Hint: To dry-brush, dip the brush into the paint and wipe of some of the paint on a paper towel.

Hold the brush horizontally and brush the remaining paint onto the ridges.

Finishing: Remove any remaining transfer lines. Paint the ornaments with a coat of Glamour Dust using the #16 Shader. Paint the snowflakes Snow White. Let dry. Varnish the jar and snowflake with 23 coats of Polycrylic. Let dry well between coats.

Spread a light coat of clear drying glue over each snowflake. Sprinkle Diamond Dust over the snowflakes and set aside to dry. Shake off the excess glitter. Glue the snowflake onto the jar top with E600.

Cut a 10� length of wire for each jar. Add the wire hanger with pliers.

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Line Art is at 100%

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› ƒÂ?†› ‡ Ž‘”‡ǥ —•– ‹Â?‡ ‡•‹‰Â?• ̚ʹͲͳ͝ This is the time of year that we say “Welcomeâ€?. Welcome to the coming of Spring with its glorious colors and the new adventures that await us. Speaking of new adventures, this project is kind of a new “oldâ€? adventure for me. Painting on fabric is not something that I do too often. For some reason the thought of Spring and new blossoms prompted me to think of the flowers that I enjoy the most here in the southwest. The blossoms of the cactus speak so deeply to me. All that beauty in such an unlikely place. And you know, there is quite a bit that the cactus has to say to us‌good advice for another year.

‡– ’Ž‡�–› ‘ˆ •—�•Š‹�‡

‡ ’ƒ–‹‡�– –Š”‘—‰Š –Š‡ †”› •’‡ŽŽ• Ž™ƒ›• •–ƒ› •Šƒ”’

……‡�–—ƒ–‡ ›‘—” •–”‘�‰ ’‘‹�–•

–ƒ�† –ƒŽŽ ƒ�† ”‡ƒ…Š ˆ‘” –Š‡ •�›

‘�•‡”˜‡ ›‘—” ”‡•‘—”…‡•

ƒ‹– ˆ‘” ›‘—” –‹�‡ –‘ „Ž‘‘�

–ƒ› •‘ˆ– ‘Â? –Š‡ ‹Â?•‹†‡ ‘Â?ǯ– †‡•‡”– ›‘—” ˆ”‹‡Â?†•

Surface x ͳ͸dz š ͳ͸dz ƒ•‹…ƒŽŽ› ‘—”• ƒ–—”ƒŽ ƒÂ?˜ƒ• ‹ŽŽ‘™ ‘˜‡” ƒ˜ƒ‹Žƒ„Ž‡ ˆ”‘Â? ‘„„› ‘„„› Project Supplies x ͳ͸dz š ͳ͸dz ’‹‡…‡ ‘ˆ ’‘•–‡” „‘ƒ”† ‘” …ƒ”†„‘ƒ”† x ͳ͸dz ‹ŽŽ‘™ Â?•‡”– x ‹Â? ‘Ž–œ ƒ›‡” –‡Â?…‹Ž Č‚ Ͳ;͜ ƒ…‡ ƒ˜ƒ‹Žƒ„Ž‡ ‘Â? ƒÂ?ƒœ‘Â?Ǥ…‘Â? x Žƒ…Â? Ž–”ƒ ‹Â?‡ ‘‹Â?– Šƒ”’‹‡ DecoArt So Soft Fabric Paint x ͳ͝ ˜‘…ƒ†‘ ”‡‡Â?

x ͚͡ ƒ„› Ž—‡ ‡‡’ x ͳͲʹ ”‘™Â? x ͜ͳ —”Â?– ‹‡Â?Â?ƒ x ͜ͺ —––‡”Â?‹ŽÂ? x Ͳ; ĠÂ?‹—Â? ‡ŽŽ‘™ —‡ x Í´Íľ ƒ”Â? Š‘…‘Žƒ–‡ x ͡ʹ —…Š•‹ƒ

x x x x x x x

Í´Íś ƒÂ?Â’ Žƒ…Â? ͺ͸ …‡ƒÂ? Ž—‡ ͜ʹ ”‹Â?ƒ”› Ž—‡ ͺͺ ‡† ‡’’‡” ͚͸ ƒÂ?‰‡”‹Â?‡ Ͳͳ Š‹–‡ ͺͳ ‡ŽŽ‘™ ”‡‡Â?

Royal/Langnickel Brushes x ͝͡ͲͲ͡ ‘›ƒŽ ƒ„Ž‡ Š‘”– ‘—Â?†nj ‹œ‡ ͳͲ ƒÂ?† ͳ͸ Č‹ ‘” …”—„„‹Â?‰ ‘Â? –Š‡ ’ƒ‹Â?Â–ČŒ ‘” ›‘—” ˆƒ˜‘”‹–‡ ˆƒ„”‹… ’ƒ‹Â?–‹Â?‰ „”—•Š‡• x “—ƒŽ‘Â? ʹ͡͝͡ ‹Â?‡” ÇŚ Í“Íł

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Transferring the Pattern Ǥ Ǥ ǡ ǡ Ǥ

ǡ Ǥ Ǥ Ǥ ȋ Ȍ ȋ

Ȍ Ǥ Preparation to Paint: Ǥ ǡ Ǥ

͓ͳͲ ͓ͳ͸ Ǥ

Ǥ Ǥ Background: ȋ͸ͲǦ͹ͲΨ Ȍǡ ǡ Ǥ Ǥ

Ǥ

Ǥ Stenciling on the Background: ȋ Ȍ Ǥ Ǥ Ǥ

Ǥ Pot: ȋͳǣͳȌǤ Ǥ ǡ Ǥ ǡ Ǥ ǡ

Ǥ

Ǥ ǡ Ǥ Ǥ

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Rocks: ǡ ǡ Ǥ ǡ

Ǥ Ǥ ǥ Ǩ

Ǥ ǡ Ǥ ǡ ǡ Ǥ ǯ ǥ Ǥ Ǥ ǡ Ǥ Ǥ Ȁ Ǥ Ǥ

Ǥ Ǥ Ǥ

Ǥ

Ǥ Background Shading: ǡ ǡ Ǥ ǥ Ǥ Cactus: Ǥ Ǥ

Ǥ Ǥ ȋ ǡ ǯ ǤȌ Ǥ

Ǥ

Ǥ

Ǥ ǯ ǥ Ǥ ǥ Ǩ ǯ ǡ ǯ Ǥ

ȋ ǡ ǡ Ȍ Ǥ 52

Žƒ…Â? –‘ –Š‡ ™Š‹–‡ †‘–•Ǥ ‹–Š ƒ Ž‹Â?‡” „”—•Š ƒÂ?† •–”ƒ‹‰Š– Š‹–‡ ƒ†† –Š‡ Ž‹––Ž‡ •’‹Â?‡• –‘ –Š‡ •’‹Â?‡•Ǥ Blooms: ƒ‹Â?– ™‹–Š ƒ Â?‹š ‘ˆ ‡† ‡’’‡” ’Ž—• ƒ „‹– Č‹Â?‘”‡ –ŠƒÂ? ƒ Â–Â‘Â—Â…ÂŠČŒ ‘ˆ —…Š•‹ƒǤ

—•‡† –Š‡ ͓ͳͲ Š‘”– ‘—Â?† ƒÂ?† ’ƒ‹Â?–‡† –Š‡Â? ‘Â? Ž‹Â?‡ ™ƒ• •–”‘Â?‹Â?‰ ‘Â? •‘Â?‡ ‡ƒ˜‡•Ǥ •–ƒ”–‡† ƒ– –Š‡ ™‹†‡” „ƒ•‡ ‘ˆ ‡ƒ…Š ’‡–ƒŽ ƒÂ?† ’—ŽŽ‡† ‘—– –‘ •‘Â?‡™Šƒ– ‘ˆ ƒ ’‘‹Â?–Ǥ ‹…Â? —’ •‘Â?‡ Š‹–‡ ‘Â? ›‘—” †‹”–› „”—•Š ȋ•–‹ŽŽ Šƒ• –Š‡ ‡† ‡’’‡”Ȁ —…Š•‹ƒ ‹Â? Â‹Â–ČŒ ƒÂ?† ‘˜‡” •–”‘Â?‡ –Š‡ ˆ”‘Â?– ’‡–ƒŽ• –‘ Š‹‰ŠŽ‹‰Š–Ǥ Finishing Touches: Â?…‡ –Š‡ ’ƒ‹Â?–‹Â?‰ ‹• †”› Č‹Â•ÂƒÂˆÂ‡Â•Â– –‘ Ž‡– ‹– †”› ‘˜‡”Â?Â‹Â‰ÂŠÂ–ČŒ ›‘— …ƒÂ? ƒ†† –Š‡ ‘—–Ž‹Â?‹Â?‰ ™‹–Š –Š‡ Šƒ”’‹‡Ǥ Š‡ ‘Â?Ž› –Š‹Â?‰• †‹†Â?ǯ– ‘—–Ž‹Â?‡ ‹• –Š‡ „ƒ…Â?‰”‘—Â?† •–‡Â?…‹Ž‹Â?‰ ƒÂ?† –Š‡ •–”‹’‡• ‘Â? –Š‡ ’‘–Ǥ ›‘— –”› –‘ †‘ –Š‹• ‘—–Ž‹Â?‹Â?‰ –‘‘ •‘‘Â?ÇĄ „‡ˆ‘”‡ –Š‡ ’ƒ‹Â?– ‹• †”›ǥ ‹– ™‹ŽŽ ”—‹Â? ›‘—” Šƒ”’‹‡ ’‡Â?Ǥ Žƒ…‡ ƒ ’”‡••‹Â?‰ …Ž‘–Š ‘˜‡” –Š‡ ’‹ŽŽ‘™ ƒÂ?† ‹”‘Â? –Š‡ †‡•‹‰Â? ™‹–Š ƒ Š‘– ‹”‘Â? –‘ Š‡ƒ– •‡– –Š‡ ’ƒ‹Â?–Ǥ ‘” ˆ—–—”‡ …Ž‡ƒÂ?‹Â?‰ ™‘—Ž† •—‰‰‡•– ™ƒ•Š‹Â?‰ „› ŠƒÂ?† ™‹–Š ƒ Â?‹Ž† •‘ƒ’ ƒÂ?† Ž‡––‹Â?‰ ‹– ƒ‹” †”›Ǥ Ěš2019 Sandy LeFlore, Just Fine Designs Thank you for taking the time to ready my copyright statement. The design purchased in this packet is intended for Decorating Painting Purposes only. You may change the shape, size or surface of this design and hand paint it for personal use or sale at your craft show, craft mall, on your website, in your Etsy or eBay store or any craft-related sales market. This design and the packet contents may not be mechanically or electronically mass produced. You may not scan or copy the design photos provided in these instructions/packet. Digital tole or graphic reproductions is prohibited. You may photography YOUR hand painted version of this design for teaching use. No copies can be made of these written instructions or line drawing to sell or give away, even for classes. TEACHERS, CHAPTERS AND SHOP OWNERS: You may purchase multiples of this packet, at a discount, and provide them to your students as part of their class fee.

Whether selling your hand painted version of this design or posting your finished project online to share with other painters or teaching it in a class, please give Just Fine Designs/Sandy LeFlore credit (i.e. “Designed by Sandy LeFlore� or “Based on a design by Sandy LeFlore�. Any other use of this design and/or packet contents will require permission from Sandy LeFlore.

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Afternoon Tea

By Elisabetta De Maria, CDA Dearest painting friends, When I found this lazy susan, the first thing I thought was: I want to paint sweets! I love cakes... I confess! And, I love cakes with fruit very much, therefore the project in my head, was already realized: a nice fruit tart with strawberry muffins and cups for tea! Everyone at the table: we eat, we share, and we laugh!! Happy Painting!!!

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Surface : x The revolving platter has a diameter of 39 cm (approx. 15.33”) Project Supplies : x Loew Cornell 515-M Berry Maker x Ball Stylus x Fine Sandpaper x Standard Acrylic Painting Supplies x Lint Free Cloth Paints DecoArt Americana Acrylics x Avocado x Black Green x Black Plum x Bright Yellow x Burnt Umber x Buttermilk x Cadmium Orange x Camel x Cherry Red x Dioxazine Purple x Green Tea x Heritage Brick x Honey Brown Mediums : x All Purpose Sealer of Choice x Varnish of Choice

x x x x x x x x x x x x

Irish Moss Jack-O’-Lantern Orange Lamp Black Light Cinnamon Olive Green Primary Yellow Prussian Blue Red Alert Sunny Day Titanium White True Ochre Williamsburg Blue

Brushes : x Assorted Size Flats for Base coating x Assorted Size Angular for Floating x Assorted Size Fine Liners x Mop Brush to Blend and Soften Color Painting Techniques Basecoat: Opaque application of background color on surface or component.

Shading and Highlighting: Load a small amount of paint in the corner of an Angle Brush, stroke the brush back and forth on the palette paper until most of the paint is out of the brush. It is important that the color be worked in the brush until it is completely transparent. Apply, walking out a float of color. Repeat if necessary and use the Mop brush to blend the color.

Drybrush: I use brushes that are dome shaped, rounded and have shorter hairs. Dip the brush into the paint and then wipe the brush on a dry paper towel, rotating the brush until only a residue of paint remains. Move to the surface, use a light pressure and begin “scrubbing” the paint out of the brush, slowly, in a small circular motion. Work the paint outward, allowing it to diminish so that there is a gradation of color.

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Instructions Using a large brush, apply a coat of sealer and let dry. Sand raised grain with fine sandpaper and remove dust with a lint free cloth.

Background Paint the surface with Camel, excluding the edge and the center where the cake will be painted.

Paint the border with Prussian Blue.

Place the pattern on the surface and transfer the main lines with graphite paper leaving out details until later.

Remember: Refer to the color photos for placement of shading and highlighting.

Let's start from the center!

Blackberries: Basecoat Prussian Blue.

Load the Loew Cornell Berry Maker with Dioxazine Purple and a bit of Titanium White, press down to create the individual berry sections and to create the three-dimensional effect of the blackberry.

Shade with Lamp Black.

Raspberries: Basecoat Cherry Red Load the Berry Maker with Red Alert and a bit of Titanium White, press down to create the individual berry sections. .

Shade with Black Plum.

Cream: Paint the cream between one fruit and another with Buttermilk, giving small touches with the liner to create the effect in relief.

Always add a little Titanium White with Red Alert (4: 1) next to the raspberries to make a reflection of the raspberry color.

Mandarin Orange Slices: Basecoat the inside edge, closest to the berries with Jack-O’-Lantern Orange.

Basecoat the outer edge, Jack-O’-Lantern Orange + Primary Yellow (2:1) Shade the inside with Heritage Brick and paint the lines with Primary Yellow.

Highlight the outside with Bright Yellow and deepen with Sunny Day. 58

Shade with Cadmium Orange. Dirty with Titanium White to represent the peel skin that remains attached.

Apples: Basecoat with Buttermilk + Sunny Day (1: 1) Shade with True Ochre and with the same color, using the liner, add fine lines inside the apple slices.

Shade lightly again with Burnt Umber and highlight with Titanium White.

Currant Basecoat Prussian Blue.

While the color is still wet, use a liner brush and smudge with Titanium White to give a light point.

Kiwi: Bascoat center with Green Tea Basecoat outer edge with Irish Moss Shade the outside with Avocado and highlight with Olive Green.

Paint fine lines with Green Tea; use the tip of the liner, and Lamp Black to add the dots (seeds).

Highlight the central part with Titanium White.

Strengthen the highlight along the outer edge with Green Tea and accent some places with Titanium White.

Deepen shading with Black Green.

Strawberries: Basecoat inside with Red Alert + Titanium White (1: 1) Basecoat outer edge with Red Alert.

With the liner and Red Alert + Titanium White (1: 3) color, paint the "V" that divides the two parts. With the same color highlight the inside irregularly.

Shade the outside with Cherry Red. With the liner and the Red Alert + Titanium White (1: 3) color, paint the lines on the outside.

Add an outer contour line with Black Plum.

Shade the part near the kiwi fruit with Heritage Brick.

Sponge Cake Using Camel, basecoat first level near the strawberries.

Shade with Honey Brown and highlight with Buttermilk.

With the liner and Titanium White paint the cream with small touches of brush.

Basecoat Second Level with Honey Brown .

Shade with Burnt Umber and highlight with Buttermilk (picture follows) 59

Cake Plate: Basecoat Olive Green; shade with Avocado and highlight with Green Tea. With the same colors create the scallop and with the stylus and the Green Tea color make the light points.

Cups and Saucers: Basecoat Buttermilk.

With the liner brush, create the designs inside the cups and saucers using Williamsburg Blue and Heritage Brick.

Shade the top cups with Williamsburg Blue.

Shade the cup at the bottom with Light Cinnamon.

Shade the lower part of the saucers with Williamsburg Blue and the upper part with Light Cinnamon.

Add the dots with Williamsburg Blue, Buttermilk and Heritage Brick with the ball stylus.

Outline the handles with the liner brush and the Williamsburg Blue and Heritage Brick colors.

Outline all the edges of the cups, saucers and handles with Titanium White.

Muffin Cup Basecoat the paper baking cup with Buttermilk.

Paint the lines with Honey Brown and shade in the same color.

Highlight with Titanium White and deepen shading with Burnt Umber.

Saucer: Basecoat with Buttermilk. Paint the line with Avocado and shade with the same color around the inside and outside. Reinforce the shading on the inside with Burnt Umber.

Saucer: Basecoat with Buttermilk. Paint the line with Avocado and shade with the same color around the inside and outside. Reinforce the shading on the inside with Burnt Umber.

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Muffin: Basecoat with Red Alert Highlight with Red Alert + Titanium White (1: 1) and dirty with Titanium White.

Shade with Heritage Brick and deepen with Burnt Umber.

Mint Leaves: Paint the mint leaves with Irish Moss.

Highlight with Olive Green and strengthen with Green Tea. Shade with Avocado and deepen with Black Green.

Accent with Red Alert.

Finishing In the Camel background, randomly add hearts with Buttermilk.

Shade the cake, cups and muffins with Honey Brown and deepen the parts near the blue border with Burnt Umber.

Paint the lines on the blue border with Camel and a liner brush.

Shade the blue border with Lamp Black and highlight it with Camel.

Varnish as desired I hope you Enjoy Painting this as much as I did!

Happy Painting Elisabetta.

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For a 12” diameter surface, enlarge to 182% For a 15” diameter surface, enlarge to 227% For an 18” diameter surface, enlarge to 273%

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Seeds of Love

By Sharon Bond

Copyright Š 2020 Painted by Me, Sharon B - Photocopying or mechanical reproduction is strictly prohibited.

May be painted for fun or profit, but no mass production.

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“Thinking ahead to Spring, getting our gardens ready to plant, bright blue skies with butterflies and bunny rabbits! ‫ ݗ‬This sweet, little bunny is planting ‘seeds of love’ to share with everyone! This project is great for any skill level. It paints up beautifully and doesn’t require special tools or extras. Hope you will enjoy!”

Surface: x 14” Beehive Plaque – Available from www.cdwood.com – Item # 31-L596 Project Supplies: x Ultra-fine Permanent Black Marker – (Such as an Ultra-fine Sharpie, available at most stores!) ----OR-----x Black PITT Artist Pen, Superfine and/or an Extra Superfine by Faber-Castell (for even finer lines.) (I would suggest two sizes for this project; such as an Ultra-fine Sharpie and also a finer lined marker.) x Small Water Mister Bottle (Optional) x Ribbon, Twine, Wire or String to create hanger (Optional) Paints: DecoArt Americana Acrylics x Blue Chiffon x Blue Haven x Boysenberry Pink x Burlap x Canyon Orange x Cocoa x Colonial Blue x Fawn x Graphite x Hauser Light Green x Honey Brown x Lamp Black

x x x x x x x x x x x x

Leaf Green Marigold Olive Green Sable Brown Shoreline Slate Grey Snow White Toffee Tomato Red Traditional Burnt Umber Warm White Wedgewood Blue

Mediums: DecoArt x Americana’s Matte Spray Finisher x Americana DuraClear Gloss Varnish (optional) Brushes: x Angle Shader ¼” x Angle Shader 3/8” x Flat Shader # 6 x Flat Shader # 10 x Glaze/Wash Brush ¾ x Round # 2 x Script Liner 10/0 Other Brushes from Cupboard Distributing: x #4 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-4 x #8 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-8 65

Tip: Anytime during the instructions if I mention to “finely outline” something in Black you can choose whether you want to thin your Black paint and use a liner brush to outline or simply use a Black marker!

Preparation: Start by basecoating the entire plaque with two coats of Blue Haven and let dry.

Have the following colors ready for our next step; Blue Chiffon, Shoreline and a bit more Blue Haven for blending.

We will be ‘Slip-Slapping’ these colors across the surface. I used more of the Shoreline and Blue Chiffon when slip-slapping and then used Blue Haven here and there to help it all blend together. Remember to keep your brush and/or paint moist so the paint flows and doesn’t drag! I used a small water mister bottle and actually misted the surface before I started and when necessary to keep all the colors flowing smoothly. Once you achieved the look you like, let it dry before the next step!

Adding Clouds: Using Snow White and a large angular brush, float or shade wavy clouds randomly across the sky! Let dry.

You can now transfer your main design and the lettering.

Painting Instructions: Ground: Basecoat the ground solidly with Sable Brown and let dry. Drybrush across the ground first with Fawn and then again with Burlap. To add a bit of texture - so it looks a bit more like dirt, take an older drybrush or stencil brush and pounce across the ground randomly with Fawn and then again with Burlap (while continuing to use the same dirty brush). Lastly, you can blend the dirt a bit by adding a bit of Sable back into your dirty brush and pouncing it randomly over any ‘bold’ spots. You can actually pounce all of these colors back and forth until you achieve the look that you like best!

Once dry, transfer the details on the dirt. Shade under each seed row and along the top of the dirt with Traditional Burnt Umber. I also used this to shade the left side of the trowel, the bunny and to the left of each little seedling/flower.

Basecoat all the little seedling stalks and leaves with Hauser Light Green. Highlight each leaf with a small stroke of Olive Green.

The 2nd seedling, the top leaves are Light Hauser Green with just a small stroke of Boysenberry Pink added to the top.

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The 3rd seedling, (looks more like a heart), is based with solid Boysenberry Pink with a stroke of Tomato Red on each ‘petal’.

The last (or 4th) seedling, the heart shaped flower is based with Tomato Red and drybrushed with Boysenberry Pink.

Finely outline all rows, seedlings and heart flowers with Black.

Bibs: We will be painting the bunny’s bibs before we paint the bunny.

Basecoat the bibs with Wedgewood Blue. Once dry, drybrush with Colonial Blue, highlight with Blue Haven (mainly on the right side). Basecoat the cuffs on his bibs solidly with Colonial Blue, then drybrush those with Blue Haven.

To add a bit of detail, I randomly added a few, fine-lined ‘hash marks’ to the bibs with thinned Blue Haven.

With Wedgewood Blue, shade the inside edge of the bibs, under the arms, above the cuffs, and down the left side of the cuffs.

The buttons on the bibs are painted in Black.

Seed Bag: Once the bibs have dried, you can trace on the little seed bag. Basecoat the bag in Fawn and drybrush with Burlap (strengthen the Burlap a bit more on the right side of the bag as a highlight).

The inside of the bag is painted solidly with Traditional Burnt Umber. (Add an additional coat if needed). The trim around the top of the bag is painted solidly in Burlap.

Trace on the bag’s tie and lettering.

Basecoat the tie solidly with Sable Brown. Finely outline in Black.

Use Traditional Burnt Umber to shade under the tie and down the left side of the bag.

Finely outline the bag with Black. Lettering is also done finely in Black as well.

Shade under the bottom of the bag with Wedgewood Blue.

Bunny: Basecoat all the bunny’s fur with Cocoa. You will need two coats, so allow the first coat to dry before adding the second. Once this has dried, drybrush these areas with Honey Brown with a bit of Toffee mixed in. Once this has dried, trace on the bunny’s features. This will help you with placement of the rest of your colors!

Using Warm White with a bit of Toffee mixed in, drybrush around the inside of his ears, his muzzle, his chest and his hands.

Using only Warm White, drybrush a bit more to his muzzle to strengthen. Continue to use this same brush and add a bit of Boysenberry Pink to drybrush the cheeks.

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Ears: Solidly basecoat the inside of his ears with an equal mix of Boysenberry Pink and Toffee. Once dry, drybrush with Toffee (alone) to highlight.

Shading: Shade down the left side of his head, left arm and feet with Traditional Burnt Umber.

Shade above his nose with Traditional Burnt Umber as well, pulling this color up towards his forehead.

Bunny Details: His eyes are based in Warm White and the pupils are Black. The accents to his eyes are done with Warm White.

Finely outline the entire bunny with Black, including his facial features such as his eyes, eyelashes, nose and mouth.

Fill in the nose by painting it in Black.

Trowel and Watering Can: Basecoat the blade of the trowel and the watering can with Slate Grey. Once dry, drybrush with an equal mix of Slate Grey and Warm White.

Add highlights to the left side of the trowel blade and the left side of the watering can by drybrushing with Warm White alone.

The center of the trowel blade and all the trim on the watering can is painted solidly with Graphite.

Also shade the left side of the blade and the watering can with Graphite as well.

Finishing the Trowel: Basecoat the handle solidly in Leaf Green. Once dry, drybrush with Hauser Light Green. The knobs on the trowel are painted in Black. Finely outline the trowel in Black as well as adding any details to the blade and/or handle.

Finishing the Watering Can: The inside of the watering can and the holes in the spout are all done in Black.

Once the can has dried, you can trace on the heart. Basecoat the heart solidly with Tomato Red and drybrush with Boysenberry Pink. Accent the heart with a tiny stroke of thinned Warm White.

Finely outline the entire can, including the heart, with Black as well.

Daffodils: Basecoat the leaves and the stem solidly with Hauser Light Green. (Add a second coat if necessary).

Let dry. Drybrush the leaves and highlight the stem with Olive Green. Shade (or simply wet brush) across the bottom of each leaf with thinned Leaf Green.

Basecoat the flower petals solidly in Marigold. (Add a second coat if you feel you need it and let dry.)

Drybrush each petal with an equal mix of Marigold and Warm White.

Basecoat the centers of each flower solidly with Canyon Orange and let dry. Add a second coat of Canyon Orange to help build up the color (you can ‘dab’ this on if you wish to add a bit of texture). Let dry. Drybrush Marigold over the centers (but not to the edges). Dot the centers with a dot of Canyon Orange. Add a ‘comma stroke’ of Black around the bottom left side of the center dot to give it dimension.

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With some thinned Canyon Orange, shade or wet brush this around one side of each petal. Also, using your liner brush, paint a couple of thinned lines of Canyon Orange on the petals, coming from the center and going out. Once this has all dried, finely outline the flowers, stem and leaves with Black. I also added a few details to the flowers as well.

Butterflies: Basecoat both butterflies solidly in Marigold and let dry. Add an additional coat of Marigold if needed for coverage. Once this has dried, trace on the detailed wing sections.

Basecoat the largest sections on each wing solidly with Canyon Orange. Add an ad additional coat if needed. Once dry, paint the smaller sections (closest to the body h butterfly) with an equal mix of Tomato Red and Canyon Orange. You may need off the two coats of this for the best coverage. Once dry, finely outline the entire butterfly with Black, including their bodies, antennae and around each section on their wings. Fill in the smallest sections on their wings with Black (you can refer to photo). The middle section of their bodies is solid Traditional Burnt Umber, while their heads and end sections of their bodies are Black.

Dot each antenna with Black. I also added Marigold dots to each Black section on their wings.

Lettering: I used my Black Ultra-Fine Sharpie to outline all the large lettering on the plaque. Just take your time and slowly follow the outline for an easy transformation! Once you have finished the outline, simply go back and fill in the wider letters with Black paint – I used my liner brush for this!

Finishing Touches: At this point, we will want to seal our project! I simply spray sealed mine with Americana’s Matte Spray Finisher per instructions and let dry.

The only enhancements I added (and this is optional), was Americana’s Dura-Clear Gloss Varnish to the bunny’s eyes, nose and buttons on his bibs. I also added this to the knobs on the trowel, the heart flowers, the large heart on the watering can and the inside part of the watering can. I just like a little extra shine here and there! I hope you enjoyed this project and it gets you in the mood to garden! ͆

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By Lorraine Morison After months of being cooped up inside, avoiding the cold, the coming of spring signals fun times are ahead. There is no better way to serve up some sunshine and scrumptious delights than with this decorative platter and matching dip bowl.

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Surfaces: x Round platter with routered edge, 373mm (14Ҁ in) diameter and a recessed centre, 118mm (4Ҁ in) diameter or large enough to fit dip bowl x Glass bowl with MDF lid, 171mm (6¾ in) diameter Project Supplies: x Wet palette x Palette knife x Sandpaper x Ruler x Chalk pencil x Stretchy tape x Paper towels x White transfer paper x Tracing paper x Stylus Mediums by DecoArt Americana: x Multi-Purpose Sealer x Extender Medium x Glazing Medium x Acrylic Spray Sealer/Finisher Paints: DecoArt Americana Acrylics: x Admiral Blue x Baby Blue x Blue Chiffon x Burnt Orange x Buttermilk x Camel x Cashmere Beige x Cocoa x Deep Midnight Blue x Desert Cactus x Evergreen x French Grey Blue x Light Buttermilk

x x x x x x x x x x x x

Light French Blue Raw Sienna Sapphire Shoreline Spiced Pumpkin Summer Squash Taffy Cream Tangerine Traditional Burnt Umber True Ochre Warm White Wasabi Green

Brushes: x Basecoating brush or roller x Raphael Round brush No.4 x Raphael Fine Liner 8413 No 3 x Angle Shader ¼, 1/16 x Stencil brushes Preparation: Basecoat both pieces with two coats of Deep Midnight Blue mixed with equal amounts of Multi-Purpose Sealer, sanding between coats.

The rounded edge of the platter and the cove around the centre are painted with Baby Blue.

Mark off a 7 mm (¼ in) band around the glass bowl lid with ruler and chalk pencil; use stretchy tape to mask off the centre and paint the band with Baby Blue.

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Stencil brushes are used to stipple Sapphire, French Grey Blue, Light French Blue and Cashmere Beige. To achieve a mottled appearance, make sure after loading the brush to wipe off all the excess paint on a paper towel, then pounce the brush up and down on the piece.

When dry, paint a thin layer of Glazing Medium over the pieces.

Note: All blending throughout the piece is done with Extender Medium.

Trace the designs from the pattern sheet onto tracing paper and then transfer them to the pieces using the transfer paper and stylus.

Leaves: Basecoat with Desert Cactus.

Shade the base with Evergreen.

Highlight the tips with Wasabi.

Veins and stems are Evergreen.

Large Yellow Flower: Basecoat the large petals with Taffy Cream. Shade with Summer Squash.

Highlight the tops of the large petals with Light Buttermilk.

Basecoat the smaller petals with Summer Squash and shade them with True Ochre.

Centres are painted with Cocoa.

Shade with Traditional Burnt Umber.

Highlight with Buttermilk.

Blue Flower: Basecoat with two coats of Baby Blue. Shade around the centre with Deep Midnight Blue.

Using Admiral Blue, pull out fine lines from the centre.

Highlight the petal tips using the angle shader with Shoreline on the heel and the Blue Chiffon on the toe.

Centres are Camel.

Shade with Raw Sienna.

Highlight with Buttermilk.

Small Yellow Flower: Basecoat with Summer Squash.

Shade with True Ochre.

Highlight with Light Buttermilk.

Berries: Basecoat with Spiced Pumpkin.

Shade with Burnt Orange.

Highlight with Tangerine.

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Lace: Step 1. Wash 1/3rd of each petal with watery Warm White.

Step 2. Wash in the top of each leaf with watery Warm White and complete with three dots in the centre leaf.

Step 3. Use thick Warm White to outline this shape and complete with crosshatching.

Step 4. Radial lines are painted in this section.

Step 5. Wash 1/3rd of each petal with watery Warm White in this smaller set of petals.

Step 6. A thick Warm White outline is painted around this shape and completed with crosshatching.

Finishing: Leave the piece to dry overnight and then protect with a spray varnish.

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Large Platter Flower Border is at 100%

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Bowl Lid Line Art is at 100%

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Large Platter Lace Border is at 100%

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Large Platter Lace Border is at 100%

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Calling all artists….

We are now accepting submissions for the

2020 Pixelated Palette Ornament issue!

This issue is always an extravaganza of styles, surfaces and artistry! There are only a limited number of spaces.

Guidelines While a “pair” of extravagant ornaments might be nice… we really prefer you submit a set of three, related ornaments!

And only because they melt too quickly, no single ornament designs will be accepted.

All submissions must be received by April 3rd, 2020 Acceptance emails and contracts will be mailed no later than April 20th Complete instructions and pictures must be received by June 1st, 2020 Send your submissions to pixelatedsusan@gmail.com 80

By Chris Thornton-Deason 316-253-5442 www.christhorntondesigns.com 81

Surface: Flower Cart, MDF with Metal Wheel, #22-L282 14-1/2"” x 11” Art Supplies Available: www.christhorntondesigns.com x S-123 Andy Skinner ToxiF Stamp and clear acrylic handle x SM-025 Mini Stone Ring Stencil Project Supplies x Water Container x Stylus and Scissors, x Tracing Paper, Transfer Paper, Palette Paper x Paper Towel, Scotch Tape, Wedge Sponge (Cosmetic) x 150 To 200 Grit Sandpaper Paints: DecoArt Americana Acrylics x Dioxazine Purple x Foliage Green x Hauser Medium Green x Heritage Brick x Laguna x Lamp Black x Magenta x Marigold Royal Brushes - Soft Grip x SG150 #6 and 10 Shader x Series SG700 1” Wash/Glaze x SG585 #0 Liner

x x x x x x x

Plantation Pine Primary Blue Red Violet Snow White Spa Blue Spiced Orange Zinc

Mediums: x DecoArt All Purpose Sealer

Preparation Seal all pieces all and then sand with fine grit sandpaper.

Using the 1” wash/glaze brush, slip-slap the entire main piece of the cart in mostly Snow White with touches of Zinc. Using the #12 shader, float the shadows and streak in boards in Zinc.

Slip-slap the background of the flowers and behind the wheel in Spa Blue and Laguna using the 1” wash/glaze brush.

Stamping Tips: Press stamp firmly on surface, lifting straight off. Rocking or sliding stamp will cause blurred images. Do not apply color to heavily or it will fill in the fine cuts of the stamp. With acrylic paint you must work fast you have about to the count of 10 to press it on the surface Press the crackle part of the stamp onto the handle. Using the wedge sponge hanging onto the narrow end and pat the wide flat end into the Zinc, pat on palette to remove excess then pat on face of stamp, press randomly onto the body of the cart.

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Stenciling Tip: Applying the color too heavily will cause bleeding under the edges of the stencil.

Hold the Stone Ring stencil firmly in place. Using a wedge sponge, holding on to the long thin end, pat the large flat end into Snow White. Pat excess off on palette, pat over the open images on the stencil doing 2 across the roof.

Do not slide the stencil, lift straight off to prevent blurring When dry, apply the pattern.

Basecoating Leaves: Basecoat all the leaves Foliage Green using the #6 shader. Using the same brush float the shadows with Hauser Medium Green.

Daisies: Basecoat the daisies in Snow White plus a touch of Foliage Green using the #6 shader. Float the shadows with Foliage Green using the same brush.

Marigold Components: Basecoat the yellow pansy, daisy centers, bud and bee body in Marigold plus a touch of Snow White using the #6 shader. Float the shadows with Spiced Pumpkin using the #6.

Blue Pansy: With the #6 shader, basecoat the blue pansy and bud with a mix of Snow White, Dioxazine Purple and Primary Blue. Float the shadows with a mix of 2parts Dioxazine Purple to 1-part Primary Blue using the same brush.

Pink Pansy: With Magenta plus a touch of Snow White, Basecoat the pink pansy and bud Magenta using the #6 shader.

Float the shadows with Magenta using the same brush.

Using the # 6 Flat brush, reinforce shading as follows: o Reinforce the shadows on the leaves with Plantation Pine. o Reinforce the blue with another coat of the shadow mix o Reinforce the magenta with Red Violet o Reinforce the yellow with Heritage Brick o Reinforce the daisies with Hauser Medium Green

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Stripes: Using 1� painter’s tape on every other section, do the stripe in a mix of Magenta and Snow white using the #10 shader. Float a shadow down both sides with Magenta. Allow to dry and remove tape.

Highlights: Using the #6 shader, float all the flower highlights by adding Snow White to the base color.

Highlight the daisies with Snow White.

Highlight the leaves with Foliage Green plus Snow White plus a touch of Marigold.

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Finishing Reinforce the highlights on the pansies by adding a little more Snow White.

With Lamp Black, use the #1 liner to stripe the bee bodies and use the #0 liner to pull the center lines of the pansies.

Using the #1 liner, add the “v� to the pansy with Snow White; add the little oval in Marigold and accent the tip with Heritage Brick.

Dot the centers of the daisies with Hauser Medium Green plus a touch of Magenta.

With a mix of Snow White and Magenta, stencil the pink stripes on the roof. Line with a mix of equal parts Spa Blue and Laguna.

Do the lettering in Magenta plus a touch of Snow White. Bring swipes of Magenta about halfway up from the bottom.

Paint the spokes of the wheel in Snow white plus a touch of Zinc. Float the shadows with Zinc.

Do the tire in Zinc and float the outside edge with Lamp Black.

Your Choice of Fonts

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Line Art is at 100%

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©2020 Michael Cheek

By Michael Cheek

Tuscany, a hillside region in central Italy, is renowned for its breathtaking landscapes, fine wine and artistic legacy. Come join me as we paint this cozy cottage overlooking….well, you decide what might be just beyond that stand of trees…

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Surface: x 16 X 20 Canvas Project Supplies: x Michael’s Kanvas Koat®, Turquoise, www.palettecreationsbymichael.com x Cotton Swabs x Soft Rag or Wash Cloth x Black Graphite Paper x Stylus x (Optional: Windsor Newton Liquin) Palette: Martin F. Weber Prima Oil Colors x Ultramarine Blue x Alizarin Crimson x Burnt Sienna x Cad Yellow Light x Titanium White Winsor/Newton Oil colors: x Cad Orange Brushes: Loew Cornell x (Series 1800) Flat Bristle #10 & #2 x (Series 7300) Shader #12 x Script Liner #4 Michael’s Kanvas Koat® .

Note: Michael’s Kanvas Koat is not available in any craft store. It is only available by ordering from Michael’s website; www.palettecreationsbymichael.com A word from Michael: The reason for applying the color (turquoise) Kanvas Koat®, is so the paint will move, spread and blend without the use of oil medium.

When painting this project, don’t cover up all the under-tone!!! This will allow all the colors in the painting to be in harmony! Once the painting is dry the colors will take on a sheen of their own.

Canvas Preparation Using a chip brush or sponge roller, apply 2 coats of Michael's Kanvas Koat (turquoise) to the canvas, allowing plenty of drying time between coats. Using black graphite paper, transfer the pattern to the canvas Helpful Hints When tracing the pattern to the canvas, only trace basic lines. For instance, it will be difficult to paint around objects such as trees, bushes, etc.

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Instead of cleaning the brush in thinner each time, use a paper towel to pinch the paint out of the bristles. This allows some color to remain in the bristles, causing more variety of color tones when loading the next mixes.

Let’s Paint, Shall We? Sky and Clouds: Using the #10 flat bristle, load a mix of Ultramarine Blue and a touch of Titanium White. This should be a medium blue mix. Using long horizontal strokes paint in the sky, leaving a bit of the undertone showing. Wipe the brush!

Using the #10 flat bristle, load a mix of Titanium White with a tiny touch of cad orange. This should be a creamy white. Just enough cad orange to tint the white!

Working off the right corner and side of the brush, paint in the clouds using a circular motion.

Pick up a bit more Titanium White and add a brighter highlight on the edges of a few of them.

Background Mountains: Using the #10 flat bristle, load a mix of Ultramarine Blue, alizarin crimson and Titanium White. This should be a light purple- lavender mix.

Working off the flat of the brush and using short downward strokes, paint in the distant mountain working for a soft look! Picking up a bit more Ultramarine Blue in the same mixture, paint in the closer mountain using the same technique as just described.

Using a paper towel, wipe off some of the paint (back and forth) at the base of the mountain so it will have the appearance of distant grasses and a mysterious look!

Distant House: Bottom roofline: Ultramarine Blue+ Burnt Sienna (#2 flat) Windows: Ultramarine Blue+ Burnt Sienna (#4 liner) House wall: Burnt Sienna + Titanium White (#2 flat) Roof: cad orange with a touch of Burnt Sienna + Titanium White (#2 flat) Chimney: Burnt Sienna + a touch of Titanium White (#4 liner) Trees and Bushes: Using the #10 flat bristle, load a mix of Ultramarine Blue and a bit of Cad Yellow Light. This should be a medium to dark green. Holding the brush vertically and working off the flat of the brush, paint in the taller trees by tapping the brush in a downward stroke, working around the distant house.

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As you progress over to the right, paint in the larger rounded tree by working off the right bottom corner. Work using a tap, tap downward stroke. As you progress up to the top, keep your strokes loose and airy. Using the #12 shader, load a mix of Cad Yellow Light with a touch of Ultramarine Blue. This should be a medium yellow-green.

Load the mix on the bottom left corner of the brush. Turn the brush over so the paint is now on the top right corner of the brush. Starting on the big tree behind the two houses and working off the right corner of the brush, push upward and then release the brush downward to form clusters of highlighted foliage.

Pick up a bit of Titanium White and mix with the previous mix and add a few brighter highlights on the foliage here and there.

Use the same color mixes and technique for all the bushes as just described.

(Note): You will want to paint in the two houses before you paint in the bushes in front of them!

To highlight the taller trees, use the same #12 shader and the same color mixes. Load the paint on one flat side of the brush.

Holding the brush vertically with the paint on the left side of the brush, lay the brush on the left sides of the trees, giving a little push to the left and then pulling across to the right just a bit.

These trees will not need a lot of highlight because they are more in the distant.

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Foreground Houses: Paint these two houses using the #12 shader Rooflines and Windows: Ultramarine Blue+ Burnt Sienna Shadow Walls: Ultramarine Blue, Burnt Sienna + a touch of Titanium White Highlighted Walls: Burnt Sienna + Titanium White (more white is added for brighter highlight on the larger house) Roof’s: Cad Orange + a touch of Burnt Sienna (a small amount of Titanium White is added for a subtle look).

Grasses: Using a #10 flat bristle, load a mix of Cad Yellow Light with a touch of Ultramarine Blue. This should be a light yellowish-green mix. Working off the flat of the brush, paint in the grasses by tapping back and forth horizontally. Pick up a bit of Titanium White in the same mix, again working off the flat of the brush and tapping horizontally for brighter highlights in the grasses.

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Foreground Bushes: Using the #12 shader, load a mix of Ultramarine Blue, a bit of Burnt Sienna and Cad Yellow Light on the left bottom side of the brush. This should be a dark mossy green. Turn the brush over so the paint is on the top right of the brush. Working off the top right of the brush, push upward and then release the brush downward, working in a circular motion, to form the bushes.

Paint these very loosely! Pick up a bit of Cad Yellow Light in the same mix for a bit brighter tone. Highlight a few of the bushes to the right using the same technique as just described.

Keep these a bit subdued and not too bright!

Final Touches: **Sign your painting using the #4 script liner with any color you wish. Be sure to thin the paint with thinner to be like ink consistency. **After the painting is dry, you may want to reinstate some of the dark and lighter values in the painting. Most of the time it is hard to achieve the desired brightness that you need when the paint is still wet. **Students always ask about varnishing their painting! Here is what I do: After the painting is completely dry to the touch, I apply a small amount of Winsor/Newton Liquin to give the painting a little bit of a sheen. Just pour a small amount right on the canvas and use a large flat bristle brush to scrub and coat it, making sure it is evenly distributed. Since oil colors dry dull, this will brighten up the colors and give it a freshly painted look! If you want the painting to have more sheen, you may add as many coats as you like. Usually one or two coats is enough!

Be sure the Liquin is completely dry before adding another coat. **When applying a permanent varnish, it is said that you need to wait at least six months.

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Enlarge Line Art 270%

̹2020 Michael Cheek 93

By Sandy Kelsey

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Soooo, although they aren’t very aerodynamic, these fun-loving pigs find ways to SOAR above the clouds!

Surface x Wooden bread paddle, #417, with a 12x13 inch image area, JB Wood https://secure44.ezhostingserver.com/jbwood-com/st_item.aspx?ID=0417 Project Supplies x Usual Acrylic Tools x Stylus x Sandpaper x Paper Towel or Soft Cloth Paints: DecoArt Americana Acrylics ¾ Note: Spice Pink is discontinued.

Create a substitute by mixing Electric Pink + Terra Coral + Driftwood 1:1:2 x Lemon Yellow x Baby Blue x Light Orchard x Baby Pink x Lilac Meadow x Blue Harbor x Cadmium Yellow x Sand Grey x Cotton Candy x Spa Blue x Deep Midnight Blue x Spice Pink (Discontinued) x Desert Turquoise x Terra Coral (Optional) x Driftwood (Optional) x Titanium White x Watermelon Slice x Electric Pink (Optional) x Zinc x Lavender Brushes x Angled Shaders in ½ and ¼ inch x 10/0 Liner x Base coating brush of your choice x Various size Scumblers for dry- brushing x Small and large soft Mops

Mediums: DecoArt x Premium Extender Medium x All Purpose Sealer x Varnish of Choice

Preparation Sand, dust, seal …. And repeat! The better prepared your surface - the clearer (and easier) the little details will be.

Starting with the Sky Basecoat the board with Baby Blue. Drybrush random areas in the middle with Blue Harbor.

Add soft Baby Blue clouds in the Blue Harbor areas. VERY LIGHTLY drybrush Titanium White to the top and bottom areas without making any cloud shapes. Keep it loose and soft.

Transfer only the main pattern lines. Omit the following: o tiny details such as fur lines and individual feathers in the big pig wings o sandbags and all ropes in the air balloon o the rocket strap in the purple pig and rocket blast lines o pattern in the hang glider o the 5 little pigs (they will be freehanded later) 95

Undercoat Add a washy undercoat or two of Titanium White (so the colors really POP on the blue background) to the following: o The big pig, including wings o The yellow and pink parts of the balloon o The hang glider o The purple pig Transfer the pattern lines for the air balloon and hang glider First Basecoat The Purple Pig: Baby Pink The Big Pig : Cotton Candy Balloon, o Yellow Stripes: Lemon Yellow o Thin Band: Lilac Meadow o Stars – Cotton Candy o Wide Band: Desert Turquoise o The Basket: Dark Midnight Blue Hang Glider Sections: Desert Turquoise, Lavender, Cadmium Yellow Big Pig Wings: Rebase Titanium White opaque Sandy’s Floating/Shading/Tinting Technique: Add a small glob of Extender Medium to your palette. Take the angled shader and run both flat sides of the bristles through the extender so they are fully covered but not gloppy. Then pass both sides of the bristles over a paper towel. Now, load the tip of your shader with paint as usual. Paint will be very transparent to allow the colors and design beneath to show through.

Very important: Always let one application of color dry before adding additional layers.

Let dry before building up color.

Very, very important: Be careful to use minimal Extender or the bottom coat will lift.

The Big Pig: Our free flying friend will receive several applications of sheer color. On the following page, I have provided you with a Color Floating Guide to assist you with color placement.

Let’s make the first shading application easy…

With Blue Harbor, shade beneath the piggy as shown in the illustration on the right.

Continue floating sheer applications of color as instructed in the illustrations on the following page.

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Wide, sheer floats, Baby Pink

Float small accents with Lavender

Float accents with Lilac Meadow

Deepen select areas: float accents with Spice Pink

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Front Legs: add Baby pink fur lines using the chisel edge of a ¼ inch shader on the outside edges of the front legs. Tint the inside of each leg with Lavender.

Lower Chubby Roll: darken shadow with a tint of Lavender. In the upper chest area add fur lines with Light Orchard then tint with Lilac Meadow. Add Baby Pink fur lines that extend slightly into the Lavender area.

Body Under the Chin: darken under cheek area with Spice Pink.

Tint the fur with a wash of Lilac Meadow. Add Cotton Candy fur lines. Then Titanium accent fur lines that overlap into the lower section.

Back Leg: add fur lines with Lilac Meadow using the chisel edge of a ¼ angle shader. Tint with Lavender around the pig’s fanny.

Use your liner to add Cotton Candy fur lines around the bottom of the back foot. Tint with Lilac Meadow.

There is a tiny bit of pig fanny and foot showing on the left side of the big between the wings. Use Spice Pink then Watermelon Slice to shade and Baby Pink to paint a few fur lines. These areas are not meant to stand out as they are barely visible.

The Face: add Titanium White fur lines with a 10/0 liner. Then add extender medium and tint the fur with Cotton Candy. Add more Titanium White fur lines. Be sure to he extend some of the white lines into the blue background.

The Snout: the nostril “commas” are painted with Deep Midnight Blue and your 10/0 liner.

Use a ¼ inch angled shader to float Spicy Pink from the inside out. Drybrush Baby Pink between the nostrils. Drybrush softly Light Orchard then Titanium white to the top of the nose starting above the nostrils. Outline the inside half circles of the nostrils and outline of the snout with Titanium White. Tint outlines with Baby Pink.

Mouth: Fill in the mouth with Deep Midnight Blue. Deepen the shadow around the mouth with spice Pink then a tiny float of Lavender where the mouth connects with the snout on the left and down under the lip. Highlight the lip with Titanium White.

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Add Titanium White fur lines between the eyes and forehead all the way to the top of the head.

Tint with Cotton Candy to tone down. Add a tint an area of Light Meadow between the eyes. Use the pad of your finger to soften the edges if it appears sharp (Refer to photo).

The Eyes: Base coat the eye socket with Sand Grey. Add Desert Turquoise to the eyeball. Use a drybrush to scrub in a little Spa Blue highlight. Add a Deep Midnight Blue pupil. Use your liner to add a highlight of Titanium White on Sand Grey in the middle white eyeball. Then add a big and two small dots of Titanium White as an eyeshine to the dark pupil. (Refer to photo for placement). Use Deep Midnight Blue to add some short, curved eyelashes and an upper eye line to the eyeball.

The Ears: The inside is shaded with Spice Pink, then Watermelon Slice at the top fold and shaded with Lavender where they attach to the head. Pull some Baby Pink fur to extend over the inside of the ear.

Ribbon: based with Spa Blue, shaded with Desert Turquoise and highlighted with Titanium White. Use a little Blue Harbor to deepen the shade where the ribbon disappears around the neck and under the curl when the ribbon twists. Use Blue Harbor to lightly draw in the piece that connects the ribbon to the star. If the Titanium White areas appear too bright – lightly tint with Desert Turquoise.

The Wings: Transfer the details from the pattern (these wings are considered a “whimsy version” and are not anatomically accurate – plus hey, they’re on pigs sooo …..)

TIP! Except for there, you are floating shadows, all the brushstrokes on the feathers should go from top of the feather to bottom, not across.

Right Wing: Use a washy mix of Blue Harbor and your 10/0 liner to paint in some detail to the first row of feathers. Paint the first two rows of feathers with Baby Pink. Highlight the first row (above the ear) with Titanium at the end of the wing tips. Highlight the second row of feathers (middle) with the Titanium White in the middle of the feather. Shade the base of the first row of feathers with Lavender. Paint the curved, non-feathered piece with of the wing with Lilac Meadow, then as you move closer to the head, Lavender. Highlight with a little Light Orchid as you move toward the sky. Finish off with Baby Pink as it reaches the foot. Float a 99

washy mix of Blue Harbor where the first row of feathers attaches to the curved part. Shade the second row of feathers where they meet the first with Lavender. Paint the furthest row of feathers with Lilac Meadow. Highlight with dry brushed Cotton Candy applied in a sweeping brush stroke. Add some Sand Grey to the ends and washy Lilac Meadow floated where the third row goes under the second.

Left Wing: is based in white. Shade the base of each feather with Baby Blue and darken the shade again with Blue Harbor. Drybrush a sweeping stroke of Baby Pink as an accent (as shown in the photo). Add a float of Blue Harbor to the feathers where they meet the head. Brighten up random points of the feathers with your liner loaded with Titanium White.

Hooves: all are painted in Deep Midnight Blue and dry brushed with a Sand Grey highlight.

The Purple Pig (Rocket Piggy) Float the following as directed Use Lilac Meadow Use Blue Harbor Use Light Orchard and Titanium White Float accents with Lilac Meadow

Float accents with Blue Harbor

Add soft Lilac Meadow lines for bangs. Use Blue Harbor and your liner brush to draw in the line under the eye, around the underside of the snout, the chin, the legs and right side of the face.

Use Deep Midnight Blue to fill in the eye socket, the mouth, the hooves. Add a thin comma stroke of Blue Harbor to the upper right side of the eyeball. Add a thin line along the back of the lower left eyeball ending at the cheek.

Drybrush Titanium White as shown in illustration below.

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Drybrush T. White Highlights Š2020 Sandy Kelsey

Use a liner with Titanium White to add more bangs to the forehead, the lip under the mouth and 3 eyeshine dots.

Add a tint of Cotton Pink to the base of the ear, middle of the snout, cheek and under the snout.

Use Blue Harbor to float a little bit out from the nostril. Add a thin wash of extender over the rump and cheek. Softly add Light Orchid freckles to his backside and Titanium white freckles to his cheek. Use a mop brush to soften if they appear to strong.

The Tail is Lilac Meadow with a little Blue Harbor shading.

The Rocket: Middle section is painted Desert Turquoise, dry brushed with Spa Blue and has a Titanium highlight floated on the top. The bands and nose cone are Spice Pink, shaded with Watermelon Slice and highlighted with White. The fin and cap are Lemon Yellow shaded with Cadmium Yellow and highlighted with Titanium White. The point is painted with a 10/0 liner and Deep Midnight Blue. The Pig’s Belly Band is painted with Deep Midnight Blue with a Blue Harbor line painted over it.

The Blast is straight washy Zinc lines, with Sand Grey lines over them. Then, starting from the base of the rocket, add Titanium lines over the others. The blast lines get softer at the ends. The blast is going to go over the tail, so be sure that the tail shows through the blast lines.

Hot Air Balloon: The yellow area of the Hot Air Balloon is shaded around the edges with Cadmium Yellow and highlighted with a drybrush in the center with Titanium White.

The purple band is highlighted in the middle with Light Orchid.

The wide band is dry brushed with Spa Blue around the stars. The shading line at the top and bottom of the blue band may need to be reapplied.

The stars are shaded at the points with Spice Pink and the centers are dry brushed with a little Titanium White. The dots between the stars are 101

Lavender. The white dots are added using a stylus around the outside edges of the purple bands and inside the purple dots. The basket has Blue Harbor dry brushed in the center leaving a dark area around the sandbags. The rim of the basket has Blue Harbor lines added and a Titanium White highlight. The sandbags are based Sand Grey, shaded at the bottom with Zinc and highlighted with a Titanium curved line. They are connected with a Cadmium yellow rope. You may need to add 1:1 Cadmium Yellow with Titanium White to get this to cover. The balloon ropes in back are painted with a 10/0 liner in Lavender. Front lines are Lavender with a Light Orchid painted over it. Skip the pig for now.

The Hang Glider: Drybrush Spa Blue in the Turquoise sections, Lilac Meadow over the Lavender, White Titanium over the Yellow. The frame is painted with Deep Midnight Blue. Skip the pig for now.

Use Cadmium Yellow to shade the points of the start on the Pink Pigs ribbon. Drybrush a little Titanium White to the center.

Trace the lettering onto the project. Paint till solid with Deep Midnight Blue. Add dots of Titanium White.

Use a ½ inch shader with an inky mix of Titanium to float some definition on the lower, cloudy area. Mop as needed.

Tip: Don’t add clouds AGAINST the bottom two pig’s feet, as they are flying ABOVE the clouds not standing on them. When dry, add a thin layer of Extender to the bottom two inches on the left, then tint with Lavender. Add a subtle shadow of Blue Harbor below the pigs reflected on the clouds beneath them. Use a mop to soften the edges of both tints.

The Little Pigs: They are all in the distance and have little detail. Just enough to tell what they are doing!

Refer to pictures on the following page for instructions. Do them all at the same time so they can take on their individual personalities while you paint ‘em.

Hope you had fun painting these colorful piggies. I can be reached by emailing sk51263@aol.com

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Hang Glider Piggy steps

©2020 Sandy Kelsey

Flying Piggy steps ©2020 Sandy Kelsey

Hot Air Balloon Piggy steps ©2020 Sandy Kelsey

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