Pixelated Palette April 2020 Issue by Pixelated Palette

April 2020 Table of Contents Chris Haughey

Listen to the Birds

5-12

Sharon Bond Farmhouse Welcome

13-20

Sandy Kelsey

Linda O’Connell, TDA

A Touch of Dublin

47-55 Jeannetta Cimo

Susan Cochrane

Rainbow Rose

91-95

Martha Smalley

Gnome on the Range

Meet Me at the Sea

57-66

97-101

Bride’s Treasure Box

Donna Hodson, CDA

Spring Fragrance

Diane Trierweiler

22-30

67-74

102-106

Debbie Mishima

Cheryl Poulin

Elisabetta de Maria, CDA

Dancer Takes a Holiday

First Blooms

75-80

31-37

Swan Dance

Reflection of Water

108-113

Judy Diephouse

Sunny Tonini

Farm Scene Plate

Postcard from Paris

39-46

83-90

Effie Carayannis Sunflower Serving Board

114-121

Editor in Chief: Lindsey Applegate; palettepixels@gmail.com Executive Editor: Susan Mynyk; pixelatedsusan@gmail.com Copyright Notice: ©2020 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. 2

May 2020 Sneak Peek

Painting friends, Because Ohio, like many other places in the world, is under a stay and shelter order, my letter this month comes to you from my home. This pandemic has impacted the everyday life we all took for granted. Fortunately, the quarantine does not affect our ability to publish Pixelated Palette monthly! Many of you have commented that one good thing about being homebound is that you finally have the time to paint and craft! Many designers, currently unable to travel teach, have been flooding our email box with innovative projects. As of now, our issues are jam packed right through July! It is our heartfelt commitment to you, our readers, to keep spreading painting sunshine with every issue. This month, we welcome another designer to our Pixelated family. Jeanetta Cimo is making her debut with Gnome on the Range. This little guy is relaxing up against a wall, after what we know was a difficult ride on his trusty stick horse! Although many public events are postponed, love cannot be stopped. Sandy Kelsey believes that now is a perfect time to paint a “beary” special treasure box for a couple planning to wed. And, even though travel plans have been cancelled, Sunny Tonini will show you how to “send” yourself a postcard from Paris! As this month’s cover indicates, flowers abound in this seasonal issue. From the fragrant lilacs by Donna Hodson, First Blooms imagined by Cheryl Poulin and every, unique blossom in between, their beauty is uplifting. We know that these times are hard and can often be mentally trying. It is our hope that our publication helps you escape that stress, even if only for a few hours, as you paint a design from amongst these pages. Stay strong friends; this too shall pass! ~Lindsey

By Chris Haughey 5

Spring reminds me of little birds chirping happily in flower meadows, soaking in the sunshine, and enjoying a warm, gentle breeze! Chalky Gesso has become one of my favorite mediums for basecoating. Available in many colors, it provides an opaque base that can be sanded smooth as silk, making it a stellar base for painting! Surface: -L703 Project Supplies: Porch Rules Stencil 09-19057 Diamond Lattice Stencil 09-19301 Winter Chickadee Cling Stamp 46-23734 Acrylic Handle 46-18689 29-24747 Micron Pen .03 18-30381 -24747 Canary Tracing Paper 28-03838 Graphite Transfer Paper 28-05280 Mono Zero Eraser 18-57306 -03680 Palette Knife 29-13281 Sandpaper, Fine Grit 29-12347 Specialty Sponges, Set of 2 29-32227 Stylus 03-00090 Paints: DecoArt Americana Acrylics Charcoal Grey Cobblestone Eucalyptus Leaf Honey Brown Light Cinnamon Midnight Green Snow White Soft Black Vintage Pink

DecoArt Media Fluid Acrylics (Americana Substitutes are listed in parenthesis)

Cobalt Teal Hue (Shoreline) Cobalt Turquoise Hue (Moody Blue) Dioxazine Purple (Dioxazine Purple) Quinacridone Gold (Burnt Sienna)

Mediums by DecoArt: Americana Matte Sealer/ Finish Spray 13-41370 Matte Medium 13-DMM20 White Chalky Gesso 13-11418

Brushes: -925-927-5 -926-4 -1345-¼, -½ Filbert #8 03-1385-8 -1318-¾ Large Mini Mop 03-M77MM-L Splatter Brush 46-04784 Texture, Graining, & Blending Brush 29-11558 Preparation: Using the large specialty sponge, apply a coat of White, Chalky Gesso to seal surface. Trace pattern onto tracing paper. Lightly transfer the main pattern lines using the transfer paper and stylus. Transfer details as needed. Painting Instructions: Chickadee Placement: Because the background base for the chickadee needs to be white, it must be stamped before the background is applied. Otherwise the chickadee will have a blue base, creating a green cast when the paint is applied. Bird Stamping Instructions: The stamp is used to create the bird outline. Attach stamp to acrylic handle. Load damp (not wet) specialty sponge with Soft Black, tapping sponge on palette to distribute paint evenly across bottom of sponge. this portion will not be used. Coat bird area evenly with paint. Too much paint will cause the image to be blurry, while not enough paint be applied to bird only. Position the bird on top of the post, press down to imprint design and lift. Background: When dry, load damp oval wash with a 50/50 mix of Cobalt Teal Hue and Matte Medium (50/50). Using a slip slap stroke, apply loosely and quickly over background (around bird). Pick up Cobalt Turquoise Hue and Matte Medium on dirty brush and continue to slip slap, blending the colors together. Repeat to cover the entire plaque, alternating colors and blending. Use mop to soften strokes and blend as needed. Brushstrokes may be visible, the colors will be light and dark, but not spotty. Load oval wash with a 50/50 mix of thinned Matte Medium and Dioxazine Purple. This should be a very, very light wash of color. Randomly apply, mostly towards the bottom (foliage area) blending softly into the background. This is a very subtle hint of color.

Stencil: Place lattice background stencil along the right side and secure with painter s tape. Load Spectacular Stencil Brush with Snow White. Wipe brush on paper towel to remove heavy paint and stencil a partial design. Shift the stencil to bottom right and repeat design. Details: Load palette knife with a small amount of Snow White by pulling edge of knife through paint. Wipe across palette (similar to spreading butter on bread) to remove most of the paint. Starting at the top, lightly scrape the knife down the right and left sides using a vertical pull. Repeat several times just for interest, keeping it random and sparse. This will add an interesting texture, creating a continuity of white in the background. Load splatter brush with thinned Snow White and splatter around outer edges. Thin Dioxazine Purple and splatter sparingly, heavier at bottom, lighter towards top. Keep splatters to a minimum; just a touch of color is necessary. Foliage Background: Load filbert with thinned Eucalyptus Leaf. Slip slap around foliage area below post to create a soft greenish hue in the background.

Thin Cobalt Turquoise Hue with Matte Medium and water. Using Epic Script Liner, paint flower stems an ends of the stems by pulling strokes out in a fan shape. Add Snow White dip dots at the tips of the fan strokes and fill in to create the lacy flowers. 8

Fence Post: With oval wash, paint fence post Cobblestone. Load damp texture blending brush with Charcoal Grey to pull wood grain down from top to bottom. Load Oval Wash with thinned Light Cinnamon. Staying on the chisel edge of the brush, pull vertical strokes down post. This will start to build the bark effect on post. Load filbert with Snow White, wipe excess on paper towel, keeping brush on chisel edge, pull down to leave a drybrush texture. To add stronger highlights, pull edge of palette knife through Snow White paint. Pull palette knife down keeping knife on edge at 30-degree angle, leaving brighter texture along top and middle to right side. Load ½ angle with Charcoal Grey to shade down left side, along bottom, and below bird. Add Cobalt Turquoise Hue texture using palette knife technique towards bottom left and middle of post.

Barbed Wire: Load Epic Script Liner with Soft Black to paint wire and barbs. Load the same brush with Snow White to highlight the top edge of wire and right side of barbs. Load toe of Radical Round with thinned Charcoal Grey. Staying on the tip of the brush, line a transparent shadow on the post below and to the left of the wire. Cone Flowers: Because the two back flowers on the right side are in the background, they will need to be painted BEFORE the wagon wheel. The rest of the flowers are painted AFTER the wheel. Load filbert with Vintage Pink to paint flower petals. With ¼ angle and Dioxazine Purple, shade along base, pulling down petals. With same brush and Snow White, highlight tips of petals. To paint the flower center, load filbert with Honey Brown. With ¼ angle float Quinacridone Gold along base and right side of center. Deepen shading with Light Cinnamon and darken again with thinned Charcoal Grey. 9

Load toe of ¼ angle with Moon Yellow to tap-float a highlight along the top and left sides. Brighten highlights with Snow White taps. To intensify the highlights, add a few Snow-White dip dots. Load Radical Round with Eucalyptus Leaf to paint flower stems and leaves. With the same brush and Midnight Green, deepen to shade bottom and left side of stems and leaves. Wagon Wheel: Load Radical Round with Light Cinnamon to paint the outer rim of wheel and center hub. Using same brush and Cobblestone, paint the inner rim and spokes. With Radical Round and Honey Brown, highlight the top and left side of outer rim. Brighten highlights with Snow White. Load Radical Round with Light Cinnamon to pull across spokes and around the inner wheel rim. With the same brush, darken bottom or right sides of spokes using Charcoal Grey; highlight the top or left sides with Snow White. Load Awesome Angle with Charcoal Grey to shade along left sides of each layer of the hub. Highlight top left of each with Snow White using Epic Script Liner. Paint center hole Charcoal Grey using Epic Script Liner. Shadows: Load Radical Round with thinned Charcoal Grey to paint transparent shadows below and to the left of spokes on post, below flower petals on spokes, and at base of spokes against hub. Linework: Use the .03 Micron pen to outline the post, leaves, flower petals, centers, stems, wagon wheel, spokes, and hub. 10

Chickadee: The entire bird is floated with varying shades of Soft Black using ¼ angle. Shade darker along the with Soft Black creating darker markings at base of neck, below wing, bottom of tail feathers and tummy. Lightly float top of head with Snow White, following the contour of the head. Using the same color,

To add a hint of muted color, load ¼ angle with thinned Quinacridone Gold to float below neck and down chest area. Float a hint of Quinacridone Gold along the bottom of the cheek area, blending softly from the bottom towards the center of cheek. Dip dot eye Quinacridone Gold using the handle end of a small brush. Load toe of Awesome Angle with thinned Snow White to float along the bottom and up right side to softly highlight. Dip dot a Soft Black pupil in eye and add a tiny Snow-White dip dot in the top left to highlight. Base beak Moon Yellow, shading the bottom edge with Quinacridone Gold. Deepen shading with Light Cinnamon; highlight along the top edge with Snow White. Words: a paper adjacent areas on stencil to prevent over-stenciling into unwanted areas. Two light coats will result in clean, crisp edges. When finished, load Epic Script Liner with thinned Soft Black to connect lettering for a smooth continuous flow. Finishing: Remove all tracing lines. Paint side edges of plaque Soft Black. pray seal surface with several light coats of Matte Spray Varnish, allowing appropriate drying time between coats. 11

Line art is at 100% Due to copyright restrictions, the line drawing of the stamped bird image is prohibited." For your reference, this bird outline is actual size.

Farmhouse Welcome! By Sharon Bond , encouragement from a friend, things started coming together! I was thinking about how green that grass looks when spring begins; flowers starting to bloom and animals out and about, and suddenly this peaceful scene appeared. What could be better than a country farm scene with all the critters enjoying Copyright © 2020 Painted by Me, Sharon B - Photocopying or mechanical reproduction is strictly prohibited. May be painted for fun or profit, but no mass production.

Surface: Mid Gas Pump

Available from www.cdwood.com

Item # 31-L584

Project Supplies: Ultra-fine Permanent Black Marker (Such as an Ultra-fine Sharpie, available at most stores!) ----OR-----Black PITT Artist Pen, Superfine and/or an Extra Superfine by Faber-Castell (for even finer lines.) Ordinary Ruler (Optional, but helpful!) White Uni-ball Gel Pen Available from www.cdwood.com Item # 18-58880 (Optional) (OR you could also use a White Gelly Roll Pen, also available at CD Wood - # 18-37488) Welcome to our Farmhouse Stencil Available from www.cdwood.com Item # 0919010 Tim Holtz Mini Stencil Set #32 (This includes the Mini Plaid Stencil used) Available from www.cdwood.com Item # 09-60215 (Optional) Ribbon, Twine, Wire or String to create hanger (Optional) Paints: DecoArt Americana Acrylics Avocado Bleached Sand Blue Haven Burnt Orange Canyon Orange Celery Green Cocoa Espresso Hauser Dark Green Hauser Light Green Hauser Medium Green Lamp Black

Marigold Midnite Blue Rookwood Red Soft Black Summer Squash Terra Cotta Toffee Tomato Red Traditional Burnt Umber True Blue Warm Beige Warm White

Mediums: DecoArt: Brushes:

Flat Shader # 10 Glaze/Wash Brush ¾ Round # 2 Script Liner 10/0 Other Brushes from Cupboard Distributing: #4 Oval Drybrush Item # 03-2010-4 #6 Oval Drybrush Item # 03-2010-6 #10 Oval Drybrush Item # 03-2010-10 #4 SPECTACULAR Stencil Brush Item # 03-926-4 14

Tip: whether you want to thin your Black paint and use a liner brush to outline or simply use a Black marker! Preparation: You can choose two separate ways to basecoat your plaque: You can basecoat the entire plaque with two coats of Blue Haven, let dry, then proceed with tracing on the hills OR- You can trace on the lines for the hills on the surface, then proceed with basecoating each area separately by color. Either way, the sky should be Blue Haven. The furthest hill should be based in two coats of Avocado, the middle hill with the barn should be based in two coats of Medium Hauser Green and the remaining hill should be based in two coats of Light Hauser Green. Let all dry before proceeding. Sky: Shade a few wavy clouds across the sky with Warm White. Furthest Hill: Green. Middle Hill with Barn: Drybrush with Light Hauser Green. Remaining Hill: Drybrush with Celery Green and while using the same brush, drybrush again with Summer Squash. Continue to use the same brush to lightly/randomly drybrush again with Light Hauser Green to help blend together. Shade behind each hill with Dark Hauser Green. Painting Instructions: Barn: We can now trace on the barn (just the main outline, no details yet!) Basecoat with Rookwood Red and drybrush with Tomato Red. Once this has dried, you can then trace on the remaining details. (*Using a ruler helps with all outlining.) Open barn door is solid Black. Roofs and top of silo are based in Cocoa (add an additional coat if you need too). Drybrush these areas with Toffee. Paint the trim along the roof on the front of the barn with Bleached Sand. Shade under the roof and sides of the barn with Traditional Burnt Umber. I used a ruler and my White Uni-ball Pen to outline the main doors, doors and over the open door with Warm White. Paint the remainder of the silo with Bleached Sand. Once dry, shade the right side of the silo with Cocoa. Finely outline all with Black (I used my ruler!) The wind gauge on the roof is all done in Black as well. Cows: Now trace on the cows. Basecoat them in two coats of Bleached Sand. Once dry, drybrush with Warm White. The insides of their ears, their udders and noses are all painted with Warm Beige. Their horns are painted in Toffee. Finely outline them all in Black. Hooves, spots and eyes are all Black. 15

To Finish the Areas Around Barn and Cows: Shade under the barn and randomly under the cows with Traditional Burnt Umber. I also finely outlined under the barn with Black. Also add a few random blades of grass around the barn and cows as well. Do this first with Black (you can use your marker, if you wish), then add a few more with Dark Hauser Green. Fence and Daisies: Trace on the fence posts and the daisies. Fence Posts: Basecoat all fence posts with two coats of Traditional Burnt Umber (remember to let dry between coats for the best results!) Once your original basecoat has dried, we will be painting (wet-brushing) the posts with both Traditional Burnt Umber and Espresso. Simply paint a few vertical lines with Traditional Burnt Umber and while still damp paint a few lines of Espresso, letting some blend and some streak. You can do this back and forth as many times as you want to get the look you like! Once there, let it dry completely. Paint the trim along the tops and sides of each post with Soft Black. Let this dry, then add a few strokes of thinned Traditional Burnt Umber over these sections. Once dry, finely outline all posts with details on the wood posts. Daisies: Basecoat the flower stems with Avocado and finely outline them in Black. Basecoat all petals with Warm White; to save time without having to add any additional coats, I loaded the tip of my round brush heavily with Warm White, then starting at the end of the petal and pulling towards the center I made one heavy stroke for each petal. It also gives it a bit of dimension. Let them dry completely before erasing your tracing lines! (*You can rotate your plaque around as you work on your daisies to make it more comfortable!) Once completely dry, finely outline the petals in Black. Also outline around the main centers with Black. Basecoat all centers with Marigold. You may gold on, to help build up the color faster and also to give it a bit of texture. Once dry, shade (or wet brush) Canyon Orange around the edges of Summer Squash. Once all has dried, I did add a few very tiny dots of Black Chickens (Hens): Basecoat all hens in Terra Cotta. Let dry. Drybrush their head/neck areas with Canyon Orange and let dry. Drybrush Toffee lightly over all parts of the hens. Once this has dried, you can trace on their details. Drybrush Toffee (more concentrated) around the eye area of each hen. Their combs and waddles are painted in Tomato Red. Their beaks and feet are painted with Marigold. Their eyes are dotted Black. Finely outline them and their details in Black as well. Rooster: Start with basecoating the sections of the rooster. (refer to the picture) *After your initial basecoats dry, you can see if you need to add any additional coats for complete color coverage* Basecoat the neck, face area, the end feathers on the wing and multiple feathers across the back with Burnt Orange. Drybrush these areas with Canyon Orange. Drybrush the neck with Marigold to highlight. Wet-brush Canyon Orange and then Marigold on the Burnt Orange feathers. 16

Basecoat the chest and underbody, the middle section of the wing and most of the tail feathers in Midnite Blue. Drybrush the larger areas with True Blue. Wet-brush strokes over the tail feathers with True Blue as well. Basecoat the back of the head, behind the waddle, top of the wing and some of the feathers across the back with Rookwood Red. Drybrush these areas with Burnt Orange. Wet-brush strokes down the feathers with Burnt Orange and a few with Tomato Red. Basecoat any remaining tail feathers with Dark Hauser Green. Once dry, wet brush a stroke of Avocado down each feather. Legs are based with an equal 50/50 mix of Marigold and Terra Cotta. Once dry, highlight with a stroke of Marigold (only), then finely outline in Black. o Shade a bit of Tomato Red (basically like a shape of a semiWhite accents. Beak is based solidly in Marigold. (You will need 2-3 coats, remember to let dry in between!) Once dry, shade with Canyon Orange where the beak is closest to the face. Finely outline the beak in Black and also paint the outside outline around the beak in Black. Waddle and comb are solidly based with Tomato Red. Drybrush these areas with Canyon Orange and finely outline in Black. Finely outline the rest of the rooster in Black as well. To Complete the Area Around the Hens: Shade small random areas around the hens with Cocoa. To create bird seed, using the small end of your stylus, add tiny dots of Espresso, Marigold and Black. Stenciling: We will be using the words separately so you will want to tape or mask around areas to protect them as we use each word. All the main stenciling is done in Black. Welcome: Sand along the left side of each letter for a bit of variation. If this appears too bold, or takes away from seeing the word boldly enough, then simply tap back over those areas lightly with Black again; that way there will just be a hint of highlight to the words. To and Our: Position these words in the middle. While in place, you may want to lightly tap a bit of Bleached Sand along the left side of each letter for a bit of variation. If this appears too bold, or takes away from seeing the word clearly enough, then simply tap back over those areas lightly with Black again; that way there will just be a hint of highlight to the words.

Farmhouse: Black, let dry and leave the stencil in place for some added fun! this in sections). Once positioned, stencil over the Plaid stencil with Rookwood Red. (You may choose to use a lighter/different color if y show up as well!) Once finished with the first part, move your stencil over to complete the rest of the word. I absolutely love this technique! (Thank you Chris Haughey!) There is no limit to the imagination of what we can create with layering multiple stencils AND without the worry of stenciling somewhere other than where we intended!

Finishing Touches: Once everything has dried we are ready to seal our project! I simply spray sealed mine with ll optional! I had so much fun creating this farm scene for you! Something a little different for me, I must say! Hope you enjoyed it and will welcome it into your very own little farmhouse! Thank you, Sharon B

By Sandy Kelsey April leads us to the beginning of the wedding season. Create something personal and unique for your bride by painting this sweet box as a gift for her bridal shower or as a wedding gift.

Surface: • Darice Unfinished Wooden Purse Box 7.25 x 7.25” from JoAnn Fabrics • Optional, any square surface of choice Supplies: • Palette Paper • Transfer Paper • Tracing Paper • Stylus or Dotting Tool • Blue Painters Tape • Paper Towels • Sandpaper and Brown Paper Bag • Tim Holtz Layering Stencil, #THS076, Ornate Paints: DecoArt Americana Acrylics • Asphaltum • Blue Haven • Burlap • Dark Chocolate • Hauser Medium Green • Lamp Black • Lemonade • Melon • Mississippi Mud Dazzling Metallics • Mink Pearl

• Morning Mist • Natural Buff • Plantation Pine • Plum Suede • Primary Yellow • Sable Brown • Sand Grey • Watermelon Slice • Zinc Traditions • Titanium White

Mediums: DecoArt • Extender Medium • All Purpose Sealer • Dura-Clear Matte Varnish Brushes: • ¼” and ½” angled shader • #2 Round • 10/0 Liner • ½” flat or filbert for base coating • Small and medium drybrush • Medium Mop Surface Preparation Sand and seal as often as needed to create a smooth surface. Loosen the hardware so you can more easily paint around/under it. Base coat the entire box in Natural Buff. Tape off ¼ inch border around the entire top. Transfer the outline of the bears omitting the veil and sleeve, the ribbon and flowers on the bottom. Sandy’s technique for floating: Create translucent floats (or washes) by using Extender Medium. Instead of wetting your brush with water, load with extender and wipe off excess on a paper towel. When painting a translucent float on the background, use a ½” angled shader for a smother float and if necessary, mop lightly. 23

Creating the Background Basecoat with several coats of Mink Pearl, letting it dry between applications. Mix Asphaltum with Mink Pearl 1:1 and darken the upper and lower, left corners. Use a Mop to blend edges. (this will make the stencil design pop in those spots). Line the stencil up against the bottom edge of the border. Stencil the design with Sand Grey, moving it until the whole background around the bears is covered. Don’t overlap the pattern. Line the stencil up again on the top left. Softly drybrush Blue Haven then Natural Buff in a few places over the Sand Grey. Let everything dry thoroughly. Float translucent Asphaltum along the left side of the border and round the left side of the Groom’s head and tuxedo. Stop halfway along the bottom edge. Do the same with Zinc on the right-side stopping at the wedding dress corner. Leave the top of their heads without a shading. Mop any harsh lines. Transfer the rest of the pattern, omitting the floral sprays, sleeves and veil, the stems in the flowers, eyes and the noses. Remove the painter’s tape. Parts of the Design 1. Muzzle 2. Gusset 3. Headband 4. Dress bodice 5. Silk around bouquet 6. Tuxedo 7. Vest 8. Dress Shirt 9. Collar

Basecoats Groom: Muzzle, inside ears, and gusset: Sable Brown Head and paw (on bride’s waist): Dark Chocolate Bride: Muzzle, inside ears, arm: Burlap Brides head, ear, neck: Sable Brown Clothing Tuxedo/Bow Tie: Lamp Black Vest: Zinc Dress shirt: Morning Mist 24

Headband and Wedding Dress (don’t do sleeve or veil): Morning Mist All Flowers: Natural Buff Ribbon in the flowers: 2nd coat of Natural Buff All leaves: Hauser Medium Green Silk around the bouquet and hanging ribbons: Blue Haven Painting the Fur: All fur is painted by adding Extender Medium to the liner brush, then lightly wiping on a paper towel. Then load the liner with paint. If the paint is too transparent, use less medium. If the paint skips or doesn’t flow, use more. In order to add depth to the fur, I use layers of translucent darkening floats and washes, then highlighting fur lines. The instructions call for lots of little overlapping fur lines added here and there …. but that really makes the bears look so000 much better (Refer to the Highlight and Shading Guides for color placement) The Groom: The fur on the dark section of the head is created by leaving the Dark Chocolate showing. Add light strokes of fur lines with Sable Brown. Then paint over the area with a translucent wash of Dark Chocolate to tint the fur lines darker. Then add more Sable Brown fur lines to brighten it up. Highlight the muzzle (horizontal lines) and gusset (vertical lines) with liner loaded with Burlap and Extender Medium. Transfer the eyes and nose and paint them Lamp Black. Add a shine line on the nose with Titanium White as shown. With your small angled shader, float Dark Chocolate around the nose, at the bridge between the gusset and muzzle, at the top of his chin and line up to the nose. Groom’s Eyes: Upper eyelid is created by following the shape of the oval with the liner brush and adding a Sable Brown arch. Leave a thin line of black showing on the top. On the bottom, add a Titanium White line; again, following the curve and leaving a narrow black line showing. If the brown and white lines seem too thick, thin them out with more Lamp Black. Be sure the ends of the lines are sharply tapered. Add a washy shine line with Titanium White and an undiluted highlight sparkle.

Shading Guide

Furry Details: Float Burlap around the outside edges of the inside of the bears ears. Make sure Dark Chocolate extends a little under the sides of the muzzle. Then add Burlap fur that extends into the Dark Chocolate area. Pull some Sable Brown fur lines into the inside ear space. The Grooms paw that rests against her waist has a few simple fur lines in Sable Brown. Tuxedo: Drybrush Zinc in the areas shown. After doing the lapels, float Lamp Black underneath to sharpen the line. If your float comes to close to the edge of the arm, float Lamp Black to sharpen that line also. The vest is painted using a drybrush and Sand Grey in the center areas. The dress shirt has Titanium 26

White dry brushed in the middle of both sides and has Plum Suede floated under the collar, under the bow tie, against the vest and alongside the shirt’s button area. Dry brush a small bit of Titanium White on the center of the collar and center of the button area. The buttons are painted by lightly drawing them in with Plum Suede and a liner brush. Use the liner brush to add Titanium White lines in the bow tie.

Highlighting Guide

The Bride Refer to the photo for placement and direction of highlight fur and shading. There is a soft center seam running from the Muzzle to headband. Keep this area Sable Brown and don’t let fur lines totally cover it. Start adding lines of fur to the face, arm and neck using Burlap. Add a translucent wash of Sable Brown to tone the color down. Add more Burlap fur over the top and do the same for the Brides arm. Shade under the headband, around the muzzle and inside where the eyes will go with Sable Brown. Transfer the eye and nose pattern. Basecoat Lamp Black. Brides Eyes: The Iris is painted by following the shape of the oval and adding a Sable Brown “U” shape at the bottom. Leave a little black outline visible at the very bottom. Add a narrow “U” shape stroke with Titanium White on top of the Sable Brown, following the curve and leaving a narrow black line showing. If the brown and white lines seem too thick, thin them out with more Lamp Black. Be sure the ends of the lines are sharply tapered. Add a washy shine line with Titanium White and an undiluted highlight sparkle.

Use the liner brush loaded with Burlap, then Natural Buff to add soft fur around the top of the eyes and top of the cheeks. Add a horizontal highlight of Natural Buff lines across the very top of the muzzle. Float a small bit of Sable Brown under her nose and at the top of her chin. Use Dark Chocolate to again shade the area where the Brides face rests against the groom, under her face along the neck, the very top of her arm where it meets the face (will be under the sleeve). Softly dry brush Coral on her cheeks and inside her ears (less looks best). Transfer the sleeve and veil lines. Wedding Gown: With Plum Suede, shade her gown on the shoulders under the head, along the tuxedo and up the arm. With Titanium White, dry brush the middle of the dress bodice. As shown in the picture on the right, stencil the dress area around the flowers and ribbons with Titanium White. Leave the shaded areas the basecoat color (Morning Mist).

Headband: The headband is lightened where it meets the face with a line of Titanium White. There is a small float of Titanium White between the green leaf and the bear’s ear. Veil and Sleeves: They are created by floating translucent Titanium White on top of the design. Then add solid Titanium White lines to emphasize the edges. Let the arm and background show through. Flowers in the ribbon: (picture on previous page) Shade with Melon and highlight with Titanium White. The lines on the petals are drawn in with Mississippi Mud and a liner brush. The centers are Watermelon Slice, shaded a tiny bit with a float of Dark Chocolate. The dots are added using a stylus and Primary Yellow. Pink Roses: Use the corner of your small shader to float Titanium White highlights on the petals. Dab the centers with Watermelon Slice. These flowers are meant to be simple with the petals implied. Ivory Roses: Shade with Mississippi Mud and highlight with Titanium White. Leaves and Ribbon: Shade all leaves with Plantation Pine and highlight with Lemonade. Shade the ribbon with Burlap and highlight with a dry brush of Titanium White in the centers. Use Sable Brown to line where needed. Details: The silk around the bouquet and the ribbons hanging down is highlighted with Titanium White. Add stems to the flowers with Lemonade. Draw the floral sprays in the bouquet and on the headband with the liner and Hauser Medium. Use the stylus to add dots of Blue Haven along the sprays. Add Titanium White dots on top. The Remainder of the Box Paint the bottom half of the box, all the way around with Mink Pearl. When dry, float the top and bottom edges with Asphaltum. Across the middle, stencil over the Mink Pearl with Natural Buff letting the edges stay darkest. I painted bottom and inside with Natural Buff. You can decoupage lace to the inside bottom or use your liner to write a personalized message. Tighten the screws on the latch and hinges and use your nail to gently scratch off any paint that covers the metal hardware. Apply two coats of Matte Varnish, lightly sanding with a brown paper bag between coats

The palette on this Treasure Box was left intentionally neutral. You can change the flowers and ribbon to match the colors in your bride’s theme and create an heirloom gift she will always cherish. 29

Line art is at 100% Resize as necessary for your surface

By Debbie Mishima

, say goodbye snow, boots, mitts and scarf and hello sunshine, daisies, tutu and bows. This is how a reindeer does a holiday when the Winter work is done.

Surface:

Supplies: Stamp: Stampendous: Posted Script #6CR021 www.stampendous.com Glue Gun White Chalk Pencil White Transfer Paper Ruler Ball Stylus Paints: DecoArt Americana Acrylics Aloe Antique White Asphaltum Black Plum Bleached Sand Burnt Sienna Celery Green Fawn Hauser Medium Green Lamp Black

Light Buttermilk Light Sage Moon Yellow Raw Sienna Sea Glass Snow White True Ochre Warm White Yellow Ochre

Mediums: DecoArt Chalky Finish, Vintage Galaxy Glitter, Gold Shooting Star Matte Medium All Purpose Sealer Brushes: Dynasty Black Golds

#12 Flat 206S 206DF 10/0 Liner Micron, 2/0 Pointed Flat Palmer White Bristle FSAFIL Series #37036 Assorted Dry Brushes, Mop Brushes and Scumblers Preparation: Do Not Sand MDF Apply Multi Purpose Sealer and lightly sand again to knock down any raised grain.

Tips: To obtain my soft palette, basecoat all sections semi-opaquely using two or three coats. Apply the shading, highlighting and dry brushing very softly and lightly in several layers until you get the desired look. When dry brushing, avoid the shaded areas. Painting Instructions: Background: Brush Chalky Finish, Vintage over the entire surface. Drybrush with Warm White using the , stamp over the background lightly and using irregular pressure (this will give a distressed look). Transfer on the banner, bottom border and pattern. Shade around the banner and border very lightly with Black Plum. Paint the Banner and Border: Green: Basecoat the green areas Sea Glass. Shade with Aloe along the edge that touches the main backgrounds and along the right side of each stripe. Highlight with Light Sage along the opposite edges. Deepen the shading with Celery Green. Highlight again with Warm White. Deepen the shading here and there with Hauser Medium Green. Drybrush Warm White. Cream: Basecoat the cream areas with Light Buttermilk. Shade with Moon Yellow along the edge that touches the main backgrounds and along the right side of each stripe. Highlight with Warm White along the opposite edges. Deepen the shading softly with Yellow Ochre. Drybrush Warm White. Splatter the banner and border with Black Plum and then again with Warm White. Dot the border edges with Warm White. Small Flowers: To form the small flowers, dot the centers using the tip of a paint brush handle, dip it in Yellow Ochre and dot the area. Dot the petals with a Ball Stylus using Snow White. All Daisies: Basecoat the center with Moon Yellow. Shade along the side and edge where it touches the petals with Yellow Ochre. Highlight the opposite side with Warm White. Deepen the shading with True Ochre and again with Raw Sienna. Drybrush a little Raw Sienna here and there. Drybrush Warm White avoiding the shaded area. Basecoat the petals with Snow White using the deerfoot brush. Start at the bottom and pull towards the base of the petals. Line and dot the petals with Snow White. Dot the round area along one side and the base of the petals with Lamp Black, Raw Sienna and Snow White. Line the stem with Celery Green. Line again with Hauser Medium Green. 33

Reindeer: Basecoat Dancer with Antique White. Transfer on the details. With Fawn, shade along the ears, around the eyes, above and below the halter, above the nose, under the jaw line, around the halter flowers, along the back, around the jingle bell, above the tutu waistband, along the right side of the tail, hind area, legs and above the ribbons, stockings, shoes and hooves. Highlight Bleached Sand along the lower ear edge, top of the face, under the eye, along the chest and the left side of the tail and legs. Deepen the shading with Raw Sienna. Highlight again with Snow White. Deepen the shading here and there with Burnt Sienna. Drybrush Raw Sienna just a little here and there. Drybrush Warm White to help shape the reindeer. Face: Drybrush the cheeks with Wild Berry. Basecoat the eye and nose with Lamp Black. Line and dot the eye Snow White. Line the eyelashes with Lamp Black. Line the hair with Warm White. Line the antlers with Antique White. Line again with Asphaltum. Line the vine with Celery Green and again with Hauser Medium Green. Dot the inner flowers and large dots with Yellow Ochre. Snow White. Halter: Basecoat the halter and petals with Light Buttermilk. Shade Moon Yellow around the bee, the bottom of the halter, around th the base of the petals walking the color outwards from the base and between the petals. Highlight Warm White along the top of the halter, the outside edge and along the top of each petal. Deepen the shading Yellow Ochre and again with %True Ochre. Drybrush Warm White. Dot and line the petals with Snow White. Line the halter with Yellow Ochre. Dot the halter and flower with Lamp Black, Yellow Ochre and Snow White. Bee: Basecoat the bee body with Light Buttermilk. Shade Moon Yellow around the body and at the base of the head. Highlight Warm White along the sides and bottom of the body. Basecoat the stripes, tail, antennas and nose with Lamp Black. Dot with Lamp Black. Float the wings with Snow White. Jingle Bell: Line the string with Lamp Black. Basecoat the bell with Moon Yellow. Shade Yellow Ochre along the left side and under the middle rim. Highlight Warm White along the top, right side, bottom and above the middle rim. Deepen the 34

shading with True Ochre and again with Raw Sienna. Drybrush Warm White. Line the rim and opening with Lamp Black. Tutu: Waistband: Basecoat with Light Buttermilk. Shade Yellow Ochre along the top and where it touches the body walking the color inwards. Highlight along the edge that touches the tutu with Warm White. Drybrush Warm White. Dot Lamp Black, Raw Sienna and Snow White. Line the bow Lamp Black. Skirt: Float the Tutu Warm White. Shade along the bottom of both layers with Snow White. Shade around the waistband with Moon Yellow. Deepen the shading with True Ochre. Line the hem of the layers with Snow White. Dot the center of the flowers with Yellow Ochre. Dot the petals with Snow White.

Leg Adornments (left to right): Basecoat the shoe Light Buttermilk. Shade Moon Yellow along the right side. Highlight Warm White along the top, left side and bottom. Deepen the shading Yellow Ochre then with True Ochre and again with a little Raw Sienna. Drybrush in the middle with Snow White. Line the top and the sole with Lamp Black. Dot Lamp Black, Raw Sienna, and Snow White.

Basecoat the flower center with Yellow Ochre. Basecoat the petals with Warm White. Dot the petals with Snow White. Shade around the base of the petals with Moon Yellow. Dot the center and around the base of the petals with Lamp Black. Basecoat the ribbon with Sea Glass. Shade with Celery Green along the right side down the leg and the bottom of the ribbons and around the inner bow and right side of the ribbon ends. Highlight Light Sage on the opposite sides of the shaded areas. Deepen the shading here and there with Hauser Medium Green. Drybrush Warm White. Line the tips of the ribbon with Snow White. Dot Moon Yellow. Hooves: All the hooves are basecoated with Lamp Black. Drybrush Warm White. Line Snow White. Basecoat the strap and shoe with Light Buttermilk. Shade Yellow Ochre. Highlight Warm White. Deepen the shading with True Ochre and again with Raw Sienna. Drybrush Warm White. Line the stripes and sole with Lamp Black. Dot the top of the shoe with Sea Glass. Line the bow with Lamp Black. Dot the middle of the flowers with Yellow Ochre. Dot the petals with Snow White. Leg Warmer: Basecoat with Light Buttermilk. Shade down the right side with Moon Yellow. Highlight the opposite side and top and bottom with Warm White. Drybrush Warm White. Deepen the shading with Yellow Ochre. Line the large stripes with Yellow Ochre. Shade True Ochre along the bottom of each stripe. Highlight the top of each stripe Warm White. Deepen the shading Raw Sienna. Line the stripes and bows with Lamp Black. Dot the buttons with Sea Glass. Dot the lighter stripes with Lamp Black, Raw Sienna and Snow White. Finishing Touches: Line the phrase with Lamp Black Brush Matte Medium onto the large button. Basecoat with Yellow Ochre. Shade around the top, bottom and right side with True Ochre and again with Raw Sienna. Highlight the left side with Light Buttermilk. Drybrush the middle with Warm White. Glue the little button onto the middle of the large button. Glue onto halter where indicated on the pattern. Dot with Lamp Black, Raw Sienna and Snow White. With Bleached Sand, line the fur on the tip of the tail, and here and there on the body and legs. Splatter Snow White on the bee, reindeer nose and reindeer hooves. Brush Gold Shooting Star Galaxy Glitter, on the shaded side of each daisy and the left side of the jingle bell. ightly spray several coats of All-Purpose Sealer; allowing each Follow coat to dry completely before reapplying. 36

By Judy Diephouse

I had this plate in my stash for quite some time, and finally decided it needed to be painted. The beaded detail allows me to combine two styles in one, a scene and of course a stroke work border. If you do have a plate, the scene could easily fit the top a of a box, embellished with stroke work on the sides. Look around your stash; I know you have the perfect piece! 39

Surface: - Hofcraft- 1-800-828-0359 Supplies: Usual Acrylic Tools Small Sponge Tape Paints: DecoArt Americana Acrylics Aloe Black Plum Blue Chiffon Burnt Sienna Buttermilk Charcoal Grey Cocoa Colonial Blue Cool White Foliage Green Grey Sky Hauser Dark Green Hauser Light Green Hauser Medium Green Light Buttermilk Brushes: KingArt Liners- #6/0, #1, #2 FlatsDeerfoot -

Mississippi Mud Neutral Grey Olive Green Periwinkle Slate Grey Snow White Summer Squash Thicket Tomato Red Traditional Burnt Umber Uniform Blue Winter Blue Yellow Ochre

Series 9350 Series 9300

Mediums: DecoArt Dura-Clear Satin Acrylic Varnish Preparation: Basecoat the entire plate with Colonial Blue. Sand lightly between coats. The inner rim is Yellow Ochre shaded next to the center of the plate with Cocoa The outer rim is Tomato Red toned with a touch of Aloe. Shade the inner edge of this rim with the mix and a touch of Black Plum. Trace on the Design. Painting Instructions - Center Scene Design Sky: Shade the top curve of the sky with a float of Uniform Blue. Highlight at the horizon line with a float of Winter Blue; repeat with Blue Chiffon. The clouds are Cool White using a small sponge to create the round tops and drag to streak out the bottoms of the clouds. Softly shade under the clouds with a sheer float of Periwinkle. 40

Back Hills: Under coat the two back hills with Periwinkle. Shade the base of the hills with Black Plum. Highlight the top edge of the hills with Thicket. Allow the color to gradually fade out as you blend down the hills. Repeat with Aloe. Some of the shadows should show through. Streak over the hills with Hauser Medium Green. Undercoat the Grass and Path: The grass areas are under coated with Thicket The path is under coated with a brush mix of Thicket and Black Plum. Highlight the grass area to the right of the house with a float of Hauser Medium Green. Background Trees: (suggestion tape off the house and barn) Using various sizes of Deerfoot brushes or your favorite stipple brush, stipple with Hauser Dark Green to create the foliage shapes. Using the following colors, stipple to create the foliage and separate the various trees: Hauser Medium Green, Hauser Light Green, Olive Green, Foliage Green, Cocoa, Summer Squash, Burnt Sienna.

Front Grasses: Streak using any of the foliage colors. Soften the colors with a dry stipple brush. Path: Streak the path with Mississippi Mud. Keep the streak parallel to the horizon line. Shade along the edges with a brush mix of Mississippi Mud and Hauser Dark Green. Highlight with streaks of a mix of Mississippi Mud and Burnt Sienna, repeat with a few streaks of Cocoa. House: Basecoat the house with Cocoa. The roof with Mississippi Mud. Shade with soft floats of Charcoal Grey, highlight with floats of Yellow Ochre.

highlighted with Tomato Red. Outline the door and windows with a mix of Cocoa and Yellow Ochre.

The shingles are a brush mix of Cocoa and Yellow Ochre using a #6 flat. Highlight the roof with the shingle mix. Shade again with a float of Burnt Sienna. The chimney is a double load of Tomato Red and Charcoal Grey. Highlight the lightest edges of the house with floats of Summer Squash. Barn: Basecoat the barn with Tomato Red and the roof with Neutral Grey. Shade the barn with floats of Charcoal Grey. Highlight with a brush mix of Tomato Red and a touch of Grey Sky. Using a #8 flat the siding is a double load of Tomato Red and Charcoal Grey. The dark side to the left of each board. The windows and door are a double load of Neutra Grey. Outline with Grey Sky. The roof is shaded with Charcoal Grey. 42

Highlight with Slate Grey, repeat with Grey Sky. Streak a path from the door (fading out into the grass) with Mississippi Mud. Tree, Front Bushes and Fence: The tree trunk is Traditional Burnt Umber with touches of Charcoal Grey and Slate Grey. The foliage is stipples of Hauser Dark Green, Hauser Medium Green, Hauser Light Green, and Foliage Green. The bushes in front of the house and barn are stippled with the same greens, Highlight again if needed with Summer Squash. Lightly stipple again for suggestions of flowers with the following mixes Tomato Red and Snow White, Summer Squash and Snow White, Periwinkle and Snow White. The fence is Snow White toned with a touch of Charcoal Grey.

Rim Design Leaves: (picture on following page) Basecoat the leaves with Hauser Medium Green. (1:1). Highlight with strokes of a mix of Foliage Green and Aloe (1:1)

The curls, stems, filler strokes and outline of center crosshatching area is a mix of Hauser Medium and Dark Green.

Tulips: The two outer petals are a double load ( blended well) with Yellow Ochre and Tomato Red. The center petal is Summer Squash. Shade the bottom of all three petals with a float of Tomato Red. Highlight the center petal edges with floats of Buttermilk. Overstroke the two side petals with Buttermilk. Overstroke the center petal and the outer fine lines with Light Buttermilk The strokes on the center petal and dots at the base are Tomato Red. Small Flower Buds: Basecoat the area with Yellow Ochre, shade the base with Tomato Red and highlight the top with Buttermilk. Outline the top and additional lines are Light Buttermilk. The dots are Tomato Red. Finishing Details on Rim Design: The additional strokes by the green curls are Winter Blue. All crosshatching is Winter Blue. Highlight the crosshatching on the center lines by the base of the tulips with Light Buttermilk. The dots around the center crosshatching are Yellow Ochre. The dots at the top of the tulip are Light Buttermilk. Finishing Detail on Inner Rim: bead are Buttermilk with dots of Summer Squash between them. Allow the painting to dry thoroughly. Erase any visible tracing lines and varnish with three coats of Satin Acrylic Varnish. If you plan to use the plate with food, please let the varnish cure 24 hours between coats for complete curing.

Enjoy! 44

onnell, TDA

Shamrocks have been the symbol of Ireland since the 18th century. They have come to symbolize luck. In the Celtic Religion, the three leaves are said to illustrate the Holy Trinity. The Oxalis shown here, is sometimes called a false shamrock, both its leaves and flowers open during the day and close at night.

Surface: Shamrock cutout 31-L713 available at Cupboard Distributing, www.cdwood.com Supplies: Usual Acrylic Tools White Graphite Paint: DecoArt Americana Acrylics Black Green Burnt Umber Foliage Green Grey Sky Hauser Medium Green Neutral Grey Olive Green Plantation Pine Slate Grey Summer Squash

Extreme Sheen Metallics 24K gold Americana Premium Acrylics Titanium White Yellow Oxide DecoArt Media Fluid Acrylics Titanium White, Diarylide Yellow Sap Green Hansa Yellow Light

Mediums: DecoArt Media Modeling Paste DecoArt Dura Clear Varnish Brushes: FB Dynasty B Black Gold #206 shaderBlack Gold Chisel Blender #14 Mezza Luna XL Black Gold #10 filbert Series 400 Encaustic Oval Faux Squirrel Filbert Wave #8 Preparation Using a ¾ wash brush, basecoat the surface Hauser Medium Green. Apply two coats, allowing ample drying time between coats Transfer pattern with white graphite paper.

Note: To block in is to apply one coat of paint. This is so you have placement when working on other elements of the design. Basecoating: Block in the flower Warm White. The shamrocks are already basecoated. Shamrocks: With Plantation Pine, shade on the shamrocks where they fall behind the flower, shamrock separations, the center vein of each leaf, the base of each petal and some edges. By shading just some areas of the leaf edges you will create more depth to your shamrock. Be sure when floating the vein, it starts at the center of the shamrock, all veins meet in the middle. (Pix 2) Pix 3

Pix 2

To use the Mezza Luna brush: Use the brush dry, pick up paint and pinch in a paper towel to leave a bit of paint. Hold brush straight so you are using the tips of the bristles, apply a bit of pressure and pull paint into the section. You will leave texture lines. Using a Mezza Luna, drybrush Plantation Pine from the vein diagonally ¾ of the way towards the edge of leaf Pix 4

In the same manner, drybrush Foliage Green from the edges of the leaves towards the center. Drybrush ¾ of the way so the two colours will interlock. If when dry brushing you apply too much of one colour, just go back and drybrush some of the colour you lost. (Pix 3 and close up in Pix 4)

Reinforce the deepest areas on the leaves with a float of Black Green. These are the separations, at the base of leaves and in the darkest areas.

Pix 5

When reinforcing, refer to the chart. Do not reinforce the whole area that was shaded. By just reinforcing some of the area you will create more depth. Highlight the top section of each leaf and the opposite side of the leaf vein with a brush mix of Foliage Green and Olive Green. (Pix 5) Before we paint the Oxalis My technique for using the Filbert Wave : Use the brush slightly damp, pull the paint from the puddle of paint. Move your hand to the , move brush back of your brush, use light pressure and like a pendulum. Basecoat the Oxalis blossom Grey Sky; two coats, allow to dry between coats. Transfer the petal details. Pix 6

Pix 7

Using the filbert wave, swipe Premium Titanium White from the tips towards base. Swipe a bit of Yellow Oxide from the tips. (Pix 6) Float separations of petals, the base of each petal and the center of the flower Slate Grey. (Pix 7) Swipe Titanium White from the tips again in the same manner stroking in the direction of the petal. Swipe Slate grey from the base up towards the tip interlocking with the white and leaving crease lines. 50

With Neutral Grey, float at the base of each petal. Making sure the leaves of the blossom on are on the right, (facing you) float the left side of the very center. (Pix 8) Stroke stamen Burnt Umber. Do not make them all the same length. Dot each stamen of the center with Summer Squash. Reinforce the center, setting in the stamen with Neutral Grey. : Colour plays an important part in creating dimension. Fluid acrylics are great for adding lights and darks. Using your filbert wave, lightly swipe Diarylide Yellow from the tips of the shamrocks to punch up the green. Look at your piece, with a side loaded brush, float your darks and lights. Float Hansa Yellow Light on the lightest tips of the shamrocks. Float Titanium White on the tips of the flower. Float Sap Green in the deepest areas of the shamrocks. Using a very small stylus, dot the center of each shamrock with a dirty stylus of White and Summer Squash. These little dots irregular in shape. Create a Textured Rim: Using a dry encaustic brush, pick up a small amount of modeling paste. Tap on the outer circle of the surface. If you have your flowers going onto the rim, do not tap modeling paste on them. Allow to dry. Base rim with one coat of Black Green. Using the Mezza Luna brush, drybrush lightly over the rim 24k Gold you want to see the Black Green. Finishing: Allow your piece to dry for 48 hours. Varnish. Linda shares: The inspiration for this design came from the streetlights in Dublin. Ireland has beautiful streetlights that incorporate the shamrock. I hope this design brings a little touch of Dublin to you.

Enlarge Line Art 121%

By Jeannetta Cimo

tabletop gnome series. I know you will enjoy painting him!

free-standing

Surface: Handcrafted Designs jsdecour@gmail.com Cowboy gnome- 13- 5/8 tall, 7- 1/8 wide, cut from from wooden shape Project Supplies Painters tape Small tip stylus Paints: DecoArt Americana Acrylics Burnt Sienna Cocoa Lamp Black Light Buttermilk Light Cinnamon Mocha (Formerly Flesh) Raw Sienna

Royal Navy Salem Blue Slate Grey Soft Black Titanium White Victorian Blue

DecoArt Extreme Sheen Metallic 24K Gold Mediums: DecoArt Americana Multi-Purpose Sealer Dura-Clear Ultra Matte Varnish Brushes #6 Dynasty Black Gold Fandango Brush Dynasty 200 Dome Blender - Series 925 Misc. standard brushes Tips and Techniques This design is worked around the beard, everything under/around it gets done first; the accessories on top are completed during the finishing process. Drybrush L brush the paint where you want it.

from getting into the brush, then gently

Wet Stipple Basecoat the area to cover, dry. With the dome brush and same color, wet the entire area again. (do NOT wash the brush between colors) Wipe the brush on towel to remove excess paint,

dip brush into light color, pounce lightly in the center of the area (or where the lightest highlight should be) to distribute the paint, wipe off brush. Starting on the outside of the highlight color pounce lightly at first, apply more pressure as needed to blend into the Basecoat color, sometimes you have to pick up a little bit more of that color to help the blending once you have that done, wipe brush again and start blending that lighter color in the middle, you can a back out as you will pull the lighter color into your darker blended area. The more you pounce the better the blend. When the area is complete wash the brush. Preparation Seal with Multi-Purpose Sealer, sand lightly, remove dust, apply just the basic pattern lines Painting Instructions Hat: Basecoat Cocoa and let dry. Use the wet stipple technique in the following progression: Light Buttermilk, wet stipple highlights in the center area and brim edges of hat. Float over brim edges and bottom edge of brim over beard Raw Sienna, float shade around the outside edges top of hat, above/ below hat band, wide float on the sides against the beard and around horse. Light Cinnamon- float deeper shade above/ below hat band, against the beard and around the horse, float above the dips in the hat. Hat Band: Basecoat Soft Black; with Cocoa, float highlight across the top. Basecoat embellishments 24K Gold.

Shirt: Salem Blue- base shirt/cuffs. Titanium White- drybrush the center of the sleeves, cuffs and body. Float the cuffs on top edge and against the hands. Victorian Blue- float shade top/ bottom and at the cuff on sleeves, on body under sleeve, against beard, above belt. Apply the line drawing for the stripes on the shirt. Cocoa- base the wide stripes. To highlight the center of those stripes, brush mix with a little White to dry brush highlight the center of those stripes. Titanium White- thin with water, liner vertical stripes over the Cocoa stripes, the horizontal Using a liner, create the stitches on back of cuffs and add dip dot buttons.

Pants: Victorian Blue: Basecoat. Load Dome brush with Salem Blue and drybrush the center of the legs, front and fly. Then load with Victorian Blue (semi-dry) and lightly stipple over the pants Salem Blue- float highlights under pocket line, edge of fly Royal Navy- float shade under belt, buckle, beard, around hand/cuff, top of pockets, left side of fly, outside edges, inseams, above boots, both sides of pony stick. Liner stitches. Raw Sienna- basecoat belt. Cocoa- float highlight across the top. Light Cinnamon- float shade bottom of belt and against buckle. Soft Black- deepen shade against the buckle, liner stitches. 24K Gold- basecoat buckle, dip dot rivets on pockets. Soft Black- shade under beard, small stylus- dip dot around edge. Beard: To protect sleeves, cuffs and hands.

the brim above the beard,

The beard is created in several layers. Undercoat with Slate Grey, feathering the edges at the very bottom. (fig 1)

Fig. 1

Fig. 2

Fig. 3

Upside Down

Fig. 5

Fig. 6

Fig. 4

Thin down your Titanium White to a milk consistency (not colored water) and load your Fandango Brush (not dripping). I use mine mostly vertical, especially at the edges so I can control it like a liner. . D With a very light touch, p filling all of the space; this is the first White layer. Pull the center in long strokes. If the paint is too thin and running, let this layer dry and add a bit more paint, pull a few more strokes. (fig 2) Upside Down: (fig 3)

going to pull very intentional light strokes just past the Gre (see picture above) Continue pulling strokes down from the hat and connect them with the strokes you made at the bottom, filling in a little more. The next layer is a deeper stroke with the brush with more pressure you will get thicker hairs, brush to do the fine hairs on the hat and at the bottom. (figs 4 - 6)

Pull the tape off and clean up any leaks. Let it dry! With Slate Grey, float shade under brim, around horse, above arms and around hands. Hands/Nose: Mocha (flesh color)- basecoat. Brush mix with Burnt Sienna- float shade on hands against cuffs, bottom of nose (I add a little touch of red to this mix, for the nose). Titanium White- float highlight end of hands, top of nose. Liner highlights tops of hands/ nose. Boots: Raw Sienna- basecoat tops. Cocoa- float highlights top edges, back of left boot Light Cinnamon- float shade against leg and opening in boot, around straps, pony stick, on right boot against left boot, above lower boot. Brush mix with Soft Black for deeper shade in opening of boot, against left boot, above lower boot. Cocoa- basecoat lower boot and strap, Light Buttermilk -soft float highlights on lower boot edges and straps. Raw Sienna- float shade on lower boot above sole, liner fold lines and across foot. 24K Gold- basecoat stars Soft Black- basecoat soles. Liner stitches, stars, dip dot straps Cocoa- float highlights on soles at toe, heels. Pony Light Cinnamon- basecoat pony. Brush mix Light Cinnamon with Light Buttermilk, float highlights on ear, top of head, nose, above smile, chin, jaw

Light Buttermilk- basecoat hair. Cocoa- float shade between hair and against ear. Titanium White-float highlights on hair. Soft Black- float shade in ear, under hair, under jaw, neck, above sleeve, under smile, in nostril. Soft Black - Basecoat eye and reigns, brush mix with White for liner highlights down the center of the reigns. Titanium White- dot in eye 24K Gold- embellishment on reigns. Stick and Lasso Cocoa- basecoat stick and lasso. Raw Sienna float shade stick at hand, lasso at hand and where it overlaps itself, add some liner strokes in some areas. Burnt Sienna- float deeper shade on lasso at hand. Light Buttermilk- float highlights top of stick, liner highlights in lasso. Lamp Black- basecoat the voids between the legs and under boots. Finishing If applicable, glue the block to the back,

Varnish. Jeannetta says: Please share a picture of your finished project on Facebook, I enjoy seeing them! Thank you!

By Donna Hodson, CDA

Much of the beauty of spring is also the fragrance of the many flowers in fond of lilacs. I have three bushes; so, I get to enjoy these beauties every year. They now come in so many colors and varieties. I hope you will enjoy painting these lovelies.

Surface: William Plaque, SKU: 31-L155 available at www.cdwood.com Project Supplies: Grey Graphite Stylus Tracing Paper 3M P320 Flexible Sandpaper, (from Home Improvement Store) Palette Knife Usual Acrylic Supplies Paints: DecoArt Americana Acrylics Burnt Umber Cadmium Yellow Desert Sand Dioxazine Purple Graphite Grape Juice Hauser Light Green

Hauser Medium Green Light Buttermilk Olive Green Plantation Pine Raw Sienna Sand Snow White

Mediums: Americana Multi-Purpose Sealer Americana DuraClear Matte Varnish Brushes: (Other brands of brushes are fine, just use good quality brushes.) La Corneille 7550 Moon Filbert by Scharff Champagne Series 435 Scharff Champagne Series 158 Shaders Sizes 4, 6, 10, King Art Premium Original Gold 9300 Script Liner, 18/0, 924 Script Liner Script Liner 6/0 By Scharff, Series 480 Scroller Size 2, 8 Filberts, Scharff 432 SYN-SABLE Spatter Brush (Toothbrush or Larger Round Fabric Brush) Surface Preparation: Mix Sand + Multi-Purpose Sealer about 1brush. Dry and sand lightly to smooth with the 3M P320 Flexible Sandpaper and remove residue. Paint again on both sides and edge with Sand (no sealer).

Front side: (Do not clean your brush between values, just wipe if needed.) Place Sand, Desert Sand, and Light Buttermilk on your palette. edge with Sand. While wet, soften some Light Buttermilk in the center section, more to the the outer edges softening into the Sand. If the paint begins to drag, pick up more Sand as you paint. Try to have a smooth transition between the values. ry. Mix Raw Sienna + Desert Sand about 1-1 on your palette. Using a spatter brush, thin the mix slightly with clean water and spatter around the edges and into the center a little. While wet, pat the spatters with a dry paper towel to flatten. Spatter again with a less juicy mix but do not pat these to flatten. Make a tracing Transfer to the surface with old grey graphite leaving off the details on the leaves and lilacs. Basecoat as follows: Leaves: Hauser Medium Green Ribbon: Snow White Stems: Burnt Umber + Graphite, 2-1. Thin the paint and place a wash over the stems. While painting, refer to the step by step illustrations. Stems: 1. Using the base coat mix of Burnt Umber + Graphite (2:1), place a narrow shading float along both sides of the stems. 2. Shade under the ribbon and to separate the stems.

3. Using a liner, place little random dots and lines along the stems to create some texture. 4. Wash over the stems lightly with Plantation Pine. You want a greenish brown value so 5. Mix a highlight value of Burnt Umber, Snow White and a bit of Plantation Pine, a medium value. Use the liner to add some choppy lines along the left edges of the stems. If te to the mix.

Ribbon: Refer to illustrations above 1. Using the 6/0 script liner, thin Grape Juice and paint the lines just inside the edges of the ribbon as shown in the illustration. Note: If this is difficult for you, you can choose to add dots all over the ribbon with the tip of your liner or a small balled stylus. You can also leave the ribbon plain. 2. Referring to the illustrations or the finished photo, begin to shade lightly with floats of Sand. Shade along the back edge of the loops so they will turn to the back. 3. Repeat shading with 4. Shade in just the deepest shade areas with a narrow float of Raw Sienna. 5. Option: For deepest shade, I used a little Dioxazine Purple in just the deepest areas. 6. Using back to back floats of Snow White, begin to highlight across the loops, the knot, and the streamers. On the inside of the loops, highlight the outer edges. Repeat until satisfied. Leaves: Complete the entire leaf even though lilac flowerets will cover portions of them. 1. Begin to shade with floats of Avocado. Place this at the base of the leaves and then down the center of the leaf following the curve of the center vein. Shade behind the flips and then shade the back side of the flips. Place some of this along the curved edges where they curve outward. Repeat with this value until you have a smooth gradation of values. 2. use this along the outer edges or the back sides of the flips. 3. Float the curved edges that go inward with floats of Hauser Light Green, softening the edges. In the center portions of the leaves, use a back to back float to highlight. Repeat as needed. You could also dry brush the interior highlights. Highlight the edges of the flips. 4. Float the curved edges that go inward with floats of Hauser Light Green, softening the edges. In the center portions of the leaves, use a back to back float to highlight. Repeat as needed. You could also dry brush the interior highlights. Highlight the edges of the flips.

5. Thin Hauser Light Green slightly and use the 6/0 liner to paint the center veins and the side veins. Notice that the side veins branch out a little at the edges. If you have trouble painting the fine lines, use the 18/0 liner instead. 6. Using Plantation Pine, float at the base of the leaves to shade the veins. This is a light float so that you do not cover the veins. If desired, float a little Dioxazine Purple in the shaded areas of the leaves to tie them in with the lilacs. The stems of the leaves that show are the Avocado + Burnt Umber to make a greenish brown. Shade with Plantation Pine + Burnt Umber if needed. Lilacs: Technique: Using the size 8 filbert brush, dab over the lilac shape with a dark and medium value to lay a base and establish the placement of values. This is pretty much solid. I place my dark, medium and white value on my palette. I switch to a size 2 filbert and begin to paint the flowerets using the edge of the brush for the buds and the flat of the brush for the interior flowers. These are 4 to 5 petal flowerets. I paint along the edges using medium values on the light sides and top, and the darker value on the shaded side and bottom of the lilac. Then, I begin to fill in the interior of the flower with values just a bit lighter than the base. I overlap the are placed correctly and tha

straight lines dividing the values.

Cadmium Yellow. I then add some white highlights to the flowerets in the highlight area. I finish with center dots of Hauser Light Green for the darker flowerets, Olive Green and a few Cadmium Yellow dots in the brightest flowerets. 71

1. Using the size 8 filbert brush with Grape Juice and Wild Orchid, fill in the area of the lilacs staying inside the outside blossom. Place Grape Juice on the shaded side and Wild Orchid in the highlight areas and the outer edges at the top and highlight side of the blossoms. The edges will be irregular and it is mostly solid. 2. Using the size 2 filbert brush, begin to paint petals along the outside edge using Wild Orchid at the tips and the outer edges in an irregular manner. Use Grape Juice along the shaded side. The buds and flowerets off the edges are mostly done using the side of the brush. As you begin to paint the interior flowerets use the flat of the brush to create the flowerets. Add a little Snow White to the Wild Orchid over that area so that you can see the flowerets. Over the Grape Juice area, add some Wild Orchid to lighten them some. lready painted. You want a gradual transition between hard line between values.

3. Add more Snow to your mixes and go over the blossom again with flowerets. Refer to the finished painting to help with placement. I like to see some darks underneath. 4. Continue to add more Snow to the values and paint additional flowerets, going over those already painted. 5. Begin to lighten the flowerets in the highlight area. Be careful to have your values blend into other areas without hard lines dividing the values.

6. Add final highlights to some of the flowerets with Snow White. Create a light wash of Cadmium Yellow and wash over the highlight area. Add some additional white highlights to a few of the blossoms. If needed, float some Dioxazine Purple over the shaded side and to separate one blossom from another. This is optional. Centers: Place dots of Hauser Light Green in the centers of the darker blossoms and Olive Green in the lightest blossoms. Just select what looks like a floweret to place a center. When finished you can add some Cadmium Yellow dots to just the brightest flowerets. Use Avocado with the 6/0 liner to add some stems connecting the buds at the tips and sides of the blossoms. Finishing: Let your painting sit overnight and then evaluate to see if you need any further highlighting or shading. Allow the paint to cure and then varnish with three light coats of DuraClear Matte Varnish or varnish of your choice. Attach a hanger to the back or display on a stand. Hint: For thinner wood surfaces, leave an area without varnish where you want to place the hanger. Glue a saw tooth hanger to the back using a silicone glue like E600. Let it dry at least 24 hours before hanging.

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By Chéryl Poulin www.your-decorative-painting-resource.com 75

Nothing lifts the spirits more than seeing your garden come alive. In my garden, one of the first to bloom are my peonies. Such a showy and robust plant. I found the plant in a garden planted by the previous owners about 20 years ago. Hidden in the forest with hardly any sunlight, one day I came upon a tiny pink colored flower surrounded by a few, scraggly, leafy stems. And I thought, "seriously? Is this a peony?" Even though it was not the right time of year to move the plant, I had it carefully dug up and moved to the front of my house where it would receive much more sunlight. And it thrived and continues to grow and produce more and more flowers. This design lends itself to many surfaces, including canvases measuring 9 x 12 or 10 x 10. I hope you enjoy painting it as much as I enjoyed creating this design for you. Surface Galvanized bucket with brass handles, item # ft 3053, www.dellaandcompany.com Supplies: Basic Acrylic Tools, including White Graphite Fine Steel Wool Rubbing Alcohol (Isopropyl Alcohol) Paints: DecoArt Americana Acrylics Antique Green Buttermilk Chartreuse Yellow Cranberry Wine Electric Pink Lamp (Ebony) Black Midnite Green Napa Red Peony Pink Sea Aqua Snow (Titanium) White Brushes: Dynasty, Black Gold 3/8 Angle Shader, Series 206a #6 Filbert, Series 206fil 3/8" Deerfoot, Series 206df #12 Shader, Series 206s

Mediums: DecoArt Americana Multi-Surface Sealer DecoArt Soft Touch Varnish

#1 Liner, Series 206l 3/4" Flat Wash, Series 206fw #3 Round, Series 206r

Heinz Jordan 1/8 Domed Round Blender

Preparation Hand wash the bucket in hot, soapy water. Rinse thoroughly and dry with clean towel. To ensure all the joints and crimps are completely dry, use a blow dryer. Use fine steel wool to gently rub all over, inside and out to create "tooth". Using a lint free cloth or towel, wipe down all over with rubbing alcohol; allow alcohol to evaporate before painting. Using the 3/4" flat wash brush, apply an even coat of Multi Surface Sealer to the exterior and interior of the bucket. Let dry. Using the 3/4" flat wash brush, basecoat the exterior and interior of the bucket with Lamp (Ebony) Black until opaque. Please refer to the step-by-step color worksheet, shading diagram and photo. Important Stippling Tip: Do not thin the paint too much as you'll end up with drips. Load the Deerfoot and give it a quick blot on a damp paper towel prior to stippling. Creating the Middle Section Background: Using the 3/8" Deerfoot, stipple the main/middle section with somewhat thinned Cranberry Wine. When dry, repeat once more. Second Color Application: Repeat twice more using thinned Napa Red. Top & Bottom Rims: Using the round brush, basecoat with Sea Breeze. With the filbert, drybrush the beaded bands first, with Antique Green. Repeat with Chartreuse Yellow and then with a touch of Sea Breeze. Transfer the main outline of the poppies using white graphite. Let's Paint Use the filbert to undercoat the petals with Buttermilk. When dry, basecoat with Peony Pink. Transfer the flower petals using white graphite. Use the liner and thinned Electric Pink to finely outline the petals. Using #12 flat, float to shade all the petals with Cranberry Wine.

Highlight all the petal edges with a mix of Electric Pink and tch of Snow White. Dry brush some of the petals using the same mix. If needed, go over the outlines of the petals with the same mix, thinned to an inky consistency. Buds, Leaves and Stems: Basecoat the closed buds, stems and leaves with Antique Green using the filbert. Shade the leaves, stems and buds with Midnite Green using the shader. Deepen some of the shading with Cranberry Wine. Highlight the stems and leaf edges with Chartreuse Yellow using the shader. Further highlight some of the leaves with narrow floats of Sea Breeze using the shader. Dry brush highlights on the buds and stems with Chartreuse Yellow using the domed round. Repeat until the highlight is fairly bright. To the buds, add shine dots of Sea Breeze using the tip of the liner. If needed, outline some of the leaves with Sea Breeze using the liner. Add the Add tiny highlights of Sea Breeze. Finishing

Midnite Green and Cranberry Wine.

Erase all graphite lines. Protect your work inside and out with 2-3 coats of Dura-Clear soft touch varnish in a sheen of your choice. For best results,

Shading Guide

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By Sunny Tonini sunny@artisanarie.com

I had a lot of fun putting together my very own postcard from Paris without even leaving home! Paris in the Spring is a dream vacation for many people (including me)! With the help of some clever stenciling, plus some colorful wildflowers, you too can get a taste of Parisian spring and embellish this cute zipper bag. Happy painting!

Surface: 9 6 zipper pouch - available at Hobby Lobby. You may also adapt this design to other surfaces of your choice. Project Supplies: Standard Acrylic Painting Tools Tracing Paper Transfer or Graphite Paper Ball Stylus Masking Tape Paints: DecoArt Multi Surface Satin Acrylics Black Tie Brown Sugar Cobalt Blue Cotton Ball Dark Scarlet Dolphin Eggplant Green Beret Iris Lavender Fields Lemon Zest Leprechaun

Permanent, waterproof fine-point marker (such as Micron 05 or Sharpie) Passport to Paris Stencil - 8.5" x 11" STCL366 - by StudioR12 Available at Etsy or Creative Arts Lifestyle Lipstick Muted Gold Pewter Poppy Pumpkin Patch Purple Sunset Red Barn School Bus Woodland Green Metallic Gold Fabric Medium

Brushes: Royal & Langnickel: Soft Grip Short Shader SG155 #2, Stencil Brush 1113 Scharff: White Nylon Round 310 #0 Silver (Art Sherpa): Round 4100S #1 Preparation: Insert the card stock or cardboard piece into the zippered bag. You can use any size of cardboard or painting (to keep any paint from seeping through), so if you have a smaller piece just move it around to m

Transfer the design onto tracing paper. Position it on the canvas and secure the edges with masking tape. Carefully place the transfer/graphite paper underneath the design and trace it with a stylus. Try not to move the transfer paper around too much to avoid smudges on the fabric. You are now ready to paint! 84

Painting Instructions: My wet on wet technique consists of base coating, shading and sometimes highlighting an area or element while the paint is still wet. First you put down the base coat, then immediately start adding layers of shading colors and blending them in by lightly can work on the colors until you get the desired effect. After the paint is dry to the touch, you can still shade and highlight, but then it becomes a dry rubbing technique, where you work with much smaller amounts of paint in the brush to avoid lifting up the previous color layers. I mostly use wet on wet as the main technique, and dry brushing as a touch up or to add finishing touches and layers. Note: These steps are done using a wet on wet technique. Painting Tips: onto the canvas. Whenever you rinse your brush, make sure you dry it well to remove excess water! Always load the brush with small amounts of paint (just enough to cover and fill the canvas fibers) and build up layer by layer. Too much paint can saturate the fabric.

: Mix a small amount of Muted Gold with a couple of drops of Fabric Medium in your palette and load the #3/8 stencil brush with some of the mixture. Remove the paint on the brush, then using random movements hand without pressing on the brush. You can add a bit more color to the corners, and then also randomly tap transfer the design.

Painting the Lavender:

Note: For this step, mix some Cobalt + Red Barn (2:1) Add one or two drops of Fabric Medium to the Color Mix, and also to Purple Sunset and Eggplant, until the paint is a bit looser (but not quite runny). Using the #0 round, create some clusters of flowers alternating between the colors. Use short strokes leaving some space between the flowers. Let dry a couple of minutes.

With the same brush, repeat the process using Iris and Lavender Fields to create slightly smaller clusters overlapping the bottom layer. Clean the brush and highlight some flowers with a small amount of white. Add the stems with Green Beret.

Painting the Poppies:

Using the #2 short shader, basecoat the petals where you want your lighter values (mostly the outer edges) with Poppy and fill in the rest with Lipstick. Corner load with Red Barn and shade, then deepen the shade with Dark Scarlet mixed with a bit of Black Tie (about 4:1). Wipe the brush and highlight the in Refer to photos for color placement.

Wipe the brush and repeat with Green Beret, filling the inner center. Let dry a couple of minutes and with the #0 round tap a few highlights with Pewter over the Black Tie, and Leprechaun over the Green Beret. Use the #2 short shader and Green Beret to paint the stems and leaf, and highlight with Leprechaun with a touch of Cotton Ball.

Painting the Tansies and Bluebells: Tansies: Load the #2 short shader with School Bus and fill in the top 2/3 of each round flower, filling in the rest (the bottom) with Muted Gold. Corner load the brush with a bit of Brown Sugar and shade a few of the background flowers. Let dry a couple of minutes, then load the brush with Lemon Zest and tap highlights onto each flower, mostly on the upper areas. Let dry a couple more minutes and repeat the process by lightly tapping Cotton Ball to increase the highlights. Add a couple of drops of Fabric Medium to some Woodland Green to loosen up the paint, and with the #1 round, add the stems.

Bluebells: Load the #0 round with Cobalt mixed with a bit of Fabric Medium and paint each bell. Mix some Cobalt + Cotton Ball (2:1) and highlight the petals from the bottom up. With the same brush and Green Beret + a tiny bit of Black Tie, add the stem.

Creating the Stamp: Position the stamp stencil and use a pencil to paint the lavender stems following the same steps as the main bouquet. Let dry. You can also stencil the stamp frame first to make sure that the lavender painting stays within the stamp. Secure the stencil with masking tape. Load the 1/4" stencil brush with some Dolphin, remove the excess on a paper towel and lightly tap the color to stencil the frame ONLY. Load the same brush with 87

some Black Tie, remove the excess and stencil the word and price. You may need to repeat this step a couple of times to build up the color.

Putting together the postcard (stenciling): As a rule of thumb, always remove the excess paint on a paper towel before stenciling. For best results, stencil the elements in the following order: Carte Postale Using the 1/4" stencil brush, stencil Carte Postale with Black Tie. With the #1 round and Black Tie, connect the stenciling in each letter for a smoother look. Use a ruler and the permanent maker (I used a Micron 05 pen) to add the center line. Fleur de Lis Rinse and dry the brush well, load some Metallic Gold, remove the excess and stencil the scroll and the Fleur de Lis. Eiffel Tower Rinse and dry the brush well, and using some Dolphin, stencil the Eiffel Tower. Paris Cancelled Postmark With the same brush and Pewter, stencil the Paris cancelled postmark overlapping the lavender stamp, and also the larger Paris date stamp in the lower right corner. Also, lightly stencil the postmark wave on the upper left corner (overlapping the poppy a bit). Message Stencil the message across the Eiffel Tower with Black Tie.

Details and Finishing Touches: Before adding the finishing touches, make sure the paint is dry to the touch. Use small amounts of paint using the corner of the brush. As the paint dries and is absorbed by the fabric, you may see areas that need additional shading or highlighting. You may want to dry rub some Pumpkin Patch on the poppy petals and tap a bit more Cotton Ball on the tansies. Your painting is ready! Remove the cardboard and let it dry for 72 hours. I would love to share my other hand painted designs with you! Please visit my Etsy shop at https://www.etsy.com/shop/Artisanarie

Bonus Line Art Resize as Needed

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The Rainbow Rose By Susan V. Cochrane 91

I recently became aware of an awesome rose. The petals were a rainbow of hues. The effect is achieved by splitting the stem and dipping each part into different colored water; the colors are drawn up into the petals resulting in multicolored blooms. Vanessa is making a very colorful impression sporting this luscious blossom. Surface: 9 x 12 primed canvas Supplies: Eraser Palette Paper (Waxed) Paper Towels or Tissue Stylus Tracing Paper Water Container White and Gray Graphite Paper Paints: DecoArt Americana Acrylics Bright Green Burnt Umber Hauser Dark Green Holly Green Lamp Black Light Mocha Olive Green Spiced Pumpkin Ultramarine Blue Vivid Violet Yellow Light Warm White

Mediums: DecoArt Americana Sealer/Finisher (Matte)

Brushes: Royal & Langnickel, Majestic 6,8 Filberts, Series R4170 5/0, 0, 1 Liners, Series R4595 2,4,6,8,10,12 Shaders, Series R4150

General Instructions One good coat should suffice for any base coating. Erase transfer lines as you go. Dry thoroughly between all painting steps. All floating is done using a double loaded brush. Painting: Transfer the face, neck, glass lens, brim of hat and the hat, scarf edge and the outside edges of rose shape (no leaves). Face/Neck/Ears: Base coat with Light Mocha. Transfer the chin and nose. Float Burnt Umber on the face to shade next to the brim of the hat, on the ears beside the edge of the face, around the nostrils and tip of the nose (faintly), on the right hand side of the nose bridge (faintly) and on the neck next to the chin and the scarf. Float Vivid Violet on the sides of each cheek and very faintly on the tip of the nose and chin. Float a touch of Warm White on the bridge of the nose, on each nostril and on the outside edges of the ears. Faintly outline the face and neck edges with Burnt Umber. Lips and Earrings: Transfer and paint with one coat of Vivid Violet. Float Warm White to highlight. 92

Hat and Sunglasses: Base coat with Lamp Black. Leaves: Transfer the leaves and base coat them with Holly Green. Center veins on the leaves are Olive Green. Float Hauser Dark Green at the base of the leaves and on one side edge of the smallest sprig.

Lacy Greens: Paint the stem and main center veins for each frond with Holly Green, then paint lines of Holly Green on each side of the veins. Paint over the lines with Olive Green. For the leaves, zig zag float Olive Green along both edges. Go over some of the points (or all of you wish) on one side of each leaf with more Olive Green and then Yellow Light to create highlights. Refer to the line drawing and the petals as follows: Petal 1 with Spiced Pumpkin Petal 2 with Bright Green Petal 3 with Ultra Blue Petal 4 with Yellow Light Petal 5 with Vivid Violet.

Highlight areas are indicated with small circles. Tints are indicated with T

Refer to the Highlighting Guide on the previous page and note the areas. Highlight (float) the outside edges unevenly or partially with Warm White on most petal edges except tal 1 are dry brushed areas, not floated. for large outside Petal 1 There are tints of Yellow Light. See T on the pattern. Refer to the Shading Diagram below and note the tiny dots for the placement of the darks. Shade the inner petal areas with Lamp Black used very sparingly. The deepest area is on large, outside Petal 2. Brim of Hat: Dry brush the brim in and around the lower leaves with Warm White and on the inside on either side of each ear. Paint a partial highlight line on the brim edge with Warm White. Sunglass Lens: Float Warm White just inside the lefthand side and lower edge; then dry brush with Warm White from where the float leaves off. Paint a partial Warm White highlight line.

Scarf: With the filbert comb and Lamp Black create wavy lines. Allow the background color to show through by easing up on the bristles. Background: Using a large filbert, or a large brush you prefer, with a scant amount of paint, lightly drybrush Lamp Black throughout the background. Keep the dry brushing away from the outer edges of the design components. This will create a light aura around the outline of the design.

Finishing:

instructions, spray with the Sealer/Finisher.

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reations of the mind which protect creative works such as text, paintings, and photographs and gives the copyright holder exclusive right to control reproduction or adaptation of such works.

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By Diane Trierweiler tolebridge@aol.om dianetrierweiler.com 102

I have always loved the ballet and that is what inspired me to paint this ballerina. I wanted her costume to have a dense, feathered appearance, embellished with an abundance of glitz. If you like, add even more! Usually, I paint on canvas, but this design will be wonderful on any surface you choose. Surface: Available at Hobby Lobby 16x20 Black canvas that is tacked on back. Optional, opaquely paint a white canvas black Supplies: Usual Acrylic Tools Table Easel Chacopaper or White transfer paper DecoArt Modeling Paste Palette knife Sequins Bling of Choice Paints: DecoArt Americana Acrylics Burnt Sienna Dried Clay Warm Beige (formerly Flesh Tone) Lamp Black Raw Sienna Slate Grey Titanium White True Blue White Peach

DecoArt Extra Sheen Silver Metallic Pearl Metallic Mediums: DecoArt Galaxy Glitter Extreme Glitter Decoupage Glue Dura-clear Gloss Varnish

Brushes: #8 long tongue (long handle hog bristle tongue) 1/2 short handle tongue (red sable short handle tongue) Tongue (Petal) brush set (2, 4, and 8 red sable tongues) 10/0 striper (liner) 3/8 landscape (long handle hog bristle foliage) Other Brushes: 1/2 Angle brush Stippling brush Preparation Trace your pattern onto tracing paper and then transfer the basic pattern lines on with white graphite or Chaco paper. Painting Instructions Place your canvas on the easel and use your long-handled brush to place the colors on. Hold your brush at the end of the handle. This allows you to become looser in your pressure. The less 103

pressure you use, the softer the edges become. You can lay your canvas flat when you paint the details. Use your #8 long tongue to scumble (slip slap) Black and True Blue around the ballerina. Use more Black at the top of the design, on the right side and under the skirt. Use more True Blue where the background is lighter. Add a little Metallic Pearl to your dirty brush where the color should be the lightest. Continue layering and blending the colors until you are satisfied with the background. There brush and dry brush Metallic Pearl over the lightest areas again. Use your #8 short handle tongue and Warm Beige to basecoat the skin. Paint twice for good coverage. Let dry. Transfer on the details. When placing the shadows and highlights, work in a small area at a time so that you can work wet into wet. Rebase with Warm Beige and blend in the shadows using Raw Sienna. Softly pat the color on. Highlight with White Peach. Let dry; add second shade with Burnt Sienna. Brighten highlight with White Peach plus a little White. Use Dried Clay and water (20% paint to 80% water) to wash on the cheek. After your paint has completely dry, glaze over all of the skin with Warm Beige. (80%water to 20% paint). The earing is a dot of Pearl Iridescent paint Hair: Use your #8 short handle tongue to base in the hair with Raw Sienna. Add shadows into the hair with Burnt Umber. Second shade with Black. Use your liner brush to add small hairs around the face and in the hair alternating Dried Clay, Raw Sienna, Burnt Sienna and Burnt Umber. Add highlights to the hair with Warm Beige. Be sure to pull the small hairs outside of the outer edge of the hair. This will soften the edges. Use your 1/2 angle to place in shadows around the bun and inside of it using Black. Paint the feathers with your #4 tongue brush using Pearl Iridescent paint. With Black, paint the area where the jewels will be. Tutu: Use your #8 short handle tongue to base in the tutu with Black. If you are using a black canvas, you 104

I apply the paste with the edge of my palette knife. You will need a knife with a crook in the metal part of the knife. Pick up the paste with the edge of your knife. Set your knife down on the surface and pull the knife like you would be pulling a stroke. Start with the feathers that are further back so that each layer will cover part of the last feathers you placed on. Follow the curve of the skirt to place the feathers on. Paste is also used to create texture on the bodice and breast area. Let all of the paste dry before you stroke on the paint. When the paste is completely dry, use your #8 short handle brush and Pearl Iridescent to paint on the feathers. Stipple a little Pearl along the bottom edge of the tutu. Use your #8 again to place some shadows of Black in between some of the feathers. Highlight the feathers with White. The bodice and breast area of the tutu are dry brushed with Pearl Iridescent. Repeat with White and tint (20% paint to 80% water) with True Blue.

The neck area of the bodice is stippled with Pearl, and then White. Use the end of your brush handle with White to dip dot large white beads where all of the stippling is. Finishing Use the decoupage glue to apply the sequins over the costume. Use your 1/2 tongue brush to apply the glitter over the skirt and neck area. Let dry and varnish the entire painting with gloss varnish. One coat is all that is necessary. This will seal the canvas and bring up the colors on the painting.

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By Elisabetta De Maria 108

Dearest painting friends, I love looking at the sea and its color . I love watching the Boats with the sails billowing by the wind I like to look up and see the seagulls soar above me and imagine what it would be like to float freely, far away. I hope you like it and Happy Painting! Surface: Project Supplies: Ball Stylus Fine Sandpaper Standard Acrylic Painting Supplies Lint Free Cloth Paints: DecoArt Americana Acrylics Antique Maroon Blue Chiffon Burnt Orange Burnt Sienna Canyon Orange Desert Turquoise Eggshell French Grey Blue Indian Turquoise

Lamp Black Light French Blue Ocean Blue Prussian Blue Salem Blue Tangerine Titanium White Whispering Turquoise

Mediums: All Multipurpose Sealer of Choice Drying Time Extender Varnish of Choice Brushes: Assorted Size Flats for Basecoating Assorted Size Angular for Floating Round Brush n 1 Assorted Size Fine Liners 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 as if 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 , in a small circular motion. Work the paint outward, allowing it to diminish so that there is a gradation of color. 109

Instructions Using a large brush, apply a coat of multipurpose sealer transparent and let dry. Sand raised grain with fine sandpaper and remove dust with a lint free cloth. Preparation: Basecoat the surface with eggshell Shading and Highlighting: (refer to color photo for placement) Sky: Place the following colors on the palette: o Prussian Blue o Titanium Snow White o Salem Blue o Whispering Turquoise o Indian Turquoise o Blue Chiffon. Add a few drops of extender on them. This will slow down the drying and allow you more time to move them around the design. Working from the top, using horizontal strokes, brush on a mix of Prussian Blue and Titanium Snow White. Continue stoking downward, slightly overlapping Salem Blue, Whispering Turquoise, Indian Turquoise and Blue Chiffon. Sea: Beginning at the horizon line, apply horizontal strokes of a mix of Prussian Blue and Ocean Blue. Continue stroking downward, aligning colors using Prussian Blue + Titanium White, Ocean Blue, Indian Turquoise and Blue Chiffon.

Allow to dry thoroughly before applying the pattern. Transfer the pattern, leaving out details. 110

Mountains: Paint the foreground mountains with Light French Grey Blue. Paint those in the background, French Grey Blue. Shade with French Grey Blue mixed with a touch of Black. Add accents with Ocean Blue, Indian Turquoise and Light French Blue. Paint the borderline between the sea and the land with Blue Chiffon. Sailboat Hull: Basecoat the hull with Prussian Blue and the windows Lamp Black. Paint the left stripes with Ocean Blue; shade with Lamp Black and Highlight with Ocean Blue. Paint the stripes on the right with Indian Turquoise; shade with Ocean Blue and highlight with Light French Blue. Brighten the stripes with Titanium White. Paint the upper edge of the hull with Indian Turquoise. Cabin: Paint the cabin and the upper structure with Prussian Blue and Titanium White. Shade the blue part with Lamp Black and highlight it with Ocean Blue. Shade the white part with Light French Blue. Paint the word "Silvia" with Titanium White and the liner brush. Sails Support Masts: Basecoat with Antique Maroon. Shade with Antique Maroon + little Lamp Black Paint the coiled rope on the pole with the liner and Titanium White. Red Sails and Flag: Basecoat Burnt Orange, shade with Burnt Sienna and reinforce with Antique Maroon. Highlight with Orange Canyon and deepen with Tangerine. Drybrush in the center with Tangerine. Paint the upper glide block with Lamp Black and Antique Maroon. Shade with Antique Maroon + a bit of Lamp Black. Lettering: Paint the word "Storm57" with Antique Maroon. White Sails: Basecoat: Titanium White Shade with Light French Blue and deepen with French Grey Blue.

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Touch light with Indian Turquoise and deepen it with Desert Turquoise. Highlight again with the Titanium White. Dirty slightly with Canyon Orange in the lower part of the central white sail, near the red sail. Ropes: Paint using the liner brush and the Lamp Black. Highlight using the liner brush with Titanium Snow White. Clouds: Create clouds with a drybrush using Titanium Snow White. Waves: Refer to photo Work with a liner brush and the colors Ocean Blue and Indian Turquoise. Create the waves with an angle brush and Titanium Snow White. Use the angle and Canyon Orange to cut in the reflections of the sail in the water. Seagulls: Paint the seagulls with a liner brush and Titanium White. Shade using a liner brush and Lamp Black. Paint beaks with the liner brush and Burnt Orange. Finishing ions, varnish as desired I hope you Enjoy Painting this as much as I did! Happy Painting ~ Elisabetta.

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by Effie Carayannis

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Drawing and designing Mandalas has always given me a sense of peace and relaxation. In this project I have combined this wonderful artform with one of my favorite flowers, the sunflower. These stunningly bright yellow blooms are known for being Therefore, this design is a combination of the joy the sunflower portrays and the calming and relaxing aid of Mandala art. Surface: Wooden cutting/chopping Board - Approximate size 16.15inch x 11.8 inch (Measurements include handle). Available from homeware stores. A used or secondhand wooden board can be purchased have one tucked away somewhere (check out your kitchen cupboards) Project Supplies: Fine grit sanding pad or sandpaper Medium grit sanding pad or sandpaper (if required) Dry cloth Clean lint free cloth Tracing paper White transfer paper Stylus Paper towels Water bin Eraser Paints: DecoArt Americana Acrylics Alizarin Crimson Antique Maroon Banana Cream Bittersweet Chocolate Blush Pink Brilliant Purple Cool White Foliage Green Lamp (Ebony) Black

Light Lime Pink Chiffon Prussian Blue Red Violet Saffron Yellow Ultramarine Blue Warm White Wild Berry Yellow Green

Mediums by DecoArt: Americana Gel Stains - Oak Glazing Medium Americana Matte Spray Sealer Brushes by Loew Cornell: America Painters Series 1 Inch Glaze/Wash

Golden Taklon #2 Ultra Round Brush LC7020-2 #4 Ultra Round Brush LC7020-4 ¼ Inch Angular Shader LC7400-1/4 ½ Inch Angular Shader LC7400-1/2 #10/0 liner brush LC7350-10/0

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The piece is designed for decorative purposes only. Using it as a functional cutting/chopping board will damage the surface. Feel free to change the colors to suit your décor. A word of encouragement from Effie The brushes listed and mentioned throughout the instructions are only a guide; they are what I use and what work best for me. When painting the design, use the brush that you are most comfortable with and best fits the area you are painting. Always allow sufficient drying time between coats.

Preparation and Background Before you begin: board would require a medium grit sandpaper to remove any deep scratching and wear from use; then follow with a fine grit sandpaper for a smooth finish. Sand the surface until smooth then wipe with a dry cloth to remove the sanding dust. Following the direction of the grain, use the 1 inch base coating brush to apply a coat of Gel Stain; then wipe back with a clean lint free cloth. Allow to dry and re-apply the stain as before and wipe back again with the same cloth. When dry. apply a coat of Glazing Medium; this will protect the background from mistakes and accidental splashes while painting the design. Transferring Trace the pattern onto tracing paper, then, transfer the major outlines using the transfer paper and stylus; omitting the pink diamond shaped elements in the outer segments, the green diamond shaped elements between the rings, and the detail within the leaf shaped designs (these will be transferred later as you move through the pattern). Painting the design The design is arranged into circular sections that are all organized around a central point. Begin painting from the furthest section. Complete each round of elements before moving inwards to the section before it. The central point will be left till last. Paint each section in the following order referring to their corresponding number: 1. Pink areas around the outer semi-circular design 2. Black and White leaf design 3. Green oblong shapes 4. The section around the outside of the rings (between the green oblongs and the sunflower petals) 5. Sunflower 6. The area between the sunflower and the black and white leaf design 7. Black and white leaf design 8. Pink petals 9. Yellow petals 10. Center circle 116

1. With Blush Pink, solidly basecoat the pink sections around the outer semicircular with Blush Pink using the #4 round brush. Float to shade with Wild Berry side loaded on the ¼ inch angular shader. Deepen the shade with Alizarin Crimson. Float to highlight with Pink Chiffon side loaded on the same clean brush. Strengthen the highlight with Warm White. Transfer the diamond shape details from the tracing paper, and then base with several coats of Pink Chiffon to a solid coverage. 2. Base the leaf shaped design with Cool Steps 1, 2 & 3 White using the #4 round brush to a solid coverage. Transfer the remaining details from the tracing paper, and then solidly paint each alternating section Lamp Black using the #2 round brush. 3. Next, paint the green oblong shaped areas with the #2 round brush using Foliage Green to a solid coverage. 4. Fill in the section between the oblong shapes and the tips of the sunflower petals (moving inwards again) with several coats of Ultramarine Blue + Brilliant Purple + Prussian Blue (3:1: touch) loaded on the #2 round brush. Take care as you work around the outside of the rings. The area inside the rings will remain unpainted allowing the woodgrain background to show through. Outline the rings with a watery mix of Pink Chiffon and Alizarin Crimson using the liner. Transfer the green diamond shape details from the tracing paper, and then base with several coats of Yellow Green+ Steps Light Lime + Cool White (1:1: touch) to a solid 4&5 coverage. 5. Base the sunflower with three coats of Banana Cream loaded on the #2 round brush to a solid coverage. Float to shade with Saffron Yellow side loaded on the ½ inch angular shader. Then, deepen the shade with Saffron Yellow +Wild Berry (1: touch). Using the liner and a watery mix of Red Violet + Antique Maroon (1:1), while following their direction, separate each petal with a fine line. Float to highlight the tip of each petal with a small amount of Banana Cream + Warm White (1:1) side loaded on the ¼ inch angular shader. Strengthen the highlight with a little Warm White. Re-enforce the outline of each petal with Red Violet using the liner. Using the same brush with Ultramarine Blue + Brilliant Purple + Prussian Blue (3:1: touch) define the framework of the sunflower.

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6. Moving inwards again to the next section, paint the area between the sunflower and the leaf shaped design with several coats of Ultramarine Blue + Brilliant Purple + Prussian Blue (3:1: touch) loaded on the #2 round brush.

Steps 6, 7 & 8

7. Solidly basecoat the leaf shaped design with Cool White using the #2 round brush. Transfer the remaining details and solidly paint each alternating section (refer to the picture for placement) with Lamp (Ebony) Black using the #2 round brush. 8. Solidly basecoat the pink petals with Blush Pink using the #2 round brush. Float to shade with Wild Berry side loaded on the ¼ inch angular shader; deepen the shade with Alizarin Crimson. Re-enforce the shade with another float of Alizarin Crimson. Using the clean, ¼ inch angular, sideload float highlight with Pink Chiffon. 9. Solidly base the yellow petals surrounding the central point with three coats of Banana Cream using the #2 round brush. Float to shade with Saffron Yellow side loaded on the ¼ inch angular shader. Deepen the shade with Saffron Yellow + Wild Berry

Steps 9 & 10 (1: touch). Float to highlight the tip of each petal with a small amount of Banana Cream + Warm White (1:1) side loaded on the ¼ inch angular shader.

Strengthen the highlight with a little Warm White. Next, define each petal with Red Violet + Antique Maroon (1:1) using the liner, and then bring in a few tiny fine lines at the base of each petal. 10. With the #2 round brush base the circle in the centre with Red Violet to a solid coverage. Transfer or freehand the two inner circles and paint the section with several coats of Wild Berry. Draw a small circle for the central point and paint with Pink Chiffon to a solid coverage. Edge Carefully paint the edge several coats of Yellow Green + Light Lime + Cool White (1:1: touch).

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Finishing Float to shade around the furthest section with the ½ inch angular shader side loaded with the gel stain. This will give the design a sharper finish. Side load the ¼ inch angular shader with the gel stain and float around the inside of the rings to enhance the woodgrain in the background. Enhance the natural grain of the board by adding highlights in the lighter areas with floats of Banana Cream. Deepen the darker shades of the wood grain with floats of Bittersweet Chocolate Varnishing Allow the paint to dry thoroughly, then erase any transfer lines. pply several light coats of Matte Spray Sealer, allowing drying time between coats.

Enlarge to best fit your surface 11.75 12.0 15.0 16

Approx. Approx. Approx. Approx.

204% 209% 260% 278%

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This line art is suitable for a 12 diameter surface

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Are you starving for a creative outlet? Join us at Artful Webinars. Take a class with a different artist every month. You can try different mediums, styles and create ‘outside the box’ artwork. More artists are being added all the time. Receive a full pattern packet with every webinar. Not sure a webinar is for you? No worries. The classroom is opened twice a month to give everyone an opportunity to try it before you buy it. Experience what it is like to be part of the new way of learning. You have the opportunity to meet the artists, see their projects firsthand, and ask them questions. This is the way of the future. The future is NOW! So, don’t be left behind, join the fun and sign up for a webinar today! 2020 Artists include: (see the photos on the website) March 14 – Belinda Harrison (enamels on glass) June 20 – Fran Mittelstet (watercolor) March 21 – Janelle Johnson (colored pencils) July 18 – Debbie Cushing (colored pencil on suede board) April 18 – Nancy Kinney-Stout (acrylics) August 22 – Louise Jackson (watercolor) May 16 – Sandy LeFlore (acrylics) September 12 – Lydia Steeves (colored pencils) June 6 – Carol Craig (mudding) October 17 – Jan Boettcher (oils Rosemaling)

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