Pixelated Palette April 2021 Issue by Pixelated Palette

April 2021 Eunjeong Shin A Wedding Day

4-12

Tammey Etheredge

Tropical Floral Pendants

Deb Mishima

Cathy Nestroyl

49-57

91-98

Hello Summer

Sharon Bond Momma Duck

59-67

13-22

Marlene Fudge, CDA Daisy

Gnome Ornaments

69-75

24-30

Leslie Smith

Magic Magnolia

31-39

Judy Diephouse

Colorful Os Rosemaling Plate

99-107

Elisabetta de Maria, CDA Watson

109-117

Nancy Scott, CDA Cherry Blossoms and Butterflies

76-81

Barbara Bunsey, CDA Floral Fantasy

41-48

Susan Cochrane

The Purr-Fect Pals

Sivanvitha Juturu

May Sneak Peek

82-90

119

Red Fox in the Woods

Owner/Founder: Chris Haughey Editor in Chief: Lindsey Applegate, palettepixels@gmail.com Copyright Notice: ©2021 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.

Hello painting friends, As I was leaving for work the other day, I noticed that my variegated tulips are popping up through the soil, a sure sign that spring has indeed arrived! Very soon, yards will explode with beautiful flowers, green grass, and signs of new life. After the gloomy winter we had, spring is a mostwelcome sight! The April issue’s pages are bursting with gorgeous designs again this month. Our cover artist, Eunjeong Shin, makes her Pixelated Palette debut with A Wedding Day. Eunjeong’s beautiful design would be the perfect gift for any couple that is tying the knot this year. Barbara Bunsey’s design in this issue screams spring. Floral Fantasy depicts beautiful tulips, daffodils, anemones, hyacinth, and crocuses painted on a gift box. Add greenery and vines and Barbara’s design is a perfect gift for the season. Tammey Etheredge joins the Pixelated Palette family with her Tropical Floral Pendants design. Tammey’s brightly-colored wooden pendants depict gorgeous tropical flora and feature shiny gold edges – a technique that she depicts in her article. Personally, I think this technique would look fantastic on Christmas ornaments as well! I hope that your brushes will be kept busy with the beautiful designs in this issue! And, as always, don’t forget to share your finished designs with us! I am looking forward to seeing designs from this issue displayed on social media! স ঻ ঺ হ Happy painting! ~Lindsey

A Wedding Day Original Design by Eunjeong Shin, CDA https://www.facebook.com/eunjeong.shin.9634 https://www.instagram.com/fsacanvas I painted my vision of a sweet and cherished moment. Make a personalized gift by painting this design on a visit book cover, wedding photo album cover, or a journal book. Enjoy painting this romantic design! 4

Surface Panel 9” x 12” (SKU: 31-L644) from www.cdwood.com – or any surface of choice Project Supplies x Graphite Transfer Paper x Palette Paper x Paper Towels x Sandpaper (fine grit) x Stylus or Dotting Tool x Tracing Paper Paints: DecoArt Americana Acrylics x Alizarin Crimson x Arbor Green x Base Flesh (Mocha) x Berry Red x Black Plum x Blue Mist x Boysenberry Pink x Burnt Sienna x Cadmium Yellow x Camel x Golden Straw x Green Mist x Hi-Lite Flesh (White Peach) x Mint Julep Green

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

Pansy Lavender (Purple Rain) Peaches 'n Cream Peony Pink Pink Chiffon Raw Sienna Sapphire Soft Black Soft Blue Taffy Cream (Banana Cream) Teal Green Traditional Burnt Umber Warm Beige Whispering Turquoise White Wash

Mediums x Floating Medium-Plaid FolkArt x Jo Sonja Satin Varnish x White Gesso Brushes x Angle Brush ¼”, -½” Jo Sonja's Sure Touch Brush x Detailer #1 Golden Taklon Jo Sonja's Sure Touch Brush x Filbert #4, -#10 Loew-Cornell x Flat Brush Set Royal and Langnickel x Round #5 Jo Sonja's Sure Touch Brush

TIPS AND TECHNIQUES Use 'Floating Medium' instead of water to make the color soft and thin. For a large area, apply it over the area and then layer the color. When painting small areas, slightly dip tip of brush in medium before loading the paint. It is especially helpful for creating the soft background and bride's veil. Preparation For MDF panel, basecoat with White Gesso and lightly sand smooth. For the wood panel, sand, basecoat with gesso, and lightly sand smooth. Background With Soft Blue and 2” flat brush, basecoat center area blending towards outer edges, leaving a wide edge. Basecoat Blue Mist around the outer edges. Double-load brush with Blue Mist and Soft Blue to blend the two colors together. When dry, load Floating Medium on 1"Flat Brush to apply Taffy Cream, Peaches'n Cream, and Whispering Turquoise here and there in the middle area. Allow the colors to be soft and transparent. Transfer the main pattern lines (except for the veil), details will be added later. Basecoats Face, Neck, and Hand Mix Warm Beige and Hi-Lite Flesh 2:1 to basecoat. This color should fade into the hairline. Hair Bride’s - Camel Groom’s -Burnt Sienna. Roses Basecoat soft fuzzy round shapes with Coral, Peaches ’n Cream plus a little White Wash. Basecoat yellow roses with Taffy Cream. Cool leaves are Blue Mist. Green leaves are Teal Green plus White Wash and a touch of Black Plum. For lattice and stroke decoration, mix a little bit of Raw Sienna in White Wash. Use Detailer Brush for linework and #6 Round Brush for strokework. Allow to dry and transfer pattern detail.

General Side Load Shading Load toe of angle with a mix of Black Plum and Floating Medium to create shading. Groom, bride, and bluebirds are given shadows as if they were sketches. The bride's veil is excluded. The roses and leaves are shaded. Mix the Black Plum and Traditional Burnt Umber with Floating Medium to create washy shadows for the lattice and stroke decoration. Developing the Painting The soft result is created with multi-layers of short feathery transparent strokes using Floating Medium to thin paint. Water may also be used. Head and Hands Highlight the face, ears, neck, and hands with a mix of Hi-Lite Flesh and White Wash. Brighten highlights on forehead, nose, cheek, and chin with White Wash. Tint the right side of the groom's chin, the outside of his left cheek, and the bride’s left cheek and right side of chin with a very small amount of Sapphire and Floating Medium. Using the Detail Brush, line the eyebrows, eyelashes, eyes, and nose using Traditional Burnt Umber and Floating Medium.

Bride’s eyelids are highlighted with a mix of White Wash and a little Soft Blue. Mix Berry Red and Burnt Sienna to paint lips and highlight with White Wash. Line groom’s eyebrows with Burnt Sienna. To create a soft blush on the cheeks, apply Floating Medium or water on surface area. Mix Floating Medium (or water) with a very small amount of Alizarin Crimson. Blend it out so that the edges disappear. Dot a thin line of White Wash to highlight.

The Detailer Brush is used to create the bride's hair. Following the contour of the hair, apply colors in this order: Camel, Golden Straw, Golden Straw plus White Wash. 7

The groom's hair is strokes of Traditional Burnt Umber. Add highlights of Camel with a touch of Burnt Sienna.

Clothing Groom Use #6 round brush and tip with the Floating Medium to paint every step. Basecoat the jacket and hat with Traditional Burnt Umber, then shade with Soft Black. Add White Wash to the Sapphire and highlight it randomly. Hatband and tie are shaded with Traditional Burnt Umber and highlighted with a mix of Sapphire, White Wash, and a little bit of Black Plum. The shirt collar and cuff are painted with a White Wash mixed with a very small amount of Black Plum and White Wash to apply subtle shading. Bride Moisten the surface slightly with water or Floating Medium beforehand. Dip #6 Filbert Brush slightly into Floating Medium and side load the White Wash to layer the bright areas several times.

The lace of the bodice and sleeves are side loaded with #6 Round Brush. The pearls in her hair and the lace edge of the bouquet are dotted with a stylus and White Wash. The veil is a transparent float using 1/2" Angle Brush, switch to 1/4" Angle Brush for small areas. The roses on her hair and bouquet are loosely sketched with Black Plum and basecoated with a very small amount of Peony Pink added to the White Wash. Shade with a mixture of Burnt Sienna and very little Black Plum. Using the tip of the Detailer Brush and White Wash, layer the petals loosely several times.

Bluebirds Using Detailer Brush, lightly fill the feathers with Sapphire and White Wash. Add White Wash to the base color to brighten. Tint the white chest with Peaches 'n Cream. Stroke and line slightly with Traditional Burnt Umber. The bird's nest is Raw Sienna, and the highlight is Golden Straw or Camel. Create round strokework lines with Traditional Burnt Umber.

The Rose in the Corner Shade the center and lower edges with the mixture of Black Plum and Burnt Sienna. Double load the base color and White Wash using #10 Filbert Brush and stroke it around to create petals. Side load White Wash to highlight. Load Detailer Brush with White Wash to line edges of petals. Add a little touch of Burnt Sienna to Berry Red and tint it.

Green Leaves Stroke the base color loosely with #6 Filbert Brush. Double load filbert with Green Mist and Mint Julep Green, pull out for center vein to add highlights. Load dirty brush with White Wash to brighten highlights. Blue (Cool) Leaves Stroke the base color loosely with filbert. Double load same brush with base color and White Wash, pull out for center vein to add highlights. Double load more White Wash to brighten highlights. On all leaves, mix Green Mist and Black Plum with Floating Medium to paint veins. Tint leaves with the same color of the roses. Thin paint to create smaller, translucent leaves. Filler Flowers Using #6 round brush, stroke petals with Pansy Lavender and a very small amount of Black Plum. Double load White Wash and the base color to highlight the petals. The centers are dotted with Burnt Sienna and highlighted with Golden Straw.

Lattice Decoration Mix a touch of Raw Sienna and White Wash to form the straight lines and scrolls. Draw a shade line with a bit watery Traditional Burnt Umber. Highlight scroll with a touch of White Wash and add dip dots at line intersections.

Finishing Remove all tracing lines. Following manufacturer’s instructions, apply two coats of Satin Varnish. It is finally over. I hope you had a good time even though it was not easy to paint. It would be a good gift for new couples and for those who are already married, it would be a time to remember the happiest moments in the past.

Line drawing at 100%.

Wearable Art - Tropical Floral Pendants Original Design by Tammey Etheredge (Tammey Etheredge Designs) e-mail: TammeyEtheredgeDesigns@gmail.com Instagram: @TammeyEtheredgeDesigns Facebook: Tammey Etheredge Designs Like many of you, every year about this time, I get the urge to be outside, sprucing up the yard, clearing out the remains of winter, and planting flowers to welcome in the new season. This year, after being indoors and separated from friends and family for so long, Spring fever hit me a little harder than usual, but it was still too early to plant for Spring. So rather than reaching for my garden tools, I reached for my paint brushes and created these colorful, tropical inspired pendants. I hope these will bring a bright spot to your painting table and that you will enjoy wearing them or giving them as a gift . . . Mother’s Day is right around the corner!! 13

Surface: Large Teardrop Pendant from www.MadeSSI.com (Item #LP325) Project Supplies භ Clasps (Amazon ASIN# B07B3TNB2M) භ Craft Glue (I use Weldbond – available on Amazon or at Hobby Lobby) භ Jump Rings 8mm (Amazon ASIN# B07DF59Y4K) භ Krylon 18kt Gold Leafing Pen භ Miro-Fiber Faux Suede 3mm cording (Amazon ASIN# B01M68NZ0Y) භ Paper Palette Pad භ Sandpaper (120 and 150 grit) භ Stylus භ Tracing Paper භ Transfer Paper (white) Paints: DecoArt Americana Acrylics x Baby Pink x Bright Yellow x Burnt Sienna x Calypso Blue x Carousel Pink x Celery Green x Country Red x Evergreen x Grey Storm x Hauser Light Green x Hauser Medium Green x Holly Green x Jack-O’-Lantern Orange

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

Lamp (Ebony) Black Matcha Green Midnite Blue Midnite Green Orange Flame Slate Grey Snow (Titanium) White Sour Apple Sunny Day Tomato Red True Blue Vivid Violet

DecoArt Media Acrylics x Quinacridone Magenta Mediums: DecoArt x Multi-Purpose Sealer භ DuraClear Satin Varnish Brushes භ #3 Round Loew-Cornell 7040 series භ #8 Flat Shader Loew-Cornell 7300 Series භ #10 Flat shader Loew-Cornell 7300 Series භ 3/8” Angle Shader Black Gold by Dynasty භ ½” Angle Shader Black Gold by Dynasty භ ¼” Angle Shader Black Gold by Dynasty භ 10/0 Script Liner Artists Loft භ Mezzaluna Medium by Dynasty

Success Tip When deciding which brush to use, choose a brush that is proportionate to what you are painting (such as leaves or petals) and always use the largest brush you are comfortable with. This will give you better coverage, reduce the likelihood of stroke marks, and allow you to achieve a more professional look. Surface Preparation Sand both sides and edges of pendant surface with fine (120 grit) sandpaper. Wipe thoroughly to remove dust particles. Apply a smooth coat of DecoArt Multi-Purpose Sealer with a #10 Flat Shader and allow to dry. Lightly sand again with finer (150 grit) sandpaper and wipe thoroughly. Success tip: Sanding before and after you apply Multi-Purpose Sealer will ensure a nice smooth surface for painting and result in a more professional finish. Trace the line drawing onto tracing paper using a fine point pen or very sharp pencil. Green Butterfly Painting Instructions Basecoat the entire surface with two coats of Midnite Blue, allowing paint to dry between coats. Use a stylus and white transfer paper to transfer pattern onto the surface. Basecoat all wings with Sour Apple. Upper Wings Shade next to the head/body and along the lower edge of the wings with a light float of True Blue. Highlight the outer edge of the upper wings with a float of Bright Yellow. Use ½” angle shader for all shade and highlight floats. Use water to make a small puddle of True Blue thinned to ink-like consistency. With a 10/0 script liner, pull a series of very fine lines, starting next to the body/head and pulling out toward (but not all the way to) the outer edge of the wing, paying close attention to ensure the lines follow the contoured shape of the wing. Thin Calypso Blue to an ink-like consistency. Using 10/0 script liner, repeat to add more fine lines following the contour of the wings. With a small puddle of thinned Bright Yellow and 10/0 script liner, pull a series of very fine lines from the OUTER tip of the wing, towards (but not all the way) to the head/body following wing contour. Highlight the top outer edge of the wing tip with a very light float of Snow (Titanium) White. Lower Wings Shade lower edge of wings with a light float of True Blue. Highlight edge of wings closest to the body with a light float of Bright Yellow. Use ½” angle for all shading and highlighting. Use water to make a small puddle of Bright Yellow paint thinned to ink-like consistency. With a 10/0 script liner, pull a series of very fine lines, starting at the top corner, below the upper wing, pulling towards the outer edge (reference photo). Pay close attention to ensure the lines follow the contoured shape of the wing. 15

Head and Body Basecoat with Grey Storm. Float a soft highlight on both sides of the head and body with Slate Grey and ¼” angle shader. Load 10/0 script liner with thinned Slate Grey to paint antenna. Add two very small dots at the tip of the right antenna. Spattering Technique Spattering can be used to add texture/movement to a piece and there are many ways to achieve this look. I prefer the “toothbrush” method because it gives me the most control. To try this technique, dip an old toothbrush into water and dab it onto a paper towel or shop cloth to remove most of the water. Place a few drops of Midnite Blue onto your palette. Swirl the toothbrush in the paint to mix the paint with the water in the toothbrush together. With the head of the toothbrush aimed toward your surface, gently drag your thumb across the bristles allowing paint to spatter the butterfly. Success Tip: Practice a few times on a blank piece of paper to make sure you have the right paint-towater ratio and consistency of spatter. Yellow Butterfly Painting Instructions Basecoat the entire surface with two coats of Midnite Blue allowing paint to dry between coats. Use a stylus and white transfer paper to transfer pattern onto the surface. Basecoat all wings with Sunny Day. It will take several coats to achieve opaqueness . . . be patient! Upper Wings Shade next to the head/body and along the lower edge of the wings with a light float of Jack-O’-Lantern Orange. Highlight outer edges with a float of Bright Yellow. Use ½” angle shader for shade and highlight floats. Use water to make a small puddle of Jack-O’-Lantern Orange paint thinned to ink-like consistency. With a 10/0 script liner, pull a series of very fine lines, starting next to the body/head and pulling out toward (but not all the way to) the outer edge, paying close attention to ensure the lines follow the contoured shape of the wing. Repeat using thinned Bright Yellow and 10/0 script liner to pull very fine lines, starting at the outer tip of the wing and pulling toward (but not all the way to) the head/body, paying close attention to ensure the lines follow the contoured shape of the wing. Highlight the top outer edge of the wing tip with a very light float of Snow (Titanium) White. Shade next to the head/body and along the lower edge of wings with a light float of Orange Flame. Lower Wings Shade just below the edge of the upper wings with a soft float of Jack-O’-Lantern Orange and let dry. Shade again with a light float of Burnt Sienna. Highlight the lower edge of wings with a light float of Snow (Titanium) White. Use water to make a small puddle of Orange Flame paint thinned to ink-like consistency. With a 10/0 script liner, pull a series of very fine lines, starting at the top corner pulling towards (but not all the way) to the lower edge, paying close attention to ensure the lines follow the contoured shape of the wing. 16

Head and Body Basecoat with Grey Storm. Float a soft highlight on both sides of the head and body with Slate Grey using a ¼” angle shader. Use a 10/0 liner with thinned Slate Grey to paint the antenna. Following spatter instructions above, spatter the butterfly with Midnite Blue. Bird of Paradise Painting Instructions Basecoat the entire surface with Lamp Black and let dry. Transfer pattern onto surface using white transfer paper and a stylus or fine point pen. Leaves Basecoat the large leaves Evergreen. Float along both sides of the center vein with Midnite Green. Deepen with a light float of Lamp (Ebony) Black. Highlight edges of leaves with a soft float of Celery Green. On the right leaf, shade both sides of the bottom edges with a light float of 7RPDWR 5HG 8VH Ƙ´ DQJOH EUXVK WR VKDGH DQG KLJKOLJKW floats on the leaves. Thin Celery Green with water to an ink-like consistency. With a 10/0 script liner, paint the veins on both leaves and the stem on the left leaf. Flower For ease of reference, each petal is numbered in the reference photo at end of article. Basecoat petals 1, 2, 3, and 4 with Jack-O’-Lantern Orange, petal 5 with Lavender, and petal 6 with Bright Yellow. Basecoat the sheathe (this is where the flower grows before the bloom opens) with Sour Apple. Shade the left side of petals 3 and 4 with a float of Tomato Red and let dry. Highlight the right side with Bright Yellow. Shade the bottom of petal 6 with a light float of Jack-O’-Lantern Orange. Shade the bottom of the sheathe with a float of Holly Green. Use ¼” angle brush to shade and highlight floats on the flower petals and sheathe. Flower Stem The stem is divided into three sections. Using a script liner, paint the lower portion of the stem with Sour Apple, the middle section with Tomato Red, and the upper section (which extends along the top of the bloom pod) with Jack-O’-Lantern Orange. Tropical Leaves Painting Instructions Basecoat the entire surface with Midnite Blue. Transfer pattern onto surface using white transfer paper and a stylus or fine point pen.

Leaves Basecoat all leaves Hauser Light Green. Leaf 1 (top): Highlight top of leaf with a float of Macha Green. Use water to make a small puddle of Midnite Green paint thinned to ink-like consistency. With a 10/0 script liner, pull a few lines from the bottom right toward the center to create faint veins/creases. Leaf #2 (middle): Shade the top of the leaf with a float of Holly Green. Highlight the bottom three sections of the leaf with a float of Macha Green. Allow to dry and highlight again with a float of Bright Yellow. Use water to make a small puddle of Macha Green paint thinned to ink-like consistency. With a 10/0 script liner, pull a series of fine lines starting at the bottom of the leaf tips and moving toward the top in a small arc shape. Load 10/0 script liner with thinned Midnite Green to pull a series of fine lines starting at the top of the leaf and moving in a small arc shape toward (but not all the way to) the leaf tips. Using thinned Macha Green and a 10/0 script liner, pull a vein along the top edge, leaving a small gap above the vein so that some of the Holly Green shadow is still showing. Leaf #3 (bottom): :LWK Ǫ´ D QJOH VK D G H D ORQJ ERWK VLGHV RI WKH FHQWHU YHLQ ZLWK D IORD W RI 0LG QLWH *UHHQ +LJKOLJKW WKH WLSV RI WKH OHD YHV ZLWK D IORD W RI 0D FKD *UHHQ 2QFH GU\ D GG D QRWKHU KLJKOLJKW ZLWK %ULJKW <HOORZ /HW GU\ FRP SOHWHO\ EHIRUH P RYLQJ WR WKH QH[W VWHS Using the dry brush technique (described below), apply Calypso Blue to the areas between the center vein and outer edges of the leaf. Use a 10/0 script liner and Hauser Light Green WR D GG YHLQV 8VLQJ Ǫ´ D QJOH IORD W 0LGQLWH %OX H RQ ERWK VLGHV RI WKH FHQWHU YHLQ D QG WR WKH ERWWRP RI WKH OHD I Dry-Brush Technique The dry-brush technique lets you achieve amazing depth by adding color to areas that are not necessarily conducive to floating. Dry brushing is usually done with a stiff bristled brush (I used a medium sized Mezzaluna by Dynasty) for this piece. Begin by loading a small amount of paint onto the brush. Swirl the tip of the brush onto a dry paper towel or shop cloth, until most of the paint has been removed. Then using soft pressure, apply the color onto in the desired location with a swirling/scrubbing motion. Success tip: It is ESPECIALLY important that you only use the dry-brush technique on areas where paint is completely dry, otherwise you risk digging a “hole” in the basecoat.

Pink Hibiscus Pendant Painting Instructions Basecoat the entire surface with Lamp (Ebony) Black. Transfer pattern onto surface using white transfer paper and a stylus or fine point pen. Flower Petals Basecoat with Baby Pink until petals are opaque (2-3 coats). Make sure all floats and highlights are dry EHIRUH DGGLQJ DQRWKHU OD\HU 8VH Ƙ´ DQJOH IRU DOO shading and highlighting. Referring to the numbers on the line drawing, shade both sides of petal #1, bottom of petal #2, left side of petal #3, top of petal #4 and top of petal #5, with a float of Carousel Pink. Deepen the shading with Vivid Violet. Add a float of Quinacridone Magenta along the left side of petal #4 and the top of petal #5 to darken the shadow. Highlight the top of petal #1, top of petal #2, right side and top of petal #3, and bottom of petal #4 with Snow (Titanium White). Add a light float of Jack-O’-Lantern Orange along the bottom of petal #3 and petal #5. Add a VERY light float of diluted Lamp (Ebony) Black at the very center of the flower (behind where the base of the stamen will be). Load 10/0 script liner with thinned Vivid Violet to pull fine lines (following the shape of the petal) out from the center of each petal toward the outer tip. Pull a series of shorter fine lines of thinned Lamp (Ebony) Black lines from the center of petal #1, #2 and #5. Stem Basecoat with Hauser Light Green. Load ¼” angle with Hauser Dark Green to shade top and bottom of stem. Load 10/0 script liner with thinned Macha Green to pull a few fine lines along the stem starting at the base and moving toward the flower. Pistil Basecoat with Hauser Light Green. Shade the base (near center of the flower) with Hauser Dark Green. Load 10/0 script liner with thinned Macha Green to highlight the very tip of the pistil. With stylus, add a variety of dots around the tip (refer to photograph for placement) using Bright Yellow, Hauser Light Green, Jack-O’-Lantern Orange, and Quinacridone Magenta. Finishing the pendant(s) Apply an even coat of DuraClear Satin Varnish to your piece. Once the varnish is dry, use a Krylon 18k gold leaf pen to apply gold around the edges. To apply a THIN line of gold around the pendant, tip the pen so that the nib leans SLIGHTLY over the top edge (as shown in reference photo). Install a jump ring into the pre-drilled hole. Add a piece of color coordinated suede, cut to the desired length. Glue an end cap onto each end of the cord and clasp the ends together to create your beautiful new necklace. 19

Bird of Paradise Reference Photo

Line drawing at 100%.

Daisy Original Design By Marlene Fudge CDA Paintingmarlene@gmail.com I fell in love with this sweet pig surface the moment I saw it! I hope you enjoy painting this darling girl and her daisy necklace.

Surface Pig Plaque, Item #31-L671, www.cdwood.com Paints: DecoArt Americana Acrylics x Burnt Umber x French Grey Blue x French Mauve x Hauser Dark Green x Hauser Medium Green x Lamp Black x Mulberry x Pink Chiffon x Winter Blue x Yellow Ochre Brushes: Dynasty Black Gold x #8 & #14 Shader- 206S x #5/0 Liner- 206L x #3 Round- 206R x #4 Filbert- 206F x 1” Mop- 400 Brushes: Dynasty Mezzaluna x Large Brushes: Dynasty Blue Ice x #12 Bright- SC32B Mediums: x Minwax Polycrylic Protective Finish-Clear Satin Preparation Use the #12 Blue Ice Bright to base coat the entire surface with French Mauve. Body Double load the #14 Shader brush with French Mauve on one side and Pink Chiffon on the other side. Slip-slap this color over the entire body to give a marbled look. Keep some water in your brush so you can blend the colors slightly. Let dry.

Mix equal parts of Burnt Umber and French Mauve. Using the same brush, shade along her backside, the backs of the legs, the hooves, her back leg, her tummy, around her eye, ear, snout, and mouth. Use the mop to soften the float and any brush strokes. Let dry and repeat this step on the backside and tummy, walking the color out onto the body, mopping as needed. Reinforce the shading under her legs, between the hooves, the mouth, and snout with Burnt Umber using the #8 Shader.

Hair Dampen the Mezzaluna brush and press onto a paper towel to remove the excess water. Load the brush with a small amount of Pink Chiffon. Add the hair onto the body by using very light, short strokes in the direction that the hair naturally falls. This should be very light to simulate peach fuzz instead of long hair. We will add a few longer hairs a little later. Let dry and transfer the design. Leave off the flowers on the tails of the ribbon for now. Eye Fill in the eye with Lamp Black using the liner brush. Use the #8 Shader to float Burnt Umber along the bottom edge of the eyebrow. Add the highlight in the eye with Snow White using the liner brush. Shade around the eyelids and the front of the eye with Burnt Umber using the #8 Shader. Thin Snow White with a touch of water, use liner to add the eyelashes. Add a few more eyelashes with thinned Lamp Black. Snout Shade the outer edge of his snout and the wrinkles on the nose with Burnt Umber using the #8 Shader. Paint his nostrils with Burnt Umber using the liner brush. Shade along the left sides of the nostrils with Lamp Black using the #8 Shader. Mix equal parts of French Mauve + Burnt Umber and shade along the bottom of his snout. Highlight around the top of his snout with Pink Chiffon. Add a Pink Chiffon highlight on the nostrils using the liner brush. Use the Mezzaluna brush to dry brush Mulberry onto her cheek.

Ears Shade the inside of the ears with the French Mauve/Burnt Umber mix. Reinforce the shading with Burnt Umber. Add a touch of water to Pink Chiffon and the French Mauve/Burnt Umber mix and use the liner to add some fine hairs on the bottoms of the front ear. Highlight around the outside of both ears with Pink Chiffon using the #8 Shader.

Tail and Hooves Shade the tail where the curls tuck under each other with the #8 Shader and Burnt Umber. Highlight the tail with Pink Chiffon. Shade the hooves with Burnt Umber using the #8 Shader. Highlight the toes with Pink Chiffon. Use the liner to add some longer hairs onto the toes with Pink Chiffon.

Ribbon Base coat the ribbon with Mulberry using the round brush. Let dry and transfer the design for the flowers on the ribbon. Add a touch of Black to Mulberry. Use the #8 Shader to shade around the flowers and where one ribbon goes under the other. Mix equal parts of Mulberry + Pink Chiffon. Use the Mezzaluna brush to dry brush this color onto the raised parts of the ribbon. (Tip: when dry brushing, take the DRY brush and dip it into the paint. Wipe off most of the paint onto a paper towel. With the remaining paint on the brush, scrub onto the surface to make a nice soft highlight.) Shade under the ribbon and around all the flowers with a wash of Burnt Umber using the #8 Shader. As you shade towards the end of the ribbon, pull the shadow away from the ends to give the appearance of the ribbons blowing away from the pig.

Leaves, Stems and Calyxes Base coat the leaves with Hauser Medium Green using the round brush. Use the #8 Shader to shade along the bottom of the leaves, along the vein line and the bottom of the calyx with Hauser Dark Green. Add a touch of Snow White to Hauser Medium Green and highlight the leaves and the tops of the calyxes. Add a bit of water to this mixture and using the liner brush, add the vein lines in the leaves.

Daisies Add the daisy petals using the round brush and using Winter Blue. (Don’t forget the daisy in her mouth!) To highlight the daisy petals, load the filbert brush with a small amount of Snow White. Hold the round edge of the brush on the tip of the petal and pull the stroke in towards the center of the flower. Allow the background show through, this doesn’t have to be a perfect stroke. Some of the petals will have a stronger highlight and some will have less. This will give a more natural look to them. Repeat on some of the petals to brighten the highlight. Use the round brush to add the centers with Yellow Ochre. Use the #8 Shader to shade around the lower part of the centers with Burnt Umber. Mix Snow White + a touch of Yellow Ochre and highlight the centers. Use the same brush to shade the petals where they attach to the center with French Grey Blue.

Finishing Let dry well. Remove any remaining transfer lines. Varnish with 2-3 coats of Polycrylic.

Line drawing at 100%.

Magic Magnolia… Original Design by Leslie Smith laspaints2@gmail.com or find me on Facebook at https://www.facebook.com/Lesliepaints This design is dedicated to Susan, who asked for a fantasy floral. Magnolias are among the most primitive of flowers, dating back in evolution to the earliest of times. A magnolia’s anatomy is not like most flowers; the sepals and petals of a magnolia are so similar that they are hard to tell apart and are called tepals. The center holds the follicles, stigmas, and more. The center of our magnolia rises in the night and dances. The magnolia is a perfect flower for our fantasy. If you want to look into this further, read online: https://www.backyardnature.net/fl_magno.htm 31

Surface Oval Canvas - 8”X 10”; this piece would also look great on a memory box or an oval insert on a rectangular surface. The sample was gallery wrapped, eliminating the need for a frame. Project Supplies x General’s White Charcoal pencil or other means to transfer the line drawing x Palette (I use a Masterson’s wet palette) x Paper towels and other standard painting supplies Paints: DecoArt Americana x Burnt Umber x Colonial Blue x Hauser Medium Green x Lamp Black x Margarita x Mocha x Petal Pink x Raw Sienna x Snow White Mediums x DecoArt’s Chalky Gesso - preferably Black x DecoArt Americana DuraClear Soft Touch Varnish Brushes x A student gifted me a set of three brushes and I decided to try them out. Other than a 1” flat for base coating, the entire project was painted with Crafters Square Master Stroke (Dollar Tree) x Round size 4 x Filbert size 8 x Stippler size 4 x The stippler seemed to be more of an angle brush, which was fine. I found that they held as well as most of the “craft” quality brushes available in “big-box” hobby stores. TIPS AND TECHNIQUES I pat the paint onto the surface and almost never float. I work quickly so that the previously placed paint is still wet. I also work with a wet palette. Patting blends the paint both in my brush and on the surface. My brush seldom gets rinsed/washed. I may make an exception when changing from the lightest to darkest or vice versa. Otherwise, I just let paints blend in my brush. I also wash the brush when it gets tacky or I need water. The light is coming from front painter’s right, as if you have a flashlight, resting on your right shoulder. This design includes both shading and shadows.

What decorative painters call shading and shadows are called “form shadows” and “cast shadows” in fine art. Many decorative painting designs do not include both and may not even include either. Shading and shadows support realism but contradict the fantasy of our dancer. This is a very quick, simple, and incomplete discussion. In general, both shading and shadows use paints that are duller, darker, and cooler, but typically staying in the same color family as the object on which the shading or shadow sits. Shading resides in those areas of an object that receive less or no light. Shading establishes the dimensional shape and form of an object. For example, it turns a circle into a sphere, a rectangle into a cylinder. The shape of the shaded area is dictated by the shape of the object. As an example, the shading on a sphere is crescent shaped. The shading on a cone is triangular. The shading on an egg is oval; the shading of a cylinder is rectangular. The shape of a shaded area depends solely upon the shape of the object. These never change. Shaded areas typically have “soft,” blended edges. On the other hand, shadows are areas where the light doesn’t reach an area because it is blocked by the presence of another object. One object is shaded; but at least two objects are required if there is a shadow. One casts the shadow and the other receives the shadow. The shape of a shadow is determined by both the shape of the casting object and the shape of the object(s) onto which the shadow is cast. The size of a shadow is affected by the relative positions of the light source and object casting the shadow and the object on which the shadow lies. That is why our shadows are smaller (if non-existent) at noon. Shadows are darkest near the casting object. They do have edges, but they do not have outlines. The edges of a shadow vary from “fuzzy to sharp” or “soft, blended too hard.” Preparation The best preparation for any painting is to read the pattern entirely before actually painting. I gesso my canvas surfaces, even if the manufacturer claims to have already done so. I coat it at least twice, letting it dry thoroughly between coats. If the canvas is somewhat coarse and/or I want a smoother painting surface, the gesso gets a gentle sanding after both coats. Basecoat design surface with Lamp Black. Randomly “smash” some “x” strokes of Hauser Medium Green into the wet black paint to give it texture - mostly in the upper left corner. Don’t forget the canvas sides. Let dry. Transfer the basic design, using your favorite method. Be sure that the dancer is standing straight up and not leaning. Do not transfer the shadows at this time. When transferring onto a canvas, it is best to lay a book or other flat object under the canvas (inside the wooden frame) for support. That way, the pressure of the stylus won’t stretch the canvas and leave grooves. Painting Instructions Blocking in the Dancer It may seem unusual to start with the figure, instead of the blossoms. However, I’m fresher as a painter when I begin and corrections are easier if I don’t have to work around the petals. 33

Using your round brush, fill the upper right quadrant of her head with a circular area of Mocha. Pick up some Raw Sienna with the already dirty brush and begin filling in the rest of her head. Her head is egg or oval shaped, so the shading would be crescent shaped. Paint a line of Mocha down the center of one of her arms; shade each side with Raw Sienna. Continue filling in the remainder of the dancer with Mocha or Raw Sienna. Her arms, legs, and torso are (more or less) cylindrical, so their shading is more or less rectangular or lines of darker value along the edges. Load the brush with Raw Sienna when you want to fill in a darker area and load the brush with Mocha when filling in a lighter area. Don’t rinse your brush, let the two paints mix in your dirty brush and create a variety of mixtures that range from dark to light. Repeat as necessary for coverage. Clean up edges with Lamp Black. If you find that the paint seems to leave “divots” in the canvas weave, try adding a little water to the paint. She is somewhat pasty and dull at this stage. Once you are satisfied with her shape and form, rinse your brush to clear all the opaque fillers and pigments that came from the Raw Sienna and Mocha. Wash diluted Burnt Umber in a crescent along the left side of her face, the left side of her neck, and both sides of her torso. Shade the inside of her left hand and both legs (especially her back leg) at the top and bottom. Blocking in the Petals Switch to a bigger brush.; I used the Number 8 filbert, but a flat would work. Referring to Figure 2, paint the petals, one area at a time, with Snow White, Petal Pink, or Colonial Blue. Again, do not rinse your brush as you change from one color to another. This will provide a number of mixes, including a lighter blue, a lighter pink, and a delicious lavender. Branches Switch back to the round brush and add some bumpy, ragged branches with Raw Sienna. Avoid straight lines. Shade on the painter’s right with Burnt Umber and add lighter areas on the left with Mocha and rinse brush.

Greens Fill in the leaves and buds with Hauser Medium Green and Margarita with any brush. Use Hauser Medium Green when you wish to establish a darker area and Margarita when you wish to create a lighter area. If you can’t tell a leaf from a bud, it doesn’t matter. They are green and near a flower; that’s enough. Her garments are painted with the same colors as the leaves and buds. You may also notice that the crease in her panties was removed later during painting. Don’t let its presence in Figures 2 and 3 be confusing. Give her a bit of hair (almost a cap), using Hauser Medium Green. Add a few strokes with Margarita. Interim Coat At this stage, the basic painting is established. Make sure that all transfer lines are removed. Apply a thin coat of DecoArt’s Soft Touch as an interim protective coat. Let dry. Meanwhile, prepare a bowl of clean, soapy, warm water (just a drop of dish soap) and a soft lint-free cloth to serve as an “eraser.” This interim protective coat will protect the painting that lies beneath it and allow you to wash away any paint that lies above it - as long as the paint hasn’t dried completely and you are gentle with the soap and water. It will also bring out the colors and even the surface sheen on your painting. Both of these are important for the next step. Evaluate Compare your painting to Figure 2. Are most of the lighter areas (white) near the dancer, our intended focus? Do the stems get thinner with length? Is the topmost leaf too bright? It should be duller and darker than the other two so it doesn’t lead the viewers’ eye off the canvas. Do the two leftmost branches point to one another, completing the circle? Do fuzzy outer edges need to be cleaned up? This is a good time to fix what needs fixing. If you did apply more paint over the interim coat, let it dry and apply a second thin interim coat. Accents & Details - the Jazz and all that Pizazz Technically, the project is done at this point - you can skip to the section on finishing. It is as shown in Figure 2. However, the lights and darks can be further enhanced as shown in Figure 3. The choice is yours.

Enhance “some” darker areas (especially in the focal area) by making them even darker and duller. We’re going to cheat and use a wash of diluted black to further darken the triangular “v” shaped corners where one petal tucks behind another. This only works for tiny areas. The black should be so diluted that the underlying color (blue, pink, green) still shows through and can be discerned. Remember, these areas are shading. The darkest value is in the “v” and the edges blend out seamlessly into the petal, without hard edges. Locations of enhanced darks are shown as “x” in Figure 4.

Enhance “some” lighter areas (especially in the focal area) by making them even lighter and warmer. Mix a tiny bit of Margarita into Snow White and strengthen some of the highlights nearest to the dancer. Add enough Margarita to warm the white, but not make it green. Locations of enhanced lights are shown as “o” in Figure 4. Share colors. Add some warmer areas of Mocha to a couple of petals nearest the dancer. Add some Colonial Blue to the dancer and the two upper leaves/buds. Some painters call this “marrying colors.”

Add details. The dancer, some of the petals, and the two branches would cast shadows. Transfer the outlines for the shadows or “wing it” from the line drawing. The shadows are too big to use diluted Lamp Black; the result would look dirty. We will tone each of the basic colors by adding a tiny, tiny (tiny!!!!) bit of Lamp Black - shadows over blue areas are painted with a mixture of Lamp Black and Colonial Blue; shadows on green will be painted with Hauser Medium Green and Lamp Black. For the pink or Mocha areas, use Burnt Umber. Figure 5 attempts to show you how little Lamp Black was used to create the shadow colors. The shadow blue is still blue. The shadow green is still clearly green. The warmed highlight (Snow White and a tiny, tiny touch of Margarita) is also shown.

The Cover Photo shows our dancer, finished, and dancing with her shadow. Start painting the shadows along the edge of whatever is casting the shadow. Work outward. Never outline. The edges can be lighter, they are never darker.

Evaluate Walk away from the painting. Take a break and come back with fresh eyes. I chose, as noted earlier, to remove the crease in her panties and give her a bit of cleavage. Make the painting your own. Finishing Following manufacturer’s instructions, protect with a final coat of DecoArt Americana DuraClear Soft Touch Varnish.

Enlarge line drawing for desired surface.

FLORAL FANTASY By Barbara Bunsey, CDA Spring flowers are a sign of rebirth—glorious colors and warmth after a dark and cold winter. I wanted to think of flowers dancing in their joy of blooming. I was inspired by 1617 century botanicals. The stylized sun on the sides of the box symbolizes the warmth it provides to help us all TO be reborn in the spring.

Surface: #FF404 available from Calico Goose, 909 Berkshire Drive, Macedonia, Ohio 44056, bbunsey@calicogoose.com, (330)467-7402 Supplies x x x x

DecoArt Multi-Purpose Sealer DecoArt Soft Touch Varnish Plastic Wrap Sponge Brush

Paints: DecoArt Americana Acrylics x Aloe x Charcoal Grey x Colonial Blue x Evergreen x Golden Yellow x Grey Sky x Light Sage x Morning Mist x Neutral Grey x Purple Petal x Rookwood Red

x x x x x x x x x x

Royal Purple Saffron Yellow Sand Sand Grey Scarlet Slate Grey Summer Squash Terra Coral Thicket Williamsburg Blue

Brushes: FM Dynasty Black Gold x Filbert #6 x Mezzaluna S, -M, -L x Round #2, -#4 x Script Liner #0 x Shader #10, -#16 Technique: When doing one-stroke leaves for the vines, load #4 round brush flat from side of puddle, lay onto surface, press and release, pulling to a point. Background Sand surface, seal, and lightly sand smooth. Basecoat Slate Grey. Thin Neutral Grey with water and wash on with sponge brush. While still wet, stipple with a piece of crumpled plastic wrap until it sets up; repeat, using Charcoal Grey. Leaves and Stems Basecoat Aloe. Using whatever size dry Mezzaluna that works for the area, add highlights with a brush-mix of Aloe + Light Sage (approx. 1:1); repeat, adding more Light Sage to dirty brush. You may want to float these mixes on the edges. Shade with Thicket and repeat with Evergreen. Add thin veins, other lines, and dots on hyacinths with a brush-mix of Thicket + Evergreen (approx. 1:1).

Tulips Basecoat Terra Coral. Add center veins of petals and outline each petal with a brush-mix of Terra Coral + Summer Squash (approx. 1:2); repeat, adding a bit of Sand to mix to brighten. Use dry Mezzaluna to dry-brush centers of petals and shader for edges of tulips with the mixes above. Float shading with a brush-mix of Terra Coral + Rookwood Red (approx. 1:3); repeat, adding more Rookwood Red to dirty brush. Repeat again, adding a bit of Evergreen to dirty brush and adding to darkest areas. 6HSDOV *UHHQ $UHDV RQ 3HWDOV

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Daffodils Basecoat with two coats Summer Squash and topcoat with Golden Yellow. Using dry Mezzaluna, pick up Summer Squash and highlight petals; repeat, adding Sand to dirty brush. You can float color along any outside edges. Shade with a brush-mix of Saffron + Scarlet (1:touch); repeat, adding more Scarlet to dirty brush; repeat, adding Rookwood Red to dirty brush; repeat, adding a touch of Evergreen to dirty brush. Float Evergreen along the bottom base of forward petal.

Anemone Dark Petals Using #2 round, basecoat as one- or two-stroke leaves using Slate Grey. Highlight tips with Grey Sky; reinforce by adding Sand Grey to dirty brush. Shade at base or to separate from other petals with Neutral Grey. Mid-Value Petals Following instructions above, basecoat with Grey Sky. Highlight tips with Sand Grey; reinforce by adding Light Sage to dirty brush. Shade at base and between petals with a brushmix of Slate Grey + Neutral Grey (approx. 1:1). Light Petals Basecoat as above with Sand Grey. Highlight tips with Sand Grey + Light Sage (approx. 1:1); reinforce by adding more Light Sage to dirty brush. Shade at base or to separate from other petals with a brush-mix of Slate Grey. Center Basecoat Summer Squash and topcoat with Golden Yellow. Highlight tops with a brush-mix of Golden Yellow + Light Sage; repeat, adding more Light Sage. Shade along bottom edge with a brush-mix of Golden Yellow + Scarlet (approx. 1:1); repeat, adding a bit more Scarlet. Lightly float Rookwood Red over shading on centers and here-and-there on shadow areas of petals. If any petals “jump out” because they are too bright, lightly wash over them with Charcoal Grey to push them back.

Hyacinth Using #2 round, stroke in petals with Slate Grey. Using dry S Mezzaluna, pick up Slate Grey, remove excess on palette, pick up Grey Sky, remove excess and dry-brush highlights on “center” areas; repeat, adding more Grey Sky to dirty brush. Repeat, adding Sand Grey and even a bit of Light Sage to dirty brush and add brightest highlights. Float these colors on edges and to create flips. Shade with Colonial Blue; repeat, adding a bit of Williamsburg Blue to dirty brush. Add more Williamsburg Blue and a touch of Charcoal Grey to darkest petals. Add dots to a few areas for centers with Golden Yellow and a few with Scarlet added to dirty brush.

Crocus Light (inside) Petals Basecoat Morning Mist. Float highlights at tops of petals with Morning Mist and Light Sage side-loaded on same side of brush; repeat, adding more Light Sage. Shade to separate with Purple Petal + Royal Purple side-loaded on same side of brush; repeat, adding more Royal Purple to dirty brush. Dark (outer) Petals Basecoat Purple Petal. Using dry S Mezzaluna, pick up Morning Mist, remove excess on palette, pick up a bit of Light Sage, remove excess, and dry-brush highlights along inner sides of petals. Repeat, adding more Light Sage. Shade to separate petals with Purple Petal + Royal Purple side-loaded on same side of brush; repeat, adding more Royal Purple to dirty brush. Add a bit of Charcoal to darken and add darkest shadows. Add thin veins and dot centers with Golden Yellow. Pick up Scarlet on dirty brush and add a few dots.

Add thin lines of Royal Purple to petals, starting at bottom and pulling up. Be sure to pull stem up onto petals and let it fade out. Add Evergreen shading and lines onto petals. Strokes and Vines Create strokes with a brush-mix of Neutral Grey + Charcoal Grey (approx. 3:1) and the #4 round. You can leave it as is, but if you want to add vines, line stem and add one-stroke leaves on either side, using #6 filbert and Thicket. Highlight tips of leaves with Aloe and shade base with Evergreen.

Sides of Box Since flowers love the warmth of the sun to flourish, I painted a sun on the sides, along with vines. Sun Basecoat with two coats Summer Squash and topcoat with Golden Yellow. Load dry Mezzaluna with Summer Squash to highlight the center of sun; repeat, adding Sand to dirty brush. Float this mix on the tips of the rays. Shade around inside of circle and on each ray where it touches the circle with a brush-mix of Saffron + Scarlet (1:touch); repeat, adding more Scarlet to dirty brush. Repeat, adding Rookwood Red to dirty brush; repeat, adding a touch of Evergreen to dirty brush. Wash over the entire area with thin washes of Royal Purple to tone it down. Vines Line stems and add one-stroke leaves with Thicket. Highlight tips of leaves with Aloe; repeat, adding Summer Squash to dirty brush. Shade bases of leaves with Evergreen; repeat, adding Royal Purple shading.

Finishing If you think your daffodil is too bright for the design, wash over it with a very thin brush-mix of Purple Petal + Royal Purple—adjust color as necessary. Add light floats of Scarlet, here-and-there, on some flower petals, leaves, and stems. At this point I decided my Anemone were too bright, so I washed over them, lightly, with a brush-mix of Neutral Grey + Rookwood Red—adjust the color to suit your taste. Wash over the centers with the same brush-mix as daffodil. Encouragement: Please don't be intimidated by this design. Just take it one step at a time!

© Barbara Bunsey. All rights reserved under Pan American and international copyright conventions. The contents of this packet including text, pattern designs and photographs are copyrighted. You may paint from this tutorial for pleasure, for teaching as long a complete pattern packet is purchased for each student and for retail sales at craft shows, craft malls and special orders. You may photocopy one line-drawing only per student for teaching purposes. Rewriting any or part of the directions included in this pattern packet for teaching or other purposes is strictly prohibited. PLEASE PURCHASE ONE PATTERN PACKET PER STUDENT IF YOU WISH TO PROVIDE THEM WITH THE INSTRUCTIONS. Photocopying or any type of mechanical electronic reproduction of any part of this pattern packet or the designs herein are prohibited, except purchaser may mechanically/electronically enlarge or reduce patterns for their personal use. If this pattern packet is purchased as an e-Pattern or CD, you may not re-sell the pdf file, nor make copies of the pdf files for re-sale or to give away. The designs cannot be used to create web graphics. The product created from or any derivative product made from the designs in this pattern packet cannot be mass produced in any form without a licensing agreement from Barbara Bunsey.

Line drawing is at 100%.

HELLO SUMMER Original Design by Deb Mishima This adorable scarecrow is all ready for summer weather.

Surface Oval Scallop Plaque 15 x 11 ½ inches, #31-L369 available from Cupboard Distributing www.cdwood.com Paints: DecoArt Americana Acrylics x Antique White x Bleached Sand x Coral x Fawn x Hauser Medium Green x Lamp Black x Light Buttermilk x Moon Yellow x Raw Sienna x Thicket x True Ochre x WarmWhite x Wild Berry DecoArt Mediums x All Purpose Sealer x Chalky Finish, Vintage x Galaxy Glitter, Black Hole Additional Supplies x Ball Stylus x Black Micron Pen #.01 x Glue Gun x Kraft Tag 3½” x Saral Wax Free Transfer Paper, White x Optional: one paper flower for the tag. x Optional: 3/8 plastic bee (flat on bottom). Available at Dollarama Brushes x Jo Sonja Select Round #4, #5 #4010 x Jo Sonja Sure Touch Angle 3/8”, 12” #1345 x Jo Sonja Sure Touch Flat #8, #9 #1370 x Jo Sonja Sure Touch Oval Drybrush #6, #10 x Jo Sonja Sure Touch Oval Wash 1/2”, 3/8” ¼” #1318 x Jo Sonja Sure Touch Script Liner 18/0 #1365 x Jo Sonja Sure Touch White Mop ½” ¾” #1317 x Dynasty Black Gold #12 Round x Heinz Jordan Domed Dry Stipple brushes, assorted sizes

Painting Instructions Basecoat the surface with Chalky Finish, Vintage. Drybrush Warm White using the 2” flat brush. Tip All drybrushing is done with the domed stipple brushes except where instructed. Trace on the pattern. Mix 2 parts Warm White and 1 part Thicket and shade around the pattern, excluding around the blue hair bow, left leg cuff, and right leg warmer. Mix 2 parts Warm White and 1 part Hauser Medium Green and shade around the blue bow, left leg cuff, and right leg warmer. Do not shade around the daisies. Scarecrow Basecoat the face, arms, and legs with Bleached Sand. Trace on the details. Shade Antique White under the brim, around the eyes (not under the eyes), along both sides of the nose, down the sides of the face to the shoulders, above the arm warmers, under the pant cuffs, and down the outside edge of both legs. Highlight Warm White below the eyes, along the chin line, the top of the shoulders, and the inside of both legs. Deepen the shading with Fawn. Drybrush Warm White softly between the eyes, along the arms, and legs (avoiding the shaded areas) using the #6 oval drybrush. Line the stitching using the 18/0 liner and Fawn. Drybrush the cheeks with Mocha. Drybrush again with a little Wild Berry. (Use the #6 oval drybrush) Basecoat the nose with Coral. Shade down the left side with Wild Berry. Highlight the right side with Warm White. Basecoat the eyes with Lamp Black. Using the #4 round, add the whites of the eyes with Snow White. Line and dot the eyes with Snow White. After the hat is finished, line the eyelashes with Lamp Black. Line the mouth (X) with Fawn. Dot the freckles with Fawn. 51

Hair After the hat is finished, line with Snow White and Fawn. Hat Basecoat with Light Buttermilk. Shade Moon Yellow down the sides walking the color inwards, above the black stripe, along the inside edge under the brim, and along the bottom of the inside edge. Highlight Warm White along the top of the hat, the top and bottom of the brim. Deepen the shading with True Ochre. Deepen again very softly, here and there with Raw Sienna. Drybrush in the top middle of the hat and along the brim with Warm White. Dot and line with Lamp Black. Now add the hair and eyelashes. Bow Left Bow Basecoat by mixing 3 parts Warm White and 1 part Thicket. Shade very softly with Thicket around the base of the bow where it touches the knot, the inside edge, and here and there along the side of the bow walking the color into the folds. Highlight with Warm White along the edge where the outer part of the bow touches the inner part and here and there along the side of the bow. Using #10 drybrush, drybrush a little Warm White to help shape the bow. Dot with Snow White Knot Basecoat with 2 parts Warm White and 1 part Hauser Medium Green. Shade around the right side softly with Hauser Medium Green. Highlight the left side with Warm White. Float a little of the bow base color onto the right side of the knot. Drybrush a little in the middle with Warm White. Right Bow Basecoat by mixing 2 parts Warm White and 1 part Hauser Medium Green. Shade softly with Hauser Medium Green around the base of the bow where it touches the knot, the inside edge of the bow, and along the side walking the color into the folds. Highlight with Warm White along the edge where the outer part of the bow touches the inner part and here and there on the side of the bow. Drybrush using a little Warm White and #10 oval drybrush to help shape the bow. Dot the flowers using Snow White in the center and the blue mix for the petals. Knot Basecoat with the blue mix. Shade the left side softly with a little Thicket. Highlight the right side with Warm White. Float a little of the green bow color onto the left side of the knot. 52

Line the creases in the bows with Lamp Black. Dress Blue Section Basecoat using 3 parts Warm White to 1 part Thicket. Shade very softly with Thicket around the hands and down the sides. Highlight along the bottom with Warm White. After the green sections are finished, dot the dress and lace with Snow White. Green Section Basecoat using 2 parts Warm White to 1 part Hauser Medium Green. Shade very softly with Hauser Medium Green under the blue hem, down the side and bottom, and around the brown jacket. Drybrush in the middle with Warm White. Dot the flowers the same as the green bow. Brown Jacket Basecoat with Antique White. Shade Fawn around the arms, the sleeve warmers, here and there down the sides, and along the hem. Highlight here and there along the sides with Warm White. Drybrush Warm White to brighten highlights. Deepen the shading here and there with more Fawn. Line the stitching with Snow White. Arm Sleeves Green Basecoat with 2 parts Warm White and 1 part Hauser Medium Green. Shade softly with Hauser Medium Green along the inside edge and between the two sleeves. Drybrush Warm White using #6 oval drybrush. Line the stitching with Lamp Black. Blue Basecoat with 3 parts Warm White and 1 part Hauser Medium Green. Shade softly with Thicket along the bottom and down both sides, walking the color inwards along the left side into the folds. Highlight Warm White along the top. Drybrush Warm White using #6 oval drybrush. Dot the sleeve and lace with Snow White. Pants Basecoat with Light Buttermilk. Shade Moon Yellow under the dress hem, down the sides walking the color in to create the folds, and above the cuffs.

Highlight Warm White on the upper side of the folds. Drybrush here and there with Warm White. Deepen the shading with a little True Ochre. Very lightly add a little float of Raw Sienna here and there in the shaded areas. Dot the buttons down the sides and line the bows with Lamp Black. Cuffs Blue Cuff Basecoat using the same mix as the blue bow. Shade softly with Thicket along the bottom hem and down the sides walking the color inwards. Highlight Warm White along the top of the cuff. Drybrush with a little Warm White. Dot the cuffs and the lace with Snow White. Green Cuff Basecoat using the same mix as the green bow. Shade softly with Hauser Medium Green along the bottom and down the sides walking the color inwards and along the inside edge. Highlight Warm White along the top and inside edge of the cuff. Drybrush with a little Warm White. Dot the flowers the same as the green hair bow. Leg Warmers Green Basecoat using the same mix as the green hair bow. Shade softly with Hauser Medium Green around the inner edge and down the sides walking the color inwards. Highlight along the top and bottom of the cuff with Warm White. Drybrush with Warm White. Dot the same as the green hair bow. Blue Basecoat using the same mix as the blue hair bow. Shade softly with Thicket around the inner edge and down the sides walking the color inwards. Highlight along the top and bottom of the cuff with Warm White. Drybrush in with Warm White. Dot the leg warmer and lace the same as the green hair bow. Green Attached Bon (On the Blue Leg Warmer) Basecoat with the same mix as the green hair bow. Shade Hauser Medium Green along the inner edge, at the base walking the color outwards, and here and there along the side walking the color into the folds.

Highlight Warm White along the edge where the outer bow touches the inner bow. Drybrush Warm White to shape the bow. Line the creases with Lamp Black. Shoes Basecoat with Antique White. Shade Fawn under the leg warmers, above the toe area on the left shoe, down the sides walking the color inwards, and along the bottom to form the soles. Highlight Warm White along the top of the toe line on the left shoe and above the soles. Drybrush with Warm White. Line the soles with Snow White. Grass Line the grass with Hauser Medium Green. Daisies Line the stem between the daisies with Hauser Medium Green. Basecoat the daisy centers with Moon Yellow. Shade along one side and the bottom with True Ochre. Highlight the opposite side as the shaded area with Light Buttermilk. Deepen the shading with Raw Sienna. Stipple a little Warm White in the middle. To form the petals, load #12 Round with watered down Snow White. Start at the tip of the petals and pull up towards the daisy center. Add highlight lines down the petals with Snow White. Dot the daisy centers using Lamp Black and again with Snow White adding random dots here and there onto the base of the petals. Tag Basecoat with Antique White. Shade around the edges with Fawn. Drybrush with Warm White. Line the stitching with Snow White. Line the words Hello Summer using the black Micron pen. Finishing Touches Line with swirling strokes around the bows with Snow White. Brush Galaxy Glitter Black Hole onto the shaded areas of the daisy centers. Dot around the border edge with Snow White. Glue the flower onto the hole in the center of the tag and then glue the tag onto the hat. Hot glue bee onto the tag. Splatter the surface (avoid the scarecrows face) with Snow White.

/LQH GUDZLQJ DW

Momma Duck! Original Design by Sharon Bond “Thinking about Spring and lots of new Mommas and Babies in nature’s world brought me to this idea!! Momma Duck has her ‘wings’ full with four new ducklings but she couldn’t be happier!! Ahhh, Spring! Here’s to being back outside and enjoying the sunshine, the breeze and all those butterflies!!”

Surface භ Skinny Arch Plaque – Available from Cupboard Distributing www.cdwood.com – Item # 31-L652

Project Supplies භ Ultra-fine Permanent Black Marker – (Such as an Ultra-fine Sharpie, available at most stores!) ----OR-----භ Black PITT Artist Pen, Superfine and/or an Extra Superfine by Faber-Castell (for even finer lines.) (I would suggest two sizes for this project; such as an Ultra-fine Sharpie and also a finer lined marker.) භ Tim Holtz’s Flourish Stencil – Available from www.cdwood.com – Item # 09-60335 භ Tim Holtz’s Rays Layering Stencil – Available from www.cdwood.com – Item # 09-70785 භ Painter’s Tape or Scotch Magic Tape භ Small Water Mister Bottle භ Miscellaneous wire or ribbon to create a hanger (Optional)

Paints: DecoArt Americana Acrylics භ භ භ භ භ භ භ භ භ

Banana Cream Boysenberry Pink Bright Orange Bubblegum Pink Burnt Orange Buttermilk Cadmium Yellow Cool White Grape Juice

භ භ භ භ භ භ භ භ භ

Irish Moss Lamp Black Lavender Purple Cow Snow White Spa Blue Warm Sunset Warm White Whispering Turquoise

Specialty Items by DecoArt භ Americana’s Matte Spray Finisher භ Americana DuraClear Gloss Varnish (optional) භ DecoArt Glamour Dust Glitter Paint – Ice Crystal (optional)

Brushes භ භ භ භ

Angle Shader ¼” Glaze/Wash Brush ¾” Round # 2 Script Liner 10/0

Other Brushes from Cupboard Distributing භ #4 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-4 භ #6 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-6 භ Chris’s SPECTACULAR Stencil Brush #4 – Item # 03-926-4

Tip: Anytime during the instructions if I mention to “finely outline” in Black, you can choose whether you want to thin your Black paint and use a liner brush to outline or simply use a Black marker! Also keep in mind when I mention basecoating with ‘two coats’ of one particular color, it’s always best to let the first coat dry before adding the second coat! This helps tremendously with your coverage! 60

Preparation:

Basecoat the entire plaque with Whispering Turquoise, this will serve as our undercoat for the moment! Let dry. Now prepare slightly thinned puddles of Whispering Turquoise and Spa Blue on your palette. Before starting, you may wish to mist your plaque with a light spray of water. The key to keeping your paint flowing smoothly is to keep your surface damp. You may wish to mist (or thin your paint a bit more) throughout this basecoating process to keep your paint from dragging and flowing freely. (Mist or thin as necessary!) Alternate back and forth between the Whispering Turquoise and the Spa Blue with your wash brush and apply with long, flowing strokes across the entire plaque. The colors will blend and streak a bit but this is what we want! You can apply this boldly or more subtle depending on how much color you add or let blend. I ended up with a very soft, blended look! Once you have achieved the look you prefer, let it dry completely! Next, comes stenciling! We will begin by using the Flourish stencil. Starting from the left side and working towards the right, position your stencil and begin stenciling with Cool White. I wanted to go with more of a softer look, so I used a lighter touch. Reposition your stencil until you have stenciling across the entire plaque. I did go back and randomly add a bit more stenciling to places that looked barer. I stenciled those areas a bit brighter for a nice variation. I wasn’t necessarily going for the exact pattern of the stencil as I was for a nice background touch! Let this dry before proceeding! Next, we will be using the Rays stencil for creating our sunbeams! Center this stencil at the top of the plaque. Tape securely in place as we will not be needing to move this stencil through the entire process! I used light coats of each color to help build it up slowly and blend more softly. Start by stenciling the entire stencil area with Banana Cream. Next, stencil around the top to deepen by using Cadmium Yellow. Then, stencil along the bottom part of the rays with Buttermilk. Now, we stencil again with Banana Cream to help everything blend! I did let this dry for a few minutes, then I very lightly stenciled the entire area with a bit of Buttermilk added to the brush. You can always play with these colors and enhance them by darkening (or lightning) them however you wish! Just a note: I never even had to switch my stencil brush throughout this entire sunbeam stenciling process! I did wipe out the excess paint off of the bristles when changing colors but that was it! Chris’s stencil brushes are great to use in this way! Simply wipe off and go! Makes it so quick and easy! Once dry, you can transfer the main design…… 61

Painting Instructions MOMMA DUCK Basecoat Momma with two coats of Buttermilk and let dry. Once dry, trace on all her details (excluding her eye). Drybrush her with Warm White, working around the details to leave just a bit of Buttermilk showing through around the details. Highlight her with Snow White. **I understand it is more difficult to try and drybrush or highlight small/narrow areas ~ in this case, the tips of her feathers ~ so this is what I do! Lightly thin your Snow White and wetbrush the small area. While they are still damp, take a drybrush and blend them into the rest of the area that has already been drybrushed! (You can also lightly ‘pounce’ these damp areas with a small drybrush as well!) Either way will work!** Once this has been completed and dried, you can trace on her eye. Drybrush cheek area under her eye with Boysenberry Pink. Let dry. If you wish to tone it down or soften, simply drybrush over it with Warm White until you achieve the color/look you want!

Basecoat Momma’s eye with Warm White. The pupil is Black. Accents to the eye are done with Snow White. Her beak and feet are based solidly with Warm Sunset (you may need an additional coat for solid coverage.) Once dry, drybrush OR wetbrush with Bright Orange (whichever is easier for you!) Once this has dried, thin a bit of Burnt Orange and wetbrush it on the webbing between her toes! I also added a thin stroke of this to outline underneath the top part of her beak. The inside of her mouth is Black. Her tongue is solidly painted with Bubblegum Pink.

Basecoat her bonnet (hat) with Lavender. Add an additional coat if necessary. Let dry, then drybrush with Purple Cow. Shade or wetbrush under the brim of the hat along the left side of her face and around each side of the ribbon with Grape Juice. Ribbon and Bow are both based with two coats of Boysenberry Pink. Once dry, drybrush with Bubblegum Pink. The “open” loops in the bow are painted in Black. Finely outline everything in Black. Don’t forget her eyelashes, eyebrow and nostrils! BABY DUCKS All the babies are painted the same! Basecoat all babies (bodies) with two coats of Cadmium Yellow. Once dry, drybrush with Banana Cream. Allow to dry and trace details. Drybrush Buttermilk around their details, focusing on their chests, wings, and around the back side of their eyes. Drybrush each of their cheeks with Bright Orange. Eyes are all based in Warm White with Black pupils. Add Snow White accents. Basecoat beaks and feet Warm Sunset. Apply an additional coat if necessary. Drybrush OR wetbrush these same areas with Bright Orange to highlight. On the second and fourth duckling (where they have the bottom pads of their feet showing), shade on one side of each of these feet with Burnt Orange. The insides of all their mouths are Black. Finely outline all of them in Black, including eyelashes, eyebrows, and nostrils. DAISIES Start by basecoating the leaves and stems with Irish Moss (you may need two coats). Once dry, highlight all with a slightly thin coat of Cadmium Yellow. If this appears too bright, simply wetbrush a thin coat of Irish Moss back over these areas. Basecoat all the petals with a heavy stroke of Warm White. Start at the tip of each petal and pull towards the flower center. Once dry, go back and randomly pick a few petals on each daisy and rebase them with Buttermilk. Once the Buttermilk petals have dried, thin a bit of Warm White and wetbrush over the Buttermilk petals to help soften and blend. Wetbrush all the Warm White petals with a stroke of Snow White to brighten/highlight and let dry. Finely outline all petals, stems and leaves with Black before painting on the centers. 63

For the centers, basecoat or “dab” with Bright Orange. Allow to dry, then repeat. Once this has dried, dab each center with Cadmium Yellow adding a bit of Bright Orange dabs at the same time. Once this has completely dried, use a small stylus to dot randomly with Banana Cream. Outline the centers with Black (quite heavy) and add the smaller Black centers as well. PINK FLOWERS Basecoat the entire flower in Boysenberry Pink with two coats. Let dry, then drybrush with Bubblegum Pink. Drybrush from the center of the flowers working outward making sure to leave a ‘border’ of the Boysenberry Pink showing around the edges of each petal. Basecoat the flower center with two coats of Grape Juice. Once dry, dab on a bit of Boysenberry Pink and Lavender at the same time. When dry, use a stylus to dot the centers with Boysenberry Pink. Finely outline all petals and centers with Black (including the small Black centers too!) BUTTERFLIES The butterfly silhouettes are all created in Black. Basecoat the PINK butterfly on the left with two coats of Boysenberry Pink. When dry, drybrush with Bubblegum Pink. Finely outline and fill in all the markings with Black. The antennae and body are also Black. Add a ‘teardrop’ stroke of Boysenberry Pink to the Black section at the top on each side of the wings. Basecoat the ORANGE butterfly with two coats of Burnt Orange. When dry, drybrush with Warm Sunset and highlight with Bright Orange. Trace on details. The teardrop strokes on each of the bottom wings are Black. Rebase the larger sections on the top wings with Burnt Orange and add Black accents to each. Basecoat the smaller section at the top/side of each wing with Bright Orange. Finely outline all in Black. The body/head/antennae are all Black as well. I did go back and add a small dot of Burnt Orange to the head, leaving the Black showing around the edges. Basecoat the PURPLE butterfly with two coats of Lavender. When dry, drybrush with Purple Cow. Outline a fairly wide stroke of Grape Juice around the larger wing sections (top and bottom). Fill in those wing sections with Purple Cow, the teardrop accents are Black. Finely outline the butterfly wings in Black. The body/head and antennae are all Black as well. Add a tiny dot of Lavender to the head. LETTERING All lettering is Black. (Using a marker is the easiest!)

Finishing Touches Once everything has dried, we will be ready to seal our project! I simply spray sealed mine with Americana’s Matte Spray Finisher per instructions and let dry. I used Americana DuraClear Gloss Varnish to add a little extra shine to the following: All the duck’s (Momma and babies) eyes and beaks, and the Black loops in the bow on Momma’s neck. For an additional sparkle, add DecoArt Glamour Dust Ice Crystal Glitter Paint to all the colored butterflies (not the silhouettes). These steps are optional, but I like the extra shine and sparkle! ᆍ ᆎ If you wish, you can also add wire, ribbon, etc… to the top to create a hanger! Painting this plaque made me SMILE! I hope you enjoy it too!!

Thank You! ~Sharon B 64

Line drawing is at 100%

Nest, Grow, Boo Gnome Ornaments Original Design by Susan V. Cochrane

I must admit, painting gnomes has started to ‘grow’ on me!! These little guys are booted up and ready to get to work!!

Project Supplies x Basic acrylic painting supplies x DecoArt Americana Duraclear Varnish (Matte) x DecoArt Americana Multi-Purpose Sealer Surface x Globe Ornament, Item No. 720030, www.pinecraftinc.com Paints: DecoArt Americana Acrylics x Banana Cream x Burnt Orange x Burnt Umber x Frosted Plum x Hauser Dark Green x Hauser Light Green x Khaki Tan x Lamp Black x Mocha x Neutral Grey x True Ochre x Victorian Blue x Winter Blue Brushes: Royal & Langnickel Majestic Bushes x Angular Shader ½”, Series R4160 x Liners 5/0, 10/0, Series R4595 x Shaders 2, 4, 6, 10 , Series R4150 Brushes: Royal Brushes x Filbert Comb ½”, Series 930 General Instructions All basecoats are solid. All floating is done with a double loaded brush. Erase transfer lines as you go. Use very small, tiny amounts of paint. Apply several sheer floats to gradually build up the intensity. Painting For all ornaments Seal the fronts with the Multi-Purpose Sealer. Dry, lightly sand and tack. Transfer the ground. Paint all skies with Winter Blue and spatter with Victorian Blue. The ground will remain unpainted for now. Transfer the gnome and the sign. Sign Basecoat with Khaki Tan. Float Lamp Black to shade next to the gnome. Float Hauser Light Green on the upper right corner. Paint the letters, sign post, and outline the edges with Lamp Black. Drybrush the signpost and letters with Warm White. 70

Gnome Basecoat the hat and beard with Neutral Grey. Transfer the brim edge of the hat for placement. Comb the beard with Neutral Grey leaving wispy edges and repeat with Warm White leaving wispy edges. Transfer the boots for placement. Transfer and paint the nose with Mocha. Float Burnt Orange across the top edge. With Warm White, line/dot the highlight on the lower area. Float a tiny touch of Lamp Black on the beard next to the nose, the brim of the hat, and the edges of the boots. Float a touch of Lamp Black around the edges of the hat. Also float some folds. Note: there is a highlighted edge next to the sign so just fade the highlight float into the darker float. Float a highlight of Warm White along the edge of the brim and folds. Apply more highlight in the center middle area next to the nose. Transfer and paint the mustache and add a few stronger hairs on the beards using Warm White. Birds Yellow Birds: Basecoat body Banana Cream. Shade tummy with True Ochre. Purple Birds: Basecoat body Frosted Plum. Softly shade thinned Lamp Black along the bottom of body. All Birds: Add a Lamp Black eye and beak. Add a comma stroke of Warm White to create the wing. Butterflies Transfer/freehand and paint as many as you want anywhere you like. Basecoat the butterfly wings Frosted Plum and add a float of Warm White on the edges. For the yellow butterflies, basecoat wings Banana Cream with a float of True Ochre at the inner base of the wings next to the body. The bodies and antennae are Lamp Black with a Warm White highlight. Nest Ornament Boots Basecoat with Victorian Blue. Transfer the toes. Float Lamp Black on the ankles of the boots next to the toes. Float Warm White around the edges of the toes and along the top edge. Float a tiny touch of Lamp Black along the bottoms. Separate the boots with a line of Lamp Black. To create the beard over the boots, partially comb Neutral Grey over the top edges, adding a few individual lines if desired. Comb Warm White over this area leaving a wispy edge. Paint the ground with Khaki Tan. Float along the bottom edge with Burnt Umber.

Birdhouse Transfer and base the walls with Frosted Plum. Shade next to the roof with a touch of Lamp Black. Paint the hole, perch, and roof with Lamp Black. Highlight with a drybrush of Warm White. Float a tint of True Ochre on the bottom corner. Bird Nest Transfer and paint the egg with Victorian Blue. Shade the bottom edge with a touch of Lamp Black and highlight the top edge with Warm White. Create the nest with lines of Hauser Dark Green and Hauser Light Green. Drybrush a few highlights using Warm White on some of the twigs. Ground Float Hauser Light Green along the top edge. Pull blades of grass using lines of Hauser Dark Green. Float Burnt Umber under the grass area. Birds and Butterflies Follow instructions above to add birds and butterflies. Grow Ornament Boots Basecoat with Banana Cream. Transfer the toes. Float True Ochre on the ankles of the boots next to the toes. Float Warm White around the edges of the toes and along the top edge. Float a touch of Lamp Black along the bottoms. Separate the boots with a line of Lamp Black. To create the beard over the boots, partially comb Neutral Grey over the top edges, adding a few individual lines if desired. Comb Warm White over this area leaving a wispy edge. Paint the ground with Khaki Tan. Float along the bottom edge with Burnt Umber. Watering Can Transfer and paint with Hauser Light Green. Float Hauser Dark Green to shade and Warm White to highlight. Float a line of True Ochre down the center middle area. Paint the flower stems with Hauser Dark Green. Dot the blooms with Banana Cream and True Ochre. Float Hauser Dark Green along the base of all stems next to the rim of the can. Ground Float Hauser Light Green along the top edge. Pull blades of grass using lines of Hauser Dark Green. Float Burnt Umber under the grass area. Paint a Hauser Dark Green stem for the vine wrapping around the signpost and add a few leaves. 72

Birds and Butterflies Following instructions above, transfer/freehand and paint as many as you want anywhere you want. Boo Ornament Boots Basecoat with Lamp Black. Transfer the toes. Float Warm White around the edges of the toes and along the top edge. Separate the boots with a line of Warm White. To create the beard over the boots, partially comb Neutral Grey over the top edges, adding a few individual lines if desired. Comb Warm White over this area leaving a wispy edge. Paint the ground with Khaki Tan. Float along the bottom edge with Burnt Umber. Pumpkin Transfer and basecoat with Burnt Orange. Paint the stem with Khaki Tan. Float Burnt Umber to shade along the left side and bottom of the stem and pumpkin. Float True Ochre to highlight the right edge. Create the individual segment lines (very thin) with floats of Burnt Umber. Add more highlights down the unshaded side of the pumpkin sections in the middle and right-side areas. Bats Transfer and paint with Lamp Black. Highlight the largest one with thin lines of Warm White. Cobweb There is a very thin web on the top of the sign attached to the gnome’s hat. Line the spider web and paint the spider using Lamp Black. Ground Float Hauser Light Green along the top edge. Pull blades of grass using lines of Hauser Dark Green. Float Burnt Umber under the grass. Butterflies Following instructions above, transfer/freehand and paint as many as you want anywhere you want. Finishing Paint the side edges using Lamp Black. Finish the backs either by staining or using your own pattern, a stencil, or a stamp. Apply 2-3 coats of varnish.

Line drawings at 100%.

Cherry Blossoms and Butterflies Original Design by Nancy Scott, CDA When I saw this cute plate on the Bear with Us website, I knew I wanted to paint something pretty and feminine. I chose cherry blossoms because I am so looking forward to Spring!

Surface 9-1/2” round MDF plate w/scalloped edge available from Bear with Us, www.bearwithusinc.com, Item #BEV206 Palette: DecoArt Americana Acrylics x Antique Maroon x Berry Cobbler x Cotton Candy x Espresso x Lamp Black x Traditional Burnt Umber x Uniform Blue x White Peach x Williamsburg Blue Brushes: Royal & Langnickel Aqualon Series x R2700 Wash-size 1” x R2160 Angle-sizes 1/2”, 1/4”, 1/8” x R2250 Round-sizes 2, 4 x R2580 Script liner-size 4 x R2595 Liner-size 1 x RBOBBIE mop-size small Additional Supplies x palette paper x tracing paper x varnish of choice (I like Krylon Crystal Clear #1303). x water basin x white transfer paper

Preparation Lightly sand surface as needed and wipe clean. There is no need to seal it. Basecoat the entire plate with Uniform Blue. Trace pattern and transfer the general lines for the blossoms, butterflies, and branches. Leave off the stamens and the details of the butterflies (just transfer the wing shapes and the body - the markings will be added later). For the scalloped border - transfer the lines for the half circles and the lines for the straight teardrops (the pink dots will be freehanded at the end). Painting Tip To keep the shading soft on the flower petals, dampen each one with clean water before floating color and be sure to mop each float.

Painting Blossoms Basecoat the large flower petals with Cotton Candy. Float the first shading, at the base, with Berry Cobbler/Cotton Candy (2:1) using the 1/2” angle. Keep this float soft and use a mop. The 2nd shading is not as wide. Use a 1/4” angle and Berry Cobbler. Float highlight with White Peach using the 1/4” angle. The highlight is placed at the outside edges of the petals except for those petals that have a flip at the outer edge. Softly float Berry Cobbler under the flip and then with the liner and White Peach, highlight the edge of the flip. The stamens are Antique Maroon painted with the liner.

The buds are painted with the shading mix from the blossoms: Berry Cobbler/Cotton Candy (2:1). The first shading is Berry Cobbler. The second and smaller shading, in just the deeper recesses, is Antique Maroon. The highlight is floated with Cotton Candy/Berry Cobbler (1:1).

Branches Load round with Espresso to paint branches. With the script liner, add dark texture lines of Traditional Burnt Umber. Opposite those, paint light texture lines with a brush-mix of Espresso/White Peach.

Butterflies Basecoat the wings with Williamsburg Blue. When dry, transfer the pattern lines for the individual segments. Float Uniform Blue at the bottom of each segment using either the 1/8” angle or the 1/4”. Due to their small size and how close they are to one another, it may be challenging, however, when the black trim is filled in, everything will come out nice and neat. Load liner with Lamp Black to fill in the black areas of the wings and the segment lines. Add White Peach markings towards the outside edges of the wings (within the black areas). The bodies and the antenna are painted Lamp Black. Mix a tiny bit of Lamp Black and White Peach to make a medium grey color. Using the 1/8” angle, float this color to indicate the segments of the bodies.

Scalloped Border The light blue trim lines and teardrops are painted with Uniform Blue/Williamsburg Blue (1:1). Use the script liner for the half circles and the #2 round or the script liner for the teardrops. The pink dots are Berry Cobbler/Cotton Candy (1:1) made with the rounded end of a brush.

Finishing Varnish as desired (be sure to let those dots dry overnight before you do!). I usually spray varnish most of my pieces with Krylon Crystal Clear #1303.

/LQH GUDZLQJ DW

Red Fox in the Woods Original Design by Sivanvitha Juturu

I had to paint the red fox because of its unique features. The long muzzle, red fur across the face, and interesting grayish-white belly adds an interest to the painting.

Surface Canvas board of size 8X 8 inches. Project Supplies භ Graphite Transfer Paper භ Lenin Canvas භ Painters Tape Paints: Folk art Multi-Surface Acrylics භ Burnt Sienna භ Burnt Umber භ Cadmium Yellow Medium භ Grey භ Lime Green භ Pure Black භ Pure Orange භ Purple Flash Color Shift භ Sap Green භ School Bus Yellow භ Titanium White Mediums by Folk art භ Floating Medium භ Folk Art Matt sealer භ Gloss Medium භ White Gesso Brushes භ Angle Brush #1/2 inch භ Blender Brush #6 භ Detailed Miniature Rigger Brush #1 භ Filbert Brush #2 භ Flat brush (mini) #1 භ Flat brush #6 භ Flat rake brush #½ inch භ Script liner #2 Painting Instructions Layering Technique This process is achieved by stroking layers of paint without covering the previous layers.

Background භ Load the flat brush #6 with the floating medium and little Burnt Umber to make the color transparent. Using the chisel edge paint tree trunks and branches. භ With the same dirty brush, remove the excess paint and load with floating medium and Lime Green. Hold the brush like a wand and start stroking criss-cross strokes for the leaves near the branches. භ Add Titanium White incrementally to the Lime Green and highlight the leaves using layering technique. Add at least 2 layers to highlight the leaves. Remember paint should be transparent during the layers as well. භ Using the same technique, add some spring leaves using Burnt Sienna. භ Create fog between the trees by loading flat brush #6 with floating medium and Titanium White. Using a layering technique, add more Titanium White and highlight the fog, fog should be thick in the lower portion ie., near fox and fading towards the top. භ For the ground load flat brush #6 with Burnt Umber, hold it like a wand using criss-cross strokes to finish the ground area. භ For the long grass, load ½ inch rake brush with Sap Green and stroke grass in upward direction. Add a bit of Cadmium Yellow Medium to this Sap Green and highlight the grass. භ To paint the actual long grass, load liner brush #2 with an inky consistency of Sap Green. Using a layering technique, start highlighting the grass by adding a bit of Cadmium Medium Yellow to Sap Green, add a few layers of grass. Now gradually start adding Titanium White to the above mix to brighten grass at the bottom.

Pattern Transfer Let the background thoroughly dry. As shown in the picture, center the design and lightly transfer the main pattern lines using the transfer paper and stylus. Loading a rake brush To paint the fur, the paint consistency should be very thin, inky consistency. Create a thinned paint puddle on the palette. To load the rake brush, dip it fully in the puddle of paint. Press gently, with a light zigzag motion to load it on both sides. Remove the excess watery paint by blotting it on a paper towel.

Body භ Initially load rake brush with Burnt Sienna (50%) + Burnt Umber (50%). Stroke it smooth along the direction of the body contour, by starting in the air and finishing off in the air. Add a few more layers on top of this until fur is as dark as shown in figure. භ For the next layer add touches of Pure Orange to start highlighting the fur using the same layering technique. Allow small dark gaps as shown in figure. This will represent folds or layers on the body. භ For the next layer, add Titanium White and highlight the fur using the layering method. Continue to add layers until you are happy with the desired results. I added two layers with each new color. භ If the paint is too transparent or thin, mix paint with gloss medium. This will help the paint to remain transparent and add consistency. භ At the bottom of the body, to create the shoulder, paint an inverted “U” shape curve.

Belly භ To paint the belly, load ½ inch rake brush with Pure Black and stroke the fur along the contour of the belly. This will create shadowing for the Titanium White fur.

භ Clean the brush and load the rake brush with thinned Titanium White. Stroke two layers of this transparent Titanium White fur over top. භ Using the layering technique, add a few more layers of Titanium White to highlight the lower portions of fur.

Ears භ Load dry blender brush #6 with a small amount of Titanium White (50%) + grey (50%). Using circular motion paint the inner lobe of the ear. Load the same dirty brush a small amount of Grey to paint another layer. Load the clean brush with Pure Black and stroke in circular motion on the center of the ear lobe with very light pressure. භ Now load the clean ½ inch rake brush with Titanium White and stroke around the ears. Stroke at least three layers to achieve a thick fur effect. Continue to stroke fur with another layer of Pure Orange. භ Load flat brush #1 with Pure Black and stroke around the ears as shown in figure. භ Load detailed miniature rigger brush #1 with Pure Black and stroke small hair around the ear. Next load rigger brush#1 with Titanium White to stoke hair on the ears.

Face භ Load the ½ inch rake brush with Burnt Umber and stroke along the contour of the face at least two layers of fur around the face. This acts as a shadow layer. භ Now load the rake brush with Titanium White and stroke along the beard area. Load the rake brush with Pure Orange and stroke on the face above the shadow layer same as white above. To get a thick fur it may take 2-3 layers. භ Load detailed miniature rigger brush #1 with inky Titanium White and stroke the white eyebrow following the contour direction. This will also take a few layers to build thick fur.

භ Load the ½ inch rake brush with Pure Orange to stroke the remaining part of face i.e., below the eyes. Remember to follow the contour direction. This will also take a few layers to obtain a thick fur. භ Now load detailed miniature rigger brush #1 with inky white and stroke above the eyes like an eyebrow as shown in figure. භ Side load flat brush #6 with burnt umber and make a mark on both sides of the snout. Load dry filbert brush #2 with least amount of grey and highlight these marks using layering technique.

Snout භ Load filbert brush#2 with Titanium White and fill the areas near and around the nose. භ Load dry filbert brush with Pure Orange (20%) + Titanium White (80%) and highlight the area above the nose (using the layering technique) by adding incremental bits of white. භ Side load flat brush #1 with Titanium White and stroke the mouth. For the whiskers load detailed miniature rigger brush #1 with black and stroke thin hair on both sides, pointing outside.

Nose v Load filbert brush #2 with Burnt Umber and basecoat nose. With Pure Black fill the nostrils. Highlight the nose and nostrils by loading dry filbert brush #2 with Purple Flash.

Eyes v Side load flat brush#1 with Burnt Umber and stroke around the outer edge of both eyes. Load filbert brush #2 with Burnt Umber and fill the eyeballs. Highlight around the pupil by loading dry filbert brush#2 with small bits of Titanium White and Burnt Umber using layering technique in inward direction. Highlight the eyes and pupil with Purple Flash.

Finishing Following manufacturers direction, spray seal the surface with several coats of Matte spray varnish, allowing appropriate drying time between coats.

Direction of fur

©Sivanvitha Juturu April 2021 Line drawing at 100%.

The Purr-Fect Pals Original Design By Cathy Nestroyl These curious kitties are perched and ready to go on their nightly prowl.

Surface 12” x 16” black gesso primed canvas panel (Michaels or JoAnn’s) Supplies: x Ball Stylus x Grey Transfer Paper x Micron Pen – 0.20 mm x Pencil x Semi-Gloss Spray Varnish x Sharpie Permanent Pen – 0.8 mm x Tracing Paper x White Transfer Paper Paints: DecoArt Americana Acrylics x Black Forest Green x Burnt Sienna x Buttermilk x Cadmium Yellow x Festive Green x Hauser Medium Green x Honey Brown x Khaki Tan x Lamp Black

x x x x x x x x

Melon Neutral Grey Ocean Blue Sea Breeze Snow White Sour Apple True Red Zinc

Brushes x Flat #2; Plaid x Angle ¼” Royal Taklon x Liner – any size that is comfortable for your use x I use an old worn-out flat brush for dry brushing, or you can use a brush of your choice. Preparation Trace pattern onto tracing paper. Transfer pattern onto canvas with either the grey transfer paper or Snow White, depending on the color of surface you are using. Special Instructions The detail outlines will be added with the sharpie pen at the very end. The shading and highlighting must be finished, and the paint will need to be completely dry before the penwork is added.

Cat #1

Basecoat as follows: Buttermilk – face, ears, body, tail, lower lip Snow White – muzzle, chest, eyes Honey Brown – stripes, area on both sides of muzzle Festive Green – eyes (this color is painted over the white basecoat, instead of the black surface, to make the eyes look brighter) Melon – nose, inner ears Lamp Black – pupil

Highlight/Shade as follows: Shade eyes with Black Forest Green, highlight with Snow White. Shade tail, body, and ears with Burnt Sienna. Shade the area on both sides of muzzle with Burnt Umber. Shade muzzle and chest with Honey Brown. Shade stripes on body, tail, and head with Burnt Sienna. Dry brush the inside of all stripes with Snow White. Shade nose and inner ears with True Red. Dry brush inner ears with Snow White.

Cat #2

Basecoat as follows: Buttermilk – face, ears, body, tail, and area on both sides of muzzle Snow White – muzzle, chest, and eyes Burnt Sienna – Spots on head, ear, body, and tail Neutral Grey – Spots on head, body, and tail Melon – nose and inner ears Ocean Blue – eyes (this color is painted over the white basecoat)

Highlight/Shade as follows: Shade eyes with Primary Blue and highlight with Snow White. Shade all of the cat with Burnt Sienna, including around the spots. Shade the inside of the Burnt Sienna spots with Burnt Umber. Shade the inside of the Neutral Grey spots with Lamp Black. Shade nose and inner ears with True Red, highlight with Snow White. Dry brush all spots with Snow White.

Cat #3 Basecoat as follows: Zinc – face, ears, body, and areas on both sides of muzzle Snow White – muzzle, chest, eyes, and feet Cadmium Yellow – eyes (this color is painted over the white basecoat) Melon – nose and inner ears

Highlight/Shade as follows: Shade face, ears, body, areas on both side of muzzle, chest, and feet with Lamp Black. Shade inner ears and nose with True Red. Highlight nose with Snow White. Shade eyes with True Red and highlight with Snow White. Dry brush body and inner ears with Snow White.

Cat #4 Basecoat as follows: Khaki Tan – face, body, and ears White – muzzle, areas on both sides of muzzle, chest, feet, and eyebrows Melon – ears and nose Sea Breeze – eyes (this color is painted over the white basecoat) Buttermilk – Alternate stripe on tail - reference photo Honey Brown – Alternate stripe on tail Zinc – Alternate stripe on tail

Highlight/Shade as follows: Shade face, ears, body, muzzle, chest, eyebrows, and areas on both sides of muzzle with Burnt Sienna. Highlight all areas with Snow White. Shade eyes with Ocean Blue and highlight with Snow White. Shade nose with True Red and highlight with Snow White. Lightly dry brush body with Snow White. Shade the Buttermilk and Honey Brown stripes on tail using Burnt Sienna. Shade the Zinc stripes on tail with Lamp Black. Grass Area

Note: The circle designs will be added when the paint in the green area is dry. Basecoat as follows: Snow White – All areas of grass. When the Snow White basecoat is dry, paint every other area with Hauser Medium Green and Festive Green. Painting the areas white first, will make the greens brighter. It will also eliminate the need of many layers of basecoating. Shade all grass areas with Black Forest Green and highlight with Sour Apple.

Circles in Grass Area Cadmium Yellow – circles Sour Apple – circles

Highlight/Shade as follows: Shade the Cadmium Yellow circle with True Red, highlight with Snow White. Shade the Sour Apple circle with Black Forest Green, highlight with Snow White.

Finishing touches: Use the ball stylus to add Snow White dots to the eyes of all kitties. Add dots of Lamp Black with the stylus to all muzzles. When all the dots are thoroughly dry, use the micron pen and add the whiskers. Outline the entire design and add all details with the Sharpie pen. Follow manufacturer’s directions, spray lightly with gloss varnish.

I hope you enjoy painting these kitty friends.

Line drawing is at 100%.

Colorful Os Rosemaling Plate Original Design By Judy Diephouse As Covid shut us in our home this past year, we have all looked at the stock of surfaces we have stashed away. I always loved painting on plates, found this one, and had fun painting this colorful “Os” design. “Rosemaling means "rose painting" in Norwegian, and is done in many styles reflective of specific regions in Norway. The Os region in western coastal Norway is known for its fanciful flowers and bright colors, making it quite different from many of the other styles of rosemaling.”

Surface 14” double beaded plate. Center section is 6” across. If you do not have this plate, the pattern can easily adjust to the round box, center design on top and border design on the sides. Check your stash to find a piece to adjust the pattern to. Palette: Deco Art Americana x Black Forest Green x Blue Harbor x Buttermilk x Crisp Blue x Electric Pink x Light Buttermilk x Light Hauser Green x Margarita x Marigold x Medium Hauser Green x Napa Red

x x x x x x x x x x

Open Water Payne’s Grey Periwinkle Pink Chiffon Purple Petal Royal Purple Shoreline Snow White True Blue Wild Berry

Brushes: KingArt x Series 9300 shaders - #4, #8, #12, ¾” x Series 9350 liners- #6/0, #1, #2, #4 x Series 9500 filberts- #4, #6, #8 Supplies x Tracing paper x Light Graphite Paper x Satin Acrylic Varnish Preparation Basecoat the band of the plate with Payne’s Grey. The center of the plate is a mix of Payne’s Grey and Periwinkle. The inner bead is Open Water. The strokework is a mix of Open Water and Shoreline. The dots are Shoreline. The outer bead is Open Water with a touch of Napa Red to deepen. The strokes are the mix of Open Water and Shoreline. The dots are Shoreline.

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Painting Instructions Stems and Leaves Basecoat the stems and leaves with Medium Hauser Green. Shade the base of the leaves with a float of Black Forest Green. Highlight the top curve of the leaves with a float of Light Hauser Green. The center and side veins are Margarita. These flow beyond the edge of the leaves. Shade the base again with a float of a mix of Black Forest Green and Payne’s Grey. The filler green strokes will be done later. Scrolls Basecoat the scrolls with Open Water. Shade the inside of the scrolls with a mix of Open Water and a touch of Payne’s Grey. Highlight the outer curve with a mix of Open Water and Shoreline. The light strokes and detail lines are Shoreline. The dark strokes are a mix of Open Water with a touch of Black Forest Green and a touch of Payne’s Grey.

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Pink Flower Base coat the oval with Wild Berry. Shade the base and create an inside with a float of Napa Red. Highlight the edges at the top with a float of Electric Pink. Using a #4 filbert, the strokes around the center are Wild Berry with the tip of the brush touched into Pink Chiffon. The stamens coming out of the center are Buttermilk with top dots of Electric Pink. The dots in the center are Marigold. The base dot is Napa Red with a highlight dot of Pink Chiffon. Purple Flower The three top petals are basecoated Periwinkle. Shade the base with a float of Royal Purple. Add shade lines with Royal Purple. The highlight lines from the top down are Periwinkle and touch of Snow White. The overstrokes are Purple Petal. The four bottom petals are a double load of Royal Purple and Purple Petal. The fine outline is a mix of Periwinkle and a touch of Snow White. The dots are Light Buttermilk. Cream Flower The three top petals are Buttermilk shaded with Marigold. Deepen shading with a mix of Marigold and Wild Berry. Highlight the outer edge with a float of Light Buttermilk. The inner line is Wild Berry.

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The center is Light Buttermilk shaded with Marigold. The center strokes are Wild Berry. The side petals are a double-loaded stroke of Marigold and Light Buttermilk. The outlines and dots are Snow White. The base dot is Marigold.

Blue Flower Using a filbert, the top three petals are Blue Harbor and bottom two petals are Periwinkle. The shade lines are True Blue. Highlight the outer curves of the petals with a float of Crisp Blue. The stem dots are Marigold.

Pink Bud Using a filbert, the three petals are Wild Berry tipped into Light Buttermilk The stem dots are Marigold. 103

Cream Buds The small buds are a ‘c’ stroke of Buttermilk and a smaller ‘c’ stroke of Light Buttermilk. The calyx is Medium Hauser Green. The dot is Wild Berry. The larger cream bud is an outer ‘c’ stroke of double-loaded of Light Buttermilk and Snow White. The center is Marigold shaded around the curve and detail lines with Wild Berry. The dots around the center are Light Buttermilk with stems dots of Marigold. Large Blue Flower in Center The set of petals at the top and bottom are graduated color strokes of Blue Harbor, Periwinkle, and Periwinkle with a touch of Light Buttermilk. The side petals are a center petal of Harbor Blue and side petals of Periwinkle. Shade the base of all the petals and shade lines with True Blue. Highlight the outer curves of the petal with floats of Crisp Blue. The center of the top section is Marigold shaded at the base with Wild Berry. The detail lines are Wild Berry with a touch of Napa Red. The dots at the top of this center petal are Light Buttermilk. The detail dots on the petals are Periwinkle and a touch of Light Buttermilk. The dots where all the petals meet are Marigold. The stamens are True Blue with ends of Crisp Blue. The loose dots are Buttermilk and Light Buttermilk.

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Blue Bud Flowers in Center The top petals are Napa Red touched into Electric Pink. The stroke base petals are Periwinkle highlighted with Crisp Blue. The stamens are Light Buttermilk. The dots in the center and base dot are Marigold. Finishing The rose in the center is done the same as on the border. The green strokes are graduated colors of: x Mix of Black Forest Green and Medium Hauser Green x Medium Hauser Green x Mix of Medium Hauser Green and Light Hauser Green x Light Hauser Green The strokes inside of the scroll are the mix of Open Water, Black Forest Green, and a touch of Payne’s Grey. The green filler strokes in the border are Medium Hauser Green.

I hope you have enjoyed painting this strokework design. Happy Painting! ~Judy Diephouse

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Watson Original Design By Elisabetta De Maria, CDA Dearest painting friends, I present to you Watson...my first little dog in 3D! I had so much fun creating him. Watson was really good and his beauty and sweetness prompted me to paint him! I hope you like it! Happy Painting my friends!

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Stabilo CarbOthello Pastel Pencils (DickBlick.com) භ භ භ භ භ භ භ

100 620 625 642 675 681 704

Titanium White Burnt Ochre Burnt Umber Caput Mortuum Violet Light French Red Ochre Flesh Tint Light Gray 3

භ භ භ භ භ භ භ

708 720 722 724 726 750 760

Gray 5 Cold Gray 1 Cold Gray 2 Cold Gray 3 Cold Gray 4 Neutral Black Lamp Black

භ භ භ භ භ භ භ භ

093 145 161 408 542 620 631 901

Violet Gray Bluish Gray Light Blue Dark Sepia Light Flesh 10 Cobalt Violet Light Ultramarine Violet Chinese White

Caran d’ache Pastel Pencils (DickBlick.com) භ භ භ භ භ භ භ

008 009 042 046 064 068 069

Grayish Black Black Flesh Cassel Earth Medium Russet Herculanum Red Burnt Sienna

Derwent Pastel Pencils (DickBlick.com) භ P580 Yellow Ochre Faber Pastel Pencils (DickBlick.com) භ 175

Dark Sepia

Sennelier Pastel a L’ècu භ 333

Blue Violet

Soft Pastel Rembrant (DickBlick.com) භ භ භ භ භ

506.5 506.7 570.7 640.7 704.3

Ultramarine Light Ultramarine Deep Phthalo Blue Bluish Green Grey

Surface භ Sheet pastelmat 38 x 29 Brown භ The photo of the dog was small and I decided to enlarge. භ You can enlarge or reduce it to a size you choose.

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Accessories x Photo x Graphite Paper x HB2 Pencil x Eraser x Pencil Sharpener for Crayons x Paper Towels x Smudge (Blending Stump) Tips භ For each project, always start on the left side and continue to the right: (left-handed people will work on the contrary) This is to avoid smearing the work with your hand. භ Use paper towels in case you have to work on a part already painted to avoid removing the color or dirtying with your hand. භ Always follow the direction of the hair. භ Use fingers to help blend colors. භ Always have sharp pencils. Let’s Paint භ After placing the photo on the pastelmat, place the sheet of graphite paper in the center, graphite side down. භ With a pencil or stylus trace over all the guidelines, contours, and details. භ Position the colored photo next to your sheet for easy step by step reference. Eyes Start with the left eye. (reference photo). With Carbothello 750 Neutral Black, draw the shape of the pupil and fill the inside using the same color. With the same color outline the shape of the eye. Work the inside of the eye with Caran D’ache 008 Grayish Black, highlight with Carbothello 704 Gray 3, and shade with Caran D’ache 408 Dark Sepia. Blend with the smudge. Give reflections with Carbothello 625 Burnt Umber. Blend with the smudge (blending stump). Following the photo, gradually darken the upper part using Caran D’ache 408 Dark Sepia and lastly 009 Black (Black).

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Outline the upper part of the eye with Carbothello pastel 708 Gray 5 and the lower part with 704 Gray 3. Give light strokes in the lower part with Carbothello 100 Titanium White. Highlight the inside of the eye with Carbothello 100 Titanium White and brighten highlight with Caran D’ache Chinese White. Following the direction of the hair, paint the edge under the eye with Carbothello 642 Caput Mortuum Violet Light, Caran D’ache 093, and Carbothello 708 Gray 5. Give light points with Caran D’ache Chinese White. Hair Begin to paint the hair around the eye with Carbothello 750 Neutral Black and work the gray hairs with Carbothello 708 Gray 5, 720 Cold Gray 1, 722 Cold Gray 2, and 724 Cold Gray 3. Paint the orange part above the eye with Derwent P580 Yellow Ochre and Carbothello 675. Lighten with CarbOthello 620 Burnt Ochre and darken with Caran D’Ache 064 Medium Russet and 069 Burnt Sienna. Highlight with Caran D’Ache 042 Flesh. Continue to paint the black parts of the head with Carbothello 750 Neutral Black and 760 Lamp Black. Blend with Caran D’ache 008 Grayish Black and reinforce with 009 Black. Work the gray parts with Caran D’ache 008 Grayish Black and Carbothello 708 Gray 5 and 750 Neutral Black. Highlight with Carbothello 720 Cold Gray 1, 722 Cold Gray 2 and 724 Cold Gray 3. Ears Work with Carbothello 750 Neutral Black and start blending at the top with Caran D’ache 008 Grayish Black and Carbothello 708 Gray 5.

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Start highlighting with Carbothello 724 Cold Gray 3 and immediately, following the photo, with Caran D’ache 620, 145 Bluish Gray, and 631 Light Ultramarine Violet. Blend these last three colors also in the tuft of hair on the head. Paint the other half of the dog's face following the same sequence explained above. Paint the orange section under the left eye with Derwent P580 Yellow Ochre and Carbothello 675 French Red Ochre. Lighten with CarbOthello 620 Burnt Ochre and darken with Caran D’Ache 064 Medium Russetand 069 Burnt Sienna. Highlight with Caran D’Ache 042 Flesh and continue to work with 068 Herculanum Red. Darken slightly with Carbothello 625. Highlight again with Caran D’ache 542 Light Flesh 10 and Carbothello 681 Flesh Tint Light. Paint the hair above the nose with Carbothello 750 Neutral Black. Work the gray parts with Caran D’ache 008 Grayish Black, Carbothello 708 Gray 5, and 750 Neutral Black. Highlight with Carbothello 720 Cold Gray 1, 722 Cold Gray 2 and 724 Cold Gray 3. Nose Paint the nostrils with Carbothello 750 Neutral Black. Working the nose with Caran D’ache 046 Cassel Earth and 408 Dark Sepia. Highlight above the nose and under the nostrils with Carbothello 726 Cold Gray 4. Continue to work above the nose to create the light with Caran D’ache 093, Carbothello 704 Gray 3, and 724 Cold Gray 3. Create the wet effect with Carbothello 100 Titanium White and Caran D’ache Chinese White.

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In the left corner add a reflection with Caran D’ache 620, 145 Bluish Gray, and 631 Light Ultramarine Violet. Base the teeth with Carbothello 100 Titanium White. Create the hairs under the nose with Carbothello 708 Gray 5 and 750 Neutral Black. Lighten with Carbothello 704 Gray 3, 720 Cold Gray 1. and 100 Titanium White. Base the mouth with Carbothello 750 Neutral Black. Base the gum area with Caran D’ache 093 Violet Grayand Carbothello 726 Cold Gray 4. Highlight with Carbothello 100 Titanium White. Draw the chin hair first with Carbothello 750 Neutral Black and below with 100 Titanium White.

Continue to work the left side of the body with Carbothello 750 Neutral Black. Paint the orange sections with Derwent P580 Yellow Ochre and Carbothello 675 French Red Ochre. Lighten with Carbothello 620, darken with Caran D’Ache 064 Medium Russetand 069 Burnt Sienna. Highlight with Caran D’Ache 042 Flesh and continue to work with 068 Herculanum Red. Darken slightly using Carbothello 625 Burnt Umber. 114

Highlight again with Caran D’ache 542 Light Flesh 10 and Carbothello 681 Flesh Tint Light. Work the gray parts with Carbothello 708 Gray 5, 750 Neutral Black, 760 Lamp Black, and Caran D’ache 008 Grayish Black. Highlight with Carbothello 720 Cold Gray 1, 722 Cold Gray 2, and 724 Cold Gray 3. Finish the right side of the face and the rest of the body following the colors listed above. Reinforce the black areas with Caran D’ache 009 Black. Background Starting from below, base with Soft Pastel Rembrandt 640.7 Bluish Green blended with 506.5 Ultramarine Deep. Shade with 704.3 Grey and Faber 175 Dark Sepia. Base the middle section with Caran D’ache 161 Light Blue and Soft pastel Rembrandt 570.7 Phthalo Blue. Shade with Soft Pastel Rembrant 506.7 Ultramarine Deep and Sennelier Pastel at L’écu 333 Blue Violet. Shade close to the dog with Faber 175 Dark Sepia. Create the bottom section of the background at the top with Soft Pastel Rembrandt 570.7 Phthalo Blue. Shade with Rembrandt 640.7 Bluish Green Soft Pastel. Finishing To protect your work, place it in a frame with glass. Have fun! Elisabetta

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