Pixelated Palette February 2021 Issue by Pixelated Palette

February 2021 Linda O’Connell, TDA Jolene’s Orchid

Cindy Pointe

Flower Truck Door Hanger

55-61

4-13

Deb Mishima

Kotami Tanaka Santa in the Field

95-100

A Wonderful World

Welcome Back Spring!

Sharon Bond

Maureen Baker

14-20

63-70

102-107

Anita Campanella

Amanda Novaes Honey Set

Some Bunny Loves You

22-29

71-78

108-113

Black

Sivanvithra Juturu

Shining Daisy Blue

Deb Antonick

Sandy Kelsey

Blue Macaw

Mother Nature’s Magic Wildflower Seeds

31-42

80-86

Sharon Cook

Susan Cochrane

March Preview

44-54

88-94

114

Bunny Kisses and Easter Wishes

Peace, Comfort, and Joy

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.

A note from the editor…

Even though the winter chill is still in the air here in the Midwest, we are looking to spring here in Ohio. In this issue of Pixelated Palette, we have quite the assortment of designs to help chase away those winter blues! Cover artist Linda O’Connell presents Jolene’s Orchid, a beautiful pink and green orchid that would be fantastic on display in any living room. Maureen Baker’s Shiny Daisy Blue has a butterfly landing on a delicate daisy. The bright background in this design has so much texture! Looking for those spring critters? We have got ‘em, that’s for sure! Sharon Cook’s adorable bunny in Bunny Kisses and Easter Wishes has gathered all his eggs for Easter. Deb Antonick’s Some Bunny Loves You has what I like to call a cup of Easter fun! This month, we would like to welcome Cindy Pointe and Amanda Novaes to the Pixelated Palette family. Cindy makes her debut with the first of four seasonal truck door hangers that we will feature this year. Amanda, who hails from Brazil, debuts with a still life that would look perfect in any kitchen. Both ladies will be in future issues as well, so be sure to look out for their gorgeous designs! I hope you enjoy the taste of spring in this issue as much as I have. As always, if you paint a design from any issue of the Pixelated Palette, please share either via email (palettepixels@gmail.com) or on the Pixelated Palette Facebook Page. We love to see your work!

Happy Painting! ~Lindsey

Jolene’s Orchid Original Design by Linda O’Connell, TDA Inspired by photos shared by Jolene Stephens lc6058@aol.com

This design is very dear to my heart. A friend had taken beautiful pictures of her orchid and I asked her if I could paint one. She took more pictures for me. I overheard her tell someone she could never design from her pictures and that I was going too. That was three years ago… I’m hoping I did her flower justice Surface: x 12 x 12 Cradle Panel, # 10474547, available at Michael’s Supplies and Mediums: x Usual Acrylic Tools x Floral Corner Stencil ST074 available at TracyMoreau.net x White Graphite x fine grit sandpaper x Clear Plastic Wrap x Palette knife x Painters tape x Ruler Paint: DecoArt Americana Acrylics x Avocado x Midnite Green DecoArt Extreme Sheen x Antique Bronze DecoArt Premium Acrylics x Burnt Umber x Cadmium Red Hue x Cadmium Yellow x Carbon Black x Green Gold x Quinacridone Magenta x Raw Sienna x Sap Green x Titanium White Deco Art Fluid Acrylics x Carbon Black x Green Gold x Primary Magenta x Raw Sienna, x Sap Green x Titanium White

Deco Art Fluid Acrylics x Carbon Black x Green Gold x Primary Magenta x Raw Sienna, x Sap Green x Titanium White Mediums: x Glazing Medium x DecoArt Media Matte Medium Brushes: FM Dynasty x #1827 Faux Squirrel #8 Filbert Wave x #206 FW Black Gold #4 Filbert Wave x #206CB Black Gold Chisel Flat #14 x #1827 RIG Faux Squirrel #2 Rigger x Series 400 – ½” Mop x Series 360- 1” Wash x Stencil Pro ¾” Stencil Brush

To Begin: Using a ¾ wash brush, base coat the surface Avocado. After the initial basecoat dries , lightly sand the panel. Rebase the surface Avocado. Mix a puddle, about a fist size, of Midnite Green and Glazing Medium 2:1. When creating the faux background, work while the applied paint is still wet. Brush the mixture on the surface, do not go back and forth as you want a good amount of paint. Immediately lay plastic wrap across surface. Using your fingertips, press all over surface. Lift plastic wrap, this will create a patterned background. If it is too dark, lay another piece of Saran and repeat the process , this will pull off more of the dark. Allow to dry. Brush surface with a coat of Matte Medium. Matte Medium will brush on cloudy and will dry clear and matte. This step will protect what has been done and allow you to continue working. Let’s Create Interest: Measuring from the right side of panel mark off 3”. Lay painter’s tape to the left of the line. After pressing the tape firmly brush where the tape meets the mark with Matte Medium. Tip: A great way to keep the paint from bleeding under tape is to seal it. If you have an area that is basecoated one colour, seal the tape with the basecoat colour. If you have a background that has multiple colours seal with Matte Medium. Wash the stripe with thinned Black Green. While wet, wash Antique Bronze on the stripe. Leave the tape in place and allow to dry. Position the stencil on the Black Green section. If desired, secure with painter’s tape. Lightly stencil Antique Bronze. Turn the stencil to the other side and stencil the remainder of the stripe. Remove the tape pulling away from the right side. With a rigger, line the edge of the stripe Antique Bronze. Transfer pattern. Note: When painting this design refer to your picture for your darks and lights. Let’s Paint a Branch: Working in sections paint the branch Burnt Umber, while wet blend in Carbon Black where the branch falls under the flower or the leaf. Swipe in Raw Sienna into the center of the branch using a #4 filbert wave, be sure to use your brush like a pendulum. When the paint dries swipe in another coat of Raw Sienna in the same manner. Technique for using the Filbert Wave brush- Use the brush slightly damp, pull the paint from the puddle of paint. Move your hand to the back of your brush, use light pressure and “swipe” the paint into the area desired, move brush like a pendulum. Let’s Paint a Leaf Mix the green Mixes: Sap Green/ Green Gold 1:1 medium mix Sap Green/ Carbon Black 1:touch dark mix

Base the leaf Sap Green, allow to dry. This is to give you an opaque leaf . Rebase the leaf Sap Green so that you are working wet . Using the brush as a pendulum swipe the light mix into the middle of the leaf. Swipe the dark mix at the base and left side. The light Value will fade into basecoat so you will need to repeat 2 to 3 times. Let’s paint Buds Base buds Sap/ white tch:1 ( Medium Bud mix) Swipe Sap green from the bottom of the bud. Swipe Quinacridone Magenta from the tip. Let’s Mix our Orchid Paint: Medium Mix- Titanium White and Sap Green 5:1 ( make a Lt Sage)- create a puddle large enough that you can split to use in the dark mix. Dark Mix- Medium Mix and Sap Green 1:2 Lay out your palette in order: Light- Titanium White Medium mix Dark Mix Very Dark- Sap Green Raw Sienna Quinacridone Magenta Let’s Basecoat the PetalsWhen basecoating, base one petal at a time using form filling strokes. Using the medium mix, basecoat the back petals with the medium mix. Using Titanium White basecoat the flower bulb. Let’s Paint the Petals: To paint the petals, use a #8 Filbert Wave. Basecoat the petal so you will be working wet on wet. Lay in your darks and lights. Move your hand to the back of the brush handle and swipe the brush like a pendulum to blend. If your paint is drying add Extender to the brush this will give you more working time. Frequently wipe the brush on a paper towel as you blend. Work one petal at a time to completion.

Petal 1-Basecoat petal in the medium mix. Lay the dark mix at the base, lay White on the tips. Swipe to blend. Add more white on the edges and swipe to blend. Petal 2- Basecoat petal in the medium mix. Lay dark mix at the base and on the left and right side. Swipe to Blend. Lay Titanium White at the tip on the left side , swipe to blend. Lay a bit of Quinacridone Magenta in the center of the base of the petal and swipe to blend. Lay a bit of Raw Sienna along the right edge of the petal, blend. Petal 3- Basecoat the petal with the medium mix. Lay dark mix at the tip, though not on the left side, blend. Lay Titanium White on the left side including the top, blend. Lay Sap Green under the flower, blend. Lay a bit of Quinacridone Magenta tipped in Titanium White . in the center of the base of the petal and swipe to blend. Petal 4- Basecoat the petal with the medium mix. Lay the dark at the base, blend. Lay white at the left edge and tip, blend. Add a bit of Raw Sienna on the right side , blend. Petal 5- When painting petal 5 paint the inner part of the petal separate from the turn. Basecoat the inner petal with the dark value. Lay very dark value under the turn and at the base, blend. Lay light value on the left edge and on the tip of the petal and blend . Lay Quinacridone Magenta in the center of the base and blend upwards. Basecoat the turn with the dark value. Lay the light value on the left side, blend. Lay Raw Sienna to the right bottom side, blend. Lay a bit of very dark at the very bottom, blend. Petal 6- Basecoat the petal with the medium mix. Lay dark value from the base and the tip of the petal, blend. Lay light value on the right side a small area on the left and in the center, blend. Lay a bit of Quinacridone Magenta at the base in the center, blend.

Let’s paint the Lips Colour MixesLight- Cadmium Red Hue and Titanium White 1:5 Dark- Quinacridone Magenta/ Carbon Black 1:tch mix well for a deep Burgundy. Mix this mix and Cad Red Hue 1:1 to create your dark value. Base the back of the lip Titanium White. Lay light mix from the base and the edge of the lip, blend. In the bottom half of the lip add light mix at the bottom blending a bit of dark into the base. Do not create a separation between the two parts of the lip. Base the front of the lip Titanium White. Lay the light value at the edge of the petal and blend. Lay dark value at he the base of the throat and blend upward. Let’s paint Column Base the column Raw Sienna using a #4 filbert wave. Lay dark green mix under the Anther cap and blend downward. Add dark pink value at the bottom of the column and in the center of the cap, blend . Add a bit of Raw Sienna into the cap. Let’s paint the Pollinia Base the pollinia Raw Sienna lay Sap Green to the bottom, blend. Lay Titanium White to the top edge, blend being sure to use your brush like a pendulum. Swipe a bit of Quinacridone Magenta on the bottom and blend.

Let’s Add Colour to the Flower: Adding a bit if Quinacridone Magenta on the filbert wave swipe some pink into the flower. In this step you are picking up a scant amount of paint on your brush. Using your brush in the pendulum movement swipe the colour in, do not lay the colour down first.

Paint the dark area of the petal with the dark pink mix using a rigger, you will need two coats. Float dark mix on the left side of the column. With rigger stroke the top edge of the turn with the light pink mix tipped in Titanium White. Let’s add some dimension: Fluid acrylics are great for creating dimension. They add a transparent highly pigmented colour to your flower. Fluid Acrylics can be floated or swiped . Refer to the guide on the next page. Where you add fluid acrylics will be determined by your initial application of colour. Look at your design and see what needs reinforcing, colour will be in the light and dark areas. Leaf -Sap tipped in black in darkest areas and center vein Green Gold- at tip, swipe in center if needed Float Sap Green in the deepest areas of flower if needed White on lightest edges of the flower. Primary Magenta on pink areas Tint here and there Raw Sienna and Quinacridone Magenta Finish Up: Allow your piece to cure 48hours. Varnish with Satin Dura Clear Copyright 2021 Linda O’Connell. All rights reserved. No duplication mechanically or digitally permitted without written permission. Painting for personal use and craft fairs is permitted. Teachers need permission/terms granted from Linda O’Connell for in person or online classes.

Line art is at 100%

A Wonderful World By Deb Mishima

I wanted to paint a bit of magic and this came to mind. The color, the daisies, and the wispy moustache and beard add some magical whimsy to this piece.

Surface: This is painted on a 11”x 14” MDF plaque. If you do not have this size surface, you can use the 14” Jumbo Gift Tag #31-L291 (and size the line drawing accordingly) from Cupboard Distributing www.cdwood.com Paints: DecoArt Americana Acrylics x Bleached Sand x Celery Green x Coral Blush x Dried Clay x Hauser Medium Green x Lamp Black x Light Buttermilk x Light Sage x Mocha

x x x x x x x x x

Moon Yellow Purple Cow Raw Sienna Sand Grey Slate Grey Snow White True Ochre Warm White Yellow Ochre

Mediums: DecoArt x Chalky Finish, Vintage x Galaxy Glitter, Gold Shooting Star x Galaxy Glitter, Clear Ice Comet x All Purpose Sealer Additional Supplies x Stencil: Dandelion #ASMM16 available from DecoArt, www.decoart.com x Ball Stylus x Transfer Paper x Micron .1 Black Pen Brushes: Jo Sonja x ½”, ¾” Sure Touch Oval Wash #1318 x 3/8”, ½” Sure Touch Angle #1345 x 18/0 Sure Touch Liner #401 x Assorted Round Domed Brushes (stencilling and drybrushing) x ½” Flat Rake Brush x 2” White Short Bristle Flat Brush. x Assorted Sure Touch Dry Brushes #2010 x Assorted Sure Touch White Mops #1317 Painting Instructions: Background: Basecoat with a couple layers of Vintage Chalky Finish. Dry brush over the background with the 2” brush and Warm White to soften.

Position the dandelion stencil along the top and using Bleached Sand, stencil onto the background. Trace on the main pattern. All line work is done using an 18/0 liner. Unless otherwise stated, all dry brushing is done with a dome stippler. Gnome: x Basecoat the face and hand with Light Buttermilk. x Trace on the pattern details. x Basecoat between the stitched line Sand Grey (refer to line drawing). x Shade Mocha under the cap, around the eyes, above the nose, around the left side of the nose, around the hand and between the thumb and rest of the hand. x Highlight Warm White along the top and right side of the nose and around the lower right side of the hand and where the hand touches the thumb. x Deepen the shading with Dried Clay. x Dry brush Warm White using the #10 Oval Dry brush in the middle of the nose and hand. Look over the shading to see if you need to adjust it, and if it needs it, adjust with a little with Dried Clay. x Dry brush the cheek with Coral Blush using the oval dry brush. Line the nose with Warm White. x Basecoat the eye with Lamp Black. Basecoat along the top with Snow White. Float lightly with a little Warm White along the left side. Line the lashes with Lamp Black. Moustache/Beard: x Shade Slate Grey under the nose and moustache. x With a very wet rake brush, dip into thinned Snow White. Using long swirly strokes, apply to beard area. x When the beard area is finished repeat for the moustache. Using your 18/0 liner and Snow White add separate long hairs and wisps to the beard and moustache. Toque (Hat): Brim: x Basecoat the brim with Light Buttermilk. x Shade around all the edges with Yellow Ochre. x Deepen the shading with True Ochre. x Dry brush Warm White avoiding the shaded areas. Float shade with Raw Sienna around the edges. Dot Lamp Black. Line the bow Lamp Black.

Top Section: x Basecoat with Light Sage. x Shade around all edges with Celery Green. x Deepen the shading with Hauser Medium Green. x Dry brush all over with Warm White. Line with Bleached Sand. Float shade around the edges with Purple Cow. Stocking: x Basecoat with Bleached Sand. x Shade Fawn above the boot cuff and along the right side of the stocking. Highlight along the left side with Warm White. Dry brush a little with Warm White. x Line the stripes with Hauser Medium Green. Boot: x Basecoat bottom half of boot with Light Sage. x Shade with Celery Green around all edges and heel area. x Deepen the shading with Hauser Medium Green. x Dry brush with Warm White. Float shade Purple Cow along the heel toe area. x Basecoat the heel Lamp Black. Dry brush softly with Warm White. Add the stitching on the heel and the line along the bottom of the boot with Bleached Sand. Line the shoelace, bow, stitching, and add dots with Lamp Black. Cuff: x x x x

Basecoat with Light Buttermilk. Shade around the top, both sides and along the fold line with Yellow Ochre. Deepen the shading with True Ochre. Highlight with Warm White along the bottom of the cuff. Dry brush with Warm White. Add a float shade of Raw Sienna around the edges (except along the bottom). Dot with Lamp Black.

Daisies: x x x x

x x x

Basecoat the centres with Light Buttermilk. Shade with Yellow Ochre. Deepen the shading with True Ochre. Dry brush in the middle with Warm White. Float shade with Raw Sienna. Using #10 Round and Snow White, float the petals. To do this load the brush, and, starting at the center edge, pull the petals down, gradually splaying the brush out and bringing back to a point at the end of the petals. Shade the top of the petals with Moon Yellow. Dot with Lamp Black. Line the petals here and there with Snow White. Line the stem with Hauser Medium Green.

Phrase: x Line the phrasing with the Micron Pen. Dot with Lamp Black. Dip Dot Daisies: x Dot the little center of the daisies around the phrase and at the bottom of the beard with Yellow Ochre. x Dot the little petals with Snow White. Finishing Touches: x Line around the brim of the hat and the cuff of the boot with Lamp Black. x Using a Q-tip and Gold Shooting Star dab along the edges of the center of the flowers. x Using a Ball Stylus and Clear Ice Comet add some dots to the daisy petals and the beard (Adds a touch of magic!).

Black by Anita Campanella

Supplies: x

Fabric bag 15”x 18”

Paints: DecoArt Americana x x x x x x x x x x x x x x

Burnt Orange Burnt Sienna Burnt Umber Forest Green Hauser Light Green Honey Brown Lamp Black Light Buttermilk Light French Blue Marigold Plantation Pine Primary Yellow Raw Umber Soft Black

Mediums x

DecoArt Fabric Painting Medium DAS10

Brushes: Dynasty x x x x x x x x x

Black Gold Angle 206 A - ½”, ¼” Black Gold Liner 206 MSC - 10/0, 20/0 Black Gold Round 206 R - #4 Black Gold Shader 206 S - #10, #4 Deerfoot series 300 - 1/2" Dry Brush series 200 - #6 Mezzaluna Small Mop series 400 – ¾”, ½” Old wash brush ½”

Miscellaneous Supplies x x x x

Ball Stylus Black/White graphite paper Paper palette Tracing paper

Preparation: Wash the bag with mild detergent and let it dry well. Iron once dry. In a small glass jar with an airtight lid, mix water and DecoArt Fabric Painting Medium 1: 2. I always moisten the area with this mix before running, shadows, and highlights. This technique helps to spread the color well and to obtain light shades. The color penetrates well into the fibers of the fabric - the result is amazing. It is therefore not necessary to add the Medium for fabric to the colors except when explicitly indicated. Notes: Shadows and highlights, unless otherwise specified, are all performed with the floating technique. Once the floating is finished, I gently dab with the mop brush, starting from the outside where the color is lighter and gradually, I move towards the heart of the shading or highlighting. The mop brush is especially useful for softening and lightening the floating. When floating with the ½” angle brush, follow with the ¾” mop brush. When floating with the ¼” angle brush, follow with the ½” mop brush. Trace the design onto tracing paper. With the black graphite paper, placed between the fabric and the tracing paper, trace the design with the help of a Ball Stylus.

Painting Instructions: Face: With a ½ "old brush, moisten the entire area of Black's face and torso (only the dark part) with the previously prepared mix of water and medium. Apply the Soft Black with a #10 shader brush. Allow to dry well.

Continuing with the ½” old brush, moisten the entire light area of Black's face and torso with plain water. Using an ½” angle brush, work the medium, Burnt Sienna, and Honey Brown in equal parts and in very small quantities on palette. Create an exceptionally light floating (always on the light side of Black) on the cheeks and along the upper part close to the nose, on the neck close to the chin, and on the torso along the left side.

While still wet, using a liner brush and Soft Black, add spots on the cheeks. The newly placed color must flow to obtain a very natural effect. Dry with the help of a hairdryer. When it is almost dry, load liner with Soft Black to detail bust, cheeks, chin, and some wrinkles on the cheeks. Allow to dry, trace details on face, eyes, nose, and highlight wrinkles, using the white graphite paper and ball stylus. Wrinkles on the face are highlighted with an ½” angle brush and Light French Blue. The darkest areas, between one wrinkle and another, are shaded with the same brush and Lamp Black. The highlights along the outer perimeter of the eyes are Light French Blue using ¼” angle brush. Create the darkest areas inside the eyes with ¼” angle and Lamp Black. Add highlights inside the eyes using the liner brush and Light Buttermilk. The highlights along the entire inner perimeter of the nose are created using the ½” angle brush and Light French Blue. Reinforce the highlights with the ¼” angle brush and Light Buttermilk. While the nose area is still wet, brighten some highlights with the liner brush and Light Buttermilk. The shadows inside the nostrils are Lamp Black using the ¼" angle brush. Sunflowers: Center Part of Sunflowers: Moisten the entire central area of the sunflowers with the previously prepared mix of water and Medium for fabric. With the deerfoot brush, load the Burnt Umber along the shorter bristles and the Marigold along the longer bristles. Work on the palette so that the two colors just blend and lightly tap the centers of the sunflowers. Keep the Burnt Umber always along the lower part of the design and the Marigold always along the upper part. Petals: With the help of an ½" old brush, spread the previously prepared mix along the petals of the sunflowers. Proceed one flower at a time. When still wet, apply Primary Yellow with a #4 shader brush. Outline the tips of the petals well with the same color using #4 round brush. Let it dry slightly and follow with the shadows.

Load ¼” angle brush with Burnt Orange and shade at the base of the petals near the center floating up into the petal as well as at the tips floating down. Allow to dry.

Reinforce the shadows at the base of the petals (close to the center) with Burnt Umber. Shade along the base, pulling color along the center of the petals, and at times, between one petal and the other to mark define edges. Reinforce some shades at the base of the petals, only those more in shadow with Soft Black. Load the Liner brush with a brush mix of Light Buttermilk and Primary Yellow to highlight the tips of the petals.

Central Part of Sunflowers: Load the ½” angle brush with Raw Umber to outline the center of the sunflowers. Load ¼” angle with Soft Black to reinforce shading. With the liner brush and Primary Yellow, add highlights with strokes of color. With the same brush and Light Buttermilk tap highlights all along the center and at the base of the petals. Allow to dry well.

Brighten the highlights along all the petals with the Dry Brush technique using the Mezzaluna brush and Light Buttermilk.

Leaves and Background: Apply the previously prepared mix of water and Medium on the leaves with the help of an old brush. Immediately, with the 1/4" angle brush, basecoat leaves randomly with Hauser Light Green, Burnt Sienna, and Marigold and blend to cover surface well. Do not mix colors together but let them blend softly from one hue to the next. Continue painting one leaf at a time using the same technique. Sunflower buds are created in the same way using Hauser Light Green, Burnt Sienna, Marigold, and Forest Green. Allow to dry a little and while still wet, load 1/4 angle with Forest Green to shade, following the contour. Load ¼” angle with Light Buttermilk to float highlights in the center of the buds, randomly. Once the leaves are dry, deepen the shadows using ¼” angle and Plantation Pine. With the liner brush and Plantation Pine, line veins of the leaves. Drybrush highlights on the leaves using the Mezzaluna brush and Marigold. Reinforce the shadows, the darkest ones with the Angle brush ¼” and Soft Black. With the Liner brush and Light Buttermilk, place a line along all the veins of the leaves. Allow to thoroughly dry.

Once dry, we can proceed with the whole background. Spread the mix of water and medium prepared previously along the bottom of the flowers and Black. With the ½” angle brush, float Primary Yellow in the lower right corner of the design, close to Black's right cheek and the leaf, pulling the color until it is completely blended. With the same brush, float Hauser Light Green just below, close to Black's torso, and pull the color until it blends with the previous one. Finish the background by alternating both colors. Work in small areas to prevent the dampened fabric from drying out. Once the background is finished and before it dries completely, add the branches using the ¼” angle brush positioned at the chisel edge of the drawing and the Plantation Pine.

Final Instructions: Once dry, iron on the back of the design with a hot iron (no steam), to fix the colors. Painting this drawing put me in a good mood. It is spring and I already feel the scents of flowers in the air of my countryside. I hope you enjoyed it. Happy painting, friends!

Blue Macaw By Sivanvitha Juturu I chose the macaw as my subject because of its striking, vibrant color. After completion, you will have a beautiful décor piece! 31

Surface: Canvas board - size 12X 8 inches. Project Supplies: x x x

Graphite Transfer Paper Painters Tape Pallet knife

Paints: Folk Art Acrylics x Aqua x Burnt Umber x Cadmium Yellow Medium x Cobalt Blue x Lime Green x Look at Me Blue x Pure Black x Pure Orange x Sap Green x School Bus Yellow x Titanium White x Violet x Yellow Ochre Mediums by Folk Art: x Folk art Matt sealer x White Gesso Brushes: x x x x x

Filbert #8 Flat brush #8 #6 #12 #2 Script liner #1 Detailed miniature #2 liner Blending brush

Preparation: Using a big flat brush apply a coat of white Gesso to seal the surface, lightly sand, and wipe clean. After applying background color lightly transfer the main pattern lines using the transfer paper and stylus. Transfer details as needed. Painting Instructions: Background: Load large, damp flat wash with Sap Green, Titanium White, Look at Me Blue, Lime Green, Cadmium Yellow Medium one after the other. Apply randomly using the flat brush as shown in figure. Using the blending brush, blend all the colors together softly. The colors may be light and dark but not spotty.

Pattern Transfer: Allow background to dry thoroughly. Center design on canvas and lightly Transfer the main pattern lines using the transfer paper and stylus as shown in the picture. Tree Branch: • • • •

• •

Load flat brush #2 with Yellow Ochre (50%) + Burnt Umber (50%). Staying on the chisel edge of the brush, pull vertical strokes downwards on the top edge of the branch, keeping light side towards the sun light. Load the same brush with Burnt Umber (50%) + black (50%). Staying on the chisel edge of the brush, pull vertical strokes downwards on the middle part of the branch. Load the same brush with Burnt Umber (30%) + black (70%). Staying on the chisel edge of the brush, pull vertical strokes downwards to bottom edge of the branch. All these 3 shades to be lightly blended without any separations creating the background for the branch. Load dirty brush with Pure Black and paint on the branch randomly to give some depth. To add highlights, load edge of pallet knife with Burnt Umber (40%) and Yellow Ochre (60%). Pull pallet knife down keeping knife at 30-degree angle, leaving brighter texture along top and middle to left side. To add the shadow highlights, load edge of pallet knife with Titanium White (20%) + Cobalt Blue (80%). Pull pallet knife from bottom side of branch. 33

•

To add stronger highlights, load pallet knife with Titanium White (30%) + Yellow Ochre (70%) and apply along top of branch. During the entire process remember not to cover background.

Parrot Tail: •

Load #2 flat brush with Cobalt Blue and basecoat the feathers as shown in the picture. While the paint is still wet, load corner of same brush with small amount of Titanium White to highlight along the left edges, blending softly as shown in picture.

•

Load the same dirty brush with a toned-down School Bus Yellow (to tone down yellow mix with violet as it a complimentary color, until you get a dull yellow). Basecoat yellow feathers as shown. While the paint is still wet, with the same brush, load corner with small amount of Titanium White, and highlight on the left edges. Blend it softly as shown in picture. Load corner of dirty brush with Cobalt Blue to shade bottom edge of yellow tail feathers and blend. Load same dirty brush with Pure Black (80%) + and School Bus Yellow (20%) to add black feathers. Using the same mix, load #2 miniature liner and outline feathers.

• •

Deep Blue Tail Part: • • • • •

Load #2 flat brush with Cobalt Blue (80%) + Look at Me Blue (20%) to paint the feathers starting from left (big feather) to right, reloading as necessary. For the remaining set of feathers load the same dirty brush with Cobalt Blue (20%) + Look at Me Blue (80%) and basecoat them. For the lightest colored feathers, highlight by side loading the same dirty brush with light blue mix (Titanium White 50% +Look at Me Blue 50%). Separate each feather by shading Pure Black + Cobalt Blue (black mixture). To add feather detail lines on the left feather, load miniature detail brush with and inky consistency of black/blue mixture and stroking short thin lines.

Body Chest: • • • • • •

Body is painted using layering technique to create a gradient effect starting from toned down to bright color. First layer: Tone down School Bus Yellow (buy adding purple to yellow same as tail feathers). Load the #8 filbert brush the strokes starting from tip of feather upwards. Second layer: Load the same dirty brush with School Bus Yellow (50%) + Pure Orange (50%) and drybrush to add color. Each layer will start a little higher on each feather. Repeat, increasing the intensity of yellow (means reducing orange in each step) add 2 more layers. Load same dirty brush with only School Bus Yellow, brush on top chest (by this time layer should be towards the top of each feather). Highlight by loading the same dirty brush with yellow (70%) + white (30%) and just stroke the brush here and there on chest.

Light blue wings on body: • • •

Basecoat all the feathers with tone down mix of Look at Me Blue 80% and Pure Orange 20%, this will be the shadow color. Load #2 flat with the black mixture to shade down centers of bottom feathers. Continue separating feathers with shading. Now start highlighting the feathers by gradually increasing the white mix with Look at Me Blue. This may take 2 layers. Use dry #8 filbert brush for this.

Head part:

•

Load Look at Me Blue (50%) + violet (50%). Pull the #2 flat brush on the head, staying on the chisel edge and using a feather touch. Layering technique is used to increase the color intensity.

• •

Add more blue, drybrushing and stroking it on in the same manner.

• •

Load Look at Me Blue (80%) + Aqua (20%) and layer it again.

• • •

Remember that highlight should be on top of head, hence color gradation will also be done accordingly. Now, with the same dirty brush, use only Aqua (80%) + Titanium White (20%) and layer on the topmost part of head, creating a highlight. Use same technique for the green section. Load Cobalt Blue (50%) + School Bus Yellow (50%) and pull down vertical strokes with the chisel edge of the brush. Now, add more yellow and brush and layer it (concentrating on the middle part). Finally, add Titanium White (20%) to the yellow mixture and highlight.

Black neck:

•

With #6 filbert brush load Pure Black (80%) + Cobalt Blue (20%) and pull strokes upward.

•

Highlight with by adding Titanium White to mixture. Blend into yellow feathers.

Eye portion:

•

Load the #1 Script liner brush with an inky consistency of Titanium White. Pull the strokes following face contour. This may take several layers to obtain thick fluffy feathers.

•

For the black stripes, load miniature detailed brush with Cobalt Blue (50%) + Pure Black (50%), pull downward strokes following pattern.

Eye:

•

Start by painting the pupil (the center of eye) with Pure Black color. Load #1 liner brush with School Bus Yellow and paint iris (edge of eye). Highlight outer edges of both by loading the same dirty brush with a bit of Titanium White.

Beak: x

Both upper and lower part of the beak are to be painted by loading #2 flat brush with black mixture (Pure Black 70% + Burnt Umber 20% + Cobalt Blue 10%). The tongue inside should be painted with Pure Black. Highlight the beak edges by side loading flat brush with black mixture and bit of Titanium White. Top of the beak highlight by brushing with Cobalt Blue.

Claws:

•

Base coat the claws with Cobalt Blue (30%) + Pure Black (70%) + Titanium White (10%). Use Pure Black for thenails.

•

Load detailed miniature brush with thinned Cobalt Blue to add irregular highlight lines. Load same brush with thinned Titanium White to paint irregular lines on the claws.

Finishing: Following manufacturers direction, spray seal surface with several coats of Matte spray varnish, allowing appropriate drying time between coats. Tip: I do not always use colors direct from the bottle. I like to obtain colors from the ones which are already on the palette. (For example, the green on the macaw’s head.) Doing so, helps us to understand color mixing and expands our knowledge on color theory. Also, if you feel blending colors is difficult, or if it dries too quickly, you always have an option of using any acrylic extenders.

February 2021

Bunny Kisses and Easter Wishes By Sharon Cook Hippity-hoppity happy Easter, all! This furry fellow is bouncing your way with bunny kisses, warm Easter wishes, and a basketful of bright, colorful eggs to cheer your springtime-lovin’ heart! You will delight in bringing this snuggly softie to life with each stroke of your brush. Happy painting, friends!

Surfaces x Country Canister Plaque and Bunny Kisses Stencil Bundle; available from Sharon Cook Creations; https://etsy.me/3oanZfG. Supplies x Bunny Kisses Stencil, #09-19281, available from www.cdwood.com x E-6000 or Household GOOP Adhesive (optional) x Grey transfer paper x Mild grit sandpaper, sanding disk, or sanding sponge x Stylus x Thin wire, yarn, jute, or string to hang plaque from (optional) x Triangle picture hanger (optional) Paints: DecoArt Americana x Bright Orange x Cactus Flower x Carousel Pink x Cocoa x Coral Blush x Dark Chocolate x Milk Chocolate x Lamp (Ebony) Black x Lavender x Light Buttermilk

x x x x x x x x x x

Ocean Blue Oyster Beige Primary Yellow Purple Petal Sour Apple Sunny Day Teal Mint Titanium (Snow) White True Red Turquoise Blue

Mediums: DecoArt x Americana DuraClear Satin Varnish x Americana Multi-Purpose Sealer x Craft Twinkles—Crystal Brushes:Royal & Langnickel x Zen, Z73WO, Oval Wash, Size 3/4”, by Royal & Langnickel x Majestic Script Liner, R4585, Size 10/0, by Royal & Langnickel x Aqualon Angular, 2160, Size 1/2” and ¾”, by Royal & Langnickel x Aqualon Round, R2250, Size 8, by Royal & Langnickel x Zen, Z83SC, Soft Scrubber, Size 10, by Royal & Langnickel Chris Haughey x Chris’s Epic 924 Script Liner, Size 18/0, by Chris Haughey; Available at Cupboard Distributing; https://www.cdwood.com/products/epic-18-0-script-liner The Brush Guys x Tracy Moreau Stencil Brush; Available from The Brush Guys; https://www.thebrushguys.com/shop/tracy-moreau-stencilbrushes/

Preparation Trace design onto tracing paper. The plaque requires little (or no) no sanding. Apply Multipurpose Sealer to the front, sides, and back of plaque. Allow to dry. Lightly sand, then tack to remove any sanding dust. Painting Instructions Background Base front, sides, and back of the plaque with an equal mixture (1:1) of Turquoise Blue and Titanium (Snow) White. Thin a pool of Ocean Blue with a little water and use the ¾” oval wash brush to randomly dab along the top third of the plaque in random, slip-slap strokes to gently add a mottled appearance to the background. Work quickly so that the paint does not dry. (If needed, add more water to the brush to keep the painting moving.) Fill in the middle area of the plaque with Turquoise Blue, thinned with water, in the same manner as the top portion of the plaque, and gently blend the colors together where they meet. Thin Teal Mint with water and slip-slap along the bottom 25% of the plaque, gently blending into the Turquoise Blue slip-slap strokes. Blend a little further up the side edges of the plaque with the thinned Teal Mint. Allow paint to dry and repeat along the top portion of the plaque with Ocean Blue if that area needs more depth of color. Sheerly float along the bottom edge of the plaque with Sour Apple. Transfer pattern onto plaque. Stipple, then drybrush, fluffy clouds on the top portion of the plaque (behind the bunny’s ears) with Titanium (Snow) White. Basecoats x Base the bunny’s body (excluding inner ears, muzzle, and tummy) with Cocoa. x Base the muzzle, tummy, and inner ears with Oyster Beige. x Base the basket and handle with Light Buttermilk. x Base the center body of the butterflies with Purple Petal and the butterfly wings with Coral Blush (as an undercoat); base over the Coral Blush wings with an equal mixture (1:1) of Bright Orange and Titanium (Snow) White. x Base the bird with an equal mixture of Titanium (Snow) White and Sunny Day. x Base the daisy petals on the bunny’s and bird’s heads with Titanium (Snow) White, the flower centers with Lavender, and the leaves with Teal Mint. x Base the ribbons on the sides of the basket with an equal mixture (1:1) of Titanium (Snow) White and Cactus Flower. x Base the left egg in the basket and the right egg in the grass with Purple Petal. Base the center egg in the basket with an equal mixture (1:1) of Titanium (Snow) White and Cactus Flower. x Base the right egg in the basket and the beak on the bird with Coral Blush (as an undercoat); base over the Coral Blush with an equal mixture (1:1) of Titanium (Snow) White and Bright Orange Flower.

Bunny Using the center bristles ONLY of the Tracy Moreau stencil brush, dip the longest bristles into a fresh pool of Titanium (Snow) White and gently tap off the excess paint onto a dry paper towel. Stipple the center of the ears, muzzle, and tummy area until a mottled appearance is achieved. Without cleaning the bristles, dip the longest bristles of the brush into fresh pools of Oyster Beige and Sunny Day, tap off excess paint, and stipple the rest of the bunny in the same manner. Rinse brush well. Float around the Cocoa areas of the bunny with Milk Chocolate, including around the eyes, in the separations in the hands and toes, and on the inner ears next to the head and below where the ears bend over, around the edge of the muzzle, around the nose and down the mouth line in the center of the face, on the tummy area below the head and against the basket handle and basket, and on the sides of the tummy area. Deepen the shading on the bunny with Dark Chocolate floating along the top center portion of the ears (where they are bending over), beneath the ears that are bent over, on the ears next to the head, around the eyes, in the separations in the hands and feet, on the bottoms of the feet, and on the body below the head. Base the eyes white. Base the pupils in the eyes, the nose, and tiny mouth with an equal mixture (1:1) of Lamp (Ebony) Black and Dark Chocolate. Float on the outer edge of the pupils with Dark Chocolate; base the center of the pupils with Titanium (Snow) White. Line two tiny hashmarks in the bottom sides of the pupils; apply a tiny stroke above the hashmarks and three tiny descending dots above the stroke (refer to the photo for placement). Apply a highlight stroke and a couple of dots across the top of the nose with Titanium (Snow) White.

Very lightly drybrush the center of the ears, sides of the tops of the ears, cheeks, side-bottom of the hands, and along the tops of the feet with Cactus Flower. Add a tiny bit of Carousel Pink to the brush and slightly deepen color in the cheeks and center of the ears. Float to tops of the leaves next to the daisy with Sour Apple to highlight.

Bird and Butterflies Bird: Drybrush the center of the bird, wing, and head with Titanium (Snow) White. Float to shade the bottom of the bird, bottom of wing, around bottom of head, and on bottom of tail and where it lays behind other pieces of the tail with a mixture of Primary Yellow and Carousel Pink. Base the heart with Teal Mint. Float the top of the heart and the tip of the leaf by the flower with Sour Apple. Base the eye Lamp (Ebony) Black; dot the pupil with Titanium (Snow) White. Shade the beak with Bright Orange.

Butterflies: Float to shade down one side of the butterfly bodies with Lavender. Float the tips of the wings with Primary Yellow to highlight. Float the inside edges of the wings to shade (next to the purple bodies) with Bright Orange mixed with a drop or two of True Red. Base hearts and the shape in the bottom wings with Carousel Pink. Dot the Carousel Pink areas with a tiny dot of Teal Mint. Place three tiny dots on the upper portion of the wings, and one tiny dot on the bottom of the lower wings, with Titanium (Snow) White. Line the stripes on the body and antennae with Lamp (Ebony) Black. 48

Basket and Bows Pink bows: Drybrush center of bows with Warm White. Float to shade bows with Cactus Flower, than again with an equal mixture (1:1) of Cactus Flower and Carousel Pink. Create a mixture of two parts Carousel Pink to one part Lavender (2:1). Base the center of the loops with the pink mixture; float to deepen shading on the bows with the pink mixture; float the wrinkles in the bows with the pink mixture.

Basket: Drybrush the center of each woven strip in the basket, the center of the rim around the top of the basket, and each segment of the handle with Titanium (Snow) White. Float on each strip of the basket where it tucks beneath another strip in the weaving with Oyster Beige, then again with Milk Chocolate (thinned slightly with water) to deepen the shading. Float on the woven portion of the basket below the top rim. Float the ends of the top rim of the basket with Oyster Beige, followed by thinned Milk Chocolate. Float each segment of the handle first with Oyster Beige, then with thinned Milk Chocolate. Float inside the basket with thinned Milk Chocolate, and against the eggs. Float between the woven slats of the basket with Milk Chocolate. Float along the bottom and sides of the basket to deepen the shading with Milk Chocolate. Thin Lamp (Ebony) Black slightly with water and very, very thinly line a few wrinkles in each of the woven strips, along the top band of the basket, and in each segment of the handle.

Eggs Purple egg in left side of basket: Drybrush with an equal mixture of Purple Petal and Titanium (Snow) White. Float around edges of the egg with Lavender. Base hearts with Coral Blush, followed by an equal mixture (1:1) of Titanium (Snow) White and Bright Orange. Float the top of the hearts to highlight with Primary Yellow. Float the bottom of the hearts to shade with Bright Orange mixed with a drop or two of True Red. Dot the egg with Sour Apple.

Pink egg in center of basket: Drybrush center of egg with an equal mixture (1:1) of Titanium (Snow) White and Cactus Flower. Base the center wide stripe with an equal (1:1) mixture of Teal Mint and Titanium (Snow) White; float the ends of the wide stripe with Teal Mint; dry brush to highlight the center of the wide float with Sour Apple. Create a mixture of two parts Carousel Pink to one part Lavender (2:1). Base the thin stripe in the center of the wide stripe with the pink mixture. Float around the sides of the pink egg with the pink mixture, and against the wide stripe in the center of the egg. Line the swirls on the egg with Lavender; dot the egg with Teal Mint. Orange egg in right side of basket: Drybrush center of egg with Titanium (Snow) White to highlight. Float around the top portion of the egg with Primary Yellow. Float the sides and bottom of the egg with a mixture of two parts Bright Orange and a drop or two of True Red to shade. Base the flower petals with Titanium (Snow) White; dot the center of the flowers with Primary Yellow. Line the tiny swirls on the egg with Teal Mint; dot the egg with Sour Apple.

Left egg in the grass: Drybrush the center of the egg with Titanium (Snow) White. Float the sides and bottom of the egg with Primary Yellow. Float the bottom of the egg again, and where the egg sits behind the bunny’s foot, with a mixture of Primary Yellow and Cocoa. Base the thin stripes on the egg with an equal mixture (1:1) of Teal Mint and Titanium (Snow) White; shade ends of these stripes with Teal Mint. Base large polka-dots on eggs with Titanium (Snow) White. Base rick-rack with Coral Blush, followed by Bright Orange. Float to shade the bottom and sides of the rick-rack with Bright Orange and a couple of drops of True Red. Dot area above and below rick-rack with Bright Orange. Dot upper and lower portion of the egg (between the white polka-dots) with Teal Mint.

Right egg in the grass: Drybrush with Titanium (Snow) White. Base the wide stripe on the eggs with Cactus Flower; shade the edges of the Cactus Flower stripe with the same pink mixture used in the pink egg in the center of the basket. Line the thin stripe in the wide Cactus Flower stripes with Teal Mint. Dot the largest dots on the egg with Titanium (Snow) White; dot the smallest dots on the egg with Carousel Pink.

Lining Line the details of the design with the 18/0 liner brush and an equal mixture (1:1) of Dark Chocolate and Lamp (Ebony) Black, thinned with a drop or two of water. Stroke eyebrows and lashes. Very, very thinly stroke whiskers, hair inside of ears, tiny texture lines in the weaves and handle of the basket, and wrinkles in the pink bows. Line a few strokes of grass inside the basket and along the bottom of the plaque with Teal Mint and Sour Apple; drag the dampened 18/0 liner brush through both colors of paint and apply grass strokes. Lettering Stencil the lettering with an equal mixture (1:1) of Dark Chocolate and Lamp (Ebony) Black. Referring to the photo for placement, place sets of five descending dots of Sunny Day along certain parts of the letters.

Finishing Instructions: DuraClear Satin Varnish: Varnish the top, sides, and back of the plaque with two coats of varnish, drying well before application. Craft Twinkles—Crystal: Apply one or two applications over the flowers on the bunny’s and bird’s heads, the butterflies, the yellow bird, the pink bows on the basket, and each of the Easter eggs. Allow to dry thoroughly between applications. 51

The plaque may be hung by threading thin wire, yarn, jute or string through the holes drilled in the upper corner of the plaque and securing the materials used for hanging the plaque. Alternately, you may attach a triangle hanger to the back of the plaque using E-6000 Adhesive or GOOP Adhesive. Allow the adhesive to cure for 24 hours before hanging the plaque. Enjoy! Copyright Notice: © Copyright 2021 Sharon R. Cook. All rights reserved under Pan American and international copyright conventions. This pattern may be hand copied as necessary for the purpose of transferring the design for painting. Whether this pattern is purchased as part of an electronic magazine or as a paper packet or electronic-packet, you may not resell this design in any manner, nor make copies of either for resale, to give away, or to use in teaching classes or workshops without express written consent from Sharon R. Cook and/or the owners of this electronic magazine (see Note to Teachers/Shop Owners below). You may not print the colored images for the purpose of decoupaging to a surface, nor may you sell copies of the printouts from this publication in any format. The designs may not be used as web graphics. The projects created from the patterns in this packet may be personally painted by the purchaser for fun or for sale (i.e. at local craft shows, or internet auctions such as eBay, and on their own websites or photo sites), although if shown on the internet, you must provide credit to Sharon R. Cook as the designer in your description. Manufacturing the finished product for mass marketing in national gift shows and national gift publications is prohibited. No mechanical, electronic, digital or any other method of reproduction or distribution of this pattern, line drawing, and/or instructions is authorized. Any use other than described herein is prohibited without the express written consent of the designer and author. Disclaimer: The information in this pattern packet is presented to you in good faith. Since the author/designer has no control over the physical conditions surrounding the application of the information presented, results cannot be guaranteed.

FLOWER TRUCK DOOR HANGER Original Design by Cindy Pointe Facebook and Etsy: The Creative Pointe Email: thecreativepointe@gmail.com As a Social Artworking painting teacher, I wanted to give my students a different surface to paint on beside canvas. Wooden door hangers (as well as farm trucks) are extremely popular, so I designed a four-season series for my painters. (SA teachers, please contact me for information on teaching this project in your own classes.) 55

Surface: භ Wood from Diverse Woodworking https://diversewoodworking.com/ 18” Truck Cutout Style 3 (If interested in doing the complete series of four, order at least two blanks—you can paint a design on each side) භ Optional Surface: 12” x 12” canvas Project Supplies: භ භ භ භ භ භ භ

Standard Acrylic Painting Tools Tracing Paper, Tape & Stylus Graphite Paper-Black and White 4.5 mm Natural Cotton Cord- 23” (I purchased at Hobby Lobby) ¼” drill bit and drill press or hand drill Ruler Sanding Block (optional)

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

Baby Pink Grey Sky Hauser Dark Green Hauser Light Green Hauser Medium Green Lamp Black Red Violet Royal Fuchsia Snow White Spa Blue Teal Green Winter Blue Zinc

Mediums: භ Matte Sealer-your choice but use exterior if plaque will be exposed to the elements. Brushes: භ භ භ භ භ භ

3/4” Flat Brush #12 Flat #8 Flat (Feel free to change up any of the above to an angle brush if preferred) #2 Round Liner

Cindy’s Tip: While this design is geared as a project to be completed in under three hours, I will give a few ideas for adding to the design as we go. Preparation: Trace entire design onto Tracing Paper. Drill holes for hanging using a ¼” drill bit, placing two holes where indicated on the pattern. Lightly sand hole edges if necessary. Using black graphite paper, transfer main pattern lines, EXCLUDING truck bed details (including lights), wording and tire treads. Use a ruler to get the bumper lines straight. Once all base coats are complete and dry, use white graphite paper to trace on the truck details and wording. Use a ruler to get straight lines.

Painting Instructions Rear Window and Mirrors: Base Winter Blue. Shade around window and mirrors with Zinc. Tip: Personalize your truck by adding your and/or your family’s silhouette in the window. Sketch it out then use Zinc to paint it in. Bumper: Base Zinc. Shade top, bottom and sides with Black. Highlight in the center with Grey Sky, using the “flip flop float” method. This is when you shade in one direction, and then go back over the wet paint so that the shade also blends out on the opposite side. Tip: Personalize your truck by painting a rectangular license plate in white in the center of the bumper. Use your address for the numbers and paint them black. Leaves: Base Hauser Medium Green. Shade between leaves, under flower petals, along bottom edges and vein lines with Hauser Dark Green. Highlight with Hauser Light Green. Truck: Base coat is a 1:1 Mix of Spa Blue and Teal Green. Put out two puddles about a half dollar size each and thoroughly mix together. You can use a brush handle or craft stick to mix. Shade with Teal Green--Top and side edges, under mirrors, under flowers and leaves, under lights, under the top horizontal tailgate line, both vertical side tailgate lines and along bumper. Highlight with Spa Blue-- Center of the roof and down the sides to the flowers, opposite the shading on the mirrors and tailgate. 57

Flower Petals: Base Baby Pink. Shade between petals and along the bottom petals with Royal Fuchsia. Flower Centers: Base Royal Fuchsia. Tires: Base tires Lamp Black.

Basecoating

Shading

Highlighting

Accents & Details Rear Window and Mirrors: Use round brush to add reflection lines with Zinc and Snow White. Dry brush a few areas of the truck base coat mix here and there. Outline window and mirrors with black. Tip: If you have a hard time painting straight lines when outlining, use a black paint marker. Do not use a Sharpie as that will discolor over time.

Flowers: Outline the petals with Royal Fuchsia. Outline the flower centers with Snow White and then paint the center swirls.

Tip: If you want a bit more detail, paint swirly tendrils coming out from the flowers and leaves with one of the greens. You could also paint vein lines on the leaves.

Truck: Base the taillights Royal Fuchsia. Shade bottom half of circle with Red Violet. Highlight top half with Baby Pink. Paint cross hatching over taillights with Snow White and then outline circle black. Base lettering Snow White.

Tip: If you want to give a bit more “umph” to the lettering, use Teal Green and a liner to outline each letter.

Tires: Paint treads with Snow White. Finishing: Following manufacturer’s instructions, varnish door hanger when completely dry. Add cord for hanging, knotting on each end. Tip: I found it easy to thread and keep the cord from unraveling by putting scotch tape over the area before cutting off the roll.

A Word of encouragement from Cindy In my painting classes, I let every student know that there is nothing that can’t be fixed. This gets them to relax a bit, and I hope, to paint with confidence. If you make a mistake, wipe or sand it off. If you finish a piece and are not happy with it, wait a day to give yourself a chance to see it with new eyes. If you are still not happy, paint over it! Remember, if your painting looked perfect, it would be stamped out on a printing press, not hand painted!

Welcome Back Spring! By Sharon Bond “Welcome Back Spring! I wanted to create something that would remind us of the sweet sights of Spring! The flowers! The warmth of the sun and the sweet songs of the birdies!! I believe a couple of these birdies were snuggled in this Gnomie’s beard over winter and are peeking out to see if Spring has arrived! Fun (and easy!) techniques for the backgrounds! Hope you will enjoy!”

Surface: භ Flag Banner Plaque – Available from www.cdwood.com – Item # 31-L654

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 Doodle Art #1 Layering Stencil – Available from www.cdwood.com – Item # 0963061 භ Ordinary Ruler භ Painter’s Tape or Scotch Magic Tape භ Ordinary Plastic Wrap – such as Saran Wrap or Glad Wrap භ Miscellaneous wire or ribbon to create a hanger (Optional)

All Paints are Americana Acrylics from DecoArt: භ භ භ භ භ භ භ භ භ භ භ

Berry Cobbler Bright Orange Bubblegum Pink Cranberry Wine Dioxazine Purple Dove Grey Foliage Green Hauser Medium Green Jadeite Glass Lamp Black Lavender

භ භ භ භ භ භ භ භ භ භ

Lilac Meadow Moody Blue Ocean Blue Peaches ‘n Cream Salem Blue Sand Sunny Yellow Warm Beige Warm Sunset Warm White

Specialty Items by DecoArt: භ Americana’s Matte Spray Finisher භ Americana DuraClear Gloss Varnish (optional)

Brushes: භ භ භ භ භ භ

Angle Shader ¼” Angle Shader 3/8” Glaze/Wash Brush ¾” Flat Shader #6 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 – Item # 03-926-4 (you may wish to have more than one of these on hand!)

Tip:

Anytime during the instructions if I mention to “finely outline” something in Black you can choose whether you want to thin your Black paint and use a liner brush to outline or simply use a Black marker! Also keep in mind when I mention basecoating something with ‘two coats’ of a 64

particular color, it’s always best to let the first coat dry before adding the second coat! This helps tremendously with your coverage!

Preparation:

Start by basecoating the entire plaque with two coats of Sand. Let dry. Use your ruler and trace on the main border frame line onto the plaque. This will be our guideline to get started! We will be using the Doodle Art #1 Stencil to stencil around the outside frame area. I used the following colors in a totally random fashion for stenciling! Almost like a tie-dye effect! Don’t be shy about overlapping colors! භ Bubblegum Pink භ Jadeite Glass භ Lilac Meadow භ Peaches ‘n Cream භ Sunny Day You may wish to have a separate stencil brush for each color – this is convenient as it makes the entire process go quickly since you don’t have to clean brushes in-between! Center Background – Before starting, be sure to tape around the outside edge of your frame to protect your stenciled area. Use the same colors as above (Bubblegum Pink, Jadeite Glass, Lilac Meadow, Peaches ‘n Cream and Sunny Day) and thin each color a bit on your palette. Also have a “wadded up ball” of plastic wrap (or a sponge or even a paper towel, etc…) handy! Add each of the thinned colors randomly over the center area by simply adding little puddles of each color here and there. (Dab them on with your brush!) Use your plastic wrap or sponge (I used plastic wrap!) and pat or ‘blot’ over each of the colors to spread and blend! If this looks too bright to you (everyone’s will be different!) Simply thin some Sand and blot over the area to tone it down. Let dry completely before moving on to the next step! Once dry, finely outline the frame line using your ruler and your Black marker. Next, I shaded around the inside edge of the frame line with Bubblegum Pink. I think any of the colors that were used in the border would work for you shading – Peaches ‘n Cream or Jadeite Green for example. Whatever you would like! 65

I then shaded around the outside edge of the frame line with Lilac Meadow! Let dry then you can trace on your main design.

Painting Instructions: (Before you paint the ‘ground’ area, you may want to re-tape under the bottom frame line to protect your shaded stenciled area.) Ground/Grass Area – Basecoat this area solidly with Foliage Green (including the grass blades that are sticking up and the flower stems). Once dry, drybrush with Jadeite Green then randomly highlight with Sunny Day. Let this dry, then drybrush lightly over these areas with a bit of Foliage Green to help blend. Shade under the Gnome’s shoes with Medium Hauser Green and wet-brush a few strokes of thinned Medium Hauser Green onto the larger blades of grass and the flower stems. (We will add the other blades of grass that are in front of his shoes after we have completed his shoes!) Purple Flowers – Basecoat all the flower petals solidly with Lavender. Once dry, wet-brush the centers of each petal with Lilac Meadow (be sure to leave a Lavender ‘outline’ around the outside edge of the petals). Once this has dried, thin some Warm White and line a few fine strokes from the center of the flower up through the petals. Finely outline all the flowers with Black, including the ‘filaments’ in the center of each flower. I also finely outlined ‘tiny hearts’ at the end of each center line filament with Black as well. Fill in these tiny hearts (you can use a very small ball stylus, toothpick, etc…) to dip-dot each heart with Sunny Day, Bright Orange OR each color on each side of the hearts! ᆌ I also added a few fine lines in the grass and up the flower stems with my very, fine lined Black marker. Gnome – We will start with his Pants and his Hatband (they are done the same!) Pants & Hatband – Basecoat both with Moody Blue (you may need an additional coat for complete coverage). Once dry, drybrush with Salem Blue. Highlight with just a bit of Dove Grey that has been added to the same brush you have been using. Finely outline all in Black and the stitching on the pants is done in Black as well. Shoes – Basecoat the shoes in Black. Highlight with just a touch of Dove Grey. If you’d like to soften this a bit, simply add a touch of Black back into your brush and brush over the highlighted area. Once you have the shoes completed, you can go back and add the other blades of grass following the instructions for the grass listed above! Shirt and Top Section of his Hat – Basecoat each with two coats of Berry Cobbler and let dry. Drybrush with Peaches ‘n Cream. Once dry, drybrush again with Berry Cobbler to help blend and soften. Shade around the top part of the hat, under his sleeves and under his beard with Cranberry Wine. Let dry. Once dry, trace on the circles/dots to the top of the hat and the flowers on his shirt. Flowers – (This is for the flowers on his shirt as well as the flower at the tip of his hat) - Before painting the flowers on his shirt, you may wish to basecoat them in Sand first. This works as a great undercoat and you should only need one coat of Marigold to paint the petals if you do this first. This is not necessary for the flower at the end of his hat. 66

Basecoat all flower petals with Marigold. Highlight each petal with Sunny Day. Once dry, add a thinned stroke of Bright Orange up from the center of the flower and up the petals. Finely outline the petals in Black as well as a fine line up each petal as well. Finely outline the center circle of each flower in Black. Solidly paint the centers with Warm Sunset and let dry. Once dry, pounce a bit of Peaches ‘n Cream in these centers, then pounce again with Bright Orange. I also added a small ‘C’ stroke of thinned Warm Sunset on the left side. Once the centers have completely dried, add the smaller circle in the center of those and fill in Black. Then dot those with a tiny dot of Warm White. Polka Dots on Hat – I painted these polka dots completely randomly! I used various colors, such as Warm Sunset, Moody Blue, Marigold, Lavender and Cranberry Wine. Bottom portion of the hat and the cuffs on Sleeves – Basecoat these areas with two coats of Lavender. Drybrush the hat with Lilac Meadow and add a small stroke of thinned of Lilac Meadow across the cuffs. Let dry. Finely outline in Black and add the stitching across the sleeves with Black as well. Beard – Basecoat solidly in Dove Grey. Drybrush with Warm White. **I understand it’s more difficult to try and drybrush small/narrow areas such as the tiny sections of his beard ~ this is what I do! In this case, lightly thin your Warm White and wetbrush the small areas; while they are still wet/damp, take a dry-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 all dried, you can trace on the birds! Shade around the birds in the beard and shade under his mustache as well. Mustache – Basecoat his mustache solidly with Warm White. Nose and Hands – Basecoat his nose and his hands solidly with Warm Beige. Once dry, lightly drybrush with a bit of Berry Cobbler across the top/right of his nose and in the palms of his hands. You can tone this down, if you wish, by adding a bit of Warm Beige back into your brush and drybrushing again. Finely outline in Black, including the very small triangle on his nose! I filled in this tiny triangle with just a touch of thinned Berry Cobbler. Additional details for our Gnomie – Paint the inside of his mouth in Black and his tongue in Bubblegum Pink. I finely outlined around his tongue in Black. Butterfly – Basecoat the Butterfly in two solid coats of Bright Orange. Once dry, drybrush with Sunny Day. Once this has dried, trace on your details. 67

Paint the large oval on each wing in Black, leaving the smaller, center oval the original basecoat colors. Finely outline the entire Butterfly, his antennae, as well as the wing details in Black. Dot the ends of the antennae with Black also. Paint his body solidly in Cranberry Wine. Fill in the little scalloped borders (around the Black Ovals) alternating between Warm Sunset and Berry Cobbler. Blue Birds – (All birds are done in the same manner!) - Basecoat all the bodies of the birds with Ocean Blue. Drybrush (or wet-brush) those areas with Salem Blue. Tips of their wings and their bellies are all solidly based in Salem Blue. Once dry, wet-brush a few strokes of thinned Warm White over these areas to highlight. Their cheeks and chests are based solidly in Peaches ‘n Cream. Wet-brush around the inside edges of those areas with Bright Orange. Beaks and feet are solid Warm Sunset. Eyes are based in Warm White and pupils are Black. Add a Warm White highlight dip dot in eyes. Finely outline the birds and all details on the birds with Black. Lettering – I finely outlined the lettering first with my Black marker. Fill in the lettering solidly with Dioxazine Purple. Once dry, I added strokes across each of the letters with Lavender. Reoutline any letters in Black, if needed.

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. Once our plaque has dried, I used Americana DuraClear Gloss Varnish to add a little extra shine to the following: The Gnome’s mouth & tongue, all beaks & eyes on the birdies, the scalloped border on the Butterfly’s wings as well as the Black centers on the yellow flowers. The choice is yours; you can add this on additional areas as well! If you wish, you can also add wire, ribbon, etc… to the top to create a hanger!

Thank You!! Sharon B

Honey Set

Original Design by Amanda Novaes amandanovaes@yahoo.com.br www.amandanovaesarts.com.br https://youtu.be/DAZ0ntdFC1Q This still life is a mix of textures that you can find wood, glass, ceramic, and craft paper. It is an opportunity to paint different objects on the same design. When you think of honey, you can automatically smell breakfast toast or pancakes, so a great place to paint this design is a beautiful tray or table mat or even a frame for your kitchen.

Surface: x Wood Surface of choice, 12in x 15in (30cm x 40cm) Project Supplies: x Hard Sponge squares x Sandpaper x Tracing Paper x Graphite Paper Paints: DecoArt Americana (*Retired) x Antique Gold x Antique Green x Bittersweet Chocolate x Burnt Sienna x Buttermilk x Butterscotch* (Jack-O-Lantern Orange + Camel, 3:2) x Cadmium Yellow x Cocoa x Charcoal Grey x Dark Chocolate x Dove Grey x Georgia Clay x Honey Brown x Lamp Black x Light Buttermilk x Moon Yellow x Neutral Grey x Olive Green x Persimmon x Plantation Pine x Soft Black x Titanium White x Toffee x Traditional Raw Sienna* (Raw Sienna + Honey Brown, 3:1) x Yellow Ochre Mediums: x Americana acrylic sealer/finishers Brushes x 3/8, 1/4 Angle Sienna by Robert Simmons x 8, 6, 4, 2 Round – LaCorneille by Loew-Cornell x 18/0 script liner or 2 Ultra round – LaCorneille by Loew-Cornell x 3/8, 1/4 Crescent by Loew-Cornell x 1/2, 3/8 Maxine’s Mop by Loew-Cornell x 1, 1/2, 3/4, shader or wash – Majestic By Royal x 5 Bristle Short Bright – Royal R455-5 TIPS AND TECHNIQUES The sponge is a perfect tool to add multiple textures on your surface quick and easy. Using the wet on wet or dry technique.

Preparation: Sand the wood surface and wipe clean. Basecoat with Buttermilk. Painting Instructions Background: Trace the line drawing on surface, using masking tape to cover some sections if desired. With a stiff, dry sponge add vertical effects using Toffee. Shade the surface edges with the same color.

Wood Disk: Basecoat is Honey Brown. Mask off bark area with masking tape. With a Bristle Brush and dry technique, add some irregular vertical stripes alternating with Burnt Umber and Toffee. Shade Burnt Umber along top edge of bark. Dry brush center area of disc with Burnt Sienna. Using angle brush, shade of the same color under the pots. Repeat with Burnt Umber. With a round brush and Burnt Sienna add an irregular line (growth lines) between the disc center and the wood bark. In the lightest area of the disc, dry brush with Toffee. Add the cracks of the bark with a liner brush with Burnt Umber.

Daisy: Starting with green stalks. Use a round brush with Plantation Pine and stroke lines to reproduce the stalks. Repeat this process with Antique Green, then Olive Green. Trace the daisy shape. Create petals with an easy one stroke technique using a round brush. Each petal is built with a comma stroke. First layer of petals is Dove Grey and the second layer is Titanium White. To create the flower center, dot Yellow Ochre using round brush. Add Dark Chocolate dots along the bottom of the center. With Olive Green add the daisy stem. Shade with Plantation Pine down both sides and along the edge against vase.

Orange Vase: Basecoat is Persimmon. Highlight light area using the dry brush technique with a crescent brush starting with Butterscotch then Light Buttermilk. For the edges dry brush with Burnt Sienna then shade with the same color. Repeat the shading with Georgia Clay. For the overlap shadow shade with Soft Black. Add an outline on the rim of the vase with Butterscotch using a liner brush. (Vase1,2,3, 4.png)

White Ceramic: Basecoat is Dove Grey. This pot has many curves so will be easier to shade with a round brush. First shade color is Neutral Grey on the ripples. On the right side of the pot each ripple has a shadow corner. Use a crescent brush to add some depth on this area with Neutral Grey. Repeat the same process with the round brush and repeat with crescent brush and Charcoal Grey. Shade Bittersweet Chocolate using an angle brush against yellow pot. With the same color add a line next to the pot lid this way we can add some depth. For the highlight side use Light Buttermilk then with Titanium White on the left edges of each ripple. Basecoat lid handle Honey Brown. Shade with Burnt Sienna and add some wood grain using an angle brush. On top of the handle add a circle with Yellow Ochre. Add all small bees using a small round brush. Cadmium Yellow for the body, Lamp Black for head, stripes and outline and Titanium White for the wings.

Honey Jar: Use the masking tape on the label area. The glass Honey Pot is achieved with multiple glazing layers using a flat or a wash brush. On the honey area the strokes were horizontal that will get some translucent stripes. Alternating between those colors: Antique Gold, Traditional Raw Siena, and Burnt Siena. To create the highlight on the bottom right corner, first float with Titanium White then drybrush with Antique Gold. Shade the glass edges, label and under the craft paper with Burnt Sienna. Shade on the overlap shadows with Soft Black.

Craft Paper Lid: Basecoat is Cocoa + Yellow Ochre (1:1). Use a round brush to shade and highlight all folds and wrinkles. The sequence of colors to build the dark shading is: Dark Chocolate, Bittersweet Chocolate and Soft Black. The highlight sequence is: Toffee and Light Buttermilk. Follow the images to help to add the dark and light tone. After all folds and wrinkles are done, add the lid shape on the paper. On top area add a glazing with Toffee. On the side of the lid add a Dark Chocolate glazing. The neck area needs to be darker, so add one more layer of Dark Chocolate glazing. With a small round brush add the paper string with Light Buttermilk. The paper string has an irregular shape so with a liner brush and Burnt Umber make some little irregular stripes along the string. Shade both sides of the paper string with angle brush and Soft Black. Refer to photo image cast shadow of the tie. Load round brush with diluted Soft Black and follow the tie shape. Shade the knot with Dark Chocolate. With Lamp Black, add the word Honey as a stamp on the lid. Remove masking tape on label.

Label: On the center of the label add a hexagon with the same colors of the glass. Add a Burnt Umber wash over label to reduce the white brightness. All letters are Lamp black. Shade next to Yellow pot with Burnt umber then Soft Black.

Yellow Ceramic: Basecoat with Moon Yellow. With a round brush and Light Buttermilk, make all stripes of the body and the lid. The clean and wet brush will help to add a gradient on each stripe. The rim is very prominent and will be the focal point, so highlight with Light Buttermilk. Shade under the rim, lid, and the edges with Antique Gold. Dry brush with Antique Gold under the rim and all stripes. Darken shading with Traditional Raw Sienna and then, Burnt Umber. The colors of the bee are the same as used on white pot. Add a line of Burnt Umber along bottom edge of pot lid to create depth. Basecoat spoon handle Honey Brown. Shade with Burnt Sienna and add wood grain using an angle brush. Shade handle and add opening and hole on handle with Soft Black.

Finishing: Following manufacturer’s instructions apply varnish spray. This design has many elements. You can easily separate them and paint one at a time or rearrange to get a new composition. So, do not be afraid to make it your own. Like Julius Caesar said, “Divide and Conquer”. Happy Painting.

Mother Nature’s Magic Wildflower Seeds Original Design by Sandy Kelsey sk51263@aol.com Look who’s responsible for the beautiful field flowers…. It’s the Mousies!! 80

Surface: x 14” Jumbo Gift Tag Plaque - SKU: 31-L291, Cupboard Distributing Supplies: x Tim Holtz Burlap Stencil #THS007 x Multiple Dot Stencil of choice x Tape x Palette Paper x Transfer Paper x Brown paper bag x Tracing Paper x Sandpaper x Varnish of choice Paints: DecoArt Americana Acrylics x Berry Cobbler x Burlap x Burnt Sienna x Cactus Flower x Cadmium Yellow x Light Lime x Hauser Light Green x Khaki Tan x Matcha Green x Raw Umber x Sable Brown x Slate Grey

x x x x x

x x

Soft Black Summer Squash Sunny Day Yellow Warm White Zinc

DecoArt Chalky Finish Lace (or DecoArt Soft White with a touch of Burlap) Vintage (or DecoArt Spa Blue and Burlap 1:1)

Brushes x Small and medium dry brushes x Fine liner brush x 5/8 flat or angled shader that is worn or scruffy x 1 inch Flat or Roller to paint the plaque x ¼ and ½ inch angled shader x #2 and 5 Round (whatever you are comfortable with) Terms Dirty Brush – keeping one color paint in your brush then adding another without cleaning Choppy Strokes – short broken strokes that are not uniform in size Sketchy Strokes – dry strokes that don’t entirely cover the color underneath Painting Instructions Basecoat the surface Slate Grey, then lightly sand with a brown paper bag The Background Transfer the rectangle onto your surface. Tape off the outside edge. 81

Top 1/3 Start base coating the very top of the sky with Sunny Day. Keep mixing Warm White into the yellow and work your way down to just below the horizon line. In the very top left hand corner add some Cadmium Yellow strokes where the crabtree flowers are. Middle 1/3 Lightly freehand or trace the horizon line. Basecoat below with Hauser Light Green. Bottom 1/3 Mix Sable Brown with Warm White 1:1. Basecoat to the bottom. Background Texture Technique The texture of the background is created by using the chisel edge of your scruffy flat brush and softly making sketchy, horizontal lines (Sketchy Strokes). Dirty brush a transition from Hauser Light Green, to Matcha Green, to a mix of Light Lime and Summer Squash 1:1. Overlap the colors (they do not need to be totally blended). Continue down a little into the brown area. Use your Sable Brown/White Mix to pull sketchy lines back into the green area. Add random sketchy Burlap strokes into the brown. Use the mix of Light Lime and Summer Squash 1:1 to add small green horizontal accents to the bottom two corners and in random areas in the middle 1/3. When dry, transfer the patten onto the surface – excluding the lettering on the seed sack. Use the background technique to add Hauser Light Green shadows under the top two mice. Add Sable Brown shadows under the bottom two mice. Add a sketchy strokes of Burlap highlight to the dirt where it curves up over the shovel.

Crabapple Tree Letting some of the yellow show through, add choppy strokes of Cactus Flower in a random pattern for the flowering trees. Add a watered down Soft White random pattern over some of

the pink. Keep it whitest near the bottom. Paint the tree trunks and branches with Burnt Sienna. Shade the left sides with a float of Soft Black. Basecoats: Vintage (chalky paint) – the grey mice, the bottom of the shovel, the watering can Burlap – the outside of the seed sack, the brown mousies and the checkerboard squares Lace (chalky paint) – the label on the seed sack, the mouse hat Burnt Sienna – the shovel handle. Cactus Flower – the pink skirt, the petals on the flowers Sunny Day Yellow – the mouse dress, checkboard squares Soft Black – the seeds (in the seed sack) and the bases of the pink flowers The Seed Sack Transfer the writing onto the seed sack. The words “Mother Nature’s” are painted with a Raw Umber and a liner brush. The oval around “Magic” is painted with Hauser Light Green. The word “Magic” remains the background color but highlight in areas with Soft White. The words “Wild flower” is painted with Cactus Flower and shaded at the bottom with a float of Berry Cobbler. The word “SEEDS” is painted with Burnt Sienna. Shade the seed sack with Khaki Tan around the label and right-side seam. Highlight the seed sack with Soft White around the far left side and along the seam. Add Soft Black stitch marks along the top and bottom of the sack with Soft Black Use Vintage to add little “shines” to the seeds inside the sack. Use the burlap stencil to add a tiny bit of pattern to the seed sack. Dry Brush Burlap (paint) lightly in random places. Add small Warm White crosses in places around the center of the label. Drybrush Warm White into the centers of each box in the checkerboard area. Float Sable Brown under the sack. The Mousies The Grey Mousies: Shaded with Zinc and highlighted with Warm White. Arms are painted with a liner and Zinc. Tails with Slate Grey. The Brown Mousies: Shaded with Sable Brown. Deepen the darkest shadows with Burnt Umber. Then, highlight with Warm White. Arms are painted with Burnt Umber. Tails are Sable Brown.

Mousie Details: The inside ears are a float of Cactus Flower (excluding the one on the seed sack). The eyes, bottom line of the feet and toes, and mouths are Soft Black. Eye shines, hair on foreheads and whiskers are all Warm White. (Warning! Fat whiskers can ruin a critter. Be sure to water down your paint to an inky consistency!) Noses are Cactus Flower with a shading near the base of Berry Cobbler. The skirt is highlighted with Warm White and shaded with Berry Cobbler. The hat is shaded with Burlap and highlighted around the right side of the top and brim with Warm White. The flower has a Cadmium Yellow center and Cactus Flower petals. The dress is shaded with Cadmium Yellow and highlighted with Warm White. The collar is Warm White. The watering can has Matcha Green and Warm White stripes. The green stripes are shaded with Hauser Light Green at the top and bottom. The shine lines are created with Warm White. The shading is done with Zinc. The shovel has details floated in with Warm White and is outlined as shown the Zinc. The bandana has Hauser Light Green and Warm White checkers. The Flowers: The flower style is loose and simple. Mix Cactus Flower with Warm White 1:1. Paint the tips of the petals heading toward the center. Use a float of Berry Cobbler to shade the petals underneath and around the bases. The centers have Soft Black at the bottom and Burnt Sienna at the outside ends. The stems and leaves are painted with Matcha Green. They are highlighted with a Warm White line following the shape and shaded with Hauser Light Green. Final Details Add a translucent Berry Cobbler float over the Crabapple leaves in the very top left corner to add balance. Add the seeds with Soft Black. Remove the tape and touch up any edge oops with Slate Grey. Use a random dot stencil to add Vintage colored dots to the outside plaque. When dry, use sandpaper to soften the dots till they are faint. Use the sandpaper to go around the edges of the plaque to remove some of the paint and create a distressed look. Use your favorite varnish to protect your painting.

Peace, Comfort, and Joy By Susan V. Cochrane

For many people there is much peace, comfort, and joy in the arms of the church and it is found all year round!

Surface x Ornament, Mini Bread Board, Item No. 20-11306, www.vikingwoodcrafts.com Project Supplies x Basic Painting Supplies x Sandpaper (#220 Grit) x Scotch Brand Removable Tape by 3M x Tack Cloth x White and Gray Graphite Paper Paints: DecoArt Americana Acrylics x Antique White x Banana Cream x Black Green x Bleached Sand x Bluegrass Green x Boysenberry Pink x Burnt Umber x Burnt Sienna x Celery Green x Irish Moss x Lilac x Persimmon x Slate Grey x Storm Grey x Winter Blue x Ultra Blue Deep Decoart Dazzling Metallics x Glorious Gold Brushes: Royal & Langnickel x ½” Angular Shader (Series R4160) x 5/0 Liner (Series R4595) x 2,4,6,8,10 Shaders (Series R4150) x 3/8” Stippler (Series 660) Mediums x DecoArt Americana Gel Stains (Walnut) x DecoArt Americana Multi-Purpose Sealer x DecoArt Americana Duraclear Varnish (Matte) TIPS AND TECHNIQUES All base coats are solid. Erase transfer lines as you go. Dry thoroughly between all painting steps. Use small amounts of paint. All floated color is done with a double loaded brush, that is, the basecoat color plus the second color. Apply sheer floats to gradually build up the color.

Preparation Seal the fronts with the Multi-Purpose Sealer. Dry, lightly sand and tack. Painting Instructions The Church in Spring/Summer - Pattern #1 Transfer the walls, roofs (no bell tower) and the cross. Paint the sky with Lilac. Float Boysenberry Pink on the sky next to the edges of the cross. Paint the walls of the church with Slate Grey, the roofs with Storm Grey and the cross with Bleached Sand. Float Black Green on the walls next to the eaves and to divide the vestibule from the main church. Float Banana Cream horizontally near but not next to the bottom edge of both the vestibule and main church roofs. Transfer the windows and paint with Banana Cream. Float a blend of Banana Cream + Burnt Sienna on the top, side or bottom of the glass. Line the windows and grids with a faint line of Black Green. Cross: Paint a trim line of Antique White just inside the edges. Paint over this line with Glorious Gold. Transfer the wreath. Paint the twigs with Burnt Umber, highlight with a dry brush of Banana Cream. Transfer and paint the flowers with Winter Blue. Float Ultra Blue Deep around the edges. Paint the centers with Banana Cream and dip dot with Black Green. Float a blend of Winter Blue + tiny touch of Black Green to shade any back petals from front petals. Paint the leaves with Celery Green, shade at the base with Black Green. Float a tiny touch of Lamp Black on the twigs at the edge of the cutout. Transfer the bell tower and paint it with Slate Grey and the roof with Storm Grey. Shade the tower wall next to the roof of the main church and on the top edge next to the bell tower roof with Black Green. Apply a horizontal float of Banana Cream near but not next to the bottom edge of the bell tower roof. Float Burnt Umber on the cross next to the roof and wall of the bell tower. To create the foliage on the left side, mask off the church roofs, vestibule wall, and the bell tower wall. Stipple the bush foliage with Black Green. Stipple over this same area with Irish Moss. Stipple the foliage for the foreground flower gardens with Black Green. Stipple the flower mounds with Winter Blue, Bluegrass Green, and Persimmon. Dab some spikes of Persimmon behind the mounds. Dab the foliage for the vine with dabs of Black Green and Celery Green. Dab the flowers with Boysenberry Pink and Lilac. 90

The Church in Autumn – Pattern #2 Transfer the wall for the front of the church (no bell tower) and the cross. Paint the sky Winter Blue, the front of the wall with Slate Grey and the cross with Bleached Sand. Float Ultra Blue Deep on the sky next to the edges of the cross. Transfer the vestibule (no roof) and the steps. Float Black Green on the front of the wall next to the walls of the vestibule, the steps, and the eaves. Transfer the windows and paint with Banana Cream. Float a blend of Banana Cream + Burnt Sienna on the top, side or bottom of the glass. Line the windows and grids with faint lines of Black Green. Transfer the door and basecoat with Burnt Umber. Paint a vertical rectangle for the door window using Banana Cream. Float Burnt Sienna to shade the window. Paint the hinges and handle with Black Green. Float Black Green on the bottom of the door going across the vestibule wall as well. Paint a line for the roof of the vestibule using Slate Grey. Drybrush roof with Bleached Sand to add highlight. Float Black Green on the wall of the vestibule next to this roof line. Cross: Paint a trim line of Antique White just inside the edges. Paint over this line with Glorious Gold. Transfer the wreath. Paint the twigs with Burnt Umber, highlight with a dry brush of Banana Cream. Transfer and paint the pumpkins with Persimmon. Float Banana Cream on the top edge and on the side edge of the front pumpkin. Shade Black Green on the back pumpkin next to the front pumpkin and faintly line the segments. Paint the stems and leaves with Celery Green. Float Black Green at the base of the leaves. Float a tiny touch of Lamp Black on the twigs at the edge of the cutout. Transfer the bell tower (no roof) and paint it with Slate Grey. Shade the cross next to the roof of the main church and next to the tower wall with Burnt Umber. Paint a roof for the bell tower using Slate Grey. Dry brush it with Bleached Sand for highlight. Shade the bell tower wall next to its roof and at the base of the wall with Black Green. Mask off the church and bell tower walls. Stipple the bush with Black Green. Stipple over this same area again with Boysenberry Pink and then with a touch of Lilac for the highlight. Paint the main church roof with a line of Slate Grey and dry brush it with Bleached Sand.

Stipple the foliage for the front gardens with Black Green. Repaint the front steps with Slate Grey if they got lost in this process and outline with Black Green. Dry brush Bleached Sand for the highlight. Transfer and paint the tree trunk and paint it and some branches with Burnt Umber. Give it a dry brush of Banana Cream. Dab the foliage with Black Green over part of the front of the church wall. Dab the foliage with Persimmon using the tip of a small liner. Stipple Irish Moss on the front flower mounds. Dab Bluegrass Green spikes behind these mounds. Dab the foliage for the vine on the front of the church wall with a few dabs of Black Green and Celery Green. Dab the flowers with Lilac. Lawn: Mask off and paint with Celery Green. Float Bluegrass Green along the top edge. The Church in Winter – Pattern #3 Transfer the walls, roofs (no bell tower), the cross and the land. Paint the sky with Banana Cream. Float a blend of Banana Cream + Slate Grey (80/20) on the sky next to the edges of the cross. Paint the walls of the church with Slate Grey, the roof, the cross, and the foreground with Bleached Sand. Shade Black Green on the walls next to the eaves. Transfer the windows and basecoat Banana Cream. Float a blend of Banana Cream + Burnt Sienna on the top, side or bottom of the glass. Line the windows and grids with a faint line of Black Green. Transfer and paint the door Burnt Umber, the hinges and handle Black Green. Float Black Green at the bottom of the door going across the base of the wall as well. Paint thin, faint vertical lines using Black Green on the front wall of the church. Transfer or freehand the swag and dab with Black Green, Bluegrass Green and Boysenberry Pink. Cross: Paint trim line of Antique White just inside the edges. Paint over this line with Glorious Gold. Transfer the wreath. Paint the twigs with Burnt Umber, highlight with a dry brush of Banana Cream. Float a tiny touch of Lamp Black on the twigs at the edge of the cutout. Transfer and paint the flower petals with Boysenberry Pink. To divide the petals, highlight one edge with Lilac. Paint a center vein using Lilac. Dab the center with Banana Cream and Bluegrass Green. Float some leaves tucked into the petals with Bluegrass Green.

Transfer the bell tower wall and paint it with Slate Grey. The roof remains Bleached Sand. Float Black Green vertically down the bell tower wall to separate the front and side walls. Paint thin, faint vertical lines using Black Green on these walls. Float Banana Cream on the main roof and the roof of the bell tower (see xxx on the pattern). Float Bluegrass Green on the main church roof (see ooo on the pattern). Float Burnt Umber on the cross next to the bell tower roof and main church roof. To create the background evergreen trees, mask off the main church wall to protect it from the next steps. Dab the evergreen foliage first with Black Green, repeat with Bluegrass Green, and finish with Winter Blue using the tip of the liner for tight spots. Float Bluegrass Green on the ground at the bottom of the cutout. Float Banana Cream along the top edge. Finishing Paint the side edges with Black Green. Apply 2-3 coats of varnish. Clean up and stain the backs with the Gel Stain following product directions.

tanaka-k@mx5.canvas.ne.jp

This month we find Santa, wearing his favorite springtime suit and cavorting with the bunnies. Cool breezes, fresh flowers and a few moments of rest before Santa’s work begins again.

Surface: | cutting board, 6 inches width,11 inches height. | Surface of Choice

| Wood Source in Japan: Daiso, Higashihiroshima City, Japan Tel 082 420 0100 Supplies: | Usual Acrylic Tools | #400,600 sandpaper Paints: JoSonja’s Artist Colors | | | | | | | | | | |

Aqua Black Burnt Umber Cadmium Yellow Light Gold Oxide Green Light Indian Red Oxide Napthol Red Light Pine Green Raw Sienna Red Earth

| | | | |

Sapphire Storm Blue Teal Green Turner’s Yellow Vermillion

| Warm White | Yellow Oxide

Mediums: JoSonja | Clear Glazing Medium | Retarder | Satin Varnish

Tips and Techniques: Use retarder for highlighting and shading. It helps makes it easier to walk the colors out. Preparation: Sand with#400,600 sandpaper. Wipe away the dust. Apply basecoat color + Clear Glazing Medium (1:1) to seal the wood and basecoat in one step.

Background: 1 inch flat Base: Raw Sienna + Warm White (1:1), add same amount of Clear Glazing Medium. After first coat, do not use Clear Glazing Medium; apply only the paint. Dry well and transfer on the pattern. Border: Liner Measure in 1/4” from all the edges and mark with a pencil dot at intervals. Connect the dots. Define the border with Red Earth. Painting instructions: Santa’s Face Hands: #4 Filbert Base in Gold Oxide +Warm White(1:3) Highlight with base color +Warm White (1:1) Shade with Indian Red Oxide. Eyes: #2 Round, Liner Outline with Indian Red Oxide. Iris: Sapphire Eye White: Warm White + a touch of Sapphire. Create pupil by floating with Black at top. Highlight bottom of iris with Warm White. Warm White dots on one side of eyes. Santa’s Coat, Pants and Gloves:#4,6 Filbert Base in Sapphire 1st highlight: Sapphire +Warm White (1:1) 2nd highlight: Sapphire +Aqua +Warm White (1:1:3) Shade with Storm Blue Fur: stipple brush or very old round brush Stipple in Raw Sienna, 1st highlight: Yellow Oxide +Warm White (2:1), 2nd highlight: Turner’s Yellow +Cadmium Yellow Light +Warm White(1:1:1) . Beard, Moustache, Hair: #2,3 Round, Liner Base with Dark Grey mix of Black + Warm White (1:1). Create curly strokes with light grey by adding Warm White little by little. Repeat this process several times. Finish up with Warm White lines.

Santa’s Lips: Napthol Red Light + Warm White(1:1) Highlight with Light Pink mixture of Napthol Red Light + Warm White (2:1); apply it onto center part of his lip softly. Inside of his mouth is water thinned Indian Red Oxide

Boots, Belt and Buckle:#4,6 Filbert, Liner Boots and Belt: Base in Black, highlight Aqua. Add a narrow band at the top of his boot with Red Earth. Buckle: Base in dark grey Highlight with light grey Rabbits: #4,6 Filbert, Liner Base in Warm White +Yellow Oxide (2:1) Highlight Warm White +Turner’s Yellow (3:1) Shade: Gold Oxide +Burnt Umber (touch) Eyes: Black. Nose, Inner Ears: Warm White +Napthol Red Light(1:1) Blush on cheeks: Vermillionࠋ Carrots:#4 Filbert, Liner Base in Gold Oxide; highlight with Vermillion. Further highlight with adding Cadmium Yellow Oxide, Warm White. Shade: Napthol Red Light +Burnt Umber (a touch) Flowers:#2 Round Orange: Base Vermillion, highlight with Vermillion +Warm Whiteࠋ Blue: Base Sapphire, highlight Aqua +Warm White Yellow: Base Yellow Oxide, highlight Turner’s Yellow +Warm White White: Warm White Leaves, Stems:#4 Filbert,2 Round, Liner Base: Pine Green, highlight: Pine Green +Green Light +Warm White(1:1:1) Add Cadmium Yellow Light and Warm White for further highlight. Shade with Teal Green and create vein lines. Clouds: Float or wash on with water- thinned Sapphire and Warm White. Finishing Dry well. Erase transfer lines. Apply one coat of Clear Glazing Medium and allow to dry. Antiquing: #1 inch Flat Brush Apply retarder thinned Burnt Umber Lightly all over the background, but not on Santa. Darken Outer edge of the board. Wipe off anywhere you want to leave light.

Glazing:#4

Filbert

Apply retarder thinned Cadmium Yellow Light to the lightest area of beard, moustache and hair. Dry well and follow manufacturer’s instructions to apply 2 coats of Satin Varnish. Thank you painting Santa with me. Hope you enjoyed it. Happy painting!

Enlarge this line drawing as necessary to best fit your surface.

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Shining Daisy Blue Original Design by Maureen J Baker www.maureen-baker.com Sometimes it is so much fun to be messy and colorful! This is one of those times. 102

Surface: 8x10 papered canvas by Maureen Baker, www.maureen-baker.com Project Supplies: x Water container x 400lb grit sand paper x Palette or plastic plate x Paper towels x Transfer paper x Stylus Paints: DecoArt Americana Acrylics x Aloe x Antique Gold x Aqua Sky x Burnt Sienna x Burnt Umber x Cadmium Yellow x Citron x Evergreen x Light Sage x Paynes Grey x Turquoise Blue x Ultra Blue Deep x Warm White DecoArt Matte Metallics x Soft Silver Stamp x

Vintage Letter Stamp by Stampendous CRR221

Brushes (list by brush style & manufacturer) x ½” Stencil Pro Stencil Brush by Dynasty x #4,10,14,18 Black Gold Chisel Blender by Dynasty x #1” Black Gold Wash by Dynasty x #3/0 Traditions liner by Deco Art

TIPS AND TECHNIQUES Base coat: This is the application of paint to establish a foundation of solid, opaque color to the object being painted. This often takes the application of two or more layers.

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Float: The application of transparent paint to bring value, dimension and depth to the object being painted. The paint is side loaded onto one side of the brush and blended on a palette to work the paint into the brush evenly. When the brush is properly prepared there should be a gradation in color from transparent paint to the absence of color on the other side of the brush. Dry Brush: Applied with a dry brush such as a bristle wave. The paint is tapped into the dry brush and then the brush tapped on to a paper towel to remove excess paint. Gently blend onto the area of the painting using a very light touch. This will create a slight texture. Line Work: The damp liner is loaded with paint and water, so the paint has an “ink” consistency or the consistency of 1% milk. Load the liner by rolling the brush end between your thumb and pointer finger. Next you want to drag the paint out on your palette, so the paint is evenly in the brush with no overload on the sides. When painting line work, the amount of pressure applied to the brush will determine the thickness of the lines. The more pressure applied the thicker the lines.

Painting Instructions Background If you paint this background many times, it will never be exactly the same. Just roll with it and enjoy the colors! When you slip slap color, you want to side load a 1” wash with one color. Then, paint it onto the canvas. Clean your brush and side load with another color. With the paint side away from where you just painted, transition the color together where they meet. You want soft transitions of color and also distinct sections for each color. Slip slap Aqua Sky, Turquoise Blue, and Citron Green into the background. Dry completely.

Take a palette knife and load a very small amount of Matte Metallic Soft Silver onto the back of the palette knife. Scrape this onto the panel. (Reference the photo for placement). The grey areas are also the silver metallic. It is better to repeat this many times then to apply too much at once. Dry completely. With a dry damp sponge, tap into Paynes Grey. Gently tap this onto your stamp. (Reference photo for placement). Stamp image on your piece. Dry completely and transfer your design.

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Basecoat Basecoat the daisy petals using Aloe. Basecoat the butterfly using Light Sage. First Highlights and Tones Side load a #14 chisel blender with Warm White and highlight using back to back floats across the center of the petals. To create, side load brush, apply float, while still wet flip the brush, and overlap the first float. You will achieve a gradual transition of color on both sides. Be sure to leave areas of base color to give the petals depth. Side load a #18 chisel blender with Citron and paint back to back floats down the wings of the butterfly. Dry completely.

First Shades Side load #10 chisel blender with Evergreen. Float color on each petal where it meets the center of the flower. Repeat this here and there with Ultra Blue Deep. Load ½” stencil brush with Antique Gold pounce in the center of the daisy. Using a stencil brush will give the center of the daisy texture. Side load a #10 chisel blender with Ultra Blue Deep. Blend out on your palette. You want just a hint of color. Shade the outer edge of the daisy petals. This shade is very light. It will give the appearance of the daisy petals turning. Side load the tip of #18 Chisel Blender with Ultra Blue Deep. Tint the center of the butterfly on each side of the body. Shade the outside edge of the wings with Ultra Blue Deep using a #18 chisel blender and let dry. Side load #10 Chisel Blender with Ultra Blue Deep and reenforce the shade on the butterfly wings at each side of the body. Dry completely. 105

Side load a #10 chisel blender with Paynes Grey and deepen the shade on the outer edge of all the butterfly wings. Dry completely. Transfer the details onto the butterfly. Detailing Load #4 chisel blender with Paynes Grey and paint in the markings on the butterfly wings. Load 3/0 liner and paint in the line work. Use light pressure when painting these lines to keep these lines thin. Paint in the butterfly antennas. Load a 3/0 liner with Warm White and paint dot markings on the edge of the wings. Keep these dots small by applying a light pressure. Load #10 chisel blender with Evergreen and re-enforce the shade on each petal where it meets the center of the daisy. Repeat this with Ultra Blue Deep. Load liner brush with a mix of Cadmium Yellow and Warm White 2:1. Touch dots of color into the center of the daisy. Side load #10 chisel blender with Burnt Sienna and shade the bottom of the daisy center. Load liner with Warm White and pull thin lines on the daisy petals. Keep paint thin and a bit transparent. Start where the petals meet the center and pull towards the petal edge following the contour of the petals. Keep a slight curve on these lines. You are finished, don’t forget to sign. Hang your painting and enjoy! A word of encouragement from the artist Don’t be afraid of the paint. Take your time, relax, and don’t be afraid to make a mistake. If you make a mistake, just take a step back and try again. Fear always gets in the way of great painting. Relax and enjoy the journey. Remember great teachers can fix all kinds of mistakes. You know why because great teachers have made many mistakes. Keep painting it warms the heart and soothes the soul.

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Surface: 12 in. Grooved Bracket Plaque # 31-L479 www.cdwood.com Supplies: x Painters Pal #29-24747 www.cdwood.com x Stamp: Grunge Script Stamp Set with Stencil/Template #CRS5109 www.stampendous.com x Small point stylus x Makeup Sponges DecoArt Acrylics: x Blue Chiffon x Cactus Flower x Cotton Candy x Dioxazine Purple x Espresso x Festive Green x Grape Juice x Green Tree x Holly Green x Lamp Black x Light Buttermilk x Light Lime x Oyster Beige

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

Pebble Pink Chiffon Saffron Yellow Snow “Titanium” White Summer Squash Sunny Day Tropical Blue Turquoise Blue Warm White Whispering Turquoise Wild Berry Wisteria

DecoArt Mediums: x White Chalky Gesso x Ultra-Matte Varnish Brushes: available from www.thebrushguys.com x Dynasty Black Gold (206 Series) x #4, #6, #8, ¾” Flat shaders x ¼” and ½” Angle Shaders x 10/0 or 20/0 Script liner 206SL x 5/0 Liner x #2, #4 Round 206R x 5/8” Mop Brush (Decorator Series 400) x ½” Dynasty Stencil Pro Brush PREPARATION: Basecoat the board with a coat of white gesso. Let dry. Sand lightly. Using the ¾” brush, start base coating a small section with Light Buttermilk, while wet and with the same dirty brush, quickly slip slap some Pink Chiffon. Repeat these patches with Light Buttermilk, Blue Chiffon, and then Light Lime.

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Add Light Buttermilk as needed to soften the blending. Slip Slap the colors until you are happy, but do not over blend. Let dry. Use the stencil from the stamp package to randomly stencil the background with Whispering Turquoise. Stamp the background with the stamps from the set, I used the text stamp with Green Tree, the script stamp with Wisteria and the pretty scroll with Cotton Candy. Load the stamps with a makeup sponge, it's quick and easy. Wash the stamps with soap and water when finished. Trace pattern on the surface. Shade around all the design with Turquoise Blue. PAINTING INSTRUCTIONS: Daisies: භ Basecoat with Warm White. භ Shade around the centers of two daisies with Whispering Turquoise, two daisies with Cotton Candy, and two with Wisteria. Float highlights with Snow “Titanium” White. භ Basecoat the centers with Summer Squash. භ Shade base with Saffron Yellow and highlight tops with Sunny Day. භ Deepen shading with a brush mix of Saffron Yellow and a touch of Wild Berry. භ Brighten highlight with Warm White. Dot with Snow “Titanium” White. Leaves: භ Line the stems with Holly Green tipped in Lamp Black. භ Basecoat the leaves with Green Tree. භ Shade leaves with Festive Green. Highlight with Light Lime. භ Deepen shading with Holly Green. Highlight with Sunny Day. Berries: භ Basecoat with Cactus Flower. භ Shade with Wild Berry. Highlight with Sunny Day. Dot with Snow “Titanium” White. භ Line the stems with Espresso tipped in Lamp Black. Lavender: භ Line the stems with Espresso tipped in Lamp Black. භ To create the Lavender, load the #2 Round brush with Dioxazine Purple then tip in Warm White. Start at the tip of the vine and start to tap in the lavender petals, overlapping and working your way downwards. Reload the brush regularly to keep the two-toned look. Eggs: Green Egg: භ Basecoat with Light Lime. භ Shade with Green Tea. Highlight with Sunny Day. භ Deepen shading with Festive Green. Highlight with a brush mix Sunny Day and Warm White. භ Dot the flowers with Snow “Titanium” White, dot the centers with Sunny Day. 110

Pink Egg: භ Basecoat with Cotton Candy. භ Shade with Cactus Flower. Highlight with Pink Chiffon. භ Deepen shading with Wild Berry. Highlight with a brush mix Sunny Day and Warm White. භ Line the stripes with Whispering Turquoise, then topcoat with a line of Snow “Titanium” White. Purple Egg: භ Basecoat with Wisteria. භ Shade with Grape Juice. Highlight with Blue Chiffon. භ Deepen shading with Dioxazine Purple. Highlight with a brush mix Blue Chiffon and Warm White භ Line the stripes with Whispering Turquoise and Cotton Candy. භ Paint the scallops with a light wash of Blue Chiffon. Highlight with Warm White. Dot with Snow “Titanium” White. භ Dip larger dots using Cotton Candy Cup: භ භ භ භ භ

Basecoat with Whispering Turquoise. Shade with Turquoise Blue. Drybrush with Light Lime. Deepen shading with Tropical Blue. Line the stripes on the handle and the base with Warm White. Use the Painters Pal to stencil ¼” polka dots with Warm White.

Cloth: භ Basecoat with Light Buttermilk. Shade with Whispering Turquoise. භ Float the highlights and drybrush with Warm White. භ Deepen shading with Turquoise Blue under the bunny. භ Drybrush brighter with Snow “Titanium” White. භ Line the stripes with Cotton Candy and Green Tree. භ Line the fringe with Light Buttermilk, Warm White, Cotton Candy and Green Tree. Bunnies: භ Basecoat the bunnies with Oyster Beige. භ Shade with Pebble. Highlight with Light Buttermilk. භ Deepen shading with Espresso. Brighten the highlight with Warm White. භ Drybrush the cheeks and float inside the ear of the big bunny with Cactus Flower. භ Dot the eyes, line the nose, and whiskers with Lamp Black. Dot the pupils and the cheeks with Warm White. Tag: භ Basecoat with Light Buttermilk. Shade with Pebble. භ Drybrush and float highlight with Warm White. භ Deepen shading with Espresso. භ Line the lettering and stitching with Lamp Black.

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Vines: භ Line with Espresso tipped in Lamp Black. භ Tap in the leaves with the 5/0 liner loaded with Holly Green tipped in Green Tree. Dot with Sunny Day. Finishing: භ Outline as desired with Lamp Black. භ Varnish with DecoArt Media Ultra Matte Varnish.

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Vine and berry line drawing from right side of design.

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