Pixelated Palette January 2021 Issue by Pixelated Palette

January 2021 Elisabetta de Maria, CDA

The Beauty of the Emperor Penguin

Deb Mishima

Sharon Bond

Welcome to Our Farmhouse

Love Grows Here

67-76

39-45

4-9

Beth Wagner

Love Around the World

10-14

Kotami Tanaka

Cathy Nestroyl

Joyce Stegeman

47-51

78-85

Fabulous Fishie Friends

Deb Antonick

A Gift from Santa

Coffee Time Doodling

16-21

52-54

Marlene Kreutz, CDA

Susan Cochrane

Birdies and Blossoms

Modern Norwegian Rosemaling

Fantasy Butterfly

56-59

Happy New Year

22-29

Chris Haughey

Debra Welty, TDA

February Preview

31-38

60-66

Sleddin’ Season

Glittering Angel

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... 2021 is finally here, much to the delight of this editor, bringing with it a new year of Pixelated Palette. I am excited for the new year, a new start for all, with hopes of a much happier and healthier year to come. A couple of changes are on the horizon for our publication, which will enter its 7th year in the fall. First and foremost, we are changing the number of issues this year from 12 to 11. June’s issue will be dropped to make room for July’s much larger ornament issue! This year’s ornament issue will be bursting with ornament designs because, after all, ornaments are the most popular project for painters! The second change is the retirement of our beloved Executive Editor Susan Mynyk. Susan joined Pixelated Palette in early 2016 and helped make this magazine what it is today. I know I speak for many when I say that she will be missed, but we wish her the best as she spends her retirement painting and not reading about painting! We cannot wait to see what your flying brushes create my Friend! Pixelated Palette continues to be the launching pad for new artists, and we welcome many to our family this year! Stay tuned to our pages in coming months as we introduce you to new artists from around the world. Happy New Year Painting Friends! ~Lindsey

The Beauty of the Emperor Penguin By Elisabetta de Maria Dearest painting friends, the look of the penguins ... the colors of the sunset ... and the magic of the light ... creates the enchantment of this design .... I hope you like it! Happy Painting my friends! Surface x Sheet Pastelmat 48 x 64 dark grey Accessories x Color Photo x Graphite Paper x HB2 pencil x Eraser x Pencil Sharpener for Crayons x Paper Napkins x Blending Stump (Smudge)

Pastel Pencils: All are available at DickBlick.com Stabilo CarbOthello Pastel Pencils x 105 Ivory x 365 Violet Light x 385 Violet Deep x 625 Burnt Umber x 720 Cold Gray 1 x 726 Cold Gray 4 x 750 Neutral Black

Bruynzeel Pastel Pencils

46 Sanguine

Derwent Pastel Pencils

x x

P150 Flesh P380 Kingfisher Blue

Faber Pitt Pastel

F175 Dark Sepia

x x x x x x x

530 Gold Cadmium Yellow 662 Cobalt Blue 10% 664 Cobalt Blue 732 Brown Olive 10 808 French Gray 820 Golden Bismuth Yellow 901 Chinese White

Caran d’ache Pastel Pencils

x x x x x x x x

009 Black 042 Flesh 044 Terracotta 046 Cassel Earth 052 Saffron 064 Medium Russet 070 Scarlet 180 Malachite Green

Blockx Pastels

174 Mars Yellow

Sennelier Pastel a l’écu x 612 Cadmium Yellow Deep

Soft Pastel Rembrandt

x x x x x

201.5 Light Yellow 202.5 Deep Yellow 202.9 Deep Yellow 339.7 Light Oxide Red 522.10 Blue Turquoise

Tips For each job always start on the left side and continue to the right: (left-handed people will work the opposite). This is to avoid dirtying the work with the hand. In any case, use paper towels to protect and avoid smudging or removal of color with your hand. Always follow the direction of the hair. Use fingers to blend colors. Always have sharp pencils. Let us Begin After placing the photo on the pastelmat, place the sheet of graphite paper in the middle, graphite side down. With a pencil or stylus trace over all the guidelines, contours and details. Now arrange the colored photo next to your sheet for easy reference.

Sky Start painting the sky from above with Rembrandt 522.10 Blue Turquoise and descend with 202.9 Deep Yellow, Blockx 174 Mars Yellow, Sennelier 612 Cadmium Yellow Deep and Rembrandt 202.5 Deep Yellow. Blend with your fingers horizontally. Where necessary, pass over Rembrandt 339.7 Light Oxide Red and light with 201.5 Light Yellow. Blend with your fingers. Now, in the lower part of the sky, work with Caran D’ache 530 Gold Cadmium Yellow and go over it again with 044 Terracotta, Carbothello 365 Violet Light and Caran D’ache 664 Cobalt Blue. Illuminate with Caran D’ache 052 Saffron and 820 Golden Bismuth Yellow and give a touch of Carbothello 385 Violet Deep. Paint the seagull with Caran D’ache 009 Black. Going down, continue working with these colors and blend with Carbothello 365 Violet Light and 385 Violet Deep. Land Paint the cliff in the background with Carbothello 750 Neutral Black, Caran D’ache 180 Malachite Green, 662 Cobalt Blue 10% and reinforce with 009 Black. Sea Paint the light part of the waves in the background with Caran D’ache 662 Cobalt Blue 10%. Paint the dark part of the waves with Caran D’ache 180 Malachite Green and 664 Cobalt Blue. Illuminate with Caran D’ache 901 Chinese White. Continue to paint the sea with Caran D’ache 180 Malachite Green, illuminate with 662 Cobalt Blue 10% and 664 Cobalt Blue. Going down, paint the water with Caran D’ache 732 Brown Olive 10, Carbothello 105 Ivory and Caran D’ache 808 French Gray. Continue to paint the sea with Caran D’ache 664 Cobalt Blue, 662 Cobalt Blue 10% and 180 Malachite Green. Paint the rocks with Carbothello 750 Neutral Black. Following the photo, continue working with Carbothello 726 Cold Gray 4, Caran D’ache 042 Flesh, Carbothello 365 Violet Light, Caran D’ache 044 Terracotta, 530 Gold Cadmium Yellow, 820 Golden Bismuth Yellow, 052 Saffron, 064 Medium Russet, Carbothello 105 Ivory, 385 Violet Deep and 625 Burnt Umber.

Paint the lines with Caran D’ache 064 Medium Russet and 046 Cassel Earth. Penguins Start painting the penguins starting from the head with Carbothello 750 Neutral Black and Caran D’ache 180 Malachite Green. Paint the beak with Bruynzel 46 Sanguine and light with Caran D’ache 052 Saffron. Working with Caran D’ache 820 Golden Bismuth Yellow and 064 Medium Russet. Paint the tip of the beak with Bruynzell 46 Sanguine and Caran D’ache 070 Scarlet. Paint the part behind the head with Bruynzel 46 Sanguine and illuminate with Caran D’ache 052 Saffron. Working with Caran D’ache 820 Golden Bismuth Yellow and 064 Medium Russet. Paint the neck with Caran D’ache 180 Malachite Green. Darken with Carbothello 750 Neutral Black and lighten with Caran D’ache 662 Cobalt Blue 10%. Paint the chest with Bruynzel 46 Sanguine and illuminate with Caran D’ache 052 Saffron. Deglaze with Caran D’ache 530 Gold Cadmium Yellow, 820 Golden Bismuth Yellow and continue with 901 Chinese White. Paint the wings with Carbothello 750 Neutral Black, Caran D’ache 180 Malachite Green, 662 Cobalt Blue 10%, 664 Cobalt Blue, P380. Paint the belly with Caran D’ache 901 Chinese White and shade with Carbothello 720 Cold Gray 1 and 726 Cold Gray 4. Paint the legs with Carbothello 750 Neutral Black. Paint the shadow of the penguins in the water with Carbothello 750 Neutral Black, Caran D’ache 180 Malachite Green, 662 Cobalt Blue 10%, 664 Cobalt Blue, P380 Kingfisher Blue. Reinforce with Caran D’ache 009 Black.

To protect your work, place it in a frame with glass. Have fun! Elisabetta

Line drawing- Reduce or Enlarge to fit desired surface.

Love Around the World Original Design by Beth Wagner Website: www.designsatbethwagner.com Email: bethwagnerdesigns@yahoo.com When thinking of Valentine’s Day, what is the notion that immediately comes to mind? Well, I think of Hearts and I Love You. I thought it would be lovely to deliver that message on in languages from around the world. So, along with some whimsical hearts, I created Love Around the World. 10

Surface: 14” x 18” Canvas Project Supplies: x Large Heart Stencil x Small Heart Stencil-approximately 1” in diameter x Texture Paste x Ruler x DecoArt Liquid Glass-optional Paints: DecoArt Americana Acrylics x Bahama Blue x Burnt Umber x Buttermilk x Cadmium Orange x Cadmium Yellow x Celery Green x Citron Green

x x x x x x

Lamp Black Plantation Pine Snow White Tangerine True Red Winter Blue

Mediums: x Gesso by Deco Art x Semi-Gloss Varnish by DecoArt or luster of your choice Brushes x Flats #2, 4, 10, 12 series by Scharff x Dresden Liner #1 x Round brush #5 x Stencil Brush Preparation: Enlarge pattern to fit 14” x 18” Seal the canvas with gesso Tips: I like to work “wet on wet” for a softer, more “painterly” look. I often blend one color into the next to get a third blend of the two. Painting Instructions: Background-Table: To paint the table the vase is sitting on, draw a horizontal line 3 ½” from the bottom. Paint below the line in Burnt Umber. Add texture paste randomly in horizontal strokes. Let dry. Drybrush Raw Sienna over the texture paste allowing some of the Burnt Umber to show through.

Background-Wall: To paint the wall area, base above the line with Buttermilk. Divide the wall vertically into five 2 ½” sections. Use a pencil and ruler to lightly draw these vertical lines. Working from left to right, paint the panels in a different color. Use Cadmium Yellow, Bahama Blue, Tangerine, Celery Green, and Cadmium Orange in that order. Using the liner brush and Burnt Umber, paint in the dividing lines. Using both the chisel and flat of the #12 brush, randomly wash Raw Sienna over the panels to give a “wood” look. Refer to the photo. Draw and paint in the horizontal plank lines on the table with Lamp Black. See photo. Let dry. Transfer the pattern. Use as few lines as you absolutely need. Vase: Base the vase in Bahama Blue. Shade with a mix of Plantation Pine and Bahama Blue. Daisies and Daisy Buds: Use #10 flat brush to paint the daisy petals to give the design a looser look. For a more structured look, use a filbert. Paint the daisies and buds in Snow White. Shade petals here and there with Winter Blue and more toward the center of the flower. See photo. Using the tip of the #5 round brush, stipple the centers with Cadmium Yellow, Cadmium Orange, and Burnt Umber. Refer to photo. Filler Flowers or Baby’s Breath: Using the #5 round brush, alternate using Snow White and Winter Blue. Work from the wider areas to the tips of the flower, being sure to create a graceful arch. Use these flowers to fill in areas where needed. Refer to photo or line drawing for placement. Red Hearts: Using the stencil brush, stencil the hearts in random places in the bouquet. Refer to photo for placement. Leaves: Using a brush mix of Citron Green and Plantation Pine on 12 flat, paint leaves and add stems where necessary. Lettering: Using the #4 flat, letter the word “Love” in Snow White. Use both the flat and chisel to create graceful lettering. Do the same for all the other words, this time using the #2 flat brush. Of course, you may change or add another language if you would like.

Finishing: Following the manufacturer’s instructions, varnish the design. I like semi-gloss, but certainly use the luster you prefer. Let the piece dry thoroughly. Optional: Following the manufacturer’s instructions, add random dots of Liquid Glass to create fun, shiny looks to the hearts. Totally unnecessary, but so much fun. I love the shiny hearts. HAVE FUN! Make this project YOUR artwork.

15 10

tanaka-k@mx5.canvas.ne.jp

In my imagination, it is very early morning, even before dawn.

We find Santa picking

heart seedlingsࠋSanta gives one of them to each of us. We take care of theses seedlings, helping them to become bigger and brighter. And then, we share these gifts making a very nice Christmas gift of love 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 | White Graphite | #400,600 sandpaper Paints: JoSonja’s Artist Colors | Aqua | Black | Burnt Umber

| Raw Sienna | Red Earth | Sapphire

| | | | | |

Cadmium Yellow Light Gold Oxide Green Light Indian Red Oxide Napthol Red Light Pine Green

Storm Blue Teal Green Turner’s Yellow Vermillion Warm White Yellow Oxide

Tips and Techniques: Use retarder when highlighting and shading. Evenly apply a thin coat of retarder onto the surface. Dress brush with a little bit of retarder and load paint. Place color on darkest part and fade it away. Do the same for highlighting. Applying background color mixed with Clear Glazing Medium (1:1),seals wood and basecoat in one step. Apply additional basecoat without Clear Glazing Medium. Painting Instructions: Background: 1 inch Flat Brush Base: dark green mix (Pine Green+Black,2:1)with same amount of Clear Glazing Medium. Dry well. Transfer the pattern with white transfer paper. 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. Santa’s face: #4,6 Filbert Base: Gold Oxide +Warm White (1:3), Highlight with base color+ Warm White (1:1) Shade with Indian Red Oxide. Blush on his cheeks is Napthol Red Light.+Warm White(1:1) The inside of his mouth is water thinned 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. Vest, Pants, Hat and Hearts: #4,6 Filbert Base in Red Earth. Highlight with Napthol Red Light +Warm White +Cadmium Yellow Light (1:1:1) For further highlight add Cadmium Yellow Light, Warm White. This highlight needs to be an orangey/light red, not pink. Shade with Indian Red Oxide

Shirts and Long Socks: #4,6 Filbert Basecoat: Raw Sienna. 1st highlight: Yellow Oxide + Warm White (2:1) 2nd highlight: Turner’s Yellow + Cadmium Yellow Light +Warm White (1:1:1).

Buttons: Red Earth dots, shade with Burnt Umber. Belt, Vest Trim, Hat Ribbon, Hearts and Stems: #4 Filbert, Liner Basecoat: Pine Green. Highlight: Pine Green + Green Light +Cadmium Yellow Light +Warm White (1:1:1:1) Shade: Teal Green. Boots, Gloves: #4,6 filbert Base: Sapphire Highlight:

Sapphire +Aqua +Warm White (1:1:1).

Shade: Storm Blue Beard, Moustache, Hair: #6 Filbert,#2,3 Round Brush, Liner Base dark grey (Black+ Warm White,1:1). Curly strokes in with light grey. Add Warm White to the dark grey base color. Create light grey strokes in several layers. Finish with Warm White fine lines. Rabbits:#4 Filbert, Liner Base: Raw Sienna. Highlight: Warm White + a touch of Yellow Oxide. Shade: Gold Oxide + Burnt Umber(touch). Nose and Lips: Napthol Red Light+ Warm White(1:1) Inside of the mouth: Indian Red Oxide Blush on the muzzle: Vermillion +Warm White (1:1) Eyes: Black. Clouds:#6 Filbert Create with water thinned Sapphire, here and there. Grass:#6 Filbert, Fan Brush Base: Pine Green Highlight: Pine Green + Green Light +Warm White (1:1:1). To create the highlights on the ground, load the highlight color on the edge of the fan brush, press very lightly on the upper part of the ground following the curve. Continue next row leaving a small amount of space between rows. Continue the same technique all the way down to the ground. If the grass behind Santa appears too bright, lightly wash with the background color. Dry well and erase tracing lines. Apply one coat of Clear Glazing Medium and let dry.

Glazing:#6 Filbert Apply retarder thinned Cadmium Yellow Light on the lightest area of beard, moustache, hair. When completely dry, following manufacturer’s instructions, apply 2 coats of Satin Varnish Done!! Thank you for painting Santa with me. Happy painting!

Enlarge or reduce, as necessary.

Birdies and Blossoms By Marlene Kreutz CDA www.marlenekreutz.com mfolkart@marlenekreutz.com These little birdies remind me of the joy of spring. I enjoy doing inking designs with pencil shading and find that adding color pencil is a fun and easy way to bring out the beauty of the finely detailed design.

Surface x 10” Plaque Item #31-L155 available from Cupboard Distributing, www.cdwood.com x Bristol Vellum Paper by Stratmore Project Supplies x Drawing Pencils 4H and 2B by General Pencils x Pigma Mircon Pens by Sakura .005 and .01 (black) x Gelly Roll Pen by Sakura (white) x 1/4” Blending Stump x Scissors x Stylus x Pencil sharpener x Ruler x Factis White Eraser x Kneaded Eraser x Faber-Castell Perfection Pencil Eraser Prismacolor Pencils x PC912 Apple Green x PC908 Dark Green x PC915 Lemon Yellow x PC1034 Goldenrod x PC929 Rose x PC925 Crimson Lake x PC938 White x PC 107 Colorless Blender Paint: DecoArt Americana Acrylics x Bubblegum Pink Mediums x DecoArt Multi-Purpose Sealer x DecoArt Decou-Page Matte x DecoArt Dura Clear Ultra Matte Varnish x Spray Varnish, Matte 156-0519 available from Viking Woodcrafts Brushes x Scharff Golden Taklon Flat series 140 #12 Tips Complete all the inking and then proceed to the colored pencil. Make sure all pencil tracing or guidelines are erased, they will mix with the color pencils and create a dirty color. Leave all the pencil shading until last.

Use the .005 Pigma Micron pen for most of the detail on this design. Switch to the .01 pen for bolder lines or to block in solid areas. Before adding the ink detail, use the 4H pencil to give yourself detail or guidelines. This is a soft lead and these lines can be easily erased after inking. When inking, the white Gelly Roll pen works great to correct small mistakes or to add a white dot in a black inked area. With time your blending stump will get dirty; it can be cleaned with sandpaper or a sanding block. A white eraser works for erasing large areas without damaging the paper. A kneaded eraser can be molded to a point and used to remove shading for a highlight area. The Faber-Castell Perfection pencil eraser may be sharpened with a pencil sharpener to work in small, tight areas. Preparation Seal the plaque and lightly sand. Basecoat the back and ½” border around the front with Bubblegum Pink. Varnish the plaque with several coats of matte brush on varnish, I used matte varnish because I wanted the plaque to be matte like the paper. Trace background shape on Bristol paper and cut out. Tracing Instructions Trace the pattern on to a vellum tracing paper. The best way to transfer the pattern for inking is to scribble on the back of this line drawing with a 4H pencil and then position on the Bristol paper and trace on with a stylus. This can be erased later without damaging the ink drawing. Graphite isn’t recommended it can be hard to erase. With a 4H pencil, draw on the ¼ border around the edge of the design. With a UXOHU PHDVXUH RII WKH ƙ´ JULG DQG ZLWK the 4H pencil trace on the guidelines stopping before the design, filling in between the bird, branches etc. Ink Detail Use the .005 pen to etch in the top of the head with small feather like strokes. Allow longer ones to spill outside of the line drawing, with fewer strokes in the center of the head, and concentrate strokes in the dark areas.

Ink the feather details on the chickadee’s wing and tail; allowing for white areas on the wing and tail. Block in the pupil of the eyes and add the highlights with the white Gelly Roll pen. Outline and ink the remainder of the detail on the branch and blossoms. Ink the ¼” border around the edge of the design and grid with the .01 pen. To achieve straight ink lines, draw next to the ruler. Erase any pencil lines that maybe showing. Color Pencil Detail It’s important to stay within the inked outline. Apply the colors with a circular motion, starting with the lightest value, proceeding to the middle value color, overlapping each color to get a gradient flow. Repeat with the darkest value of color using heavier pressure. Blend the layers with the colorless blender pencil to push the colors into the texture of the paper so no background white shows through. With .005 Micron pen add veins to the leaves. Beak and Flower Centers Lightest value — White Medium value — Lemon Yellow Darkest value — Goldenrod Leaves and Vine Lightest value — Lemon Yellow Medium value — Apple Green Darkest value — Dark Green Blossoms Lightest value — White Medium value — Rose Darkest value — Crimson Lake

Shading Detail Step #1 — holding your pencil in the same manner as you would for writing; lightly producing circular strokes using a 4H pencil. Step #2 — with a blending stump, blend out these strokes to get a smooth look. The 4H is a soft lead pencil that can easily be blended so no pencil strokes show. Step #3 — in the final stage, reinforce the shading in the deepest shadow areas with a 2B pencil and again blend so no pencil strokes show.

Birds Shade the front of the head next to the beak, under the beak and the back of the head, follow shading instructions above. Shade the body in the deepest shadow areas; under the white patch, to the bottom of the breast. Reinforce the shading heavily under the wing at the rump. Branch Shade the branch on the bottom and reinforce heavily under the birds. Background Around Birds and Flowers Shade lightly between the birds, flowers and under the branch.

Shade the 1/4” border around the design heavily allowing some of it to spill into the grid background. Finishing Add Bubblegum Pink dots to the background where the lines intersect. Spray the paper design with matte varnish. Decou-Page the inked piece on to the plaque as follows: With a large enough brush to apply the decoupage quickly, apply a coat of decoupage unto the plaque; spreading it out evenly as not to have thick puddles or too thin that it is drying immediately. Next quickly apply an even coat to the back of the paper, again as not to have thick puddles of the decou-page. Too much medium on the back creates problems smoothing out the bubbles under the paper. Start at one edge and position the paper accurately, holding up the opposite side with one hand and begin to smooth out the air bubbles as you work on across. Then lay a piece of paper towel over the whole piece and roll with a brayer roll. If any of the outer edges aren’t sealed, apply a little more decoupage under them with a small brush. Wipe any that seeps out the edges immediately with a damp cloth. A note of encouragement If you have never done any inking, don’t let it scare you. I tell my students if you can write your name you can do this. My hope is with time you will discover the soothing and relaxing nature of this technique. Hope you enjoy this technique! ~Marlene

Sleddin’ Season By Chris Haughey chris@cdwood.com

Sledding down snow-covered hills is “snow” much fun. When I was a little girl, a neighbor would patiently wait with his tractor at the bottom and haul all of up the steep hill for another thrilling slide! 31

All supplies available from Cupboard Distributing www.cdwood.com Materials: x Snow Globe Plaque 11-1/2” x 8-1/4” 31-L657 x Sleddin’ Stencil 09-CH2107 *Includes Nordic Design, Label, Lettering x Silver Wire 16 Gauge 11-72708 Paint: DecoArt Americana Acrylics x Antique Maroon 13-DA160 x Antique White 13-DA058 x Deep Burgundy 13-DA128 x Lamp Black 13-DA067 x Light Cinnamon 13-DA114 x Moody Blue 13-DA389 x Navy Blue 13-DA035 x Payne’s Grey 13-DA167 x Persimmon 13-DA293 x Plantation Pine 13-DA113 x Slate Grey 13-DA068 x Snow White 13-DA01 x Terra Coral 13-DA286 x Whispering Turquoise 13-DA305 Brushes x Chris’s Awesome 1/8” Angle 03-925-1/8 x Chris’s Epic 18/0 Script Liner 03-924-18/0 x Chris’s Radical #5 Round 03-927-5 x Chris’s Spectacular #3, #4 Stencil Brush 03-926-3, -4 x Angle ¼, ½, ¾ 03-1345-1/4, -1/2, -3/4 x Fan Brush #2 03-R78FB-2 x Filbert #8 03-1387-8 x Flat Shader #6 03-1370-6 x Oval Wash ¾” 03-1318-¾ DecoArt Mediums: x Matte Spray Sealer/Finisher 13-41370 x Multi-Purpose Sealer 13-07930 x Ultra-Matte Varnish 13-DMM24

Supplies: x Canary Tracing Paper 28-03838 x Double-Ended Stylus 03-11183 x Graphite Transfer Paper 28-31011 x Mono Zero Eraser 18-57305 x Painter’s Tape 16-03680 Preparation: Seal surface with Multi-Purpose Sealer and lightly sand. Basecoat surface Whispering Turquoise using oval wash. Trace pattern onto tracing paper. After the background has been created, lightly transfer the main pattern lines using the transfer paper and stylus. Transfer details as needed. Painting Instructions Background: Load oval wash with Moody Blue. Starting around the outer edge of the globe, use a slip slap motion to blend softly into the center area. The outer edges will be stronger and the middle lighter. Repeat with Navy Blue to darken around outer edges. Load toe of ¾ angle with Payne’s Grey to deepen around outer edges again.

Pine Trees: The fan brush is used to create the pine trees. Load fan brush with thinned Plantation Pine to tap center trunk. Turn brush horizontal to start tapping branches. Starting at the top, stay on the corner of the brush to tap shorter branches. As the branches become longer towards the bottom, use more of the brush. Keep first layer sparse to build shape of each tree. Repeat to create bulk. Load fan with thinned Snow White to lay snow on tops of branches. Apply snow naturally to indicate branch layers. Snow will be applied in several applications to create depth. Each layer of snow will become brighter, also creating natural shading. When dry, load toe of ½ angle with thinned (very thin) Payne’s Grey to float transparent shadows along the bottom of each snow layer, between tree overlaps, and to divide and define snow. Add more Snow White with Radical Round to brighten if needed. To apply snow on ground, load toe of ½ angle with Payne’s Grey to float horizontal “shadows” along ground. Load same brush with Snow White to highlight top of snow drifts, allowing some of the shadowing to be visible. 33

More snow will be added after the snowman and sled have been painted.

Snowman: With filbert, basecoat snowman Whispering Turquoise. Load toe of ½ angle with Snow White to float over middle, top, and left side of face, arms, and body. Repeat to desired brightness, allowing shadow areas to retain hints of Whispering Turquoise. This may take several applications to achieve. Load ½ angle with Moody Blue to shade below hat, along right side and bottom of face, arms, body, and below mittens and scarf. Load ¼ angle with thinned Payne’s Grey to deepen shading below hat, right side of face, bottom of arms, below scarf, and below mitten.

Face: Load Radical Round with Persimmon to paint nose. With Awesome Angle, shade Antique Maroon along bottom side. Highlight top side with thinned Snow White. Use stylus to dip dot Lamp Black pear-shaped eyes. Float thinned Snow White along bottom and up right side with Awesome Angle. Add a tiny Snow White dip dot in the top left of each eye. Load Epic Script Liner with thinned Lamp Black to line eyebrows, eyelashes, and mouth. With Awesome Angle, float thinned Moody Blue below eyes, nose, and mouth. To create the cheeks, load #3 Spectacular Stencil with Deep Burgundy. Wipe excess off on a paper towel and gently drybrush cheeks to desired intensity. Add three Snow White dip dots on each cheek.

Scarf and Mittens With filbert basecoat scarf and mittens Antique White. Load Epic Script Liner with Deep Burgundy to line stripes on scarf, mittens, and cuffs. Add Deep Burgundy dip dots on mittens. With Epic Script Liner and Plantation Pine, paint pine trees on scarf tails. Add Light Cinnamon trunks. After sled is painted, add Antique White fringe on right scarf tail and Light Cinnamon fringe on left scarf tail. Load ¼ angle with Light Cinnamon to shade below and along right side of scarf, tails, mittens, and cuffs. Highlight top and left of each with Snow White.

Sled Using flat, basecoat sled Terra Coral and topcoat with Deep Burgundy. Load toe of Radical Round with thinned Antique Maroon to drag vertical graining on slats and horizontally along top section. Repeat with thinned Snow White. Paint sled runners Slate Grey with Radical round. Load Awesome Angle with Payne’s Grey to shade both sides, darker on the right. Load Radical Round with Snow White to add highlights. Load Radical Round with Snow White to pile snow on top edge of sled and slats. Shade Antique Maroon below snow, along bottom and right side of all sections using ¼ angle. With same brush, deepen shading with thinned Payne’s Grey.

Snow: Load toe of ½ angle with Payne’s Grey to float horizontal “shadows” along ground. Load same brush with Snow White to highlight top of snow drifts, allowing some of the shadowing to be visible. Repeat to brighten. Load toe of ½ angle with Payne’s Grey to shade around entire globe including snow area. Load splatter brush with thinned Snow White to splatter snow. More around the edges and minimal, especially in the face area.

Base: With oval wash, basecoat entire base Moody Blue. Position sweater stencil so flower design fits on top rim and secure with painter’s tape. Load #4 Spectacular Stencil with Whispering Turquoise. Wipe brush over a paper towel to remove excess and gently drybrush design. This should be a very soft and quiet design. Repeat for bottom rim.

Reposition stencil to fit middle section. Load stencil brush with Navy Blue. Following stenciling instructions, stencil middle design. Load ¾ angle with Navy Blue to shade along bottom and right side of rounded rim sections; top, right side, and bottom of middle section. With same brush and Payne’s Grey, deepen bottom and right sides. Load 3 Spectacular Stencil brush with Snow White to drybrush highlights horizontally across top and bottom rims, brighter on the left side. Label: Position oval label stencil and secure with painter’s tape. Load Spectacular Stencil brush with Antique White, wipe over a paper towel to remove excess and stencil two light coats. Load Spectacular Stencil brush with Snow White to drybrush along top and left edge of label, blending softly into the middle. Load same brush with Light Cinnamon to softly drybrush along the bottom and right edge. Load toe of ½ angle with Light Cinnamon to float a sharp edge along the top and left of the label. With Epic Script Liner and Snow White, line top and left side of label to add dimension. Shade Light Cinnamon around outer edge of nailheads using Awesome Angle. With Snow White and Epic Script Liner, paint a tiny comma stroke on top left of each nailhead. Using ½ angle, shade Payne’s Grey on background around label. To create the letters, position stencil and secure with painter’s tape. Following stenciling instructions, stencil Lamp Black letters using Spectacular Stencil brush. To make the letters look hand painted instead of stenciled, load Epic Script Liner with thinned Lamp Black to connect the letters, eliminating the bridges. Finishing: Remove all tracing lines. Spray seal with several coats of matte spray varnish, allowing appropriate drying time between coats. Attach silver wire for hanging. May also use decorative ribbon or cording. Tip: Always use light washes of paint, more can easily be added. The layers of paint will achieve impressive results. A little bit of paint will make a big difference!

Welcome to Our Farmhouse By Deb Mishima This whimsical design has the cutest lamb, cow and pig welcoming you home. The little cow and pig decorating the smaller plaque are cut out of cardboard tags and painted. So easy to do and adds so much interest to the piece.

Surface: Deco Arch 2 Piece Kit #31-L637, Cupboard Distributing www.cdwood.com Paint: DecoArt Americana Acrylics x Antique White x Bleached Sand x Celery Green x Fawn x Hauser Medium Green x Heritage Brick x Lamp Black x Light Buttermilk x Mocha x Snow White x Sugared Peach x Warm White x Wild Berry Mediums: DecoArt x x x x

Chalky Finish Revive for plaque (Americana Light Sage or Soft Sage) Chalky Finish Timeless for separate cow and pig pieces. Matte Medium All Purpose Sealer

Brushes: Jo Sonja x x x x x x

¼” ½”, ¾” Sure Touch Oval Wash #1318 3/8”, ½” Sure Touch Angle #1345 18/0 Sure Touch Liner #4015 Assorted Sure Touch White Mops #1317 Assorted Sure Touch Oval Drybrushes #2010 2” Short Bristled White Brush for drybrushing

Supplies x Buffalo Plaid Stencil #09-19193a, available from Cupboard Distributing www.cdwood.com x Welcome to our Farmhouse Stencil #09-19020, available from Cupboard Distributing www.cdwood.com x Transfer Paper x Painters Tape x Ball Stylus x Glue x Rectangular 3” Craft Paper Tags X 2 (cow and pig cutouts – you can find them in packs at your local Dollar Store) x Jute Twine x Liberty Bells 2” x 2 (optional)

Painting Instructions Background Basecoat both surfaces with Chalky Finish Revive. If you do not have this you can use Light Sage or Soft Sage, making sure if you are using a wood surface (not mdf) that you seal the surfaces first. Drybrush softly with Warm White. Using the Buffalo Plaid Stencil and Bleached Sand stencil covering both surfaces. On the larger surface: To create the rectangle box, measure 2 7/8” up from the bottom, 3/4” in from each side, and 5/8” up from the bottom. Tape this section off using the marked lines as your guide. Basecoat with a couple of coats of Light Buttermilk. On the smaller surface: To create the rectangle, measure 1/8” up from the bottom, 1/8” down from the top, and 7/8” in from either side. Tape this section off using the marked lines as your guide. Basecoat with a couple of coats of Light Buttermilk. Trace on the pattern. Shade Celery Green around the edges of the surfaces, around the outside edge of the rectangular inserts, and around the main pattern. Shade Antique White around the inside edge of both rectangular inserts. Drybrush with Warm White 2” drybrush. Deepen the shading with Fawn. Sheep, Cow and Pig Basecoat all with Light Buttermilk. Trace on the details. Drybrush the cheeks with Mocha using 10 drybrush. Deepen them very softly with Wild Berry. Very softly drybrush the eye areas with Warm White to soften. Basecoat the eyes with Lamp Black. Line and dot them with Snow White. Line the eyelashes with Lamp Black. Sheep Shade Antique White around the left ear, around the inner ears; around the eyes (avoid shading under the eyes); below the top and bottom of the nose area; along the sides into the cheek area; and along the top of the mouth. Deepen the shading with Fawn. Highlight Warm White along the bottom of both ears; along the outer ear area where it touches the inner ears; under the eyes; above the lower part of the nose and along the area above the mouth.

Drybrush Warm White in the middle of the inner ears; between the eyes and in the middle of the nose. Darken some of the shaded areas with a light float Mocha. Create freckles with Fawn. Paint tongue in the mouth area with Mocha. Float Wild Berry softly over top. Stipple Snow White to make the fluff on top of his head ¾” domed dry stipple brush. Line hair on forehead with Snow White and bow Lamp Black. Cow Shade Antique White around the inner ear, around the bow, around the eyes (avoid under the eyes) around the outside of the nose, around the inside of the nose, around the outside of the nostrils, around the inside of the nostrils, and under the nose where it touches the mouth. Highlight Warm White around the outer ear area; where the outer ear touches the inner ear, under the eyes, along the top and bottom of the inside of the nose, along the right side of the left nostril and the left side of the right nostril and along the bottom of the mouth. Deepen the shading here and there with Fawn. Drybrush Warm White in the middle of the ears; between the eyes; in the middle of the nostrils and the nose. Basecoat mouth area with Mocha in the mouth area (see pic). Shade along the top of the mouth lightly with Wild Berry. Basecoat the black spots with Lamp Black and very softly drybrush with Warm White just to soften. Line the hair with Lamp Black. Dot the freckles with Fawn. Bow Basecoat with Lamp Black. Very softly drybrush with Warm White to soften. Load liner with thinned Snow White to line gathers, cross hatching, and outlines. Dot with random size Snow White dip dots. Line the ribbon with Lamp Black.

Pig Basecoat the snout with Mocha. Shade Fawn around the inner nostrils, top, and left side of the snout. Highlight softly with Wild Berry around the top, right side, and bottom of the snout. Shade Antique White around the inner ear, where the ear touches the headband and face, around the eyes (avoiding under the eyes), around snout under the mouth, and around the cheek area. Highlight Warm White around the edges of the ear, around the ear where it touches the inner ear, below the eyes shaping the cheek area, and along the chin. Very softly add some Mocha highlights here and there in shaded areas. Drybrush Warm White in the middle of the ears; between the eyes and in the middle of the chin area. Add a few wrinkle lines above the nose using Fawn using 18/0 liner. Paint mouth using Mocha.3 Line the hair on the forehead Snow White. Add wisps of hair on his ears, cheeks, either side of his snout, under his mouth and along his chin with Snow White. Head Band Basecoat Sugared Peach. Shade Wild Berry around the edges of the ends, around the knot; where the ends touch the head band, along the sides, and bottom always walking the color inwards. Highlight Warm White around the inner knot edge and along the top of the headband. Drybrush Warm White in the middle of the tail ends, the middle of the knot and along the middle of the headband. Line the gathered folds and ribbon with Lamp Black. Dot with random size Lamp Black and Snow White dip dots. The little cow and sheep cutouts are painted the same as their larger counterparts, minus the bow and headband. Finishing Touches Line all the stitching with Lamp Black. Add small border around the two rectangular inserts 1/16” wide with Lamp Black and ¼” oval wash. 43

Glue the cow and sheep cutouts onto the smaller rectangular surface. Lightly spray several coats of All Purpose Sealer. Join the two surfaces with jute tying them into a bow. Tie on the jute to form the hanger. If desired add some bells at the top.

Original Design by Cathy Nestroyl pcnestroyl@hotmail.com

Surface 12” x 16” black gesso primed canvas panel. (Michaels or JoAnns) Supplies: Usual Acrylic Tools Grey transfer paper White transfer paper Sharpie pen – size 0.8 mm Micron pen – 0.20 mm Tracing paper Pencil Ball stylus Combo circle template – size 1/6” thru 2 1/4” Manufacturer: Staedtler High Gloss Spray Varnish of Choice Paints: DecoArt Americana Acrylics Baby Blue Black Blue Harbor Burnt Sienna Burnt Umber Buttermilk Cadmium Yellow

6HD Breeze Honey Brown Melon Primary Blue Spiced Pumpkin Titanium (Snow) White True Red

Brushes: Royal Taklon ¼”, 1/8” angular Plaid #2, #6 flat Liner – any size that is comfortable for you Preparation: Trace pattern onto tracing paper. Transfer pattern onto canvas with either the grey transfer paper or white, depending on color of surface you are using. Special Instructions: The detail outlines will be added with the sharpie pen at the very end. The shading and highlighting must be complete, and the paint will need to be completely dry before the penwork is added. Seahorse Basecoat as follows: Buttermilk – face, stomach, large fin on back 6HD Breeze – scales on his back and tail Titanium white – eye Blue Harbor – iris of eye When paint is dry, lightly pencil in detail lines on the stomach and scales on back and tail. If you prefer, transfer details using tracing and graphite paper.

Highlight/Shade as follows: Shade each area of the stomach with Honey Brown; highlight with White. Shade each area of the scales on his back and tail with Blue Harbor; highlight with White. Shade face with Honey Brown; highlight top of his head and nose with White. Shade the large fin on his back with Honey Brown, highlight with White. Shade iris of his eye with Primary Blue, highlight with White. Float Melon on cheeks. Blue Fish (2 of them) Basecoat as follows: Buttermilk – head, body Baby Blue – Every other fin, iris of eye Blue Harbor – Every other fin True Red – Lips Titanium White – eye

Highlight/Shade as follows: Shade head with Honey Brown. Shade body with Blue Harbor. Float cheeks with Melon All fins are shaded with Primary Blue and highlighted with White. Highlight lips with Melon. Shade the iris of eye with Primary Blue, highlight with White. Clown Fish Basecoat as follows: Spiced Pumpkin – face, body, every other fin True Red – Every other fin Buttermilk – mouth, stripe on body White – eye Burnt Sienna – Iris of eye

Highlight/Shade as follows: Shade body, face with True Red. Shade all fins with Black, highlight with White. Shade eye with Burnt Umber, highlight with White. Shade white strip on his body with Honey Brown. Float Melon onto lips. Bubbles: Basecoat as follows: Blue Harbor – Large bubbles Buttermilk – Small bubbles inside large bubbles.

Highlight/Shade as follows: Shade all Blue Harbor bubbles Primary Blue, highlight with White. Shade inner bubbles with Blue Harbor, highlight with White. Finishing Touches: Use the ball stylus to add dots to the eyes and to the large fin on the seahorse’s back. Outline the entire design and do all details with the sharpie pen. Also create eyelashes with the micron pen. Follow manufacturer’s directions, spray lightly with high gloss varnish.

I hope you will enjoy painting my little group of fabulous fishie friends!

When I spent 3 months this past year at my Mom’s hospital bed side, I found a lot of peace in doodling while she slept. She actually quite enjoyed watching me. I would post these on Facebook and had a lot of requests for patterns. Here is one of my favorites … coffee. I hope you find this as relaxing as I do. Surface: 9 x 12 Mixed Media Paper (I used a Canson XL 90lb Mixed Media Journal), available at your local craft store. Supplies: Black Pigma Micron Pens Archival Ink in sizes 01, 03 and 05 Well-worn graphite paper or Saral wax free transfer paper. Mechanical Pencil with 0.5 HB lead Factis Black eraser Tips: x

There are a variety of pens available, but you will want to test them before you do a project.

Sharpie and Identi-pen will work fine but are not as fine for details and not as black.

Pens should be archival so no smearing when you are doodling. Faber Castell XS Pitt Pen is also a great pen to use but can be pricy.

Graphite paper has a wax coating that can cause the pens to skip or get a waxy build up. Graphite transfer paper is not east to remove to I recommend using an old and worn piece and press lightly to transfer the basic design. Saral transfer paper has no wax so is perfect for pen and ink projects and is easily removed.

No finishing or varnishing is required.

Instructions: Lightly transfer the basic pattern lines onto your paper, careful not to get the lines too dark. Ink the basic shape as per the pattern. I use the 03 as my main pen. The 01 for finer details and the 05 for heavier lines. You will find what you like best. Start adding the doodles, use what I have shared on the pattern and finished piece, or start adding your own. I have given you the starting points. Use the finished design as a guide. If you are hesitant to start with the pen, use the pencil to get started. Once you ink over the pencil lines (allow appropriate drying time), you can erase the pencil very easily. I do my line patterns in groups of 5 lines, then start again changing direction.

I like to fatten the lines here and there and I do that by adding a second imperfect line and filling it in. (It also fixes mistakes) Trust me, once you start, you can’t stop. Happy Doodling -

Fantasy Butterfly By Susan V. Cochrane KWWSV ZZZ HWV\ FRP FD VKRS VXVDQYFRFKUDQH Such a butterfly as this does not exist in nature, or does it? It’s a mystery. Hot pink and purple are just one of many combinations of color you could use for the wings. Create your own fantasy butterfly using your own favorite colors.

Surface x Tray, Napkin Press with insert, Item No. 20-11392, www.vikingwoodcrafts.com Project Supplies x Sandpaper (#220 Grit) x Standard Acrylic Painting Tools x Tack Cloth x White and Gray Graphite Paper Paints: DecoArt Americana Acrylics x Black Forest Green x Brilliant Purple x Hauser Light Green x Lamp Black x Navy Blue x Phthalo Blue x Vivid Violet DecoArt Americana Galaxy Glitter x Gold Shooting Star x Purple Eclipse Mediums: DecoArt Americana x Duraclear Varnish (Matte) x Multi-Purpose Sealer Brushes: Royal & Langnickel, Majestic Paintbrushes x ½” Angular Shader (Series R4160) x 2,4,6 Shaders (Series R4150) x 1” Glaze/Wash (Series 4700) Royal Brushes x ¼” Deerfoot Stippler (Series 660) Miscellaneous Project Supplies: x Eraser x Palette Paper (Waxed) x Paper Towels or Tissue x Stylus x Tracing Paper x Water Container (2), one for acrylics, one for metallic x Miracle Compressed Sponges (one cut to 1” x 1” approx.) www.dickblick.com General Instructions Erase transfer lines as you go. Use small amounts of paint. You can paint on the tray surface or the insert or both.

Painting Seal the inner square surface with the Multi-Purpose Sealer. Dry, lightly sand and tack. Base coat the surface with Hauser Light Green until solid. Transfer an outline for the wings and heart shaped body (no antennae). Apply one coat of Gold Shooting Star on the background but not on the wings. Spatter the background with Navy Blue. Transfer the individual segments in the wings and base coat them with Brilliant Purple. Sponge Navy Blue on each segment next to the body feathering out towards the middle area more or less. Float Pthalo Blue on each segment right next to the body. Transfer the line work pattern on the tip area of each segment and line with Lamp Black. Add the small dots as well. Float Vivid Violet on the tips of each component of the line work segment (see small xxxx on the pattern). Paint outer edge of wings (areas next to the segments), including the heart shaped body with Lamp Black. Apply Purple Eclipse at the base of each wing section next to the body. Stipple Hauser Light Green on the body keeping away from the edges. Stipple over with a bit of Black Forest Green. Dab the tails with Black Forest Green. Dab blooms with Vivid Violet using a stippler or the tip of a liner brush. Float Hauser Light Green leaves next to most ‘blooms’. Transfer and paint the antennae and any remaining line work with Lamp Black. Float Black Forest Green on the background around the outer edges and corners. Tray Frame and Handles (Optional) Base the frame and handles with Lamp Black. Mask off the corners of the frame if desired and then sponge Hauser Light Green on the remaining areas. Finishing Apply 2-3 coats of varnish allowing appropriate drying time between applications.

Glittering Angel Original Design by Debra L Welty, TDA JubileeJunction@gmail.com I photographed this particular variety of Angel Trumpet when I was in Canada several years ago. I am drawn to flowers that are delicate; that flow and curl, they make me think of faeries and magic! As you can see by the reference photo it was a totally different color scheme. I exercised a bit of artistic license and made my own! And, I added a bit of sparkle magic too!

Surface: x 12” x 12” Canvas - back stapled available at most craft stores, you can use any size you choose by adjusting the size of the pattern to fit. Project Supplies x Identi-pen Dual-point marking pen by Sakura; #21319-2002, Dickblick.com x Clear stamp; Dot Flourishes, #97634 Michaels Craft Store x Acrylic Block Stamp Handle – available at most craft stores x Odorless brush cleaner or Baby Oil x Palette Paper x Pencil x Paper Towels x Rhinestones; crystal in various sizes, available at most craft stores x StazOn Black Inkpad - available at most craft stores x Tacky Glue - available at most craft stores x Tracing Paper - available at most craft stores x Transfer Paper - Gray Erasable or make by coloring tracing paper with a pencil and wiping with a tissue Oil Paints: x Alizarin Crimson x Dioxazine Purple x Primary Magenta or Quinacridone Violet x Sap Green Mediums x Media Matte Medium; DecoArt.com Brushes x #4 flat classic series 100 by Scharff www.artbrush.com x 1” flat wash brush, synthetic, any brand

Tips and Techniques It is important that you understand the structure of the flower you are about to ink and paint. All petals are attached to the stem; they are coming out of the calyx at the top. Notice that all the bends, flips and folds point to this center. When I am inking or painting; I will occasionally hold my pen or brush just above the surface and move it towards that center to check that I am keeping the angle of my strokes correct. A reference photo of the original flower is included for you to study. Preparation I recommend using your finger to “trace” over the lines first. This flower has very crazy lines! Study the outline thoroughly and carefully before you trace onto tracing paper. It is important to familiarize yourself with every detail before tracing or the design will not make any sense to you when you try to paint it!

Tape the tracing to your surface at an angle with the stem coming out of the upper left corner and transfer it on with the transfer paper. Note; if you choose to use a surface other than a canvas, it must be a light value. You can paint wood with a light value of DecoArt Vintage Wash or make your own by mixing about 2/3 water to 1/3 paint. It should be the consistency of milk. Apply to the wood following the grain. Inking The inking process will take you about 75% of the overall time involved in this project. It is important that you relax, take your time and enjoy creating the dimension of this piece. Also, keep a paper towel under your hand to prevent the oil on your skin from getting on the surface. Outline the main lines of the design using the 1.0 mm nib of the Identi-pen. Pull your lines in a smooth fluid motion noticing where your stroke will travel before you touch the nib to the surface. You do not want to rest the nib on the surface, or it could create a spot. Do not ink any details Switch to the 0.04 mm nib of the Identi-pen and with a paper towel under your hands begin the detail inking. This inking step is much lighter than your previous outline. Follow the inking chart, start at the top of the design and work down. Hold the pen way back so that you can make light irregular strokes. To darken an area; apply multiple light strokes, not a couple of dark ones. It is important to have your strokes irregular, in their length as well as their thickness. Begin your strokes against a solid line and stroke away from that line, lifting as you pull the pen over the surface and as you approach the desired length of the stroke. Pay close attention to the direction of your strokes they will always aim towards the center and they will follow the shape or curve of the petal. Critiquing After you have inked the entire design, take a break; eat some chocolate, or go for a walk. When you come back study your work and ask yourself this question; does the top center dark area where the petals go into the calyx recede and pull your eye in? You may need to darken some of your shaded areas with more strokes to achieve the correct perspective. To make an edge or area come forward you will ink behind it with more strokes thus creating a darker shade. Next question: Is there a graceful flow to the outer edge and all of the bends and curves? If not, apply more strokes against the dark edge of the bend to “push“ it back a bit. Stamping You may want to press your choice of scroll design onto an acrylic block stamp handle for easier application. I usually just peel the stamp piece off the backing and lay it onto the stamp pad. I press all the edges with my fingers to be certain it is coated with ink and then lift it off the stamp pad. Lay it gently on the canvas in desired location and slide my fingers across the stamp applying some pressure. Carefully lift to prevent smearing. You should be able to stamp a couple of places before reloading with ink. You will notice I used all of them in my package. I wanted to create the sense of magic, fantasy, movement, freedom and fun. The Identi-pen dries immediately, some ink pens do not, I would wait several hours or overnight to be safe. I would recommend waiting on the stamp inking as well before proceeding. 62

Once you are satisfied with the inking and stamping and it has dried thoroughly; apply a layer of Media Matte Medium to the entire surface with the 1” wash brush. This must dry thoroughly before you can apply the paint. Media Matte Medium creates a protective barrier between layers. If you make a mistake, it is much easier to wipe off! In the case of painting with oils, they will glide across the surface. Painting I do not clean my brush until I am done painting; this technique requires a dry brush. Squirt out very, very tiny amounts of paint onto your palette. Touch the end of your brush into the very edge of the paint puddle, picking up a small amount of paint and working it into the bristles before proceeding. Squish paint from the brush onto the ink shaded area by applying slight pressure. Wipe the excess paint from your brush onto a paper towel and then gently “coax” or stretch the paint out. This is how you will create value changes; the heavier application of paint in the dark, or shade areas, then stretching the paint across the medium value areas and continuing to the light value areas. The white of the canvas will be your lightest or highlight value areas. Study the photos. Remember that you are adding a rouge of color. DO NOT apply too much paint. The application of paint should be so thin that if you touch the painted area you will not get any paint on your hand!

Begin painting at the top where the stem comes out of the corner of the canvas. Load your brush with Sap Green and apply this lightly on the stem, calyx and very lightly down onto the beginning of the flower. Notice the two other places with a touch of Sap Green on of the petals; apply it now. Apply very soft strokes of Sap Green on the stamped swirls at this time. Wipe the Sap Green from your brush and load it with Dioxazine Purple. Stroke on very light shading over the Sap Green where it is “behind” to create a dull darker green. Wipe the brush again to further remove the Sap Green. If you can still see a green cast on your paper towel, load the brush with Primary Magenta and work it into the bristles and wipe on the paper towel. Repeat this process until the Sap Green in neutralized and your bristles are red violet. 63

Remember how I said the paint is applied so thin that you will not get any on your hands if you touch it? Since that is true, you can apply each color to the entire flower without making a mess! To be safe keep a paper towel under your hand and try not to drag it around! Paint Primary Magenta on the ink-shaded areas as described above. You can paint the entire flower but be especially careful not to lose the white highlight of the background. Look carefully at the photos to notice the tints of Primary Magenta on the areas where you previously applied the Sap Green. Using a Primary Magenta brush that is basically out of paint, stroke on these tints. Apply tints of Primary Magenta randomly on the stamped swirls. Wipe the Primary Magenta from the brush and load it with Alizarin Crimson. Apply tints of Alizarin Crimson on the medium value areas of the flower and randomly on the swirls. Lastly, wipe the Alizarin Crimson from the brush and load with Dioxazine Purple. Apply Dioxazine Purple to the very deepest shaded places on the petals and randomly on some of the swirls. If you want to varnish your painting; follow the manufactures instructions and apply after the oil paint is thoroughly dry but before you glue on the rhinestones. Rhinestones Gluing rhinestones around the stamped swirls will add magic sparkle. Tacky glue works well, sets up quickly, and dries clear. My stamp had dots as well as swirls; I glued some rhinestones over the dots. I glued rhinestones at both the beginning and end of many of the swirls. I recommend laying them out and taking a photo with your phone so you can try different combinations and then choose the one you like the best.

This painting hangs in my kitchen where I can look at it when I am eating. I enjoy the sparkle and the movement that I see. I imagine faeries, or butterflies or dragonflies swirling around and leaving a glowing sparkling trail in the air. Have fun and may your days sparkle and glow with magic! 64

Glittering Angel Inking Chart

Line Drawing -Enlarge or reduce to fit desired surface

Love Grows Here! By Sharon Bond “Ahhhh LOVE! ᆌ It’s not just for Valentine’s Day, it’s Year Round!! I had a lot of fun with this project today! PLEASE do not be intimidated by the bit of “Zentangle” shown here in this design!! It’s really much simpler than it looks; there is not a lot of shading and just some drybrushing! This design mainly consist of base colors with some outlining! I hope you will give it a try!! As we enter Winter (after a tough year!), I was excited to play with these wonderful colors!”

Surface: භ 13 ½” Henry Vertical Plaque – Available from www.cdwood.com – Item # 31-L724

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 Flourish Border Stencil – Available from www.cdwood.com – Item # 09-19302 භ Ordinary Plastic Wrap – such as Saran Wrap or Glad Wrap භ Small Water Mister Bottle භ Double-tipped Ball Stylus (such as Item # 29-00585, available from www.cdwood.com) (Optional, but very helpful!) 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

Blue Harbor Boysenberry Pink Bright Orange Bubblegum Pink Buttermilk Cotton Candy Foliage Green Lamp Black Lavender

භ භ භ භ භ භ භ භ

Light Buttermilk Light Lime Light Orchid Magenta Marigold Peaches ‘n Cream Sunny Day Warm White

*Just a note: With shortages in certain paint colors, remember, you can choose any color you wish to complete this project! Any similar color will work just fine!*

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

Brushes: භ භ භ භ භ

Angle Shader ¼” Angle Shader 3/8” Glaze/Wash Brush ¾” Round # 2 Script Liner 10/0

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

Tip:

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

Preparation: Basecoat entire plaque with two coats of Buttermilk (for the best coverage!) Let dry. The Buttermilk base will serve as the undercoat. Prepare small amounts of each of the following colors into washes – Light Orchid, Light Lime, Sunny Day, Cotton Candy and Buttermilk. (The Buttermilk wash will only be used to help blend other colors as needed). Tear off a piece of plastic wrap (preferably big enough to cover the plaque with just one piece). Have this laid out and ready to use. Keep in mind as you create this project that no two are going to look exactly alike! With large wet brush(es), randomly slap on all the above colors (except Buttermilk) on the plaque. (If you need Buttermilk to help blend or tone down a section, add that last!) REMEMBER to keep all your washes damp; this is important for the plastic wrap effect to work properly, so mist your plaque with water as needed! Once you’ve added all your colors, lay your piece of plastic wrap over the damp plaque and gently press down with your hands. Lift up slowly from the plaque. The ‘look’ I was going for was a colorful one, yet muted so it wouldn’t take away from the main design. You can add as many (or as few) of the colors that you like and you can also repeat this step (if you wish, once the original has dried) for even more variations! If you do repeat and you decide it looks ‘too bright’, simply create another wash of Buttermilk and repeat the plastic wrap procedure to tone it down. When you are finished, let it dry completely before tracing on the design! (When tracing, you can work in sections.) Before we start painting, choose how you would like to proceed with painting/outlining. I feel there are two possible ways to do this and you can choose which you prefer! 1.) You can paint everything in sections, following your graphite lines to guide you and then finely outline in Black…. OR…. 2.) ‘Lightly’ erase your graphite lines first (make sure you can still see them!) and go ahead and finely outline everything in Black first. Then fill in (paint) each section per instructions (basically like you would do with a coloring book!) You can always go back at any point and re-outline in Black if you need too. 69

I do a little of each, depending on the section! You can do this whichever way is the easiest for you!

Painting Instructions: Tree Trunk – Basecoat each section (going from top to bottom) and drybrush as follows: භ At the very top of the trunk – Basecoat in Light Orchid and drybrush with Cotton Candy. භ 2nd layer – Basecoat with Marigold and drybrush with Sunny Day. (Once you finely outline your dots in Black, ‘dip dot’ these with Bubblegum Pink.) භ 3rd layer – Basecoat with Lavender and drybrush with Light Orchid. If this appears too bold, simply drybrush again with a bit of Lavender. භ 4th layer – Basecoat in Bubblegum Pink and drybrush with Cotton Candy. Once you’ve finely outlined your tiny scallops, fill those in with Light Orchid. භ 5th layer – Basecoat in Sunny Day and drybrush lightly with Warm White. Once you have finely outlined your petal shapes, fill in the centers with Bright Orange. භ 6th layer – Basecoat with Bright Orange and drybrush with Peaches ‘n Cream. භ Bottom layer – Basecoat with Foliage Green and drybrush with Light Lime. Tone this down with additional Foliage Green if you wish. Once everything has dried, finely outline the entire trunk with Black and add any ‘zen’ details, which you may have not already done. Leaf – Basecoat the leaf with Foliage Green (you may need two coats). Drybrush with Light Lime. Tone this down a bit with additional Foliage Green if necessary. Using the same brush, highlight the upper right section of the leaf with Sunny Day. Finely outline the stem, the leaf and the lines on the leaf with Black. Thin a bit of Sunny Day to paint the stripes on the leaf. Ground Section – Our first step is to shade above the ‘ground’ section with Foliage Green and let dry. Finely outline the sections on the ground with Black but do not add the details until after we have painted each section. We will start from the bottom and work UP towards the trunk. Start by basecoating the center of the ‘sunflower’ with Bright Orange. I ‘dabbed’ this on for a bit of texture and quicker application. Once this has completely dried, pounce a bit of Sunny Day over center. Pounce again with Bright Orange to blend and tone it down. Let it dry completely. Once dry, finely outline in Black and add the ‘tiny circles’ of Black for the details. Next row (petals) – Basecoat in Marigold, then drybrush with Sunny Day. Finely outline in Black. Next row (larger petals) – Basecoat the ‘inside’ of each petal with Sunny Day, then drybrush with Warm White. Finely outline in Black and add your ‘criss-cross’ lines with your Black marker as well. Paint the border area around each petal in Black. Next row (small semi-circles) – are based in Foliage Green and drybrushed with Light Lime. Finely outline in Black.

Next row is basecoated in Light Orchid and then drybrush with Cotton Candy. Once dry, trace on the little hearts. Finely outline them in Black and fill them in with Magenta. Next row (larger petal shaped) – is basecoated in Cotton Candy and lightly drybrushed with Warm White. Once dry, add your tiny circles with Black and dip-dot them with Magenta. Finely outline them in Black (including the swirls). Next row (petals outlined in scallop shapes) – Start by basecoating the center with Magenta and then lightly drybrushing with Bubblegum Pink. Finely outline those in Black, then paint the border around each petal solidly with Lavender. We will not being adding the scalloped trim until after we have completed the next layer above that one! Next layer (large area) – Basecoat this large area with Boysenberry Pink, then drybrush with Bubblegum Pink. Once this has dried you can go back and trace or draw the scalloped border around the petals below. Once you have outlined them in Black, simply fill them in with Sunny Day. Small Ovals – Basecoat the ovals with Blue Harbor. Once dry, finely outline the center with Black and dip dot those in Bubblegum Pink. Main Border (above the ground section) – This is painted all in Black. Small leaves (inside Black border) – Basecoat these in Foliage Green, drybrush (or just pounce a little) of Light Lime over each leaf. Add a stroke of thinned Sunny Day down the middle of each leaf. Heart Shaped Tree Top – Once you have traced the top part onto your plaque, shade around the outside edge of the main (center) heart outline with Foliage Green and let dry. Also shade around the inside edge of the heart shape (center heart) with Boysenberry Pink and let dry. Paint the “Love” lettering solidly with Lavender and once dry, drybrush with a bit of Light Orchid. You may need to tone this down a bit with some additional Lavender for a more blended look. Finely outline in Black. Paint the border around the heart in Black as well. On a whim, I decided I wanted to stencil around the edge of the plaque. I didn’t want much, just a nice, light accent! With the Flourish Border stencil, I randomly picked out little sections on the stencil and stenciled them around the edge of the plaque. I used Light Buttermilk for this. To add to this accent, (once the stenciling was dry), I shaded around the edge of the plaque with Boysenberry Pink. 71

For the top of the tree, I finely outlined everything with my Black marker first, just painting the shapes as I went! Keep in mind you can use whatever colors you would like for this part! You can use these colors totally at random or refer to the picture for placement of the exact colors that I used. For example – (Starting at the bottom of the large heart) – the large dot at the very bottom is done in Magenta. The two dots beside of that are done dotted in Light Orchid. I used Sunny Day, Boysenberry Pink and Lavender for the ‘teardrop’ shapes and both Light Lime and Bright Orange for the dots at the end of the swirls. Continue to use these colors, in addition to Foliage Green, Blue Harbor, Bubblegum Pink and Marigold to paint all the designs in the tree top!

Background Elements – Finely outline the tiny heart and tiny circles in Black, then simply fill them in to complete! All the tiny hearts are painted in Magenta and the tiny circles are dotted with random colors, such as Bubblegum Pink, Bright Orange, Light Orchid and Sunny Day. Lettering – “Grows Here” – Finely outline in Black. Fill in open areas in the letters with Lavender. Butterfly – Finely outline the main design of the Butterfly in Black, but there is no need to add the details to the wings just yet! For the body – Basecoat the head with Boysenberry Pink. Once dry, you can wet-brush a thinned stroke of Bubblegum Pink to highlight. The middle section is based with Magenta. Wet-brush a stroke of thinned Boysenberry Pink to highlight once the basecoat has dried. Basecoat the tail section with Lavender. Drybrush (or wet-brush) with Light Orchid to highlight. If necessary, tone this back down with additional Lavender. Once dry, finely outline all in Black and add Black stripes to the tail section as well. The antennae are also lined in Black with Black dots on the ends. Wings – The first section of his wings (closest to his body) are basecoated with Blue Harbor. Once dry, drybrush lightly with Light Orchid. I did go back over this with some Blue Harbor to blend and tone it down. You can go ahead now (if you wish) and finely outline that section (along with the striped lines) with Black. The middle stripe is based solidly with Bubblegum Pink. 72

The next (scalloped) section is basecoated in Light Orchid and drybrushed with Cotton Candy. Once dry, you can trace on the hearts. I finely outlined the hearts in Black and filled them in with Magenta. The tiny dots are Black. The next section is basecoated with Boysenberry Pink and drybrushed with Bubblegum Pink. Dots are finely outlined in Black. The larger ‘center’ dot is done in all Black. The smaller dots are dip-dotted with Blue Harbor. The next section is based in Cotton Candy and highlighted with a bit of Warm White. You can do this by drybrushing or wet-brushing, whichever is easiest for you! Finishing the Bottom Wing – (the outside section) is painted in Black. Add the two tiny ‘teardrop’ shapes with Bubblegum Pink. Finishing the Top Wing – The top wing has an additional section (scalloped) – Basecoat in Bubblegum Pink. The last (outside) section is painted in Black. Add the tiny ‘teardrop’ shapes with Light Orchid. Use a very fine-lined Black marker to add the little eye and mouth to the Butterfly’s face!

Finishing Touches: Once everything has dried, we will be ready to seal our project! I simply spray sealed with Americana’s Matte Spray Finisher per instructions and let dry. Once the plaque has dried, I used Americana DuraClear Gloss Varnish to add a little extra shine to all of the hearts on the plaque! I also added DecoArt Glamour Dust Glitter Paint – Lavender – to the word “LOVE”. It gives it such a nice sparkle! There are many more special touches you could add to this if you wanted! You can use the Gloss Varnish on more sections or even more (or different colors of Glamour Dust Glitter Paint) over center sections too! I think DecoArt’s Liquid Glass would be wonderful to add dimension to all the little dots and/or hearts! Just a few extra ideas in case you are interested!! I hope you ENJOY! Thank you!! Sharon

Modern Norwegian Roselmaling Original Design by Joyce Stegeman stegpc@aol.com It is nice to try traditional rosemaling colors on a modern color background. Enjoy the new experience.

Surface: 10” wood scoop plate, Montzka Woodworking (651) 464-5847 Paints: DecoArt Americana Acrylics x x

Lamp (Ebony) Black Teal Green

Rembrandt Artist Oil Colors x x x x x x x x x x x x x x

Burnt Sienna Burnt Umber Cadmium Red Light Cadmium Yellow Medium Deep Ochre Indigo Lamp Black Light Red Oxide Permanent Madder Medium Phthalo Green Blue Raw Sienna Raw Umber Titanium White (Linseed Oil) Yellow Ochre

Mediums x x x x x

Deco Art Light Satin Varnish Deco Art Multi-Purpose Sealer Krylon #1311 Matte Finish Spray Varnish Linseed Oil Odorless Mineral Spirits

Brushes x x

LaCornelle 7300 Shader, size 2 JS Liner, size 0 (Jackie Shaw Liner)

Supplies x x x x x x x x x

Bridge Fine grit sandpaper Makeup Wedge Sponge Palette Knife Palette Paper Stylus Tracing Paper Transfer Paper Viva Paper Towel 79

Preparation Lightly sand the plate with a fine-grain sandpaper and remove dust. Apply a coat of Deco Art Multi-Purpose Sealer, dry then lightly sand again. Basecoat the back side of the plate with about three coats of Teal Green, or until you get good coverage. Next, apply three coats of Deco Art Light Satin Varnish. This will protect the back side while you are painting the design on the front side. Lightly sand between coats of paint. Base coat the front of the plate with about three coats of Teal Green, lightly sand between layers. Spray a coat of Krylon #1311 Matte Spray Varnish. This process creates an excellent surface to paint on. I like to paint the edge of the plate with Deco Art Lamp Black, using a make-up sponge, about three coats. Now you are ready to paint with the oil colors. Lightly trace the design on the top of the plate. Don’t trace the linework or teardrops as you will be painting them freehand. Important Abbreviations Dark Value: DV Middle Value: MV Light Value: LV Color Mixing:

BLUE: DV = Indigo MV = Tit. White + Indigo (2:1) LV = Tit. White + tad MV

GREEN: DV = Phthalo Green Blue + Burnt Sienna (1:4) make it more brownish MV = Yellow Ochre + DV (2:1) 80

LV = Tit. White + tad MV

YELLOW: DV = Deep Ochre MV = Raw Sienna + Yellow Ochre (2:1) LV = Tit. White + tad MV

WHITE: DV = Deep Ochre MV = Tit. White + Raw Umber (1:3) LV = Tit. White + tad of MV

RED: DV = Permanent Madder + Burnt Umber (1:2) MV = Light Oxide Red LV = Cad Yellow Medium + Cad Red Light (2:1)

Painting Tips I like to basecoat a piece of paper with the background color (Teal Green) so that I can test the color mixes side by side to make any adjustments to them before I paint the design. Different background colors change the appearance of the color mixes on your palette. 81

Also use a different flat brush for each color, so you don’t have to clean your brush when changing to a different color. Use a bridge to keep your hand out of the wet paint. Practice rolling the brush between your thumb and finger. This gives you better control and more accuracy when doing linework and brush strokes, as you follow the shape of the area you are painting. I like to mix linseed oil into each of the LV colors, which makes painting linework, teardrops, and dots easier to apply. The final step is using Lamp Black and linseed oil with your JS Liner to outline the DV side of the scrolls, decorative veins, and teardrops.

Let’s Paint! Step One = MV Color Start with the MV (middle value) of each color and paint this color just short of the tracing line so that you can paint DV on one side and LV on the other side. Refer to the photo for placement. This step will not look good, but it will improve as you continue with the DV and then the LV of each color.

Step Two = DV Color Loading just a corner of the flat brush, add DV to each color area. Softly blend the colors together. Refer to the photo. Wipe the brush off and neutralize your brush in MV, moving onto the next step.

Step Three = LV Color Use the neutralized brush and side load it in the LV mix. Pull the brush stroke around the outside area. Refer to the photo for placement.

Step #2

Step Four = Detailing Use the JS liner and paint all the details, linework, and teardrops. Some of the teardrops in the flowers are made with a double loaded brush. First, load the brush in LV, wipe off the tip of the brush, and then pull a hint of black onto the tip of the brush. Paint the stroke by pulling the black stroke a short distance – stop – press down so that the brush releases the LV to make the teardrop. Then, lift straight up and away from the surface.

Finishing Use Lamp Black mixed with some linseed oil and JS Liner brush to paint your name or initials then do all the linework, veins, and teardrops. Lastly, you will paint the “S” design next to the black edge of the plate. Use the JS liner loaded in LV Blue. Think of a line that goes from thin to thick then back to thin. Note: You can also use a stylus or the end of a brush handle and make a series of dots next to the black edge. Let the painting dry completely. Spray a coat of Krylon #1311, and then apply three coats of varnish. If you want to use this plate for food, you can buy a clear glass liner plate at Walmart.

Joyce Stegeman started her artistic career in the early 1970s while living in a small town in South Dakota. She took the only painting class available, a Norwegian Rosemaling class. This started her lifetime passion for rosemaling. After moving to Yuma, Arizona, in 1978 her rosemaling came to the attention of the vice president of the local college. He asked her to teach rosemaling for the college. This began her teaching of rosemaling, decorative painting, oil painting, and watercolor. Joyce has had other articles published in “The Decorative Painter” and “Tole World” magazines. She has taught at the Creative Painting Convention in Las Vegas and various cities for Society of Decorative Painting Conventions. 84

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