Pixelated Palette June 2020 Issue by Pixelated Palette

June 2020 Table of Contents Sharon Bond

Judy Diephouse

5-16

47-57

Susan Cochrane

Martha Smalley

Paulina Ponsford

17-20

59-65

96-105

Vicki Saum

Anita Campanella

Cheryl Poulin

22-27

66-73

107-114

Barbara Bunsey, CDA

Debbie Mishima

Lorraine Morison

28-36

75-81

Karen WisnerDyar

Donna Harcourt

Summer Refresh

Fresh Fruit Ornaments

All American Farms

Centennial Celebration

Hanging Out Together

Elisabetta de Maria, CDA

Delft Tray

The Inseparable

90-95

Hope Anchor

Twilight Sky

Mattia and Friends

Spirit Bird

Oh, Those Summer Nights

Sea Turtle

82-88

Vibrant Poppies

115-119

July Preview

Page 3

38-46

Editor in Chief: Lindsey Applegate; palettepixels@gmail.com Executive Editor: Susan Mynyk; pixelatedsusan@gmail.com

Copyright Notice: ©2020 Pixelated Palette. The Pixelated Palette is produced 12 times per year by Cupboard Distributing, 1463 S US Highway 68, Urbana, Ohio 43078. All rights reserved on entire contents of this digital magazine. The information contained within this publication is presented in good faith. As the author(s) and publisher have no control over the application of the information presented, the results are not guaranteed. Reproduction of editorial content is strictly prohibited without written permission of the Publisher.

2020 Ornament Issue Peek

Summer has arrived and we know you will agree that Sharon Bond’s cover design captures it perfectly! This whimsical portrait cleverly pulls in many of our favorite aspects of the season! To tell you the truth, I really wanted a hot fudge sundae after seeing this piece! We are delighted to welcome two, new artists to the Pixelated Palette family. Donna Harcourt makes her debut with Sea Turtle, a vivid depiction of a turtle among the kelp. Donna will take us through the steps of painting with alcohol inks, a medium that is quickly gaining in popularity. Paulina Ponsford’s Twilight Roses depicts a hummingbird’s antics at dusk. This brightly colored design is created using only five colors of paint, which when combined, create a beautiful stroked rose. Paulina has included more than a dozen step-by-step pictures to help along the way. Guess what next month is?! Time for the fan-favorite

Ornament Issue! Susan and I hired an extra sleigh so we can bring you the many artists anxious to share their ornament trios with you. Look for ornaments to spill over into every winter issue! We all know the past few months have been stressful. We hope you are finding an escape among the pages of our monthly issues. Susan and I hope you and your loved ones remain healthy and safe during these unprecedented times. Happy Painting!

Summer Refresh Original Design by Sharon Bond SBOND09928@roadrunner.com

“Summer will be here before we know it! With this in mind, summery things started popping into my thoughts, some of the REFRESHING things of summer that is! (Ice Cream is my favorite!) ᆍ ᆎ I’ve included a few tips too, which I hope will help you along! I had a lot of fun with this colorful project and I hope you will too!” Surface: 14” Jumbo Gift Tag – Available from www.cdwood.com – Item # 31-L291 Project Supplies: I would suggest two pen sizes for this project, an Ultra-fine Sharpie and a finer lined marker Ultra-fine Permanent Black Marker – (Such as an Ultra-fine Sharpie) OR Black PITT Artist Pen, Superfine and/or an Extra Superfine by Faber-Castell (for even finer lines Ordinary Plastic Wrap (such as Saran Wrap/Glad Wrap) Stencils: Available from www.cdwood.com Circle & Squares Stencil, Item # 09-19018 (Optional) Woodgrain Background Stencil, Item # 09-19211 Additional, Optional Supplies: Ordinary Ruler Small Water Mister Bottle Ribbon, Twine, Wire or String to create hanger Scotch’s Magic Tape or Painters Tape (Optional but helpful!) Paints: DecoArt Americana Acrylics Banana Cream Buttermilk Canyon Orange Cocoa Espresso Foliage Green Holly Green Honey Brown Irish Moss Lamp Black Lemon Yellow Light Buttermilk

Marigold Melon Pistachio Mint Purple Pizzazz Sable Brown* Shoreline Tomato Red Traditional Burnt Umber Warm White Watermelon Slice

Specialty Items by DecoArt: DecoArt Dazzling Metallics Paint – Worn Penny Americana’s Matte Spray Finisher Americana Dura-Clear Gloss Varnish (optional) DecoArt Glamour Dust Glitter Paint – Ice Crystal (optional) Brushes: Angle Shader ¼” Angle Shader 3/8” Flat Shader # 10

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

Specialty Brushes from Cupboard Distributing: #6 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-6 #10 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-10 Chris’s #4 SPECTACULAR Stencil Brush – Item # 03-926-4 Tip: Anytime during the instructions if I mention to “finely outline” something in Black you can choose whether you want to thin your Black paint and use a liner brush to outline or simply use a Black marker! Preparation: Start by basecoating the entire plaque with Banana Cream and let dry. (Add an additional coat if needed for complete coverage). Let it dry completely. Tear off a piece of plastic wrap that is large enough to cover the entire plaque and set aside. Create a wash of Light Buttermilk. Keep in mind that we will need to keep this wash wet while we finish covering the entire plaque. You can use your water mister to help with this. Remember keeping this wash damp is the key to the effect you will get with the plastic wrap! Once you’ve washed over the entire plaque, immediately lay down the plastic wrap onto the paint wash and press down with your hands over the entire plaque. There will be wrinkles in the wrap and that’s what we want, as this creates our effect! Slowly lift off the warp to reveal a varied and unique background! Remember no two will look exactly alike! Let this dry completely before we start to trace! Just so ya’ know… I wanted to trace on the main elements of the background first before any of the objects. I have included a separate line drawing for the main elements, including the porch and the sun. I did use the 3” circle on the Circle Stencil to create the sun, or you can just trace it on. I taped all around the porch area to protect the background and to help with the ease of painting. Once taped, basecoat the entire porch (and post) in Sable Brown. You may need an additional coat of this if the first coat is a bit streaky. Once dry, drybrush over this with Cocoa. 7

Stenciling: (do not remove tape until after stenciling) Position Woodgrain Stencil across the porch area and stencil with Espresso. (Reposition your stencil as needed to complete porch and/or post). Once completed and dried, drybrush lightly with Cocoa again to soften a bit. Now you can remove your tape! Shade around the inside edges of the porch and post with Traditional Burnt Umber. Finely outline all in Black. Basecoat the center circle of the Sun with two coats of Marigold and let dry. Once dry, drybrush this with Banana Cream. Continue to use the same brush and highlight the center with Light Buttermilk. Now we are going to go in reverse – still using the same brush – drybrush again with Banana Cream, then drybrush once more (mainly around the outer parts near the inside edge) with Marigold. This simply helps the colors all blend! Once everything has dried, you can transfer on the rest of the objects including the sun’s face. Painting Instructions: Finishing the Sun: Basecoat all the sun’s large rays with Marigold. Add an additional coat if needed. When dry, drybrush each ray with Banana Cream. Allow to dry. Using the same brush, drybrush a bit of Marigold over the top section of each ray. Shade the left inner side of the circle (sun) with Canyon Orange. With thinned Canyon Orange wet-brush a stroke down each ray. Drybrush the cheeks lightly with Tomato Red. Let dry. Then, using the same brush, add Banana Cream and drybrush back over the cheeks to soften. You can do this as many times as you like depending on how bright you want the cheeks to look. Paint eyelids with slightly thinned Shoreline. Let dry. Lightly pounce or drybrush Banana Cream over them. Eyes are Warm White. Pupils are Black with Warm White accents. Paint the lips with Melon. All facial features are finely outlined in Black. Also, finely outline the sun and the rays with Black. I also used my Black marker to create the ‘curly’ rays. Hanging Basket: Basecoat the liner of the basket with two coats of Cocoa and let dry. Trace on your lines for the metal holder as a guideline. Now drybrush or pounce Honey Brown between the sections divided by the holders. Then you can finely outline the holders for the basket, as well as the basket’s hanging wires with Black. (I used my ruler to line the basket wires holding the basket.) Paint the chain, the loop and the round bead above the tassel in Worn Penny. Finely outline all in Black

Dot the large basket holders with Black at each section and use a stylus to dot the Black wires holding the basket! The bottom part of the basket holder is also done in Black, as well as the line leading down to the tassel!

Finely outline the tassel in Black, adding a few lines of Black throughout the tassel. Then paint a light coat of Cocoa over the tassel. Once dry, use your liner to add a few lines of Honey Brown, as well as a few more lines of Black (I used an ultra-fine marker for the Black lines.) I added a few dots to each section of the liner as well. Randomly dotting with a little Black first, then Cocoa and then again with Buttermilk. Leaves: Before starting any flowers, I wanted to complete all the leaves first. The pointy leaf bunch (top right) is based in Holly Green. Wet-brush strokes of Irish Moss down the centers of each leaf. Small (single) jagged-edged leaves are also based with Holly Green. Wet-brush Foliage Green across most of the leaves, leaving just an outline of Holly Green around each leaf. If this appears too bold, go back and wet-brush some thinned Holly Green over each leaf (I did this with mine.) The rest of the larger single pointed leaves are based with Irish Moss. Once dry, wet-brush the centers of each leaf with Pistachio Mint. I did go back with some thinned Irish Moss and painted this over each leaf to tone it down a bit. For the two “beaded” type vines (hanging down), before painting, I finely outlined them in Black. This made it much easier to fill them in! I used Foliage Green to fill in, then when dry, dotted a small dot of Pistachio Mint on each leaf. Finely outline all leaves in Black as well.

Now for the flowers! We will start on the ones in the background first. For the tiny tulip looking flower, paint the stem with Holly Green. Paint the petals with Watermelon Slice and let dry. Now add a stroke to each petal with Melon. Finely outline in Black (including lining the stem in Black). Next, we will do the larger flowers which are the Carnation-like flowers (pinkish/purple). Basecoat these in two coats of Melon. I painted these by pulling strokes from the center outwards. Once dry, use the same method and use Purple Pizzazz for the centers. Only pull those strokes out about 2/3rds of the way on the petals. Once dry, finely outline all in Black and add Black centers with a few Black dots to the very center of each flower. For the Daisies, basecoat each petal with a heavy stroke of Warm White. Once dry, finely outline the petals with Black. Also outline the centers with Black. Fill in the centers (by dabbing full) with Marigold. Let these dry. Wet-brush a bit of Canyon Orange around the centers and into the petals just a little. Dot the centers with a few random dots of Light Buttermilk. Watermelons: Basecoat the rinds on each watermelon with Holly Green and let dry. Drybrush the rinds with Irish Moss. Highlight across the rinds with Pistachio Mint. Basecoat the flesh with Tomato Red. (You may need to add an additional coat of Tomato Red over where the lighter background areas are.) Let this dry. Drybrush with Watermelon Slice. Randomly drybrush here and there with Melon. Once dry, shade with Warm White across the top of the rinds going up into the bottom of the flesh area. Also shade across the tops of the watermelons with Tomato Red to deepen the color a bit. Finely outline both in Black and finely outline the seeds with Black as well, then fill in each seed with Black. With some thinned Warm White and your liner, add a tiny stroke to each seed. Pineapple: Basecoat the pineapple fruit solidly with two coats of Marigold. (You may need an additional coat over where the darker background area is.) Let dry. Drybrush with Lemon Yellow and let dry. Then drybrush with Canyon Orange around the bottom left side. Drybrush a bit more Lemon Yellow, concentrating on the top right side of the pineapple. Let dry. Shade a bit of Canyon Orange along the inside edge at the bottom left to enhance the color and let dry. Now you can trace on the details of the pineapple and finely line those in Black. I also dotted a small dot of Banana Cream above each pointed part. 10

For the pineapple’s leaves, I lined them first with my Black marker, then basecoated over them with Foliage Green and let dry. You should still be able to see your outlines underneath this first coat. I just thought that saved a bit of time. However, you will need a second coat of Foliage Green, so this time I painted each individual leaf and let dry. To fill in the colors for the leaves, I thinned a bit of Holly Green and painted this under some of the turned down leaves – basically anywhere where I thought the color would be a bit darker. You can refer to the picture or decide for yourself. There is no wrong way to do this! I then took thinned Marigold and lined the tops of the leaves and the tips of the leaves that were turned down. Once this has dried, I thinned a bit of Foliage Green and added here and there to help all the colors blend. Once this has completely dried, you can finely outline (and add the details) to your leaves in Black. Strawberry:

Basecoat the strawberry with two coats of Tomato Red and let dry. Drybrush with Canyon Orange, then highlight the top right section with Marigold. If your colors look too bold, simply thin a bit of Tomato Red and brush back over your berry. Finely outline your tiny seeds on the berry with Black. With the tip of your liner, add just a touch of Marigold to each one. The leaves and the stem on the berry are based with Holly Green. Let dry. Leave the stem the original Holly Green color but wet-brush Foliage Green over each leaf. Once dry, I thinned some Holly Green and went back over each leaf to tone it down a bit. Finely outline all in Black. Fruity Drink: (Photo on next page) Basecoat the actual drink (liquid) part with two coats of Shoreline. Once dry, drybrush randomly with Pistachio Mint and then with Warm White. Add Shoreline back into the same brush and randomly drybrush back over the drink to help the colors blend. Once dry, trace on the fruity details! Lemons: Basecoat with two coats of Marigold. Drybrush with Lemon Yellow. Once dry, trace on the lemon details. Thin a bit of Light Buttermilk and fill in the parts between and around the sections (leaving a bit of the Marigold rind showing). Basecoat the lemon sections with Marigold and once dry, finely add tiny lines of Lemon Yellow to each section. Finely outline in Black. Cherry: Basecoat the cherry with two coats of Tomato Red. Drybrush or pounce with Canyon Orange and let dry. Go back and drybrush over the cherry with a bit of thinned Tomato Red. Once dry, highlight the top right area of the cherry again with Canyon Orange. Finely outline the cherry in Black as well as adding the tiny triangle in Black. Fill in the triangle solidly with Canyon Orange. The stem is painted solidly with Traditional Burnt Umber and finely outlined in Black.

I added a few tiny bubbles as well. Paint the little bubbles as circles of thinned Warm White then dab back with a soft cloth or paper towel to help them look a bit transparent. Once everything has dried, we will need to prepare a thin wash of Warm White. I had a piece of soft cloth handy for this step. Paint the wash over the entire area of the glass (including over the liquid drink part). Work in sections and dab this back with your soft cloth as you go, to leave just a hint of Warm White showing. Reinforce all the edges around the glass (and the ‘striped’ section across the bottom stem) by painting again with the thinned Warm White. Drink Umbrella: Start by painting the stick part solidly with two coats of Traditional Burnt Umber. Basecoat the top part of the umbrella with two coats of Melon. Let dry. Now paint every other section with two coats of Purple Pizzazz. Once dry, I randomly added dots with Light Buttermilk, then finely outline all in Black. Ice Cream Sundae: Basecoat the ice cream (and the ice cream that is in the glass cup) with two coats of Buttermilk. Once dry, drybrush with Light Buttermilk. Once this has dried, you can trace on your details. Shade under the glass curvy top, under where the hot fudge topping will be on the ice cream and the “indentions” in the glass with Honey Brown and let dry. Basecoat the whipped topping with two coats of Light Buttermilk. Drybrush with Warm White. Shade (or wet-brush) around each layer of the whipped topping with solid Buttermilk. Cherry: Basecoat the cherry with two coats of Tomato Red. Drybrush or pounce with Canyon Orange and let dry. Go back and drybrush over the cherry with a bit of thinned Tomato Red. Once dry, highlight the top right area of the cherry again with Canyon Orange. Finely outline the cherry in Black as well as adding the tiny triangle in Black. Fill in the triangle solidly with Canyon Orange. The stem is painted solidly with Traditional Burnt Umber and finely outlined in Black. Fudge Topping: Basecoat with two coats of heavily applied Traditional Burnt Umber. Make sure this has dried before proceeding! 12

Once everything has dried, we will need to prepare a thin wash of Warm White. I had a piece of soft cloth handy for this step. Paint the wash over the entire area of the glass (Not the ice cream or the topping ON the ice cream). Work in sections and dab this back with your soft cloth as you go, to leave just a hint of Warm White showing. Reinforce all the edges around the glass part by painting again with the thinned Warm White, including the large rim on the sundae cup. Finely outline all in Black. Butterfly: Basecoat the wings with two coats of Purple Pizzazz (let dry between coats for the best coverage). Once dry, pounce over the wings with Watermelon Slice. Let this dry, then pounce light again with Purple Pizzazz to help blend. Once this has dried, you can trace on the wing’s details. Basecoat all the edges (around the wings’ details) with Black. The antennae and body are finely lined in Black. Dot the antennae with Black. Paint the body of the butterfly solidly with Traditional Burnt Umber. Add Black to the tiny ‘teardrop’ shapes on the wings. Add a larger teardrop shape with Purple Pizzazz to the bottom wing, let dry, then add a large dot of Watermelon Slice, then a tiny dot of Black to complete. If you decide to add the dash trail following the butterfly, simply use your finest Black marker to create it. Lettering: The word “Summer” is done in Black. Finishing Touches: Before sealing our project, I went back and used Traditional Burnt Umber to shade under all the objects on the porch, as well as shading along the bottom left side of the hanging basket. Let this dry. Now we will be ready to seal our project! Following the manufacturer’s directions, spray seal with Americana’s Matte Spray Finisher. Once our project has dried, there are many things you can do to enhance it, if you like! I added Americana Dura-Clear Gloss Varnish to the following: The sun’s eyes and lips/the chain, loop and bead above the tassel/all watermelon seeds/the cherry on the sundae/the hot fudge topping on top of the ice cream/over all glass areas and to the strawberry (not the leaves). I added DecoArt Glamour Dust Glitter Paint – Ice Crystal – to the following: The butterfly’s wings/ the umbrella top and to the liquid drink part in the fruity drink. I also added a piece a ribbon to create a hanger or you could just use the hole in the plaque to hang it with if you wanted! I hope you will enjoy this project! It’s filled with easy to paint, fun details! Wishing everyone a wonderful and REFRESHING summer!! Thank you!

Sharon B 13

Fresh Fruit Mini Ornament Trio Original Design by Susan V. Cochrane suecochrane@sympatico.ca

These colorful designs are presented in a mini form, but the pattern can be enlarged to any size plaque or surface of your choice.

Surface x Mini Bread Board Ornament, 6 1/2" T x 3" W, Item No. 20-11304, www.vikingwoodcrafts.com Supplies x Usual Acrylic Supplies x Tack Cloth x Sandpaper (#220 grit) x Miracle Compressed Sponges, 2-4 cut to 1” x 1” approx.., www.amazon.com Paints: DecoArt Americana Acrylics x Desert Turquoise x Espresso x Hauser Light Green x Lamp Black x Persimmon x Midnite Green x Napa Red x Santa Red x True Ochre

Mediums: DecoArt Americana x Crackle Medium x Dura-Clear Varnish (Matte) x Gel Stains (Walnut) x Multi-Purpose Sealer

Brushes: Royal & Langnickel, Royal Majestic Paintbrushes x 2,4,8,10 Shaders (Series R4150) x 5/0, 0 Liners (Series R4595) x ½” Rake (Series R4730) x ½” Angular Shader (Series R4160) General Instructions All base coats are solid. Erase transfer lines as you go. Wet the sponge into clean water, squeeze out all the water and dab it onto a tissue. Dab the sponge into the desired color and pounce it onto the palette to remove most, but not all, of the paint. Pounce onto the surface varying the pressure and direction. Clean the sponge between color changes or use fresh sponges. Preparation and Base Coat For all three ornaments, seal the fronts with Multi-Purpose Sealer. Dry, lightly sand and tack. Apply two coats of Lamp Black and dry. Apply a brush coat of Crackle Medium and dry. Sponge over the surface with True Ochre (Ornament #1), Hauser Light Green (Ornament #2) and Santa Red (Ornament #3). Transfer and paint a line/dot border going around the edges using Lamp Black. Ornament #1 - Red Pears Transfer the leaves and pears. Paint all leaves with Midnite Green. Highlight with a float of Desert Turquoise on one side and/or tips in a random manner. Transfer and paint all veins with Hauser Light Green.

Paint the pears with two coats of Santa Red. Apply 2 more coats of Napa Red and dry. Transfer the individual pears. With the rake and True Ochre, and starting at the bottom of each pear, rake to about halfway up but varying the height. Add a soft dry brush highlight near the stem on one side. Float Midnite Green to divide the pears one from another. Add a touch of Lamp Black for the final float. Transfer the stems and paint with Espresso, highlight with a thinner line of True Ochre. Float a ½ circle of Lamp Black at the base of each stem. Ornament #2 - Oranges Transfer the leaves, stems, and oranges. Paint all leaves with Midnite Green. Highlight with a float of Desert Turquoise on one side of each leaf extending the float to the tip. Reinforce the float by painting a thin line of Desert Turquoise starting at the middle of the highlighted leaf edge going to the tip. Transfer and paint all veins with Hauser Light Green. Paint the oranges with Persimmon. Transfer the individual oranges. Float Midnite Green to divide the oranges one from another and where an orange is under a leaf. Add a touch of Lamp Black for the final float. Float a tint of Santa Red on the lower bottom half edges (see X on the pattern). With True Ochre, very faintly sponge a highlight on the areas marked C on the pattern. Paint the stems with Espresso. Paint a line of True Ochre to highlight on one side which should join the center vein on the top 3 leaves. Float a tiny half circle of Lamp Black at the base of the stem on the top orange. Ornament #3 – Pineapple Transfer the pineapple and leaves. Paint all leaves with Midnite Green, highlight one side edge with a float of Desert Turquoise and paint the curly ends using a liner joining up with the float. Transfer and paint all veins with Hauser Light Green. Paint the pineapple with True Ochre. Transfer and paint the sectional lines with broken lines of Lamp Black. Float Espresso twice around the outside edges of the fruit. Add a touch of Lamp Black for the third float. Outline the pineapple with Lamp Black. Inside each section, float a dash of Espresso. This float will be just inside the lines. Finishing Paint the cut edges with Lamp Black. Clean up the backs and apply Gel Stains following product directions. Apply 2-3 coats of varnish.

Line art is at 100%

Original Design by Vicki Saum vickisaum@sbcglobal.net. 22

This galvanized container filled with lemonade or sweet tea is sure to be a hit at all your summer gatherings! Surface: I painted this project on a galvanized metal beverage container I purchased at Walmart. Project Supplies: x Flat Grey Auto Primer Spray x Scotch Magic Tape x Scraps of Red Ticking for Wrapping Handle and Bow x Basic Painting Supplies Paints: DecoArt Americana x Black Green x Burnt Orange x French Grey Blue x Hauser Medium Green x Heritage Brick x Deep Midnight Blue x Milk Chocolate Brushes: FM Dynasty x Assorted Flats x Angle Shaders x Round x Mop x Dry Brush Scumbler

x x x x x x x

Oyster Beige Santa Red Slate Grey Soft Black Watermelon Slice Yellow Green Yellow Ochre

Brushes: Chris Haughey x 1/8- inch Awesome Angle x Epic Script Liner

Mediums: DecoArt Americana x Multi-Purpose Sealer x Matte Sealer/Finish Spray Preparation: Clean container well with hot soapy water. Spray outside of can and lid with flat grey auto primer. I do not paint the inside so the container will be food safe. Allow the paint to dry overnight to provide for good adhesion. Painting Instructions: Background: Mixing the first coats of paint with sealer, base the container Oyster Beige. The spout and lid are French Grey Blue. The spigot lever, side brackets for handles, and the handles are Heritage Brick. Apply additional coats to provide good coverage. Dry brush the handles, lever, spigot, and side handle brackets with a touch of Soft Black. Paint the rivets in the handle and side brackets Soft Black. Making sure your background is dry and the paint has cured, tape off background ticking stripes with Scotch Magic Tape. See 23

approximate placement in photo. My can had molded rims into the can and I painted the stripes over those rims. With a makeup sponge stencil the stripes lightly with Heritage Brick. Remove the tape and add the stich lines with the tip of your liner and Heritage Brick. Lightly dry brush over the stripes with Oyster Beige to create a worn mottled look. The rim below the pinwheels is painted with French Grey Blue then dry brushed with Oyster Beige. Transfer main pattern lines. Truck: Paint the body of the truck with Heritage Brick. Shade the door, fenders, under the banner, around the wheels, behind the headlight, the bumpers, around the sign, and under the hood with Soft Black. Dry brush a highlight of Burnt Orange to the door, fenders, hood, and cab. Bumpers: Basecoat Slate Grey. Shade lower edge and next to truck with Soft Black. Highlight with Oyster Beige. Headlight: Basecoat Oyster Beige. Tires: Basecoat Soft Black. Highlight with Oyster Beige along the top edge. The White walls are Oyster Beige. Shade next to the tire with Slate Grey then again with Milk Chocolate. Hub caps are Slate Grey, shade lower edge and under star with Soft Black. Highlight tops of caps with Oyster Beige. The Stars are Navy. Door Sign: The sign on the door is Oyster Beige. Dry brush with Slate Grey. Line the lettering with Soft Black. The geraniums petals are Santa Red. Lightly separate petals with a float of Soft Black. Highlight tips of some of the petals with Watermelon Slice plus a touch of Oyster Beige. With the end of your round tap in the center with Yellow Green. The leaves are Hauser Medium Green. Float a highlight around the edge with Yellow Green. With the tip of your round, wash in a Little Black Green, leaving the Hauser Medium Green border show. Lightly mop to soften. When dry stipple a touch of Watermelon slice to the center of the leaf. When dry lightly dry brush over the lettering, geranium, and leaves with Oyster Beige. Float around the inside of the sign with Milk Chocolate. Deepen shading around the outside edge if necessary, with Soft Black. Banner: Outside edge is French Grey Blue. Shade with Deep Midnight Blue next to center. The center is Yellow Ochre. Shade next to the Deep Midnight Blue circle and the top edge with Milk Chocolate. The stars are Deep Midnight Blue and the stich lines are Oyster Beige.

Geraniums: The petals are Santa Red. Lightly separate with a float of Soft Black. Highlight the tips of some of the petals with Watermelon Slice and a touch of Oyster Beige. With the tip of your round, tap in the center with Yellow Green. When dry add a dip dot of Yellow Ochre to the center. The leaves are Hauser Medium Green. Float a highlight around the edge with Yellow Ochre. With the tip of your round brush, wash a little Black Green to the center leaving the Hauser Medium Green Edge show. Mop to soften. When dry stipple a little Watermelon Slice to the center of the Black Green Area. Line the vine and the veins in the leaves with Black Green. Shade above the flowers and the openings between the flowers with Milk Chocolate. Flag: Oyster Beige and Santa Red Stripes. The star field is French Grey Blue. Dry brush the center of the star field with Oyster Beige. The dip dots are Oyster Beige. Shade the stripes next to the pole and around the star field with Milk Chocolate. The pole is Milk Chocolate. Firecrackers: (From left to right.) Deep Midnight Blue with a Santa Red tip. Dry brush a highlight down the center and to the left side of the tip with Oyster Beige. The next firecracker is Oyster Beige with Santa Red stripes. The tip is Deep Midnight Blue, highlight with Oyster Beige. Shade under the tip with Milk Chocolate. The last firecracker is Oyster Beige with Santa Red and Deep Midnight Blue stripes. Shade under the tip and under the Deep Midnight Blue Stripes with Milk Chocolate. Line the sparks coming from the bases with Slate Grey, French Grey Blue, and Oyster Beige. Dry brush under the firecrackers over the sparks and shade around them with Milk Chocolate. Pinwheels: French Grey Blue with Heritage Brick Stripes. The back fold is Heritage Brick. Shade next to the French Grey Blue with Soft Black. The center circle is Deep Midnight Blue. Dot the center with Yellow Ochre. Shade around the pinwheels with Milk Chocolate. Finishing: Shade around the truck, wheels, and flowers with Milk Chocolate. Spray with several coats of Americana matte sealer/finish spray. Tie a little bow and wrap handle with scraps of red ticking fabric. If you have any questions, please feel free to contact me at vickisaum@sbcglobal.net. Thank you, enjoy!

Enlarge or reduce the line art to fit your surface.

entennial

elebration

Original Design by Barbara Bunsey, CDA bbunsey@calicogoose.com Years ago, I saw an antique needlework picture and it just called to me that it wanted to be painted. It took me many years to finally get it done and I hope those who created the original would approve of my interpretation.

Surface: available from Calico Goose, bbunsey@calicogoose.com Project Supplies: x Usual Acrylic tools x Faux-graining tool x Sponge brush x Fine Grit Sandpaper Paints: DecoArt Americana Acrylics x Antique Green x Antique Maroon x Antique White x Avocado x Berry Red x Burlap x Cocoa

x x x x x

Dark Chocolate Espresso Evergreen Midnite Green Wedgewood Blue

Mediums: DecoArt x All Purpose Sealer x Varnish, Sheen of Choice Brushes: FM Black Gold x #10 & #16 shader x #0 script liner x #8 & #10 filbert x # 2 & #4 round x M Mezzaluna Background: Sand, seal, sand. Base Antique White. Make a medium wash with Cocoa and apply to background with sponge brush. While wet, pull graining tool horizontally to create lines. If the paint is too thin and not holding shape, add more paint to your brush and redo; if you're not getting any lines, add a bit more water. Dry well. Repeat, this time pulling graining tool vertically. Dry well. This is to create the look of fabric or punched paper they used in the late 19 century. Trace on pattern. Leaves: Dark Leaves (these are the ones that are mostly under other leaves and by themselves) Using #8 filbert, base in with Avocado. Load fairly dry brush in Avocado, then swipe through Cocoa and begin adding highlights, starting near outside edge on top side of leaf and on the opposite side of center vein on the other side of leaf; repeat, adding more Cocoa to dirty brush. Repeat, adding Burlap to dirty brush; repeat, adding a bit more Burlap for brighter areas. (Fig. 1)

Float shadows on opposite side of edge of leaf and opposite side of center vein with Evergreen; repeat, using Midnite Green. (Fig. 2) Light Leaves: Using #8 filbert, base in with Antique Green. Load fairly dry brush in Antique Green, then swipe through Cocoa and begin adding highlights, starting near outside edge on top side of leaf and on the opposite side of center vein on the other side of leaf; repeat, adding more Cocoa to dirty brush. Repeat, adding Burlap to dirty brush; repeat, adding a bit more Burlap for brighter areas. (Fig. 1) Float shadows on opposite side of edge of leaf and opposite side of center vein with Avocado; repeat, using Evergreen; repeat using Midnite Green very sparingly. (Fig. 2)

Fig. 2

Fig. 1

Acorns Cap: Using round brush, base Cocoa. Pick up Cocoa in dry Mezzaluna brush, take excess off on palette, pick up Antique White, take out excess, then dry-brush on highlight areas; repeat, adding more Antique White to dirty brush. (Fig. 3) Float Espresso on both sides for shading; repeat, adding Dark Chocolate to dirty brush and adding just to shadow side. (Fig. 4) Bottom: Base Espresso. Pick up Espresso on dry Mezzaluna brush, take excess off on palette, pick up Cocoa, take out excess, then dry-brush on highlight areas; repeat, adding more Cocoa to dirty brush; repeat, adding just a touch of Antique White to dirty brush. (Fig. 3) Float Dark Chocolate on both sides and under cap for shading; repeat, adding Midnite Green to dirty brush and adding just to shadow side and a bit under cap. (Fig. 4)

Fig. 3

Fig. 4

Branch: Base with Espresso. Don't worry if some of your background shows through. This just adds some variations in color as a branch may have. Pick up Espresso on dry Mezzaluna brush, take excess off on palette, pick up Cocoa, take out excess, then, using chisel edge of brush, dry-brush highlights here-and-there at top edge of branch; repeat, adding more Cocoa to dirty brush. Also add some highlights to the cut end of the branch. Float Dark Chocolate along the bottom edges and where one lies under the other; reinforce by adding Midnite Green to dirty brush and adding to darkest areas, especially where one branch likes under the other. Arrows: Top Two: Base with a brush-mix of Antique White + Cocoa (approx. 1:1). Stipple highlight with dry Mezzaluna brush loaded in base mix plus Antique White; repeat, adding more Antique White to dirty brush. Shade at bottom with Cocoa and Espresso side-loaded onto same side of brush. Center Two: Base with Cocoa. Stipple highlight as above with Cocoa plus Antique White in dry brush; repeat, adding more Antique White to dirty brush. Shade at bottom with Espresso. Bottom Two: Base with a brush-mix of Espresso + Cocoa (approx. 1:1). Stipple highlights as above with base mix plus Cocoa; repeat, adding more Cocoa to dirty brush; repeat, adding just a touch of Antique White. Shade at bottoms with Dark Chocolate. Stitches: Line in with base mix of arrows. Add a touch of the highlight for each arrow at the top of each stitch. Add a touch of the shadow for each arrow at the bottoms of each stitch. Note: I used a variety of brush-mixes for the “strokes” on the eagle. I will give you basic instructions here, but please add or subtract colors as you choose to get the look you want. I used a #8 filbert and added colors to my dirty brush without washing out in between. Stroke all the color areas first, then you will add some highlighting and shading. Wings: Longer Strokes: The lighter strokes are a brush-mix of Cocoa + Espresso. I would say maybe a ratio of 3:1 but use a color that appeals to you. Add more Espresso to your dirty brush as you add darker and darker strokes. (Fig. 7, following page) Using dry Mezzaluna brush, pick up the same colors as you did, approximately, for the darkest strokes, pick up Cocoa in dirty brush, and begin dry-brushing onto center areas of each stroke 31

for highlights; repeat, adding more Cocoa to dirty brush. Begin adding this color to next darkest strokes; repeat, adding more Cocoa to dirty brush; repeat, adding more Cocoa as necessary and maybe a bit of Antique White. Add this color to next darkest strokes; repeat, adding more Antique White to dirty brush; repeat if necessary. (Fig. 8)

Fig. 8

Fig. 7

Add this color to lightest strokes; repeat, adding more Antique White to dirty brush; repeat if necessary. With clean dry Mezzaluna brush, if you want to dry-brush, or a shader if you prefer to float the shadows on, add Espresso to separate the “feathers” on the lighter ones and Dark Chocolate to the darker ones. Also use these colors to shade under top feathers (see next step), body (see further steps), etc. Add Dark Chocolate to dirty Espresso brush to add more shading on lighter “feathers” and more Dark Chocolate on darker ones. (Fig. 10)

Fig. 10 Top Feathers: Stroke in the same as previously, adding more Antique White to base mix. Add Antique White to dirty brush and streak in highlights; add more Antique White for brighter highlights. Float/shade to separate and across top with Espresso. (Figs. 7 & 8)

Body: Base with a brush-mix of Cocoa + Antique White (approx. 3:1). Pick up Antique White in dirty brush, blend on palette and add highlights to top of head and beak and bottom of head and breast; repeat, adding more Antique White. (Fig. 9) Shade next to front wing and tail with base-mix + Espresso; repeat, adding more Espresso to dirty brush; repeat, adding Dark Chocolate to dirty brush. (Fig. 10 previous page) Add eye with Dark Chocolate. (Fig. 11)

Fig. 9

Fig. 11

Claw: Base Espresso. Load dry Mezzaluna brush in Espresso, take out excess, pick up Cocoa, take out excess, and dry-brush at top near shield; repeat, adding more Cocoa to dirty brush. Shade tips with Dark Chocolate; repeat, adding Midnite Green to dirty brush. (Fig. 12) Shield and Banners: Base Antique White. Red stripes are Berry Red. Blue field is Wedgewood Blue. Shade blue field only with Midnite Green. I did this a few times. Add stars to blue field with your liner brush and Antique White. As you move into the shadow areas, add a bit of Espresso to your dirty brush to make them a bit darker. Shade stripe areas and stars with Espresso; repeat, adding a bit of Dark Chocolate to dirty brush. (Figs. 12 & 13)

Fig. 12

Fig. 13 Leaves and Stem (on banner): Stem: Line in with Midnite Green. Light Leaves: Base with Antique Green. Add shading toward bottoms with Avocado; reinforce with Evergreen. 33

Dark Leaves: Base with Avocado. Add shading toward bottoms with Evergreen; reinforce with Midnite Green Lettering: Base in, using #4 round loaded flat from side of puddle, with Berry Red. Using dry Mezzaluna brush, load in Berry Red, take out excess on palette, pick up a bit of Cocoa, take out excess, then stipple onto the lighter areas of the letters; repeat, adding more Cocoa; repeat, adding more Cocoa if you wish. I wanted to give the lettering the look of fuzzy yarn that would have been used on a needlework piece. (Fig. 15) Float Antique Maroon on the darker areas of the letters, walking color toward, but not into, the light areas. Repeat, not walking down as far; repeat, one more time, again, not quite as far. (Fig. 16)

Fig. 15

Fig. 16

Green Scroll Stitching: Add with #0 liner. Do a tiny comma stroke to begin each curlicue. Light Curls: Add with Antique Green. Pick up a bit of Cocoa in dirty brush, blend together on palette, then add to tips of each curl for some highlight. You might want to add a touch more Cocoa to your dirty brush if these are not showing up well enough. Dark Curls: Add with Avocado. Highlight tips with Antique Green. © Barbara Bunsey. All rights reserved under Pan American and international copyright conventions. The contents of this packet including text, pattern designs, and photographs are copyrighted. You may paint from this tutorial for pleasure, for teaching as long a complete pattern packet is purchased for each student and for retail sales at craft shows, craft malls and special orders. You may photocopy one line-drawing only per student for teaching purposes. Rewriting any or part of the directions included in this pattern packet for teaching or other purposes is strictly prohibited. PLEASE PURCHASE ONE PATTERN PACKET PER STUDENT IF YOU WISH TO PROVIDE THEM WITH THE INSTRUCTIONS. Photocopying or any type of mechanical electronic reproduction of any part of this pattern packet or the designs herein are prohibited, except purchaser may mechanically/electronically enlarge or reduce patterns for their personal use. If this pattern packet is purchased as an e-Pattern or CD, you may not re-sell the pdf file, nor make copies of the pdf files for re-sale or to give away. The designs cannot be used to create web graphics. The product created from or any derivative product made from the designs in this pattern packet cannot be mass produced in any form without a licensing agreement from Barbara Bunsey.

Hanging Out Together Pocket Original Design by Karen Wisner Dyar kdolls.designs@gmail.com

Summer is almost here and as we continue to deal with the virus, I thought this would be an appropriate design for the time. Many of us will be "Hanging Out Together" and trying to save money by hanging out the laundry... make it a family affair! Use this adorable pocket to hold your clothespins or hang it in your laundry room to store small items. Stay happy and safe!!! Surface: * Metal Wall Pocket 10" Rusty, available from www.paintersparadise.com DecoArt Americana Acrylic Paint: * Antique Maroon * Avocado * Burnt Sienna * Dark Chocolate * Deep Midnight Blue * Dioxazine Purple * Foliage Green * Graphite * Honey Brown * Lamp Black * Light Buttermilk

* * * * * * * * * *

Milk Chocolate Saffron Yellow Slate Grey Snow White Terra Coral Tomato Red Warm Beige Williamsburg Blue Winter Blue Wisteria

Mediums: * Americana Acrylic Sealer/Finisher Matte DAS13 * DecoArt Acrylic Gesso TXFP06 Brushes: * Round sizes 1, 3 & 5 * Flat Wash 3/4" * Shaders 16 & 20 * Script Liners 5/0 & 10/0 * Mop 1/4 & 1/2 * Fabric Rounds 1/8 & ¼ Miscellaneous Supplies: * Black Micron Pen 01 * Stylus * Dark & Light Transfer Paper * Tracing Paper * Q-Tips * 1" Piece of Sea sponge * old toothbrush for splattering Helpful Tip: * Use the round brushes to basecoat. The 5/0 script liner to paint vines and small leaves. * The 10/0 script liner to paint highlight strokes and small details. * The 3/4" flat wash to float color areas and wide shades and highlights. * The shaders to float color, shade and highlight (When floating color, load the brush with a wider amount of paint then done for shading or highlighting.). * The fabric rounds to drybrush inner highlights. * The mops to blend floated areas. Use the Cotton Swab as a mini mop. 39

Preparation: * Trace patterns onto tracing paper, using the Black Micron Pen. Using the light transfer paper, transfer only the outside of the large design area and the 2 upper hanging socks. * Place a pile of Gesso onto your palette paper, then add a little water to loosen it slightly. Using a larger round brush, apply Gesso where the socks and larger design will be painted, let dry then apply a second coat. (You can use the small sponge to apply the Gesso to the center of the design area. Wet the 1" piece of sea sponge and squeeze it so it is just damp. Dip the sponge into the Gesso and apply with a pouncing motion.) * Using the old toothbrush, dip into Winter Blue and splatter the background area, by running your finger over the paint covered bristles. * Cover the design areas using Light Buttermilk, let dry. Apply a second coat of Light Buttermilk, let dry. * Transfer the basic design lines onto the pocket, using the small end of a stylus and dark transfer paper. Transfer the detail lines as needed.

Spatter, Bascoat and Float Colors

Shade and Details

Text Line Art is at 100%

Highlight, Details, Finish Instructions: Refer to the pattern, for shading (///) and highlights (...), as you paint. Raggedy Mom: Float face and hand using Warm Beige, let dry then repeat. Float Winter Blue onto the bandanna and skirt, let dry then repeat. Paint Terra Coral lines on the sleeves, let dry then float sleeves using Terra Coral. Shade the front dress panel using Honey Brown, let dry then paint Light Buttermilk buttons. Dot the bandanna and skirt using Williamsburg Blue and the large end of the stylus. Shade face and hand using Terra Coral, let dry then deepen the shading using a 42

small amount of Milk Chocolate. Float red hairs using Terra Coral, let dry then float a layer of Tomato Red to deepen color. Shade the bandanna and the skirt using Deep Midnight Blue, let dry then highlight using Light Buttermilk. Shade sleeves using Tomato Red. Deepen shading on the front dress panel and shade button centers, using a small amount of Milk Chocolate, let dry then paint the stitches. Dot buttons using Lamp Black. Deepen shading on the sleeves and shade hair using Antique Maroon. Highlight hair using Terra Coral. Highlight sleeves using Snow White. Drybrush cheeks using Terra Coral. Paint Milk Chocolate stitches on the center of face and hand. Paint eyes, lashes and nose stitches using Graphite. Washboard: Float Milk Chocolate on the brown wood areas of the board. Float Slate Grey on the center area of the washboard. Paint Milk Chocolate wood grain on the wood areas. Shade metal area using a small amount of Graphite. Deepen shading on the wood areas using Dark Chocolate, let dry then dot the tiny nail heads using Lamp Black. Highlight metal area using Snow White, let dry. Float rust areas onto the metal areas using Burnt Sienna. **All vines, small leaves and berries will be painted at the end of the instructions. Hangtag: Shade tag using Honey Brown, let dry. Deepen shading using Milk Chocolate, let dry then paint detail cracks and lines. Paint a Lamp Black hole and "Family". Large Pink Flowers and Large Leaves: Float color onto pink petals using Terra Coral, let dry. Float flower centers using Saffron Yellow, let dry. Float large leaves using Foliage Green, let dry. Shade flower centers using Burnt Sienna. Shade petals using a small amount of Tomato Red. Shade leaves using Avocado. Deepen shading on the darkest areas of the petals using a small amount of Antique Maroon, let dry then paint detail lines. Highlight leaves using Saffron Yellow. Dot around the base of the flower centers using Milk Chocolate. Highlight the top of the centers and the lightest areas of the petals using Snow White, let dry then dot the center tops. Basket: Float the basket and handle using Milk Chocolate, let dry then repeat. Paint the spaces between the basket reed using Milk Chocolate. Highlight using Snow White, let dry. Paint tiny detail lines using Milk Chocolate. If you need to darken the basket a little more, use a small amount of Dark Chocolate. Soap Box: Shade using Honey Brown, let dry. Deepen shading using Milk Chocolate. Paint Lamp Black letters or use the Black Micron Pen, " Lovin Loads Soap". Green Laundry: Float green areas using Foliage Green, let dry. Paint Avocado lines and Snow-White lines let dry. Shade using Avocado.

Purple Laundry: Float color using Wisteria, let dry. Shade using Dioxazine Purple, let dry then paint tiny "x" designs, let dry. Highlight using Snow White. Blue Stocking: Float blue sock areas using Williamsburg Blue, let dry. Shade toe and heel using Honey Brown. Shade blue areas using Deep Midnight Blue, let dry then paint the stitches. Clothespins: Basecoat clothespins using Honey Brown, let dry. Highlight using Light Buttermilk, let dry. Paint Snow White highlight strokes on the upper and lower area of the pins. (see photo) Upper Yellow Stocking: Float yellow stocking areas using Saffron Yellow, let dry. Float Deep Midnight Blue on heel and toe areas. When dry, shade yellow areas with Burnt Sienna; dry, then paint stitches and lines. Paint Deep Midnight Blue stitches on the toe and heel. Drybrush Snow White highlight on the stocking. Upper Pinkish Stocking: Float pink areas using Terra Coral, let dry. Shade toe and heel using Honey Brown. Shade pink areas using a small amount of Antique Maroon, let dry then paint heel and toe stitches. Highlight using Snow White. R Rabbit: Float rabbit using Honey Brown, let dry. Deepen shades using a small amount of Milk Chocolate, let dry. Paint Light Buttermilk button on the leg. Highlight bunny using Snow White, let dry. Drybrush cheeks using a small amount of Terra Coral. Paint stitches, arm hole and threads using Milk Chocolate. Paint a Tomato Red heart and nose "x". Paint Graphite eyes. Teddy Bear: Float bear color using Burnt Sienna, let dry. Deepen shading using Dark Chocolate. With Light Buttermilk, paint buttons and patch, let dry. Highlight bear using Light Buttermilk. Shade buttons using Milk Chocolate, paint stitches and hole on arm. Float color on foot patch using Dioxazine Purple, let dry then paint lines. With Graphite, dot buttonholes, paint eye "x" and nose. Drybrush cheeks using a small amount of Tomato Red. Large Letters: Paint phrase with using Williamsburg Blue; when dry, highlight letters with Winter Blue. Vines, Small Leaves & Berries: Paint light vines using Honey Brown and dark vines using Dark Chocolate. Paint leaves Foliage Green, when dry, shade using Avocado. With large end of stylus, dot berries Tomato Red. Finish: Following manufacturer’s directions, spray the entire painted surface using Matte Spray Varnish, let dry then repeat. If you have any questions, contact me on Facebook "Karen Wisner" or email me at kdolls.designs@gmail.com 44

Shading and Highlighting Guide *Enlarged to show details*

Line art is at 100%

Original Design by Judy Diephouse distinctj@aol.com

I have a collection of these octagon trays and realized that I did not have one done in Delft. This design includes a traditional scene plus the stylized floral design on the border. This pattern could easily be adapted to a wood tray or top of a basket. Enjoy!

Surface: x

16.5 x 10.5 Octagon Tray by Western Metal Ware. Although the owner is retired, there may be a few remaining in stock. Contact him at dcdfly@aol.com Other sources could be Painters Paradise or Dellaandcompany.com

Project supplies: x Usual Painting Tools x Painters tape, ruler, and chalk pencil x Small round sponge x Deco Art Dura Clear Satin Acrylic Varnish Paints: DecoArt Americana Acrylics x Deep Midnight Blue x Lamp Black x Light Buttermilk x Prussian Blue x Titanium Snow White

Brushes: King Art x Liners series 9350-- #1, #4, #6 x Flats Series 9300 --#2, #4, #6, #8, #12 x Washes-- ½” ¾” x Deerfoot – ¼”, ½”

Painting Instructions Create the following Mixes: Dark = Deep Midnight Blue+ Prussian Blue+ Lamp Black (1:1:1/5) Medium = 1-part Dark Mix + 4 parts Snow White Light = 1-part Dark Mix + 7 parts Snow White Pale = Snow White and a touch of the Light Mix Preparation: Basecoat the entire tray with Light Buttermilk. 1 ¼” border on the base of the tray is the Medium Mix. The slant sides of the tray are the Light Mix The top turned edge of the tray is the Dark Mix. Basecoat the back the color of your choice. Painting Instructions: The Sky: Basecoat the sky area with a wash of Pale. Shade the top next to the border and the bottom next to the horizon line with a soft float of Light Mix. The clouds are Snow White using a small round sponge. Streak out the bottoms of the clouds while still wet with the sponge. The birds in the sky are the Dark Mix.

Background Bushes: Using the deerfoot brushes, stipple the background bushes. Starting lightly with the Dark Mix, gradually adding touches of the Medium, Light, and Pale Mixes. Add a few lines of Dark to denote tree trunks, the main trees will be done later. Windmill: The top two sections of the windmill are basecoated the Light Mix. Shade with the Medium Mix and highlight with the Pale Mix. The bottom section is the Medium Mix, shaded with the Dark Mix and highlighted with the Light Mix. The windows and doors are the Dark Mix outlined with the Pale Mix. All detail line work, windmill blades, Support bars, bricks on bottom section are the Dark Mix. Shade again under the walkways with a float of the Dark Mix. Houses: Basecoat the sides of the houses with the Light Mix, shade with the Medium Mix and highlight with the Pale Mix. The roofs are the Medium Mix, shaded with the Dark Mix and highlighted with the Light Mix. Windows and doors are the Dark Mix outlined with Pale. All detail lines on the roofs and bricks on the sides are the Dark Mix.

Haystack: Basecoat the hay area with the Light Mix. Add random crossing lines with the Dark, Medium, and Pale Mixes. Add a few of White if needed. The roof is Medium Mix, shaded with the Dark Mix. Detail lines of the Dark Mix, and then highlighted with a float of the Light Mix and the left side and bottom edge of roof. The support poles are the Dark Mix. Grass and Main Trees: Streak in the grass area with the Medium Mix. Add some streaks of dark for shadows under the background bushes, houses, and main trees. The tree trunks and branches are the Dark Mix. The foliage is stippled lightly with the Dark Mix, then with the Light Mix and the Pale Mix. Path, fence, and bushes by the house: The path is streaks of the Dark Mix (keep this parallel to the horizon line) Softly shade the sides with a float of the Dark Mix. If the path becomes too dark, soften with streaks of the Medium Mix. The flower bushes by the base of the main house are stippled touches of the Medium, Pale and Snow White. The fence is the Dark Mix. Water: The horizon line is a fine line of the Medium Mix. Softly float along the shoreline with the Dark Mix. Add streaks from each side with the Dark Mix. The reflection lines of the boat are the Dark Mix. Sailboat: The hull is the Medium Mix, shaded with the Dark Mix, and the trim line is the Pale Mix. The mast and lines are the Dark Mix. The sail is Snow White with detail lines of the Dark Mix. The person is the Dark Mix. Dock and Rowboat: The dock is basecoated the Medium Mix. All detail lines are the Dark Mix. Shade next to the border with a float of the Dark Mix. Highlight the top edge of the dock with the Light Mix. The row boat is the Medium mix. All detail lines are the Dark Mix. The trim line is the Light Mix.

Shade the base of the boat and inside of the boat between the seats with the Dark Mix. Highlight the seats with the Light Mix. The posts are the Medium Mix, shade and detail lines are the Dark Mix. Highlight the tops of the posts with the Pale Mix. The ropes are the Dark Mix. Floral Design: The main flower on each long side is a float of the Pale Mix for the outer layer, the second layer is the Light Mix and the inside section is the Medium Mix.

The four corner flowers are the Pale mix for the outer petal and the center petal is the Light Mix. For all other flowers, use the Light Mix for the outer petals, Medium Mix for the center petals. The scrolls are the Medium Mix. All outlines, detail strokes, and filler strokes are the Dark Mix. The dots and connecting dashes are Light Buttermilk. Rim Design: The Scallops are 1 ½” long. Float along the curved line with a float of the Pale Mix. All crosshatching and outlining are the Dark Mix. The dots are Light Buttermilk. Outline the scene area with a line of the Dark Mix. Allow the painting to dry thoroughly. Erase any visible tracing lines. Following manufacturer’s directions, varnish with 3 coats of Satin Acrylic Varnish. Allow for 24 hours between coats for complete curing. 51

Hope Anchor Original Design by Martha Smalley Apple Tree Cottage Designs

Set sail on an adventure of hope…trust that you will find your way…and be assured that you will anchor where you are meant to be!

Surface: x Portly Anchor Kit, #22-W1720, 10” x 14” MDF Anchor, available from Cupboard Distributing, https://www.cdwood.com/products/portly-anchorkit?_pos=2&_sid=33569499c&_ss=r Supplies: x Usual Acrylic Painting Tools x Fine Grit Sandpaper x Tim Holtz Layering Stencil Dot Fade x Art Minds Stylus Set available at Michael's x Hot glue gun x Hot glue sticks x Bowl of ice water x Micron 0.5 Black Archival Pen Paints: DecoArt Americana Acrylics x Avocado Dip x Brilliant Red x Lamp Black x Sapphire x Teal Mint x True Blue x Warm White

Mediums: DecoArt Americana x Deco Art Easy Float (Discontinued) x Acrylic Sealer/Finisher Matte

Brushes: DecoArt x Flat, Angled and Liner Brushes x DecoArt Mop Brush – TB113 x DecoArt Painting Accessories Americana Stencil Brush Set 4pc Techniques: Shading: If shading is a challenge for you, try using DecoArt Easy Float. Easy Float is a blending and floating medium for use with acrylic paints. It makes floating color easier for creating shading and highlighting effects on painting projects. Using an angled brush, dip the back in the medium and the tip in the paint. Brush back and forth on your palette until the paint blends slightly into the medium and then paint. Use a mop brush to soften the edge. It is better to use several light coats to achieve the best effect. Dry Brushing: Load an old, round scruffy brush with the color you will be using. Remove most of the paint by brushing it onto a paper towel. Apply the paint in a circular motion. Use a light touch so that some of the background will show through. Line Work and Details: Use the #10/0 for all the line work. Thin the paint with water to an ink-like consistency. Use a mop brush to soften and blend shading.

A painter’s tips: o Use a stylus, toothpicks, and the ends of paintbrushes to add dots to your painted design. You will have much more control over the shape and size than with a brush! o Trace the pattern onto tissue paper first and then use that pattern when tracing the design onto a curved surface. o A hairdryer can be your best friend when it comes to speeding up the drying process! o While you’re working, place a bowl of ice water near your workspace – but NOT near your glue gun. If you accidentally get glue on your skin, dip the burned area in the cold water. o Follow all the manufacturers’ label instructions for proper product usage. Use the color photo as reference for shading and details. o I use flat brushes to basecoat, float with angled brushes and use a liner brush to paint details. Preparation: Spray the anchor and banner with two coats of Americana Acrylic Sealer/Finisher Matte (sand lightly between each coat). Paint the anchor and banner with two coats of Warm White. Wash over the anchor with a light coat of Sapphire mixed with water about a 2:1 consistency. Shade around the edge with a light wash of Sapphire. Mop the shading so that it blends into the background. Stencil Background: With Warm White, apply the Dot Fade pattern. Transfer on the pattern. Using Lamp Black, paint the triangles Lamp Black and outline the oval opening, Painting Instructions: Waves: Shade the waves with Sapphire. Dot the waves using a stylus and Warm White. Flag: Paint flag Brilliant Red; drybrush with Warm White. Dot the ball at the top of the flag with Brilliant Red. Paint the mast Warm White, line with Brilliant Red. Outline the mast using the Micron Pen. Sails: Paint the sails Warm White. Boat: Paint the scalloped edge on the top of the boat Brilliant Red. Dot each scallop first with Lamp Black and then again with Warm White. Paint the middle section Avocado Dip. Line under the scallops with Lamp Black. Paint the triangles on the bottom Lamp Black. 61

The border is painted Teal Mint. Line around the triangles using the Micron Pen. Shade around the boat and sails using True Blue. Use the Micron Pen to draw a circle where the line holding the anchor comes out. Use Lamp Black and a liner brush to paint the line holding the anchor. Line the anchor using the Micron Pen. Moon and Stars: Paint the moon Sunny Day. Shade around the moon using True Blue. Dot the shadow of the moon using a small stylus and Warm White. Use the end of a paintbrush and Warm White to dot the three stars. Dot around the stars using a small stylus and Warm White. Lettering: Line the lettering on the top of the anchor using Lamp Black. With the Micron Pen, apply lettering to anchor bottom.

Banner: Use a liner brush and True Blue to apply the lettering. Use a liner brush and Brilliant Red to outline the banner. Shade the banner using True Blue. With True Blue and a liner brush, add the little shading lines underneath the folds of the banner.

Finishing Touches: • Hot glue the banner to the anchor. (Please be careful using the hot glue gun... have your bowl of ice water nearby!) • Spatter paint the piece lightly with True Blue. • Spray the piece with Americana Acrylic Sealer/Finisher Matte. 62

~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~**~*~*~*~*~*~*~*~*~*~*~*~ The Intellectual Property Rights to “Hope Anchor” are owned by Martha Smalley of Apple Tree Cottage Designs. " Intellectual property rights” are a bundle of exclusive rights over creations of the mind which protect creative works such as text, paintings, and photographs and gives the copyright holder exclusive right to control reproduction or adaptation of such works. ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~* Copyright Notice:© Copyright 2020 Martha S. Smalley. 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 Martha S. Smalley 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 form. 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 web sites or photo sites), although if shown on the internet, you must provide credit to Martha S. Smalley 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.

Bonus Line Drawing 5.95” H 3.81” W

Original Design by Anita Campanella anita.campanella@libero.it

For my nephew, his first year of school is approaching. This new adventure is accompanied with great emotion for him, his family and me. I like imagining what this new year will bring. To be sure he knows that I am thinking of him, I have painted a large cushion that will keep him company during his homework.

Surface: x Fabric Pillow, 20”x 20” Project Supplies: x Standard Acrylic Tools x Ball Stylus Paints: DecoArt Americana Acrylics x Antique Rose x Avocado x Bleached Sand x Burnt Orange x Burnt Sienna x Colonial Blue x Country Red x Dark Chocolate x Hauser Light Green x Hauser Medium Green x Heritage Brick x Honey Brown

x x x x x x x x x x x

Irish Moss Lamp Black Leaf Green Light French Blue Marigold Mocha Neutral Grey Raw Sienna Soft Black True Ochre Uniform Blue

Mediums: DecoArt x Fabric Painting Medium DAS10 Brushes: Dynasty Black Gold x Shader, size 4, 8, 12 x Dry Brush series 200, size 4, 6 x Liner 206 MSC, size 20/0 x Angle 206 A ,size ½, ¼ x Round 206 R, size 4 Scharff x Moon Mop 685, size ¼, ½, ¾ x Mop 670, size ¾ Preparation: Wash the fabric in slightly warm water with a little neutral detergent. Dry without fabric softener, iron smooth and proceed with painting. Anita’s Painting Techniques To paint on the fabric, you will prepare your paint mixes as follows: Mix three parts of color, two parts of Medium, one part of water (3: 2: 1) When the instructions call for dry brushing: The dry brush is dipped in pure paint without adding water and without adding medium. Work the bristles on the palette so the color penetrates the bristles. Scrub the excess color on a dry towel and gently scrub onto the appropriate area.

Basecoat Mattia as follows: Mocha: Face, Neck, Legs, Arms Uniform Blue: Hat, Foulard Colonial Blue: Shoes, Backpack Bleached Sand: Shirt, Shoe Details Leave to dry well. Outline the nose, eyes, mouth, chin, eyebrows and freckles with the Liner brush and Dark Chocolate . The eyes are Bleached Sand, the iris is Light French Blue, the pupil Lamp Black. The details inside the eyes are with the Liner and Lamp Black. The sparkle glint is with the Ball Stylus and Bleached Sand. The inside of the nostrils is Lamp Black. Fill the lip area with a brush mix of Mocha and Heritage Brick. The lashes are with the Liner and Lamp Black. The shadows, inside the eye, close to the lashes, are with the Soft Black. With Raw Sienna mix, add the shadows on the face, close to the hat, along the far right side close to the hair and ear, along the upper part of the chin close to the lips, along the upper part of the lips close to the nose, along the part upper eyes close to the eyebrows, and along the lower side of the eyes. Again, with the Raw Sienna mix, create the shadows on the neck, close to the face, close to the shirt, inside the ear and on the ear close to the face. Also, with the same mix, are the shadows on his back, on his hand arm close to the leg and on the leg close to the trousers and the shoe. The cheeks are a Dry Brush with Antique Rose. Reinforce all shadows with the Raw Sienna. The highlight on the hat, on the scarf, and on the pants is a Dry Brush with Bleached Sand. The shadows on the hat close to the face, close to the bee, close to the hair and ear, along the top in the small fold, are Soft Black. With the same color are the shadows on the scarf, along the right side close to the Shirt, along the bottom of the knot, in the corners close to the neck.

Also with the same color, are the A shadows on the trousers in the corner close to the leg, along the upper part close to the back, along the lower part of both legs and along the internal part of both legs close to the sleeve of the Shirt . The details on the trousers are with the Liner and Soft Black. The shadows on the Shirt, in the corners close to the legs, close to the scarf and along the lower part of the sleeve are Neutral Gray. With the same color is the shadow on the scarf behind the Shirt and on the shoes. Reinforce with Soft Black only in the most shaded areas. The shadows on the shoes close to the sole, along the entire perimeter close to the tear-off tongue, and in the lower corner close to the ankle are Uniform Blue

The Bookbag has Neutral Gray and Bleached Sand details. The handle is Neutral Gray. The shadows on the bookbag are Uniform Blue, reinforced in the darkest areas with Soft Black. The ant is Lamp Black, the light is with the Liner and Bleached Sand. His handkerchief is Bleached Sand, the details are with the Liner and Lamp Black. The Bee: Basecoat his body with Marigold. The details on the body, head, stinger, arms, and legs are Lamp Black. The shadow along the lower part of the body is Dark Chocolate. The light on the legs, on the arms, on the stinger and on the face are made using the Liner and Bleached Sand. The wings are floated with Bleached Sand. The shadows on the wings behind the body are Lamp Black. The details on the wings are with the Liner and Lamp Black. The lawn is a Dry Brush with Honey Brown, Dark Chocolate, Irish Moss and Burnt Orange. Alternate these colors for the lawn as you please, a little here and there.

Frog: Basecoat Hauser Medium Green. The eyes are Bleached Sand, pupil is Lamp Black. The shadows on the frog close to the eyes, close to the legs, along the lower side of the legs, at the base of the hands, are Dark Chocolate. Reinforce in shaded areas with Soft Black. The cheek is a Dry Brush with Antique Rose. The light points along the upper side of the body, on the upper part of the mouth, along the upper part of the hand and along the ends of the webbed toes, are with the Liner and Irish Moss. Tap the color and only in the brightest area, add color strokes with Marigold. The Cricket: Paint his body and hat Honey Brown. The face, arms, legs, neck, and wings are Hauser Medium Green. The T shadows, on the wings close to the neck and along the extreme part, are first Dark Chocolate, then Soft Black. Again, using first Dark Chocolate and then Soft Black, shade on the body close to the legs, on the face along the left side, along the ends of the legs and on the neck close to the arms. The band on the hat is Dark Chocolate. The light on the hat along the far-right side is Bleached Sand. All the details are with the Liner and Soft Black. The eye is with the Liner, first with Bleached Sand, then Lamp Black. Bl Black Board Leaf: Create the leaf using the shadows. The shadows on bottom are Hauser Medium Green, across the top are Dark Chocolate. The veins are with the Liner and Dark Chocolate. Reinforce the veins in some areas with Soft Black. The numbers are with the Liner, first with Bleached Sand and later with Soft Black. The stand is very elongated Dark Chocolate with water 1:2 . The light is with the Liner and Honey Brown. The Mushrooms Behind Cricket are Bleached Sand. The shadows, along the outsides of each cap and along the stems, are Burnt Sienna. The light in the center of the caps is a Dry Brush with Marigold. The shadows inside the caps are Dark Chocolate. Reinforce with Soft Black. The shadows, along the Background, close to all the subjects, are Dark Chocolate. The details on the mushroom hats are with Liner and Burnt Sienna. The light in the center is a dry brush with Bleached Sand. The shadows on the hats, along the extreme sides of each one, are reinforced with Dark Chocolate. Eyes and mouth are with the Liner and Soft Black.

The Red Cap Mushrooms: Base Bleached Sand. The mushroom hat is Country Red. The shadows at the base of the stems and along the bottom of the caps are with Dark Chocolate. The slats are with the Liner and Dark Chocolate. The cheeks are a Dry Brush with Antique Rose. The details, on the Country Red mushroom hats, are with the Liner and Bleached Sand. Eyes, nose, and mouth are with the Liner and Soft Black. The shadows on the mushroom caps, along all the extreme sides and close to the ladybug, are Soft Black. The Ladybug: Her body is Country Red. The details on the body, the head, the antennae, the legs, and the arms are Lamp Black. The light on the legs, on the little hand on the right and on the head, is with the Liner and Bleached Sand. The shadows, along the top / bottom and below the wings, are Soft Black. The mushrooms, in the upper right corner, are Bleached Sand. The shadows on the caps are Heritage Brick. Reinforce with Soft Black, only along the extreme sides of each one. Add shadows on the stems and on the volva first with Heritage Brick and reinforce with Soft Black. The shadows, along the lower part of the hats, close to the rings, shade first with Burnt Sienna, then with Dark Chocolate. The eyes are with the Liner and Lamp Black. The Hedgehog: He does not require a basecoat. His form is created with the shading. . The shadows are Dark Chocolate.

In the same way, it is the shadow along the spines close to the body. Reinforce with Soft Black. The spines are with the Liner and Bleached Sand. The inside of the ears is Antique Rose. All face details are Lamp Black. His tiny backpack is Uniform Blue. Final Details: The grass is with Liner and Dark Chocolate, Avocado, Irish Moss and Marigold, alternating between them. The flag on Mattia's Shirt is Leaf Green, Bleached Sand and Country Red. Reinforce all the shadows, at the bases of the subjects, with Soft Black. Contour where necessary with the Liner and Soft Black. Set the Paint: Once it is thoroughly dry, set the colors with a dry iron across the back of the design.

Happy Painting! 72

Current Dimensions: 9” tall by 7” wide. Enlarge by 222% for a 20” square surface

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Original Design by Debbie Mishima debmishima1@gmail.com 75

A little bit of whimsy, a little bit of glitz and some sparkly moonbeams make for this delightful design. Oh, and the cutest little bee. Surface: x Shutter Panel #SKU: 31-L633, from Cupboard Distributing Supplies: x 3 Woodsie Stars (optional) x .01 Micron Pen x Optional (4 paper tags) x Ball Stylus x Ruler x White/Grey Transfer Paper x White/Grey Chalk Pencil Paints: DecoArt Americana Acrylics x Antique White x Bleached Sand x Burnt Sienna x Buttermilk x Celery Green x Coral Blush x Fawn x Hauser Medium Green x Lamp Black x Light Buttermilk x Moon Yellow x Raw Sienna x Snow White x Spa Blue x True Ochre x Warm White x Yellow Ochre x Chalky Finish, Timeless Mediums: DecoArt x Galaxy Glitter, Gold Shooting Star x Galaxy Glitter, Clear Ice Comet x All Purpose Sealer

Brushes: Dynasty Black Gold x ¼” and ½” Angular Shaders Series 206A x ¼” ½” Flat 206FW, #12 Flat 206S x ¼” Deerfoot 206DF x 10/0 Liner x Micron, 2/0 Pointed Flat x 2” Palmer White Bristle FSAFIL Series #37036 x Assorted Dry Brushes, Mop Brushes and Scumblers 76

Preparation: Do Not Sand MDF Based on the surface you’re using, if necessary, sand surface until smooth. Apply Multi Purpose Sealer and lightly sand again to knock down any raised grain. Painting Instructions: Basecoat the background with Chalky Finish, Timeless. Shade around the edges with Raw Sienna. Using the Palmer 2” brush and Warm White, drybrush softly over the surface. When dry, very softly drybrush some Spa Blue here and there over the background. Transfer on the pattern. You can either trace on the three stars and the tag for painting or omit this step and add painted pieces on later. Shade softly around the pattern with Fawn. Bee: Basecoat the bee’s body and head with Buttermilk. Transfer on the details. Shade Yellow Ochre around the eyes, above and below the moon and around the body. Highlight Light Buttermilk around the top of the head. Deepen the shading, first with True Ochre and then with Raw Sienna. Drybrush in the middle of the face and body with Warm White. Basecoat the stripes Lamp Black. Drybrush very softly in the middle of all the stripes with Warm White. Dot Yellow stripes with Lamp Black. Drybrush a hint of Coral Blush for the cheeks. Basecoat the nose, eyes, hands and feet with Lamp Black. Float a curve using Snow White onto the eyes, nose hands and feet. (See picture). Dot the eyes Snow White. Line the antennas, hair, eyes, legs, and stinger with Lamp Black. Float the wings Snow White. Moon: Basecoat with Moon Yellow. With Yellow Ochre, shade around the outside edge and around the two long commas and his eye. Shade around the bee’s eyes, below the hands and below his nose. Highlight Warm White along the profile edge. Deepen the shading with True Ochre. Drybrush in the middle along the length of the moon with Bleached Sand. Add a little drybrushing here and there with Warm White. Basecoat the eye Lamp Black. Float a curve with Snow White. Dot Snow White. Line the lashes Lamp Black. Basecoat the two, long comma shapes with Antique White. Shade Fawn along the outside edge. Highlight Bleached Sand along the inside edge. Drybrush a little Warm White here and there. Dot the top section with Burnt Sienna, Raw Sienna, Moon Yellow and Snow White. Line the stripes in the bottom section with Burnt Sienna, Raw Sienna, Moon Yellow and Snow White. 77

All Daisies: Basecoat the center with Moon Yellow. With Yellow Ochre, shade along the left side and edge where it touches the petals. Highlight the opposite side with Warm White. Deepen the shading with True Ochre and again with Raw Sienna. Drybrush a little Raw Sienna here and there. Avoiding the shaded area, drybrush Warm White. Basecoat the petals with Snow White using the ¼” deerfoot brush. Start at the tip and pull towards the base of the petals. Line and dot the petals with Snow White. Dot the round area along one side and the base of the petals with Lamp Black, Raw Sienna and Snow White. Line the stem with Celery Green. Line again with Hauser Medium Green. Stars: If you are cutting out the star shapes from paper tags, basecoat them each with Chalky Finish, Timeless. Drybrush Warm White. Paint as follows: Basecoat with Yellow Ochre. Shade around the edges with Raw Sienna. Drybrush in the middle with Moon Yellow. Deepen the shading with Burnt Sienna. Drybrush a little more with Moon Yellow. Decorate the three stars as follows: Line the stripes with Burnt Sienna and Buttermilk. Dot around the edges with Buttermilk Dot the left side of the star with Burnt Sienna, Raw Sienna, Lamp Black and Buttermilk. Tag: If you are using a paper tag, basecoat it with Bleached Sand. Shade around the edges with True Ochre. Drybrush Warm White in the middle. Deepen the shading softly with Raw Sienna. Dot the middle of the daisies with Yellow Ochre. Dot the petals with Snow White. Line the words using a .01 Black Micron Pen. Line the string with Lamp Black. Using a ruler to give sharp edges and with Snow White stipple the star beams. Randomly dot Snow White in the beams. Pull lines from some of the dots to look like they are sparkling. Do the same dot and sparkle technique above the daisies. Highlight around the moon, stars, bee and daisy tops with Moon Yellow. Finishing Instructions: Using the Ball Stylus, dot a little Galaxy Glitter, Clear Ice Comet onto the middle of the “sparkle” dots in the moon beams. Brush Clear Ice Comet onto the wings. Brush Gold Shooting Star along the outer edge of the moon and the shaded sides of each daisy. Tie a little string onto the stars and glue them and the tag onto the surface. Shade around them with Fawn. Lightly spray several coats of All-Purpose Sealer. 78

Original Design by Donna Harcourt Kraftylady23@yahoo.com

I painted this sea turtle from memory. Our family loves to go to the ocean; and to go boating. Once when we were on the ocean this little guy swam up beside our boat. I was captivated and decided he and Alcohol inks were a match for each other. I hope as you paint him, you enjoy learning about the fun you can have with Alcohol Inks

Surface x Yupo paper 9” x 12” – Amazon L21-YUP197W912 White Sheets, 10 count (single sheets are available from https://www.jerrysartarama.com/ ) Project Supplies x Fine Line Masking Fluid 1.25 fl. Oz. x Plastic Protective Gloves x Paper Towels x Small fine misting sprayer bottle x Alcohol 91-99%-Local Pharmacy x Uni-ball Signo White pen-Amazon x Transfer paper x Graphite paper x 10 cup, round paint palette Alcohol Inks: Ranger x Aqua-TAL25610 x Bottle-TIM21957 x Butterscotch-TIM21964 x Botanical- TAL40712 x Crimson- TAL59417 x Pitch Black- TIM22138 x Sailboat Blue-TAB25535 x Sunshine Yellow-TAB25559 x Teakwood-TAL40743

Mediums: x Blending Solution- Ranger x Krylon Triple Thick Clear Gloss Spray Brushes: Dynasty Black Gold x #8 round- 206R x # 5/0 liner- 206L x Old small round or flat brush any kind

Tips and Techniques: Alcohol inks are permanent. Protect your table and wear protective gloves during the project. The intensity of Alcohol ink color is affected by the Blending Solution. To lighten Alcohol inks, add more blending solution. To darken, reduce the amount of blending solution. Only a very small amount of Alcohol ink is necessary. Simply use a small cup style paint palette and put out one color at a time. Alcohol ink can be reconstituted with blending solution or 91-99% Alcohol. Clean your brushes with Alcohol between colors unless you are mixing. Wipe dry. Streaming: Hold the Alcohol ink bottle at a 45-degree angle and lightly squeeze the bottle as you pull horizontally across the page. Don’t lift the ink off the paper until you are done streaming the area you want to cover.

Preparation: Trace the pattern onto tracing paper. Using light pressure and graphite paper, transfer the design to the Yupo paper. Apply masking fluid with the old brush to the entire turtle and let dry to touch. Painting Instructions: Background: Referring to the Streaming Technique above and stream the blending solution all over the yupo paper until the paper is wet, but not pooling. You may use your finger or paint brush to blend to those areas that are not wet. Working quickly, stream Sailboat Blue horizontally in a small thin line across the top of the yupo paper. Immediately add a thin stream of Aqua below the Sailboat Blue. Hold the paper up (vertically) and let the ink run down to about the middle of the paper. The colors will blend together. Lay yupo paper down flat.

Horizontally stream Bottle across the bottom of the page and, while the paper is still wet, stream Botanical right above it. If the blending solution applied to the paper at the beginning has dried, stream some additional blending solution across before streaming the green inks. Pick up the paper and using a vertical motion, rock it back and forth so the colors will meet in the middle. If the colors are not blending, add more blending solution and continue to rock the paper until the ink has covered the entire paper. 84

Creating Seaweed: Using Botanical, and starting at the bottom of the paper, streamlines up (vertically) toward the top. Stagger the lengths of the lines of color. Allow the inks to air dry. Do not use hairdryer or heat tool, as it will melt the yupo paper. Place 91-99% Alcohol in your small fine misting bottle. Take your project to a ventilated area and lay flat. Holding the misting bottle up high, lightly mist the Alcohol background. Wait a few minutes for the Alcohol to activate and add additional mist until desired effects are achieved. Air Dry.

Painting the Turtle: Rub off the masking fluid and replace transfer paper and graphite and trace the shell lines, eye, mouth, and feet/flippers. Turtle Shell: Squeeze a small amount of Sunshine Yellow into one of the paint palette cups. Dip the #8 round into Alcohol and lightly dry on paper towels. Dip brush into the Sunshine Yellow and paint the turtle shell. Squeeze Butterscotch in the palette and without rinsing out the #8 round brush, dip into the Butterscotch and tap color on, leaving the lighter Sunshine Yellow towards the middle of the turtle shell. 85

Continue with Botanical, followed by Bottle. Refer to the photo for placement of darker areas. Upper part of Shell: Paint (tap) in with Bottle and Teakwood. Flippers: Paint (tap) in feet/flippers with Butterscotch followed with Teakwood. Pick up Alcohol on the #8 round paint brush and making a lighter Butterscotch, tap in the center of the front flipper. Add a small Butterscotch area in the center area of the back flipper. Wipe out the brush with paper towel. Pick up Teakwood on the #8 round brush and tap in the darker areas around the flippers where they meet the head and the back feet near the turtle shell. Rinse out your brush with Alcohol and dry. Turtle Head: Paint the head with Sunshine Yellow and tap in Botanical and a small amount of Bottle with the #8 round paint brush. Pick up Teakwood and paint around the inside of the shell and the outside of the head. Do not paint the eye area. Let dry.

Adding more Colors: Load the #8 round paint brush with Crimson and tap in areas over both flippers, back feet, and on back of turtle head. Crimson is a strong color so add sparingly. Eye: Load a 5/0 liner brush with Pitch Black and paint in eye, mouth, all shell lines, around flippers, and feet. Rinse brush in Alcohol. Load the 5/0 liner brush with Alcohol and tap on paper towel and then pick up Teakwood to make a lighter value and paint in small highlights above and below the eye and the mouth. Let air dry. Shading Accents: Load Sailboat Blue on #8 round brush; shade under the turtle’s head, lower flipper, and shell. Load Aqua on #8 round brush and tap in on turtle shell where you want lighter color. Final Details: Use the white Uni-ball pen to paint a small dot in the center of the eye. Continue using the white Uni-ball pen to highlight the black lines of the shell, and around the flippers and feet. Be sure to sign your name on background in your desired placement. Finishing: Important note: Because the Alcohol will interact with other spray finishes, you must use only Krylon Triple Thick or Krylon Kamar or your painting will be ruined. Allow your painting to dry for at least 24 hours. before spraying with Krylon Triple Thick Spray. Follow all manufacturer’s instructions to allow sufficient drying time between applications Apply as many coats of Triple Thick Spray to achieve a wet, glossy effect. Let air dry completely before framing as desired. Words of encouragement from Donna: Alcohol inks are really a fun medium! It does take practice to apply the correct amount of blending solution and Alcohol to get the desired effect. But the technique can be great fun when creating a loose painting. And remember, no two paintings are ever alike. Enjoy!

The Inseparable Original Design by Elisabetta De Maria, CDA Dearest painting friends, a treasured friend asked me to paint her little birds and I gladly accepted. Like all birds, this inseparable pair have a wonderful color and convey a lot of joy. I hope they convey this joy to you too….Happy Painting my friends!

Surface x Sheet pastelmat 21 x 21 Brown x The photo of the inseparable was small, and I thought to make a magnification. x You can enlarge or reduce it to a size you choose. Supplies: x Graphite Paper x Hb2 Pencil x Rubber Eraser x Pencil Sharpener Paper Napkins x Blending Stump (Smudge) Note: All the pencils are available at www.dickblick.com Stabilo CarbOthello Pastel Pencils x 100 Titanium White x 210 Orange Yellow x 305 Vermillion Red x 330 Purple x 530 Emerald Green x 570 Leaf Green Middle x 585 Olive Green x 595 Leaf Green Deep x 610 Raw Umber x 615 Dark Ochre x 695 Naples Yellow x 708 Gray 5 x 720 Cold Gray 1 x 750 Neutral Black Derwent Pastel Pencils x P030 Process Yellow x P100 Spectrum Orange x P130 Cadmiun Red x P600 Burnt Ochre Tips x x x x x

Caran d’ache Pastel Pencils x 009 Black x 017 Light Reseda x 080 Carmine Lake x 089 Dark Carmine x 232 Mid Moss Green 10 x 245 Light Olive 40 x 300 Fast Orange x 512 Light Cadmium Yellow x 712 Verdigris x 719 Dark Phthalo Green x 730 Chinese Green x 901 Chinese White Pastelli Bruynzeel x 46 Sanguine Pastelli Faber x 267 Pine Green Pastelli Blockx x 625 Light Veridian

For each section, always start on the left side and continue to the right: (left-handed people will work on the contrary) This is to avoid dirtying the work with the hand. Use paper towels in case you have to work on a part already painted to avoid removing the color or dirtying with your hand. Always follow the growth direction of the feathers. It is quite helpful to blend colors with your fingers. Always use sharp pencils.

Let’s Paint: x Enlarge or reduce the picture to suit your surface and position the photo on the pastelmat. Place the graphite paper in the middle, graphite side down. With a pencil or stylus trace over all the guidelines, contours and details. x Place the color photo next to your sheet so as to check step by step all the details.

Eyes: It is preferable to start with the left eye (looking at the front photo). With the pastel Carbothello n 750 (Black) draw the shape of the pupil and fill the interior with the same color. Now paint the shape of the eye with Carbothello 100. Shade with Carbothello 708. Paint the light spot with Caran D’ache Chinese White. Fig 1

Head: Following the direction of the feathers, paint the head with Caran D’ache 017 and continue with Carbothello 585. Darken with Carbothello 610 and light with 695 and 570. Descend down into the back with Caran D’ache 017.

Continue with Carbothello 615 and Derwent P600. Illuminate with Carbothello 210 and overlap Carbothello 585. Darken with Carbothello 610 and Caran D’ache 089. Give a touch of Carbothello 305. Beak: Work from light to dark, starting with Carbothello 100, 210, 305 and Derwent P130. Darken with Carbothello 330 and shade the dark part lightly with 750. (Fig 1)

Fig 2

Paint the front of the face with Carbothello 305 (Fig 2) Continue with Carbothello 210, Derwent P130 and P100. Illuminate with Caran D’ache 300. Continue to overlap Carbothello 210 and shade with 610. Illuminate with Caran D’ache 512. Strengthen the color of the head with Caran D’ache 080. Still working with Bruynzeel 46 and Caran D’ache 300. Descend down by painting with Derwent P100 and Caran D’ache 017. Continue working with Caran D’ache 300, Carbothello 210 and 305. Illuminate with Carbothello 210, 695, Caran D’ache 300 and Derwent P030.

Fig 3

Still working with Bruynzeel 46. Wing: Paint the wing with Faber 267 and the black parts with Caran D’ache 719. Darken with Carbothello 750. Blend the wing with Carbothello 530 and 570. Illuminate with Caran D’ache 730, Carbothello 210 and 100. Darken with Carbothello 595. Continue to paint the body with Carbothello 695, 210, Caran D’ache 017, 300 and Derwent P030. (Fig 3) Darken with Derwent P600 and illuminate with Caran D’ache 730. Paint the lower part of the body with Caran D’ache 232 and overlap 730. Paint the dark parts with Carbothello 595. Continue painting with Caran D’ache 017, 245, Carbothello 585, 595 and Faber 267. Now cover lightly with Caran D’ache 245.

Start working again with Caran D’ache 719 and Carbothello 530. Illuminate with Carbothello 570 and Caran D’ache 730. Darken the part near feet with Carbothello 750. Continue to work with Caran D’ache 512, 232, Carbothello 570 and Caran D’ache 730. Paint some hair again with Carbothello 595. Blend lightly with your fingers. Paint the bird on the right using the same colors as the first one. Perch: Paint the horizontal shaft with Carbothello 750 and highlight with 720.

Feet: Refer to the photo and paint the feet with Carbothello 100 and shade with 708 and 750. Background Paint the background near the birds with Caran D’ache 712 and the rest of the background with Blockx 625. Fade with your fingers. To protect your work, place it in a glass frame. Have fun! Elisabetta

Enlarge or Reduce Line Drawing as Necessary

Original Design by Paulina Ponsford paulina_ponsford@yahoo.ca

Roses are the flower of June; this was my inspiration for this design. I enjoy creating magical, beautiful florals that bring us joy every time we see them; this is why I incorporated a Hummingbird, the smallest of all birds considered the jeweled messengers. You can proudly display this floral in any room of the home or give it to someone as a precious gift. Surface x Ready to use stretched canvas x (Optional) Watercolor paper, 140 lbs. x (Optional) Acrylic paper, size 9 x 12 inch Supplies: x Usual Acrylic tools x Spray mister bottle x Painter’s Tape x Foam plates Paints: Folk Art Multi–Surface Acrylics x Apple Red x Classic Green x Purple x Real Brown x Vintage White Mediums x Folk Art Blending Gel Brushes x Meeden Angle brushes sizes#5, #6, and #7 https://www.meeden-artsupply.com/collections/acrylic-brushes/products/meeden-angular-paint-brushes-set-for-oil-acrylicswatercolor-and-gouache-color-painting-9-piece

x x x

Script Liner brush Round soft blending brush, (a soft mop of choice) Round painting sponge

Tips and Techniques I use a double loaded brush and controlled strokes for this project; this quick, dynamic, and effective painting method creates beautiful results. It consists of loading the brush with more than one color; then pull a single stroke with the brush to apply and blend the colors creating beautiful effects. For this project, I used angle brushes. Preparation: Lightly spray the surface with water. Painting Instructions Have disposable lunch-size foam plates to use for the palette. When you start a new section of the painting, use a clean plate and fresh paint to prevent the colors from becoming muddy. When using the double loaded technique, you don’t have to wait for the paint to dry, you paint wet on wet. You must fully load the brush with paint for each petal, stem, leaves, etc. and use a little bit of blending gel to help the paint strokes flow. 97

Background – Create the following mixes: In a disposable plate, mix Purple with Vintage White to create a Soft Purple. Mix Apple Red with Vintage White to create a Soft Pink. Mix Classic Green with Vintage White to create a Soft Green. Using the painting sponge in a circular motion, apply these colors to achieve a soft, “cloudy” effect. With the Round Soft Blending Brush, soften up edges and create small circles (if desired) for a blurred effect. Once the background is dry, transfer the pattern by securing it first with tape.

Painting the Roses using the Double Loaded Technique For the roses, you will need the angle brushes #6 and #7. The colors you will use are Apple Red and Purple. Loading the Angle Brushes for Rose Petals Each time you change brush size, prepare your brush as follows: o Wet the Angle Brush #7, blot lightly on paper towel and dip lightly into Blending Gel. o Stroke the brush back and forth several times on foam plate to remove excess and ensure the gel is coating all the bristles. o Dip the brush into the first paint color and blend thoroughly. o Dip the heel of the brush into the 2nd color and stroke the brush several times until both colors show throughout the bristles.

Roses: For the roses, you will need your angle brushes #6 and #7 and Apple Red and Purple paint, Wet your Meeden brush #7, blot lightly on paper towel, and dip into Blending Gel. Stroke the brush several times to ensure Gel is coating all the bristles. Load the brush with Apple Red and brush back and forth on plate to ensure brush is well coated with red (Pic 3), dip the heel of the brush into Purple (Pic 4) and stroke the brush a few times on the plate to ensure the brush is well coated with both colors (Pic 5).

Pic 5

Pic 4

Pic 3

This is how you will load the angle brush to create all the rose petals. Divide the outer part of the large rose into four by applying three dots of paint with the tip of the loaded brush. (Pic 6) The petals of the rose are larger on the outside; so we will begin with the four outer petals.

Pic 6

Pic 7

Press the brush on the area of the first outer petal with the toe of the brush (red color) towards the outside (Pic 7); start moving the brush in a sweeping motion (do not lift the brush) until you reach the first dot and complete the first petal (Pic 8).

Pic 8

Pic 9

Complete the remaining outer petals the same way, reload the brush with paint for every petal (Pic 9).

Creating the Inner Petals: For the inner petals you will use the Meeden angle brush #6, load the brush the same way you did for the outer petals. The inner petals are smaller, divide the inner area in 6 or 7 by applying small dots around the area (Pic 10), paint the inner petals the same way you did the outer petals (Pic 11).

Pic 10

Pic 11

It is now time to paint the inside of the rose, follow the stem of the rose to the center of the rose and using the same technique, paint a small petal (Pic 13), and then another smaller petal just below (Pic 14), now close the center of the rose by painting a small petal going across creating a small circle (Pic 15).

Pic 13

Pic 15

Pic 14

Now paint additional petals by pressing the brush against the side of the center you have just painted and sweeping across to close the open area (Pic 16) and creating another petal, do the same on the other side of the center (Pic 17), and continue until the rose has enough petals (Pic 18). Congratulations, you have painted the first rose!

Pic 16

Pic 17

Pic 18

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Creating the Small Rose Bud: Double load your # 6 Angle brush just as you did for the large rose. Begin by painting a small petal in the center (Pic 19), followed by another smaller one just below (Pic 20). Close the center by painting a small petal across and creating a small circle (Pic 21).

Pic 21

Pic 20

Pic 19

Press the brush against the side of the center and create a longer petal (Pic 22), do the same on the other side (Pic 23), paint two more outer petals to finish the rose bud (Pic 24).

Pic 22

Pic 23

Pic 24

Small, unopened Bud You will use the #6 angle brush loaded the same way. This time you will press the brush at the top of the bud and slide it down creating a rounder shape at the bottom of the bud (Pic A), repeat on the other side (Pic B), and on the center (Pic C). Do not worry if they don’t look perfect! Everything will come together at the end!

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Painting the Stems, Branches, Leaves and Sepals: Using the #6 Angle brush, you will load the brush as you did for the roses. Begin by loading the brush with Classic Green. Add Purple to the toe of the brush and Vintage White at the heel. Stroke the brush a few times on the plate to ensure the brush is well coated; but do not over blend to the point that the paint looks muddy. Start at the top of the rose, and with the chisel edge of the brush stroke down painting the stem. Paint all of the stems and branches this way.

With the same brush loaded the same way, paint the sepals using the chisel edge of the brush starting on the rose and towards the outside (Pic 33 and Pic 34).

Pic 33

Pic 34

Pic 35

Do the same for the unopened bud starting at the bottom of the bud (Pic 35), and stroking upwards (Pic 36), complete the by doing the other side (Pic 37) and the middle (Pic 38).

Pic 36

Pic 37

Pic 38

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Small Leaves: Use the same brush for the small leaves, loaded as before. Press the brush with the toe of the brush on the branch and sweep out, complete the small leaves this way. Using the angle brush #7 paint the large leaves the same way you did the small leaves. You can also create some grass using the chisel edge of the brush starting at the bottom and sweeping upwards.

Using the liner brush, you can intensify the purple in the middle of the roses and add some Vintage White to some of the petals. Do not overdue the highlights or you will lose the effect.

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Painting the Hummingbird Load the #5 Angle brush with Vintage White; add Classic Green to the toe and blend colors on the palette. Start at the head of the bird and follow the body. with the tip of the brush you can add a few little feathers to the body.

Wings and Tail: Load the brush as before, first using Vintage White and then Purple on the toe. Place the brush where the far wing starts close to the body and stroke in a sweeping way, without lifting the brush, creating the first wing. Paint the second wing and the tail the same way.

Details: With the liner brush add feathery strokes with Vintage white to create small feathers chest feathers. With the liner brush and Real Brown, paint the eye, feet, and bill. If necessary, touch up the wings with Purple. Add Vintage White to the center of the eye, around the eye, and bottom of bill. Add red on the cheek below the eye and he is complete! Splatter: Add some splashes of red color by loading a brush with a lot of water and a touch of Apple Red to splatter some around the roses. Finishing Folk Art Multi-Surface paint has a sealant in the formula, no varnish is necessary. But if you want addition protection, apply Folk Art Satin finish varnish. Double loaded painting requires a bit of practice, but once mastered, you will create beautiful florals. Always remember, a painting is not supposed to look like a photograph; it is an artistic creation. Enjoy the process! 104

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Original design by Chéryl Poulin www.your-decorative-painting-resource.com

As an avid doodler, sometimes designs just pop off a scrap piece of paper. And so it was with Spirit Bird. My plan, some time down the road, is to enlarge the design to paint it onto a headboard for a twin bed!

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Surface: x Small Door Crown or surface approximately 16” x 9” Supplies: x Basic Acrylic Tools x Swirl Pattern Stencil of Choice x Tack Cloth x Fine Grit Sandpaper Paints: DecoArt Americana Acrylics x Antique Gold x Autumn Red x Burnt Sienna x Buttermilk x Cadmium Yellow x Cocoa x Deep Midnite Blue x Dioxazine Purple x Hauser Dark Green x Lavender x Payne’s Grey x Teal Green x Wild Orchid x Williamsburg Blue (optional)

DecoArt Dazzling Metallics x Emperor’s Gold Mediums: DecoArt x Glazing Medium (optional) x Multi Purpose Sealer x Dura Clear Satin varnish Brushes: Heinz Jordan x #1 mid-length Liner x #6 Flat x #12 Flat x #4 Filbert x ¼” Domed Dry Stipple x 1/2” Stencil Brush

Painting Instructions Lightly sand the frame and insert and remove the dust with a tack cloth. Apply a coat of sealer to the surfaces and let dry. Sand again and remove the dust. Basecoat the insert and the frame with Deep Midnight Blue. Put the frame aside. Stencil (Optional): For the insert, use a swirl pattern stencil on the background. Load the stencil brush with Williamsburg Blue and wipe most of it off on a dry paper towel. Apply the paint with a light touch, sweeping the brush in a circular manner over the stencil. Once you’ve got the stencilling done, you may wish to protect the background with one coat of the glazing medium. Please refer to the Worksheet, Shading Diagram and Photograph for reference. Gold Bead Border: Omitting the details, transfer the background for the border design. Use the #12 Flat to basecoat the border with 2-3 coats of Cocoa. Transfer the ¼-inch bezel (groove) holding the beads. Use the #6 Flat to apply 2-3 coats of Burnt Sienna.

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1. Transfer the gold beads and basecoat with Antique Gold using #4 Filbert. 2. With Burnt Sienna, use the #6 flat to shade the lower half of the beads. 3. With Cadmium Yellow, use the #6 flat to highlight the top half of the beads.

4. Reinforce the shading and highlights with more floats of Burnt Sienna and Cadmium Yellow. 5. Using Buttermilk on the tip of the liner brush, add a small shine at 2 o’clock on each pearl. 6. Use the liner to outline both sides of the bezel with Emperor’s Gold. Dry brush the border edge, as shown in the photo, using the domed round brush with a mix of Cadmium Yellow and Buttermilk. Reinforce the highlight with a bit more Buttermilk. The final highlight is just Buttermilk. Corner Medallions: Transfer the main outline of the medallions. Basecoat with Antique Gold. Transfer the division lines and the corner beads. 1. With the #12 flat, shade between the division lines with floats of Burnt Sienna. 2-3. Reinforce the shading a few times to deepen the shading. 4. Use the liner to add Cadmium Yellow lines. 5-7. Use the liner to outline the scalloped edge with Emperor’s Gold. Then add gold dots to the tips of the scallops using the stylus. 8. Basecoat the beads in the corners with Lavender using the #4 Filbert. Shade the lower half with Dioxazine Purple. Highlight the top with Wild Orchid. Add a shine dot with Buttermilk. Use the liner to outline the bead with Dioxazine Purple. Spirit Bird: Transfer the main outline of the bird, including head, tail, wings, and heart. Basecoat as follows: x Head and tail sections with Antique Gold. x Large outer feathers with a mixture 1:1 Hauser Dark Green + Teal Green. x Small feathers with Lavender. x The heart with Autumn Red.

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Wings 1. Use the #12 flat to float shading on the large feathers with Payne’s Grey. 2. Float highlights on the outer edges of the feathers with Teal Mint. 3. Dry brush a mix of Teal Mint and a tch of Buttermilk to add a small highlight on the feathers using the ¼” domed round brush. Outline the feathers and add centre veins with Emperor’s Gold. 4. Use the #12 flat to float shading on the small feathers with Dioxazine Purple. 5. Float highlights on the outer edges of the feathers with Wild Orchid. 6. Dry brush a mix of Wild Orchid and a tch of Buttermilk to add a small highlight on the feathers using the ¼” domed round brush. 7. Outline the feathers and add centre veins with Emperor’s Gold. Head 1. Use the #12 flat to float shading on the neck and beak with Burnt Sienna. Highlight the top of the head and tip of the beak with Cadmium Yellow. 2. Reinforce the shading and highlights. Use the liner to add a division line on the beak with thinned Burnt Sienna. 3. Transfer the eye and basecoat it with Autumn red. Shade the lower half with Payne’s Grey and highlight the top with Cadmium Yellow using the #6 Flat. Add a Buttermilk shine dot at 2 o’clock. Use the stylus to add descending dots of Emperor’s Gold to the top of the head. Outline the head and beak with Emperor’s Gold. Tail 1. Use the #12 flat to float shading between the feathers with Burnt Sienna. Highlight the tips of the feathers with Cadmium Yellow. Reinforce as needed. Outline with Emperor’s Gold. 2. Transfer the jewels and basecoat with Autumn Red. Shade the lower half with floats of Payne’s Grey and highlight the top with mix of Cadmium Yellow and Autumn Red 1:1. Repeat with just Cadmium Yellow. Add shine dots with Buttermilk. Outline with Payne’s Grey. Heart 1. Use the #12 flat to float shading all around the inside of the heart with Payne’s Grey. Using the domed round brush, dry brush the center of the heart with mix of Cadmium Yellow and Autumn Red 1:1. Repeat with just Cadmium Yellow. Outline with Emperor’s Gold. 110

Jewel Pendant Transfer the jewel pendant and basecoat a mixture 1:1 Hauser Dark Green + Teal Green. 1. With the #12 flat, float shading with Payne’s Grey. Float highlights with Teal Mint. 2. Repeat shading and highlighting then outline the beads with Payne’s Grey. 3. Outline the beads with Emperor’s Gold, leaving the Payne’s Grey outlines visible. Add shine dots of Buttermilk. Add Emperor’s Gold dots between the beads.

Finishing Erase all visible graphite lines. Varnish the frame and insert with 2-3 coats satin varnish following the manufacturer’s instructions. Re-attach the frame to the insert.

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Original Design by Lorraine Morison While going through my stash of surfaces I came across this oval platter and it just called out to me to paint it with some lovely flowers and lace. Poppies come to mind as strong, silent, colourful blooms that would just suit this platter. The orange/red ones are my favourite so here is my version of some vibrant flowers accented with some lace.

Surface: x Scalloped oblong platter 395mm (15½ in) by 227mm (9 in) with routered edge and dished oval centre 322mm (12⅝ in) by 200mm (7⅞ in) Project Supplies: x Wet palette x Palette knife x Sandpaper x White transfer paper x Tracing paper x Stylus x Kaisercraft Stencil Lace Borders IT439

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Paints: DecoArt Americana Acrylics: x Lamp Black x Canyon Orange x Hauser Medium Green x Evergreen x Wasabi Green x Celery Green x Scarlet DecoArt Hot Shots Acrylics: x Red Rouge

x x x x x x

Dove Grey Red Alert Deep Burgundy Pumpkin Napa Red Warm White

DecoArt Dazzling Metallics: x Splendid Gold

Mediums by DecoArt: x Americana Multi-Purpose Sealer x Americana Extender Medium x Americana Acrylic Sealer/Finisher x

Brushes: x Basecoating brush or roller x Raphael Round brush No3 x Raphael Fine Liner 8413 No 2 x Filbert brush No. 4 x Angle Shader ¼, ⅛ x Stencil brushes

Preparation: Basecoat the piece with two coats of Lamp Black mixed with equal amounts of Multi-Purpose Sealer, sanding between coats. The routered edges are basecoated with Canyon Orange then painted with Splendid Gold. This basecoat really makes the Splendid Gold pop. Do the same for the cove around the oval centre. Place the stencils in the corners by stippling with Splendid Gold. Transfer the design to the surface, omitting details. Painting Instructions Note: All blending throughout the piece is done with Extender Medium. Leaves: Basecoat the leaves with Hauser Medium Green. Apply a second coat with the angle shader and Hauser Medium Green on the heel and Evergreen on the toe to shade the base of the leaves. A zig zag motion with the brush was used. The highlight was painted with the angle shader with Wasabi Green on the toe and Hauser Medium Green on the heel. The veins were painted with Celery Green. A tint on some leaves was done with Scarlet.

Poppies: Basecoat with Dove Grey. The second coat is Red Alert. Shade and divide the petals with Deep Burgundy.

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Highlight the tips of the petals with the angle shader with Scarlet on the heel and Pumpkin on the toe. Add some shading on the lower petals with Napa Red. When completely dry, a Q tip was used to dab some Red Rouge here and there on the top of the petals.

Lace: Outline the lace with Warm White. Step 1. finish. Step 2. Step 3. Step 4. Step 5. Step 6. Step 7.

Wash around the five-petal flower with watery Warm White, two coats for the desired Paint three crosses in the middle of each petal and complete with a dot on each cross. Paint fine horizontal lines in the flower as shown. Crosshatch the centre of the flower and complete with dots. Wash in the top of each leaf in this section. Divide the leaf down the middle and paint diagonal lines for the veins of the leaf. Outline this motif with Warm White to accent the shape.

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

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