Pixelated Palette March 2021 by Pixelated Palette

March 2021 Marlene Fudge, CDA Colorful Cosmos

Beth Wagner

Deb Mishima

36-39

77-81

Sharon Bond

Maureen Baker

41-49

82-88

Effie Carayannis

Elisabetta de Maria, CDA

Bunny Bag

Playful

4-11

Marlene Fudge, CDA

Painting Tips for Large Canvases

Bunny Cart

Pot of Hydrangeas

12-13

Sandy Kelsey Ahhh Spring

Galaxy Dream Catcher

14-20

52-59

The King

90-97

Deb Antonick

Susan Cochrane

Nancy Scott, CDA

21-27

60-68

98-104

Paola Bassan

Cathy Nestroyl

Lorraine Morison

28-35

70-76

106-113

Whimsy Prim Horse

Baby Star

Evangeline

Beatrice

The Road Home

Vintage Beauty

Owner/Founder: Chris Haughey Editor in Chief: Lindsey Applegate, palettepixels@gmail.com Copyright Notice: ©2021 Pixelated Palette. The Pixelated Palette is produced 12 times per year by Cupboard Distributing, 1463 S US Highway 68, Urbana, Ohio 43078. All rights reserved on entire contents of this digital magazine. The information contained within this publication is presented in good faith. As the author(s) and publisher have no control over the application of the information presented, the results are not guaranteed. Reproduction of editorial content is strictly prohibited without written permission of the Publisher.

Hello painting friends, As I write this letter, the temperature in Ohio is in the mid-60s, a nice change from the cold of last month. Spring is just around the corner and with it the flowers will bloom filling the air with the fragrance of the season. The March issue’s pages are filled with designs to welcome spring. Our March cover artist Marlene Fudge kicks off the issue with Colorful Cosmos. This original design was painted on an exceptionally large canvas, but never fear, Marlene also wrote an article full of tips on painting on larger surfaces. Maureen Baker’s Pot of Hydrangeas will bring a beautiful pop of color to your décor and Maureen’s instructions have process pictures to help you produce your own gorgeous blossoms. What about Easter designs? Don’t worry, bunnies are hopping through this month’s pages. Sharon Bond’s Bunny Cart portrays an adorable bunny pulling a cart of eggs and chicks. Beth Wagner’s Bunny Bag has an Easter bunny carrying a basket of colorful eggs. Beth has also provided instructions on how to personalize for that special little someone in your life. When you are done with any project from the Pixelated Palette, please don’t hesitate to share with us. You can do so by emailing your completed works to me at palettepixels@gmail.com, posting them on our Facebook Page, or tagging us on Instagram (@pixelatedpalette). We would love to see your work! Happy Painting! ~Lindsey

Colorful Cosmos Design by Marlene Fudge CDA Paintingmarlene@gmail.com Reference photo used with permission by Dianne Bradder.

The addition of a large canvas can make such a big statement in your home. This colorful flower design is so fun to paint and will add a big splash of color to brighten any room.

Surface: x 36” x 48” Canvas Project Supplies: x Easel Paints: DecoArt Americana Acrylics x Antique Green x Berry Cobbler x Black Green x Black Plum x Burnt Umber x Citron Green x Colonial Blue x Cool White x Dioxazine Purple

x x x x x x x x x

Hauser Light Green Hauser Medium Green Lavender Light Orchid Marigold Mulberry Orchid Saffron Yellow Winter Blue

Brushes: Dynasty x 1” Mop- 400 x Blue Icex #50 Flat- SC32F x #10 & 16 Bright- SC32B x Black Silverx #10 & 16 Bright- Series 4920 x #1 Long Liner- Series 4950 x Mezzaluna- X-Large Mediums: x Minwax Polycrylic Protective Finish- Clear Satin Preparation: Basecoat the entire canvas with one coat of Black Green using the #50 Flat. Carry the color onto the sides as you paint if desired. Let dry. Painting Instructions: Background: Before we trace the design onto the canvas, we are going to paint the background. These are the flowers and greenery in the distance. We want this to be very loose and blended, so they do not stand out as much as flowers in the forefront. There is no set pattern or details for the background, so feel free to have fun creating your own unique colors and shapes. I will take it step by step but remember there is no right or wrong! Let’s add some color!

Load your #16 Blue Ice Bright with Orchid and tip the corner into some Light Orchid. Using a slip slap stroke, add some of the background flowers. By tipping in some of the lighter color, it gives these flowers some dimension while still being soft. Add a little more Orchid in the brush and then tip it into some Berry Cobbler, again using the slip slap stroke, blend this darker shade onto the bottom of some of these flowers. Using the same brush and strokes, repeat with Lavender. Tip into some Orchid for some highlights and then into Dioxazine Purple to add some darkness here and there. Let’s add some greenery! Double load your #16 Blue Ice Bright with Black Green on one side and Hauser Medium Green on the other side. Again, using a slip slap stroke, fill in the areas around the flowers. You still want to see some of the darkness of the background color. Make sure you have a little water in your brush so that you can blend the colors a bit. Add an extra pop of color in the background with Citron Green using the same brush with a bit of water added. Slip slap this color here and there and mop to soften out any brush strokes. To add some background stems/grasses, load the#10 Blue Ice Bright with Hauser Medium Green. Keep some water in your brush so the paint flows nicely. Hold the brush up on the chisel edge and pull the strokes from the bottom of the canvas up to the top. You can vary the width of the strokes as desired. Add a few extra grasses with Hauser Light Green in the same manner. Let dry well. Transfer the design, leaving the details off the petals for now.

Flower and Bud basecoats: We are now going to basecoat all the flowers and buds so we can start to see the placement. Then we will go back and add all the details.

Use the #10 Blue Ice Bright to basecoat all the cosmos petals with Winter Blue. Base coat the centers and the yellow buds with Marigold. The two purple buds and the lower right flower are base coated with Mulberry. The stems of the flowers and buds are basecoated with Black Green using the #16 Black Silver Bright. Add a few thicker grasses with Black Green. Yellow Buds: Using the #16 Black Silver Bright, shade the left side and bottom of the yellow buds with Hauser Medium Green. Carry this float up to the center of the bud. Mop to soften out any brush strokes. Let dry and repeat this step to strengthen the color. Add a smaller float of this color along the top right of each bud. Mop to soften. Load the DRY Mezzaluna brush with Cool White. Wipe off a little of this color onto a paper towel. Dry brush a highlight onto the top right area following the curve of the bud. Take a step back and make sure the highlight stands out, you can always add more to make it pop. Mix Hauser Medium Green + Black Green (3:1) and using the #10 Black Silver Bright, add the little leaves around the buds. Use the same brush to shade the lower part of the leaves and where they tuck in behind the bud with Black Green. Bring your brush up onto the chisel edge and pull some streaks up into the leaves to give them some texture. Highlight the leaves with Hauser Light Green and again, turn the brush up onto the chisel edge and pull some of this color down in streaks from the tip of the leaf.

Purple Buds: Shade these buds along the left side and bottom with the #16 Black Silver Bright and Black Plum. On the bottom right side, add a float of Hauser Medium Green. Let dry. Add a small float of Black Plum on the top right of the buds. To highlight, load the DRY Mezzaluna brush with Orchid and wipe off a little of the paint onto a paper towel. Dry brush the top right area following the curve of the bud. Strengthen the highlight in a smaller area with Cool White. Add some reflected light onto the left side of these buds with a light float of Colonial Blue using the #10 Black Silver Bright. Add the leaves in the same way as the Yellow Buds.

Lower Right Flower: Use the #10 Black Silver Bright to add the shaded areas with Black Plum. Hold the brush up on the chisel edge and pull up some Black Plum streaks up into the petals. Load the DRY Mezzaluna brush with Orchid and wipe some of the paint off onto a paper towel. Dry brush this color onto the petals following the direction of each petal. Use the #10 Bright to add some reflected light onto some of the petals with Colonial Blue. Add the leaves with the brush and Black Green. Highlight with Hauser Medium Green.

Cosmos Petals: Paint the shaded areas on the cosmos petals with Colonial Blue using the #16 Black Silver Bright. These areas are marked xxx on your line drawing. With the same brush, shade between the petals to separate them with a float of Colonial Blue.

Add a touch of water to Antique Green to make an inky consistency. Load the #1 Long Liner and add the vein line to the two upper left cosmos petals. With the same watery mixture, use the #16 Black Silver Bright to paint a wash of color onto the shaded areas on the lower petals of the top left cosmos and on the cosmos at the bottom. Mop to soften the color in the direction of the vein lines. Paint the lighter calyx leaves with Antique Green using the same brush.

On the remaining petals, add some lines in the lighter petals with Colonial Blue by holding the #16 BS Bright up on the chisel edge and pull out from the center to the end of the petals. These are not veining but folds in the petals. We do not want harsh lines like a liner would give you. To highlight all the lighter petals, load the DRY Mezzaluna brush with Cool White. You want to leave more paint on your brush for this highlight. Brush this color in the natural direction of the petals.

Take a step back from the canvas every now and then and see if you need extra highlights here and there. I find that I need to do this several times to pop the bright highlights where I want them. Use the #16 BS Bright to shade the petals on the upper right and lower flower where they attach to the centers with Colonial Blue. The bottom petal on both flowers folds over so they do not need to be shaded.

Cosmos Centers: Use the #16 BS Bright to shade the lower part of the flower centers about halfway up and a smaller area along to top with a washy Burnt Umber. Pounce the mop over the color to give this some texture. Use the Mezzaluna brush to stipple Hauser Light Green onto the center area. Stipple Saffron Yellow around the outer edges of the bud that you shaded. Leave some of the Burnt Umber show through. Mix equal parts Marigold + Cool White and stipple this mixture to highlight the top and just under the green area. If you need an extra highlight, pounce in a little Cool White on the top. When dry, use the #16 BS Bright to reinforce the shading along the bottom the centers with Burnt Umber. Add the little seeds with the liner brush and Burnt Umber. Use #16 BS Bright to float some reflection from the centers onto the petals here and there with Marigold.

Calyx Leaves and Stems: Mix Hauser Medium Green + Black Green (3:1). Base coat the darker calyx leaves on the two top left flowers. Load the DRY Mezzaluna with Hauser Medium Green. Drybrush this color onto the leaves to highlight, down the center of all the dark stems, and grasses. To add an extra highlight of sunshine, drybrush some Citron Green here and there on all the leaves, stems and grasses. Finishing: Take a step back from your painting and even take a picture to look at it from a different perspective. I did not put all the grasses and stems on the line drawing since it would be difficult to follow such a busy design. This is where you can put your own final touches on your painting. Look at where there are blank areas or where you think some needed grasses should be. There is no right or wrong answer to how many you can add. Use any combination of Black Green, Hauser Medium Green and Hauser Light Green. I like to add them with my #16 BS Bright by holding the brush up on the chisel edge and pulling up to a point. Have fun with this part. You will be amazed at how this step will add so much dimension to your painting. Let dry well and remove any remaining transfer lines. Varnish with 3 coats of Polycrylic.

Reduce or enlarge to fit desired surface size. 11

Painting Tips for Large Canvases By Marlene Fudge CDA Have you ever been tempted to try painting a large canvas? I know I have thought about it for quite some time but was a little intimidated with such a large surface. With all the days at home these past few months, it seemed to be great time to step out of my comfort zone and give it a go. I have done several more since then and find that it is a very different process, but it is also very satisfying seeing your artwork on such a large scale. I wanted to share a few helpful tips and ideas that I have learned along the way to help make the task a bit easier and a lot less intimidating for you to try your own large painting. The biggest decision to start with is what subject to paint on your canvas. Any design can be supersized to fit on a larger surface. When I begin to sketch out my designs, I start by making the line drawing on a regular 8 ½” x 11” sheet of regular or transfer paper. The canvases that I have been painting on are 36” x 48”. The next question is, how do I enlarge my small design onto such a large surface? There are a couple of choices to do this. I am lucky enough to have a document camera and projector for teaching classes. If this is a possible option, this is what I do to enlarge my design with this method. I prop up my canvas straight, not leaning at an angle, since that will distort your design. Place your design under the camera and make sure the placement is straight when you project the design on the projector. I place my projector far enough back that the design fits onto the size of the canvas. The farther back the projector is, the larger the design. I use the largest tracing paper I can find and using multiple sheets, I tape them together to fit the size of the canvas and then tape this to the canvas. Using a pencil, I trace the design onto the tracing paper. If you do not have a camera and projector, you can take your line drawing to Staples. They can enlarge a design up to 36” in width. Be sure to check with your local store before you go to make sure they have the proper machines for enlarging. Then if desired, you can transfer your pattern onto tracing paper in the same manner. I like to use an easel when I paint larger designs. Most easels can expand to a fit a fairly large canvas. If you do not use an easel and prop it up on a table, or wall, be sure to check that nothing is pressing against the back of the canvas that can distort it. Do not forget to put down a drop cloth or something to protect from spills and drips. The brushes you will need for your large-scale painting should be larger than you would normally use. I prefer a stiffer brush especially when base coating. The larger brushes will also help you make the details of your painting stand out from a distance. I t helps to take a step back from your easel often to look at it from a distance. One thing that has really helped me with my larger, and also my smaller paintings, is to take a picture every now and then with my phone or digital camera. You will be amazed at how you can see what needs to be tweaked, or not, by looking at it from this perspective. 12

When I paint canvases, large and small, I always like to carry the design out over the edges of the canvas. This gives you the option when you finish to either frame it or not, since larger frames can be quite costly. I hope these few tips have helped you. Most of all, have fun with it and enjoy creating your own masterpiece!

Ahh… Spring Original Design by Sandy Kelsey sk51263@aol.com Painting on fabric was once all the rage - and one of my favorite painting methods! You can have lots of fun with today’s whimsical patterns and gorgeous embellishments. What’s hidden in your craft stash??

Surface: x 18” Jumbo Cambridge Plaque - SKU: 31-L551, Cupboard Distributing, www.cdwood.com Supplies: x Waverly Fabric Fat Quarter yellow design (purchased at Walmart) x Poppies & Paperie Micro Paper Flowers #229831 (Hobby Lobby) or embellishment of choice x Mod Podge for fabric x Nail File x Kneaded Rubber eraser x Steel Wool pad x Small sharp scissors x Glue for embellishments x Transfer Paper x Tracing Paper x Varnish of choice Paints: DecoArt Americana Acrylics x Antique Gold x Baby Blue x Bleached Sand x Burlap x Cactus Flower x Coral x Dark Chocolate x Dragon Fruit x Grape Juice x Hauser Light x Hauser Medium x Jack-o’-lantern Orange x Lavender x Leaf Green x Lilac Meadow x Matcha Green

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

Midnight Green Mississippi Mud Moody Blue Neon Pink Explosion Ocean Blue Pebble Plantation Pine Soft Black Summer Squash Sunny Day Ultramarine Blue Warm White

Paints: DecoArt Enchanted Shimmer x White Brushes -When working on fabric I never use my “really good” brushes. Fabric and canvas can be tough on your babies! x 18/0 liner brush x #4 and 1” flat x ¼” and ½” angled shader x #2 and #5 Round (I like a soft brush on fabric) x Small Dry Brush

Background Use a steel wool pad to scruff the surface of the MDF plaque. Use your 1” flat to coat the surface with Mod Podge. Pick out any clumps. After a 2-3 minutes lay your fabric (bright side up) over the surface covering it completely. Starting at the center, gently push any wrinkle out to the edges so you are left without any air pockets or creases. Fabric has lots of give so you can pull it if necessary (note: I do not iron or wash the fabric before use. I don’t iron anything anymore!!). Let dry until fabric feels attached to the plaque. Use your 1” flat to add a layer of Mod Podge to the top of the fabric. Wait until the piece dries thoroughly. (note: Mod Podge does not need to be glopped on thick. Just enough to keep it sticky for a couple of minutes. If you use too much you may have ridges when you transfer the pattern. If you miss a spot the paint will bleed in that area. After painting you’ll be resealing the edges) Use your small sharp scissors to trim the fabric around the edges of the surface. Little edges and strings will be cleaned up later. Use your ½ shader to float Antique Gold around the top and side edges. Use watered down Coral to add random washes around the surface including over some of the gold. Trace and transfer the pattern onto the background. WARNING: Only use a kneaded rubber eraser on the surface!! A regular eraser will just smear the pencil line and make a mess on the fabric. Use your angled shader to float a stronger tint of Coral in random places around the lettering, daffodils, and behind the green foliage. Basecoats Matcha Green – Tulip and Daffodil stems and leaves Hauser Light Green – all remaining leaves Purple flowers – Lavender Blue Grape Hyacinth – Ultramarine Blue Tulips – Cactus Flower Daffodil – Sunny Yellow Bunny – Burlap The Bunny Tail and Inside Ears – Bleached Sand Bee – Antique Gold Letters – Soft Black Tulip and Daffodils The stems and leaves are shaded with Leaf Green and highlighted with Sunny Yellow. The daffodil leaves have thin Matcha Green stripes on the long leaf that goes over the Leaf Green shading. The tulip flowers are highlighted with Pink Explosion and shaded with Dragon Fruit. The daffodils are shaded with Antique Gold and highlighted with Warm White. The stripes in the flowers and center spikes are painted with the liner and Jack-o’lantern. 16

Grape Hyacinth This flower has little bulbs that rotate around the stem at an angle. The bulbs are created using little cups of Ocean Blue painted with a ¼” angled shader. The little cups have highlights of Baby Blue. Of all the Hyacinth, the one closest to the “S”, has the most detail and is brightest on the right side. The stems and leaves are painted with Midnight Green and don’t have details. Purple Flowers Highlight with Lilac Meadow and shade with Grape Juice. The centers are painted with Summer Squash and spikey details with Midnight Green. The Leaves The leaves around the purple flowers are shaded with Moody Blue and highlighted with Matcha Green. Additional highlights are drybrushed in with Sunny Yellow. The other leaves are shaded with Hauser Dark Green and highlighted with Matcha Green. Drybrush bits of Sunny Yellow to brighten the highlights in places. Stems are painted with Hauser Dark Green. Use Midnight Green to add spikes and vines. Use the ¼ angled shader and Pine Green to darken the deepest shadows. The Bee The bee has Soft Black stripes, head, antenna, and legs. Stipple a little Sunny Yellow on the gold area. The eye is painted with Ocean Blue with a Soft Black pupil. Add a tiny Warm White shine spot. The wings are lightly drybrushed the Warm White on the outside edges. Let some gold and black show through. With liner brush, pull white lines down into the wings and the body. The Bunny – (refer to photo on next page) Use liner brush to add lines of Pebble fur pulling from the Mississippi Mud into the Burlap. Add additional fur lines (short strokes where the fur is short like on the ears and head – longer strokes for longer fur such as on the chest and back) with Bleached Sand and Warm White until the bunny looks fluffy. Be sure to follow the direction of the fur from the photo. Take the liner and add dark lines to the edges of the ears with Dark Chocolate. Use Bleached Sand then Warm White along the lower edge of the face, and chin, on the front feet, the tail the chin. Add water thinned Warm White to add whiskers (less is more with whiskers). The eyes are base coated with Soft Black. Add a loop of Dark Chocolate on both eyes. Add Warm White eye shines as shown. The mouth and nose line are painted Mississippi Mud with a tiny line of Soft Black on the mouth. The nose is painted with Neon Pink Explosion. Add a soft float of the same color inside the ears. Eyelashes are added using water thinned Soft Black (again less is more). Use the small dry brush to scrub Dark Chocolate shadow under the Bunny. 17

The Letters Make sure the letters are painted solidly with Soft Black. Use your #5 round to add Dark Chocolate stippling on the center of the letters. When dry, stipple Enchanted White Shimmer over the Chocolate Brown.

Final Touches Use a nail file to sand the edges of the plaque to remove any untrimmed fabric. Sand the edge from front to back. Dip your finger in a puddle of Mod Podge and flatten down any strings or fluff that shows on the edges. Keep pressing down until all the edges are smooth and sharp. Use glue to add the flowers as shown across the bottom overlapping the foliage. Erase any pencil marks with the kneaded rubber eraser. I use a small flat brush to varnish around the paper flowers, and the 1” flat to finish the rest. Please email me at sk51263@aol.com with any questions. I hope you enjoyed painting this super springy design!! ~Love, Sandy!!

/LQH GUDZLQJ DW

Whimsy Prim Horse Original Design by Deb Antonick

Surface: x 12” x 12” Grooved Plaque, #31-L815 www.cdwood.com Supplies: x White and Black Graphite paper x stylus Paints: DecoArt Acrylics: x Alizarin Crimson x Bahama Blue x Cactus Flower x Cotton Candy x Dioxazine Purple x Foliage Green x Golden Yellow x Hauser Dark Green x Lamp Black x Lavender x Leaf Green x Light Buttermilk

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

Margarita Mermaid Tail Peacock Teal Peony Pink Pink Chiffon Purple Cow Snow Titanium White Spa Blue Summer Squash Sunny Day Warm Sunset Wisteria

Mediums: DecoArt x DecoArt Multi-Purpose Sealer x DecoArt Ultra Matte Varnish Brushes: Dynasty Black Gold (206 Series) available from www.thebrushguys.com x Angle Shader ¼” or ½” x Flat Shader #4, #6, #8, ¾” x Liner #5/0 x Round #2, #4 206R x Script Liner #10/0 or #20/0 206SL x Mop 5/8” (Decorator Series 400) PREPARATION: Basecoat the board with a coat of Multi-Purpose Sealer. Let dry. Sand lightly. Basecoat with Lamp Black and let dry. Spatter very lightly with Summer Squash. Trace on the pattern. PAINTING INSTRUCTIONS: Horse: භ භ භ භ භ

Basecoat the body with Bahama Blue. Shade with Peacock Teal. Drybrush with Spa Blue to highlight. Deepen shading with Mermaid Tail. Dot the body with Snow Titanium White. Dot at the back of the horse with Sunny Day.

Legs and Tail – භ Basecoat the legs and the tail with Light Buttermilk. Shade with Bahama Blue. Float highlights with Snow Titanium White. භ Basecoat the purple stripes on legs with Purple Cow. Shade with Lavender. Highlight with Wisteria. Deepen shading with Dioxazine Purple. භ On the tail, line the purple ribbon with Dioxazine Purple. Blanket – භ භ භ භ භ භ භ

භ

Basecoat with Cactus Flower. Shade with Peony Pink. Drybrush, then float highlight with Cotton Candy. Deepen shading with Alizarin Crimson. Drybrush with a little Pink Chiffon. Basecoat the border with Foliage Green. Shade with Leaf Green. Paint the stripes with Leaf Green. Highlight with Margarita. Deepen shading with Hauser Dark Green. Line the stripes with Margarita. Line the vine with Lamp Black. Stroke in the leaves with Foliage Green. Shade with Leaf Green. Highlight with Margarita. Basecoat the white quilt square with Light Buttermilk. Shade down left side and across bottom with Bahama Blue. Float highlights on top and right with Snow Titanium White. Line stitching with Lamp Black. Paint the heart with Cactus Flower. Shade with Peony Pink. Highlight with Cotton Candy. Deepen shading with Alizarin Crimson. Line highlight with Snow Titanium White. Basecoat the quilt points as follows: Green – Basecoat with Foliage Green. Shade with Leaf Green. Highlight with Margarita. Line stripes with Sunny Day. Yellow – Basecoat with Summer Squash. Shade with Golden Yellow. Highlight with Sunny Day. Dot with the White. Purple – Basecoat with Purple Cow. Shade with Lavender. Highlight with Wisteria. Line stripes with Pink Chiffon. Blue – Basecoat with Bahama Blue. Shade with Peacock Teal. Highlight with Spa Blue Line stripes with the White.

Stacked Boxes: Purple – භ භ භ භ භ

Basecoat with Purple Cow. Shade with Lavender. Drybrush, then float highlight with Wisteria. Deepen shading with Dioxazine Purple. Highlight with Cotton Candy. Line the stripes on the lid with alternating Cotton Candy and Dioxazine Purple. Line and dot the scallops with Snow “Titanium” White.

Green – භ භ භ භ

Basecoat with Foliage Green. Shade with Leaf Green. Drybrush, then float highlight with Margarita. Deepen shading with Hauser Dark Green. Highlight with Sunny Day. Line the plaid on the lid with Hauser Dark Green and Sunny Day.

Blue – භ Basecoat with Bahama Blue. Shade with Peacock Teal. භ Drybrush, then float highlights with Spa Blue. 23

භ Deepen shading with Mermaid Tail. Highlight with Spa Blue Mixed with Snow “Titanium” White. භ Dot the lid with Snow “Titanium” White. Lettering – Line with Lamp Black. Crow: භ භ භ භ භ භ

Basecoat with Zinc. Shade with Lamp Black. Highlight with Spa Blue. Basecoat the beak with Summer Squash. Shade with Golden Yellow. Highlight with Sunny Day. Deepen shading with Warm Sunset. Brighten the highlight with a brush mix of Sunny Day and Snow “Titanium” White. Dot the eye with Snow “Titanium” White, then dot with Lamp Black. Line the legs with Warm Sunset tipped in Summer Squash.

Penny – භ Basecoat the outside ring with Cactus Flower. Shade with Peony Pink. Highlight with Cotton Candy. Deepen shading with Alizarin Crimson. භ Basecoat the center with Purple Cow. Shade with Lavender. Highlight with Wisteria. Deepen shading with Dioxazine Purple. භ Basecoat the star with Summer Squash. Shade with Golden Yellow. භ Highlight with Sunny Day. Deepen shading with Warm Sunset. භ Brighten the highlight with a brush mix of Sunny Day and Snow “Titanium” White. භ Line ethe strings and the penny with Snow “Titanium” White. Moon and Stars: භ Basecoat with Summer Squash. Shade with Golden Yellow. භ Highlight with Sunny Day. Deepen shading with Warm Sunset. භ Brighten the highlight with a brush mix of Sunny Day and Snow “Titanium” White. Tiny Houses: Pink – භ Basecoat with Cactus Flower. Shade with Peony Pink. භ Drybrush, then float highlight with Cotton Candy. භ Deepen shading with Alizarin Crimson. Highlight with Pink Chiffon. Green – භ Basecoat with Foliage Green. Shade with Leaf Green. භ Drybrush, then float highlight with Margarita. භ Deepen shading with Hauser Dark Green. Highlight with Sunny Day. Blue – භ Basecoat with Bahama Blue. Shade with Peacock Teal. භ Drybrush, then float highlights with Spa Blue. භ Deepen shading with Mermaid Tail. Highlight with Spa Blue Mixed with Snow “Titanium” White. Purple – භ Basecoat with Purple Cow. Shade with Lavender. භ Drybrush, then float highlight with Wisteria. භ Deepen shading with Dioxazine Purple. Highlight with Cotton Candy. 24

Yellow – භ Basecoat with Summer Squash. Shade with Golden Yellow. භ Highlight with Sunny Day. Deepen shading with Warm Sunset. භ Brighten the highlight with a brush mix of Sunny Day and Snow “Titanium” White. Roofs – භ භ භ භ

Basecoat with Zinc. Shade with Lamp Black. Highlight with Spa Blue. Line the chimneys with Peony Pink. Line the doors and windows with Lamp Black. All liner work is very fine with Snow “Titanium” White.

Tree – x x

Line the tree with a brush mix of Warm Sunset and Lamp Black. Dot leaves with Sunny Day.

Ground – භ Drybrush the ground with Margarita. භ Line the fence with Snow “Titanium” White. FINISHING: I did most of my outlining with very fine lines of Snow White using my 20/0 liner brush. Varnish and enjoy.

/LQH GUDZLQJ DW

Co opy pyrigh g t De gh Deb b An Anto to oni nickk Des nick esig gnss 202 021 21 ww www. w pa w. p in nti t ngwi ng gwi withde with th hde deb. eb. b.co com co m

Original Design by Paola Bassan www.paolabassan.com info@paolabassan.com

I have a great passion for funny and round characters. When I draw and paint projects for baby it's like entering into a wonderland where everything smells of cotton candy, the moon and stars smile, and dreams come true.

Surface: j Rounded Arch Plaque 7-3/4 x 12-1/2", available from cdwood.com j

For Italian and European customers https://outofthewood.it/collections/paola-bassan-design

Project Supplies: j Usual Acrylic Tools j White and Black Graphite j Fine Grit Sandpaper j Adhesive mesh texture tape j Stencil BCS160 Stars by Laurie Speltz’s j 0.05 Micropen Paints: DecoArt Americana Acrylics j Berry Cobbler j Burnt Umber j Buttermilk j Camel j Cocoa j Desert Turquoise j Hauser Light GreenWarm Beige j Honey Brown j Light Buttermilk j Mint Julep Green

j j j j j j j j j

Moon Yellow Peaches’n Cream Raw Sienna Hauser Medium Green Burnt Orange Soft Black Spa Blue Vintage Pink Warm White

Mediums: Decoart j Multi Purpose Sealer j DecoArt Matte Spray Sealer or Brush on Varnish of Choice Brushes JoSonja: j Square wash #1/2, #3/4 series 1375 j Oval drybrush #8,#12 series 2010 j Short liner #10/0 series 1360 by Jo Sonja’s Loew Cornell: j Maxine’s Mop #1/2, #3/4 series 270 FM Dynasty: j Stencil #1/4, #1/2 series Stencil-Pro Preparation: If using a wood surface, sand lightly with a fine grit sandpaper. Remove all dust with a tack cloth. Seal the wood with DecoArt All Purpose Sealer and let dry. Sand again with very fine sandpaper to knock down any of the raised grain. If using an MDF surface, do NOT sand; just apply sealer to all sides and allow to dry completely. 29

Painting Instructions: Background Basecoat the surface with two coats of Buttermilk and let dry. Painting of small touches of color alternating Hauser Light Green, Warm Beige on the whole base as you like in order to get a “blur". Shade the entire outline with Honey Brown. Transfer the main lines of the moon with black graphite paper.

Moon: Basecoat with Moon Yellow and shade the bottom with Honey Brown When dry, use black graphite to transfer only the main pattern outlines. Base coat as follows: Moon: base Moon Yellow, eyes Warm White, nose Vintage Pink Stencil the stars with Buttermilk (I use the stencil BCS160 Stars by Laurie Speltz’s) Bear: base Cocoa, inside of the ears and muzzle Camel, patches on the lower paw Peaches'n Cream and Mint Julep Green Star : base Peaches’n Cream, hat Mint Julep Green, brim of the hat Spa Blue Flags: alternate Peaches'n Cream, Mint Julep Green and Spa Blue Shading & Highlights Nose: shade the left side with Berry Cobbler. With Warm White, highlight the right part then paint the light point. Eyes: shade the left and bottom of each eye with Honey Brown. Pupils are Lamp Black, dot inside with Warm White. Eyebrows and mouth: Soft Black, Cheeks: Drybrush the cheeks with Vintage Pink, polka dots on the cheeks are Warm White. Flags Highlight the top of all flags with Light Buttermilk. Peaches n’ Cream Flag: Shade the lower part with Burnt Orange. Mint Julip Green Flag: Shade the lower part with Hauser Medium Green. Spa Blue Flag: Shade with Desert Turquoise. Internal dots with Light Buttermilk, thread with Soft Black. 30

Bear Head: Shade around the head and over the muzzle first with Raw Sienna then lightly strengthen with Burnt Umber. Highlight the central part first, with a drybrush of Moon Yellow then lightly strengthen with Light Buttermilk. Cheeks: Create the cheeks with a light float of Berry Cobbler. Patches on his Face: The square patch is Spa Blue; the heart is Moon Yellow With Desert Turquoise, shade the square under the heart and paint the stitch then highlight the lower part with Warm White. With Honey Brown shade the bottom of the heart and paint the stitches, highlight the top with Light Buttermilk. Muzzle: Shade the lower part with Honey Brown and highlight the upper part with Light Buttermilk, then reinforce with Warm White. Paint the heart nose, eyes and eyebrows with Soft Black. Ears: shade the bottom of the ears, near the head, first with Raw Sienna then lightly strengthen with Burnt Umber. The inner part of the ears is shaded at the lower part with Honey Brown. Highlight the upper part with Light Buttermilk, then reinforce with Warm White. Arms: shade the inside with Raw Sienna, lightly strengthen with Burn Umber. Highlight the central part with a drybrush and Moon Yellow. Hands: shade the lower part with Raw Sienna, lightly strengthen with Burn Umber, highlight with drybrush the central part with Moon Yellow. Body: shade under the muzzle and sides with Raw Sienna, lightly strengthen with Burn Umber, highlight with drybrush the central part with Moon Yellow. Paint the patches with Spa Blue (heart) and Peaches'n Cream (square). Shade the lower part of the heart and paint the stitches with Desert Turquoise, then highlight the upper part with Warm White. Shade the part under the heart and paint the stitches with Burnt Orange, highlight the lower part with Light Buttermilk. Paint the bow with Mint Julep Green, shade the inside and the folds with Hauser Medium Green. Highlight with Light Buttermilk.

Paws: shade the lower part with Raw Sienna, lightly strengthen with Burn Umber, highlight the upper part with Moon Yellow. Paw Patches: Paint the heart patches with Peaches'n Cream and Mint Julep Green. The Peaches'n Cream heart is shaded at the bottom with Burnt Orange and highlighted at the top with Light Buttermilk (Stitch with Burnt Orange). The Mint Julep Green heart is shaded at the bottom with Hauser Medium Green and highlighted at the top with Light Buttermilk (Stitch with Hauser Medium Green). Star: shade the entire outline with Burnt Orange. Place the mesh adhesive tape in the central part and drybrush highlight with Light Buttermilk. Eyes: base with Warm White shade the left and bottom of each eye with Honey Brown. Center of the eyes with Lamp Black, dot inside with Warm White. Nose: base with Moon Yellow, float the left side with Raw Sienna. With Warm White, float highlight on the right then paint the light point. Mouth with Soft Black. Hat band: shade the folds and underside with Desert Turquoise. Highlight the central parts with a drybrush and Light Buttermilk. Hat: shade the folds and the underside with Hauser Medium Green. Highlight the central parts with a drybrush with Light Buttermilk.

Letters: Base with Buttermilk. Details starting from the left: B: shade with Moon Yellow, reinforce with Honey Brown. Highlight with Warm White. Stitch with Honey Brown. A: shade with Peaches’n Cream, reinforce with Burnt Orange. Highlight with Warm White. Stitch with Burnt Orange. B: shade with Spa Blu, reinforce with Desert Turquoise. Highlight with Warm White. Stitch with Desert Turquoise. Y: shade with Mint Julep Green, reinforce with Hauser Medium Green and highlight with Warm White. Stitch with Hauser Medium Green. Background Shade around the bear, the writing, the flags and the star with Raw Sienna. Reinforce only in the corners with Burnt Umber. Accents & Details If you like to better define the contours, I used the 0.05 micro pen Finishing Seal the project with several light coats of DecoArt Matte Spray Sealer. You can also finish your project with a brush on matte varnish, whichever you prefer. A word of encouragement from the artist Bring your favorite herbal tea and light a scented candle. Close your eyes for a moment and take a deep breath ... imagine being in wonderland, full of colors and magic ... now open your eyes again ... smile and let the love for painting enter your brush j Thanks for painting with me j j Happy Painting Paola

Line art is at 100%

Bunny Bag Original Design by Beth Wagner Email: bethwagnerdesigns@yahoo.com I was thinking about the celebration of Easter. I thought about the children’s delight at Easter Egg hunts and all the delicious candy to be collected. The beautiful colors of the season mirrored in the beautiful spring flowers, came to mind. Of course, everyone needs a special Bunny Bag to take all their treats home.

Surface: 15” x 15” Canvas Tote Bag (Amazon) Project Supplies: x Diane Bunker’s Transfer Fabric- (or your favorite fabric transfer method) x Permanent Black Marker x Cardboard to place between tote layers Paints: DecoArt So Soft Fabric Acrylics x Baby Blue Deep x Baby Pink Deep x Bright Avocado x Bright Yellow x Cadmium Orange Hue x Cadmium Yellow x Dark Rose x Dioxazine Purple x Fuchsia x Green Apple x Indian Turquoise x Lavender x Titanium White Mediums: x DecoArt Fabric Medium Brushes: Scharff Brushes Inc. www.artbrush.com x White Taklon Flat Series 300 #4 Flat x Liner Series 340 #1 Liner x Round Series 310 #2 Round Tips and Techniques: Insert a piece of cardboard between the layers of the tote so your painting does not bleed through to the back. An easy way to transfer the image onto the tote is to use Diane Bunker’s Transfer Fabric. Trace the entire line drawing directly onto the transfer fabric using a permanent marker. Lay the fabric with the traced pattern onto the tote. Pin it in place. Trace over the lines with a fine point permanent marker. The pen goes through the transfer fabric onto your tote. Or, you can transfer using your favorite method. Use fabric medium when needed. Preparation: Enlarge line drawing to fit the size of your tote. Insert a piece of cardboard between the layers of the tote so your painting does not bleed through to the back. Transfer pattern onto the tote using your favorite method.

Painting Instructions: Daisy: Base the center in Bright Yellow, shade with Cadmium Orange. Paint the petals in White and shade around the centers with Indian Turquoise. The leaves are based in Green Apple and shaded with Bright Avocado. Bunny: The bunny fur is based in White and shaded with Baby Blue Deep. The cheek, nose, and inner ears are based in Baby Pink Deep and shaded with Fuchsia. Add a White highlight to the nose and cheek. Vest: The vest is based in Lavender and shaded with Dioxazine Purple. Ruffled Shirt: The shirt is based in Baby Pink Deep and shaded with Fuchsia. Bow: The bow is based in Cadmium Yellow and then when dry the dots are Indian Turquoise. Basket: The basket is Cadmium Yellow with a tint of Cadmium Orange. The eggs are an assortment of spring colors. You can refer to the photo or have fun creating your own. Flowers: Refer to photo. Base two tulips in Baby Pink Deep, and shade with Fuchsia. Base the other tulip in Lavender and shade with Dioxazine Purple. The other flowers are a mix of Cad Yellow and Cad Orange. The small pink flower is Baby Pink Deep and shaded with Fuchsia. The leaves and ground are based in Green Apple and shaded with Bright Avocado. Lettering: Paint “Happy Easter” in Fuchsia. It would also be nice to personalize with a special name on the opposite side of the egg in Fuchsia or Indian Turquoise. (see photo)

Finishing: Let the tote dry thoroughly for at least 24 hours. Using the black permanent marker, reinforce the black outlines. A fun idea could be to include important yearly details such as new babies, marriages, or exciting accomplishments, onto the back of the tote to create a family keepsake. Most of all...HAVE FUN!!!

$GMXVW OLQH DUW WR ILW GHVLUHG VXUIDFH

Bunny Cart Original Design by Sharon Bond “What would Spring be without cute Bunnies, Baby chickies and flowers? I had all of these things in mind when I created this project! A fun and easy stenciled background is all you need to get started! Hope you enjoy!!”

Surface: භ 11 ½” Ticket Plaque – Available from www.cdwood.com – Item # 31-L276

Project Supplies: භ Ultra-fine Permanent Black Marker – (Such as an Ultra-fine Sharpie, available at most stores!) ----OR---භ Black PITT Artist Pen, Superfine and/or an Extra Superfine by Faber-Castell (for even finer lines.) (I would suggest two sizes for this project, such as an Ultra-fine Sharpie and also a finer lined marker.) භ Wedding Ring Background Stencil – Available from www.cdwood.com – Item # 09-19316 භ Bubble Explosion Stencil – Available from www.cdwood.com – Item # 09-19314 (Or any small circle stencil with various sizes of circles.) භ Ordinary Ruler භ Painter’s Tape or Scotch Magic Tape භ Miscellaneous wire or ribbon to create a hanger (Optional)

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

Berry Cobbler Blue Harbor Blue Haven Bubblegum Pink Cadmium Yellow Cocoa Dark Chocolate Espresso Foliage Green Honey Brown Lamp Black

භ භ භ භ භ භ භ භ භ භ

Light Buttermilk Moon Yellow Olive Green Peaches ‘n Cream Purple Cow Razzle Berry Sunny Day Traditional Burnt Umber Warm Sunset Warm White

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

Brushes: භ භ භ භ භ භ

Angle Shader ¼” Angle Shader 3/8” Glaze/Wash Brush ¾” Flat Shader #6 Round # 2 Script Liner 10/0

Other Brushes from Cupboard Distributing: භ #4 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-4 භ #6 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-6 භ Chris’s SPECTACULAR Stencil Brush #4 – 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! Also keep in mind when I mention basecoating something with ‘two coats’ of one color, it’s always best to let the first coat dry before adding the second coat! This helps tremendously with your coverage!

Preparation: Basecoat your plaque with two coats of Light Buttermilk and let dry. Position your Wedding Ring stencil and stencil with Blue Haven. Before repositioning your stencil, stencil/drybrush very randomly, small areas across the top 2/3rds of the plaque with Sunny Yellow and Bubblegum Pink. Stencil small areas randomly across the bottom 1/3 of the plaque with Olive Green.

Then, drybrush over your stencil with Warm White. (If you wish, you can stencil the Warm White heavier in a few areas to add more variation!) This will help tone down the colors just a bit and give them a softer look! Repeat these steps to finish stenciling across the entire plaque. Once this if finished and dry, you can trace on your main design.

Painting Instructions: TULIPS – Basecoat the leaves and stems solidly with Foliage Green (may need two coats). Once dry, drybrush with Olive Green. Highlight the top upper part of the leaves with a bit of Sunny Day added to the same dirty brush you have been using. Basecoat all the main tulip petals with two coats of Razzle Berry and let dry. Drybrush with Bubblegum Pink and then again with Razzle Berry to soften. Outline the “back” petals solidly with Razzle Berry, then solidly fill in the rest of those petals with Berry Cobbler. Re-outline these petals with another coat of Razzle Berry if needed. Thin some Razzle Berry and use this with your liner to add the finer details to the bottom of the larger petals.

Finely outline the tulips, stems, and leaves with Black, including the lines on the leaves and more fine lines at the bottom of the larger petals. Add the filament lines coming from the center of the open tulip with Black and dip-dot the tops of those with Black as well. BUNNY – Basecoat the bunny’s chest and belly fur, as well as his tail with two coats of Light Buttermilk. Once dry, drybrush those areas with Warm White. Basecoat the rest of the bunny with two coats of Cocoa. Once dry, drybrush with Honey Brown. Once this has dried, trace on the bunny’s details to help with the position of your highlights, then highlight here and there with Light Buttermilk. (Particularly around his eye, his paws, his front ear, and his muzzle. If you need to ‘soften’ any of these areas, simply add a touch of Honey Brown back into your brush, and drybrush them again. Go back to strengthen the highlighted areas around his eye and his muzzle by drybrush again with Warm White. Finish tracing on his facial features if you have not already done so. Blush his cheek by drybrushing with Razzle Berry. Tone this down by drybrushing again with Honey Brown. Shade around the inside edges of his chest/belly and tail with Honey Brown. Fill in the inside of his ear with two coats of Bubblegum Pink. Once dry, drybrush with Light Buttermilk. Shade across the top, inside edge of his ear with Razzle Berry. I also added a few fine strokes of thinned Razzle Berry for details inside of his ear. Nose is based solidly in Razzle Berry. Once dry, highlight with a stroke of Bubblegum Pink. Eye is based in Warm White. Iris is painted with Blue Harbor. Pupil is Black. Highlight accents to the eye are done with Warm White. Finely outline the entire bunny with Black. His facial features are all finely outlined in Black as well, including his eyelashes. You can trace on the flowers by his ear now, if you wish, but we will come back later to paint those when we paint the other flowers. EGGS – Basecoat the eggs from Left to Right as follows – (keep in mind that some of these colors may need two coats for the best coverage) (L to R) Peaches ‘n Cream – Purple Cow – Bubblegum Pink (behind) – Moon Yellow – Olive Green – Bubblegum Pink Add a bit of Warm White to each separate color to highlight the coordinating egg. Let dry. Use Bubble Explosion (or any dotted) stencil and drybrush lightly (and randomly) with Warm White. Once finished, finely outline the eggs in Black. 44

CHICKS – All three chicks are done exactly the same! Basecoat all with two coats of Cadmium Yellow. Once dry, trace on their details. Drybrush around their eyes and on their wings with Moon Yellow. Shade (or wetbrush) under their wings and around their beaks (and also under the neck of the sleeping chick) with Peaches ‘n Cream. Solidly paint all their beaks with Warm Sunset. Add a thinned stroke of Peaches ‘n Cream to their beaks once they have dried. With thinned Warm Sunset, line their legs and feet. Finely outline them all in Black, including the eyelid on the sleeping chick. The eyes on the other chicks are also painted with Black. WAGON/CART – Before I started to paint the wagon, I taped around the edges of the wagon to help keep my painting straight as well as protecting what was already painted underneath! Basecoat the wagon with two coats of Espresso. (Follow these same instructions to paint the wagon handles – I just did them at separate times so I could have the surface dry so I could apply tape around them as well!) After your basecoat has dried, drybrush with Cocoa. Then randomly highlight here and there with Honey Brown. If you wish, you can go back and randomly drybrush here and there with Espresso to help blend the colors. Using a ruler, finely outline around the wagon and the handles with Black.

Also use the ruler to finely outline the vertical strips of wood on the wagon with Black, as well as the Black line going across the center of the wagon.

Paint the vertical planks of wood on the wagon with thinned Cocoa and dab them back slightly with a soft cloth or paper towel while still damp. Shade on the right side if each plank with Traditional Burnt Umber. I painted the entire wagon before tracing on the wheels. I thought it would be easier that way! You can now trace on the wheels! Once I had traced on the wheels, I went ahead and finely outline the rims and the spokes in Black. Basecoat the two main wheels (front side of the wagon) with two coats of Dark Chocolate. Basecoat the back wheel (the part of the wheel that you can see under the wagon) and the front edge of the back wheel that you can see at the front of the wagon with two coats of Traditional Burnt Umber. At this point, shade under the wagon (approximately where rest of the back wheels would be) with Traditional Burnt Umber. This way, we do not have to worry about detailing the back wheels. See the picture below for a reference for the shading.

Once this is complete, basecoat the spokes on the main wheels (front side) with two coats of Dark Chocolate and basecoat the spokes on the partial back wheel (back side) with two coats of Traditional Burnt Umber. Let all dry. Once dry, drybrush the Dark Chocolate rims and spokes (front side) with Espresso and then highlight with Cocoa. Drybrush the Traditional Burnt Umber rims and spokes on the back wheel (back side) with Dark Chocolate. Trace on the centers of the two main wheels and finely outline them in Black. Solidly fill those circles in with Espresso, then drybrush with Cocoa once they have dried.

Trace on (and finely outline in Black) the center pegs on both main wheels. Paint this solidly in Cocoa and once dry, dot them in the center with Black. I also added a small ‘c’ stroke of Traditional Burnt Umber to the left side of each center peg. VIOLETS/PURPLISH FLOWERS – (including the two flowers on the bunny’s head) – Basecoat all petals with Blue Harbor. Once dry, drybrush with Purple Cow – continue by using the same brush and adding a bit of Bubblegum Pink and drybrush again. If this appears too bright simply add a touch of Blue Harbor back into your brush to soften. Finely outline in Black. Also add the centers with Black as well. I ‘dip-dotted’ some of the centers with a few dots of Bubblegum Pink, then dotted the rest with Black. Fill in the outside lined sections around the petals that have them, with Razzle Berry. Re-outline in Black if necessary. TWIGS/YELLOW BUDS – Finely outline the stems and tiny buds in Black. ‘Dip-dot’ or fill in all the buds with Cadmium Yellow. Once the yellow has dried, go back, and add a tiny dot of Warm Sunset to the end of each of the yellow buds.

Finishing Touches:

Just when I thought I was finished, I decided I wanted to add one last touch! I decided to shade around the edge of the plaque. I did not want any of my marker areas to smear so I spray sealed it with one coat of Americana’s Matte Spray Finisher and let dry. I then used Blue Harbor to shade around the entire edge of the plaque. Once this had dried, I spray sealed again with Americana’s Matte Spray Sealer and let this dry once more. After drying, I added Americana’s DuraClear Gloss Varnish to eye and nose of the bunny. as well as to the beaks and eyes of the chicks. This is an optional step, but I like the extra shine! Another option is adding DecoArt Glamour Dust Glitter Paint (Ice Crystal) to all the eggs in the cart, I love the sparkle! Unfortunately, it doesn’t show up too well in the pictures! You can also add wire or ribbon to create a hanger if you wish! I hope you enjoy this cute project! I had a lot of fun creating it!

Thank you! ~Sharon B

Line art is at 100%.

Galaxy Dream Catcher

Original Design by Effie Carayannis This project teaches you how to use DecoArt Media Misters to create stunning background effects using very little effort. Just gently shake, and then mist over the canvas. Spray a combination of several colors over each other… then watch them disperse, creating different colors and unusual effects. There is no mixing and no brushes to contend with, and no basecoat required!

Supplies Surface

16” x 20” Pre primed canvas board available from art and craft suppliers. A pre primed stretched canvas will work just as well.

Project Supplies • • • • • • •

Protective table cover Tracing Paper White Transfer Paper Stylus Paper Towels Water Bin Eraser

DecoArt Americana Acrylic Paints • • • • • • •

Antique Maroon Burlap Dioxazine Purple Lamp (Ebony) Black Payne’s Grey Snow (Titanium) White Warm White

Other DecoArt Products • • • • • • • •

Americana Matte Spray Sealer Media Mister Carbon Black Media Mister Primary Cyan Media Mister Primary Magenta Media Mister Purple Media Mister Yellow Green Media Shimmer Mister Turquoise Media Shimmer Mister White

Brushes by Loew Cornell • • • • •

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

TIPS for using DecoArt Media Misters • • • • •

Gently shake the misters before use. Press the nozzle down a little for large droplets. Press the nozzle all the way down for a fine mist. Use the misters sparingly over a small area at a time; you can always build the color up by adding another layer. When you have finished using the misters, clean the nozzle out to prevent it from clogging. Fill an empty bottle with water and replace the cap with the nozzle, keep spraying the clean water through the nozzle until the water comes out clear.

Special Tip for DecoArt Media Misters Before you begin, practice using the misters on a separate piece; this way you will get a feel of what you can achieve with them.

Preparation

Canvas Panels usually come pre-primed. No other preparation is required.

Painting Instructions Background Before you begin, cover your work surface to protect it from overspray when using the misters. Start with the Primary Cyan mister and spritz the surface while progressively moving the mister to create a fine coverage of blue mist over the board. While this is still wet, spritz the Purple mister over the same area, except this time use a finer coverage of mist as you progressively move over the entire board. Add a little Primary Magenta here and there allowing the colors to blend into each other. With Shimmer Mister Turquoise, spray over any remaining unpainted surface while letting the colors overlap a little, this will allow them to blend where they meet, creating a gradual change in color from one area to the next. Next, spray a little Shimmer Mister White here and there. You may alternate the nozzle from a mist to droplets (see tips for using Media Mister for details), the White Shimmer droplets will diffuse into the other colors and create a nice effect. Add more Shimmer Mister White to the top left-hand corner of the canvas. Then add a touch of the Yellow Green Mister; again, allow the colors to overlap a little. At this point you can touch up some of the colors until you achieve the required effect. Finally, deepen the darker areas around the edges with a spritz of Carbon Black. Let it dry thoroughly.

Transferring

Trace the pattern onto tracing paper then transfer it using the transfer paper and stylus.

Painting the design The brushes listed and mentioned throughout the instructions are only a guide; they are what I use and what work best for me. When painting the design, use the brush that you are most comfortable with and best fits the area you are painting. Always allow drying time between coats. 54

Hoop To paint the rope which forms the hoop, paint “S” strokes by using either the round brush or the angular shader (choose the brush you are most comfortable with). Load the brush with Burlap and then side load with Warm White. Next, begin with the tip of the brush just touching the surface and then start to pull the stroke downwards while increasingly adding pressure as you move to change direction. Then, progressively release the pressure as you move towards the tail of the “S” to form a fine point at the base. Rinse the brush and reload it regularly to keep the colors separated as you begin each stroke. Ensure that the Warm White side load always remains on the left-hand side of the brush when painting each stroke.

Next, strengthen the highlights with Warm White side loaded on the ¼” angular shader.

Strengthen the highlights once more with Snow (Titanium) White.

Float to shade the right-hand side of each “S” stroke with brush mixes of Payne’s Grey and Dioxazine Purple using the same clean brush.

Then deepen the shade with Payne’s Grey.

Deepen the shade once more with Payne’s Grey/Lamp (Ebony) Black 1:1

Threads Using the liner brush, paint the threads within the hoop and the rings around the hoop with Burlap watered down to an ink like consistency. Let it dry, and then paint over these with two coats of Warm White. Add a highlight to the most prominent areas of the threads with Snow (Titanium) White. Using the ¼ inch angular shader, float to shade with brush mixes of Payne’s Grey and Dioxazine Purple. Then deepen the shade with Payne’s Grey. Deepen the shade once more with Payne’s Grey/Lamp (Ebony) Black 1:1. The threads attached to the feathers and the piece of thread on the top left-hand corner above the hoop are painted in the same manner. Float to shade the threads (behind the overlapping ones) using the same sequence of colors as above. The overlapping threads are highlighted with Snow (Titanium) White.

Feathers Note: When painting the feathers, do not clean the brush between color changes as a dirty brush gives a gradual color transformation. When building up the feathers, allow each color layer to dry before applying the next. Start forming the direction of the barbs by painting fine lines with the liner brush and Burlap watered down to an ink like consistency.

Keep building up the barbs in the same manner using the following colors in order; Antique Maroon, Antique Maroon/Warm White 1:1, Warm White.

Add some fine lines to separate and to shade the barbs with Payne’s Grey/Dioxazine Purple 1:1.

Repeat the sequence a couple more times to create fluffier feathers. Deepen some of the shading with watery Payne’s Grey. Then, float to shade along both sides of each shaft with the same color using the angular shader. Strengthen the highlights with Snow (Titanium) White using the liner brush.

Finishing Using the angular shader, float to shade around all the elements with Payne’s Grey. When dry, erase any visible transfer lines and then apply several light coats of Matte Spray Sealer allowing drying time between coats.

Evangeline

Original Design by Susan V. Cochrane Much of my time is spent painting smaller images, which I do enjoy but the mysterious Evangeline was chosen in order for me to paint on a larger scale.

Surface 10 x 8 Primed Gallerywrap Canvas (deep edge), Item No. CNVDE-810, www.royalbrush.com Project Supplies x Eraser x Palette Paper (Waxed) x Paper Towels or Tissue x Tracing Paper x Water Container x White and Gray Graphite Paper Palette: DecoArt Americana Acrylics x Alizarin Crimson x Burnt Umber x Cranberry Wine x Electric Pink x Lamp Black x Light Buttermilk x Mocha x Mulberry x Navy Blue x Vivid Violet x Yellow Ochre Brushes: Royal & Langnickel, Royal Majestic Paintbrushes x 1/2'”, 5/8” Angular Shaders (Series R4160) x 0, 1 Liners (Series R4595) x 4,8,10,12 Shaders (Series R4150) x ¾” Shader (Series R4700) Royal Paintbrushes x ½” Filbert Comb (Series 930) x ¼”, 3/8” Stipplers (Series 660) Other DecoArt Americana Products: x Sealer Finisher (Matte) General Instructions Erase transfer lines as you go. All basecoats are solid. Apply sheer floats to gradually build up the shading and highlighting. Painting Instructions Transfer the bottom edge of the cloche (hat), the eye (no lashes) and the side edge of the hair line (minus the single stray hair). Base coat the face with Mocha. Wash Burnt Umber on the forehead fading out near the eye. Transfer the upper eye crease (above the upper lash line) and the edge of the nose. Float Burnt Umber next to the edge of the bridge of the nose and, when dry, float next to the upper eye crease. Dry brush Alizarin Crimson on the bridge of the nose. 61

Eye Fig. 1: Transfer the whites of the eye, the iris and the pupil. Paint the white areas with Light Buttermilk and the iris Yellow Ochre. Fig. 2: Float Burnt Umber on the iris around the pupil and around the outside edge. Fig. 3: Pull out fine, thin, faint lines of Burnt Umber on the iris pinwheeling out from the pupil. Dry brush Light Buttermilk on the open area just below these lines.

Fig. 4: Paint the pupil with Lamp Black, faintly outline the edge of the iris, line the corner of the eye and the upper and lower lash lines (no lashes). Paint a single crease under the lower lash line using Burnt Umber. The corner of the eye is painted with Mocha. Fig. 5: Float Navy Blue next to the upper and lower lash lines. Freehand or transfer the lashes and paint with Lamp Black. Float a blend of Light Buttermilk + Burnt Umber (70/30) to shade the whites of the eyes next to the upper lash line. Fig. 6: Highlight the pupil with 3 vertical dashes of Light Buttermilk. Dry brush some of the lashes and the upper and lower lash lines using Light Buttermilk. Float a blend of Burnt Umber + touch of Lamp Black (95/5) to shade a second float (see figure 5) across the whites of the eyes and the pupil next to the upper lash line.

Hair Transfer the bangs and outline the petal edges for placement. Paint the bangs and the remaining hair with Lamp Black. Paint any stray hairs as well. Paint multiple lines of Mulberry throughout the hair area. Cloche (hat) Base cloche with Navy Blue. Transfer the folded edge of the brim. Float next to the folded edge with Lamp Black. Float Navy Blue with a tiny touch of Light Buttermilk to highlight the lower brim edge.

Flower Fig. 1: Base coat the entire flower with Mulberry (3/4” shader). Transfer the center and the individual petals and comb them with Cranberry Wine starting at the base of the petals next to the center and combing about half way to three quarters into the petals using the Filbert Comb. Fig. 2: Comb Navy Blue in the middle area of all petals more or less. Start at the base of the petals next to the center and comb towards the tips. The combing does not go all the way to the tips but there is variation here and there. Transfer the folds. Float Navy Blue next to the folds and Lamp Black to divide one petal from another. The Shading Line Drawing shows the Lamp Black shading between some but not all the petals. Fig 3: Float a blend of Mulberry + Electric Pink to define some tips and edges of the folds (see First Highlight Line Drawing as well). Final strong highlights on one or two petal folds are Electric Pink + touch of Light Buttermilk. Float Navy Blue on the petals next to the center. Start and stop the float as you go around to avoid a solid circle. This float should come out about ¾”. You can zig zag it a bit going into the middle area of the petals.

Fig. 4: Float Lamp Black next to the center for the second float. This float will only come out about ½”. Again start and stop the float to avoid a continuous line. Fig. 5: Wash some petals with Alizarin Crimson (see Tint Line Drawing One) and wash Vivid Violet on 2 or 3 petals (see v v v on Tint Line Drawing One).

Center Fig. 1: Stipple with Navy Blue all over using the 3/8” Deerfoot Stippler. Fig. 2: Transfer the center within the center and stipple with Lamp Black. Stipple Cranberry Wine around this second center using ¼” Deerfoot Stippler. Fig. 3: Stipple strong Electric Pink highlights (refer to photo). Add a few hand dots as well. Dot the second center with Cranberry Wine and Mulberry. Dry brush Vivid Violet on the area marked xxxx on Line Drawing One.

Feather spray Transfer and line with Mulberry. Highlight Electric Pink with a second smaller highlight of Light Buttermilk. Finishing Dry brush the cloche in and around the spray with Mulberry. Apply several light sprays of the Sealer Finisher.

Beatrice Original Design by Cathy Nestroyl

Surface x 12” x 16” black gesso primed canvas panel. (Michaels or JoAnns) Supplies: x Grey transfer paper x Snow White transfer paper x Micron Pen – Size 0.20 mm x Tracing paper x Pencil x Ball Stylus x Combo circle template – size 1/6” thru 2 ¼” Manufacturer: Staedtler x High Gloss Spray Varnish of Choice Paints: DecoArt Americana Acrylics x Baby Blue x Black Forest Green x Burnt Sienna x Buttermilk x Cadmium Yellow x Canyon Orange x Dark Chocolate x Dioxazine Purple x Fawn x Georgia Clay x Hauser Light Green x Hauser Medium Green

x x x x x x x x x x x

Lamp Black Lavender Marigold Neutral Grey Ocean Blue Peony Pink Poodleskirt Pink Sable Brown Sea Breeze Snow White Toffee

Brushes: x Royal Taklon ¼”, 1/8” Angular x Plaid #2, #6 Flat x Loew Cornell #3 Round x Old flat brush, any size is what I use to dry brush x Mop brush of choice. (Note: I use small/medium size make up brushes from the 99 cent stores. They work great for me.) Preparation: Trace pattern onto tracing paper. Transfer pattern onto canvas, except for the outlines of each feather, with either the grey transfer paper or Snow White, depending on the color of the surface you are using. The pattern for the outline of the feathers will be transferred when you are ready to do the base coating, highlighting, and shading.

Special Instructions: The shading and highlighting must be complete, and the paint will need to be thoroughly dry before the detail penwork is added. Owl: Basecoat as follows: Buttermilk – head, chest, and feet (do not basecoat feather area yet) Snow White - face Sea Breeze - eyes Neutral Grey – beak and toenails Using the stylus, randomly dot with Fawn and Lamp Black onto the chest and head area (not the face). You can add as many dots as you like. It is entirely up to you. Highlight/Shade as follows: Shade around face, beak, area above the beak and eyes with Toffee Brown. Shade head, around the outer edge of the face and chest with Sable Brown. Make sure that your dots are completely dry before shading these areas. Shade eyes with Ocean Blue and highlight with Snow White. Using the circle template and any size circle you wish, pencil in the pupil and basecoat it with Lamp Black. Using the stylus, dot each eye with Snow White, on the highlighted side for a twinkle. Shade beak with Lamp Black. Do a back-to-back highlight and mop it out with Snow White down the middle of the beak to add a shine. Shade the feet with Burnt Sienna and highlight with Marigold. Shade the toenails with Lamp Black and highlight with Snow White.

Feathers: Basecoat the feather area with Buttermilk. Transfer the outline of each feather onto the feather area. The feathers are highlighted and shaded individually, so that the transfer lines are not painted over. Using a pencil, lightly draw a line down the middle of each feather. Starting on the left side from the pencil line, shade with Lamp Black, mopping the color towards the outer edge of the feather.

The right side of the pencil line, shade with Fawn and mop the color out to the edge of the feather as well. Do this with all feathers. When all the highlighting and shading is complete, add the details around the outside edge and the inside of each feather with the micron pen.

Limb: Basecoat as follows: Using Honey Brown and Burnt Sienna, randomly paint the areas of the limb. Highlight/Shade as follows: Shade each section with Dark Chocolate and dry brush each section with Snow White.

Large Leaves: Basecoat as follows: Hauser Medium Green - leaf Highlight/Shade as follows: Shade with Lamp Black Forest Green and highlight with Hauser Light Green. Small Leaves: Basecoat as follows: Hauser Light Green - leaf Highlight/Shade as follows: Shade with Lamp Black Forest Green and highlight with Snow White.

Flowers: Note: The flowers are numbered on the pattern to let you know what color goes with each flower.

Flower #1 Basecoat as follows: Melon – petals Highlight/Shade as follows Shade with Georgia Clay and highlight with Snow White.

Flower #2 Basecoat as follows: Baby Blue – petals Highlight/Shade as follows: Shade each petal with Ocean Blue, including around the center and highlight with Snow White.

Flower #3 Basecoat as follows: Cadmium Yellow – petals Highlight/Shade as follows: Shade each petal with Canyon Orange, including around the center and highlight with Snow White.

Flower #4 Basecoat as follows: Poodleskirt Pink – petals Highlight/Shade as follows: Shade each petal with Peony Pink, including around the center and highlight with Snow White.

Flower#5 Basecoat as follows: Sea Breeze – petals

Highlight/Shade as follows: Shade with each petal with Ocean Blue, including around the center and highlight with Snow White.

Flower #6 Basecoat as follows: Lavender – petals Highlight/Shade as follows: Shade each petal with Dioxazine Purple, including around the center and highlight with Snow White.

Flower Centers Basecoat as follows: Cadmium Yellow – All centers Highlight/Shade as follows: Shade with Dark Chocolate and highlight with Snow White.

Finishing Touches: Using the micron pen, outline feather, feet, eyes, around the centers of each flower and the lines within the flowers. Follow the manufacturer’s directions, spray lightly with high gloss varnish.

Owls, Owls Are so very cute Have lots of feathers and love to hoot Owls, Owls Stay up all night They sleep all day when its sunny and bright

I hope you enjoy painting Beatrice and her flowers.

Adjust line art to fit desired surface.

Playful

Original Design by Deb Mishima How cute is this little colourful seahorse playing with the water bubbles! 77

Surface: x 14” Medium Garden Gate Plaque, available from Cupboard Distributing #31-L703 www.cdwood.com Paints: DecoArt Americana Acrylics x Coral Blush x Deep Ultra Blue x Ocean Blue x Peacock Teal x Purple Cow x Sea Breeze x Snow White x True Blue x Warm White Mediums: DecoArt x Holographic Illusions, Crystal Ball x Holographic Illusions, Divine Purple x Multi Purpose Sealer Additional Supplies: x Stencil: Fizz Background Stencil, 8” x 8” #09-19317 available from Cupboard Distributing, www.cdwood.com x Ball Stylus x Transfer Paper x Q Tips Brushes: Jo Sonja Sure Touch x ½”, ¾” Sure Touch Oval Wash #1318 x 3/8”, ½” Sure Touch Angle #1345 x 18/0 Sure Touch Liner #4015 x Assorted Sure Touch White Mops #1317 x Assorted Sure Touch Dry Brushes #2010 x Large stipple or dry brush Painting Instructions: Background: Basecoat the surface with Ocean Blue. Using a large stipple brush and Deep Blue Ultra, stipple here and there onto the background. Repeat with True Blue and Sea Breeze. Take a slightly dampened rag and blot the colors together on the background. Using the Fizz Background stencil and Warm White, very, very lightly stencil the bubble over the surface. Accentuate the larger bubbles and some of the smaller ones by randomly float shading one side of the bubble with Purple Cow and float highlight the other side with Snow White. Randomly line the bubbles with Snow White. 78

Splatter the surface with Deep Blue Ultra and Sea Breeze. Trace on the main pattern. Float around the seahorse pattern with Sea Breeze. Sea Horse: Basecoat with Sea Breeze. Trace on the details. Shade Peacock Teal along the top of the head, around the eye, under the chin, around the body, and along the inside edge of the fin. Highlight a little along the right edge of the body and fin with Warm White. Shade the scales on the body and the veins in the fin with Peacock Teal. Shade just above the Peacock Teal with a little Purple Cow. Line under the Peacock Teal shade with Snow White using a 18/0 liner. Float a highlight line down the center of the body with Warm White using ½” angle brush. Deepen the shading with True Blue around the eyes, void under the eyes, under the neck, and here and there along the body. Line along the outside edge of the body and the fin with Snow White. Dry brush the cheeks Coral Blush using the #6 oval dry brush. Basecoat the eyes with Lamp Black. Line and dot with Snow White. Line the lashes with Lamp Black. Line the hair with Snow White. Randomly dip dot hair lines and along the seahorse’s spine down to the end of the fin. The thin tentacles coming out of the back of the head, fin and tail are painted using a 18/0 liner and Purple Cow. Repeat with Snow White.

Seaweed: (see picture for close-up details) Left: Basecoat semi-transparently with Purple Cow. Shade along the right side here and there with Ultra Blue Deep. Highlight along the left side here and there with Snow White. Line with Snow White. Right: Basecoat semi-transparently with Sea Breeze. Float shade with a little Coral Blush along the right side walking the color inwards. Highlight here and there along the right edge with Warm White. Line with Snow White. Finishing Touches: Add random dots onto the background using Snow White and a ball stylus. Brush Holographic Illusions Crystal Ball on the highlighted side of some of the larger bubbles. Brush Holographic Illusions Divine Purple on the purple shaded areas of the scales and fin. Splatter Snow White onto the background and seahorse.

Line drawing is at 100%.

Pot of Hydrangeas Original Design by Maureen J Baker www.maureen-baker.com I love to grow hydrangeas. They grow throughout my yard. The beautiful puffs of petals are just so wonderful to paint. 82

Surface: x 11” x 14” canvas Paints: DecoArt Traditions භ Burnt Sienna භ Quinacridone Gold භ Prussian Blue භ Ultramarine Blue භ Warm White භ Quinacridone Violet භ Pine Green භ Hansa Yellow භ Burnt Umber Mediums: DecoArt x DecoArt Traditions Satin Varnish x Chalky Gesso – Light Green Brushes x 2” Synthetic Shader Palmer by Dynasty x 2” White Bristle Wave Palmer by Dynasty x #4,6,10,14 Black Gold Chisel Blender by Dynasty x #6 Black Gold Filbert by Dynasty x #3/0 Traditions liner by DecoArt

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

Float: The application of transparent paint to bring value, dimension and depth to the object being painted. The paint is side loaded onto one side of the brush and blended on a palette to work the paint into the brush evenly. When the brush is properly prepared there should be a gradation in color from transparent paint to the absence of color on the other side of the brush.

Dry Brush: Applied with a dry brush such as a bristle wave. The paint is tapped into the dry brush and then the brush tapped on to a paper towel to remove excess paint. Gently blend onto the area of the painting using a very light touch. This will create a slight texture.

Line Work: The damp liner is loaded with paint and water, so the paint has an “ink” consistency or the consistency of 1% milk. Load the liner by rolling the brush end between your thumb and pointer finger. Next you want to drag the paint out on your palette, so the paint is evenly in the brush with no overload on the sides. When painting line work, the amount of pressure applied to the brush will determine the thickness of the lines. The more pressure applied the thicker the lines.

Painting Instructions Background Base coat the canvas with Light Green chalky gesso using a 2” synthetic palmer brush. Let dry completely. Lightly sand the canvas and repeat the previous step. Dry completely. You want to dry brush a few colors in the background. Load 2” bristle wave palmer with Warm White, tap out on palette and then on a paper towel. There should only be a little bit of paint on the brush. Dry brush across, then up and down the canvas. Use a very light touch. This creates a subtle cross hatch in the background. Keep paint dry, do not wet the brush or the canvas. Repeat with Ultramarine Blue, then with Quinacridone Violet. The sample board shows the progress of the three colors. You want to apply all 3 colors to the entire canvas. Let dry completely. Transfer your design. Basic painting of hydrangeas The hydrangea flower is formed by 2 or 3 layers of petal forms. The hydrangea petal forms consist of 2, 3, or 4 leaf petals, to form the circle of petals that create each floweret. That means the 3 and 4 leaf forms a round and the 2 leaf forms are a portion of a round. Nature is not perfect, so we want these varying forms to be random. We do not want these shapes in perfect order and there should be slight variation in size. To form each petal of each petal formation, load #6 filbert brush, lay the tip down, turn, and lift. Where you are putting the brush down initially is the fattest part of the petal. This is where you apply the most pressure. This will be the outer most part of the floweret and you will be twisting in towards the center of the flower. 84

Specific colors will be provided in the hydrangea section of the article. Leaves and Stems Base coat the leaves and the stems with Pine Green. Dry the area completely. Side load #14 Chisel Blender with Hansa Yellow. Highlight the left upper edge of the leaves and the right side of center of the leaves referring to the pictures for placement. Side load #6 chisel blender with Hansa Yellow and paint the flipped-up portion of the front leaf and the right side of the flipped-up portion on the two back leaves. Highlight down the middle of the stems. Repeat these steps with a mix of Hansa Yellow and Warm White 1:1. Use #10 chisel blender for the main part of the leaves and a #4 chisel blender for the flip of the front leaf. Do not paint this mix on the stems.

Hydrangeas The first layer of petals is created using #6 filbert loaded with Prussian Blue. These petals are painted on the bottom half of the Hydrangea. Dry completely. Lay out a puddle of Ultramarine Blue and Warm White. Load #6 filbert with Ultramarine Blue. Form 2, 3, and 4 petal flower sets overlapping the first layer. These are new petals not an enhancement to the petals already painted. Move into Warm White and continue to build flower sets. Let dry. Continue to add another layer of flower sets overlapping the previous layers. Use more Warm White in this layer.

Terracotta Pot Basecoat the pot with Burnt Sienna. Let dry completely. Side load #14 chisel blender with Quinacridone Gold and tint the pot. While still wet, side load #14 chisel blender with Warm White and stoke back and forth across the middle of the pot to create a slight highlight. This highlight is painted below the rim of the pot. Side load a 10 chisel blender with a mix of Quinacridone Gold and Warm White 1:1 and high light the rim. Let dry. Side load #14 chisel blender with Burnt Umber. Shade under the rim of the pot and down the left side about one third. Repeat this shading on the bottom of the pot up the left side about one third. Side load #10 chisel blender with Burnt Umber and shade the inside of the top of the pot to create the dirt. Side load #14 chisel blender with Quinacridone Gold and shade under the pot. Finishing This is the step to tie everything together and paint in the final details. Hydrangeas Side load #14 chisel blender with Quinacridone Violet, blend this out on palette first so you have a hint of color left on the brush. Apply this here and there on all the hydrangeas. Let dry. Build the final layer of flower sets with Warm White and a tiny touch of Ultramarine Blue. Paint a few of the flower sets with just Warm white. This layer has much less flower sets in it. Remember to have a light area towards the top. Let dry. Side load #10 chisel blender with transparent Ultramarine Blue and tint the bottom of hydrangeas here and there. Dry completely. Side load an 8 chisel blender with a mix of Ultramarine Blue and Prussian Blue 3:1 and shade to separate the hydrangeas. Load a wet liner with Warm White to paint tiny dots in the center of some of the petal formations. You can also thin Warm White out and lightly outline a few of the flowers. This should be random.

Leaves Load liner with a mix of Hansa Yellow and Warm White 1:1 and paint in the vein lines on the leaves. Load liner with Warm White and highlight the middle of the vein lines. Pot Mix Prussian Blue and Burnt Umber 1:1. Side load #10 chisel blender and reinforce the shade under the pot on the left side. Dry brush in some Hansa Yellow and Warm White on the front of the pot base to reinforce the high light. Accents Load a liner with Burnt Umber and paint the branches. Highlight first with Quinacridone Gold and Warm White mix 2:1, then with a touch of Warm White here and there.

A word of encouragement from the artist You can paint beautiful hydrangeas. I know you can. Take your time, relax and don’t be afraid to make a mistake. If you make a mistake just take a step back and try again. Fear always gets in the way of great painting. The introduction to hydrangea painting at the beginning of the article is a sample practice board. Practice on a palette and you can wipe it off and practice again. Great teachers can fix all kinds of mistakes. You know why because great teachers have made lots and lots and more lots of mistakes. Keep painting it warms the heart and soothes the soul.

The King

Original Design by Elisabetta De Maria, CDA Dearest painting friends, I love felines! I truly love all animals, none excluded! I painted many tigers because I wanted to achieve perfection and then I decided to paint the king of the jungle. Yes, he was getting jealous of the tigers! Ahahahahahah.... I hope you like it! Happy painting my friends!

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

100 105 215 385 430 435 575 585 615 620 625

Titanium White Ivory Indian Yellow Violet Deep Ultramarine Blue Middle Ultramarine Blue Light Leaf Green Olive Green Dark Ochre Burnt Ochre Burnt Umber

භ භ භ භ භ භ භ භ භ භ

635 642 670 675 680 681 704 720 726 750

භ භ භ භ භ භ භ

069 089 408 541 542 748 901

Bister Caput Mortuum Violet Light Burnt Sienna French Red Ochre Dark Flesh Tint Flesh Tint Light Gray 3 Cold Gray 1 Cold Gray 4 Neutral Black

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

009 033 042 044 046 047 064 068

Black Golden Ochre Flesh Terracotta Cassel Earth Bistre Medium Russet Herculanum Red

Burnt Sienna Dark Carmine Dark Sepia Light Flesh 5 Light Flesh 10 Dark Flesh Chinese White

Bruynzell Pastel Pencils (DickBlick.com) භ 27

Yellow ochre

Surface භ Sheet pastelmat 38 cm x 27.5 cm brown භ The photo of the Lion was small, I decided to enlarge it. භ You may increase or reduce it to a size you choose. Accessories Photo, graphite paper, hb2 pencil, rubber, pencil sharpener for crayons, paper napkins, smudge. Tips භ For each step, always start on the left side and continue to the right: (left-handed people will work on the opposite) This is to avoid dirtying the work with the hand. භ Use paper towels in case you have to work on a part already painted to avoid removing the color or dirtying with your hand. භ Always follow the direction of the hair. භ Use your fingers to help with blending colors. භ Always have sharp pencils.

Prep භ Position the line drawing on the pastelmat, place a sheet of graphite paper in the middle, graphite side down. භ With a pencil or stylus trace over all the guidelines, contours, and details. භ Position the colored photo close for easy reference and to check step by step details. Eyes x x x x

x x x x x x

With the Carbothello 750 Neutral Black, draw the shape of the eye, pupil, and fill the interior of the pupil with the same color. Paint the light point with Caran D’Ache 901 Chinese White. Work the iris with the Carbothello 585 Olive Green around the pupil. Referring to the photo for reference, overlay these colors in the order listed, overlapping and blending: Carbothello 615 Dark Ochre, 680 Dark Flesh Tint, 620 Burnt Ochre, 675 French Red Ochre. Blend with your fingers. Highlight with Carbothello 215 Indian Yellow and 575 Leaf Green. Darken near the pupil and around the iris with Carbothello 635 Bister and Caran D’ache 408 Dark Sepia. Highlight with Caran D’ache 901 Chinese White and add the reflection with Carbothello 100 Titanium White. Color the corner of the eye with Carbothello 750 Neutral Black, highlight with Carbothello 385 Violet Deep, and 720 Cold Gray 1. Paint the white hairs under the eye with Carbothello 100 Titanium White, highlight with Carbothello 575 Leaf Green, and 435 Ultramarine Blue Light. Repeat for other eye.

Hair x x x x x x x x x x x x

Following the direction of the hair, start with Bruynzeel 27 Yellow ochre, repeat with Caran D’Ache 047 Bistre, and Carbothello 620 Burnt Ochre. Add shading with Carbothello 625 Burnt Umber and highlight with Carbothello 615 Dark Ochre. In the darker areas, reinforce with Caran D’ache 064 Medium Russet and 046 Cassel Earth. Highlight with Carbothello 105 Ivory and go over again with Caran D’ache 033 Golden Ochre. Darken with Carbothello 670 Burnt Sienna and 625 Burnt Umber. In the lighter areas, highlight with Caran D’ache 068 Herculanum Red and 042 Flesh. In the darker areas, reinforce with Caran D’ache 748 Dark Flesh. Brighten with Carbothello 675 French Red Ochre and lighten where necessary with Caran D’ache 542 Light Flesh 10. Add a touch of Carbothello 215 Indian Yellow where needed. Darken closer to the eye with Caran D’ache 408 Dark Sepia and 089 Dark Carmine. Paint the dark areas in the center of the head with Caran D’ache 408 Dark Sepia. Work the light areas again with Carbothello 704 Gray 3.

Ears x

x x

x x x x x

x x x x x x x

Working with Carbothello 620 Burnt Ochre and 615 Dark Ochre begin to add the ear hair. Darken with Carbothello 625 Burnt Umber, Caran D’ache 046 Cassel Earth, and 408 Dark Sepia. Highlight with Caran D’ache 068 Herculanum Red and 042 Flesh. Darken again with Carbothello 670 Burnt Sienna and Caran D’ache 089 Dark Carmine.

Continue to work the center of the head with Bruynzeel 27 Yellow Ochre, follow with Caran D’Ache 047 Bistre, then Carbothello 620 Burnt Ochre. Darken with Carbothello 625 Burnt Umber and lighten with Carbothello 615 Dark Ochre. In the darker areas, reinforce with Caran D’ache 064 Medium Russet and 046 Cassel Earth. Lighten with Carbothello 105 Ivory and brighten again with Caran D’ache 033 Golden Ochre. Darken with Carbothello 670 Burnt Sienna, 625 Burnt Umber, and reinforce with Caran D’ache 748 Dark Flesh. These colors are superimposed over previous colors. To create the final effect, there will be many layers of color. In the lighter parts, highlight with Caran D’ache 068 Herculanum Red and 042 Flesh. Highlight with Carbothello 675 French Red Ochre and lighten where necessary with Caran D’ache 542 Light Flesh 10. Add a touch of Carbothello 215 Indian Yellow where needed. Darken again with Carbothello 635 Bister and Caran D’ache 069 Burnt Sienna. Brighten the light areas with Carbothello 704 Gray 3. Continue to create the rest of the head and right ear using the same colors listed above. Use Bruynzeel 27 Yellow ochre and then Caran D’ache 047 Bistre and 068 Herculanum Red to add the lighter areas.

x x x x

x x

Highlight with Carbothello 105 Ivory, 704 Gray 3 and Caran D’ache 642 Caput Mortuum Violet Light. Repeat with Caran D’ache 047 Bistre and Carbothello 726 Cold Gray 4. Highlight same area with Caran D’ache 042 Flesh and 542 Light Flesh 10. Work the dark area under the eyes with Bruynzeel 27 Yellow Ochre, continue working with Carbothello 635 Bister, and 615 Dark Ochre. Continue with Caran D’ache 064 Medium Russet, 069 Burnt Sienna and 068 Herculanum Red. Darken under eyes with Caran D’ache 748 Dark Flesh and add a touch with Carbothello 704 Gray 3. Reinforce with Caran D’ache 408 Dark Sepia. Strengthen the light areas of the lion face with Caran D’ache 541 Light Flesh 5.

Nose x Color the dark area with Carbothello 750 Neutral Black and brighten with 720 Cold Gray 1. x Tint nose with Caran D’ache 044 Terracotta. x Lighten with Carbothello 681 Flesh Tint Light and darken with 726 Cold Gray 4. Create the spots with Carbothello 750 Neutral Black. x Add the hair on the upper part of the nose with Carbothello 100 Titanium White and 726 Cold Gray 4. x Reinforce with Caran D’ache 901 Chinese White and 009 Black. x Create cheeks with Bruynzeel 27 Yellow Ochre, then Caran D’Ache 047 Bistre, and Carbothello 620 Burnt Ochre. x Darken cheeks with Carbothello 625 Burnt Umber and lighten with Carbothello 615 Dark Ochre.

x x

x x x x x x

x x x x x

Create the points of the whiskers with Caran D’ache 408 Dark Sepia. In the darker parts, reinforce with Caran D’ache 064 Medium Russet and 046 Cassel Earth. Lighten with Carbothello 105 Ivory and repeat with Caran D’ache 033 Golden Ochre. Darken with Carbothello 670 Burnt Sienna and 625 Burnt Umber. In the lighter areas, highlight with Caran D’ache 068 Herculanum Red and 042 Flesh. In the darker areas, reinforce with Caran D’ache 748 Dark Flesh. Highlight with Carbothello 675 French Red Ochre and brighten where necessary with Caran D’ache 542 Light Flesh 10. Add a touch of Carbothello 215 Indian Yellow where needed and start working with Carbothello 100 Titanium White. Create the mouth with Carbothello 750 Neutral Black and shade it with 726 Cold Gray 4. Draw the hair of the neck with Bruynzeel 27 Yellow ochre and follow with Caran D’ache 047 Bistre. Darken with Caran D’ache 748 Dark Flesh and add a touch of Carbothello 675 French Red Ochre. Highlight with Carbothello 620 Burnt Ochre and Caran D’ache 068 Herculanum Red. Draw the hair and whiskers with Caran D’ache 901 Chinese White and 009 Black. Reinforce the white areas with Caran D’Ache 901 Chinese White and the black areas with Caran D’Ache 009 Black. Draw the spots on the chin with Carbothello 750 Neutral Black, 625 Burnt Umber and Caran D’ache 047 Bistre. Using Caran D’Ache 901 Chinese White draw the very long hairs of the chin. Soften the work with your fingers following the direction of the hair. Do not touch the eyes and nose.

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

“THE ROAD HOME”

Original Design by Nancy Scott, CDA I love painting landscapes and this soft, tranquil scene looks like such a peaceful place. The daisies along the fence are a welcoming sight encouraging you to walk down the road home.

Surface: 13” acrylic charger plate (painting area is about 9 1/4”) available from dollar stores, Michael’s, etc. Palette: DecoArt Americana acrylics x Antique White x Bittersweet Chocolate x Celery Green x Cocoa x Espresso x Eggshell x French Grey Blue x Grey Storm

x x x x x x x x

Honey Brown Lamp Black Light Cinnamon Oyster Beige Plantation Pine Slate Grey Soft Black True Ochre

Brushes: Royal & Langnickel Aqualon Series x R2160 angle sizes - 1/4”, 1/2” and 1” x R2250 round - #5 x R2150 shader - sizes 2, 6, 10 x R2170 filbert - size 12 x R2585 Script liner - size 4 x Assorted mops Miscellaneous Supplies x palette paper x paper towels x spray primer of choice x tracing paper x transfer paper x varnish of choice-I used Krylon Crystal Clear #1303. x water basin Preparation: Spray charger plate with 2 coats of primer, drying well between coats. Follow all manufacturer’s instructions working in a well-ventilated area. Let dry thoroughly. Paint the inside of the plate with Antique White to solid coverage. Trace pattern and transfer mountains, land areas, buildings (without details), and the road. Leave out fence, foreground foliage, and trees in front of mountains and around buildings. Helpful Tip - When floating wide areas, such as the sky, it is helpful if you slightly dampen the area you are working with clean water first. Dampen over the entire sky, then float your color and immediately mop to help soften the color into the background. Most floats will have to be repeated a 2nd or 3rd time to make them smooth and it is best to build the color up gradually with multiple soft floats.

Painting Instructions: Sky With a 1” angle, float French Grey Blue around the top of the sky. Walk it out a bit and mop to soften. Let dry and repeat. Float True Ochre at the bottom of the sky, along the mountain line. Keep this more in the center of the sky. Do not bring it all the way over to the French Grey Blue on the outside edges. Let dry and repeat. Mountains Paint the mountains with Slate Grey. Be mindful of the dividing lines keeping 3 separate mountains. Paint a wash of Grey Storm over the center mountain to darken it slightly. Float Grey Storm along the inside edge of the right and left mountain peaks to help separate them from the center mountain. Background Trees The farthest back pine trees are painted with a liner using a medium wash of Grey Storm. You want them to appear a little hazy. When they are thoroughly dry, float Grey Storm with a 1/2” angle along the base of this row of trees. Let dry and then float a soft tint of Soft Black with a 1/4” angle across the base of the trees, just to darken a bit. The dark green pine trees (in front of the grey ones) are painted with a liner and Plantation Pine. When they are dry, float Plantation Pine along the base of those trees using either the 1/4 or 1/2” angle.

The bare branch trees are painted with the liner and Lamp Black. Buildings The left house is painted Oyster Beige. Float a soft shading of Grey Storm down the right-side eave under the roof line. The roof is Light Cinnamon. Float a shade of Bittersweet Chocolate to the left side of the roof and a tiny bit at the peak of the roof on the right side. The door is Light Cinnamon. Paint a line of Bittersweet Chocolate down the right side of the door. The wooden area of the barn is painted with Eggshell. The roof sections are Light Cinnamon. Shade the roofs where they touch against the large center section of barn using Bittersweet Chocolate. With Grey Storm, float shading under the roof lines and to divide the sections of the barn. Float Grey Storm at the bottom of each wooden section. Keep this shade light and use a mop to soften. The board lines are Grey Storm. 100

The stone area of the barn is painted with Grey Storm. Add small, irregular stones using a small round or a liner and a variety of colors mixing Grey Storm/Eggshell, Grey Storm/tiny tch Soft Black, Eggshell with Light Cinnamon. The windows and door are all painted Lamp Black. Outline the large, center window with Light Cinnamon.

Grass areas and road The grassy hills are painted using a size 5 round brush for the two smaller, side ones, and a filbert for the larger, center one. The colors used are True Ochre, Celery Green, and Plantation Pine. Place a quarter size puddle of each color on palette. You will notice that the tops of each of the hills are lighter and yellowish, transitioning from True Ochre (the yellow) at the top through a blended light green (Celery), and finally to the darkest green (Plantation Pine). Feel free to change brushes and use whatever size brush you are comfortable with in the area you are working.

101

Beginning with True Ochre in your brush, start stroking/streaking this color horizontally across the top of the hill bringing it down about as far as you see in your picture. Without cleaning your brush, pick up Celery Green and blend slightly into the bottom edge of the still wet True Ochre. You want the two colors to meet and blend softly together (wet into wet). Continue down the hill with Celery Green. Refer to the picture. Finally, pick up Plantation Pine (again, do not rinse brush), and stroke that color to the bottom of your hill. As you reach the road area, stroke the Plantation Pine in short, horizontal strokes to transition into the road.

The road remains the Antique White background color with light streaks of Cocoa washed through the light area and strokes of Celery Green and Plantation Pine running down the center. When dry, float Cocoa around the curve of the road on the right side. When you are happy with your hills, transfer the lines for the fence. Using #5 round, paint the fence posts with Slate Grey. The bottom edge of each post should be left a little choppy where it goes into the ground (grass will be added later to cover). Float Grey Storm down the right side of each post. Using a liner, add dark texture lines of Grey Storm/Soft Black, then straight Soft Black. Add lighter texture lines of Slate Grey/Oyster Beige keeping them more toward the left side of the posts. Continue adding even lighter lines with more Oyster Beige. The wire between the posts is Soft Black.

102

With the liner, pull up grasses using Plantation Pine and Celery Green. Vary the heights and direction of the growth of the grasses for a more natural, country look. Stroke the daisy petals with Oyster Beige and add a dot of True Ochre for the centers. Paint the rim of the plate with Light Cinnamon. The narrow outer rim and the raised “hobnail” dots are painted Honey Brown. I finished this piece with a spray varnish because I find it easier than trying to brush varnish smoothly around the raised edges. I like Krylon Crystal Clear #1303.

103

/LQH GUDZLQJ LV DW

104

105

Vintage Beauty

Original Design by Lorraine Morison The pansies in this beautiful design are sure to help welcome in the spring season.

106

Surface: Oblong MDF plaque 330mm (13 in) wide by 305mm (12 in) Project Supplies: Ɣ Palette knife Ɣ Plastic Wrap Ɣ Sandpaper Ɣ Sea Sponge Ɣ Stylus Ɣ Tracing paper Ɣ Wet palette Ɣ White transfer paper Mediums by DecoArt: Ɣ Americana Acrylic Sealer/Finisher Ɣ Americana Extender Medium Ɣ Americana Glaze Medium Ɣ Americana Multi-Purpose Sealer Paints: DecoArt Americana Acrylics: Ɣ Avocado Dip Ɣ Black Green Ɣ Canyon Orange Ɣ Deep Midnight Blue Ɣ Deep Teal Ɣ Desert Turquoise Ɣ Dioxazine Purple Ɣ Lavender Ɣ Lilac Meadow Ɣ Pansy Lavender

Ɣ Ɣ Ɣ Ɣ Ɣ Ɣ Ɣ Ɣ Ɣ Ɣ

Phthalo Blue Phthalo Green Purple Cow Purple Petal Royal Purple Sea Aqua Vintage Wine Viridian Green Warm White Wasabi Green

DecoArt Dazzling Metallics: Ɣ Splendid Gold

Decoart Americana Extreme Sheen: Ɣ

24k Gold

Brushes: Ɣ Angle Shader ¼, 1/8 Ɣ Basecoating brush or roller Ɣ Old scruffy brush Ɣ Raphael Fine Liner 8413 No. 2 Ɣ Raphael Round brush No. 4

107

Preparation Make a mix of Phthalo Blue, Phthalo Green and All-Purpose Sealer 1:1:2. Apply two coats to the surface, sanding between coats. Apply a layer of Americana Glazing Medium. Next, place some blobs of Desert Turquoise over the piece with a scruffy brush. Place a piece of plastic wrap over surface, scrunch it up with your hand, and remove. When dry, use a slightly damp sea sponge with Black Green to add this colour lightly over the background. If the background appears too dark, add more Desert Turquoise. A gold line is painted all around the outer edge using Splendid Gold. Trace the pattern onto tracing paper. Transfer design using the transfer paper and stylus. All blending throughout the piece is done with Extender Medium. Small Leaves Basecoat with two coats of Deep Teal. Make a brush mix of Viridian Green and Black Green to shade around the base and down the center of each small leaf. Highlight the tips with a brush mix of Avocado Dip/Sea Aqua.

Large Leaves Basecoat with a brush mix of Deep Teal/Black Green. Shade the base and down the center with Black Green. Tint on left side of leaves with Avocado Dip. Dry brush Wasabi on each side of the centre vein of each leaf. Apply further tints of Sea Aqua to the edge of each leaf. Veins and stems are painted with a brush mix of Deep Teal/Avocado Dip.

108

Top and bottom corner pansies Basecoat all pansies with Purple Cow. Make a mix of Dioxazine Purple/Vintage Wine/Warm White 1:1:1 and paint the top petals with this mix, adding more Warm White for the lighter shade at the top of the petal. Shade with Royal Purple. Middle petals are painted with Pansy Lavender. Shade with Dioxazine Purple. Bottom petals are painted with Purple Petal, shade with Royal Purple. Highlight tips with Warm White. Pull out fine lines with Dioxazine Purple for the beard in the flower center. Two comma strokes in Warm White are painted to create the flower center. Add a spot of Canyon Orange underneath.

Three pansies in the center Basecoat all pansies with Purple Cow. Bottom petals are painted with another coat of Purple Cow. Highlight with Warm White on the bottom edge. Pull out fine lines with Dioxazine Purple for the beard in the flower center. Middle petals are painted with Pansy Lavender. Shade with Dioxazine Purple. Top petals are painted with Pansy Lavender. Shade with Dioxazine Purple. Highlight tips with Warm White. Two comma strokes in Warm White are painted to create the flower center. Add a spot of Canyon Orange underneath.

109

Buds Basecoat the petals with Lavender. Shade with Dioxazine Purple. Highlight with Lilac Meadow. Tint the tips and base of each calyx with a dry brush of Wasabi Green.

Ribbon Basecoat with Desert Turquoise, two coats for an opaque finish. Shade with Deep Midnight Blue. Highlights are a flip float of watery Warm White. Ribbon is outlined with 24k gold.

Lace The lace is painted with opaque Warm White, unless specified otherwise. Step 1. Outline the motif with Warm White. Paint around the motifs again with watery Warm White. Divide the leaves with a center vein and diagonal lines. Place a large dot in the center of each motif. Step 2. Using Warm White, crosshatch the center of the motif, as shown. Step 3. Divide the top three leaves with a line down the center. Large “crosses” are painted over center line and completed with a dot. Step 4. Outline the six petal flower with Warm White and then paint again with watery Warm White. Step 5. Divide each petal down the center, paint “crosses”, and complete with a center dot. Step 6. Outline the scrolls and paint them again with watery Warm White. Paint fine lines as shown in the step sheet and complete with curlicues.

110

Finishing: Allow to dry overnight. Seal with a protective coat of spray varnish following manufacturer’s instructions.

111

Line drawing is at 100%.

112

113

114