Pixelated Palette November 2020 Issue by Pixelated Palette

November 2020 Donna Hodson, CDA The Old Bridge

4-12

Debby ForsheyChoma

Dashing Through the Snow

Susan Cochrane Poinsettia Santa

46-51

Martha Smalley

Elisabetta de Maria, CDA Upside Down

81-89

Peggy Laurie

Gone Fishing

Welcome Gnomes

53-57

90-95

13-21

Jane Allen

Linda Hollander

Sharon Bond

Tic Tac Snow

Screen Printed Jewelry

Wonders of Winter

23-26

58-64

97-105

Sandy LeFlore

Karen WisnerDyar

Deb Mishima

Oh Snap!

27-32

Snow Friends Candle

Making the List

106-113

65-73

Rosie Singalewitch

Annette Dozier

December Preview

34-45

75-79

115

Never Alone Snowmen

Snowflake Santa

Editor in Chief: Lindsey Applegate, palettepixels@gmail.com Executive Editor: Susan Mynyk, pixelatedsusan@gmail.com Copyright Notice: ©2020 Pixelated Palette. The Pixelated Palette is produced 12 times per year by Cupboard Distributing, 1463 S US Highway 68, Urbana, Ohio 43078. All rights reserved on entire contents of this digital magazine. The information contained within this publication is presented in good faith. As the author(s) and publisher have no control over the application of the information presented, the results are not guaranteed. Reproduction of editorial content is strictly 2 prohibited without written permission of the Publisher.

Let Us Give Thanks! Wow, what an eventful year we’ve had at Pixelated Palette! One of our goals was to find and publish as many new artists as possible. In the first half of the year, we debuted five new designers. And the second half of 2020 will find us introducing no less than eight more!! Thirteen talented artists have found a home with us. Lindsey and I are thankful for the opportunity to share them with you. When I see a cover design like CDA, Donna Hodson’s well weathered bridge, my imagination runs wild! I immediately envision something wonderful might be just beyond my sight line. Am I coming back from somewhere or, am I on my way to a grand new adventure? While your brush dances across your painting surface, perhaps your imagination will lead you to your own possibilities. I think the title of CDA, Elisabetta De Maria’s project “Upside Down” certainly captures the past year. However, please notice that her leopard is looking ahead with clear blue eyes of determination. A reminder, perhaps, for us to do the same. Regardless of what design you choose to paint from this month’s issue, please take a moment to read about the inspiration behind Rosie Singalewitch’s “You Are Never Alone” ornament series. The story will touch your heart. Yes, for many, challenges chase us… But, if we look no further than our painting corners, we will discover that blessings also abound. With a grateful heart, Susan 3

The Old Bridge Original Design by Donna Hodson CDA dhodpaints@gmail.com

I have always loved the old covered bridges and visited as many as I could when we lived in New England. They have become a favorite subject for me to paint. This isn’t a particular bridge, just one from my memory and imagination. I hope you will enjoy painting this.

Surface: x 8” x 10” x 1” Wood Art Panel SKU: 28-29847 available at www.cdwood.com Project Supplies: x 220 fine sandpaper x 3M: P320 Flexible Sandpaper (found at home improvement stores), or 600 wet/dry sandpaper (found at automotive stores), or a piece of brown paper sack. x Tracing paper x Stylus x Palette Knife x Grey and white graphite x Palette paper pad x Usual acrylic supplies Paints: DecoArt Americana Acrylic x Antique Gold x Burnt Sienna x Burnt Umber x Cadmium Orange (optional) x Graphite x Grey Sky x Marigold x Midnight Green x Milk Chocolate x Snow White x Traditional Burnt Umber x Zinc Mediums by DecoArt x Multi-Purpose Sealer x DuraClear Matte Varnish Brushes: x 1” wash x ¾” Moon Filbert Champagne by Scharff series 435 x Flats sizes, 6, 8, 10, 12 (1/2”) x ½” angle or brush you use for floating x 18/0 Chris’s Epic Script Liner #924, size 6/0 and 2 script liner x Old size 6 or 8 flat for fir trees x Small deerfoot or stipple brush, 1/8” – ¼” x Maxine’s Mop, ½” or similar x Spatter brush ( I like a size 8 or 10 round stiff fabric brush) 5

Surface Prep: 1. Sand the surface as needed with 220 fine sandpaper and remove residue. 2. Mix Grey Sky + Multi-Purpose sealer about 1-1 on your palette and paint the front and sides of the surface. I also like to paint the back side of the frame area. Dry. 3. Sand lightly to smooth with either the 3M P320 flexible sandpaper, the 600 wet/dry sandpaper, or the piece of paper sack and then remove residue. 4. Using the ¾” Moon Filbert with Grey Sky and Zinc, paint the top of the surface brush mixing the two together to create a mottled background, especially in the sky area. You want a stormy appearance. 5. I painted the frame edges with Zinc but that is a personal choice. I waited until after I painted the design to paint the final coat. Painting the design: Sky: Load some Grey Sky and Zinc on each side of your ¾” Moon Filbert and streak across the sky area at a slightly upward angle from left to right, softening the edges as you paint. You want to see both values but also other values in between created by the mixing. If needed use a mop brush to soften the edges. This gives the impression of clouds and sky movement but aren’t very distinct. Transfer the bridge, hills, and road to the surface with either white or grey graphite, what you can see. Background hills: 1. Float over the tops of these with Grey Sky walking the value downward. Apply this several times. 2. Use light floats of Zinc to shade at the bottom of the hills and to separate one from another. Don’t get this shading too dark. 3. Float again on the tops of the hills with Grey Sky + Snow White about 1-1 and walk downward. 4. Float Snow White over the tops of the hills.

Hills, sky, and bridge first base coat

Bridge: Refer to the step by step illustration for assistance. Illustration 1 a. Base coat the roof and the top edges of the eaves with Snow White for opaque coverage, maybe three coats. Darken the under side of the right eave with Traditional Burnt Umber. Note: I waited to shade the roof until after the background trees were painted. b. Place a medium wash of Burnt Umber over the front and side of the bridge using vertical strokes. c. Paint the inside of the bridge with Traditional Burnt Umber, several coats. d. Place a wash of Burnt Umber over the road and let it trail out of the front of the bridge. e. Paint the area under the bridge with Traditional Burnt Umber. Illustration 2 a. Wash over the front and sides of the bridge with Milk Chocolate using vertical strokes. Dry and wash again if needed. Dry. b. Using the tip of your angle brush with Burnt Sienna, streak vertically over the front and sides, varying the pressure. You want to add some streaks to simulate old paint. Dry and repeat if needed. Optional: To warm up the bridge some more, give the front and sides an all over wash of Cadmium Orange. c. Darken the inside of the bridge and the area under the bride again with Traditional Burnt Umber.

Illustration 3 a. Using a mix of Graphite + Traditional Burnt Umber, float inside the bridge next to the door opening on both sides and along the top of the inside area. Repeat as needed. b. Paint the windows inside the bridge with Grey Sky. (These will have tree branches added later).Using Traditional Burnt Umber, shade under the eaves across the front and side next to the roof. As you apply this, use the chisel edge of your angle to streak this downward. Use this to shade at the corner at the side of the bridge and under the breaks in the boards at each side of the doorway. Using the chisel edge of the brush, paint vertical slat lines across the front and sides of the bridge. c. If this is difficult use a liner but don’t be too regular or precise. Vary the width and try to keep these a little rough so that the bridge has a more rustic appearance.

d. Paint the windows on the side of the bridge with Traditional Burnt Umber + Graphite. This might take two coats. e. Use light washes of Traditional Burnt Umber + Graphite over the road inside the bridge and begin to pull them out into the road area to create the ruts. Refer to the photo or line drawing. Illustration 4 a. Mix Traditional Burnt Umber + a little Grey Sky and some light vertical strokes inside under the windows to highlight and indicate planks. These are not very bright. b. Using a liner with Traditional Burnt Umber + a little Grey Sky, paint a window sill at the bottom and left edge of the inside windows. When dry use a light stroke of Grey Sky to highlight across the bottom of the sill.

c. Using Marigold, float to highlight the slats across the front of the bridge pulling them up but keeping them irregular. Highlight bottom of the three planks on each side of the door and shade under them if needed. Repeat until you are satisfied. Add more slats to the side with Traditional Burnt Umber if needed. I did not highlight the side. d. Using a liner, paint the lower sill and left sill on the outside windows with Traditional Burnt Umber + a little Grey Sky. Add a little brighter highlight stroke to the bottom sill. e. Review the bridge to see if you need any brighter highlights or deeper shading. Background fir trees: Cut a stencil out of tracing paper to cover the roof or use an index card or scrap piece of paper to cover the roof as you paint the trees. Refer to the step by step illustration for assistance. 1. Using an old size 6 or 8 flat brush, load in Midnight Green. Paint a vertical line for the center trunk of the tree. Beginning at the top, tap side to side and at a slightly downward angle gradually getting wider as you paint to the bottom of the tree. I painted all of five trees behind the roof at the same time. 2. Go over the interior of the trees again with Midnight Green until they are opaque but keep the edges irregular.

3. Mix a little Grey Sky into the Midnight Green (a medium value) and go over the trees again creating downward and alternating branches. They tilt downward at the sides and are straighter in the center area. Use these to separate trees so that one is in front of another. You may need to brighten some of these for the trees in front or place a light wash of Midnight Green over a back tree to darken. This isn’t a bright highlight but establishes the branches. 4. Using Snow White, add highlights to the branches you created in step three. These will be brighter on the right and front sides. Repeat in the highlight areas if needed as the Snow White will appear less bright when it dries. 5. Add some Midnight Green branches inside the windows inside the bridge as the trees would show through. Add a few medium value highlights but don’t let this get too bright. Roof: 1. Clean up any areas where the tree greens got onto the roof with Snow White. 2. Paint a layer of Snow White on the roof, and while wet, work in some Zinc coming from the back side toward the front. Keep your strokes in the direction of the slope of the roof. I left the front and top edge white. 3. Add more floated washes of Zink coming from the back; also shade under the eaves a little too. 4. Add more Snow White highlights to the eaves and the top and front edge of the roof. Foreground: Road: 1. Using light washes of Traditional Burnt Umber + Graphite, create the ruts in the road and shade along the outside edges of the road. Use very light washes as you can always dry and add more. 2. Float Grey Sky a little irregularly on each side of the ruts to highlight. 3. Begin to add some Snow White highlights next to the ruts and along the edges of the road. Repeat as needed.

Snow: Shade the fence line with Grey Sky with a little Zinc added if needed. 1. Float the snow areas next to the fence row and on each side of the bridge with Grey Sky. Dry. 2. Repeat with floats of Grey Sky + Snow White. 3. Dry again and float with Snow White. This might take several coats. I like to use a deer foot a stipple brush to stipple at the tops of the hills for a softer appearance for a final application. Trees to the right of the bridge: After the hills are shaded and highlighted, paint the fir tree on the right side using the same technique as above. When finished, stipple some snow along the ground line in front of the tree. Bare Tree: 1. Transfer the main trunk and a few of the larger upper branches as needed. Mix Traditional Burnt Umber + Graphite to make a very dark brownish grey, about 1-1. Using the size 2 script liner, paint the trunk and larger branches using vertical strokes. Thin the paint some with water and paint the upper branches free handed. You might want to switch to the 6/0 or 18/0 script liner. Refer to the photo and step by step to help. 2. Mix some Grey Sky into the tree mix and using a liner, add short choppy stokes on the right side or the trunk and larger branches to highlight. Paint some of these toward the center of the trunk or larger branches. 3. Add some more Grey Sky to the tree mix and add more choppy highlights to the side of the trunk and larger branches but do not cover the inner strokes. 4. Using Snow White, dab some in the “V” shapes formed by the branches and along some of the flat areas of the branches for snow. Repeat if needed. 5. Shade the snow next to the trunk and out a bit to create a bed for the small bare shrubs and grasses. Thin some of the tree mix and use the 18/0 liner to add some little trees and grasses. Highlight in front of the tree trunk and the grasses with some Snow White.

Fence: Transfer the posts and stiles to the surface with grey or white graphite. This should be over a grey shaded area under the posts. 1. Using the bare tree mix of Traditional Burnt Umber + Graphite, paint the posts and stiles for opaque coverage. 2. Add some Grey Sky to the mix and drag it vertically down the posts and horizontally along the stiles to highlight. This is a dry brush highlight. Use a liner or small flat with just a scant amount of paint on your brush. Keep these dark at the bottom and where the stiles connect to the posts. I you carry the highlight too far, float some of the base coat mix to darken. Repeat if needed and add a lighter highlight if desired. 3. Add Snow White to the tops of the posts and along the tops of the stiles. 4. Float Snow White next to the left side of the fence to highlight the snow.

Left side fir tree: Paint this using the method for the other fir trees. As you reach to bottom of the tree, round the branches across the front of the tree. Refer to the photo to help with direction. This tree can receive a brighter highlight than those behind the bridge. Float a little Grey Sky or Zinc on the lower left snow area under the tree and add a Snow White highlight on the right side. Finishing: When satisfied with the painting, spatter over the design with thinned Snow White. If you have trouble with this, sign and date the painting and apply one coat of varnish before spattering. It will allow you more time for cleanup if needed. Test your spatters before applying them to the surface. Touch up the edges of the panel with another coat of Zinc. Allow to cure and then apply 3 coats of your desired varnish. Attach a sawtooth hanger or display on an easel. I hope you have enjoyed painting this winter project. Feel free to contact me with questions or comments at dhodpaints@gmail.com

Dashing Through the Snow! Original Design by Debby Forshey-Choma

I love the rustic feeling and unique style of these mini sleds. They really make you feel like you are “dashing through the snow” while you’re painting this design. These sleds would not only look great on your Christmas tree, but also a wreath to display through the Winter season. Surface 3 – Rustic Sled Ornaments (4-1/2” x 2” x ½” mdf) #WDSF1126 Tiny Wood Snowflakes Set (3 of the 3/4”; larger size snowflakes in the set) #EMBL189 available through www.creativeartslifestyle.com Supplies Usual Acrylic tools C-Thru Graph Ruler Spattering Tool 24” natural jute twine (.10 diameter) Quick Grip All-Purpose Permanent Adhesive from www.BeaconAdhesives.com Paints: DecoArt Americana Acrylics Black Green Black Plum Bleached Sand Blue Mist Camel Cadmium Red Country Blue Deep Midnight Blue Evergreen Graphite

Hauser Medium Green Heritage Brick Honey Brown Jade Green Milk Chocolate Slate Grey Snow White Uniform Blue Warm Sunset Williamsburg Blue

DecoArt Sealers/Finishes Dura-Clear Matte Varnish Multi-Purpose Sealer Snow-Tex Brushes: Royal #1360 – Sm, Med Debby’s Texture Brushes #3080 – 1 Oval Wash Combo #4150 – 0, 2, 4, 6, 8, 12 Majestic Shaders #4160 – 5/8 Majestic Angle #4170 – 8 Majestic Filbert #4585 – 5/0, 0 Majestic Liners #4700 – ¾ Majestic Glaze Wash Preparation Using the glaze/wash brush, seal the entire sled with Multi-Purpose Sealer. Lightly sand; wipe off with a lint-free cloth. Using the glaze/wash brush, basecoat the surface of the sleds with Uniform Blue and applying enough coats to achieve opaque coverage.

Basecoat the side edges and backside of the sleds, runners and top two support bars with a Light Blue mixture (Williamsburg Blue + Country Blue 1:1); achieve an opaque coverage. Transferring Design Transfer the designs to the surfaces; refer to photo for placement. Use the graph ruler to aid in the transfer any straight lines, by dragging the stylus along the ruler’s edge. Snow Hills Corner load the angle with Blue Mist, float a wide highlight across the front of each snow hill and walk it out. Corner load the angle with Snow White, re-float not as wide; to brighten the highlight. More snow will be added later after the designs have been completed.

Distant Background Pines With a pencil, transfer the center line for each pine. Work only on a couple of the lighter color pines at a time. Slightly pre-dampen the surface area with clean water. This will help the paint bleed; giving the boughs a softer effect and place them in the distance. Use the 8-filbert loaded with the Blue Mist across the chisel edge. Up on the chisel edge, slightly pull the top of the pine. Tapping from left to right for the boughs, slowly and slightly widening as you work towards the base of the pine. Allow a bit of the background to show through, so the pine doesn’t look like a triangle. Repeat steps with Blue Mist, randomly taping on a few boughs; to deepen. When dry, repeat the same steps with Snow White, for highlight. Refer to Background Foliage Image on the following page.

Background Foliage Image

Background Pines Repeat steps in step 4, Distant Background Pines; using Black Green; to create the darker color pines. Refer to Background Foliage Image, above. Bare Trees Double load the 6 shader with Honey Brown + Milk Chocolate across the chisel edge, pull the trunk and limbs of the bare trees. Then with Snow White on the corner of the 6 shader, dab on the limbs; for snow. Refer to Background Foliage Image, above. Background Shrubs With the appropriate size Texture brush and Evergreen, dance in the background shrubs. Randomly repeat step; to deepen. With the appropriate size Texture brush and Snow White, lightly and randomly dance over the shrubs, for highlight and separation. For the proper use of the Texture Brush, use the following method. Dampen the bristles with water to start the separation of bristles. Tap bristles into the paint on your palette, hold it perpendicular to your palette, pounce it up and down to get some of the paint off keeping the paint sparse on the brush. Note – this brush can be used on the whole foot or just the toe. Tap lightly on the surface, dance with the brush up and down, rolling the brush in different directions in between your fingers when it is up in the air (like dancing the twist, light on your feet). Allow some drying time in between dances so the paint sets up and you don’t end up with globby or muddy look. Refer to Background Foliage Image, above.

Painting Structures Refer to line drawing for numbering of structures. Use the appropriate size shaders to basecoat the structures. The appropriate size liners, to pull wall lines. Use the appropriate size shaders to wash over the shade side walls; corner load the angle to float shade on the opposite wall. Roofs, windows and doors will be completed in a later step. Structure #1 Camel – basecoat walls, chimney Honey Brown – pull wall lines, wash over right wall and chimney, float shading across top of left wall

4 3

Structure #2 Jade Green – basecoat walls, chimney Hauser Medium Green – pull wall lines, wash over left wall and chimney, float shading across top of right wall

Structure #3 Cadmium Red + Heritage Brick 1:1 mixture – basecoat walls Black Plum – pull wall lines, wash over left wall, float shading across top of right wall

Silo #4 Slate Grey – basecoat wall Graphite – pull wall lines, float shading down the left side of the wall Bleached Sand – float highlighting down the right side of the wall Structure #5 Honey Brown – basecoat walls, chimneys Milk Chocolate – pull wall lines, wash over right wall and chimneys, float shading across the top of the left wall

Structure #6 Bleached Sand – basecoat walls Slate Grey – pull wall lines, wash over right wall, float shading across top of left wall Silo #7 Slate Grey – basecoat silo wall Graphite – pull wall lines, float shading down the right side of the wall Bleached Sand – float a highlight down the top left side of the wall Structure #8 Blue Mist – basecoat walls, chimneys Deep Midnight Blue – pull wall lines, wash over far left wall and chimneys, float shading across top of middle and right walls

Roofs Snow White – basecoat all roofs Uniform Blue – float shading across the top of each roof Double load the 5/0 liner with Uniform Blue + Snow White, pull side roof lines and silo roof line With the 5/0 liner and Snow White, re-pull along the roof lines; to brighten. Also pull chimney ledges and silo lightning rod. With the 5/0 liner + Slate Grey, pull the two ventilators at the top of the roof of structure #3. Windows With the appropriate size shader, base the windows – Camel – yellow windows Graphite – dark windows Corner load the angle with Heritage Brick, float a shade tint across the top of the Camel windows. With the 5/0 liner and Bleached Sand, outline the windows and pull the windowpanes. With the 5/0 liner and Deep Midnight Blue, pull the lines next to the windows on structure #8; to represent shutters. Doors Basecoat doors on structure #3 with Slate Grey. When dry, corner load the angle with Graphite, float shading across the top of the doors. With the 5/0 liner and Graphite, pull the doorknob, door handle and top arch board. Basecoat the door on structure #8 with Deep Midnight Blue. With the 5/0 liner and Bleached Sand, outline the door and pull the handle. Foreground Foliage With the sm Texture brush and Evergreen, dance ground foliage in along the bottom of the structures; refer to photo for placement. Repeat step with Snow White, randomly and lightly dancing across the top of the ground foliage, for snow.

Foregrounds Corner load the angle with Snow White, chisel float* for additional snow under the ground foliage, structures and randomly over the foreground areas. *chisel float by corner loading the angle, blend off on your palette, lay the bristles of the brush flat on the surface, chisel edge up. Push the paint on the bristles front left to right in a scratching motion, allowing the bristles to pull a broken line that is slightly floated. Tints Corner load the angle with thinned Camel, randomly float tints under the structures and foreground areas, a few pines and shrubs; refer to photo for placement. Snowman With the 12 shader and Snow White, basecoat the snowman. Corner load the angle with Uniform Blue, lightly float a wide shade down the right side of the snowman and the ‘c’ stroke for the arm inset. Now corner load the angle with thinned Camel, lightly float down the left side of the snowman, for a highlight tint. With the 5/0 liner and Warm Sunset, pull the carrot nose. Double load the 5/0 liner with Camel + Honey Brown, pull the twig arm. Snowflakes Basecoat the 3 snowflakes with Snow White; using the 12 shader. When dry, corner load the angle with Uniform Blue, float shading across the surface on each point of the snowflakes. Falling Snow With thinned Snow White and the Spattering Tool, spatter falling snow over each design. Finishing To protect your painted pieces, varnish the entire sled pieces with the Dura-Clear Matte Varnish, using the Oval Wash Combo brush. This brush doesn’t leave any visible brushstroke marks after the varnish has dried. Finishing Touches With the Quick Grip glue, glue the runners, two top support bars and snowflakes to the sled bases; refer to photo for placement. Cut the jute into 3 – 8” pieces, pull ends through the top hole of each sled, from the backside to the front and tie a knot. Application of Snow-Tex With an old scruffy brush or palette knife, apply Snow-Tex to the runners. 19

For any questions concerning this design you can contact Debby at debbyforshey@gmail.com, visit her web site www.DebbysTouch.com or on Facebook. Copyright 2020, Debby Forshey-Choma. All rights reserved under Pan American and international copyright conventions. Photocopying or any type of mechanical electronic reproduction of any part of this pattern packet or the designs herein are prohibited, except purchaser may mechanically electronically enlarge or reduce patterns for their personal use. If this pattern packet is purchased as an e-Pattern or CD, you may not re-sell the pdf file, nor make copies of the pdf files for re-sale or to give away. The projects created from the patterns in this pattern packet may be personally painted by purchaser for fun or for sale (i.e., at local craft shows, on internet auctions such as eBay, and on their own websites or photo sites), although if shown on the internet I do ask that you please give me credit for the design in your description. The designs cannot be used to create web graphics. The product created from or any derivative product made from the designs in this pattern packet cannot be mass produced in any form without a licensing agreement from Debby Forshey-Choma. Note to Teachers/Shop Owners…You may not teach this design or your adaptation of it unless a pattern is purchased for each student. I will be happy to sell patterns (print or digital) for each student at a wholesale discount so they can be included with the class supplies at a nominal cost. Disclaimer: The information in this pattern packet is presented to you in good faith. Since the author/designer has no control over the physical conditions surrounding the application of information presented, I cannot guarantee results, nor will I be liable for any charges against the user for claims of copyright or patent infringement. Please note that with printing differences it is difficult to match the images in this pattern packet to the original pieces, although every effort has been made to do so. Therefore, your finished project may look a little different in color than the images in this pattern packet. The colors used in the project instructions are the ones used by me to paint the finished projects.

Original Design by Jane Allen alandjanie@msn.com

This is a great last-minute gift to whip up for someone on your Christmas list or make for a stocking stuffer. It is a perfect game to play as you are dashing through the woods to grandma’s house because the pieces have magnets on them and cling to the tin board. Plus, the pieces store in the tin. Note: Please do not leave children under the age of six unattended with this game.

Supplies x 1 tube, 2-ounce QuikWood (www.janeallencreates.com) x 5” round or square tin of choice x 10 – 1” domes Product ID 1301 (www.bearwithusinc.com) x 10 small magnets (www.michaels.com) x Snowflake stencil of choice Additional Project Supplies x Parchment Paper x Avon Silicon Glove Hand Cream x Super Glue Gel x Basic Painting Supplies x Primer - Rust-Oleum – Grey x Black permanent marker - Fine Tools: x Cutting blade or old knife Paints: DecoArt Americana Acrylics x Blue Chiffon x Cotton Candy x Country Red x Deep Burgundy x Dioxazine Purple x Desert Turquoise x Foliage Green

x x x x x x

Jack – O – Lantern Orange Lamp Black Plantation Pine Sapphire Warm White Winter Blue

Paints: DecoArt Dazzling Metallics x Champagne Gold Mediums: DecoArt x Adhesion Medium x Spray Sealer/ Finisher Matte Brushes: Loew Cornell x #4 Shader (Series 7300) x # 10/0, 2/0 Liner (Series 7350), x #1/2" Angular Shader (Series 7400) x Stencil Brush Sculpting Instructions Sculpting Tips: When working with QuikWood (QW): remove jewelry especially rings, work on parchment paper or a wax palette. Apply Avon Silicon Glove before starting and periodically when working. Use Extender for blending QW, but be careful to not use too much because it will make your surface gummy. 24

Only mix up the amount needed for the next step. Always make sure your QW is thoroughly mixed or it will not cure. Before painting wipe surface with baby wipe to remove any excess oils. Mix any color with Adhesion Medium and apply to QW areas of project. Sculpting – Making Hat Balls Mix 1/8” of QW and pull off 1/8” ball and place on top of dome to create a pom pom for the hat. If needed use a little super glue gel to hold in place. Repeat for other hats. Allow to cure. Tin Prep Lightly Sand and wipe off dust. Spray with a coat of grey primer. Painting Instructions: Basecoat as follows: When base coating, mix adhesion medium + basecoat color (1:1) for the first coat. Tin – Chiffon Blue Domes – Warm White Tin container: Transfer on check pattern and line squares with Sapphire. Paint middle squares with mix of Winter Blue + Sapphire (1:1). Shade each square and around edges with Sapphire. Stencil snowflakes randomly on top of tin. Paint Warm White checks on side rim of tin using #4 shader. Paint edge of lid with Champagne Gold. Snow Faces: Float very thin Desert Turquoise on right side of face and Sapphire on left side of face, reinforce left side with Dioxazine Purple. Paint nose Jack-O-Lantern Orange and shade back with Deep Burgundy. Paint eyes and mouth with Lamp Black. Line left side and bottom of eyes, mouth and nose with thinned Sapphire. Paint cheeks with thinned Country Red. Paint Warm White highlight on eyes and mouth. Girl Hats: Base Cotton Candy. Shade sides and ball with Deep Burgundy and line across bottom with Deep Burgundy. Paint holly leaf with Plantation Pine and then go over top in center with Foliage Green. Dip dot three berries with Deep Burgundy and then place Country Red dot on top.

Boy Hats: Base Country Red. Shade sides with Deep Burgundy and ball with Warm White. Using marker draw small black lines on edge of hat for ribbing. Paint trees on hat using Warm White. Put dots on ball of hat using tip of brush and Warm White. Finishing : Following manufacturer’s directions, apply several coats of Spray Sealer/ Finisher Matte. Glue magnets to back of domes and have fun!

I hope you enjoy creating this project. If you would like to see more of my work, go to my website at https://www.janeallencreates.com/ or my blog at https://www.janeallencreates.blog/

Ǩ ǡ ̹ʹͲʹͲ 27

Here is a quick to paint design that you can adapt to fit a surface you have in your stash. That is where this plate came from…love using stuff in my stash. These gingers would look great on a Lazy Susan or a tray or anything that sits still long enough for you to paint something on it! Enlarge or reduce or rearrange the design to fit your surface, paint it up right quick and then add some Christmas Cookies and wait for the smiles. Surface x ͳʹǳ Ȃ Ǥ Project Supplies x Ȃ DecoArt Americana Acrylics x Ͳ͸Ͷ x Ͳͳͺ x ͳ͸͸ x Ͳͺʹ x ͲͷͲ x ͳ͸͵ x ͵ͳʹ

x x x x x x x

Ͳ͸͹ ͳ͸Ͷ ʹ͹Ͳ Ͳ͸ͳ Ͳͻͻ ͳͲͲ ʹ͵ͻ

Royal/Langnickel Brushes ǣ x ͻͷͲͲͷ Ǧ ͳͲ x ʹ͹ͲͲ Ȃ Φǳ x ʹͷͻͷ Ǧ ͓ͳ x ʹʹͷͲ Ǧ ͓Ͷ x ͳǳ Preparing the Surface: ǡ Ǥ Ǥ Ǥ Ǥ Ǥ

ǡ Ǥ ǡ ǡ Ǥ ǡ ǡ Ǥ ȋ Ȍ Ǥ ǡ Ǥ Ǥ Ǥ Ǥ Back Background Shading: Gingers: Ǥ Ǥ Ǥ Ǥ ǡ ǡ ǡ Ǥ ǡ ǡ Ǥ

Icing (including the buttons): Ǥ Ǥ ǡ ǡ Ǥ Faces: Ǥ Ǥ Ǥ

Holly Leaves: Ǥ Ǥ Ǥ Ǥ

Berries: Ǥ Ǥ Lettering: Ǥ ǡ ǡ Ǥ Ǥ Finishing Touches: ǡ Ǥ Ǥ Ǥ Ǥ ǡ ǡ Ǥ ǡ Ǥ ̹2020 Sandy LeFlore, Just Fine Designs Thank you for taking the time to ready my copyright statement. The design purchased in this packet is intended for Decorating Painting Purposes only. You may change the shape, size or surface of this design and hand paint it for personal use or sale at your craft show, craft mall, on your website, in your Etsy or eBay store or any craft-related sales market. This design and the packet contents may not be mechanically or electronically mass produced. You may not scan or copy the design photos provided in these instructions/packet. Digital tole or graphic reproductions is prohibited. You may photography YOUR hand painted version of this design for teaching use. No copies can be made of these written instructions or line drawing to sell or give away, even for classes. TEACHERS, CHAPTERS AND SHOP OWNERS: You may purchase multiples of this packet, at a discount, and provide them to your students as part of their class fee. Whether selling your hand painted version of this design or posting your finished project online to share with other painters or teaching it in a class, please give Just Fine Designs/Sandy LeFlore credit (i.e. “Designed by Sandy LeFlore” or “Based on a design by Sandy LeFlore”. Any other use of this design and/or packet contents will require permission from Sandy LeFlore.

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In 2012, New Jersey was one of the states hit hard by Hurricane Sandy. Our area was without power for a full week and blocked in by flooding. Organizations immediately started fund raising efforts to help those affected by the storm. Stuck in the house, I decided to do my part. I designed the “Branching Out” ornament, sat in front of our bay window and painted as many ornaments as I could, until I lost the light, every day for the week. Once we could return to work, I sold the ornaments, with all the proceeds going to the Hurricane Sandy Relief Fund. I did another ornament design and sale for Hurricane Maria relief, with the proceeds going to Unidos/Puerto Rico. My brushes went to work again last year when a small plane crashed into a home in our district right before Thanksgiving, sending three homes up in flames, causing the pilot’s death and the loss of everything for three families right before the holidays. I designed and painted “Christmas Wish” ornaments every day for a month and donated all of the proceeds to the relief fund for the family. Thus the “Never Alone” series was born, to help those in need and let them know they are never alone. I am happy to be able to share them with you. Surfaces: The ornaments are available from Cupboard Distributing, www.cdwood.com | Pocket Watch Ornament, item #31-L511 | Solid Teardrop Infinity Ornament, item #31-L373 | Solid Tall Teardrop Infinity Ornament, item #31-L374 | 1” Starburst embellishment, item #31-L348 Project Supplies: | Scroll Stamp from GrXnge Script Cling Stamp set (available from Cupboard Distributing, www.cdwood.com, item #46-23745 | A dense sponge or sponge daubers such as the Specialty Sponges from Cupboard Distributing | Tack Cloth | Graphite Paper | White Graphite Paper | White chalk pencil. | Ribbons or cord for hanging | Tacky Glue or E6000 | Scissors | (Optional) A piece of DuraLar or other clear acetate at least 4” x 4” | (Optional) Scrap of thin cardboard (like a cereal box) | Small Tube of Creatology Iridescent Glitter or other large-flake glitter (Michaels Craft Stores) | A piece of very fine sandpaper or paper bag Paints: DecoArt Americana | Antique Maroon | Black Green | Bleached Sand | Burnt Umber

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Camel Cinnamon Drop Cocoa Deep Midnight Blue Dioxazine Purple 35

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Hauser Medium Green Hot Shots Fiery Red Lamp Black Milk Chocolate Mississippi Mud

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Moon Yellow Primary Yellow Spiced Pumpkin Titanium White Whispering Turquoise

Mediums by DecoArt | Multi-Purpose Sealer | Americana Deco Soft Touch Varnish | Americana Craft Twinkles

Assorted Brushes: | Chris’ Awesome 1/8” Angle Shader | Mini-Fan Brush or Spatter Brush | Your favorite brush for drybrushing | Your favorite brush for varnishing | An old ¼” or 3/8” angle shader (one where the bristles are splayed out) Preparation Apply one coat of DecoArt Multi-Purpose Sealer to each ornament and allow to dry. Lightly sand as the sealer will raise the grain of the surface a bit. Be sure to remove any dust with a tack cloth. “Branching Out” Shaker Ornament Note: This watch ornament comes in 2 pieces: a solid pocket watch shape and a round bezel. I decided to create a shaker ornament by cutting out a piece of cereal box cardboard just a bit narrower than the bezel. This cardboard spacer will create a space between the back of the ornament and the MDF bezel, so there will be room for the glitter to move around the painted design. See the assembly instructions at the end of this section.

Preparation Place the MDF bezel on top of the DuraLar acetate and trace the outline onto the acetate. Cut out the acetate circle, cutting just inside the outline. Set aside. Next, Place the MDF Bezel onto the cereal box cardboard and carefully trace both the outer and inner shape. Staying just to the inside of the outlines, cut out cardboard spacer and set aside. Painting Instructions Seal the surface with DecoArt Multi-Purpose Sealer. Allow to dry and sand light as the sealer will raise the grain a bit. Remove any dust with a tack cloth. Using Deep Midnight Blue, basecoat the front of the solid circular watch face where the design will go. Basecoat the bezel Lamp Black. Apply two coats to the sanded and sealed surface. Sand with a very fine grit sandpaper or a paper bag between coats. Allow to dry. Position the MDF Bezel onto the surface and using a chalk pencil, lightly transfer the shape of the center area. Remove bezel and transfer the pattern for the snowman, branches and bird onto the Deep Midnight area using white transfer paper. Snowman Basecoat the snowman with Bleached Sand. Basecoat the nose with Spiced Pumpkin. Use the graphite paper to transfer any lines necessary back to the design. The light source is not visible on this ornament, but the shading and highlights will presume the light is above and between the snowman and the bird. Use the 3/8” angle shader to do the shading and highlights on the snowman, switching to the ¼” angle shader when needed. Shade the snowman with soft floats of Mississippi Mud as follows: On the back and bottom of the head, on the bottom of the arm, on the chest in front of the arm, on the back and bottom of the body. Shade these areas again with soft, sheer floats of Deep Midnight Blue. When dry, do one final shading with a sheer float of Dioxazine Purple. This should not overpower the figure but add some depth to the shadow.

Highlight the Snowman with Titanium White on the top and front of the head, the top of the arm and the front of the body above and under the arm. Allow to dry, then strengthen the highlight with a second float of White in these areas.

Place a float of Whispering Turquoise on the lower right side of the snowman’s head at the neck, the back of the shoulder on the arm, and the lower right of the body. These areas are the light reflecting off the snow and onto the snowman. Dry brush a brush mix of White with just a touch of Cinnamon Drop on the cheek. This should be soft and subtle. The eye is Lamp Black with a tiny White highlight. Branches: Load the mini-liner with Cocoa and swipe one side through Milk Chocolate to double load the brush. Stroke the branches on, reloading the brush in the same way when necessary. The darker side should be on the bottom/left of the branches. With Titanium White and the mini-liner, add some snow here and there to the branches. Cardinal Basecoat the cardinal Cinnamon Drop. With the 1/8” Awesome Angle, shade the lower belly and tail with Antique Maroon. Place a “C” stroke of Hot Shots Fiery Red for the wing on the body. With the mini liner, place some small strokes of this color on the tip of the tail and the crown on the head. The eye area is Lamp Black with a tiny white dot as a highlight. Snow With the ½” angle shader, float Titanium White on the ground and repeat to build up the snow areas. Create denser areas of snow at the base of the snowmen. Spatter the scene with Titanium White with a spatter brush, or you can load a little thinned Titanium White into a mini-liner, hold it over the ornament, and tap the brush handle with another brush to create spatter. While the spatter is wet, remove any spatter with a slightly damp brush from areas where it may be not wanted. Allow to dry. Watch Ornament Sections Having base coated the remaining sides of the pieces with Lamp Black, dry brush the surfaces that will show with Extreme Sheen Metallic Silver. This should be an aged, antique look, and not be a solid coverage of silver. On the front of the watch face, with a stylus, apply dip dots of Extreme Sheen Sterling Silver around the opening. At the top, where the loop attaches to the main round watch face, highlight the tops of each little section with Extreme Sheen Sterling Silver and shade the bottom of each of those sections with a soft float of Lamp Black. Refer to the photograph for placement of the shading and highlights. Finishing Brush on one coat of DecoArt Craft Twinkles on the sky area. When dry, varnish all of the ornament pieces, allow to dry and cure a day or two before assembling the ornament. Assembly Position the cardboard spacer on the back surface and check to see that no areas peek out past the surface edge. Trim if necessary. Before gluing, place the MDF bezel on top and make sure it completely covers the spacer. Once you are satisfied with the fit, glue the cardboard spacer to the back of the surface and let dry.

Next, position the acetate circle onto the cardboard bezel and make sure it doesn’t overhang the back surface. Trim if necessary. Before gluing the acetate to the cardboard spacer, sprinkle a generous amount of loose glitter onto the background area. Position and glue the circular acetate piece to the cardboard and allow to dry flat. Then making sure all the parts align well, glue the MDF bezel to the top and hold in place with alligator clips or a book. Allow the glue to cure. If necessary, touch up any areas on the edges that might need it by dry brushing the Extreme Sheen Metallic Silver. Add a hanging ribbon through the top loop. eer) “Oh Deer” Ornament (Snowman and Wood Deer) Seal the surface with DecoArt Multi-Purpose Sealer. Allow to dry and sand lightly as the sealer will raise the grain a bit. Remove any dust with a tack cloth. Using Deep Midnight Blue , basecoat the front and back of the ornament, applying two coats to the sanded and sealed surface. Sand with a very fine grit sandpaper or a paper bag between coats. Allow to dry. Transfer the pattern for the snowman, moon, tree and deer onto the design area using white transfer paper. Tree To create the tree, I use an old angle shader, one that’s having a really bad hair day– The bristles are splayed out in a full pattern. Tap the brush into the Black Green, then tap out on your palette to work to paint into the bristles. You don’t want a blob of color when you touch the brush to the surface to put in the pine branches of the tree.

Start at the top of the tree and tap in the branches, starting with the brush bristles held at the same vertical as the trunk and changing the angle of the brush to the left and to the right as you go back and forth down the tree, getting wider and more toward a horizontal angle as you go. I’ve put some guidelines for the branches in the pattern, but these are just guidelines. The Black 39

Green isn’t going to show strongly against the Deep Midnight background, but it will add some depth to the tree and also help you with placement before you move onto the lighter colors. Don’t wash the brush, but wipe it out in a paper towel, getting out as much paint as possible. Now tap the brush into the Hauser Green Medium. Go over the branches put in with the Black Green, just gently touching the brush down to create an imprint of the bristles in the shape of the brush. If you push too hard, you will get blobs of color and not the delicate look of pine needles. Use the same touch-down pattern, starting at the top vertically, and changing the angle of the brush, left and right, as you go back and forth down the tree, again getting wider and more horizontal as you reach the bottom. Allow that to try for a moment and wipe the brush out again in a paper towel. Load the brush in the same manner with Bleached Sand, go over these branches again, lightly touching down to create a snowy effect on pine needles. Allow to dry for a moment. Tap your brush into the Titanium White, tap it out on the palette, and brighten the branches on the right side of the tree only. Allow to dry. When dry, place a float of Deep Midnight on the tree behind the snowman to set the tree back behind the snowman. Snowman Basecoat the snowman with Bleached Sand. Basecoat the nose with Spiced Pumpkin. Use the graphite paper to transfer any lines necessary back to the design. The light source is the moon, so the shading and highlights will correlate with that light source. Use the 3/8” angle shader to do the shading and highlights on the snowman, switching to the ¼” angle shader when needed.

Shade the snowman with soft floats of Mississippi Mud as follows: on the left and bottom of the head, the left and bottom of the left arm, the left side and bottom of the bottom body section, on the left side of the chest section behind the left arm to separate the chest and the arm, on the bottom of the chest section, and on the right arm to separate it from the chest area. Shade these areas again with soft, sheer floats of Deep Midnight Blue. When dry, do one final shading with a very sheer float of Dioxazine Purple. This should not overpower the figure but add depth to the shadows. Highlight the Snowman with Titanium White as follows: on the top and right side of the head, on the top of the left arm, on the chest section under the head and on the right side, on the top of the right arm, and on the right side of the body section. Allow to dry, then strengthen the highlight with a second float of White in these areas. Add a soft float of Moon Yellow on the front of the head (think on a clock between 10 and 2), top of the right arm, and top right of the

body section for the glow of the light. You can reinforce this hue, if necessary, with a sheer float of Primary Yellow. Place a float of Whispering Turquoise on the bottom and lower areas of the snowman’s head. Float Whispering Turquoise on the bottom of the chest area, the bottom of the left arm from elbow to tip, the bottom tip of the right arm, and the bottom and lower right on the body section. These areas are the light reflecting off the snow and onto the snowman. Place a float of Moon Yellow on the top of the nose with the 1/8” Awesome Angle shader. The eye is Lamp Black. Wood Deer Note: I found it easier to add the legs on the deer after I put in the snow on the ground, then built up a little snow around the bottom of the legs. You might wish to do the same. Base coat the head, body and neck of the deer in Milk Chocolate, with the exception of the cut ends on the back of the head and the back of the body. These should be base coated in Cocoa. With the liner brush, add fine line horizontal lines along the top of the head and the body, first with Burnt Umber, then with Milk Chocolate, and then with Cocoa. It’s okay to get a leave a little texture with the paint here as it will add a little detail. Shade the bottom edge of the body and the head with Burnt Umber. With the ¼” angle shader, highlight the front and top left of the body and the head with a subtle float of Camel. Put a “C” stroke float on the back/right side of the cut ends on the head and the body.

With the liner brush, paint the back legs in with Burnt Umber. Paint the front legs and with Milk Chocolate, then place a fine line of Burnt Umber down the right side of each front leg for a shadow. Use Milk chocolate and the liner brush to carefully stroke in the antler on the reindeer’s head and the one in the snowman’s hand. The eye is Lamp Black. Moon Basecoat the Moon with Moon Yellow. With the drybrush, lightly drybrush around the Moon area to create a glow with Moon Yellow. Shade the left side of the moon with Primary Yellow. Snow With the 3/8” angle shader, float Titanium White on the ground and repeat to build up the snow areas. Create denser areas of snow under the tree, at the base of the snowman and around the legs of the deer. Put a soft float of Whispering Turquoise on the ground in front of and a bit to the right of the snowman.

Spatter the scene with Titanium White with a spatter brush, or you can load a little thinned Titanium White into a mini-fan, hold it over the ornament, and tap the brush handle with another brush to create spatter. While the spatter is wet, remove any spatter with a slightly damp brush from areas where it may be not wanted. Allow to dry. Finishing The “cap” on the top of the ornament is created by floating Extreme Sheen Metallic Silver in small “C” strokes to create the scalloped edge, and then floating the sides and top of that area as well. With the brush side-loaded with Silver, hold the brush up on edge and pull short lines to simulate the striations in the cap. Brush on one coat of DecoArt Craft Twinkles on the sky area. When dry, varnish the front and back, the allow to dry and cure a day or two before assembling the ornament. Add a ribbon for hanging. “Chris “Christmas Wish” Ornament (Large and Small Snowmen) Note Note: This ornament is painted on the Solid Tall Teardrop Infinity Orn Ornament. S Seal the surface with DecoArt Multi-Purpose Sealer. Allow to dry and sand light as the sealer will raise the grain a bit. Remove any dust with a tack cloth. Using Deep Midnight Blue , basecoat the front and back of the ornament. Apply two coats to the sanded and sealed surface. Sand with a very fine grit sandpaper or a paper bag between coats. Allow to dry. Transfer the pattern for the snowmen, moon, tree and deer onto the design area using white transfer paper. Sn Snowmen Bas Basecoat the snowmen with Bleached Sand. Basecoat the noses with Spiced Pum Pumpkin. Use the graphite paper to transfer any lines necessary back to the design design. The light source is the star, which will be added later. With the chalk pencil, lightly mark the placement of the star with an “X”; The shading and highlights will be placed accordingly. Use the 3/8” angle shader to do the shading and highlights on the snowmen, switching to the ¼” angle shader when needed. Shade both snowmen with soft floats of Mississippi Mud. On the large snowman, shade the left/back and bottom of the head, along the left arm to separate it from the body, on left/back and the bottom of the right arm, and on the left/back and bottom of the body. 42

On the small snowman, shade the lower left and bottom of the head to separate it from the arm of the large snowman, shade the bottom and left side of the body to separate it from the large snowman, and shade the left side of the right arm to separate it from the body. Shade these areas on both snowmen again with soft, sheer floats of Deep Midnight Blue. When dry, do one final shading with a sheer float of Dioxazine Purple. This should not overpower the figures but add depth to the shadows. Highlight the snowmen with Titanium White. On the large snowman, float Titanium White on the top and right front of the head (think 12 and 3 or 4 on a clock), the left side of the left arm (very soft), the lower right (front) of the body under the arm, and the top of the right shoulder and arm. On the small snowman, float Titanium White on the top of the head and the right side of the body. Allow to dry, then strengthen the highlight with a second float of White in these areas. Drybrush a little Titanium White on the body of the large snowman to the left of the right arm to brighten the body a bit. Add a soft float of Moon Yellow on the front of the head (think a clock between 12 and 2 or 3), top of the shoulder, and on the small snowman on the top of the head for the glow of the light. Place a small float of Moon Yellow with the Awesome Angle on the tip of each snowman’s nose. You can strengthen the glow of the light by reinforcing with a very soft float of Primary Yellow.

Place a float of Whispering Turquoise on the lower right side of the large snowman’s head at the neck, the lower part of the right arm, and the lower right of the body. On the small snowman, please a float of Whispering Turquoise on the right side of the head and the right side of the body. These areas are the light reflecting off the snow and onto the snowman. Star Basecoat the star with Moon Yellow. Shade the outside edges with Primary Yellow. Stroke a White line down the center of each point to meet in the middle and create a highlight. With the drybrush, lightly drybrush around the “X” of the star area on the o ornament to create a glow with Moon Yellow. Then apply some soft drybrush strokes from the star toward the snowmen. These should be a little stronger nearer the star and soften as they reach the snowman. Do a few and then look at your work. You can always add more color if you need it. When you are satisfied, glue the star in place. Snow With the 3/8” angle shader, float Titanium White on the ground and repeat to build up the snow areas. Create denser areas of at the base of the snowmen. Spatter the scene with Titanium White with a spatter brush, or you can load a little thinned Titanium White into a mini-liner, hold it over the ornament, and tap the brush handle with another brush to create spatter. While the spatter is wet, with a slightly damp brush remove any spatter from areas where it may be not wanted. Allow to dry.

Finishing The “cap” on the top of the ornament is created by floating Extreme Sheen Metallic Silver in small “C” strokes to create the scalloped edge, and then floating the sides and top of that area as well. With the brush side-loaded with the Silver, hold the brush up on edge and pull short lines to simulate the striations in the cap. Mount the scroll stamp from the Tim Holtz Grunge Script Cling Stamp Set on an acrylic block. Pick up some Titanium White on the sponge and pounce on your palette until the paint is worked into the sponge rather than a blob of paint. Pounce this paint onto part of the stamp you want to use, and then put a stamp imprint on the bottom of the ornament. Clean the sponge and the stamp right away when you are done to avoid the paint drying on them. Brush on one coat of DecoArt Craft Twinkles on the sky area. When dry, varnish the front and back, then allow to dry. Add a ribbon for hanging. This year with all of its challenges, we have all needed to know we are not alone. I hope you will enjoy painting these ornaments, but I also hope you might use them to bring a little joy to someone else and let them know they, too, are “Never Alone.”

Original Design by Susan V. Cochrane suecochrane@sympatico.ca

Although painted on a very narrow, tall sled, this blossom laden Santa would look equally appealing on a barrel stave. His poinsettia laden toque sits perfectly balanced on his rosy red nose and his heart is filled with winter wishes just for you!

Surface o Wood Sled, 11 3/4" x 2", Painting surface is 9 1/4" x 2", Item No. 20-10786, www.vikingwoodcrafts.com Project Supplies o Sandpaper (#220 Grit) o Standard Acrylic Painting Tools o Tack Cloth o White and Gray Graphite Paper Paints: DecoArt Americana Acrylics o Hauser Dark Green o Hauser Light Green o Lamp Black o Mocha o Neutral Grey o Orchid o Vivid Violet o Warm White Mediums: DecoArt Americana o Dura-Clear Matte Varnish o Multi-Purpose Sealer Brushes: Royal & Langnickel, Majestic Paintbrushes o ½” Angular Shader (Series R4160) o 5/0, 0 Liners (Series R4595) o 2,4,6,10,12 Shaders (Series R4150) Royal Paintbrushes o ½” Filbert Comb (Series 930) General Instructions All base coats are solid. Erase transfer lines as you go. Use very small, tiny amounts of paint and gradually build up the highlight or shadow by applying multiple floats. All highlighting and shading is done using a double loaded brush, that is, the base coat color plus the second color. Preparation Seal the design surface and the runners with the Multi-Purpose Sealer. Dry, lightly sand and tack. Painting Transfer the lower edge of the brim of the toque and the nose. Paint the toque with Neutral Grey and the remaining area excluding the nose, with Lamp Black. Transfer the outline for the group of poinsettias (not the individual petals) and the holly leaves. Leaves: Base coat with Hauser Light Green. Transfer the individual leaves. Float Lamp Black on the background beside the leaf edges. Float Hauser Dark Green next to any petals or other leaves. 47

Deepen with a touch of Lamp Black. Float Warm White to highlight a tip or side edge of any of the leaves. Tint some remaining edges with Vivid Violet. Poinsettia: (Numbered guide on following page) Base coat with Orchid. Transfer the individual petals. Float Lamp Black to shade petals 1,2,3,4 and 5 (deepest shading). Petal 6 has very little shading, so go lightly. Highlight some petal edges with Warm White (see xxx on pattern). Transfer the center veins for placement. Float Vivid Violet to tint one side edge or next to the center veins (see ooo on the pattern). Faintly float Lamp Black next to the untinted side of the center veins. Do not extend this float past the middle area of the veins. Paint the center veins with Hauser Light Green. Freehand the secondary veins with Neutral Grey. Apply barely there highlights of Warm White on all center veins and some secondary veins. Dot the centers with Hauser Light Green, then add a smaller dot of Lamp Black and a tiny Warm White highlight. Tuck in a few filler dots as well around the edges of the petals using Warm White.

Toque: Lightly float Lamp Black to create creases on the brim. On the upper edge of some creases float Vivid Violet. Float some Warm White on one or two other edges but mainly along the lower center, middle area above the nose. Float Lamp Black on the left side edge of the brim and on 48

the toque next to the upper edge of the brim on the right side. Float Vivid Violet on the right-side edge of the brim. Nose: Basecoat with Mocha. Float Vivid Violet in a C-stroke at the very tip. Dot the highlight on the tip using Warm White. Mustache and Beard: Transfer the mustache lines for placement. With the Filbert Comb create the shape of the beard by lightly combing Warm White. Transfer the heart and paint with Orchid. Float Vivid Violet on the right-side edge of the heart. With the 0 Liner and Warm White, paint dominant hair lines throughout the beard, some lines partially covering the heart. Paint the mustache with strong lines of Warm White. Finishing With Lamp Black, float on the upper left corner of the toque. Float Vivid Violet on the right-side edge of the toque and throughout the beard and mustache. Paint the runners and the underside with Lamp Black. When dry, follow manufacturer’s directions and apply several coats of Dura-Clear Matte Varnish.

Color Placement Guide Highlight petal edges with Warm White (see xxx on pattern). Float Vivid Violet to tint one side edge or next to the center veins (see ooo on the pattern)

This Line Drawing can be used for a 15” x 4” Barrel Stave

This Line Drawing is at 100%

52 10

Original Design by Martha Smalley 53

Surface: x 14” Tombstone Plaque, available from Cupboard Distributing https://www.cdwood.com/products/14-in-tombstone-plaque?_pos=3&_sid=217267fef&_ss=r Supplies: x Micron 0.1 Black Archival Pen x 220 Grit Sandpaper x Tack Cloth x Painter's Tape x Scotch Artist Tape for Curves x Paper Towels x Transfer Paper x Art Minds Stylus Set available at Michael's Paints: American Acrylics x Autumn Red x Brilliant Red x Burnt Umber x Khaki Tan x Lamp Black x Slate Gray' x Snow White x Soft Black For paint conversion charts go to: htp://decoart.com/cgi-bin/Techniques.cgi?ColorConversion Mediums: x Americana Gel Stain – Walnut x Americana Acrylic Sealer/Finisher Matte x Liquitex® Flow Aid Brushes: DecoArt x Flat, Angled and Liner Brushes x Mop Brush – TB113-B Techniques: Shading: If shading is a challenge for you, try using DecoArt Drying Time Extender. It makes floating color easier for creating shading and highlighting effects on painting projects. Using an angled brush, dip the back in the medium and the tip in the paint. Brush back and forth on your palette until the paint blends slightly into the medium and then paint. Use a mop brush to soften the edge. It is better to use several light coats to achieve the best effect. Drybrushing: Load an old, round scruffy brush with the color you will be using. Remove most of the paint by brushing it onto a paper towel. Apply the paint in a circular motion. Use a light touch so that some of the background will show through. 54

Line Work and Details: Use the #10/0 for all the line work. Thin the paint with water to an ink-like consistency. A Painter’s Tips: Use a stylus, toothpicks and the ends of paintbrushes to add dots to your painted design. You will have much more control over the shape and size than with a brush! A hairdryer can be your best friend when it comes to speeding up the drying process! Follow all the manufacturers’ label instructions for proper product usage. Use the color photo as reference for shading and details. I use flat brushes to basecoat, float with angled brushes and use a liner brush to paint details. Preparation: Seal the plaque by spraying it with two light coats of Americana Acrylic Sealer/Finisher Matte. Allow to dry between coats . Sand and remove dust with the tack cloth. Basecoat the plaque with two coats of Khaki Tan. Paint the Walnut Stain onto the plaque using a 1/2” flat brush. Wipe of the stain horizontally using paper towels. You want to aim for a weathered wood appearance. Measure 1/4” from the edge and use the painter's tape to mask off a 3/8” border around plaque. Use the Scotch Artist Tape for the curved top. Basecoat the border with Autumn Red. Shade around both sides of the border using Burnt Umber. Spatter the plaque lightly using Burnt Umber. Adjust the pattern to fit your surface and transfer main pattern lines to surface. Painting Directions Fish: Basecoat the fish with a light coat of Snow White. Paint the head, fins and tail Slate Gray. Paint the mouth Snow White. Paint the eye Snow White. Dot the center using a stylus and Lamp Black. Dot again using a stylus and Snow White for a highlight. Shade around the eye using Soft Black and mop. Shade around the mouth using Soft Black and Mop.

Shade around the inside of the fins and tail using Soft Black and Mop (refer to the gray scale photo). Line around everything using the Micron Pen. Add the fine lines to the fins and tail using the Micron Pen. Paint the upper midsection of the fish Brilliant Red. Use a 1/4” flat brush and Lamp Black to apply the stripes to the red section. Paint the horizontal lines first and then add the vertical lines. Paint the bottom of the midsection Lamp Black. Add two lines, 1/4” apart to the top of the black section using a liner brush and Slate Gray. Dot using Snow White. Drybrush the remainder of the black section using Slate Gray. Spatter the fish lightly using Lamp Black. Lettering: Apply the lettering using a liner brush and Lamp Black. Details: Paint the hook Slate Gray and highlight using Snow White. Outline the hook using the Micron Pen. Finishing Touches: Following manufacturer’s instructions, spray the piece with Americana Acrylic Sealer/Finisher Matte. I suggest using a length of rusty wire or a piece of twine for hanging the plaque. ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~**~*~*~*~*~*~*~*~*~*~*~*~ The Intellectual Property Rights to “Gone Fishing” are owned by Martha Smalley of Apple Tree Cottage Designs. " Intellectual property rights” are a bundle of exclusive rights over creations of the mind which protect creative works such as text, paintings, and photographs and gives the copyright holder exclusive right to control reproduction or adaptation of such works. ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~* Copyright Notice:© Copyright 2020 Martha S. Smalley. All rights reserved under Pan American and international copyright conventions. This pattern may be hand copied as necessary for the purpose of transferring the design for painting. Whether this pattern is purchased as part of an electronic magazine or as a paper packet or electronicpacket, you may not resell this design in any manner, nor make copies of either for resale, to give away, or to use in teaching classes or workshops without express written consent from Martha S. Smalley and/or the owners of this electronic magazine (see Note to Teachers/Shop Owners below).You may not print the colored images for the purpose of decoupaging to a surface, nor may you sell copies of the printouts from this publication in any form. The designs may not be used as web graphics. The projects created from the patterns in this packet may be personally painted by the purchaser for fun or for sale (i.e. at local craft shows, or internet auctions such as eBay, and on their own web sites or photo sites), although if shown on the internet, you must provide credit to Martha S. Smalley as the designer in your description. Manufacturing the finished product for mass marketing in national gift shows and national gift publications is prohibited .No mechanical, electronic, digital or any other method of reproduction or distribution of this pattern, line drawing, and/or instructions is authorized. Any use other than described herein is prohibited without the express written consent of the designer and author. Disclaimer: The information in this pattern packet is presented to you in good faith. Since the author/designer has no control over the physical conditions surrounding the application of the information presented, results cannot be guaranteed.

Screen-Printed Jewelry Original Design by Linda Hollander Email: paintingfool@live.com

If you are new to polymer clay crafting, this is a great project to start with! Silk screen kits by Sculpey make it possible to add wonderful intricate patterns to polymer clay with acrylic paints and it could not be easier! The endless combinations of shapes, colors, and designs will inspire you to create one-of-a-kind pieces…perfect for gift giving this holiday season! Surface: Woodpile Hexagon Wood Box (https://www.hobbylobby.com/Crafts-Hobbies/WoodCrafting/Unfinished-Wood/Hexagon-Wood-Box/p/80927423) or small wooden box of choice (4” in diameter or smaller) Clay Supplies: Sculpey https://www.sculpey.com/products/tools/silk-screens Sculpey Silk Screen Kits: Floral; Nature Sculpey Tools: Acrylic Clay Roller, Flexible Super Slicer; Cutter Sets: Circles, Squares, or cutters of choice Sculpey Hollow Bead Maker (optional) Sculpey Polymer Clay: Souffle in your choice of colors (Igloo, Poppy Seed, and Royalty were used here; Sculpey Premo is also suitable for this project and some colors come in economical 8 and 16 oz. sizes) Additional Project Supplies: Smooth flat surface such as ceramic or marble tile or craft mat Jewelry Findings: medium and large jumps rings, eye pins, necklace bales, and ear wires (silver, black, and copper or your choice of finishes Assorted glass or metal beads, spacers, rhinestones, or embellishments of choice. Ready-made necklaces (chain, cords, ribbons, wire chockers, etc.) 2 pair needle nose pliers Baby wipes Parchment paper Soft cloth Thin plastic straw (such as a cocktail stir or from a juice box) Wooden skewers (2) or pasta machine Super glue Water based craft varnish or art wax such as Renaissance Wax Paints and Mediums: DecoArt Dazzling Metallics: Shimmering Silver, Copper, Peacock Pearl Americana Acrylics: Turquoise Blue Multi-Surface Satin: Black Tie; Cotton Ball Multi-Purpose Sealer Tips for Polymer Clay: You may use kitchen tools such as a pasta machine or cookie cutters but once used for polymer clay, these items are no longer safe for food. Keep hands, tools, and work area as clean as possible. Lint and dust will contaminate your clay. Polymer clay needs to be “conditioned”. Use the clay roller or pasta machine to soften the clay until it is pliable. You may also roll the clay in your hands until pliable.

To roll a sheet of clay pass a piece of conditioned clay through the pasta machine or use the clay roller and the skewers to roll a thin, even sheet of clay Use the Super Slicer to lift clay off your work surface. Use your fingers to smooth edges of cut clay. Clay is somewhat “elastic” and can be pushed or pulled slightly to conform to a box or other small surface. Gentle finger pressure can be used to “heal” unwanted indentations in your clay. If Using the clay Roller all else fails set the damaged clay aside. Scrap clay comes in handy for other uses. Unwanted fingerprints are inevitable! Lay a piece of parchment paper over the clay and make circular motions with your fingers to smooth the clay surface. Use baby wipes to clean hands and tools after using clay. If imbedding embellishments such as rhinestones in the raw clay be sure they are metal or glass. The back of your jewelry can be textured before baking. Texture sheets for clay are available at most craft store. You can also use a toothbrush or lint free items such and linen, doilies, etc. Follow the package directions for baking clay. If you do not have a dedicated clay oven you may use your stove or toaster oven. Place parchment paper on the baking pan to keep the back of clay form becoming shiny. Make a tent out of aluminum foil to keep polymer particles from contaminating your oven. The baked and cooled clay should be hard enough to make a tapping sound on a hard surface. Clay can be baked multiple times.

Silk Screening Clay: It is a good idea to view a video on this process before proceeding: https://www.youtube.com/watch?v=VpRhmQhysFY Lay the silk screen on the clay sheet shiny side down. Use light finger pressure and a circular motion to burnish the clay sheet. Be sure the entire silk screen makes good contact with the clay. I like to put piece of parchment paper over the delicate silk screen before burnishing. Fill a small basin with warm (not hot) water. Shake your paint well. Thicker paints work best for this process. If the paint is too thin it may bleed. Squeeze a bead of paint along an edge of the silk screen. If you prefer you may apply the paint to the straight edge of the squeegee (included in the silk screen kit). Hold the squeegee at a 45’ angle and drag the paint over the silk screen Promptly remove the silk screen and immediately place it and the squeegee in the basin. If you prefer you can use a sink but do not waste time as the paint will clog the small holes in the screen if it is allowed to dry. To clean the silk screen, use your fingers to gently remove paint. Some residue of paint may be impossible to remove from solid areas. Lay the cleaned screen on a towel until dry. Keep the screens flat and avoid creasing or folding them. (See left and right photos below) 60

Apply the paint along the top edge of screen.

Use squeegee to drag paint across

Gift Box: Apply Multi-Purpose Sealer to the wood box. Let dry then sand lightly. Set aside. Condition a block of black clay then roll a sheet large enough to cover the lid of the box. Use the Boho Feather silk screen and Peacock Pearl to paint the clay sheet. Let dry. Turn the box upside down and lay it on the clay sheet. Press the box gently into the clay to make an impression of the lid. Remove the box and set aside. Silk Screened design

Trimming to fit lid

Use the Super Slicer to cut the hexagon shape. Smooth edges with gentle finger pressure taking care not to disturb the paint. Check for fit. You may need to trim a sliver off the sheet or gently coax it to the edge of the lid. Set the clay aside. Use Black Tie to base the bottom and Turquoise Blue to prime the top. When dry, use Peacock Pearl to base the top. Let dry thoroughly. Place the clay sheet on the lid. Cover the clay with parchment paper then gently press the clay so it adheres to the box. If air bubbles form, carefully lift one edge, then gently press bubbles out. 61

Cover a baking tray with parchment then place the box on the tray. Tent the clay with aluminum foil making sure the foil does not come in contact with the clay. Follow the package instructions for baking the clay. For safety reasons it is a good idea to remain close-by while the clay is baking. Allow the oven to cool before removing the project. The clay should adhere well to the lid during baking. If that is not the case use super glue to reattach it. Making Jewelry: The process for making jewelry pieces shown here is basically the same. Condition the clay, roll a sheet of clay, silk screen the clay, cut shapes, bake, varnish or wax, and attach findings to assemble the pieces. To open and close jump rings and chain links: Use both pairs of pliers to open the jump rings. Position the pliers at 9:00 and 3:00 with the cut at 12:00. Pull one pair toward you and ss. the other away from you. To close the ring or link, reverse the process. Blue Boho Feather Pendant: Use the Boho Feather silk screen and Peacock Pearl to paint a sheet of black clay. Use the large circle cutter to cut the pendant. Place on Hollow Bead Maker Tray. Use gentle finger pressure to adhere the clay to the dome. Begin by pressing in the center then work outward toward the edges. Use the straw to make a hole for the jump ring. Bake. Varnish or wax. Open necklace and thread one end through the bale. Attach the bale to the pendant with a jump ring. Freeform Statement Necklace: pper paint to add Roll a sheet of black clay 5” by 3”. Use the Garden silk screen and Copper the design. Cut a free form pattern from paper. If you want a symmetrical shape, fold the paper in half. Lay pattern over the clay sheet. Bend the Super Slicer to conform to the pattern and cut out. You may have to make multiple cuts on the curved edges. Press glass rhinestones into the flower centers (optional). Use the straw to cut two holes for the copper jump rings. Optional: if you would like the pendant to be curved, bake it on a rounded jar or metal bowl Bake. Apply varnish or wax. Use pliers to remove one link in the center of the copper chain. Attach jump rings, one at a time, to the chain and the necklace. Creating free form pattern

Curved surface for baking

Pretty in Purple Pendant and Earrings: Roll a sheet of clay 3” by 3”. Use the Vine silk screen and silver paint to add the design. Use the round cutters to cut 3 circles. Use a smaller cutter to make a smile cut in the top of the pendant and to cut the windows in the earrings. Carefully remove the clay from the small cutters. Use the straw to make holes for the jump rings. Press the small circles onto the top of the earrings. Bake. Varnish or wax. Unscrew the ball end from the choker and set aside. Slide one jump ring of the pendant onto the wire. Slide on a spacer, a bead, then another spacer. Guide the wire through the remaining jump ring then screw the ball end onto the choker wire. Usee jump rings to attach the ear wires. Black and White Layered Necklace: Roll out 2 sheets of clay: one black and one white Use the Vine silk screen to paint the black sheet with Cotton Ball. Use Black Tie to paint the white sheet. Use your choice of circle and square cutters to cut the large shapes. You will need to cut two layers in opposite colors for each bead.

Use smaller and oppositely shaped cutters to make the windows in the top layer Cut eye pins down with pliers. Position the eye pins as shown in photo on following page. Lay the top layers over the bottom layers and use light finger pressure to adhere the two layers. Bake. Gently tug on eye pins. If they come out of the shapes easily, apply a tiny drop of Super Glue on the cut end and reinsert into the shape. Let dry. Use pliers to remove the center link in the necklace. Attach jump rings to each end of the necklace as well as to each eye pin. Join the chain to the pendant. 63

Assembling the components

Position Eye Pins as shown

Snow Friends Welcome Candle Original Design by Karen Wisner Dyar kdolls.designs@gmail.com 65

I love to paint on old surfaces. One day I found this fantastic tin oil can! I knew what it was going to be right away! Hope you will enjoy painting this snowman and his winter friends. This design could be easily adapted to a large wine bottle or even a sled. Enjoy! Surface: Old oil can or large wine bottle Supplies: Brushes Black Micron Pen 01 Round sizes 1, 3 & 5 Stylus Flat Wash 3/4" Dark Transfer Paper Shaders 16 & 20 Tracing Paper Script Liner (long bristles) 10/0 & 5/0 Q-Tips Mop 1/4 & 1/2 1/4" Star Stencil Fabric Rounds 1/8 & 1/4 1" Sea Sponge Old Brushes: 5 Rusty Bells 1 Round Rusty Wire 1/4" Angular Pliers 6 Shader 1/2" Fabric Strip for Tie Red Berry Vine Mini Pine Garland 4" Battery Candle 2"X 4" Piece of Cardstock or Watercolor Paper Paints: DecoArt Americana Acrylics Antique Maroon Avocado Burnt Sienna Dark Chocolate Foliage Green French Grey Blue Graphite Honey Brown Lamp Black Light Buttermilk

Milk Chocolate Moon Yellow Raw Sienna Snow White Tangerine Terra Coral Tomato Red Williamsburg Blue Winter Blue

Mediums: Americana Acrylic Sealer/Finisher Matte DAS13 DecoArt Acrylic Gesso TXFP06 Helpful Tip: Use the round brushes to basecoat. The script liners to paint vines, boughs, highlight strokes and small details. The 3/4" flat wash to float color areas and wide shades and highlights. The shaders to float color, shade and highlight (When floating color, load the brush with a wider amount of paint then done for shading or highlighting.). The fabric rounds to drybrush inner highlights and cheeks. The mops to blend floated areas. Use the cotton swab as a mini mop. The old brushes to stipple snow areas, make snowmen bodies and stencil small stars. 66

Preparation: 1. Place a pile of Gesso onto your palette paper, then add a little water to loosen it slightly. Wet the 1" piece of sea sponge and squeeze it so it is just damp. Dip the sponge into the Gesso, with a pouncing motion, cover the tin or wine bottle with Gesso. Allow this to dry, then repeat another layer. If you are painting on a wooden sled, you can skip this step. 2. Completely cover surface using Light Buttermilk, let dry. Apply a second coat of Light Buttermilk, let dry. 3. Trace patterns onto tracing paper using the Black Micron Pen. 4. Transfer the basic design lines onto the surface, using the small end of a stylus and transfer paper. Transfer the detail lines as needed. Painting Instructions: As you paint, refer to the pattern, for shading (///) and highlights (...). * Basic Painting Instructions: Snowmen: Float snowman body and snow areas using French Grey Blue (not the small snow mounds), let dry. Stipple first layer of snow body and snow areas using Light Buttermilk, let dry. If needed shade lightly using a small amount of French Grey Blue. Stipple the snowmen and snow areas using Snow White, allowing some shading to still be seen, let dry. Carrot Noses: Paint Tangerine and let dry. Shade noses using Burnt Sienna. Twig Arms: Float Milk Chocolate twig arms, let dry. Cheeks: Drybrush with Terra Coral. Face Details: Paint Lamp Black eyes and mouth. Highlight large snowman's eyes and mouth using Winter Blue. Paint tiny highlight strokes on the large eyes using Snow White. Gingerbread Bodies: Float gingerbreads using Honey Brown, let dry. Paint Light Buttermilk frosting areas. Shade using Raw Sienna, let dry. Deepen the darker body shades using a small amount of Dark Chocolate, let dry. Ginger Details: Paint Lamp Black eyes. Paint Graphite buttons. Highlight buttons using Winter Blue. Holly Leaves: Float holly leaves using Foliage Green, let dry. Shade leaves using Avocado, let dry. Paint highlights using Moon Yellow, let dry. Paint center leaf details using Avocado, let dry. Float a small amount of Tomato Red on leaves (see photos). **All vines, boughs, small snow clumps, berries, snowflakes and snow dots will be added once all the other painting is completed.

Hangtag: Cut the hangtag from cardstock or watercolor paper. Float Milk Chocolate over the tag, let dry. Shade the edges using Dark Chocolate, let dry. Paint using Lamp Black or ink, "Snow Friends Welcome", let dry. Ink or paint snowflakes and make little circles. Dot snowflakes using Lamp Black, let dry. When dry, cut a tiny hole to thread the wire through. Large Snowman (oil can or bottle surface) Float scarf color using Terra Coral, let dry. Float Tomato Red over the Terra Coral and let dry. Shade light scarf band using Honey Brown, let dry. Shade the red areas using Antique Maroon, let dry. Shade light scarf band using Milk Chocolate, let dry then paint stitches. Stencil Moon Yellow stars onto the scarf, let dry. Make Light Buttermilk dots on the scarf, using large end of stylus, let dry. Paint Avocado trees on the light band, let dry. Deepen red areas of scarf shading using another layer of Antique Maroon, let dry. Drybrush scarf highlights using Light Buttermilk.

Snowman with Stove Pipe Hat: Basecoat the scarf using Winter Blue, let dry. Paint Light Buttermilk lines on the scarf. Float hat and coal buttons, using Graphite, let dry. Shade the scarf using Williamsburg Blue. Highlight the buttons and hat using Winter Blue. Snowman with Red Hat Band: Float the hat and buttons using Graphite, let dry. Float Terra Coral for the hat band, let dry. Highlight the hat and buttons with Winter Blue. Shade the hat band using Tomato Red.

Vines, Berries, Boughs, Snow Clumps & Sky Snow Dots: Paint vines, bough centers and twig arm details using Dark Chocolate. Paint dark bough needles using Avocado and light needles using Foliage Green. Stipple "snow clumps" using Snow White. Dot berries using Tomato Red with the ends of the stylus and liner brush. Paint large snowflake lines using Snow White, let dry. Dot snow around lower snowmen and large snowflakes using Snow White and the handle tip of the script liner, let dry.

Basecoats and Color Floats

Shade and Details

Highlight, Details, Finish Finish: Spray the painted surfaces using Matte Spray Varnish, let dry then repeat. Using rusty wire, make a multiple looped bow, leaving long ends on each side to attach a bell on each side. Wrap fabric around the neck of the can or bottle leaving cut ends to dangle. Wrap wire around the neck and up the candle for a holder. Make sure it is loose enough to remove the candle to turn off when needed. Thread a wire through the hangtag hole, twist wires and add 3 bells to the wire ends. Attach the wire bow and hangtag wires to the wire that is wrapped around the candle holding area. If it won't stay in place, use a few drops of super glue. Attach berry vines into the wire. Wrap the small pine garland around the base of

the neck and up the candle, to help support it in place. (I also attached a rusty snowflake to the spout nose.) Any questions or concerns, please contact me: Karen Wisner/Dyar- kdolls.designs@gmail.com or message me on Facebook "Karen Wisner" Just in case you don’t have a can with a spout for the carrot nose, or if you are using a bottle, I have created a face pattern you can use.

Line art is at 100%

Snowflake Santa Original Design by Annette Dozier www.annettedozier.com 75

Surface: * 10” Snowflake surface, SKU: 31-L219, available at CDwood.com Supplies: * Usual Acrylic Tools * Snowflake Stencil of choice * Transfer Paper-Grey * 2” Paint Roller Paints: DecoArt Americana Acrylics * Base Flesh * Black * Blue Heaven * Burnt Sienna * Deep Blush (formerly Shading Flesh) * Orange * Slate Grey * Uniform Blue * Watermelon * White * Winter Blue Mediums: DecoArt * Drying Time Extender Medium * Spray Gloss Finish or varnish of choice Brushes * Small to Large Rake Brushes * 10/0 liner * Asst. Sizes of Brushes Used for Dry Blending * 1/4 and 3/8 Angle * 1” Flat Brush * Stencil Brush Preparation Base the entire snowflake surface with Winter Blue. Put all the blue colors on your palette, leaving room between the colors in order to use the sponge roller. Base the snowflake again with Winter Blue + Extender. Add Blue Heaven to the roller and hit and miss this color onto the wet surface. Next, add Uniform Blue to the roller and again add this color here and there. DO NOT OVER BLEND THE COLORS. If you get too much dark color, you can add more Winter Blue to tone down the base. Dry the snowflake and clean the roller. 76

Using the stencil brush, mix Winter Blue + White and stencil on the snowflakes. Have different sizes and let some run off the edges. Do not use heavy paint, keep these a light blue and in the background. Get them too white and they will fight with Santa’s face and beard. Spatter with the same mix but add a drop more White to the mix. Painting Instructions Transfer the outline of the face onto the dry surface using the grey transfer paper. Base the face with Base Flesh. Start in the middle of the face and feather out towards the edges of the face so you do not create a heave edge of paint. When dry, repeat the basecoat painting of the face. Once the base coat is dry, transfer the facial features. DO NOT TRACE ON THE BEARD OR HAIR. These areas are better when free handed . Mix Burnt Sienna + Base Flesh and with a fine liner, outline the facial features. Remove the tracing lines with an eraser or I like to use oil brush cleaner (Turp) on a paper towel to remove the lines. Important to remember: All the floating on the face should be done with soft floats. Float the first shading with Shading Flesh. Float under the hair line, creases in the forehead, eyelids, under the folds of the eyes, under the lip, back to back on the outer edges of the nose and bottom of the nose. Paint the iris of the eyes with Burnt Sienna. Deepen the shadows with Burnt Sienna. On the nose shade only the outer sides of the nose next to the eyes. Not every place that you floated with Shading Flesh has to be darkened. Pick out triangular areas and deeper areas of the face. Since these are soft floats you may need to repeat some of the shading after the paint dries. Thin the Watermelon with water and wash the lips, cheeks and bottom of the nose. When dry you can use paint that is not watered much to deepen the color. Either float or dry brush the highlights. I like to dry brush as I feel I get a better highlight. With Base Flesh + White apply the lights across the forehead, down the middle of the nose about 2/3rds of the way, and top of the cheeks. Use a liner and dry brush in the middle arch of the eyelid and middle of the lower lid. With this same color paint in the whites of the eyes. The highlights were applied several times. Many times, I will finish the Santa and then reapply the highlights again where needed. Paint the pupil of the eye with Black + a little Burnt Sienna. Line the top of the eyelid and add lashes with Black. 77

Paint inside the nostrils with Black + a little Burnt Sienna. When the eyes are dry, float a very sheer shading of Black across the tops of the eyeball. On the iris of the eyes add a little Orange and then Orange + White to highlight the eye. Add White sparkle dot and dash in each eye. Shade the bottom of the lips and both sides with Watermelon + a dot of Burnt Sienna. Santa’s Hair: Tip: Use a large rake brush for most of the hair; switch to a small rake for little areas and finer curls. Undercoat the beard, mustache, eyebrows and hair with Slate Grey. Over this layer, add a dot of Black to the dirty brush and streak in some darker hairs. Highlight the hair with White + a dot of Slate Grey and then clean the brush and add White highlights. Dry the surface and evaluate your painting adding more shadows and brighter highlights as needed. It took many layers of White to achieve the brightness I wanted.

Finish Float very sheer Uniform Blue on the tips of the snowflake Let dry overnight and then apply several coats of spray varnish. You might like this design as a tree ornament. You may reduce the pattern to fit your surface.

Upside Down Original Design by Elisabetta De Maria, CDA elidemaria67@tiscali.it

Dearest painting friends, cats are my other great passion ...and this leopard hit me right in the heart with his gaze...and then I chose to paint him upside down! I hope you like it!

Happy Painting!!!

Surface x 9x16” Sheet Grey pastelmat (23 x 40cm) Supplies: x Photo x Graphite Paper x Hb2 Pencil x Eraser x Pencil Sharpener for Crayons x Paper Towels x Assorted size Blending Stumps Stabilo CarbOthello Pastel Pencils (DickBlick.com) x 100 Titanium White x 620 x 385 Violet Deep x 625 x 405 Ultramarine Blue x 640 x 425 Cobalt Blue x 642 x 430 Ultramarine Blue Middle x 675 x 435 Ultramarine Blue light x 726 x 450 Cyan Blue x 750 x 545 Emerald Green Light x 760 x 615 Dark Ochre Caran d’ache Pastel Pencils (DickBlick.com) x 009 Black x 011 Pale Yellow x 033 Golden Ochrex x 044 Terracottax x 046 Cassel Earthx x 052 Saffronx x 064 Medium Russetx x 066 Raw Russet x 068 Herculanum Red

x x x x x x x x

069 089 093 162 300 408 542 901

Burnt Ochre Burnt Umber Caput Mortuum Violet Caput Mortuum Violet Light French Red Ochre Cold gray 4 Neutral Black Lamp Black

Burnt Sienna Dark Carminex Violet Gray Phthalo Blue Fast Orange Dark Sepia Light Flesh 10x Chinese White

Bruynzeel Design Colored Pencils (DickBlick.com) x 27 Yellow Ochre Derwent Pastel (DickBlick.com) x P 100 Giallo di Zinco Faber Pastel (DickBlick.com) x 138 Viola Chiaro Soft Pastel Rembrandt Pastel (DickBlick.com) x 626,3 Cinnabar Green Light x 633,5 Permanent Yellowish Green x 620,5 Olive Green 82

Tips x For each section, always start on the left side and continue to the right: (left-handed people will work on the contrary) This is to avoid dirtying the work with the hand. x In any case, use paper towels in case you have to work on a part already painted to avoid removing the color or dirtying with your hand. x Always follow the direction of the fur. x Help yourself by blending colors with your fingers. x Always have sharp pencils. Let’s Paint After placing the photo on the pastelmat, place the sheet of graphite paper in the middle, graphite side down. With a pencil or stylus trace over all the guidelines, contours and details. Now arrange the colored photo next to your sheet so as to check step by step all the details

Eyes Unlike how I normally work, in this cheetah I wanted to immediately paint both eyes to be sure I achieved the look I wanted to capture. With the pastel Carbothello n 750 draw the shape of the eye and the pupil and fill the interior with the same color. Work the iris starting to give a base with the pastel Carbothello n 450 and 435 around the pupil.

Light up with Carbothello 100 and work with 385. Blend with the smudge. Create rays around the pupil with Carbothello 615, 385 and 625. Give touches of Caran D’ache 068 in the corners. Strengthen the light points with Caran D’ache Chinese White and Carbothello 450. Fade with your fingers.

Repeat the same colors and make streaks with Carbothello 545, 620 and 100. Darken at the top with Caran D’Ache 046 and 408. Paint small lines with Carbothello 760 and give some touches of 405.

Fur With the Carbothello 750 paint all the black parts previously drawn. Now work the fur that lies between the black spots one area at a time. Carefully following the direction of the fur, start with Bruynzeel 27 and follow Caran D’Ache 052 and 033. Darken with Caran D’Ache 064 and Carbothello 625. Fade with your fingers.

Continue to work with Caran D’ache 052, 300, Carbothello 675. Lighten with Caran D’ache 542 and give some touches with Derwent 100. Darken with Caran D’Ache 069.

Ear Work the interior by painting spots with Caran D’ache 009, Carbothello 625, Caran D’ache 064 and 069. Fade with your fingers. Work the border and then the inside with Bruynzeel 27, Caran D’ache 033, 052, 064. Darken with Carbothello 625 and illuminate again with Caran D’ache 052. Darken again with Caran D’ache 069, give a touch of Carbothello 675 and light with Caran D’ache 300. Lighten the fur again with Caran D’ache 542 and 011 and darken where necessary with Carbothello 640. Continue to paint the fur on the head according to the colors listed. Darken the right side near the nose with Caran D’ache 089 and 046. Strengthen the black parts with Caran D’ache 009 and overlap the n 300. Continue to lighten the fur with Caran D’ache 542 and 011. Define the fur with Derwent 100. Paint the dark part of the nose with Caran D’ache 046, 089, 408 and finally superimpose lightly 009 until the desired result is obtained. Continue down painting the white parts with Carbothello 100. Paint eyelashes and mustaches with Caran D’ache Chinese White and 009.

The Nose (Picture on following page) Paint the nose with Carbothello 385 and gradually lighten with Faber 138. Overlap to lighten the outer edges with Carbothello 100. Brush up with Carbothello 430 and darken with Caran D’ache 009. Now paint with Carbothello 100 the lower parts on the sides. Overlap Carbothello 726 and Caran D’ache 093. Fade with your fingers. 85

Now work again with Carbothello 100. Fade with your fingers. Start painting the black spots on the chin with Carbothello 750 and shade under the white part with Carbothello 726. With Caran D’Ache Chinese White paint the fur of the chin always following the direction. Fade with your fingers. Reinforce all the white parts and 009 the black parts with Caran D’ache Chinese White. Repaint the mustache with Caran D’ache 009 and Chinese White. To protect your work, place it in a glass frame. Have fun! Elisabetta

I have included the photo of the Leopard in grey scale to use as your pattern. Please enlarge to best fit your surface.

Original Design by Peggy Laurie Hmmm…Could these be Santa’s helpers disguised as gnomes?? Anything’s possible during the holiday season! Not only can you paint this winter trio on a wood surface, but you can enlarge the pattern and create a welcome floor cloth or separate them and paint three individual ornaments. However you choose, I hope you enjoy sharing some time with these wee welcomers. 90

Surface: 12”x 14” Vertical Grooved Board, Cupboard Distributing, SKU: 31-L691 https://www.cdwood.com/products/vertical-groovedboard?_pos=3&_sid=82770b3b8&_ss=r Supplies: Usual Acrylic Tools Tracing Paper White and Grey graphite Black Ultra Fine Point Sharpie) Stylus Old toothbrush for speckling snow 1” sponge brush for varnishing Stencils by Laurie Speltz Creative Coach Snowflakes and Word 5, #BCS185 #2 Welcome, #BCS259 Paint: DecoArt Americana Acrylics Blue Green Burnt Sienna Burnt Umber Deep Burgundy Dioxazine Purple Evergreen Grape Juice Hauser Medium Green

Mocha Moon Yellow Peacock Teal Primary Blue Shading Flesh Shoreline Slate Gray Warm Lamp (Ebony) Black Watermelon Slice

Specialty Paints: Emperor’s Gold (Metallics) Mediums: DecoArt Americana Multi-Purpose Sealer Americana Dura-Clear Satin Varnish Brushes: Dynasty Black Gold #12 Blue Ice SC32FIL ½ Angular 206A 3/8 Angular 206A 1 Liner 206A 10/0 Liner 206A Stencil Pro brush ¼ and 3/8

Brushes: JoSonja ½”Sure Touch Oval Glaze

Preparation: Seal board with Multi-Purpose Sealer. Let dry. (Do not sand MDF) But you can lightly sand between basecoated background color Background: Basecoat board Primary Blue using either a large brush or a 1” sponge brush. Using a large brush, paint long strokes of Shoreline over the Primary Blue; let the Primary Blue show through. 91

Trace pattern on tracing paper with a black permanent marker. Transfer pattern to board with grey graphite paper. No details. Painting Instructions: Large Tree: Burnt Umber: Basecoat tree. Lamp (Ebony) Black: Shade tree using ½ angular brush. Warm White: Using a liner brush pat snow on tree branches. Gnome Faces, Beard and Mustache: Mocha: Basecoat all gnome faces. Slate Grey: Basecoat all gnome’s beards and mustaches, Shading Flesh: Shade faces under hat and around outside of nose. Watermelon Slice: Float on cheeks next to nose. Float inside top of nose. Lamp (Ebony) Black: Paint dot for eyes using a stylus. Warm White: Paint highlight dots in eyes, nose, cheeks and stroke on nose. With a liner brush stroke lines on beard and mustache. Gnome with Christmas Tree: Watermelon Slice: Basecoat hat and clothes. Deep Burgundy: Shade hat and clothes. Peacock Teal: Basecoat mittens. Blue Green: Shade mittens. Lamp (Ebony) Black: Basecoat belt and shoes. Shade tree trunk. Emperor’s Gold: Base in belt buckle. Paint stripes on pants. Paint strokes on mittens. Warm White: Float a stroke on top of shoes. Mix a little water with your paint to make a wash and paint the designs on the hat. If you have a small stencil you could use it on the hat. Hauser Medium Green: Basecoat Christmas tree. Evergreen: Shade around the inside of tree and then float inside the scallops. Burnt Umber: Paint the Christmas tree trunk. Gnome with Basket: Grape Juice: Basecoat hat and clothes. Dioxazine Purple: Shade hat and clothes. Brush mix Grape Juice and Warm White to float highlights on top of hat. Lamp (Ebony) Black: Basecoat shoes. Warm White: Basecoat legs and candy canes. Paint snowflakes on mittens. Float highlight on top of shoes. Burnt Umber: Basecoat basket. Shade legs and candy canes. Burnt Sienna: Shade basket.

Watermelon Slice: Paint stripes on legs and candy canes. Base in mittens. Paint designs on clothes and hat. Deep Burgundy: Shade mittens. Emperor’s Gold: Paint dots on flowers. Gnome with Lantern: Peacock Teal: Basecoat clothes and hat. Blue Green: Shade hat and clothes. Burnt Umber: Paint band on hat and base in shoes. Grape Juice: Base in mittens. Paint flower designs on clothes. If you have a small stencil use it for clothes designs. Dioxazine Purple: Shade mittens. Watermelon Slice: Paint stripes on hat and dots in the center of flowers on clothes. Paint candle in lantern. Float inside the bottom of the Moon Yellow flame. Moon Yellow: Paint flame on candle. Warm White: Paint a light wash inside of lantern over candle for the lantern glass. Float highlight on top of shoes and lantern. Lamp (Ebony) Black: Base in lantern. Emperor’s Gold: Paint dots on hat with stylus and paint stripes on mittens. Ground: Warm White: With a ½ angular brush, paint a zigzag back and forth on the ground to look like snow. Stencil on snowflakes with ¼ stencil brush. Speckle with toothbrush to make snow, I covered gnomes faces with a little piece of paper so the snow would not be on their faces. Burnt Umber: Shade under gnome’s feet. Stencil the Welcome at the bottom of the sign with 3/8 stencil brush and Primary Blue. Varnish with DecoArt Americana Dura-Clear Satin Varnish.

Line Art is at 100%

Original Design by Sharon Bond

“I wanted to create a peaceful winter background for this project! My thoughts went straight to a calm, snowy forest setting with some woodland animals frolicking and enjoying the snow! Perhaps this baby deer is experiencing his first snowfall! The large snowflakes are created with markers (and a ruler) to help make them easier to recreate! Enjoy!” Surface: * 14” Snow Border Scallop Dome Plaque – Available from www.cdwood.com – Item # 31-L762 Project Supplies: * Ultra-fine Permanent Black Marker – (Such as an Ultra-fine Sharpie, available at most stores!) ----OR-----* 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.) * For the large snowflakes, I used a Bic Ultra-fine Permanent Marker – Blue Skies Blue – (purchased at my local Wal-Mart, I believe); if you don’t have this available, you could use any Blue marker or just use the Black marker that you already have for this project. * Ordinary Ruler (Optional but helpful!) * Ball stylus (Optional but helpful!) Paints: DecoArt Americana Acrylics * Bleached Sand * Blue Haven * Boysenberry Pink * Canyon Orange * Cool White * Dark Chocolate * Dove Grey * Evergreen * Honey Brown * Lamp Black

* * * * * * * * * *

Leaf Green Light Buttermilk Marigold Milk Chocolate Rookwood Red Sable Brown Snow White Tomato Red Uniform Blue Warm White

Specialty Items by DecoArt: * Americana’s Matte Spray Finisher * Americana DuraClear Gloss Varnish (optional) * DecoArt Glamour Dust Glitter Paint – Ice Crystal (optional) 98

Brushes: * Angle Shader ¼” * Angle Shader 3/8” * Flat Shader #10 * Glaze/Wash Brush ¾” * Round # 2 * Script Liner 10/0 Specialty Brushes from Cupboard Distributing: * #4 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-4 * #6 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-6 * #8 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-8 Tip: Anytime during the instructions if I mention to “finely outline” something in Black you can choose whether you want to thin your Black paint and use a liner brush to outline or simply use a Black marker! Also keep in mind when I mention basecoating something with ‘two coats’ of a particular color, it’s always best to let the first coat dry before adding the second coat! This helps tremendously with your coverage! Preparation: Basecoat the entire plaque with one to two coats of Blue Haven. The only part we really need solid coverage is at the top where the sky will be. The rest will be our undercoat for our snowy background. Once applied, let dry. Lightly trace the outline that divides the sky from the snow. Rebase the remaining area (snow areas) with Cool White. You may need two coats for complete coverage. Let this dry, then drybrush heavily with Warm White. Lightly trace on the outlines for the “hills”. Shade behind each hill with Blue Haven. Shade under the top snow line (horizon) with Blue Haven. Shade above the horizon’s top snow line with Cool White. Shade across the very top of the sky area (top of the plaque) with Uniform Blue. I did concentrate a bit more on the left side than the right. Let dry completely. Painting Instructions: General Info for both sets of Trees…. Begin by tracing on the bare trees on the left side of the plaque and tracing the pine trees at the top, right corner. Once traced, I like to go ahead and finely outline all trees first with my Black marker. That way the tiny branches and thin peaks are already done and we just have to paint the rest of the trees. After we paint the trees, if we need to reoutline anything, we can do so then with our Black marker. 99

Bare Trees: Paint the tree trunks solidly with Dark Chocolate and let dry. Thin a small amount of Sable Brown and add strokes of this up and down the trunks. Once dry, add detailed lines on the trunks with a very fine Black marker. Also outline the little piles of snow that are between the branches or crevices and solidly fill those in with Warm White. Pine Trees: After you have outlined them in Black, paint (fill in) the trees in the background solidly with Black. These will act as ‘silhouettes’ and let the other trees in front show up better! Paint/fill in all the small sections of pine branches (under the snow) solidly with Evergreen. (You can use your liner brush for this if you like and apply heavily.) Let these dry. With your liner and some lightly thinned Leaf Green, add a few finelined strokes over each Evergreen section. After you have completed this step, go back and repaint any pile of snow (if needed) that are on the branches with Warm White. Shade under the entire pine tree section with Blue Haven. Once dry, finely re-outline with Black if or wherever it may be needed. Now it’s time to transfer on the animals…. Daddy Deer: Basecoat him with two coats of Dark Chocolate (do not basecoat his belly, under his neck, inside of his ear or the outside section of his tail). Once dry, drybrush these areas with Milk Chocolate. **I understand it’s more difficult to try and drybrush small/narrow areas such as his legs ~ this is what I do! In this case, lightly thin your Milk Chocolate and wetbrush the small areas; while they are still wet/damp, take a dry-drybrush and blend them into the rest of the area that has already been drybrushed! (You can also lightly ‘pounce’ these damp areas with a small drybrush as well!) Either way will work!** Now drybrush Sable Brown to highlight. Basecoat all the lighter areas (neck, belly, inside of ear and the outside part of his tail) with Light Buttermilk.

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When dry, drybrush these same areas with Warm White. Shade the inside of his ear with Honey Brown. Basecoat his scarf with two coats of Rookwood Red. Once dry, drybrush with Tomato Red. Finely outline the scarf with Black and add the Black stripes with your marker. Basecoat his antlers with two coats of Sable Brown. Line a few strokes of thinned Honey Brown over the antlers to highlight. Shade underneath the deer’s hooves with Blue Haven. Once this has dried, trace on the rest of the deer’s details. Basecoat his eye with Warm White. The pupil is Black. Add accents to the eye with Warm White. His hooves and his nose are painted in Black. Finely outline the entire deer in Black, including his mouth. Baby Deer: Basecoat the baby deer with two coats of Milk Chocolate (do not basecoat his belly, bottom of his face and neck, inside of his ear and outside of his tail.) Once dry, drybrush with Honey Brown and let dry again. Now drybrush once more (lightly) with Milk Chocolate; this will brighten his color a bit! Once that has dried, you can drybrush again with Honey Brown, this time, just as a highlight. Basecoat all the light areas (his belly, bottom of his face and neck, inside of his ear and outside of his tail) with Light Buttermilk. Once dry, drybrush with Warm White. Shade the inside of his ear and his cheek lightly with Boysenberry Pink. Once dry, trace on the rest of the deer’s details. Shade under the deer’s hooves with Blue Haven. His eye, nose and hooves are all painted in Black. Add a tiny Warm White dot to accent his eye. Finely outline the entire deer with Black. I did thin some Warm White to fill in the baby deer’s spots. If you wish, you can dab these back a bit while still damp with a tissue or soft cloth to give them a softer look. Bu Bunnies All three bunnies are done in the same manner! Basecoat them with two coats of Dove Grey and let dry. Drybrush all with Bleached Sand and highlight with Warm White. Basecoat the inside of their ears, tails and bellies solidly with Bleached Sand.

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Once dry, drybrush those areas with Warm White. Shade the inside their ears with Boysenberry Pink. I also thinned just a bit of Boysenberry Pink to create ‘circles’ of blush for their cheeks. Using a soft cloth or tissue, dab these back a bit while still damp for a softer look. Finely outline all bunnies with Black, including their eyes and mouths. Finely outline their noses with Black and fill in or dip-dot each with Boysenberry Pink. The eyes are solid Black with a tiny Warm White dot to accent each one! Shade under the sitting bunny with Blue Haven. Cardin Cardinal: Bas Basecoat with two coats of Rookwood Red and let dry. Drybrush quite a bit w with Tomato Red and let this dry as well. Now transfer on the rest of his details. Shade (or wet-brush) under his wing feathers with Rookwood Red. D Drybrush across his face and on his chest with Canyon Orange. Continue to use u the same drybrush and add a bit of Marigold to highlight across the bottom of his chest. Wet-brush a few strokes of Canyon Orange on his wing and tail feath feathers. His eyes are solid Black with a tiny Warm White dot to accent. I just used my Black marker to create his legs and feet. Finely outline his beak with Black, then fill this in solidly with Canyon Orange. For his earmuffs, basecoat the ‘fluffy’ parts solidly with Leaf Green and let dry. Now lightly ‘dab’ each muff with Leaf Green again and while still damp, dab a bit of Marigold over them as well. This creates a nice mix and a bit of texture! With Black, finely outline the entire cardinal, including the line across his beak for his mouth and the curved bar between his earmuffs.

Large Snowflakes: To figure out your placement of the large snowflakes, trace very lightly with your graphite and/or lightly erase your tracing marks so they are only visible enough to line up your ruler and finely outline with your marker. This makes it easier in case you need to erase something later! I used my ruler and the Bic Ultra-Fine Blue Skies Blue Marker to create the large, detailed snowflakes. (Remember, you can use any Blue Ultra-Fine marker, or even your Black marker that you have been using throughout this project.) I used both Blue Haven and Snow White to 102

fill in the open sections of each of the snowflakes. You can paint these however you wish or refer to the picture for the placement of each of the colors. Other Snowflakes: With thinned Blue Haven, I also randomly placed smaller, simple lined snowflakes with Blue Haven dots on the ends. With my Ball Stylus I also added random dip-dots of Snow White over the entire plaque to also represent snow. Finishing Touches: Once everything has dried, we will be ready to seal our project! I simply spray sealed mine with Americana’s Matte Spray Finisher per instructions and let dry. Once our plaque has dried, I used Americana DuraClear Gloss Varnish to add a little extra shine to the following: * All of the animals’ eyes and noses * The cardinal’s beak I also applied DecoArt’s Glamour Dust Glitter Paint – Ice Crystal, on all the larger sections and dots of the large snowflakes (no matter which color they were!) I just love that extra shimmer it gives to them! ᆌ If you wish, you can also add wire, ribbon, etc… to the top to create a hanger! I hope you enjoyed this snowy project!! Blessings to you for Winter and Warmth!

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Original Design by Deb Mishima debmishima1@gmail.com

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A little bit of chalkboard paint, a touch of glitter and whispy softness help create this delightful holiday reminder list. Surface: 12” x 16” Wood Canvas, available at most craft stores Project Supplies: Stamp: Intricate Snowflakes SKU CRS5107, available from www.stampendous.com Stencil: Moon & Stars #STCL706_2. www.studioR12.com Chris’s Painter’s Pal #29-24747. www.cdwood.com Painters Tape Transfer Paper Glue Small piece of Velcro Glass knob (optional) 3 ¼” Piece of Chalk 4 ½” Paper Tag Ruler Ball Stylus Measuring Tape Embellishments Optional, 2” wooden sleigh (dollar store find) ¼” tiny button (2) ¾” fabric/paper snowflake Thin jute string Paints: DecoArt Americana Acrylics Aloe Antique White Black Plum Bleached Sand Fawn French Grey Blue Hauser Medium Green Heritage Brick Lamp Black Light Buttermilk Specialty Paints: DecoArt Chalky Finish, Yesteryear Galaxy Glitter, Red Nebula Black Chalkboard Paint Matte Medium

Light Mocha Light Sage Mocha Snow White Sugared Peach True Ochre Tuscan Red Warm White Wild Berry Mediums: DecoArt All Purpose Sealer

Brushes: Chris Haughey 18/0 Epic Script Liner 1/8” Awesome Angle

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Other Brushes: ¼”, ½” Angular Shader ½” Flat 3/8” Rake Brush #1 Liner 2” Flat DryBrush (for Background) Assorted Dry Brushes, Mop Brushes and Blenders Painting Instructions: Tip: One thing I do to obtain my soft look on my painting is I very lightly “sand” the design with paper towel as I am painting it. Background: Basecoat the background with Chalky Finish, Yesteryear. Drybrush with Warm White. Stamp randomly over the surface with the Snowflake stamps and Snow White. Blackboard: Measure in ¾” from each side and up from the bottom, marking at intervals with chalk pencil. Measure down from the top 6 3/4” and mark at intervals, connecting to the side border lines. Tape along these lines making sure to press down firmly with your fingertips to ensure the edges are sealed tightly to avoid paint bleed. Following all the manufacturers instructions for application and drying time between coats, apply at least two coats of chalkboard paint. Let cure 24 hours before transferring on the pattern. Shade around Santa’s toque (except where it touches the chalkboard) with French Grey Blue. Santa: Basecoat the face with Light Mocha. Shade Mocha under the brim of the hat and around the nose and eyes. Deepen the shading here and there with Fawn. Shade Mocha around the inside edge of the nose. Highlight Warm White along the top right side bringing the highlight line halfway down the the right side. Deepen the shading lightly here and there with Wild Berry. Drybrush in the middle of the nose with Warm White. Basecoat the eyes with Lamp Black. Float a highlighted semi-circle with Warm White just in from the edge of the eyes. Dot the pupil with Snow White. Line the lashes Lamp Black.

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Toque: Green Stripes: Basecoat with Light Sage. Shade Aloe the right side and bottom of each stripe. Highlight Warm White the left side and top of each stripe. Deepen the shading with Hauser Medium Green. Drybrush in the middle softly with Warm White. Using the Stars and Moon Stencil and Light Buttermilk, stencil the stars randomly onto the green stripes. Shade very softly around the stars with Aloe. Red Stripes: Basecoat with Sugared Peach. Shade Wild Berry on the right side and bottom of each stripe. Highlight Warm White the left side and top of each stripe. Deepen the shading with Heritage Brick. Drybrush in the middle softly with Warm White. Dot Aloe, Bleached Sand and Wild Berry. Line Bleached Sand between each stripe with irregular lines. Pom Pom and Fur: Stipple with Bleached Sand. Using the rake brush and Snow White, stroke on the fur. Line detailed fur lines with Snow White extending outside the main Pom Pom area. Line the bow with Lamp Black. Brim: Basecoat with Bleached Sand. Shade around the rim with Antique White. Drybrush Warm White randomly here and there. Using the rake brush and Snow-White paint on the fur using irregular length strokes in different directions all over the brim, bringing the fur outside the brim in areas. Stroke on extra fur using the liner and Snow White to add more detail. Moustache: Basecoat softly with Bleached Sand. Shade around the nose with Fawn. Drybrush Warm White randomly here and there. Using the rake brush and Snow-White, paint on the hair using long strokes in different directions, bringing the fur outside the main moustache area. Stroke on long whispy hairs here and there extending them outside the main moustache area. Add some highlight strokes with Fawn. Line the hair with Snow White bringing it down and out the sides.

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Chalkboard: Line and dot the stitching around the chalkboard with Bleached Sand. Line the straight stitching lines with Snow White. Line and dot the lettering with Snow White. Line vines and fir around the chalkboard with Aloe. Line again with Hauser Medium Green. Add highlight lines with Bleached Sand. Berries: Using Chris’s Painter’s Pal and Sugared Peach stencil on the berries. Shade Wild Berry and again with Tuscan Red. Highlight the opposite side with True Ochre. Drybrush in the middle here and there with Warm White. Dot with Fawn. Using the ball stylus and Bleached Sand add some small berries here and there on the vine. Checking It Twice: Basecoat the tag with Black Chalkboard Paint following manufacturer’s instructions. Line and dot the stitching and lettering with Snow White. Sleigh (optional embellishment) Basecoat Heritage Brick. Shade Black Plum. Highlight along the top with True Ochre. Line the stitching and basecoat the runner with True Ochre. Line the snowflakes with Snow White. Glue on the snowflake, jute, and button. Finishing Touches: Glue the sleigh and tag onto the surface. Brush Galaxy Glitter Red Nebula onto the sleigh, the red stripes on the toque and here and there onto the berries. Tie a piece of jute onto the chalk and form a bow. Glue on the tiny button. Glue a tiny piece of Velcro onto the chalk board where you want to position the chalk. Glue the coordinating piece of Velcro onto the back of the chalk. And attach to the chalkboard Velcro. If desired, glue a glass knob onto the middle, top of the wood canvas.

Line art is at 91%. Enlarge as necessary for your surface

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Kotami Tanaka Ko Sharon Bond % %ev Davis Tami Carmody Elaina Appleby Marika MRretti Judy Westegaard Jenkins Elisabetta De Maria, CDA Deb Mishima Sue Cochrane

And 3 More Artists!

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