Pixelated Palette September 2020 Issue by Pixelated Palette

September 2020 Table of Contents Kathy Morrow

Nancy Scott

4-14

50-56

Joyce Stegman

Deb Mishima

Wild Welcome

Telemark in Acrylics

15-22

Sharon Bond

Woodland Blessings

24-32

Chris Watson

Fall Pillow

95-102

Michael Cheek

Don’t Ruffle My Feathers

October Sunrise

103-110

58-65

Sunny Tonini

Diane Trierweiler

66-74

112-115

Sandy McTier

Elisabetta de Maria

Apple Cinnamon Tea Towel

Black Headed Grosbeak

Fall Flowers Gather Frame

33-38

76-86

Linda O’Connell

Jane Allen

40-49

87-93

Pink Christmas

Karen WisnerDyar

Autumn Moon

Fall Harvest

Pumpkin, Crow, and Sunflower

Winged Kitty

116-120

October Sneak Peek

Page 122

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

Lindsey, who spends ten months out of the year anticipating the return of Pumpkin Spice, is nowhere to be found today. Rumor has it that she is, once again, standing in line somewhere to taste yet another version of her favorite fall brew! So, while she’s distracted, let me tell you a little bit about our September issue. Did you see that cover?? We are delighted to welcome, Kathy Morrow. This is the very first time she has designed for any publication! And you might be surprised to learn that prior to appearing in the Pixelated Palette, Kathy had never even written a set of instructions! So, if you’re wondering if you should try submitting next year…take it from Kathy, “yeah, you should!” Joyce Stegman is another designer making her first appearance this month. Known for her stunning Telemark Rosemaling, Joyce will show you how to create this traditional floral art using (fast drying), acrylics instead of (slow drying) oil paints. I bet you know that Lindsey and I are always excited when we’re able to introduce our readers to a completely unexpected surface. In this month’s issue, courtesy of Chris Watson, you will learn her no fail steps for preserving fall leaves. And then, paint along as Chris uses a preserved leaf for the backdrop for her painting. (Now that’s cool!) “ in September” you might ask?? “Why of course!” I would answer. Linda O’Connell brings us a fanciful trio of warmly dressed holiday partiers. Look for more ornament trios to appear in every month from now through December! Wow, ALL your favorites are here too! I could go on to list them all, but that’s why we include an illustrated Table of Contents! (chuckle) One of our readers suggests printing the Table of Contents each month and keeping it in a notebook. That way, it’s easy to go old school and flip through the pages to locate that one pattern you just know you saw somewhere (but can’t remember which issue)! We love it when you share your ideas with us.

Waving my paintbrush at ya’

Susan

Wild Welcome Original Design by Kathryn n Morrow M www.twomorrowstreasures.com m

Ever since I was young, I have loved the black bear that live in the mountains of Pennsylvania. Whenever we can, we sneak away to our little cabin, knowing there’s a good chance we will encounter some of these wonderful creatures. I have many photographs of their adventures and even video of two little cubs up in a tree only ten feet from us! These bear were my inspiration for this design. I wanted to paint a bear that was realistic but huggable! To keep a rustic feel I’ve painted this on a surface made out of reclaimed wood. Hope you enjoy! Surface: x 12 x 12 Reclaimed Wood Board from Teresa’s Primitive Treasures https://www.etsy.com/listing/809608154/unfinishedreclaimed-barnwood-board?ref=shop_home_active_1&frs=1

If reduced, this would be a perfect Holiday Ornament for your favorite outdoorsy friend

Project Supplies x Water basin x Paper palette x Fine sandpaper x Paper towels (Optional – Kitchen Sponge) x Black and white graphite paper x Stylus x Ruler Paints: DecoArt Americana Acrylics x Black Green x Celery Green x Dark Chocolate x Fiery Red x French Grey x Heritage Brick x Lamp (Ebony) Black x Margarita

x x x x x x x

Neutral Grey Payne’s Grey Plantation Pine Raw Sienna Sable Brown Snow (Titanium) White Soft Black

Mediums: x DecoArt Multi-Purpose Sealer x DecoArt Dry Time Extender x Americana Décor Soft-Touch Varnish by DecoArt Brushes: x Assorted size Bringle Blenders (Round and Oval) by Scharff x Assorted size Angle Shaders by Loew Cornell x Assorted size Ultra Rounds by Loew Cornell x ½” Oval Wash by Loew Cornell x 10/0 JS Mid Liner by Loew Cornell x Fan Brush or any scruffy flat to paint the pine trees x 3/8 Select Filbert Grainer by Princeton 5

Tips and Techniques x Basecoat: Painting the specified area on the surface with an opaque even coat or coats of paint. x Dry Brushing: Load a dry blender brush in paint then wipe most of it off on a dry paper towel. For shading or highlighting, apply pressure lightly in a circular even motion until you get the look that you want. You can also use this technique to base in the fur using short strokes in the direction of the fur. x Shading and Highlighting (Side Load) I use an angle brush to do side loading. Using a slightly damp brush, dip the tip of the brush in the paint and stroke the brush back and forth on the palette to create a soft blend of color through the bristles. Many times I will dampen my brush with Dry Time Extender (instead of water) to help create a more blended look. x Wash: Create a thin puddle of water and paint mix on your palette. Use a wash brush in the size to fit the section you are painting. Load your brush and touch the paper towel so the excess doesn’t drip onto your painting. Completely cover the area with the color wash, stroking in the direction of the wood grain. If you get too much on the painting, quickly use a mop brush to blend. x Detail Fur: Add a puddle of Dry Time Extender on your palette. Dip Blender brush or Filbert grainer into it and then into the paint. Blend on your palette. Use a light stroke, following the general direction of the fur. Vary it just a bit to make it look more natural. When creating extra fine fur using liner, use the same method but don’t blend on your palette. Roll the bristles into a point on your palette so you can make very fine lines. Preparation: Lightly sand the wood and apply DecoArt Americana Multi-Purpose Sealer. After it dries, lightly sand to knock back any raised grain. Using a barely damp sponge, wipe dust away. Using black graphite paper, transfer on trees, bear and sign outline. Painting Instructions: Trees: Using a liner brush, paint the trunk of each tree with Soft Black. Load the fan or scruffy flat brush with Plantation Pine. Holding the brush perpendicular to your surface, tap the tips of the brush starting lightly at the top of each tree and working your way to the bottom making the taps wider so it looks like wider layers of pine boughs. Make sure the trunk remains in the center of the branches as you paint. Leave some background wood showing through.

Covering a slightly smaller area and using less paint with each additional color, repeat the process this time using Black Green; this will give the boughs some shading. Use the same technique with Celery Green and finally Margarita to create the highlights on the boughs. Ground : Basecoat the ground with Plantation Pine. Drybrush Margarita on the ground here and there to give texture. Sign: Basecoat the sign Titanium White. Drybrush horizontal layers of color using French Grey Blue and Neutral Grey. Allow some of the white background color to show through. Wash the sign with Dark Chocolate. If too much background color is obscured, drybrush white on where needed. Shade the edges lightly with Payne’s Grey. Sign Details Trace on Welcome and the pine branches.

Lettering: Using an Ultra Round brush, basecoat the letters in Heritage Brick. To achieve opaque coverage, two coats may be required. When dry, shade the left side and bottom of each letter with an angle brush in Soft Black. Using Fiery Red, highlight the right side of each letter.

Pine Bough: The pine is done with a liner brush using Plantation Pine, Black Green, Celery Green, and Margarita (in that order). The berries are Heritage Brick, shade with Soft Black, highlight with Fiery Red. The comma highlight is done with the liner in Titanium White. Black Bear: Base coat the bear with Soft Black. Using white graphite paper trace on the eyes, snout, nose, mouth, fur lines and paws. With Lamp Black, shade around his snout, chin and above his eyes. Eyes: Paint the eyes with Raw Sienna. Shade along the top of the eye with Soft Black. Basecoat Pupil with Lamp Black. Outline the eyes (Eyelids) with Lamp Black. Using the liner brush, highlight each eyelid with a smooth fine line of Neutral Grey. Highlight pupils with comma stroke and dots of Titanium White.

Nose: Basecoat Lamp Black. Using the liner, paint the nostril lines in thinned Neutral Grey. Avoiding the nostrils, drybrush Neutral Grey on nose. The top of the nose should be a little lighter in color.

Mouth and Snout: Basecoat mouth Heritage Brick; create the lip with Lamp Black. Drybrush Sable Brown on his snout and chin, keeping the center of his snout a little darker. Shade between snout and mouth with Lamp Black. Shade under lip with Lamp Black. Highlight mouth with Fiery Red. Add a line of thinned Titanium White to his lip. Following the direction of the fur, drybrush Lamp Black with a blender brush on the dark areas of his face and body. Shade with Lamp Black behind his paws and above the sign. Claws: Paint with Neutral Grey. Using a liner brush add Driftwood, then a final highlight of Titanium White. Fur: (see next page) Using an oval blender brush, start adding the next layer of fur detail with Lamp Black and Soft Black in the dark areas and Dark Chocolate and Sable Brown in the lighter areas. Make sure to follow the direction of fur that is noted on the pattern. With the same colors add final fur details to bear and paws using the grainer and liner brushes. Thin the paint with Dry Time Extender and detail fur using light, short strokes and following the fur direction. Finishing: When painting is completely dry, follow manufacturer’s instructions to apply DecoArt Americana Décor Soft-Touch Varnish. The surface comes prewired for hanging, but you can also display it on an easel or prop it with artificial pines on your mantle!

From Kathy Morrow When your life is absolutely crazy (as mine currently is), sometimes it’s best to just sit down and paint. No worries about whether it’s good enough. Take a deep breath and get those brushes moving! I am absolutely thrilled beyond words to have my first published design appear in the Pixelated Palette e-zine. Thank you everyone for your love and support over the years!

Detail of Fur

Line Art at 100% - Upper Left quarter

Line Art at 100% - Upper Right Quarter

Line Art at 100% Lower Left

Line Art at 100% Lower Right

Square Ornament 3.5” x 3.5”

Square Ornament 4.5” x 4.5

Original Design by Joyce Stegman StegPc@aol.com Most rosemaling is done in oils, but a lot of painters don’t have oil paints. This design is done in acrylics. I do like to use acrylics because they dry faster. I hope you enjoy trying this style of painting. 15

Surface: 12” scoop wood plate from Montzka Woodworking, 651-464-5847 or www.montzkawoodworking.com Project Supplies: Palette paper- waxed Transfer paper – white Tracing paper Palette knife Bridge Stylus Fine grit sandpaper VIVA paper towel Paints by Deco Art (AG) Antique Gold (AM) Antique Maroon (BB) Baby Blue (BG) Black Green (BO) Bright Orange (BU) Burnt Umber (DMB) Deep Midnight Blue (D) Driftwood (GC) Georgia Clay

(HDG) Hauser Dark Green (HMG) Hauser Medium Green (HLG) Hauser Light Green (LB) Lamp Black (MY) Moon Yellow (SB) Soft Black (TW) Titanium White (WB) Williamsburg Blue

Mediums All Purpose Sealer by Deco Art Light-Satin Varnish by American Décor Krylon #1311 Matte Spray Vanish Brushes Loew-Cornell (JS) Jackie Shaw liner, Size 1 Loew-Cornell #7300 Flat Brushes, Size 2, 4, 6,8 and 10 1-1/2” Flat for basecoating and varnishing Preparation Sand, seal surface and let dry, then lightly sand. Apply 3 or more coats of Deep Midnight Blue, let dry overnight then apply 3 coats of varnish on the back side of the plate. This will protect the back while you are painting on the top side. Use white transfer paper under your line drawing and trace the pattern onto the top of the plate. Don’t transfer the linework. It is easier to freehand the painting of linework and teardrops. This saves you the time of trying to cover up the tracing lines.

Important Abbreviations: Middle Value: MV Light Value: LV Dark Value: DV Important Things to Know: Referring to the painted sample squares, you will see they have all been basecoated in the Middle Value (MV) each color used throughout the painting. The second box has the Light Value (LV) applied to one side and then the third box has the Dark Value (DV) applied to the opposite side. The look is a shaded blend into middle value and then onto light value on the opposite side. This will give your painting a lot of dimension rather than having a flat look. You may have to do this more than once to get a gradual change of values. If you want to sharpen the LV edge, you can use your liner and paint a line on the edge of the color. Side-Loading Technique: This will take a lot of practice until you feel comfortable doing, so practice on the waxed palette paper. Rinse your flat brush, pat on VIVA paper towel to remove excess water. Sideload just a few hairs on one side of the flat brush. Softly blend this on the waxed palette paper before placing it on the Main Value covered area. You might have to do this several times to get the value change from solid to softly blended area into the middle value color. Note: Use the size of flat brush that fits the area that you are painting. Another helpful technique is rolling the brush in your hand. This gives you more steadiness when applying your LV or DV of color. If this is something you can’t do, then use your liner and apply the LV on the outside edge. The Five Color Palette Samples

Red Step 1 -

Step 2 -

Step 3 –

Base in MV

Float LV

Shade DV

(GC) Georgia Clay

(BO) Bright Orange

(AM) Antique Maroon

Green Step 1 -

Step 2 -

Step 3 –

Base in MV

Float LV

Shade DV

H. Medium Green

H. Light Green

H. Dark Green

Step 1 -

Step 2 -

Step 3 –

Base in MV

Float LV

Shade DV

Williamsburg Blue

Baby Blue

Black Green

Step 1 -

Step 2 -

Step 3 –

Base MV

Float LV

Shade DV

Antique Gold

Moon Yellow

Burnt Umber

Blue

Yellow

White Step 1 -

Step 2 -

Step 3 –

Base MV

Float LV

Shade DV

Driftwood

Titanium White

Soft Black

I have painted some samples of various elements in the design so you can see how I applied the steps and then the finished element with the detailing of linework, teardrops, and dots. Refer to the above color samples to see what I used for DV, MV and LV steps.

Yellow Flower Illustration

Blue Flower Illustration

White Flower Illustration

Red Rose Illustration

Blue flower with Green Leaves Illustration

Detail Embellishments: Linework, Teardrops and Dots I use a bridge to support my hand while I do all the painting. This gives you more steadiness and you can reach over the wet areas so you don’t have to stop painting. Using the liner brush and the LV of green plus a little water to thin, fully load the brush, pull the vein lines towards you with a slight curve either right or left. For the teardrops, fully load the liner, pull the thin line and as you pull you gradually apply pressure, stop, press down and then lift straight up and away from the surface. This gives you a nice round end for your teardrop. For the decorative teardrops of white on the blue flowers. You fully load your brush in white, wipe the tip off on VIVA paper towel, then dip the tip of the liner into Lamp Black. This is called double loading, not sideloading. Now you pull out the black line a short way, stop, press down and the TW color will be the top of the teardrop, lift straight up and away, keep repeating, each teardrop gets smaller and shorter in length. Dots are done using a stylus and watered-down paint. Fully load the stylus and holding it vertically, touch down on the surface, each time you touch the surface the dots get smaller and smaller. 20

Border on Edge of Plate Take the MV red and mix it with half water. Take your middle finger and lightly load it in the paint, pull it along the edge. Repeat as many times as needed for a solid coverage. Then use your liner and the LV red with a little water added and paint the “S” stroke – which is a curved line that is thin to thick to thin again. Since LV is a transparent color, you will probably have to repeat over the top of each stroke 1 or 2 times more. If you want you can use a different color for the border, but always use MV to paint the band and then LV to paint the “S” stroke. If you don’t want to use the “S”, then try dots all around the band. Finishing Be sure and sign your name using the liner and MV green that is slightly thinned. Remove any transferred lines that are not covered with paint. Then apply 3 coats of varnish. Joyce Stegeman started her artistic career in the early 1970s while living in a small town in South Dakota. She took the only painting class available, a Norwegian Rosemaling class. This started her lifetime passion for rosemaling. After moving to Yuma, Arizona in 1978, her rosemaling came to the attention of the vice president of the local college. He asked her to teach rosemaling for the college. This began her teaching of rosemaling, decorative painting, oil painting and watercolor. Joyce has had other articles published. She has taught at Creative Painting Convention in Las Vegas and various cities for Society of Decorative Painting Conventions. Joyce may be contacted by email at: StegPc@aol.com

This 4.5” in diameter line drawing is perfect for an ornament or coaster

This line drawing is 8” in diameter, enlarge to 150% for a 12” plate

Woodland Blessings! Original Design by Sharon Bond

“I have been inspired by some of the cutest little woodland creatures that I’ve seen lately! I decided that I wanted to make a Fall/Thanksgiving design with them in mind! Wait ‘til you see how easy it is to create the buffalo plaid border using a stencil! Most techniques used in the design are simple; I hope you will truly enjoy creating this!!”

Surface: Postage Stamp Plaque – Available from www.cdwood.com – Item # 31-L351 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.) Scotch’s Magic Tape or Painters Tape (Optional) Tim Holtz’s Plaid Stencil – Available from www.cdwood.com – Item # 09-56142 Chris’s Painter’s Pal – (Optional but helpful with the eyes!) – Available from www.cdwood.com – Item # 29-24747 Old toothbrush (or Splatter Brush available from www.cdwood.com – Item # 46-04784) Small water mister bottle (Optional but helpful!) Ordinary Ruler (Optional but helpful!) Ball stylus (Optional but helpful!) Paints: DecoArt Americana Acrylics Antique Maroon Bright Orange Burnt Orange Desert Turquoise Dove Grey Espresso Golden Yellow Graphite Hauser Medium Green Heritage Brick Honey Brown

Indian Turquoise Lamp Black Light Buttermilk Marigold Slate Grey Soft Black Sunny Day Traditional Burnt Sienna Warm Beige Warm White Zinc

Specialty Items by DecoArt: Americana’s Matte Spray Finisher Americana DuraClear Gloss Varnish (optional) Brushes: Angle Shader ¼” Angle Shader 3/8” Flat Shader #6 Glaze/Wash Brush ¾” Round # 2 Script Liner 10/0 Other 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 Chris’s SPECTACULAR Stencil Brush – Item # 03-926-4

Tip: Anytime during the instructions if I mention to “finely outline” something in Black you can choose whether you want to thin your Black paint and use a liner brush to outline or simply use a Black marker! 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 two coats of Marigold and let dry – this serves as the main undercoat. Once dry, prepare a palette of the following colors: x x x x x

Marigold Golden Yellow Sunny Day Bright Orange Burnt Orange

Thin these paints slightly. You may want to mist your plaque lightly with water to start. With long, sweeping strokes back and forth, start painting the plaque using the colors listed above. Some of the colors will blend while others will streak a bit. This is the look we are trying to achieve! Also keep in mind that no two plaques are going to look exactly alike! If your paint starts to drag (instead of flowing) you may want to mist your plaque to keep things moving smoothly! Once you are happy with your colorful fall background, let dry completely! When completely dry, Use an old toothbrush (or your splattering tool) and ‘flick’ over the surface with Heritage Brick. Once this has dried, lightly trace on your rectangle outline to use as a guideline for your stenciling. Stenciling: Place your Plaid Stencil along the guideline and stencil using Soft Black. Move your stencil along until you have completed the entire frame. Let dry. Once dry, take your ruler and one of your Black markers and finely outline around the frame. Now you can trace on your main design!

Painting Instructions: Fox: Basecoat all the “red” areas on the fox with two coats of Traditional Burnt Sienna and let dry. Basecoat the small area between the front legs with an equal 50/50 mix of Traditional Burnt Umber and Antique Maroon and let dry…. Drybrush the area between the legs with Traditional Burnt Sienna. Drybrush the rest of the painted areas with Heritage Brick. Continue to use the same brush and drybrush again with Burnt Orange. Highlight with Bright Orange. Let dry, then go back again 26

(still using the same brush) and highlight again with Burnt Orange. This adds just a bit more vibrance to the colors! Let dry. Shade around these areas with Antique Maroon.

Basecoat the face, chest, inside of ears and tip of the tail with Light Buttermilk. Once dry, drybrush those same areas with Warm White. (You can just wet-brush Warm White inside the ears and on the tip of the tail if that’s easier for you!) Let dry. Shade the Warm White areas with Traditional Burnt Sienna (bottom of the face, under chin, edges of the fur and bottom section of the ears.) Let this dry completely and then you can trace on the rest of your details. Basecoat the headband and the main section of the necklace with Desert Turquoise. (Add an additional coat if needed). Once dry, drybrush with Indian Turquoise. The ‘zig-zag’ design across the headband is done in Black. The dots on the necklace are ‘dip-dotted’ with Heritage Brick. The small ‘triangles’ hanging down from the necklace are also done in Black. Facial features are all finely outlined in Black. Eyes are filled in with Black with Warm White accents. Nose is also filled in with Black. Thin some Black and paint this at the top of the ears and also pull strokes up the legs from the feet. Feet are painted solidly in Black. Once dry, add ‘toe lines’ with thinned Heritage Brick. Finely outline the entire fox and headband in Black. Feathers (on the Headband): For the pointy feathers (one on each end of the headband), basecoat with two coats of Dove Grey. Once dry, drybrush with Warm White. Add stripes with Indian Turquoise and finely outline all in Black. ‘Orange’ feather in the middle is basecoated with Burnt Orange. Drybrush with Warm Beige. Then go back (using the same brush) and drybrush again with Burnt Orange to help tone it down and blend. Tip of the feather is in Black. Finely outline (and add details) with Black.

‘Yellow’ rounded feather is based in two coats of Marigold. Once dry, drybrush with Sunny Day and highlight (mainly around the top of the feather) with Light Buttermilk. Finely outline and add details with Black. Pumpkins: Basecoat both pumpkins with two coats of Burnt Orange. Drybrush each ‘section’ of the pumpkins with Bright Orange. Continue to use the same brush and add Marigold to highlight (mainly around the tops of the pumpkins). Shade or wet-brush between the sections with Heritage Brick. Stems are based with Hauser Medium Green (add an additional coat if needed). Once dry, wet-brush some slightly thinned Marigold over the stems for a highlight. Finely outline all in Black. Raccoon: Basecoat the stripes above the eyes, his chest and belly with two coats of Dove Grey and let dry. Once dry, drybrush with Warm White. Basecoat the inside of his ears with Warm Beige and let dry. Drybrush with Warm White. Wet-brush around the tops of the ears with a bit of thinned Graphite. Basecoat the rest of the raccoon (except for his mask and muzzle) with two coats of Zinc. Drybrush all Zinc areas with Slate Grey. Basecoat the muzzle with Slate Grey. Drybrush the muzzle with Dove Grey and then highlight with Warm White. Once this has all dried, trace on remaining details. Paint the stripes on the tail in Black and then drybrush with Graphite. Feet and paws are also basecoated with Black and then drybrushed with Graphite. Add the ‘toe’ lines with slightly thinned Slate Grey. Use Graphite to shade around the mask (including above the white stripes), muzzle, across the top of each stripe on his tail and along the chest and belly. Eyes are based in Warm White. Once dry, paint the irises with Espresso, then the pupils with Black and then add your Warm White accents. Nose and mouth are also done in Black. Basecoat his collar with Light Buttermilk (you may need two coats). Once dry, drybrush with Warm White. Paint his tie in the center of his collar with Black. Basecoat the hatband with two coats of Traditional Burnt Sienna and let dry. Drybrush with Burnt Orange. Paint the buckle with two coats of an equal 50/50 mix of Marigold and Golden Yellow. The ‘holes’ on his hatband are dip-dotted in Black.

Basecoat the hat with two coats of Espresso. Once dry, drybrush with Honey Brown. Shade around the hat’s edges and also above and below the hatband with Soft Black. Once dry, finely outline the raccoon, hat, etc… all in Black. Pumpkin Pie: Top of the pie is based with two coats of Burnt Orange. Once dry, drybrush this with Bright Orange. Shade across the top with Traditional Burnt Sienna. Pie Pan is basecoated with Desert Turquoise. Once dry, drybrush with Indian Turquoise. Paint the pie’s crust with two coats of Honey Brown and let dry. Highlight each curve in the crust with Warm Beige. Add a few tiny dots of Black and Bright Orange to top of the pie (a few on each side). Finely outline the entire pie with Black. Acorns: (Both of them, small one on the string and large one in the corner) - Basecoat the bottoms of both acorns with two coats of Espresso. Once dry, drybrush the bottoms with an equal 50/50 mix of Espresso and Honey Brown, then let this dry as well. Highlight along the top side (of the bottoms) with Honey Brown (alone). Basecoat the tops of both acorns with two coats of Honey Brown and let dry. Highlight the tops with Warm Beige. Shade under the top cap of the acorn and down one side with Soft Black. The stem of the large acorn is also painted in Soft Black. Once dry, finely outline the entire acorn and add all ‘criss-cross’ details with Black. I also finely outlined (in Black) a tiny ‘triangle’ shape on each acorn to use as a highlight. Fill in this tiny triangle with Honey Brown. Leaves Maple Leaves: Let’s start with the two larger Maple leaves! (One on the string and one in the background.) Basecoat both with two coats of Burnt Orange. Once dry, drybrush the leaves with Bright Orange. Shade the left side of each leaf with Heritage Brick and highlight the right side of each leaf with Marigold. You may prefer to wet-brush some thinned Heritage Brick and Marigold into the tiny points of the leaves when you go to shade, if that is easier for you! Finely outline and add the details to the leaves with Black. Oak Leaves: (one on the string and one in the background) Basecoat both with two coats of Marigold. Once dry, drybrush with Sunny Day. Shade the left side with Bright Orange and highlight the right side with Light Buttermilk. You may prefer to wet-brush some thinned Bright Orange and Light Buttermilk into the small curves of the leaves when you go to float color, if that is easier for you! Finely outline and add the details to the leaves with Black. Pointy Leaves : (both are in the background, one beside the fox and one beside the raccoon) – Basecoat both of these leaves with two coats of Heritage Brick. Once dry, drybrush with Burnt Orange. Shade (or wet-brush) across the bottom of each leaf with Antique Maroon. Finely outline and add the leaf’s details with Black. Finishing the string line across the corner – Finely outline the string and the berry stems with Black. I also finely outlined the berries with Black, then just dip-dotted them to fill with Heritage Brick.

Finishing Touches: Let’s add a few special touches to enhance our plaque before we seal it today! First of all, I shaded around the outside edge of the entire frame line with Traditional Burnt Sienna. (Just shade around the tip of the fox’s tail when you come to that part! -) 29

With my stylus, I randomly added small Soft Black dots in clusters of three, across the background. I also added one cluster to the center of each Maple leaf as well. At this point, I wanted to add one more thing! Again, using a stylus (or even the end of a brush handle) I made random sized dots (randomly placed) in the background with Heritage Brick. You can add as many (or as few) as you like! Once this has dried, we will be ready to seal! 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: x The berries hanging from the string. x Eyes and noses of the fox and the raccoon. x The bottoms of both acorns. x The fox’s necklace. x The turquoise pie pan. x The buckle and tie on the raccoon. I really enjoyed painting these sweet woodland’ critters today and I hope you will too!! ♥

Thank You! Sharon B

Black Headed Grosbeak Original Design by Chris Watson www.chriswatsondesigns.com

My Mom inspired me with her love for nature, especially birds. We always had several bird feeders around our home and enjoyed watching them feed themselves and their young. It may surprise you to learn that this design is painted on a real leaf. I love the added dimension it gives the design. If you have any questions, please give me a holler! I would love to hear from you.

Preserving Autumn Leaves This will preserve approximately 8 leaves depending on size of leaf and depth of container. Supplies: Glycerin 6 ounces (1 bottle) available at your local pharmacy Water 12 ounces Styrofoam Food Trays or Large Flat container. I like to use Styrofoam food trays for preserving my leaves because I can stack them. This helps to keep the leaves flat as they are absorbing the liquid, and it also takes up little space. Mix: 6 oz. Glycerin to 12 oz. Water Place leaves in tray, be sure they are lying flat and not overlapping each other. Pour in enough Mix to cover the leaves. If you are using the Styrofoam trays, you can stack them on top of each other to help keep the leaves flat. Weigh down the stack with a can of veggies. If you are using another type of container, you must be sure to use something to weight down the leaves to keep them flat. Store the leaves for 2-6 days until most of the liquid has been absorbed by the leaves. Remove the leaves from the liquid and place them between paper towels to absorb the excess moisture. Again, it is important to layer the leaves and paper towels so that the leaves remain flat. After they are dry, I store my leaves in a plastic container with a lid until I am ready to paint on them. Most leaves will turn brownish. Some will retain their yellow or red pigments. Green leaves usually stay green. I usually pick my leaves in September – October. If I can reach them, I prefer to select leaves right from the tree. If you pick them from the ground, be sure the leaves are still soft and pliable. Do not use leaves that are dry and crunchy.

Surface: Scrapbook Paper Mortifica #MOT-0164 available from www.chriswatsondesigns.com Preserved Maple Leaf (See instruction sheet) Supplies: Usual Acrylic Tools Large Ball Embossing Stylus White Chalk Sea sponge Paints: DecoArt Americana Acrylics Bright Yellow Burnt Umber Cadmium Orange Grey Sky Lamp Black Light Avocado Green Neutral Grey Oxblood Soft Black Spiced Pumpkin Tangelo Orange Titanium White True Ochre

Brushes: Loew Cornell ¾” Angle Series #7400 ½” Angle Series #7400 #4 or #6 Filbert Series #7500 #1 JS Med Liner 3/8” #270 Maxine Mop Series Mediums: DecoArt Americana Sealer/Finisher DAS13 Matte FolkArt Blending Gel

Surface Prep: Spray the paper with a Light Mist of the Deco Art Matte Spray. Do not spray the leaf Scrapbook background design: I did not trace on any lines for the background. Dress your brush with Blending Gel. With Burnt Umber, wash in the suggestion of trees onto the paper. Randomly sponge Light Avocado Green for foliage. Chalk Transfer Method: On the reverse side of your tracing, trace over the lines with the white chalk. Be sure to make the chalk lines heavy. Place your tracing right side up on your leaf, use the embossing stylus and transfer the design onto the leaf. Press firmly but carefully so as not to tear the leaf.

Technique Tips: Basecoats are done with washes of color. Allow some of the background to show through for a more natural look. When base coating, stroke in the direction that the feathers grow. Creating the Bird: Base in Beak and Eye with Grey Sky. Keep this loose, allow background leaf to show through. Base in the Grosbeak’s Head with Neutral Grey. Be sure to feather out the edges along the neck and breast area, and into the beak. Base in Breast Area with Tangelo Orange…again keep light and allow some of the background of the leaf to show through. Technique Terminology: “Skizzle” a back and forth motion using the tip end of the angle brush. Using the angle brush, “skizzle” in feather features on the wing & tail with Neutral Grey. Keep this loose and airy. Refer to photo for placement Base in the eye loosely with Soft Black. Important: leave a small ring of grey sky around the eye. Highlight eye with Grey Sky.

Shade Beak with Neutral Grey. Using a liner, define the beak separation with Soft Black. If necessary, deepen shade areas with Soft Black. Highlight with Grey Sky & Titanium White. Using Oxblood, dry brush shade values along the breast area and on the wings & tail.

Highlight with Spiced Pumpkin. Strengthen highlight with Cadmium Orange & Bright Yellow. Using Soft Black, shade in areas on the head feathering into the breast and neck. Using Lamp Black, shade area around the eye (Be sure not to lose the small ring of Grey Sky) Also shade along the top of the beak. “Skizzle” in shade on the wing & tail feathers. Using Grey Sky highlight the head and wings. Final highlight on wings, beak and eye is done with Titanium White. With a liner brush, mix Burnt Umber and Lamp Black; starting at the leaf stem, stroke in the branches pull the strokes out under the bird. Highlight a few of the branches with Grey Sky With a liner brush stroke in feet with Neutral Grey. Shade with Lamp Black and highlight with True Ochre. Add more highlight with Grey Sky. Finishing: I attached the leaf to the scrapbook paper with a piece of double-sided tape and framed it in a 12’x12’ frame with a glass. Because the paper and leaf are displayed in a frame under glass, no additional finish (spray or brush on) is needed.

Line Art is at 100%

Original Design by Linda O’Connell TDA UniqueByDesign1@aol.com

Surface: o Three square bracket ornaments 31-L237 available at Cupboard Distributing https://www.cdwood.com/products/square-bracket-ornament?_pos=8&_sid=b78b71ecb&_ss=r

Supplies: o Usual Acrylic Tools o Stampendous cling stamp CRR221 Vintage Letter ( stampendous.com) o Dark Graphite o Fine Grit sandpaper o Palette Knife o Gold Wire # 11-72707 available at Cupboard Distributing Paint: DecoArt Americana Acrylics o Antique Maroon o Burnt Sienna o Hauser Light Green o Heritage Brick o Laguna o Lamp Black o Leaf Green o Light Lime o Marigold DecoArt Extreme Sheen o 24K Gold

o o o o o o o o

Melon Mermaid Tail Midnite Green Moon Yellow Plantation Pine Spiced Pumpkin Tomato Red Warm White

DecoArt Glamour Dust Paint o Crystal

Mediums: DecoArt o Media Matte Medium o Media Modeling Paste o Liquid Glass Brushes by FM Dynasty: o Black Gold #206 shader- #2,#6 o Black Gold Chisel Flat #14 o Black Gold #206 liner #20/0 o Faux Squirrel #1827 -#2 rigger o Series 400 – ½” mop o Series 361- ¾” wash o Medium Mezza Luna o Three Decorator series 200 dry-brushes Painting Instructions Using a ¾ wash brush, basecoat the ornaments Light Lime. After the initial basecoat dries , lightly sand. Slip Slap the surfaces Light Lime and Plantation Pine. Slip Slap Technique: Use the ¾” flat, pick up a generous amount of paint and apply in random areas of the surface in “x” motion. Pick up the next colour and repeat in random areas blending into the other colours. Wipe the brush often.

Stamping the Background: To use a stamp with paint, brush a bit of paint onto a piece of wax paper, the paint will not be thick. Place the stamp in the paint with a bit of pressure. Lightly tap on paper, this will remove any excess paint . Stamp on surface applying pressure. Repeat the loading process as needed. Using the Vintage Letter cling stamp and Lamp Black, stamp the background. Move the stamp in different directions using parts of the stamp. This will give you an interesting background. Allow to dry and brush the surface with Matte Medium. Matte Medium will protect your work . It will dry to a matte finish allowing you to continue to work. Transfer your patterns with dark graphite , omit the holly leaves for now. Let’s BasecoatWhen basecoating, apply thin coats using the largest flat brush for the area you are working on. After allowing the coats to dry, repeat. Flamingos: Basecoat them with two coats of Melon. Basecoat the top area of the beak and the eye Warm White. Basecoat the bottom of the beak Lamp Black. Basecoat the red hat and scarf Tomato Red. Basecoat the blue scarf Laguna. Basecoat the green scarf Leaf Green. Pix1 Linda’s Hint: I paint from the back of the design forward and I’m quite messy. That makes it easy to touch up the areas as you need to. Adding Modeling Paste: Using the back of a palette knife, pick up a little modeling paste, tap onto the hat rim, pompom of the Santa hat and the earmuff. You should leave little peaks in the texture. Allow to dry. Drying time will depend on how thick you put on the modeling paste. If you get modeling paste where you do not want it, use a damp shader to pull it off. Let’s Paint Flamingos Shade the flamingos Heritage Brick referring to the shading chart. Shade the front of the face, outside the eye, the back of the neck, above and below the scarves and under the Santa hat. This shading will bring dimension to your flamingos. To bring in the colours and a bit more dimension to the flamingos, drybrush using a sable brush. A sable brush will give you a softer look. Blend into the surrounding area so you do not create harsh lines. Lastly, use a new drybrush for each colour. Refer to both your chart and colour step picture. (Pix 2) How to Use a Sable Dry Brush: Use the brush dry, load paint and softly wipe excess paint off on your paper towel wiping, not scrubbing, on the side of the bristles. When you drybrush on your surface again, use the side of the brush and brush softly. You will get a beautiful well blended drybrush. 42

Pix 2

Pix 4

Pix 3

Pix 5

Drybrush Heritage Brick into the dark areas- the areas you shaded, into the center of the neck , widening the float outside the eye. (Pix 3) Drybrush Spiced Pumpkin into the front of the neck and the top of the head. Drybrush Warm White a bit above the eye, top of the head and into the center area of the neck. (Pix 4) Using the same brushes and the same technique, drybrush Spiced Pumpkin, then Tomato Red into the bottom of the white area of the beak. (Pix 5) Be random in your placement. Paint the eye area with Marigold. Do not paint around the pupil. Shade the bottom of the yellow area Burnt Sienna. Paint the pupil Black, the pupil touches the top of the eye. Line the bottom of the eye Black. Using a rigger paint in the beak line, the line is thicker at the bottom release pressure as you paint to thin out at the top. (Pix 5) Let’s paint the Red Hat and Scarf: Shade the areas Antique Maroon. Shade the separation between the muffle of the scarf and the tie, the right side of the tie, the left and bottom of the muffle. On the hat, shade the bottom of the hat above the rim, under the crease, on the hat where it enters the pompom, a bit on the left side, a bit on the right side creating the separation between the top and side of hat. Drybrush the center of each section of the hat and scarf Spiced Pumpkin tipped in Moon Yellow How to use the Mezza Luna brush: Use the brush dry, pick up paint and pinch in a paper towel to leave a bit of paint. Hold brush straight so you are using the tips of the bristles, apply a bit of pressure and pull paint into the section. Mezza Luna can be washed and pinched dry between colours. Float a bit of Spiced Pumpkin on the left side of the tie, under the creases on the hat, on the right side at the bottom of the hat. With a small stylus, add clusters of three small dots on the scarf using Antique Maroon; then add random dots of 24K gold in scarf. Let’s paint a Blue Scarf and Earmuff: Shade the scarf and earmuff Mermaid Tail. Shade the bottom of the earmuff, the top of the bottom tie to separate, the top and the bottom of the top tie, the left side of the top tie. (Pix 5) With Laguna tipped in Warm White, use the Mezza Luna to drybrush the center of the scarf. Highlight the top of the earmuff with a brush mix of Laguna and Warm White. With a liner and thinned Mermaid Tail, add swirls to the scarf. Dot the center of each swirl 24K Gold. Stroke the fringe on the scarf Mermaid Tail and while wet, stroke more fringe Laguna. When adding the top layer of fringe be loose, pretend the darker fringe is not there, it will be more natural that way. Shade the top of the fringe, where it comes from the scarf, Mermaid Tail. Flatten the rigger a bit and stroke the wire of the earmuff Lamp Black. While wet drag Warm White into the center.

Let’s paint a green scarf: Shade the scarf Midnite Green. Shade the separation between the muffle of the scarf and the tie, the left side of the tie, the right and bottom of the muffle. (Pix 5) Drybrush the center of the scarf sections Hauser Light Green. With a liner and thinned Tomato Red, plaid the scarf, stroke both horizontal and vertical. Add thinned lines of 24K gold between the red stripes. Let’s paint Holly and Berries: Transfer the pattern for your holly leaves. Basecoat the leaves two coats of Hauser Light Green. Shade the base of the leaves Plantation Pine. ( The base is closest to the berries) Using a small sable drybrush, drybrush the center of the leaves Moon Yellow. Float the center vein Plantation Pine. Highlight the tip of the leaves 24K Gold. Using your liner on the tips of the bristles and pulling from the leaves, stroke squiggles Midnite Green. Paint the berries Tomato Red. Shade the bottom of the berries Antique Maroon. Highlight the top of the berries Spiced Pumpkin. Add a black dot in the top right part of each berry. Let’s Finish Up: Erase any visible graphite lines. Apply Matte Medium to the surface and allow to dry. Paint the trim and Pompom Warm White. Shade the edge of the ornament inside the border Plantation Pine. Paint the trim Midnite Green. Paint over the trim with one coat of 24K gold. Brush the trim and Pompom with Glamour Dust paint and immediately sprinkle with Glamour Dust Extra Fine Glitter. Squeeze Liquid Glass over each berry. The liquid glass will go on white and dry clear, it will also self-level. The liquid glass will give dimension to the berries. Add gold wire and enjoy -

Designer Note I often wonder where my love for flamingos came from, maybe it’s just the beauty of them. I love bringing them to life on a surface and now our warm weather friends are helping us celebrate the Christmas season. I hope you enjoy bringing your flamingos to life. If you have any questions, please contact me at: UniqueByDesign1@aol.com Linda

Original design by Nancy Scott, CDA nscottcda@gmail.com

This lovely little tray with its woven border called out to me for a primitive design. It can easily be displayed upright in an easel and set out on a sofa or end table. You could also attach a small hanger to the back and display it in your powder room.

Surface 11” oval shorty wicker/birch tray available from Hofcraft. Item #WD7211 Project Supplies Usual Acrylic Tools Palette Paper Tracing Paper Transfer Paper Paper Towels Fine Grit Sandpaper Varnish of Choice. Paints: DecoArt Americana Acrylics Antique Green Antique Maroon Bittersweet Chocolate Canyon Orange Espresso Evergreen French Grey Blue Grey Storm

Lamp Black Midnite Green Moon Yellow Oxblood Oyster Beige Slate Grey Uniform Blue

Brushes - Royal & Langnickel Aqualon Series R2160 Angles sizes 1”, 1/2”, 1/4” R2150 Shaders sizes 6, 2 R2170 Filbert size 10 R2250 Round size 5 R2595 Liner size 2 Mops - RBOBBIE small and medium sizes Small scruffy or stencil brush for dry brushing Preparation Lightly sand painting surface and wipe with damp paper towel to remove dust. Trace pattern. Transfer lines for hills, foreground, house and barn (no details yet). Leave off trees, moon, pumpkins, and crow for now. Painting Instructions Basecoat as follows: Sky: Uniform Blue Farthest Back Hill: Antique Green Side Hills: Antique Green/Espresso (2:1) Foreground: Antique Green/Moon Yellow (2:1) House: Oyster Beige with Lamp Black roofs Barn: Oxblood (wood area) Grey Storm (stone area) Slate Grey (silo) 51

Sky Using the 1” angle, float French Grey Blue at the bottom of the sky, just above the hill, walking it up about a third of the way. Mop to soften. Let dry and repeat once or twice more. Now, transfer the moon. Paint it just one coat of Moon Yellow using the filbert brush. Take care to keep it nice and round. It Figure 1 will look splotchy with just one coat, but that’s what you want. Let dry. Now, using the 1/2” angle, float Moon Yellow along the right side, twice, drying between applications.(Fig.1) Barn Float shading of Antique Maroon under the roof line, along the right side next to the house and along the bottom above the stone area. Add board lines of Antique Maroon with the liner. The roof line is Lamp Black, as is the small door at the bottom within the stone area. The window is Grey Storm and detailed with Lamp Black.(Fig.2)

Figure 2

Dab in random stones, in the stone area, using various grays - Slate Grey, Grey Storm/Lamp Black (brush mixed), Slate Grey/Grey Storm (brush mixed). Float shading softly with Lamp Black at the base of the stone area and up against the house on the right side.

The Silo: The silo is first shaded with a float of Grey Storm on both sides and under the cap. Add lines of Grey Storm horizontally. In the shaded area, on the left side, line some Slate Grey over the Grey Storm horizontal lines to help them show up. The cap has a highlight floated along the right side with Slate Grey/Oyster Beige (1:1). Add curved detail lines with Grey Storm.

Figure 2a

House Float shading of Espresso under both roof lines, along the very bottom of the house, and down both sides. Add board lines using the liner and Espresso. The upper windows are Grey Storm. The lower windows are Moon Yellow. Float a glow in the lower windows, across the top, with Oxblood. (Fig. 2 a) All the shutters and the door are painted Oxblood. Float Antique Maroon on the left side of the door. Add line details with Lamp Black. Both roofs, which had been painted Lamp Black, get a little highlight floated/streaked in the middle with Slate Grey. Paint chimneys with Antique Maroon. Add a line of Oxblood across the top, for a cap. Float Oyster Beige smoke up into the sky. Transfer pattern for pine trees, bare branch trees, pumpkins and crow.

Pine trees Paint them in with Evergreen using the round brush. Stroke a darker green, using Midnite Green on the right sides. Add lighter strokes of Evergreen/Moon Yellow (1:1) mostly on the left sides.(Fig.4)

Figure 4

Bare branch trees Paint them in with Bittersweet Chocolate using the round brush. Stroke lighter brown streaks of Espresso along the inside edges. Pumpkins Base coat pumpkins with Canyon Orange with the filbert brush. Float shading with Oxblood to form the indentations in the pumpkins. When the shape has been established, float Oxblood across the top and bottom of each pumpkin. Float Oxblood to separate the pumpkins. Deepen shading with a narrower float of Antique Maroon in the triangular, recessed corners, top and bottom Drybrush a light value with Canyon Orange/Moon Yellow (1:1). Then, brighten that, with a lighter, smaller highlight of Moon Yellow.(Fig.5) The stems are painted with Espresso. Add darker value and texture with fine lines of Bittersweet Chocolate. Add light texture lines with a brush mix of Espresso/Oyster Beige (1:1). The crow is painted Lamp Black. Float a little wing and add a small round eye with Storm Grey.

Foreground With Espresso and the 1/2” angle, float/chisel in a curved path coming down from the door. Float and streak a little Moon Yellow across the top of the front hill, on either side of the path, to add a lighter value in the middle of the foreground. Using the 1” angle, float Antique Green down around the entire lower edge, right across the bottom of the pumpkins and up along the inside edges of the brown trees. With the 1/2” angle, float Antique Green above and between the tops of the pumpkins. With your liner, pull grasses with Antique Green and Midnite Green. Finishing Varnish as desired, following all manufacturer’s instructions.

Meet Rizzo, the coolest Thanksgiving turkey in the neighbourhood. From the tip of her glittery toenails to the top of her polka dot hat she oozes personality, not butter. Surface: Shutter Panel 7 ½” x 18” #31-L633 available from Cupboard Distributing www.cdwood.com Supplies Stencil: Autumn Subway Words #09-19199. Www.cdstencils.com Stencil: Checks Sampler BCS242, The Creative Coach, available from www.lauriespeltz.com White Transfer Paper White Chalk Pencil Ball Stylus Paints: DecoArt Americana Acrylics Antique White Asphaltum Black Plum Bleached Sand Blue Mist Burnt Sienna Canyon Orange Coral Blush Fawn Hauser Medium Green Heritage Brick

Lamp Black Light Buttermilk Light Sage Moon Yellow Plantation Pine Raw Sienna Snow (Titanium) White Thicket Warm White Wasabi Green Yellow Ochre

Mediums: DecoArt Metallic Lustre, Gold Rush Galaxy Glitter, Clear Ice Comet Chalky Finish, Timeless All Purpose Sealer Brushes: Dynasty Black Gold ¼” and ½” Angular Shaders Series 206A ¼” ½” Flat 206FW #12 Flat 206S 10/0 Liner 2” Palmer White Bristle FSAFIL Series #37036 Assorted Dry Brushes, Mop Brushes and Scumblers Brushes: Chris Haughey Radical Round #927 #5 1/8” Angle, Series 925 18/0 Script Liner Preparation: Do Not Sand MDF. Based on the surface you’re using, if necessary, sand surface until smooth. Apply Multi Purpose Sealer and lightly sand again to knock down any raised grain. 59

Painting Instructions: Debbie’s Antiquing Technique: To antique, dampen an old cloth with water and a little Asphaltum. Lightly rub onto surface. Wipe off excess with an old, dry rag. The longer you leave it on the surface the darker the finish. Background: Basecoat Chalky Finish, Timeless. Antique lightly with Asphaltum, leaving darker around the edges. Checkerboard Border: Stencil the checkerboard pattern along the top and bottom of the surface with Metallic Lustre, Gold Rush. Reposition the stencil on top and shade using Raw Sienna (I like to stencil irregularity to give it a rustic look). Reposition the stencil again and without cleaning the stencil brush, dab on some Heritage Brick. Trace on the pattern. Shade around the pattern outlines with Raw Sienna. Pumpkins: Basecoat True Ochre. Drybrush highlights Moon Yellow. Shade Raw Sienna around the pumpkin edges and in the creases. Float around the other side of the shaded creases Moon Yellow to help shape. Deepen the shading with Burnt Sienna. Float shade here and there using Heritage Brick. Drybrush again here and there with Moon Yellow. Wash the leaves with Hauser Medium Green. Float Heritage Brick accents and highlight with a drybrush of Moon Yellow. Very lightly dot Moon Yellow. Line the vines and veins with Plantation Pine. Basecoat the stem on the right pumpkin Asphaltum. Rizzo: Basecoat her face, neck, arms, lets and feet with Light Buttermilk. Trace on the details. Shade Antique White under the cap, around the eyes, above the cheeks, between the cheeks and the beak, under the beak, along the left side of the neck, arms, and legs, around the toes and where the left and right foot touch. Highlight Warm White around the cheeks, the right side of the neck, arms, legs and around the bottom of the right foot. Deepen the shading softly with True Ochre. Drybrush Warm White along her forehead, between her eyes, down her arms, legs and in the middle of her toes and right ankle. Add some Fawn shading here and there. Drybrush here and there softly with Yellow Ochre. 60

Face: Basecoat the beak with Yellow Ochre. Shade around the edges walking inwards with True Ochre. Highlight a float line around the beak. Drybrush in the middle of the beak with Moon Yellow. Add another drybrush with Warm White. Cheeks: Drybrush the cheeks and each side of the beak with Coral Blush. Drybrush again Here and there with Heritage Brick. Facial Details: Basecoat the eyes with Lamp Black. Float a line with Warm White. Dot with Snow (Titanium) White. Line the eyelashes and eyebrows with Lamp Black. Basecoat the snood with Heritage Brick. After the cap is completed, line the hair Lamp Black. Legs & Feet: Line the stripes on the legs with Burnt Sienna. Basecoat the toenails with Snow (Titanium) White. Shade with Antique White. Wings: (Picture on following page) Basecoat with Bleached Sand. Shade along the base where the wings touch her arms and down the ends and bottoms with Antique White. Drybrush Warm White. Deepen the shading with Fawn. Line the squiggly lines, starting from the top of each feather, with Moon Yellow, Yellow Ochre, True Ochre, Raw Sienna, Burnt Sienna and Heritage Brick. Cap: Basecoat with Heritage Brick. Shade Black Plum along the top of the cap, top of the creases, around the knots where they touch the cap, at the base of the ends where they touch the knots, between the tied ends and around the tied ends. Highlight Canyon Orange along the bottom of the cap, along the bottom of the creases, around the ends and sides of the knots, along the top/sides of the tied ends. Drybrush a little Canyon Orange here and there and in the middle of the tied ends. Line the stitching and dot the polka dots with Snow White. Line the creases Lamp Black. Now you can line the hair. T-Shirt: (Picture on following page) Basecoat with Heritage Brick. Shade the left side with Black Plum. Dot with Snow White. Coveralls: (Picture on following page) Basecoat with Blue Mist. Trace on the details. Shade Thicket (walking the color inwards) down the outside edge of the straps, under the top band and the straps, down the sides, around the pockets, down the middle of the coveralls, inside seam and above the bottom bands. Highlight Warm White down the inner edge and bottom of the straps, along the top of the band and around the inside edges of the pockets. Drybrush Bleached Sand down the straps and here and there in the coveralls. Drybrush again with a little Warm White. Line the creases with Thicket. Line the stitching with Bleached Sand. 61

Cuffs: Basecoat with Bleached Sand. Shade along the top with Antique White. Highlight Snow White along the bottom. Deepen the shading with Fawn. Line the stripes with Heritage Brick. Line the bows with Lamp Black. Leg Bow: Basecoat with Heritage Brick. Shade Black Plum where the bow touches the knot, the right side of the knot and around the outer edges of the bow. Highlight Canyon Orange around the top, left side and bottom of the knot and the top of both sides of the bow. Drybrush Canyon Orange here there on the bow and knot. Line the creases with Canyon Orange. Dot Snow White. Line the ribbon Heritage Brick. Crow: Basecoat with Lamp Black. Highlight Warm White on the bottom of the tail feathers, along the top and bottom of the body and head and above the wing to shape. Basecoat the beak with Canyon Orange. Dot the eye Snow White. Sunflower: Basecoat the middle with Raw Sienna. Shade around the edges with Asphaltum. Drybrush in the middle with Moon Yellow. Deepen the shading with Lamp Black. Drybrush again very softly with Warm White. Basecoat the petals with Moon Yellow. Shade Raw Sienna in between and at the base of the petals. Highlight Light Buttermilk along one side of each of the petals and on the tip (walking the color down).

Deepen the shading with Burnt Sienna. Brighten the highlight with Snow White. Drybrush in the middle of the petals with Moon Yellow and again with a little bit of Snow White. Dot the middle and the base of the petals with Lamp Black, Asphaltum and Snow White. Basecoat the leg band with Wasabi Green. Shade with Hauser Medium Green. Highlight with Light Sage. Drybrush with Moon Yellow. Finishing Touches Brush a little Galaxy Glitter, Clear Ice Comet to the toenails. Splatter the surface with Burnt Sienna. Taking the Autumn Subway Words stencil and Burnt Sienna stencil randomly onto the surface. Lightly spray several coats of All-Purpose Sealer following manufacturers instructions.

Apple Cinnamon Tea Towel Original Design by Sunny Tonini sunny@artisanarie.com

Living in New England, the cool, crisp days; stunning foliage and comforting flavors make fall one of my favorite seasons – the other is Spring. Fall is when apples are more flavorful, and pairing them with cinnamon is a winning combination. I always look forward to baking a few apple pies to really make my home smell like fall. I hope my Apple Cinnamon Tea Towel brings some of these warm, delicious flavors to your kitchen as well.

Surface: x Aunt Martha’s Retro Stripe Towel (Black) 100% Cotton 18” x 28” – available at JoAnn.com, Walmart, Amazon. You may also adapt this design to other surfaces of your choice. Project Supplies: x Standard Acrylic Painting Tools x Transfer or Graphite Paper x Ball Stylus x Fabric Pen (Disappearing/Washable Ink) Paints: DecoArt SoSoft Fabric Paints x Antique Gold x Bittersweet Orange x Bright Avocado x Bright Yellow x Brown x Buttermilk x Cadmium Yellow x Golden Brown

x x x

9” x 12” White Foam Core Board Repositionable Spray Adhesive Masking Tape

x x x x x x x

Lamp Black Olive Green Primary Blue Red Pepper Santa Red White Transparent Medium

Brushes: Royal & Langnickel: Soft Grip Short Shader SG155 #4; Stencil Brush 1113 – 1/4” Princeton: Select Artiste Chisel Blender #2 Silver (Art Sherpa): Round 4100S #1 Preparation: Before painting on any fabric item, prewash it in cold water with laundry detergent only – this removes all starch, sizing, marks or spots from the fabric. This will also pre-shrink the fabric, so plan accordingly taking this into account if cutting fabric for your project. Do not use any fabric softener or dryer sheets. Dry the fabric completely and iron it smooth to get an even surface. Following the manufacturer’s instructions, spray the board evenly with the repositionable adhesive, and let it dry/rest for about 5 minutes. Find the towel’s center and mark it with the fabric pen. Position your fabric on the board, centering the area to be painted, and smooth it out with your hands. This helps keep the fabric taut and in place while you paint. Remove the fabric pen’s mark. Fold any remaining fabric around the board and tape it to the back with masking tape. Transfer the design onto tracing paper. Position it on the fabric and secure the edges with masking tape. Carefully place the transfer/graphite paper underneath the design and trace it with a stylus. Try not to move the transfer paper around too much to avoid smudges on the fabric. You are now ready to paint!

Painting Instructions: Sunny’s Wet on Wet Technique: My wet on wet technique consists of base coating, shading and sometimes highlighting an area or element while the paint is still wet. First you put down the base coat, then immediately start adding layers of shading colors and blending them in by lightly scrubbing the fabric with the brush upright. There is an “open time” while the paint is wet that you can work on the colors until you get the desired effect. After the paint is dry to the touch, you can still shade and highlight, but then it becomes a dry rubbing technique, where you work with much smaller amounts of paint in the brush to avoid lifting up the previous color layers. I mostly use wet on wet as the main technique, and dry brushing as a touch up or to add finishing touches and highlights that I want to stand out, since these don’t get absorbed by the fabric as much as the base layers. Note: These steps are done using a wet on wet technique. Painting Tips: x If you don’t have the brushes used here, use any brush that is firm and can withstand rubbing onto the fabric. x Whenever you rinse your brush, make sure you dry it well to remove excess water! x Always load the brush with small amounts of paint (just enough to cover and fill the fabric’s fibers) and build up layer by layer. Too much paint can saturate the fabric. x It’s best to work in sections so the paint doesn’t dry while you work. Table Surface: Using the 1/4” Stencil Brush, apply a layer of Transparent Medium following along the bottom of the entire design underneath the elements, extending it out about ½” to the sides and about 1” below. I used masking tape to limit the area I want to paint. In doing this step, you’re basically moistening the fabric with the medium to create a softer, lighter effect when applying the first layer of paint. Use small amounts of medium and work it well into the fabric – you can use a smaller brush to get into the corners. Using the same brush, apply a mix of Golden Brown + Buttermilk (1:1) right up against the bottom of the design and work extending the paint downwards but still within the area with Transparent Medium underneath. Start with the paint as close as possible to the design, so that area receives more paint and it’s a bit darker, and as you work the paint away from the design, it fades away and gets lighter. Use the #4 Short Shader to get into the corners.

Using the #4 Short Shader, apply a small amount of Brown to shade the area right below the design, and blend it down about halfway into the previous layer. You want to keep the darker areas close to the design without walking it out too much. With the same brush, intensify the dark areas underneath the elements with a mixture of Brown + a tiny bit of Lamp Black (about 4:1), but only blend it out very slightly. Load the #2 chisel blender with a small amount of Brown and apply some detailing to the area to give it a wood grain look. I added a few random lines and also created some knots by making a couple of irregular wide C shapes. With the same brush apply light touches of Buttermilk here and there to highlight some areas, without blending. When you’re done, remove the masking tape.

Bowl: Mix a moderate amount of Buttermilk + White (1:1) to use in this step. Using the #4 short shader, apply White to the highlight area (a bit off-center to the right) and basecoat the rest of the bowl with the Color Mix. Work in small sections, as shown in the pictures, so that you have a chance to blend the colors while they’re still wet. Shade the section underneath the bowl’s rim (and also the bowl’s outer edges) using the same brush and a mix of Buttermilk + Brown (2:1), blending well. Use the same color mix and the #2 chisel blender to shade underneath the next section, without blending the color out, just to create some depth.

Load the chisel blender with a small amount of Brown and lightly tap the color into the creases to increase the shade. With a clean #4 short shader, apply a bit more White to the highlight area. Paint the rest of the bowl following the same steps, being careful to skip the blue striped areas.

Blue Stripes: Mix a small amount of Primary Blue + a tiny bit of Lamp Black (about 6:1 – you’re looking to get a dark Navy Blue) to use in this step. With the #4 short shader, apply Primary Blue to the highlight area (a bit off-center to the right), and fill in the rest of the stripe with the color mix, blending well but preserving the lighter area. Shade the stripe’s outer edge with a bit of Lamp Black. Rinse and dry the brush well (or use another clean brush), apply a small amount of White on the highlight area (over 69

the Primary Blue) and blend well to the sides. You may need to repeat this step as the color gets absorbed by the fabric, until you get a “shine” effect. With the #2 chisel blender, paint the inside of the bowl with Golden Brown, shade with Brown, then a bit of Lamp Black. Highlight the upper edge with Buttermilk. Rinse the brush well and apply White all around the bowl’s rim.

Cinnamon Sticks: Using the #4 short shader, basecoat the cinnamon sticks with Golden Brown and Bittersweet Orange, alternating the colors as you apply them. Shade using the same brush and Brown, then deepen the shade with a mix of Brown + Lamp Black (3:1). Use the same color mix and the #2 chisel blender to fill in the stick’s opening. Use the brush’s chisel edge and a bit of Brown to add a few irregular lines to the sticks for texture. Clean the brush well and lightly highlight with Buttermilk. Make sure the paint is dry before this next step. Lightly mix some Golden Brown with Buttermilk and loosen up the paint with a tiny bit of water. Using the #1 round, paint the stick’s curled edges.

Twine: Using the #2 chisel blender or the #1 liner, basecoat the twine with White and shade between the two strings with Brown. Let dry partially and with the #1 liner, paint some stripes with Red Pepper. As the paint dries, you may want to go back with the Red Pepper to intensify the color.

Apples: Using the stencil brush, apply Transparent Medium to the apple (work on one apple at a time). This will help keep the area moist for longer and also allows the paint to run better on the fabric. 70

With the same brush, basecoat the apple while the medium is still wet with Cadmium Yellow (where you want your lighter values), Bright Yellow, and Antique Gold (where you want your darker values), alternating the colors as you apply them and blending well. With the #4 short shader, apply Bright Avocado to the cavity around the stem. Using the #4 short shader and Red Pepper, apply and brush the paint from the apple’s outer edges, bringing it in towards the center, always making sure to follow the apple’s curvature. Use small amounts of paint without completely covering base, leaving some yellow streaks here and there peeking through. With the same brush, deepen the color in some areas with Santa Red, and then increase the shades with a bit of Santa Red + Olive Green (1:1).

Use the #2 chisel blender to apply a small amount of Brown + Lamp Black (3:1) in the area right around the stem, creating a deeper shade. Apply a few random spots to the apple’s skin with the #1 round and Antique Gold. Before this next step, make sure that the apple is dry to the touch (about 10 minutes). Corner load a clean #4 short shader with a small amount of White, remove the excess on a paper towel, and start applying a shiny spot to the apple, following its shape. Use very small amounts of paint first to define the spot’s size and shape, then build up the shine mostly at the highlight’s center. Repeat as needed.

Water Drops: Make sure that the apple is dry before this step too. Corner load the #2 chisel blender with a small amount of Santa Red, and make a small inverted half-moon or “C” shape facing down, blending the color inside the “C” downwards. Make another half-moon in the opposite direction (facing the first one), only this time blend the color away from the “C” shape, also downwards. The two half-moons do not have to touch. Increase the shade in the lower half-moon with a tiny bit of Santa Red mixed with Olive Green (1:1). Rinse and dry the brush well, then corner load a tiny bit of White and apply the paint inside the bottom “C”, lightly blending upwards without walking the paint too much. With a round brush, add a tiny drop of White to the upper “C” shaded area. Leaves: Using the #4 short shader, basecoat the leaf where you want your lighter values with Bright Avocado and fill in the rest with Olive Green. Mix a small amount of Olive Green + Lamp Black (4:1) and use this color to shade the dark areas. Follow the leaf’s shape to create form and the center vein. Load a small amount of Cadmium Yellow on the same brush and with short movements following the leaf’s shape, pull some highlights from the top edge in, and from the center vein out, being careful not to get too close to the dark areas. Stems: Using the #2 chisel blender, basecoat the stems with Brown, shade with a tiny bit of Lamp Black and highlight with White.

Details and Finishing Touches: Before adding the finishing touches, make sure the paint is dry to the touch. Apply small amounts of paint using the corner of the brush.

As the paint dries and is absorbed by the fabric, you may see areas that need additional shading or highlighting. Feel free to touch it up. Your painting is ready! Remove the cardboard and let it dry for 72 hours. Washing Instructions: After 72 hours, you can wash your towel in the washer with warm water and regular detergent, along with other light items, just don’t add bleach. Put it in the dryer, and after it comes out you can iron it – on the back – with a regular cotton setting to remove wrinkles. I would love to share my other hand painted designs with you! Please visit my Etsy shop at https://www.etsy.com/shop/Artisanarie Bonus line Drawing 5.25” x 4.0”

Original Design by Sandy McTier Fall flowers are some of my favorite things about the Autumn season!! Rich reds, golden yellows, bright oranges, rusty browns and more!! Those colors and this rustic frame with wood bark edges totally inspired this project!

Surface: h Bark Edge Frame – #41391 (available at walnuthollow.com) Approx. 11”x 13” – opening 5”x 7” Supplies: h Laser Cut Word, Gather, www.SandyMcTierDesigns.com h Water Basin h Paper Towels h Transfer Paper h Palette h Sanding Pad h Heat Tool/Hair dryer h E6000 Glue Paints: DecoArt Americana Acrylics h Asphaltum (DA180) h Alizarin Crimson (DA179) h Santa Red (DA170) h Antique Gold (DA09) h Bright Yellow (DA227) h Saffron Yellow (DA273) h Snow Titanium White (DA01) h Plantation Pine (DA113) h Citron Green (DA235) h Jack-O’-Lantern Orange (DA229) h Tangerine (DA012) DecoArt Media Fluid Acrylics: h Payne’s Grey DMFA20 (You can substitute DecoArt Americana Soft Black) DecoArt Vintage Effects h Turquoise (DCW12) Mediums: DecoArt h Soft Touch Varnish DMM26 h Multi-Purpose Sealer

(DS17)

Dynasty Brushes: (available at www.theBrushGuys.com) h 3/4” Flat Wash 206FW h #12 Shader 206S h #8 Shader 206S h 3/8” Angle 206A h Liner brush of choice 206L h Small Mezzaluna Surface Prep: Paint frame with Multi-Purpose Sealer using the 3/4" Flat Wash and let dry. Background: Load the 3/4" with Asphaltum and paint the frame (I also painted the wooden frame insert). When completely dry, load the 3/4" with Vintage Effects Turquoise and paint the frame and the insert. Take a soft paper towel and, from the top of the frame to the bottom, wipe back the color. 77

This will give you an aged effect. Let completely dry. From the top of the frame to the bottom, sand here and there to expose more of the Asphaltum color.

Painting Instructions: Transfer the pattern. Load the #8 with Titanium White and undercoat all of the flowers, stems and leaves. Let dry. Using the #8, basecoat as follows: Sunflowers - Antique Gold Gerber daisies - Alizarin Crimson, Pumpkin - Jack-O’-Lantern Orange Leaves - with a mixture of Plantation Pine and Payne’s Grey.

Pumpkin: Load the toe on the 3/8” Angle with Jack-O’-Lantern Orange, adding some Asphaltum to the toe; blend on palette. Shade the sections of the pumpkins. Reload the brush with Asphaltum and paint the stem. Load the #8 with Tangerine and a touch of Titanium White; mix on palette. Swipe across a paper towel and dry brush color from the top of the pumpkin down each section in the front of the pumpkin and then lightly on the back sections.

Load the small Mezzaluna with Tangerine and Titanium White; mix on palette. Wipe almost all of the paint off on a paper towel and then dry brush the color on the front sections; reloading and wiping brush off as needed. Lightly dry brush some color on the back sections of the pumpkin. Load the small Mezzaluna with Bright Yellow and Titanium White; mix on palette. Wipe almost all of the paint off on a paper towel and then dry brush the color on the front sections that have the brightest highlights.

If you feel like any of the highlights are too bright, simply paint a wash of Tangerine over the sections. Load the small Mezzaluna with Asphaltum and Titanium White and wipe almost all of the paint off on a paper towel. Dry brush down the stem as shown. Dry brush just below the top of the stem to create a darker top, which will give you dimension. Load the liner brush with Plantation Pine and paint the curlicue on the pumpkin. Reload the brush with Plantation Pine, a touch of Bright Yellow and Titanium White; mix on palette. Highlight the curlicue. Add more Titanium White to the brush and add a brighter highlight here and there. Load the liner brush with the same Asphaltum and Titanium White mixture and lightly outline the front part of the stem. Gerber Daisies: Load the #8 with Alizarin Crimson and Santa Red and repaint the petals. Wipe the brush off, load with Asphaltum and Payne’s Grey and tap in the flower centers. Wash the brush and dry off. Load with Santa Red and a touch of Bright Yellow and Titanium White; mix on palette. Starting on the tip of the petals, on the corner of the brush, pull and lift as you’re pulling the brush to let the paint feather as you lift the brush. Do this for all of the petals. If you get them too light, simply paint a wash of Santa Red over them. Load the toe on the Angle brush with Alizarin Crimson and Paynes Grey. Shade underneath the petals, at the base of each of the petals

. Load the small Mezzaluna with Tangerine and a touch of Titanium White; mix on palette. Wipe almost all of the paint off on a paper towel and then dry brush on the lower petals and then, without reloading, the back petals. Reload and wipe off brush as needed. Load the small Mezzaluna with Bright Yellow and Titanium White; mix on palette. Wipe almost all of the paint off on a paper towel and then dry brush on the front petals. Load the small Mezzaluna with Alizarin Crimson and Santa Red and tap small red petals around the center.

Load the liner brush with Santa Red, Bright Yellow and Titanium White; slightly mix on palette. Paint random dots around the center. Add a touch more Titanium to the mix and tap on some brighter dots. Load the small Mezzaluna with Citron Green and Titanium White; mix on palette. Wipe almost all of the paint off on a paper towel and then dry brush on the center. Load the toe on the 3/8” Angle with Asphaltum and a touch of Paynes Grey and blend on the toe. Paint the “u” shape in the center and then soften the top of the “u” with the clean heel of the brush to softly blend.

Reload the small Mezzaluna with Plantation Pine, Bright Yellow and Titanium White; mix on palette. Wipe almost all of the paint off on a paper towel and then dry brush color on the highlighted part of the center. Load the liner brush with the same mixture and paint dots in the center. Load the liner brush with Santa Red and Titanium White; mix on palette. Loosely outline one side of the petals to give them a little definition. Sunflowers: Load the #8 with Saffron Yellow and a touch of Titanium White; mix on palette. From the tip of the petal, pull and lift as you near the base of the petal. Do this for all of the petals.

Wipe off the brush, load with Bright Yellow and Titanium White, repeat with the lighter color on the petals. We’re not completely painting in each petal, just swiping the color on from the tip of the petal down, lifting as we’re pulling to add the color. Load the toe on the 3/8” Angle with Ashpaltum on the toe and shade at the base of the petals and where petals meet. Slide on the chisel edge of the brush to add some lines to each of the petals. Load the toe on the 3/8” Angle with Jack-O’-Lantern Orange and a touch of Asphaltum, blend on palette. Float the color at the base of the back petals. Using the chisel edge of the brush, bring some of the lines up on the petals.

Load the liner brush with Saffron Yellow, Bright Yellow and Titanium White and loosely outline one side of the petals. Load the #8 with Asphaltum and tap in the center; let dry. Load the small Mezzaluna with Asphaltum and Titanium White; mix on palette. Wipe almost all of the paint off on a paper towel. Dry brush on the center. Load the toe on the 3/8” Angle with Asphaltum and a touch of Payne’s Grey, blend on palette. Paint a small “u” shape in the center and shade where the base of the center meets the petals. Load the liner brush with Saffron Yellow and Titanium White; mix on palette. Randomly dot on the flower center. Reload the brush with Titanium White and add some dots on the highlighted side of the flower center.

Stems & Leaves: I like painting the stems and leaves wet on wet so that the highlights blend slightly with the dark base color. Stems Load the brush with Plantation Pine and Paynes Grey and repaint the stems. Wipe the brush off, load with Plantation Pine, Citron Green and a touch of Titanium White; mix on palette. Swipe the brush across the paper towel and then swipe the brush down the stems on the highlighted side of the stem. Repeat for all of the stems. Let dry. Load the small Mezzaluna with Citron Green, Bright Yellow and Titanium White. Mix and then wipe almost all of the paint off on a paper towel. Dry brush a brighter section down each of the stems. If you cover too much of the dark color, simply float some Paynes Grey down the darkest side of the stem. Leaves Load the #12 or #8 with Plantation Pine and Paynes Grey and paint a leaf. Remember to work on one leaf at a time. Wipe off the brush. Load with Plantation Pine, Citron Green and Titanium White. Swipe across a paper towel to get rid of quite a bit of paint. Slide on the chisel edge of the brush down the center of the leaf for the vein. Starting on the chisel edge of the brush at the tip of the leaf, swipe the brush toward the base of the leaf and toward the center. Repeat down one side of the leaf without coming all the way into the center of the leaf. Reload the brush and repeat down the other side of the leaf. Load the small Mezzaluna with Plantation Pine, Bright Yellow and Titanium White; mix on palette. Wipe almost all of the paint off on a paper towel and then dry brush brighter highlight on the sections previously pulled on the leaf. Repeat for the other side. Reload the brush with Bright Yellow and Titanium White; mix on palette. Wipe off the majority of the paint on a paper towel and then add a brighter highlight on the brightest side of the leaf. Repeat for all of the leaves. Load a damp #8 with Vintage Effects Turquoise and swipe across a paper towel to get rid of excess paint. Pull just a few strokes on each of the leaves. Shading: Load the toe on a damp 3/8” Angle with Paynes Grey and shade underneath the leaves, where the leaves meet the stems to separate stems, in between petals if needed and on the right side of the pumpkin. There are some drop shadows on the leaves which are done the same way… the paint is just a bit more inky. It they are too dark, simply lay a paper towel down and slightly press to lift some of the paint. Load the 3/4" with Ashaphtum and tap the flat of the brush on the word “gather”. Add a touch of Titanium White to the brush and mix; repeat step.

Load a very wet #12 with Titaniuim White and tap the handle over the handle of another brush to add some splatter. Lay a paper towel down immediately to lift most of the color. I wanted the splatter to be very subtle. Glue the word to the frame using E6000 glue. Load the 3/4" with Soft Touch Varnish and paint the entire frame. Pop in your favorite picture in and enjoy!

Bottom Left side

Sandy McTier Sandy lives in Georgia with her husband of 30 years. They have three sons, ages 24, 25 and 26. Sandy started Sandy McTier Designs in 2011 and loves painting everything from miniatures to mixed media to fine art to whimsical. She travel teaches around the world and absolutely loves sharing her passion for painting and creating with others. Sandy is a published artist, a DecoArt Helping Artist/Ambassador and Dynasty Specialist. Sandy also works closely with DecoArt as a Creative Consultant focusing on Education, Product Development and Product Testing. You can learn more about Sandy at www.sandymctierdesigns.com; see more of her art on her FB page Sandy McTier Designs; and find her on Twitter, Pinterest and Instagram under Sandy McTier

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Upper Left Side

I love the rich colors of fall as well as the wonderful flavors that come with it. To enjoy this special season, create these fruit cones to place on a fall tree, hang by themselves or arrange them in a harvest basket.

Original Design by Jane Allen alandjanie@msn.com https://www.janeallencreates.com/

To help with sculpting this design, I have included links to a number of short videos. You can watch a video, do the step and then move onto the next step. You will find the videos here: https://janeallencreates.blog/fall-fruit-cones/ Supplies x 2 tube, 2-ounce QuikWood (www.cdwood.com) x Dowel, 1/8” diameter, cut to 1 ½ ” x 3 Dowels, 3/16” diameter, cut to 6” x 3 Paper Mache cones 4” x 2” x Cinnamon Stick - 1 1/2" x 2 Styrofoam balls 2 1/2” x 1 Styrofoam ball 1” x 1 Styrofoam ball 3” x 3 Styrofoam balls 1 1/2” x 22-gauge brass wire Additional Project Supplies x Parchment Paper x Avon Silicon Glove Hand Cream x Super Glue Gel x Basic Painting Supplies x Black Magic Marker x Kraft crinkled paper Paints: DecoArt Americana Acrylics x Blue Harbor x Bright Salmon x Burnt Sienna x Cadmium Yellow x County Red x Deep Burgundy x Espresso x Foliage Green x Grape Juice x Hauser Medium Green Mediums: DecoArt x Adhesion Medium x Extender x Spray Sealer/ Finisher Matte

Hand Clay Cutters

Tools: x Hand clay cutters (www.janeallencreates.com x Cutting blade or old knife x Exacto knife x Sculpting tools or pencil x x x x x x x x x

Marigold Oyster Beige Plantation Pine Raw Sienna Spiced Pumpkin Tangerine Teal Mint True Ochre Warm White

Brushes: Loew Cornell x #3 Round (Series 7000) x #4 shader (Series 7300) x #2/0 Liner (Series 7350), x #1/2" Angular Shader (Series 7400) x 3/8” Crescent Dry brush (Series 247)

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. 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 paint with Adhesion Medium (1:1) and apply to QW areas of project. (I usually use Oyster Beige because it is a shade lighter than the QW) with Adhesion Pumpkin – Getting Started (video) Using magic marker draw line on 3” Styrofoam ball to divide in half. Then divide each section in half again. Divide each of those sections in half. You should now have 8 equal sections. Using sculpting tool that looks like a knife, starting at top and going to bottom, cut each section about 1/8” deep. Then start at top and insert tool in indent, press to the right and flatten and then to the left and flatten Styrofoam. Continue to bottom. Repeat for each section. For the stem of the pumpkin cut a cinnamon stick to about 1 ½” long. You could also use a dowel, nail, golf tee etc. Insert in top of pumpkin about ½” and remove. Insert 6” dowel into bottom of pumpkin about ½” deep and remove. Mix 1 ½ ” of QW and divide into 4. Roll one piece into a coil about 2” long, then roll each end into a point. Your coil should now be about 3 ½ ” long. Lay on center of one section. Flatten clay using hand and press edges into indent and allow more clay to remain in the center of each section. Repeat for other pieces of clay. If needed use tool in indent to give it more definition. Mix another 1 ½ ” of QW and divide in 4. Repeat for remaining sections. Reshape any areas if needed. Insert stem and dowel in bottom and then remove. Allow to cure. Pumpkin - Inserting dowel (video) Mix 1/8” of QW and roll into a coil about 1 ½ “long. Insert dowel into bottom of pumpkin and wrap coil around dowel. Blend onto bottom of pumpkin using extender and also blend onto dowel. Allow to cure making sure dowel is straight. Pear – Part 1 (video) Insert 1½” long 1/8” diameter dowel into 2 ½” Styrofoam ball having about ½” showing. Add 1” ball to top. Mix 1/8” of QW and roll into a coil about 2 ½” long. Wrap between the two balls. Pull and press blending QW to both balls. Allow to cure. 89

Pear - part 2 (video) To place indent into top of pear press point of pencil or tool into top and then roll in a circle to open top. Mix ¼” of QW and roll into a coil about 3” long and wrap around neck of pear (overtop previous QW). Begin blending up and down to give a nice shape to the neck of the pear using extender if needed. Allow to cure. Apple – Part 1 (video) Using 2 ½” Styrofoam ball, press 6” dowel ½” into bottom of ball. Mix 1/8” of QW and roll into a 1 ½” coil. Wrap around dowel next to ball. Begin pressing and blending to ball and also dowel using extender if needed. Allow to cure keeping dowel straight. Apple – Part 2 (video) Press indent into top of apple (like you did the pear), using pencil or tool. Press and roll in a circle to open top of pear. Press out on edges a little more with fingers. Mix a little QW at a time, then pull off small piece and flatten between fingers and lay on Styrofoam. Begin pressing very thin and blending to cover. Put clay around top opening. Continue until the entire apple is covered. Cones (Video) Cut ¼” off of tip of cone and insert dowel of fruit into cone. You want the dowel to fit snug. Trim off a little at a time until they fit snug. Mix ½” of QW to decorate the cones. For the pumpkin cone, pull off small balls just a little larger than a ¼” and place randomly on cone. Using pencil or tool, press hole into center of each ball. For the other two cones pull off small balls about ¼” and place randomly on cone. If you need more QW mix up a small amount at a time. Allow to cure. Stems and Leaves for Pear, Pumpkin, and Apple (video) Mix up ¼” of QW and press and pinch between fingers to make thin pancake. Lay on parchment paper. Use medium hand size hand cutter to make pumpkin leaf. Remove and reroll excess clay and divide in two. Lay parchment paper over pattern for apple and pear leaves and roll clay into double pointed cone about 1 ½ “long. Lay clay on pattern and begin pressing and patting to fill in space. Repeat with second leaf having them lay beside each other. Using 80z. bottle pick up parchment with leaves and wrap around bottle using rubber band to hold in place. Allow to cure. For pumpkin, pinch back of hand to form point. Allow to sit 5 – 10 minutes.

While waiting for leaves to cure, mix up 1/8” of QW for stems and divide in two. Roll each piece into a long cone until it is about 1 ¾”. Press and flatten top and place slight bend in stem. Allow to sit 5 – 10 minutes and then come back and reshape right before clay begins to cure. Now that pumpkin leaf has been sitting about 10 minutes, pick up and shape points of leaf up and down as desired. Cut three pieces of wire about 3” long for stems. Press wire to back of pumpkin leaf to shape. Mix sliver of QW and divide into three. Lay wire on leaf and ball of clay over it. Blend clay into place using extender if needed. Reshape stems if needed keeping tops fatter and flat on top. Stems should get smaller and have a slight bend in them. Allow to cure. When pear and apple leaves are cured, lay wire on back of leaf and ball on top and blend into place like you did for pumpkin leaf. Allow to cure. Pears – Part 3 Decide how you want pear to sit in the cone (straight up and down or on an angle). Insert dowel ½” in bottom of pear. Mix 1/8” of QW and roll into a 1 ½” coil. Wrap around dowel next to bottom of pear. Begin pressing and blending to bottom of pear and also dowel using extender if needed. Allow to cure keeping dowel straight. Mix a little QW at a time, then pull off small piece and flatten between fingers and lay on Styrofoam. Begin pressing very thin and blending to cover. Put clay around top opening, but not down in. Continue until the entire pear is covered like you did the apple. Finishing Fruit (video) Mix 1/8” of QW in order to put the leaves and stems in place. For the pumpkin pull off a small ball of clay and roll into a coil and lay on opening of stem. Blend edges into pumpkin and then insert cinnamon stick in center. Trim wire on leaf and insert into pumpkin next to stem. For the pear, pull off piece of clay and roll into coil and lay on top of opening. Blend outside edge onto pear and press inside edge into center. Pull off small ball of clay and insert into center of pear. Press stem into center. Trim wire on leaf and insert into center next to stem. On the apple, insert ball of QW into center of apple and insert stem. Trim wire on leaf and insert next to stem. To make hanger for ornaments fold over a piece of wire and make a loop. Insert beside stem on each of the ornaments. Another way to create a hanger is after the ornament is assembled place

a hole on each side of the cone and attach wire to one side and bring it up and over to the other side and attach wire. Assembling Fruit and Cone (video) Insert dowel of fruit into cone and decide how far above the top of the cone you want the piece of fruit to sit. Remember when your project is completed you will be putting some Kraft crinkled paper in the top of the cone under the fruit. Mark on dowel where it comes out of the cone. To help hold the dowel take a 1 ½” ball and insert hole through center using one of your tools. Place ball on dowel. Mix 1/8” of QW and pull off small piece, roll into a coil and put on dowel above line. Use the other piece to make a coil to go around the center of the Styrofoam ball. Insert dowel into cone and press firmly into place. Repeat for the other two cones. To make the ball for the end of the cone mix up ¼” of QW and let sit for about 10 minutes. Roll into a ball and then insert hole in top with pencil or tool. Place drop of super glue gel in hole and then place on end of dowel. Reshape into ball and then lay so ball doesn’t get flattened. Repeat for other two pieces. Allow to cure. Painting Instructions: Basecoat as follows: Blue Harbor – pumpkin cone & dowel Bright Salmon - apple Deep Burgundy - ball on apple cone Foliage Green - leaves Grape Juice – pear cone & dowel Oyster Beige – dots on cones Spiced Pumpkin – pumpkin & ball on pumpkin cone Teal Mint – apple cone True Ochre – pear & ball on pear cone Pumpkin: Dry brush Tangerine in center of each section. Float Burnt Sienna in between each section of pumpkin on both sides and around top of stem.

Apple: Dry brush True Ochre oval on one side of apple about 1 ½” wide and ¾” high. Wash over apple with Country Red up to oval. Shade top and bottom of apple with Deep Burgundy. Dry brush highlight of Cadmium Yellow over True Ochre oval. Place Warm White highlight on yellow area. Paint stem Espresso. Pear: Drybrush Marigold randomly over pear on body and neck. Float Raw Sienna around top, neck and bottom of pear. Drybrush over some of the marigold areas with Cadmium Yellow . Place Warm White highlight on yellow area. Wash Country Red and Foliage Green here and there on some areas of the pear. Paint stem Espresso. Leaves: Wash over with Hauser Medium Green. Float center vein and across back of each leaf with Plantation Pine. Float against center vein and opposite outside edge with Foliage Green. Float over a smaller portion of Foliage Green area with Teal Mint. Paint veins with Foliage Green + Warm White. Finishing the Cones: Paint 3 Oyster Beige lines on each dowel with #4 shader. On Pumpkin cone place Tangerine in center of each dot. Place Tangerine dots on ball. On pear cone place Cadmium Yellow dots on ball and in center of each of the dots on the cone. On apple cone, place Country Red dots on ball and Country Red dots in center of dots on cone. Finishing : Following manufacturer’s instructions, spray varnish ornaments. Place Kraft crinkled paper in each cone.

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/

Original Design by Karen Wisner/Dyar

I love scarecrows and have designed this pillow, with my favorite fall things. I have used DecoArt SoSoft paints on this design as I like how they stay soft after they dry. I hope you will enjoy painting this new design! If you prefer to paint it on a non-fabric surface, SoSoft color names coordinate with Americana Acrylics color names, so feel free to paint it on your favorite surface!

Surface: 12" x 12" square of fabric (I used an off white with tiny stars or use muslin.) 16 - 18" square pillow (My pillow came from my local Walmart) Supplies: Usual Acrylic Tools Tim Holtz Stencil- Burlap THS007 www.cdwood.com Black Micron Pen 01 Stylus, Tracing Paper, Cotton swabs Iron, Stapler Light Table Wax free cardboard 11" x 11", Thread to match pillow color & needle Fabric strip 60" of border fabric 3" wide Lace 60" (I used 1"), straight pins assorted buttons for corners 1/2" - 1" fabric scraps for corners DecoArt SoSoft Fabric Paint: Antique Gold Antique Mum Avocado Baby Blue Brown Buttermilk Cadmium Orange Cadmium Yellow Charcoal Grape Purple DecoArt Americana Acrylics: Burnt Sienna Dark Chocolate Hauser Dark Green

Grey Sky Hauser Light Green Island Blue Lamp Black Lavender Light Soft Sage Primary Yellow Prussian Blue Terra Cotta White Mediums: DecoArt SoSoft Fabric Paint Transparent Medium

Brushes: (I use older brushes for fabric painting.) Round sizes 0,1, 3 & 5 Shader 3/8" Script Liners (long bristles) 5/0 Fabric Rounds 1/8 & 1/4 Stencil 1/4 Angular 3/8

Helpful Tip: Use the round brushes to basecoat. The 5/0 script liner to paint details. The shader and angular to shade and highlight. The fabric rounds to drybrush inner highlights and apply cheeks. The cotton swabs to blend floated areas. The stencil to stencil the background. Preparation: 1. Trace patterns onto tracing paper using the Black Micron Pen. 2. Cut a 12" x 12" piece of pre-washed/ dried fabric. (Do not use fabric softener.) 3. Transfer the design onto the fabric using the Black Micron Pen and the light table. Place the fabric over the pattern, either hold into place or tape. If you do not have a light table, you can use a window, but tape the fabric and pattern to the window. 4. Turn the design, ink side down onto a clean towel. Iron fabric to heat-set ink. Allow to cool. 5. Cut an 11"x 11" piece of non-waxy cardboard. Staple the fabric to paint onto the cardboard, on the outer edges only. Only use enough staples to hold it flat and in place. This will make painting much easier. Important things to know: When basecoating and shading on the fabric, you will add the shade when the base color is still damp, then blend using a mop or Q-tip. Then move on to the next. Example: I started with the scarecrow on the left, based his hat then shaded and next moved to the face, etc. Use the Transparent Medium in the place of water when loading the brush. Use the water to clean the brushes but make sure to dry on a paper towel before re-loading. This will keep colors from "bleeding out" of design spaces. Do this throughout the painting process. Add Transparent Medium to the colors if they need to be "loosened up". Also use the Transparent Medium with the 3 Acrylic colors that I have used in the design. The stitches and inked lines will be inked after all the painting is done and dry. All tiny leaves, dotted berries and wheat will be added after the original painting is done and design has been re-inked. Refer to the pattern, for shading (///) and highlights (...), as you paint.

Ink Lines, Basecoats, Color Floats and Stencil Background

Details, Highlight and Finish

Background: Apply the background using Baby Blue and a few drops of Transparent Medium to loosen it slightly. Load the brush with Transparent Medium and pick up the blue with the upper tip of the brush, work the color into the brush an apply all around the designs. (See photo) Work in one area at a time so you can blend the color while it is still wet and work it away from the design. I used the cotton swabs tips to assist in the blending process. Next, apply the burlap design by stenciling using full strength Baby Blue. Deepen the shading, right next to the designs using Island Blue. Large Scarecrow: (at the left) Hat: Float hat color using Antique Gold, shade using Brown then deepen the shading using Charcoal. Paint cracks using Charcoal, let dry. Drybrush highlights using White. Head: Basecoat head using Antique Mum, shade using Burnt Sienna. Paint nose using Primary Yellow, shade using a small amount of Burnt Sienna. Deepen shading on the face using a small amount of Dark Chocolate. Drybrush cheeks using Burnt Sienna. Highlight nose using White. Paint Lamp Black eyes. Wheat Stalks beneath Hat: Paint wheat kernels using Primary Yellow. Bandanna: Float color using Primary Yellow, shade using Cadmium Orange. Let dry slightly then dot using Cadmium Orange, let dry. Deepen shading using Dark Chocolate. Highlight using White. Shirt: Basecoat using Buttermilk, shade using Hauser Light Green, let dry then paint Hauser Light Green lines, let dry. Deepen shading using Dark Chocolate. Paint blue button using Baby Blue, shade using Dark Chocolate, let dry. Float round button using Antique Mum, shade using Dark Chocolate, let dry. Highlight buttons using White. Belt: Basecoat belt using Burnt Sienna, shade using Dark Chocolate. Let dry slightly then highlight using Antique Mum, let dry. Paint Charcoal cracks. Pants, Loops and Suspenders: Basecoat pants and suspenders using Prussian Blue, highlight using Baby Blue. Basecoat the pockets using a mix of Prussian Blue and Baby Blue (1:1), then highlight using Baby Blue. Hangtag: Basecoat using Antique Mum, shade using Dark Chocolate, let dry then paint cracks. Using Lamp Black, paint "Fall" on tag. 99

Basket: Basecoat using Antique Mum, shade using Burnt Sienna, let dry slightly then paint the cracks and wood lines, let dry. Deepen shading using Dark Chocolate, let dry. Highlight using White. All Crows: Mix Lamp Black and Grey Sky (1:2) and basecoat the crows, dry slightly then highlight using Grey Sky, let dry. Dot a Lamp Black eye. All Large Green Leaves: Basecoat using Hauser Light Green. Shade with a mix of Avocado and Hauser Dark Green (1:1). Let dry slightly then highlight using Light Soft Sage. Let dry then float a little Terra Cotta. Paint leaf lines using Avocado Green. All Sunflowers: Basecoat petals using Antique Gold, shade using Burnt Sienna. Let petals dry slightly then highlight using White. Basecoat leaves using Hauser Light Green, shade using Avocado, let dry. Highlight using Light Soft Sage. Basecoat flower center and stem using Brown and Antique Gold (1:1). All Orange Pumpkins: Basecoat orange pumpkins using Cadmium Orange, shade using Burnt Sienna, let dry slightly. Highlight using Cadmium Yellow. Deepen darkest shades using Burnt Sienna, let dry. Lighten highlights using White. All Stems and Twig Arms: Mix Brown and Antique Gold (1:1) and basecoat stems, shade using Charcoal, let dry. Highlight using Antique Mum. Green Pumpkins: Basecoat using Hauser Light Green, shade using Avocado and Hauser Dark Green (1:1), dry slightly then deepen shade using Dark Chocolate, let dry. Highlight using Light Soft Sage. Float some Burnt Sienna, see photos, let dry. Brighten highlight using White. Center Scarecrow: Hat- Float hat using Lamp Black, dry slightly and highlight using Grey Sky. Paint crack at top using Lamp Black. Head- Basecoat head using Buttermilk, shade using Brown, let dry. Drybrush cheeks using Burnt Sienna and paint nose. Float color into eye using Brown. Highlight nose using White. Deepen shades on the head using a little Dark Chocolate. Bandanna- Float color using Antique Gold and shade using Burnt Sienna. Dry slightly then highlight using White. Shirt- Basecoat using Buttermilk and shade using Brown. Paint Brown suspenders. Paint a Dark Chocolate button and paint crack in shirt. Highlight the button using White. Pants- Basecoat using Avocado and shade using Charcoal. Dot Lamp Black buttons. 100

Short Scarecrow: Hat: Float hat color using Antique Gold, shade using Brown then deepen the shading using Charcoal. Paint cracks using Charcoal, let dry. Drybrush highlights using White. Head: Basecoat using Antique Mum, shade using a small amount of Dark Chocolate. Paint an Antique Gold nose, let dry then highlight using White. Basecoat round eye button using Brown and square button using White. Shade the white eye using Brown. Drybrush Burnt Sienna cheeks. Paint crack using Charcoal. Bandanna: Basecoat using Buttermilk and shade using Lavender, let dry. Dot using Lavender and paint Prussian Blue lines, let dry. Highlight using White. Paint cracks using Charcoal. Shirt: Basecoat shirt using Baby Blue and shade using Prussian Blue and Baby Blue (1:2), let dry. Paint pocket using Buttermilk and shade using Brown, let dry. Paint buttons using Antique Mum. Dot shirt using White, let dry. Paint Hauser Light Green lines on the pocket. Deepen shading on the shirt and buttons using Brown. Highlight shirt and top button using White. Paint Charcoal crack in the pocket. Allow paint to dry, then remove the fabric from the cardboard. "Heat - Set" the paints by ironing as before. (paint side down on an old towel) Vines, Tiny Leaves & Remaining Inked Details: Once the fabric is cool, apply all the remaining inked details. If you have inked lines that are not showing because there is paint on them, re-ink them. (Tip: If your Micron Pen doesn't want to work, it has residue on the end, cover the end with a piece of tissue and gently twist it until the residue is off.) Paint tiny leaves using Hauser Light Green. Paint tiny wheat using Antique Gold. Dot all buttonholes and stitch ends using Lamp Black. Dot yellow berries using Antique Gold and dark berries using Burnt Sienna. Once dry, "Heat-Set" paints again. Finishing: Attach painted panel to the center of the pillow using thread, needle and baste stitch into place. Iron border fabric so it is about 1 1/2" wide, with the raw edges ironed under. Using thread and the baste stitch, attach the border, removing any excess fabric length. Attach the lace in the same manner. I used a wider lace but use what you have or like. You can further embellish by adding bows and buttons. Make this pillow something you will love. Any questions or concerns, please contact me: Karen Wisner/Dyar- kdolls.designs@gmail.com or message me on Facebook "Karen Wisner". 101

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Original Design by Michael Cheek

A misty fall morning is captured in this warm hued study of tranquility.

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Surface: x 11 X 14 canvas Palette: Martin F. Weber Prima Oil Colors x Ultramarine Blue x Burnt Sienna x Yellow Ochre x Titanium White Brushes: Artist Loft / Flat Bristle (Brushes come in a pack of 12, available at Michael’s Art & Craft) x #’s 9, 5, 4, 2 Bob Ross x Script Liner Canvas Preparation / Michael’s Kanvas Koat® Using a chip brush or sponge roller, apply 2 coats of Michael’s Kanvas Koat (Orange) to the canvas, allowing plenty of drying time between coats. Using black graphite paper, transfer the pattern to the canvas. (Note): Michael’s Kanvas Koat is not available in any art or craft store. It is only available by ordering from Michael’s website: www.palettecreationsbymichael.com When using Kanvas Koat, you will not need the use of any oil medium to make the paint move, spread or blend. This happens automatically right on the canvas! A Word from Michael: The reason for applying the color (Orange) Kanvas Koat, is so the paint will move, spread and blend without the use of oil medium. Secondly, when painting this project, don’t cover up all the under-tone!!! This will allow all the colors in the painting to be in harmony! Once the painting is dry, the colors will take on a sheen of their own! Helpful Hints: When tracing the pattern to the canvas, only trace basic lines. For instance, it will be difficult to paint around objects such as trees, bushes, etc. Instead of cleaning the brush in thinner each time, use a paper towel to pinch the paint out of the bristles. This allows some color to remain in the bristles, causing more variety of color tones when loading the next color mixes. Let’s Paint! Shall We? (The light source is coming from the right)

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Sky and Sunrise: (Image 11) Using the #9 flat bristle, load a mixture of Ultramarine Blue and a touch of Titanium White. This will be a blue gray mixture. Working off the flat of the brush and using long horizontal strokes, paint in a very subtle sky at the top, leaving almost all the orange under tone showing. Using a #4 flat bristle, pick up a bit of Titanium White. Working off the flat of the brush, start behind the distant mountain and paint in the sunrise by using upward and outward strokes, creating sun rays.

Image 11 – Sky & Sunrise

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Distant Mountains: Using a #5 flat bristle, load a mixture of Ultramarine Blue, Burnt Sienna and Titanium White. This will be a light blue gray mixture. Working off the flat of the brush, paint in the top edge of the mountain, pulling down at an angle slightly to the right. Leave some of the undertone showing in the mountain, mainly at the bottom. This will create the distance between the two mountains. Using the same brush and mixture, but adding a bit more Ultramarine Blue, paint in the closer mountain as just described.

Image 3 – Distant Mountains

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Background Trees: Using the #5 flat bristle, load a mixture of Ultramarine Blue and Yellow Ochre. This will be a dark olive- green mixture. Working off the flat of the brush, start on the right side of the barn and paint in the trees using short downward strokes. As you progress upward, stop when you have reached the middle of the roof. Load more paint in the bristles and bring the brush to a chisel edge. Paint in a placement line (vertical) for the pine trees. Starting at the top, work back and forth across the line to form the pine trees. Repeat the process on the left side of the barn. For the larger end tree to the left, work for a loose and airy look on top. Wipe the brush! Load a mixture of Yellow Ochre and a touch of Ultramarine Blue (just enough to dull the Yellow Ochre). Working off the right corner of the brush, tap in some highlighted bushes using a short comma stroke. Work in layers, leaving some dark in between. These are very subdued and not bright at all! Using the script liner, thin down Ultramarine Blue and Burnt Sienna. This will be a dark (almost black) mixture. Weave a trunk and a few limbs in and out of the larger tree.

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Barn: #4 & #2 Flat Bristle Overhangs, door, hayloft, opening and window: Ultramarine Blue + Burnt Sienna= dark mixture (black) Left and right-side base color: Ultramarine Blue + Burnt Sienna+ Yellow Ochre = medium olive-green mixture Left side shadow color: Yellow Ochre + a touch of Titanium White (keep this very subdued) Highlighted right side color: Titanium White + a touch of Yellow Ochre Hay: Yellow Ochre Cement slab shadow side color: Ultramarine Blue + Titanium White = medium blue Cement slab highlight side color: Titanium White + Ultramarine Blue = light blue Windowpane: Titanium White + Ultramarine Blue = light blue Roof: Ultramarine Blue + Titanium White = medium blue Roof highlight: Titanium White

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Grasses and Path: Using the #5 flat bristle, load a mixture of Ultramarine Blue, Yellow Ochre and a touch of Titanium White. This will be a medium olive-green mixture (a bit lighter than the background tree mixture). Working off the flat of the brush, use short downward strokes to paint in the grasses on each side of the path, leaving a bit of unpainted space in the middle. Also, pull a bit of this color mixture over the path, but leaving some of the undertone showing. Wipe the brush! Load a mixture of Titanium White with a touch of Yellow Ochre. Working off the flat of the brush, tap in the highlighted grasses on both sides of the path, intermixing and blending with the previous olive-green mixture. Wipe the brush! Load some of the darker olive-green mixture and tap in a few darker bushes up over the grasses in the foreground.

Final Details: When the painting is dry, you may want to reinstate highlights and shadows. It is difficult to achieve the desired brightness that you need when the paint is still wet!

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Enlarge line art by 266%.

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Pumpkin, Crow and Sunflower Original Design by Diane Trierweiler dianetrierweiler.com tolebridge@aol.com

I found this pumpkin shape and knew it would be a wonderful backdrop for a quick and easy design. Can’t you just see it on a side table surrounded by fall leaves, nuts and even some small pumpkins? What a whimsical way to welcome the fall season!

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Surface: Squatty Pumpkin, 14X12” , SKU: 31-L467, CD Wood https://www.cdwood.com/products/squatty-pumpkinplaque?_pos=1&_sid=ad0b6bd59&_ss=r

Remember to check your local craft store too! Supplies: Usual Acrylic Tools Black Sharpie pen White and Grey Graphite Fine Grit Sandpaper Paints: DecoArt Americana Acrylics Burnt Sienna Burnt Umber Cadmium Yellow Evergreen Kelly Green Lamp Black Mediums: DecoArt Crystal Glitter Paint Dura-Clear Satin Varnish All Purpose Sealer

Olive Green Saffron Yellow Santa Red Slate Grey Tangelo Orange Titanium White Brushes: Dynasty Black Gold 2” bristle flat brush #12 Flat #6 Flat #8 Filbert 10/0 Liner Various sizes of dome shaped, scruffy brushes

Preparation Use the 2” brush to slip slap Santa Red and Tangelo Orange over the pumpkin shape. Base the stem with Burnt Umber. Let dry and transfer the basic pattern lines with White transfer paper. Painting Instructions Pumpkin: Use the #12 flat brush to basecoat the pumpkin with Tangelo. Use the scruffy brush in a wet on wet method to re-wet each segment. Shade the segments with Burnt Sienna. Highlight the segments with Cadmium Yellow. Shade the segments again with Burnt Sienna. Highlight the tops of each segment again with Cadmium Yellow plus a little White. Highlight the stem with Cadmium Yellow. Highlight one more time with White. Basecoat the leaf with Kelly Green. Dry brush shadows through the center with Evergreen. Dry brush highlights on the leaf with Olive. Use the liner brush to paint in the tendrils. Highlight a little with Olive here and there. Crow: Using the flat brush, base the crow Lamp Black. Refer to photo and dry brush the highlights with Slate. With liner, add strong white highlights on the wing and tail. Base the eye with White; add pupil with Black. Basecoat the beak with Saffron Yellow and shade with Burnt Sienna. 113

Sunflower Leaves: Base the leaves and the stem with the #12 flat brush and Kelly Green. Dry brush shadows though the center and on one side with Evergreen. Dry brush highlights on the leaves and stem with Olive. Using the dirty brush and White, brighten highlights. Sunflower: Use the #6 flat brush to base in the center of the flower with Burnt Sienna Use the scruffy brush to stipple Lamp Black into the center and around the outer edge of the center. Stipple the highlight in the center with Cadmium Yellow and brighten with Tangelo. Use the #8 Filbert and Burnt Sienna to stroke in the first layer of petals on the flower. When dry, place in the next layer of petals with Saffron Yellow. Allow to dry. The next layer is Cadmium Yellow. Add a few shorter petals with Cadmium Yellow plus a little White. When completely dry, tint here and there with Tangelo Orange (80% water to 20% paint) Sign: Base with Slate Grey and while the paint is still wet, highlight it with White. Outline the sign with Black. The letters are done with the black pen. Finishing If desired, use the Sharpie pen to add loose line work on the pumpkin, leaves and sunflower. Apply Crystal Glitter paint on the sunflower and the pumpkin. If you are using a wood surface from your stash, you can lightly sand around the outer edge of the wood piece to create a more rustic feel. Typically, it is not a good idea to sand the edges of an MDF surface. Following manufacturer’s directions, apply at least two coats of satin varnish.

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Line Art is 7” Tall by 8.5” Wide. Enlarge or reduce as necessary

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Winged Kitty Original Design by Elisabetta De Maria, CDA

Dearest painting friends, after so many cats painted with pastel pencils I wanted to paint a different cat .. transformed into a bat .. I hope you like it....Happy Painting!

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Surface : The wood surface measures 32 x 28 cm (12.5” x 11”) Project Supplies : Ball Stylus Fine Sandpaper Standard Acrylic Painting Supplies Lint Free Cloth Stencil Letters Paints Decoart Americana Acrylics Antique White Black Plum Bright Orange Burnt Orange Burnt Umber Heritage Brick Honey Brown Lamp Black Light Cinnamon Primary Yellow

Red Alert Sand Soft Black Titanium White Traditional Burnt Umber Yellow Ochre Mediums : All Purpose Sealer of Choice Varnish of Choice

Brushes: Dynasty Black Gold Assorted Size Flats for Basecoating Assorted Size Angular for Floating Rake Brush 3/8 #2 Round Brush Series 200, #6 Mezzaluna Medium Dome Brush for Dry-brushing Assorted Size Fine Liners Series 400 Mop Brush 3/8 and ½ to Blend and Soften Color Stencil Brush Painting Techniques Basecoat: Opaque application of background color on surface or component. Shading and Highlighting: Load a small amount of paint in the corner of an Angle Brush, stroke the brush back and forth on the palette paper until most of the paint is out of the brush. It is important that the color be worked in the brush until it is completely transparent. Apply as if walking out a float of color. Repeat if necessary and use the Mop brush to blend the color. Drybrush: I use brushes that are dome shaped, rounded and have shorter hairs. Dip the brush into the paint and then wipe the brush on a dry paper towel , rotating the brush until only a residue of paint remains. Move to the surface, use a light pressure and begin “scrubbing” the paint out of the brush, slowly, in a small circular motion. Work the paint outward, allowing it to diminish so that there is a gradation of color. Instructions Using a large brush, apply a coat of sealer and let dry. Sand raised grain with fine sandpaper and remove dust with a lint free cloth. Transfer only the main pattern lines; details will be added as necessary.

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Painting Instructions Background: Basecoat: Antique White. Position Words stencil and lightly stencil using Sand. When dry, shade around the main pattern outline and the outer edges of the surface with Traditional Burnt Umber. Place the pattern on the surface and transfer it with graphite paper leaving out details. Cat Eyes: Paint the pupil and the outside of the eye with the Lamp Black color. Highlight with Sand and make the highlight point with stylus and Titanium White. Paint the iris with Yellow Ochre. Shade with Honey Brown and highlight with Sand. Outline the eye inside and outside with liner and Sand.

Fur: Now we work the fur with the 3/8 Rake brush starting with Burnt Umber and following Light Cinnamon, Yellow Ochre and Sand. Repeat Light Cinnamon again, continue with Soft black and lastly light with Sand. Shade under the hat with Soft Black. Wings: Paint the wings with Lamp Black and Heritage Brick. Shade with Black Plum and Soft Black. Highlight with Red Alert. Hat: Paint the hat with Light Cinnamon. Shade with Burnt Umber and highlight with Honey Brown. Brighten the highlight in the centermost of each section with a drybrush with Yellow Ochre. Reinforce the shading with Soft Black.

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Paint the hat band with Honey Brown. Highlight with Sand and shade with Burnt Umber. Reinforce the shading with Soft Black. Paint the buckle with Yellow Ochre. Shade with Honey Brown and highlight with Sand. Paint the buckle hole with Soft Black. Pumpkin Basecoat Burnt Orange. Shade with Heritage Brick and deepen with Black Plum. Make a drybrush with Primary Yellow Highlight with Bright Orange. Stem: Basecoat with Honey Brown and shade with Traditional Burnt Umber. Details: Paint the eyes, nose and mouth with Lamp Black. Highlight eyes with Primary Yellow. Bats Paint with Lamp Black and the eyes with Sand. Drybrush with Sand. Finishing Varnish as desired I hope you Enjoy Painting this as much as I did! Happy Painting Elisabetta.

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Enlarge as needed for your surface

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January

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New Artists/ New Mediums/Valentines

Dec. 1st 2020

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11/1/2020

Introducing Spring/Easter/ Christmas Corner

Jan. 1st 2021

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12/1/2020

Home Décor/ New Artists/ Baby Themes/Christmas Corner

Feb. 1st

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Linda Hollander Sue Cochrane Elisabetta De Maria, CDA Paola Bassan Harpa Mikac Sunny Tonini Debbie Mishima Karen Wisner Phyllis Spaw Sharon Bond

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