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January 2020 Table of Contents Mary Sue Tate 5-10

Sharon Cook 43-51

Elisabetta de Maria, CDA 86-104

Cynthia Erekson 11-20

Sharon Bond 53-58

Jane Allen 106-115

Deb Antonick 22-27

Shara Reiner 59-69

Sunny Tonini 116-124

Cheryl Poulin 28-32

Marlene Fudge, CDA 71-78

Debbie Mishima 125-130

Donna Hodson, CDA 34-42

Chris Haughey 80-85

February Preview

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Editor in Chief: Lindsey Applegate; Executive Editor: Susan Mynyk; Copyright Notice: Š2020 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

February 2020 Sneak Peek


Make 2020 your year of Firsts I love “firsts”! First snow… first perfect comma stroke…first issue of the year… But one of the firsts that Lindsey and I both enjoy, is introducing artists making their first appearance in the Pixelated Palette. This month, we welcome Cheryl Poulin. Although this is Cheryl’s first time appearing in our publication, she has been an active member of our industry for over 25 years. Many of you may know Cheryl from her popular website “Your Decorative Painting Resource”. If you’ve never painted a rose before, following Cheryl’s detailed instructions, will enable you to successfully paint your very (…wait for it…) first rose! Throughout the coming year, we will continue to solicit submissions from previously unpublished designers. It is our goal to be a voice of encouragement and to provide opportunities for new artists to share their creative vision.

And, just like they say on TV, “But wait, there’s more!” How about a new presentation? Starting in January, we will be transitioning the e-zine from our email layout to an easier, flip book format! Initially, both formats will be delivered to your in-box. During the ensuing months, we will move slowly to allow our readers time to become accustomed to this user-friendly presentation. Lindsey and I welcome you to this first issue of 2020!

Waving my paintbrush at ya’



Beautiful Spring By Mary Sue Tate January is so cold here in West Virginia. In creating this design, I wanted to capture the sights and colors of a “Beautiful Spring Day�. It is my hope that this painting will remind you that spring is on its way.


Supplies: x Canvas 16x20 Project Supplies: x Usual Acrylic Tools Paints: DecoArt Americana Acrylics x Baby Blue x Black Forest Green x Blue Haven x Burnt Sienna x Dark Chocolate x Deep Midnight Blue x Hauser Light Green

x x x x x x x

Hauser Medium Green Honey Brown Margarita Marigold Purple Santa Red White

Brushes: x Susan Sheewe foliage or 1/2 in. Old scruffy Angular brush x #1 Langnickel liner Brush x 1/2 in. Angle brush x 0 Liner brush x 1 1/2 in. Plaid flat brush Mediums: x Liquitex Professional Satin Varnish Preparation Start this painting by dividing the canvas into thirds both vertically and horizontally. This will help you see where the different layers will be placed. Place 2 corresponding marks at all 4 sides of canvas and patterns. There will be used to line up the pattern on the canvas to facilitate taking the pattern on and off. Sky: Using the 1 ½’ flat brush, apply Baby Blue, Blue Haven, and White with a small touch of Marigold from the top of the canvas, stopping just above the halfway point of the canvas. This will need to be done at least twice in order to get a smooth blend.


Note: Because this painting is done in layers, only part of the pattern is put on at time. The first layer to transfer on will be the mountains, creek and large, dark bushes on each side. Mountains: Trace in the mountains. The top of the mountains should fall just above the first line indicating 1/3rd of the canvas. Using Deep Midnight Blue, Baby Blue and White, make an amount of paint that will be enough to paint the mountains. Divide this mixture into three parts and add white to make two, lighter colors. Starting with the lightest mixture, paint the farthest row and the second row of mountains with medium color you have mixed and the bottom row with the darkest value of your mixture.

Distant Trees and Pine Trees: Place pattern back on again and trace trees and distant fields. These should be put in the top of middle 1/3rd section. Using the foliage brush and Hauser Light Green plus a little white, put in a row of threes below the mountain. Distant Fields: Base in the distant fields with Honey Brown. Shade the bottom of the field with Burnt Sienna. Add a few pine trees among the distant trees with a line brush.


Creek: Basecoat with Baby Blue. Use the 1/2 in. angular brush. Add highlight area in creek with white and a little blue. Shade left side with Blue Haven and Baby Blue. Shade right side of creek with Deep Midnight Blue. Add Shade in creek lower right with Burnt Sienna then go over part of it again with Deep Midnight Blue. Larger Bushes and Trees on Either Side: Replace pattern, trace bushes on left and right side. These should be in first and third sections. Block these in with Black Forest Green using the Foliage Brush. Add shape to these bushes using Hauser Medium Green and a little Black Green. Add highlights with Margarita and Hauser Medium Green. This should represent the tops of individual bushes. Less is more. Middle Bushes: Block in bright bush and area behind flowers with Black Green. Use Margarita and 1/2 in. Foliage brush to put in this bush and area where the flowers will be. Middle Grass: Replace pattern, trace in this area on each side of creek. Paint with Hauser Medium and 1/2 in. Angular brush. This area should get darker as it comes forward. Add Hauser Black Green to Medium Green to do this. 8

Highlight with Margarita on tops of mounds, extending into creek.

Replace pattern, trace and paint in weeds with liner brush and a lighter mixture of Hauser Green; also add some with Black Green. These are in the lower third section on each side. Flowers: Use small dabs of Marigold, Purple, Red and White using liner brush to add flower over the Black Green area you based in previously. Pull light and dark, tall leaves through flower mounds. These should be the brightest part of painting. Adjust surroundings as needed. Finishing: Following manufacturer’s instructions, apply several coats of Liquitex, Satin Varnish with a large, soft brush.


©2020 Mary Sue Tate

Enlarge Image 235%


“A Whale of a Valentine” By Cynthia Erekson A “keepsake” Valentine for a very special someone…painted on watercolor paper so it can easily be mailed inexpensively in a standard 9” x 12” envelope. It could later be mounted and framed. If you aren’t planning to mail the valentine it could be painted on a thin wooden whale cut-out, or even on another flat surface.


Surface: x Strathmore Watercolor Paper 9” x 12”, 140 lb. (300 series) x (Optional) 1/8” Masonite Cut-out. Project Supplies x 9” X 12” White Envelope x 9” X 12” Cardboard for Mailing Stability x Tracing Paper x White Transfer Paper x Stylus x Eraser x Sharp Scissors x Paper Towels x Waxed Palette Pad x Palette Knife Paints: DecoArt Americana Acrylics x Antique Maroon x Deep Burgundy x Deep Midnight Blue x Grey Sky x Lamp Black x Marigold x Neutral Grey x Sand Grey x Slate Grey x Snow White x Terra Cotta x Victorian Blue

Mediums: DecoArt Glazing Medium Drying Time Extender Soft Touch Varnish

Brushes: x Two, 2” Sponge Brushes x Old Scruffy Flat Brush Silver Brush x #8, 12 Ultra Mini Designer Round Series 2431S x #20/0 Ultra Mini Script Liner Series 2407S x #20/0 Ultra Mini Lettering Series 2411S Scharff Brushes: x #12 Stain-It Brush Series 220 x #6, 10 Moon Brush Series 222


Painting Instructions Background Using a 2” sponge brush and Victorian Blue, create a textured basecoat one side of the sheet of watercolor paper. Load the broad, flat side of the brush with a good amount of paint. Beginning in the center of the paper, repeatedly press the brush down flat onto the paper and lift it straight up. Work from the center out to each edge, reloading the brush often to create an “orange peel” texture. Let dry and repeat. Build up the texture using 3-4 “press and lift” coats of paint making sure to let the paint dry thoroughly between coats. Wash the brush. Trace the whale’s outline and transfer it to the painted paper. Cut out the whale. Use the same 2” sponge brush to “press and lift”, apply 2 coats of Lamp Black onto the back of the whale. The additional multiple coats of textured paint add durability to the paper. When dry, the paper will now feel more like a piece of canvas. It will be very flexible. Wood Graining Glaze: Mix a wood graining glaze in the center of the palette. Squirt out a dime size puddle of Lamp Black. Around this puddle squirt out 8 dime size puddles of Glazing Medium. These puddles should surround the Lamp Black like the petals of a flower. Mix all together well using a palette knife. Next, slowly and carefully, squirt 4 dime size puddles of Extender onto the mixture. Mix well again. The glaze will be thin. Load the broad, flat side of a clean, dry 2” sponge brush with glaze. Holding the brush flat on the front side of the whale (tail is to the right) “swirl” a coat of glaze onto the textured surface. Keep the brush flat and add more glaze if needed to cover the area. The applied glaze will “separate” over the texture but, should cover the area completely. Save the leftover glaze. Turn the brush so the “dirty” side is facing upward. Hold the brush so the handle is at a 45-degree angle and the chisel edge is vertical. Starting at the whale’s upper left corner pull the brush’s chisel edge through the glaze, across the whale, in continuous rows of the letter U. Complete one row, move the brush down and repeat. Continue until all the glaze is patterned. The Extender gives you plenty of time to work. The glaze, however, will take a long time to dry when the wood graining is complete. Note: If you have not swirled enough glaze onto the whale, and your pattern is not distinct, you can dip the brush’s chisel edge in a bit of glaze and then, pull the brush in U shapes across the whale. Dip again for each row. Each person’s wood graining pattern will be different, and yours will be unlike 13

mine…it’s okay! The important thing is to make sure the basecoat color shows through the glaze, for contrast, no matter what pattern you create in the glaze. The completed surface will feel sticky as it dries. Once the glaze has “set” you can use a hair dryer to speed the process. Continue to save the leftover glaze to correct any possible mishaps! Wait until the surface is completely dry, and no longer sticky, to proceed with painting. When it is completely dry, shade around the whale’s outer edge with Lamp Black. Center Circle Trace the circle and transfer the shape onto the whale. Load the large Stain-It brush with Victorian Blue and Grey Sky. Pick up one color in the brush and then, the other. Stroke the brush on the palette to work the paint into the bristles, then flip the brush over, and repeat. Stroke both sides of the loaded brush on a paper towel to remove excess paint. Drag the brush horizontally, with the bristles in a vertical position, across the circle beginning at the top center. Drag the brush from the center out to one edge, lifting the brush before it reaches the transferred line. Sweep the brush from the center to the opposite side. The coverage should be streaky and grainy, with the paint sitting on the surface of the texture. Repeat in one area until only a shadow of the background shows through. Reload the brush, and work down to the bottom of the circle, adding more Victorian Blue to the brush as you approach the lower edge of the circle. When you are satisfied with the color of circle’s background wipe out, don’t wash, the brush and set it aside. Establishing the Hilltop: Transfer the horizon line onto the circle. Load the #10 Moon brush with Grey Sky. Wipe off excess paint. Slide the chisel edge, with the bristles in a horizontal position, across the horizon to establish the hilltop. This should be dry, soft, and not at all harsh. Next, turn the brush so that the bristles are in a vertical position. Sweep the brush horizontally across the ground letting the “dry” color sit on top of the texture to allow the previously applied color to show through. The surface should look “grainy”. Reload the dirty brush with Sand Grey. Wipe off excess paint. Brighten the hilltop and add some lighter streaks randomly across the “snow”. Wash and dry the brush. Creating the Clouds: Reload the large, dirty Stain-it brush with Grey Sky. Work the paint into the bristles then stroke both sides on a paper towel until the brush is “dry”. Lay the bristles almost flat, near the top of the sky area, with the chisel edge held upward. Swirl the brush lightly throughout the sky to create fluffy clouds. Work side to side, gradually reaching the horizon line. The dry color should sit on the texture's surface. Be sure to retain contrast between the sky color and the clouds. Add a bit of Sand Grey to the brush for more contrast if needed. The clouds should remain subtle. Wash the brush. 14

Enhancing the Center: Shade all around the circle’s inner edge using Deep Midnight Blue on the Moon brush. Slide the brush, side to side, with the chisel edge on the circle’s outer outline. Pull the color in, unevenly, toward the center. Continue all around the circle. Before washing the brush, lightly “dust” some dry, darker areas beneath some of the clouds. er using Border: Apply the circle’s narrow outer border thinned Antique Maroon on the small Letteringg brush. This may take two coats. Scene Transfer the outer outline of the connected buildings. Use the large Round brush, loaded with slightly thinned Neutral Grey, to base the buildings. Let dry and repeat. The roof colors are layered over the building color. This helps to avoid ridges. Transfer the roofs, chimney, doors and windows. Paint all areas Lamp Black. Add a coat of Antique Maroon onto the roofs of the left and right buildings. The chimney and center of the door are now painted Deep Burgundy. Leave a bit of Lamp Black showing along the chimney’s top and right edges. The smoke is a wash of Slate Grey. Shading Tip: Hold a straight edge of paper along the side of the building to be shaded. Rub the dry brush up and down along the papers edge with the horizontal bristles half on the paper and half on the building. Shade the buildings using “dry” Lamp Black on the small Moon brush. Then, turn the brush and pull the color across the area. Also, shade below all rooflines. Highlight across the center of each roof using “dry” Slate Grey on the small Moon brush. Reload the small Moon brush with Neutral Grey and wipe off excess paint. The brush should be very dry. Keeping the bristles horizontal add the “broken”, angled path. Use a wash of Neutral Grey on a Round brush to add horizontal “sketchy” lines to define the path. Also, add some washy Neutral Grey shadows throughout the ground. Transfer the remaining elements in the scene onto the whale. Trees, Fences and Foliage: Tree trunks and small fences are Neutral Grey plus a touch of Lamp Black. Thin the paint to allow it to flow over the textured surface. Add just Neutral Grey to the branches that overlap the circle’s edges onto the dark background. “Load the liner brush with Lamp Black. Drag the bristles repeatedly over a paper towel to “dry” the brush. Swipe the dry brush randomly over the trunks and branches to create ”bark.”


Use the scruffy brush, well loaded with Snow White, to tap distinct but, airy foliage onto the branches. Mailbox: The mailbox is Antique Maroon. Add the Neutral Grey roof. Line the box and add door and roof details using thinned Lamp Black. The box’s base and flag holder are Lamp Black. The flag is Deep Burgundy. Paint the large fence and the mailbox post Neutral Grey. Then, load the liner with Neutral Grey and a touch of Lamp Black. Wipe the liner across a paper towel to remove some paint and then, drag the brush repeatedly and unevenly on the mailbox post and bracket to create the look of wood. t With this mix, lightly and unevenly line the right sides of the post and bracket. Shade beneath the trees, fences and mailbox post using Neutral Grey wash. Adding Scene Details: Load the Liner with full strength Snow White (do not thin with water). Add drippy snow to the building’s roofs, the house door, fence posts, the mailbox roof and base, and the tree trunks. Line tiny Lamp Black grasses along bases of tree trunks, mailbox posts and randomly on the ground. Pounce Snow White fluffy “snow” next to buildings, along the path, beneath the weeds and trees, under posts, and on ground shadows using the old scruffy brush. Small stylus berries on weeds are Deep Burgundy. Winter Girl Trace her outline, including the letter, and basecoat the entire shape Deep Burgundy. Let dry and repeat. Transfer details onto the shape. Love Letter: The center is Sand Grey. Leave a Deep Burgundy border. Paint the heart and the “address” squiggles Deep Burgundy. Girl’s Clothing: Add Lamp Black for the hat pom-pom, hat brim and sleeves. Highlight the left sleeve’s center using Grey Sky on the sparsely loaded small Moon brush. Line the hat sections Lamp Black, and the top edge of the hat’s brim Marigold. Add Victorian Blue stylus dots, in rows, between the hat sections. The largest dots are above the brim. Create the diagonal Lamp Black plaid on the coat. Scarf, Mittens and Pants: Basecoat her scarf, mittens and pants Victorian Blue. Stripe the mittens and scarf using thinned Grey Sky. Shade the pants along the top edge, and separate the legs using Deep Midnight Blue. Highlight leg centers using Grey Sky on the small Moon brush. Line boot tops using thinned Marigold. 16

Girl’s Face: The “skin” between the hat and scarf is a mix of Deep Burgundy and nd Snow White; this will create a pleasing, ruddy flesh color. Add a bit more Deep Burgundy to the mix to blush the cheek and nose tip. Sparsely line the “under layer” of hair using thinned Terra Cotta. Add Marigold strands over the Terra Cotta….slightly “offset” so that both colors show. Her Details: Undercoat the cuffs and coat trim Neutral Grey. For the “fur”, load the liner tip with Slate Grey and tap on small spots letting Neutral Grey show. Be sure to have the lighter grey fur overlap the hard, Neutral Grey edges. Wash the liner and reload it with Lamp Black. Tap Lamp Black us sparsely onto the fur. Coat closures are Marigold. Dot large stylus Lamp Black buttons. When dry, dot button centers with smaller, Terra Cotta stylus dots. The hearts on her heart “swag’ are Deep Burgundy highlighted on the left sides with a mix of Deep Burgundy and Snow White using the small Moon brush. The string she is holding, as well as the small pieces that connect the hearts, are Neutral Grey. Add Lamp Black stylus dots for “holes” in the hearts. The stylus dot “tail” is Neutral Grey. When the design, and dots, are dry mix a thin Terra Cotta wash. Dab the wash lightly (for “dirt”) throughout the path, and beneath the mounds of snow. Also add the wash to small areas on the undersides of each clump of foliage. Lettering: Transfer the lettering onto the whale. Thin the Terra Cotta paint slightly. Paint letters using the thinned paint on the small Lettering brush. Let dry and repeat. Add small “squares” before “whale” and after “mine”. Let dry. Erase all transfer lines. Finishing Following manufacturer’s directions, apply several coats of varnish to both sides of the whale. Be sure to let each coat dry thoroughly before adding subsequent coats. The drying time will be longer on the textured surface. Address and embellish your white envelope using a fancy red pen or using red paint on the Lettering brush. Wrap the whale (MDF or watercolor paper) in tissue paper or something else to protect it and place the whale, face down, on a piece of cardboard. Slide the whale and cardboard into the envelope. Mail…and wait for the compliments!


A note from Cynthia… Living in New England, near the water, inspires me to paint these quaint “folksy” scenes…often including boats AND whales! I’m just naturally drawn to them… I do realize that the water and whales don’t “work” for everyone. In this painting I have made it easy to eliminate unwanted elements. There is NO water, and the same scene could easily be added to a differently shaped surface with the lettering changed to “Will You Be Mine”. Regardless of how you paint it I hope you enjoy my New England Folk Art!


This drawing is at 100%


Enlarge drawing 122% or to whatever size you prefer



Š 2019 Deb Antonick Designs

By Deb Antonick Painting with Friends I hope this little love letter gnome brings a smile to your face as you put away your Christmas memories for another year. This little guy will use a variety of my favorite techniques including stamping with paint and my favorite hair and beard brush techniques.


Surface: x 7.5” x 11.5” Ticket Plaque, style # 31-L489, available from Project Supplies: x Usual Acrylic Tools Stamps Available from x CRW197 Arabesque x CRP249 Vintage Note x Brayer or makeup sponge (for applying paint to stamps) Paints: DecoArt Americana Acrylics: x Alizarin Crimson x Burnt Sienna x Cotton Candy x Dioxazine Purple x Grape Juice x Lamp Black x Light Buttermilk x Light Lime x Mermaid Tail x Mocha

x x x x x x x x x

Morning Mist Plum Suede Purple Petal Snow “Titanium” White Sweet Mint Teal Mint Vintage Pink Warm White Wild Berry

Mediums: DecoArt x Matte Varnish Brushes: available from Dynasty Black Gold x #4, #6, #8, ¾” Flat shaders, 206 Series x 3/8” or ½” Angle Shaders, (206 Series) x #8 Wave Filbert Brush 206WAVFIL x 5/0 Script liner 206SL #2 Liner x 5/8” Mop Brush, Decorator Series 400 x #12 Dome Blender, Decorator Series 200 x #2 Fandango series 206FD (optional) Preparation: o Basecoat the board with DecoArt Multi-Purpose Sealer. Let dry. Sand lightly. o Basecoat the board with Light Lime corner loaded into Sweet Mint. Apply the paint in a criss-cross motion. Even blended, you should still see both colors. o Stamp the background with the Arabesque (doily style) loaded with Warm White. o Stamp the background with the Vintage Note stamp loaded with Teal Mint. o Transfer on the design. o Shade around the design with Teal Mint. 23

Painting Instructions: Gnome Hat: o Base coat the hat with Vintage Pink. o Shade with Wild Berry. o Drybrush, then float the highlights with Cotton Candy. o Deepen shading with Alizarin Crimson. o Line the stripes with Warm White. o Line the tassel with all the basecoat colors used in the hearts. Patches, and Hearts: Purple o Basecoat with Purple Petal. Shade with Grape Juice. o Highlight with Cotton Candy. o Deepen shading with Dioxazine Purple. o Line the plaid with Cotton Candy. o Line the highlight with Snow “Titanium” White. o Line the fringe on the heart with Grape Juice. Pink o Basecoat with Vintage Pink. Shade with Wild Berry. o Highlight with Cotton Candy. o Deepen shading with Alizarin Crimson. o Line the plaid with Dot with Warm White. o Line the highlight with Snow “Titanium” White. Blue o Basecoat with Sweet Mint. Shade with Teal Mint. o Highlight with Light Lime. o Deepen shading with Mermaid Tail. o Line the plaid with Mermaid Tail, then with Warm White. o Line the highlight with Snow “Titanium” White. o Line the fringe on the heart with Teal Mint. Beard: o Basecoat the beard with Plum Suede using the Wave Filbert Brush. I like the wispy ends this brush creates and it helps you to create a beard like pattern for the hairs. Note: When using the Wave brush, water the paint down as you would for the liner brush. o Paint the first beard layer with Morning Mist. o Shade under the nose and mustache with Plum Suede.


Repeat the beard layers as follows: o Cotton Candy o Enhance the shading with a bit more Plum Suede. o Warm White Note: If you prefer, you can use the #2 Fandango Brush for the final two steps. o Snow “Titanium” White. o Finish by stroking in hairs with the liner brush and Snow “Titanium” White, pulling from the tips of the beard inward.

Nose and Arms: o Basecoat with Mocha. o Shade with Raw Sienna. Highlight with Light Buttermilk. o Line a highlight with Warm White.


Mittens: o Basecoat with Vintage Pink, shade with Wild Berry. o Highlight with Cotton Candy. o Deepen shading with Alizarin Crimson. o Line the plaid with Dot with Warm White. o Line the highlight with Snow “Titanium” White. o Line the fringe on the heart with Wild Berry. Envelope and Letter: o Basecoat with Light Buttermilk. Shade with Morning Mist. Highlight with Snow White. o Deepen shading with Plum Suede, brighten highlights with Snow “Titanium” White. Hearts: Pink o Basecoat with Vintage Pink. Shade with Wild Berry. o Highlight with Cotton Candy. o Deepen shading with Alizarin Crimson. Blue o Basecoat with Sweet Mint. Shade with Teal Mint. o Highlight with Light Lime. o Deepen shading with Mermaid Tail. Finishing: o Line all stitching and bows and outline as desired with Lamp Black. o Following manufacturer’s direction, apply Ultra-Matte Varnish.


Januarry Pixelated Palette 20 020. Co C py pyriigh ghtt © 2019 19 De Deb b Anto toni n ckk and ni d Te T rrrye Fr Fren nch c De Desi sign si gns. gn s “P “Paintin ng wi with th Fr Frie iends” – All Rights ie 27 Reserved. Photocopying or mechan anical an al reeprroduc u tiion uc o is i st strrict ctly ct lyy prroh o ib ibit itted. Ma Mayy bee pa p in i teed fo or fun or pr profit.. No mass producing.

A Rose is a Rose By Cheryl Poulin Roses are fascinating to paint. Sometimes an entire bouquet provides the one perfect rose from which to study. This small project will offer you an opportunity comfortably paint each petal and successfully create a stunning canvas.


Surface x 6 x 6-inch wood art panel, #28-29843, from Cupboard Distributing, Project Supplies x 2-1/4-inch rubber brayer, # 46-00987, available from Cupboard Distributing x Fine Grit Sandpaper x Tack Cloth x White and Grey Graphite DecoArt America Acrylics x Autumn Red x Avocado x Black Green x Buttermilk x Celery Green x Deep Burgundy x Spiced Pumpkin x Warm White Mediums x DecoArt Multi-Purpose Sealer x DecoArt Dura Clear Soft Touch Varnish Brushes: Princeton, Available at Dick Blick x #20 Flat Shader Series 3750FS x #12 Flat Shader Series 3750FS x #1 Liner Series 3750L x Size 2 Fix-It Scrubber Series 3750 x 1" Flat Wash Series 3750FW Tips and Techniques Shading and highlighting are best accomplished with multiple, well-blended floats. It's helpful to pre-moisten areas with clean water before floating color. For dry-brushing, load the dry Fix-it Scrubber into the paint, blend well on your palette and use a dry paper towel to remove most of the paint. Use shape-following strokes to apply the paint. Outlining details is best achieved with paint thinned to an inky consistency (think skim milk). Preparation Sand the wood lightly and remove the dust with a tack cloth. Following the direction of the wood grain, apply the sealer and let it dry. Sand lightly and tack off the dust. Background Place a dollop of Buttermilk on your palette, load the brayer in the paint evenly. Roll the paint onto the front of the wood panel. Continue rolling to cover the entire surface, re-loading as needed. Roll until you can feel the paint beginning to get tacky. This creates a nice eggshell 29

texture for dry brushing later. Let this layer dry. Repeat in this manner until the background is evenly covered, 2-3 coats. After tracing the design onto tracing paper, lightly transfer the rose and all the petals using dark graphite paper. Do not trace on the background foliage. Using the #12 shader and Black Green, basecoat the areas around the rose. When dry, transfer the foliage using white graphite paper. Establishing Form: Float the edges of the foliage with highlights of Avocado using the #12 Flat. Go over the highlights several times. Further highlight the foliage here and there with a mix of Avocado and Celery Green. Using the #1 Liner and the same mix, loosely outline the leaves and add some centre veins. Using the #1 Liner, finely outline each rose petal with inky Deep Burgundy. Be sure that the graphite lines are very faint before outlining the petals. Referring to the shading diagram on the line drawing, shade each petal with wide floats of Autumn Red. Use the #20 Shader for the large petals and the #12 Shader for the smaller petals.

Note: Work one petal at a time so as not to get lost in the details.


Tinting and Deepening: With transparent floats of Spiced Pumpkin, tint some of the light areas of some petals; use the appropriate size shader. Refer to the photo for guidance. Deepen the shading on the petals with more soft, wide floats of Autumn Red. In the darkest areas, shade with soft floats of Deep Burgundy. Blushing and Details: While avoiding the light areas, use the Fix-It Scrubber to dry brush the petals with Autumn Red to give them an overall blush With the #12 Shader, float Warm White highlights on some of the petals, using the photo as a guide. Mix Deep Burgundy and Black Green to deepen the shading in the very darkest areas. If needed, finely outline the petals again in Deep Burgundy. Paint the edges of the panel with Black Green. Sign your work and erase any visible graphite lines. Finishing Following the manufacturer’s instructions, apply the varnish with the 1" Wash brush. Cheryl says: “Although thought of as being complicated to paint, roses when studied one petal at a time, can be painted with great results. Take your time and enjoy painting this simple rose.”


Line Art is at 100%






By Donna Hodson, CDA Painting flowers is a passion of mine. I have always loved wild roses and daisies and enjoy seeing them in the wild on our farm. I have begun to use scrapbook paper as a background and truly enjoy the many patterns available. I wanted a simpler one here so as not to compete too much with the flowers. The wooden scroll heart motifs have been in my stash just waiting for the right project. I hope you will enjoy painting this springtime bouquet. 34

Surface: x 10” x 10” x ¾” Wood Art Panel SKU: 28-29840 available at x Scrapbook paper. 12” sheet of Random Doodle Hearts #844043 by the Paper Studio. This is available at Hobby Lobby or at Project Supplies: x Bone folder or smooth sided ball point pen like a Bic x 3M: P320 Flexible Sandpaper found at home improvement stores x Cutting mat or old magazine x Sharp craft knife (new blade) x C-thru ruler x White graphite x Tracing paper x Stylus x Brayer (Optional) x Usual acrylic supplies Paints: DecoArt American Acrylic x Antique Gold x Burgundy Wine x Cadmium Yellow x Evergreen x Hauser Light Green x Heritage (optional)

x x x x x x

Light Avocado Light Buttermilk Olive Green Raw Sienna Snow White Terra Coral

Mediums by DecoArt: x Decou-Page Matte Glue/Sealer x Multi-Purpose Sealer x Sealer/Finisher DAS13 by Americana Brushes: x 1” Wash: LaCorneille 7550 x ½” Angle: LaCorneille 7400 x 18/0 Script Liner: Chris’s Epic 924 x Size 00 Script Liner: Scharff SYM-SABLE Scroller 480 x Size 4 Filbert: Princeton Select 3750FB-4 x Sizes 4, 6, and 10 Flats: LaCorneille 7300 x Size 0 (or ¼”) Deer Foot: Scharff 750 x Size 4 Script Liner or a size 2 Round Brush (for daisy petals) x Size 4 7350 Liner by Loew-Cornell x Old, size ¾” Wash Brush to apply glue Note: If you prefer to not use scrapbook paper, you can mix a background value using Heritage Brick + Terra Coral. You can also use both values and mottle them over the background. You could add some stenciling at the corners or use stencils or stamps over the background for interest using some of the background values.


Surface Prep: (See illustrations immediately following Basecoat steps) 1. Sand the surface as needed and tack. 2. Paint the front, sides, and back edges with Terra Coral + Multi-Purpose Sealer about 1-1. 3. When dry, sand lightly to smooth with the 3M: P320 Flexible Sandpaper to smooth. Paint the edges again and about 1” into the top with Terra Coral (no sealer). 4. Select your scrapbook paper and draw a line on the back across the top about ½” down from the edge. This is a guideline for placing the surface to the paper. (Notice if your paper has a one-way design as this one does). 5. Using the Decou-Page Matte Glue Sealer brush this over the front of the surface out to the edges using an old ¾” brush. You can also use Mod Podge, but I prefer the DecoArt Sealer. Turn the piece so that you can be sure that the entire surface is covered out to the edges. You want a liberal amount but not so much that it will ooze out when applied to the paper. 6. Carefully lay the surface face down onto the back side of the paper lining up the top edge of the surface with the line that you drew. Press down. 7. Turn the surface over and press outward from the center to remove any air bubbles and secure the paper to the surface. Use a rubber brayer or a larger smooth sided bottle or glass to roll over the surface. If you have any air bubbles that cannot be removed with rolling, stick them with a pin and press or roll again. Check the edges to be sure they are securely glued and then use a damp brush to wipe away any glue that oozes out. 8. Place this face down on a hard surface and place weights on it until it dries. When dry, check again to be sure the edges are secure. If not tuck a little of the glue/sealer under the edges and press down to secure. 9. Place the surface face down on a cutting mat or old magazine and carefully cut away the excess paper buy pulling a sharp craft knife along the edge. For lighter papers you could remove the excess with an emery board stroking away from the edge. Burnish the edges by rubbing with a bone folder or a smooth sided pen. 10. Take the surface outside and apply three misting coats of the Sealer/Finisher DAS13 Matte spray to seal the paper. You could also use Krylon Matte 1311 spray. 11. If some white shows at the edges of the paper, you can carefully paint some Terra Coral using a flat brush at a 45-degree angle with just a scant amount of paint and slide along the edge. Make a tracing of the pattern noting the distances from the edges of the surface and apply the basic pattern to the surface using white graphite. Transfer just the centers for the daisies. Basecoat as follows: Wild Roses: A. Terra Coral + Buttermilk 1-1 B. Terra Coral Dab in the centers with a little Antique Gold All Leaves: Light Avocado Daisy Centers: Antique Gold (one coat) Stems: Light Avocado using a liner 36

Surface Preparation Illustrations Steps 4 and 5 Guideline and applying decoupage

Step 9 Trim away excess.

Step 11 Touchup the paper edges

Step 6 Position surface onto paper.

Step 9 Burnishing the edges.

Scroll placement Attach when painting is complete.


Paint mixes 1. Light Buttermilk + Terra Coral 1-1 2. Terra Coral + Burgundy Wine 1-1 3. Light Buttermilk + Terra Coral 2-1

Wild Roses: Refer to the step by step illustration for assistance. Shading: The roses marked A on the pattern: 1. Begin to shade by floating Terra Coral around the centers and to separate one petal from another. Add a little of this under the flips on the petals and next to a few ruffled outside edges. Repeat once more to achieve a smooth gradation of values. 2. Shade again with Terra Coral + Burgundy Wine 1-1 (mix 2 above) 3. Add some deep shade around the centers and a few other areas with Burgundy Wine. Refer to the photo or step by step. The roses marked B on the pattern: 1. Float to shade with mix 2 above, Terra Coral + Burgundy Wine 1-1. Repeat at least one more time. 2. Add the deeper shade around the centers and where a petal falls under another flower with Burgundy Wine. Highlights: A Roses: 1. Light Buttermilk + Terra Coral 2-1 (mix 3 above). 2. Add some brighter highlights with Light Buttermilk. B Roses: 1. Highlight with Light Buttermilk + Terra Coral 1-1 (mix 1 above) 2. Highlight again with Light Buttermilk + Terra Coral 2-1 (mix 3 above) Centers: 1. Use a small deer foot brush to dab the centers with Antique Gold. 2. Float Raw Sienna on the lower edge of the center and make an indention in the center. 3. Stipple around the indention lightly with Cadmium Yellow. 4. Stipple again with just a little Cadmium Yellow + Light Buttermilk for a final highlight. 5. Using the 18/0 script liner, thin Burgundy Rose with water and paint fine lines radiating out from the center over the petals. 6. Using the tip of a liner, place random dots of Burgundy Wine, Raw Sienna, and Cadmium Yellow around the center placing some at the ends of the lines previously painted. Leaves and Stems: 1. Begin to shade by floating Evergreen at the base of all the leaves. Repeat again on the larger leaves or as needed. 2. Shade again with Evergreen and pull some down the shaded side of the center vein line. Transfer this line if needed to the leaves.


3. Begin to highlight with floats of Hauser Light Green next to the center vein line on the light side and on the opposite outer edge and tips of the leaves. On smaller leaves, just highlight the tips of the leaves. 4. Thin Hauser Light Green with a little water and paint the veins using the 18/0 script liner. Apply a bit more pressure when painting the center veins on the larger leaves. Refer to the pattern or finished photo to help with placement of veins. 5. Using Evergreen, float at the base of the leaves to shade the veins. This is a transparent float to shade but not cover the veins. 6. On a few of the veins in the center area or coming forward, add some Olive-Green highlights. Stems: Use a liner to shade the stems with Evergreen where they fall under a leaf or flower and on the underside away from the upper right light source. Add a few Hauser Light Green highlight strokes to the right side of the stems or upper sides.

Daisies: Look at the photo and notice the direction the daisies are facing. When you paint the petals, the longer ones will be at the top of the daisy and the shorter strokes on the bottom, depending on the direction it is facing. Refer to the step by step illustration and practice a few on a piece of scrap card stock. Use fresh paint and load the brush well reloading often. It’s good to have some ridges when you paint stroke daisies. 1. Using fresh Light Buttermilk and the size 4 script liner or size 2 round, stroke the daisy petals around the centers. I work three strokes at the top and then add strokes to both sides. I then add the shorter strokes across the front of the center. (Refer to steps 1-4 on the step by step). 2. Using Burgundy Wine, float at the base of the petals to shade. Use this to separate any that overlap. 3. Add some over-strokes of Snow White on some of the petals to highlight. Centers: 1. Re-paint the centers with Antique Gold. This is smooth at the top and in and around the petals where they connect across the front of the daisy. 39

2. Make an indention in the top center area with a little Raw Sienna. Float Raw Sienna across the lower part next to the shorter petals. 3. Using the deerfoot brush, stipple some Cadmium Yellow around the centers and let it fade into the shaded area. 4. Stipple again with Cadmium Yellow + Light Buttermilk 1-1 mostly on the top side facing the light source. Evaluate your painting to see if more shading or highlighting is needed. When satisfied, sign and date on the lower right side under the leaves. Corner embellishments: 1. Paint the right sides of the scrolls with Light Buttermilk + Terra Coral 1-1 (Mix 1). Use a flat brush with just a little paint and hold at an angle to only apply to the top. Try to keep it off the edges. Keep a damp brush handy to wipe away any that gets on the edges. (You could also tap the paint on using a makeup dense sponge with just a little paint on it). Apply as many coats as needed. 2. Using an old brush, apply glue carefully on the back side covering evenly but not globby as you don’t want it to ooze out. Set them in place and hold them until secure. Place a weight carefully over them as they dry. Finishing: I prefer a matte finish so will seal this with the Sealer/Finisher DAS13 Matte by Americana. Following manufacturer’s instructions, apply several light coats until desired finish is achieved. If using a brush on sea sealer, be very careful to avoid drips or globs aaround the motif corners. Attach a hanger h to the back or display on a stand. I hope ho you have enjoyed th this project. Feel free to ccontact me with questions or comments at


Step by Step Illustrations



By Sharon Cook Can’t think of a better reminder for all of us—to Choose JOY every day! Life brings its share of topsy-turvy hurdles and challenges to each of us, many of which are out of our control. Often the only thing we can control is how we decide to react to those events. I like reminding myself often of this truth, so I decided to paint it on a plaque where I could see it often. Hope it brings you a bit of delight to your soul, as it does mine. As a bonus, this design features the fabulous “chipped paint” technique created by the extremely talented Chris Haughey! (Used with her permission, of course!) I am one of her greatest fans!


Surface: x Pig Plaque; 16” x 10” , #31-L671; Available from Cupboard Distributing; Project Supplies x Frog Tape (Green painter’s tape); 1.41 wide x Medium to coarse grit sanding sponge or block; x OR, palm sander with medium grit sandpaper attached x Two styluses, one with a fine tip and one with a very large, bulb-type tip x Grey transfer paper x Tracing paper x Sawtooth Hanger Paints: DecoArt Americana x Alizarin Crimson x Black Plum x Blue Harbor x Blue Haven x Blue Violet x Buttermilk x Cotton Candy x Evergreen x Foliage Green

x x x x x x x x x

Forest Green Honey Brown Lamp (Ebony) Black Olive Green Saffron Yellow Spicy Mustard Warm White Wild Berry Zinc

Mediums: Americana x Multi-Purpose Sealer x Dura-Clear Matte Varnish Brushes: Royal & Langnickel x Zen, Z73WO, Oval Wash, Size 3/4” x Majestic Script Liner, R4585, Size 10/0 x Aqualon Angular, 2160, Size 1/2” x Aqualon Round, R2250, Size 8 x Zen, Z83SC, Soft Scrubber, Size 8 x Zen, Z73S-6, All Media Shader, Size 6 x Moderna, M77DR, Dome bristles, Size 5/8 Chris Haughey Chris’s Epic 924 Script Liner, Size 18/0, Available at Cupboard Distributing; Preparation The plaque requires no sanding. Apply Multi-purpose Sealer to the front, sides, and back of plaque. Allow to dry.


Trace the outline of the pig, the flowers, lettering, and horizontal and vertical tape placement onto tracing paper. Painting Instructions Background: Base the plaque with two or three coats of Warm White. Dry thoroughly. Buffalo Plaid: Step 1 – Taping off the Stripes • Lay the tracing paper on top of the pig and slip a piece of grey transfer paper beneath it. Very, very lightly trace the vertical tape placement lines (these will be used as a guide for the placement of the first strip of painter’s tape). If necessary, erase the lines just a bit so that they are just barely discernable. You do NOT want these lines to be visible after your painting is complete. • Stretch a piece of green tape down the middle of the tape placement lines. NOTE: This first piece of tape is called a “placeholder” and it is very important that it is straight, as it will provide the guideline for all other lines in the plaid. • Line up a piece of tape to the right and to the left of the first tape piece (the placeholder) and smooth them flat. • Once the three pieces of tape are in place next to each other, peel up the first piece of tape you put down (the placeholder piece of tape) and move it to the opposite side of the left tape line. Line it up carefully and smooth it down. • Add the next piece of tape to the left of the placeholder tape. Continue until you reach the left side of the pig. Then peel up the placeholder tape and repeat the same steps on the right-hand side of the pig, lining up the placeholder to the right of the first tape line. You should now have taped “stripes” that run vertically up and down the pig. Step 2 – Painting the Vertical Stripes • Mix a pool of Zinc with water to make a wash. The ratio should be about 80-85% water to 15-20% paint; stir until well-blended. Test the wash on a piece of white paper to make sure it is not too dark; you want this wash to be quite transparent. • Paint the exposed areas of the pig (the areas between the taped stripes) with one application of the Zinc wash. Repeat with a second application, stroking to make the stripes smooth and even. Carefully peel up the tape after the paint is dry.

Step 3 – Taping for the Horizontal Lines • Follow the taping instructions as above, except the lines will be horizontal; follow the painting instructions as above and allow the paint to dry well. • DO NOT REMOVE THE TAPE after painting the horizontal stripes; leave the tape in place.


Step 4 – Creating the darkest checks • Add tape above and below the center vertical stripes, as was done in step 1, over the places where you originally placed the first rows of tape. • When the tape is in place, you will have a grid with both vertical and horizontal tape lines. • Paint the open spaces with a mixture of 85% Zinc/25% Warm White. • Once the paint is dry, gently pull up the tape from the pig, pulling all the tape off in the same direction. Dry paint thoroughly before proceeding to the next step.

Step 5 – Sand to “Age” the Plaque Using a medium to coarse grit sanding sponge or block, sand the surface of the pig until some of the white basecoat starts to show through a bit. (Be careful not to sand so hard that you remove the original Warm White basecoat.) You will notice that the directions of your brushstrokes will begin to show, which only adds to the charm of the “aging” technique. If you have a palm sander, this sanding step can be completed very quickly. Just be cautious to not remove too much of the paint. Remove all sanding dust with either a damp paper towel or a tack cloth. Edge of the Plaque • Using the 5/8 dome-bristled brush, stipple, then dry brush, around the edges of the pig, lightly blending the dry brushing inward until it fades. This next step was created by Chris Haughey, a masterful painter and creative genius. She refers to this step as the “chipped paint” effect. • Load the size 8 round brush about halfway up the bristles with a generous amount of Lamp (Ebony) Black. Hold the pig plaque in your hand and roll the brush bristles along the edges of the pig, making certain that some of the paint is also rolled along the top edge of the plaque. Move the brush up and down slightly as you roll it along, to create a non-smooth edging around the plaque. The paint around the edges of the pig should look a little jagged and messy. This is exactly what you are trying to achieve. 46

• If it is too smooth, go back over it again to make the edges look a bit more ragged. Dry completely. Base the sides and back of the plaque with Lamp (Ebony) Black. • Thin a pool of Warm White with a drop or two of water and use the 18/0 liner brush to thinly line along the ragged black edge surrounding the plaque. This will help to make the edges look more age-worn. • Transfer the pattern for the floral areas and the lettering. Shading: Black Plum: Thin slightly with water and very sheerly float to shade beneath the bottom portion of the lettering. Shade around all the flowers and leaves. Float to shade several places around the edge of the pig, but not everywhere. Remember that all Black Plum shading should be sheer and transparent, and barely discernable. Flowers: Cotton Candy/Wild Berry (Equal mixture): Base the center flower on the neck and the flower by the pig’s tail. Cotton Candy/Warm White (Equal mixture): Dry brush the center of the pink petals to highlight. Wild Berry: Float to shade the pink flowers. Wild Berry/Alizarin Crimson (Equal mixture): Float again to deepen shading on the pink flowers. Thinly line a few veins in each of the pink flower petals. Blue Haven/Blue Harbor (Equal mixture): Base the two other flowers on the pig’s neck. Blue Haven/Warm White (Equal mixture): Dry brush the center of the blue petals to highlight. Blue Harbor: Float to shade the blue flowers. Blue Harbor/Blue Violet (Equal mixture) Float again to deepen shading on the blue flowers. Thinly line a few veins in each of the blue flower petals. Foliage Green: Base the leaves by all the flowers. Olive Green: Dry brush the center of the green leaves to highlight. Foliage Green/Forest Green (Equal mixture): Float to shade the leaves. Forest Green: Float again to deepen shading on the leaves. Line the center vein in each of the leaves. Spicy Mustard: Base the flower centers. Warm White/Dot of Spicy Mustard: Float top of flower centers to highlight. Saffron Yellow: Float bottom half of flower centers to shade. Black Plum: Base (or stroke) the twigs in each bunch of flowers.


Lamp (Ebony) Black: Thin the paint with a few drops of water. Use the 18/0 liner brush to outline the flower petals, centers, leaves, and twigs. Evergreen: Base the stems of each of the off-white filler flowers. Honey Brown/Buttermilk: Dip the tip of the larger stylus into a fresh pool of Warm White, then into a fresh pool of Honey Brown. Dot the end of a few filler flowers. While the paint is still wet, use the 10/0 liner to pull the paint to a point and join it to the Evergreen stems. Repeat until all filler flowers are completed. Warm White: Using the smaller stylus, apply dots to resemble baby’s breath around the floral areas.

Lettering: Lamp (Ebony) Black: Thin with a few drops of water and use the 10/0 liner brush to outline each of the letters. Fill in the remainder of the letters with black. Finishing Instructions: DuraClear Matte Varnish: Varnish the top, sides, and back of the plaque. Attach the sawtooth hanger to the back of the plaque. Enjoy! Copyright Notice: Š Copyright 2020 Sharon R. Cook. All rights reserved under Pan American and international copyright conventions. This pattern may be hand copied as necessary for the purpose of transferring the design for painting. Whether this pattern is purchased as part of an electronic magazine or as a paper packet or electronic-packet, you may not resell this design in any manner, nor make copies of either for resale, to give away, or to use in teaching classes or workshops without express written consent from Sharon R. Cook and/or the owners of this electronic magazine (see Note to Teachers/Shop Owners below). You may not print the colored images for the purpose of decoupaging to a surface, nor may you sell copies of the printouts from this publication in any format. The designs may not be used as web graphics. The projects created from the patterns in this packet may be personally painted by the purchaser for fun or for sale (i.e. at local craft shows, or internet auctions such as eBay, and on their own websites or photo sites), although if shown on the internet, you must provide credit to Sharon R. Cook as the designer in your description. Manufacturing the finished product for mass marketing in national gift shows and national gift publications is prohibited. No mechanical, electronic, digital or any other method of reproduction or distribution of this pattern, line drawing, and/or instructions is authorized. Any use other than described herein is prohibited without the express written consent of the designer and author. Disclaimer: The information in this pattern packet is presented to you in good faith. Since the author/designer has no control over the physical conditions surrounding the application of the information presented, results cannot be guaranteed.






Snuggled Together! By Sharon Bond

When I started this project, I wasn’t even really thinking about Valentine’s Day! I just had these two sweet birdies in my mind, snuggled together and keeping warm on perhaps a late winter’s day! However, I believe that this could be used for any loving occasion, including Valentine’s Day, an ᇾ anniversary or an everyday reminder of love! ᇽ

Copyright © 2019 Painted by Me, Sharon B - Photocopying or mechanical reproduction is strictly prohibited. May be painted for fun or profit, but no mass production.


Surface: x Rounded Arch Plaque – Available from – Item # 31-L305 Project Supplies: x Ultra-fine Permanent Black Marker – (Such as an Ultra-fine Sharpie, available at most stores!) ----OR-----x Black PITT Artist Pen, Superfine and/or an Extra Superfine by Faber-Castell (for even finer lines.) x Small Water Mister Bottle x Painters Tape or Scotch Magic Tape x Tim Holtz’s Heart-struck Stencil – Available from – Item # 09-45691 x Ribbon, Twine, Wire or String to create hanger (Optional) All Paints are Americana Acrylics from DecoArt: x Antique Maroon x Blue Harbor x Blush Pink x Boysenberry Pink x Canyon Orange x Celery Green x Cocoa x Espresso x Fawn

x x x x x x x x x

Lamp Black Marigold Rookwood Red Royal Navy Sable Brown Sugared Peach Traditional Burnt Umber Warm White Winter Blue

Specialty Items by DecoArt: x Americana’s Matte Spray Finisher x Americana DuraClear Gloss Varnish (optional) x DecoArt Glamour Dust Glitter Paint – Ice Crystal (optional) x DecoArt Media’s – White Gesso (optional, but helpful!) Brushes: x Angle Shader ¼” x Flat Shader # 6 x Glaze/Wash Brush ¾ x Round # 2 x Script Liner 10/0 Other Brushes from Cupboard Distributing: x #4 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-4 x #8 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-8 x 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!


Preparation: The very first step is completely optional, but I found it to be very helpful, especially since we are working with a light colored background! Simply basecoat the entire plaque with DecoArt Media’s White Gesso per instructions and let dry! Basecoat the entire plaque with Warm White. (If you prepped your plaque with a coat of the White Gesso, you will find that you only need one coat of the Warm White!) Let this dry. The next step will involve two colors; Warm White and Sugared Peach. Mist your plaque lightly with water to create a surface in which the colors will flow smoothly. “Slip-Slap” both of the colors in complete random stokes and directions for a nice effect. Let this dry completely before proceeding! Next up – Stenciling! Working left to right, place your stencil (make sure you are overlapping your edges for a seamless effect), and tape down to help hold it in place. Stencil with Blush Pink and let dry, however, do not remove your stencil just yet! Before moving on to the next section, drybrush you stencil again (in a very random manner) with Sugared Peach. You can also drybrush this heavier in areas to help vary the background and tone done the pink a bit. Work across the plaque until you are finished and then line up your stencil to complete the top area. This stencil is pretty ‘forgiving’, so you don’t have to have it lined up exactly! Once dry, trace on the main design. Once you have traced on your main design, shade all along the outside edges with Rookwood Red (not the lettering). This will help it stand out from the background. Shade around all the lettering with Warm White. If you like, you could simply paint (wet brush) Warm White around the lettering to strengthen the color quickly. Let dry. This is a technique that I learned from Chris Haughey and I love the border it creates! Load your round brush heavily with Antique Maroon and “roll” the brush all around the outside edge of the plaque to create a “torn” border. Let dry. Once this has completely dried, thin some Warm White paint and use your liner to create a fine line over the Antique Maroon. Once the shading/paint has dried around your lettering, finely outline all lettering with Black. Fill in any thicker areas of the letters with Black as well. 55

Painting Instructions: Branches & Limbs: With Black (I used my marker) finely outline the main tree branch, all limbs and sticks. The thinnest limbs will be left this way. Fill in all the other, thicker limbs and the main branch with two coats of Traditional Burnt Umber (let dry between coats). Let this dry completely, then drybrush these same areas with Espresso. You can also pounce Espresso on these areas if that is easier for you. Next, we will highlight with Sable Brown. I also thinned a bit of Sable to line a few streaks through the limbs and branch. Let dry. Then you can use your Black marker to add any tiny details to the branch or the limbs. Birds: Basecoat the birds solidly with Blue Harbor. Once dry, drybrush with Winter Blue, mainly on their bellies, chests, faces and the tops of their wings. Highlight these same areas with Warm White. To help blend and soften, I went back with Blue Harbor and drybrushed around these areas, working more from the outside (most blue) to the inside (less blue). Once this has dried, trace on the birds’ details. Shade Royal Navy around their wings, between the two birds and along the top of the nest. Drybrush their cheeks and their chests lightly with Boysenberry Pink. Shade Winter Blue above the girl’s eye line and fill in the boy’s eyelids with this. The boy’s eye is Warm White with a Black pupil. I accented the eye with a thin Warm White stroke. Beaks are based with two coats of Canyon Orange. Highlight the tops of their beaks with Marigold. Finely outline the birds with Black, including their details; facial features, eyes, eyelashes, beaks, etc… Feathers: The two loose feathers are done much like the birds! Basecoat with Blue Harbor. Drybrush with Winter Blue and highlight with Warm White. Once dry, finely outline and add the lined details with Black.


Nest: Basecoat the nest solidly with Sable Brown and let dry. (If necessary, apply an additional coat of Sable). Drybrush the nest with Cocoa. Once dry, add thinned, random strokes of Cocoa and Fawn, alternating back and forth between the two. Follow the shape of the nest with your strokes. Shade around the top and the bottom of the nest with Traditional Burnt Umber. Once dry, trace on the twigs coming from the nest. Paint those with Traditional Burnt Umber as well. I only applied one coat of this to the twigs as I didn’t want them to appear too dark. Finely outline the nest with Black as well as finely outlining the twigs and adding the curvy lines across the nest for detail. Hearts: Basecoat the hearts above the birds with an equal mix of Rookwood Red and Boysenberry Pink. You will likely need two coats for the best coverage. Let this dry. Once dry, drybrush the hearts with Boysenberry Pink (by itself) and then highlight the tops of the hearts with Sugared Peach. If needed, tone the Sugared Peach down a bit by drybrushing over them lightly with Boysenberry Pink. Finely outline the heart with Black. L Leaves: Basecoat all leaves with two coats of Cocoa and let dry. I wanted these to appear as “Winter” leaves, so I didn’t want them to be too bright. With your liner, I painted (wet brushed) strokes of Celery Green through the leaves. Once that was dry, I finely outlined all leaves in Black, including the vein down the center of each leaf.

Fi Finishing Touches: At this point, we will want to seal our project! Following the manufacturer’s directions, simply spray seal with Americana’s Matte Spray Finisher and let dry. Once dry, I chose to add a couple of enhancements to our project! Remember, these are optional, but I always like just a tad bit of pizzazz ͆Add Americana Dura-Clear Gloss Varnish to the boy bird’s eyes and to both their beaks. ͆ For extra sparkle,I added DecoArt Glamour Dust Glitter Paint (Ice Crystal) to the hearts. If you wish, you can also add wire, ribbon, etc… to create a hanger for your plaque. I hope you enjoyed this project and it made you SMILE!! ͆ Thank you! Sharon B.



By Shara Reiner A trio of happy, springtime designs. Whether grouped together or shown separately, these colorful designs will brighten up any display.


Surface: x Set of 3 trays, TMA87205, available from Painters Paradise, Project Supplies x Usual Acrylic Tools x White Graphite x Permanent Black Pen .02 nib x All-over Flower Motif Stencil (Tim Holtz has several designs) x Metal Prep of Choice (I used Black Metal Spray) Paints: DecoArt Americana Acrylics x Blue Harbor x Bright Salmon x Burnt Sienna x Country Red x Deep Burgundy x Deep Midnight Blue x Espresso x Foliage Green x Grape Juice x Hauser Medium Green

x x x x x x x x x x

Indian Turquoise Lamp Black Purple Cow Slate Gray Tangelo Orange Warm Beige Warm White Wedgewood Blue Whispering Turquoise Yellow Ochre

Mediums: x Spray Varnish of Choice Brushes x Flat Brushes in good condition in sizes 4 to16 x Scharff liner #455- #1 x Filbert 8 or 10 x Mop, I like a large one 3/4 inch. Preparation Following manufacturer’s instructions, the trays were prepped with a black metal spray. When completely dry, basecoat with Lamp Black. This will enable you to touch up the background and have it match perfectly. Painting Instructions

Large Tray: Paint the edges and handles with Indian Turquoise. Add pattern Angels Wings: Medium wash with Warm White. Shade next to body with a side load of Lamp Black Left Angel Dress: Basecoat Foliage Green; shade with side load of Plantation Pine. Add arms with a mix of Foliage Green + Warm White. 60

Apron: Wash Warm White; line work, ties and stripe at bottom are full strength Warm White. Stir Roses are Bright Salmon and Country Red. To create them, put down a dot of Bright Salmon and right next to it, put a dot of Country Red. Use your stylus and stir the two dots together. Add Hauser Medium Green leaves.

Right Angel Dress: Base dress Blue Harbor. Stencil with all over flower design and Whispering Turquoise. Shade with Deep Midnight Blue. Add her arm with a mix of Blue Harbor Plus a tad Whispering Turquoise. Faces, legs and hands: Warm Beige; shade with Burnt Sienna, side loaded brush. Nose is a liner of Warm Beige Plus Burnt Sienna. Cheeks are thin wash of Country Red plus a tad Bright Salmon. Hair is Tangelo Orange; highlight some hair Tangelo Orange plus Warm White. Halos: Indian Turquoise. Leaves and Stems: Base with one coat of Hauser Medium Green, shade with Black and highlight with Foliage Green. Liner work and dots are thinned Foliage Green.


Ribbon: Indian Turquoise, shade with Wedgewood Blue and highlight with Whispering Turquoise. Checkerboard Flower: Warm W. Mark checks off with a pencil and paint Lamp Black. The center is a finger dot Whispering Turquoise. Middle Flower: Country Red; middle section is Bright Salmon. Tiny dots are very thin-Warm White. The center is a finger dot of Yellow Ochre. Right Flower: Base with Purple Cow and shade around center with Grape Juice. The Center is Foliage Green. Liner plaid is Foliage Green plus Warm White. Add pen work using pattern and picture as a guide. Medium Tray Watermelon: Slip slap Bright Salmon. When dry add a wash coat of Bright Salmon and while it’s wet, slip slap Country Red from the top edge downward. When dry add a side load of Foliage Green around the edge alongside the rind, Rind: Using the liner brush and Houser Medium Green, create the rind. Line seeds with Black and add Highlight with Warm White. Pear: Basecoat True Ochre and shade with a side load float of Deep Burgundy. Highlight Pear with Yellow Ochre. I use a back to back float for highlight. Stem is Espresso.


Cherries: Basecoat Country Red, shade with Deep Burgundy and highlight with Bright Salmon. All Leaves and Stems #1 Leaves and Stems are Houser Medium Green. Shade with Black. Highlight with Foliage Green. #2 Leaves are Foliage Green; lines and dots are thinned Foliage Green. Flowers Flower #1 - Warm White, checks are Black. Center is a finger dot of Country Red. Flower #2 -Indian Turquoise, dots are Warm White. Middle is Whispering Turquoise. center finger dot is grape juice. Flower #3 Purple Cow, plaid with very thin Warm White. Center Square is Blue Harbor. Dry brush Whispering Turquoise stripes. Grapes: I use my finger to base grapes. (Finger dots) Be sure to dry well before adding shading and highlighting. . Blue Grapes: Blue Harbor, shade Deep Midnight Blue. Highlight with Whispering Turquoise. Green Grapes: Foliage, shade with Deep Burgundy, Highlight with Warm White. Filler Flowers: Warm White, smaller center dot is True Ochre. Stripe Around Edge: Indian Turquoise. Scroll Lines: Houser Medium Green.

Small Tray: Base coat Blue Harbor; trim is Indian Turquoise Transfer broken line from pattern and base center with Black. Leave the edges soft. Bird: Base Warm White and shade with very sheer Slate Gray. The beak is true Ochre. Using liner brush and Country Red, add Waddle and Comb. Heart: Bright Salmon; shade with Country Red. Highlights and liner plaid are Bright Salmon Plus Warm White. Comma Strokes at top are True Ochre. All Leaves: #1 Leaves: Houser Medium Green, shade with Black and highlight with Foliage Green. #2 Leaves: Foliage Green. Dark Leaves: Black


Flowers Flower#1: Warm White, checks are Black. Center is a finger dot of Country Red. Line around center is Grape Juice Flower #2: Whispering Turquoise, center square is Indian Turquoise. Lines and dots are Warm White. Flower #3: True Ochre, center is Tangelo Orange. Liner work in center is thin Country Red. Flower #4: Purple Cow, use a number 8 filbert Brush. Shade with Grape Juice and highlight with Grape Juice Plus Warm White. Center stroke is Yellow Ochre. White Flowers: Warm White with True Ochre centers. Grapes: I use finger dots for grapes. Dry well before you shade and highlight. Use side loaded brush to shade and highlight. Basecoat Blue Harbor, shade with Deep Midnight Blue and highlight with Whispering Turquoise. Small Filler Flowers: Five dots are Indian Turquoise; add center dot with True Ochre. Finishing Using pattern and pictures as a guide, embellish with line work. Follow manufacturer’s instructions to apply spray varnish of choice‌.and enjoy!








By Marlene Fudge, CDA 71

I love springtime! I designed this piece with butterflies, flowers and even a little bling. I’ve prepared a tutorial especially for the Pixelated Palette readers, that I hope will help you master comma stokes. Surface: x Garden Gate Plaque 18” x 10” (Cupboard Distributing #31-L689, Project Supplies: x Americana Décor Stencil- French Living- Fleur (ADS05) x Small Swarovski Crystals x E600 Glue x Krylon Silver Leafing Pen x Stylus x Light Transfer Paper Paints: DecoArt Americana Acrylics x Avocado x Black Plum x Evergreen x French Mauve x Jade Green x Light Avocado x Pink Chiffon Brushes: Dynasty Black Gold x #3 & #5 Round- 206R x #6 Shader- 206S x #5/0 Liner- 206L x 1” Flat Wash Brush- 206FW x ½” Dynasty Stencil Pro Stencil Brush Mediums: x Minwax Polycrylic Protective Finish- Clear Satin Preparation: Using the Flat Wash brush, basecoat entire surface with 3 coats of Black Plum. Let dry and transfer design onto the surface with light transfer paper. Color Mixes: High Light (HL)- Pink Chiffon Light (L)- Pink Chiffon + French Mauve (1:1) Medium (M)- French Mauve Dark (D)- French Mauve + Black Plum (1:1) Very Dark (VD)- Black Plum


Fleur Stencil: Center the stencil at the top of the plaque. Load the stencil brush with M, wipe the brush on a paper towel to remove some of the paint and blend the color into the brush. In a circular motion, rub the color onto the stencil. Switch directions to make sure you have good coverage. Load the dirty brush with L and rub this color onto the center areas of the letters to highlight. Remove the stencil and using the #3 round brush and M, connect the words together. Load the same brush into Lt. Avocado and tip the end of the brush into Jade Green. Add the green strokes onto the letters by laying the brush against the surface to make a nice rounded edge and pull up onto the tip to a point. Reload for each stroke.

Butterflies: Base coat the bodies of both butterflies with D using the #3 round brush. When dry, using the #6 Shader and HL, highlight the tops of the heads, the center of the upper butterfly, and the outer edge of the lower butterfly tummy. For the outer strokes on the wings, load the #3 Round brush with L; tip the end of the brush into D. Lay the brush onto the surface so you have a nice rounded edge and pull the stroke along the wing up to a point. Repeat this for all of the outer strokes. The strokes inside the wings are pulled using the same brush and Jade Green. The two thin lines inside the wings of the lower butterflies are added with the liner brush. The antennae are also added with the liner brush using HL.

Linework: Thin Lt. Avocado with a touch of water to make an inky consistency. Using the liner brush, add all the linework along the outer scrolls and flower stems. Load the #3 round with Lt. Avocado and tip the end into Jade Green. Add small strokes onto the ends of the linework. Pull this stroke right into the linework so that it looks like a continuous stroke.


Flower 1: Base coat the flower petals with M using the #3 round brush. Use the shader brush to shade the bottom of all of the petals with D. Use the same brush to highlight the outer edges of the petals with HL. Add the little strokes in the front flower with HL using the liner.

Base coat the bottom leaves with Avocado using the #3 round brush. Shade along the top of the leaves with Evergreen using the shader brush. Using the #3 round brush and Jade Green, add the small comma strokes above the petals and on the upper edge of the leaves. Dot the bottom of this flower with HL using the stylus. Flower 2: Load the #5 round brush with D, tip the end in HL. Pull the petals from the outer edge in towards the center of the flower. Reload the brush for each petal. Add the leaves at the bottom of the flower with Avocado using the #3 round brush. Shade the tops of the leaves with the shader using Evergreen. The strokes on the tops of the leaves are added with Jade Green using the #3 round. Dot the bottom of this flower with HL using the stylus. Flower 3: Use the #3 round to base coat the center petal with M. Shade the bottom of this petal with D using the shader brush. Highlight the top of this petal with HL. The lower petals on this flower are base coated with D. Shade along the bottom of the petals with VD. The strokes on the top of these petals are added with the #3 round and HL. The strokes coming out the top of the flower and on the petals are Jade Green using the #3 round. With the stylus, dot the bottom of this flower with HL using the stylus. Flower 4: Base coat the back petals on this flower with M using the #3 round. Shade along the bottom with D using the shader brush. Highlight these petals with HL. The front petals are base coated with HL. Shade along the bottom with M. Add the little strokes with Avocado using the liner brush. 74

Add the dots on the end of these strokes with VD using a small stylus. The dots around the outside of the flower are Jade Green. The calyx of this flower is Avocado. Large leaves #5: Base coat these leaves with Avocado using the #3 round. Shade the tops of these leaves with Evergreen using the shader brush. The stroke at the top of each leaf is added with the #3 round and Jade Green. The center stroke at the top is M and the two strokes next to it are D. The dot at the bottom is HL. Small Leaves: Base coat these leaves with Lt. Avocado. Shade along the bottom of these leaves with Evergreen using the shader brush. Use the liner to add the vein line with Evergreen. Add a highlight stroke of Jade Green along the top of each leaf using the liner brush. Small Accent Flowers: Use the #3 round brush to add the petals with HL. Starting at the outer edge of the petal, lay the brush flat to make a nice rounded edge and pull in towards the center to a point. Dot the center with M.

Accent Strokes: Follow the line drawing for color placement and add the strokes along the sides with the #5 round brush. The strokes along the flower stems are added with the #3 round brush. The center dot on the outer strokes is Lt. Avocado. Highlight the top of this dot with Jade Green. Border: Use the Silver Leafing Pen to add the edge around the plaque. Hold the pen so it overlaps the edge slightly. This give it the look of a nice border across the edge of the plaque. Finishing: Remove any remaining transfer lines. Following manufacturer’s directions, varnish with 2-3 coats of Polycrylic. When completely dry, using the E600 glue, add the crystals here and there on the plaque.


Line art is at 100%


Line art is at 100%


Tips for the Perfect Stroke By Marlene Fudge CDA Practice, practice, practice. I heard this all the time whenever I read anything about perfecting my stroke work. I thought to myself, how many times can you paint the same stroke over and over? There really is no correct answer to that question, but they were right! As I started painting them over and over, my strokes felt more comfortable and I found a technique that worked for me. I have gotten frustrated when they don’t work perfectly some days, and some days every one of them is perfect. Here are few tips that have helped me in my journey to the perfect stroke. Tip #1: Sit in a comfortable position at your painting table. If you are too high in your chair or to low, it is hard to move your arm freely to pull the stroke. To make it more fluid, the motion should come from your whole arm and not just the hand. Rest only your pinky on the surface as support while you pull each stroke with your shoulder and arm. Tip #2: Fresh paint! Always make sure you have a fresh puddle of paint on your palette. Add some water to your brush and dab onto a paper towel. Fully load the brush with paint. I like to make a little runway off the paint puddle as I load my brush evenly on all sides. You don’t want any globs in the brush. Tip #3: The brush that you are using will depend on the type of stroke you are making. Rounds, Flats and Filberts are some that I use. As you practice, you will find your favorite brush that is comfortable for you. I will use a typical comma stroke and a Round brush as my example. After you load your brush, lay the brush on the surface with enough pressure to make nice rounded edge. With your pinky as your guide, pull the stroke in a smooth curve while lifting up off the surface so that the brush returns to its natural formation. In this case the point of the round brush.

Tip#4: This is where the practice comes in! Everyone has a stroke direction that works better and is easier to pull. When you practice, try large and small strokes and different directions. Experiment by turning your surface in different directions if it feels more comfortable. (I have painted many designs with my surface upside down!) I hope these few tips have helped make stroke work a little easier for you. Get out your practice sheets and play! 78


by Chris Haughey This Gnome knows that a single rose is the perfect Valentine’s Day gift! 80

Surface x William Plaque 10” x 7-1/2” 31-L155 Project Supplies: All Supplies are available from x Heart Stencil 09-19024 x Cling Grunge Script Stamp Set 46-23745 Includes Postmark Stamp and Scroll Stamp x Acrylic Stamp Handle 46-18689 x Canary Tracing Paper 28-03838 x Double-Ended Stylus 03-11183 x Graphite Transfer Paper 28-31011 x Mono Zero Eraser 18-57305 x Painter’s Tape 16-03680 x Sandpaper Pack 29-12347 x Specialty Sponges, Set of 2 46-32227 x (Optional, White Uni-ball Pen) Paints: DecoArt Americana Acrylics: x Burgundy Wine 13-DA022 x Dried Clay 13-DA356 x Light Buttermilk 13-DA164 x Open Water 13-DA374 x Payne’s Grey 13-DA167 x Plantation Pine 13-DA113 x Sea Glass 13-DA297 x Slate Grey 13-DA068

x x x x x

Snow White 13-DA01 Soft Black 13-DA155 Vintage Pink 13-DA369 Warm Beige 13-DA078 Whispering Turquoise 13-DA305

Fluid Acrylics x Quinacridone Violet 13MFA34

Mediums: DecoArt x Americana Matte Spray Sealer/Finisher 13-41370 x Multi-Purpose Sealer 13-07930 Brushes x Chris’s Awesome ½” Angle 03-925-1/2 x Chris’s Epic 18/0 Script Liner 03-924-18/0 x Chris’s Radical #5 Round #5 03-927-5 x Chris’s Spectacular #3 Stencil Brush 03-926-3 x Angle 1/4”, ½” 03-1345-1/4 x Angle ¾” 03-M77A-¾ x Filbert #6 03-1387-6 x Oval Wash ¾” 03-1318-¾ Preparation: With large specialty sponge, seal surface with a coat of Multi-Purpose Sealer and lightly sand. Using same sponge, basecoat surface of plaque with Light Buttermilk. Trace pattern onto tracing paper. After the background has been created, lightly transfer the main pattern lines using the transfer paper and stylus. Transfer details as needed. Stamping: Attach cling stamp to acrylic handle. Load large specialty sponge with selected paint. 81

Tap sponge on palette to disperse paint evenly across bottom of sponge. Apply a thin, even layer of paint onto stamp. Position stamp on surface and press to imprint. Reload stamp with paint after each stamping. Important Note: When Stamping with paint, too much paint will make the image blurry, while not enough will result in an incomplete stamping Painting Instructions: Background: The background design is created using a collage of stamping. Following stamping instructions above, attach larger, script cling stamp to acrylic handle. Apply Soft Black to stamp and imprint image randomly over background. Using different angles will create a more interesting result. Remove script stamp and replace with round post mark stamp. Using Soft Black, imprint stamp in void areas on the background. The round shape will break up all the script and add diversity. The smaller script stamp is used off the handle. Coat stamp with Soft Black, press sections onto the background to complete the design. Because this stamp has a minimal design, a little overstamping will not become too busy. (Figure 1) Fig 2

Fig 1

Washes are used to tone down the stamped background. Load Oval Wash with thinned Sea Glass. Using a slip-slap stroke, quickly cover random areas on the background. While still wet, load dirty brush with thinned Whispering Turquoise. Slip-slap over background to fill, blending softly. Brush strokes may be visible but not spotted. (Figure 2) Using ¾ angle, float thinned Quinacridone Violet around the outer edge. Deepen shading with Payne’s Grey and ½ angle.

Gnome Hat: Basecoat hat Whispering Turquoise using filbert. With ½ angle, shade Open Water down right side, along bottom of folds, and base of hat. Darken shading with Quinacridone Violet and deepen with Payne’s Grey using ¼ angle. Highlight top and left side with Snow White. Use stylus and Snow White to add dip dots. Beard: With ½ angle and Slate Grey, base beard. Load Radical Round with Snow White to stroke hairs down beard, two coats work best. Shade below nose, down right side, along bottom, and below hat with thinned Soft Black. Load Epic Script Liner with Snow White to add finer hair detail and brighten beard.


Nose and Arms: With filbert, basecoat nose and arms Warm Beige. Shade bottom and right sides of all with Dried Clay and ¼ angle. Highlight top and left sides using Snow White.

Sleeves: With ¼ angle, basecoat sleeves Whispering Turquoise. Shade bottom, right sides, and inside sleeves Open Water. Deepen shading with Quinacridone Violet and darken with Payne’s Grey. Highlight top and left side with Snow White. Shoes: With filbert, basecoat shoes Slate Grey. Shade bottom and right side with Soft Black. Deepen shading with Payne’s Grey. Highlight top and left with Snow White. Floor: Load toe of ½ angle with thinned Quinacridone Violet to float along top edge of floor, continuing down below shoes and beard, keeping shading strokes horizontal. Darken floor below shoes, b beard, and right side of gnome with thinned Payne’s Grey. Heart Position heart stencil and secure with painter’s tape. Load stencil brush with Vintage Pink. Wipe brush over a paper towel to remove excess paint and stencil heart. Shade Burgundy Wine along the bottom, up right side (around hand). Load Epic Script Liner with Snow White to line plaid stripes. Deepen shading with Quinacridone Violet. Highlight top and left with Snow White. Use stylus and Snow White to dip dot around outer edge. Rose With filbert, basecoat rose area Vintage Pink. (Fig1). The roses are a simple combination of double loaded strokes. Load toe of 3/8" angle with Snow White and heel with Burgundy Wine, blend on palette. (Fig 2)

Fig 1

Fig 2

Starting with the back petals, create two “frown” strokes almost an “m”. Next, create the center of the rose. Reload brush as needed. 83

Paint a “frown” stroke for back of bud and a “smile” for the front.

Fig 3

Starting at the back on each side, touch brush down, pivot out and around to create the side petals, keeping light color always at the tip of the petals, swing brush out and around to the center of the rose. Paint the front bottom petal with a “smile” stroke, below the center bud. (Fig 3) Reload brush and use toe of angle to pull in small petals around center bud area to fill. With Awesome A Angle, shade Quinacridone Violet in Fig 4 ce t l center of rose, and along the base of flower petals. ( (Fig4) Load Epic Script Liner with Snow White to highlight tips of petals. Load Epic Script Liner with thinned Snow White to enhance and brighten tips. With stylus, add three Snow White dip dots in center of rose. St Stem With R Radical Round and Plantation Pine, paint stem and leaves. Pick up Sea Glass on dirty brush to lighten top, left side of leaves and stem. Use Awesome Angle and Snow White to highlight top of leaves. With same color and Epic Script Liner, line veins and add a highlight down left side of stem. Deepen shading on bottom and right side of leaves and stem with Quinacridone Violet. Shadowing: Load Radical Round with thinned Quinacridone Violet to paint a transparent shadow below and to the right of hat, body, shoe, rose and left arm. Stamped Frame: Attach scroll stamp to acrylic handle and coat with Snow White. Following stamping instructions above, stamp design around outer edge. Finishing: Remove all tracing lines and following manufacturer’s instructions, spray seal with several coats of matte spray varnish, allowing appropriate drying time between coats. Tip: If the stamped design around the outer edge is too subtle or incomplete, the design may be

strengthened by using Snow White and Epic Script Liner or White Uniball Pen to enhance. Trying to "double stamp" to get a stronger or brighter imprint is very difficult. It is much easier to touch up with paint or pen."


Line Art is at 100%


Nico‌ The Face of Wisdom and Love By Elisabetta De Maria, CDA Dearest painting friends, for a long time, I had noticed photos of this handsome cocker spaniel. When his owner Laura contacted me to ask that I create his portrait, my heart was filled with joy. Nico’s handsome face reflects deep wisdom and his soulful eyes shine with love. It is my hope that I have captured his essence with this portrait. I truly hope you like it! Happy Painting my friends!


Supplies: All paper and pencils are available from x Graphite Paper x Hb2 Pencil x Rubber Eraser x Pencil Sharpener x Paper Napkins or Lint Free Paper Towels x Blending Stumps Surface: Your Choice x Brown Mat Board x Art Spectrum Colourfix Coated Pastel Paper Stabilo CarbOthello Pastel Pencils x 105 Ivory x 205 Neutral Yellow x 210 Orange Yellow x 585 Olive Green x 610 Raw Umber x 615 Dark Ochre x 625 Burnt Umber x 635 Bister x 642 Caput Mortuum Violet Light x 670 Burnt Sienna x 675 French Red Ochre x 681 Flesh Tint Light x 690 Golden Ochre x 706 Gray 4 x 726 Cold Gray 4 x 750 Neutral Black

Caran d’ache Pastel Pencils x 009 Black x 011 Pale Yellow x 046 Cassel Earth x 052 Saffron x 064 Medium Russet x 068 Herculanum Red x 069 Burnt Sienna x 093 Violet Gray x 408 Dark Sepia x 542 Light Flesh 10 x 719 Dark Phthalo Green x 901 Chinese White Bruynzeel Design Colored Pencils x 27 Yellow Ochre x 46 Sanguine Soft Pastel Rembrant x 627,2 Cinnabar Green Deep x 620,5 Olive Green

Important Tips: x x x x x

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

Preparation x After placing the photo on the pastelmat, place the sheet of graphite paper in the middle, graphite side down. x With a pencil or stylus trace over all the guidelines, contours and details. x Place the colored photo next to your sheet so as to check step by step all the details.


Eyes As I explained before, it is preferable to start with the left eye (looking at the front photo). The other eye will be painted after painting half of the face. With the pastel Carbothello n 750 draw the shape of the pupil and fill the interior with the same color. With the same color outline the shape of the eye. To work the iris, I used many colors because I noticed that it had really many shades inside. Work the inside of the eye starting from the darkest points with Carbothello pastels 625 and 610. Blend the clear part with Carbothello n 615 and gradually darken using Carbothello 635 and 750 (lightly). Blend with the smudge. Lighten lightly with Carbothello n 726 and 706. Use the smudge to blend the inside of the eye. Making the light spot with Caran D’ache Titanium White. (See Fig 1) Work the part under the eye with Carbothello 750 and blend with 625 and 726. Illuminate the corner by painting an oblique line with Carbothello 706. (See Fig 2)

Fig 2 Fig 1

Fur: Remember to always follow the direction of the fur growth. I always use many colors to create nuances so you should keep the colors listed below in hand or close at hand.


Work the upper part of the eye with Carbothello 625.

Fig 3

Start painting the top with Bruynzeel n 27. Now work with the following colors listed to start to gradually darken: Caran D’ache n 052, Carbothello 675, 670, Caran D’ache 069 and 064. Fade with your fingers. Darken the part near the eye more with Caran D’ache n 046 and 408. Illuminate the upper arch, previously painted with Bruynzeel n 27, with Caran D’ache n 052 and 011. Add some touches of Caran D’ache n 068 to the lower part. Light up more with Caran D’ache Titanium White and give some touches of Carbothello n 205. Fade with your fingers. Repeat again with Caran D’ache Titanium White. (See Fig 3) Work the dark inner part again with Carbothello n 670 and 675 until the final color is obtained. Illuminate again with Caran D’ache n 068. Fade with your fingers. Work the clear part again with Caran D’ache n 011. These are the colors that I used, logically not all together: learn to distribute them where they are needed. Darken further lightly close to the eye with Carbothello n 750. Now let's work under the eye: Start painting with Bruynzeel n 27 and immediately pass over Caran D’ache n 052. Work the light spot at the bottom with Caran D’ache 068 and lighten with Carbothello 681. Now work the remaining part with the following colors listed to start Fig 4to gradually darken: Carbothello 675, 670, Caran D’ache 069 and 064, Carbothello 625. Illuminate with Caran D’ache n 068. Fade with your fingers. Looking at the photo, darken more with Caran D’ache n 046 and 408. Illuminate with Carbothello n 210 and resume the central part with Caran D’ache n 068.


Fade with your fingers. (See Fig 4) Start painting the mustache with Caran D’ache n 011 (it doesn't matter if they will be erased by fading with your fingers, you will pick them up again each time). Spot light under the eye with Caran D’ache Chinese White. Start painting the left ear with Bruynzeel No. 27 creating the fur lines. Outline with Carbothello 625 and reinforce with Caran D’ache n 046. Now we need to create the true coloring starting to shade with Carbothello 625 near the snout. Always pay attention to the direction of the fur. (See Fig 5) Fig 4

Fig 5

Work in succession passing over this part, in a light manner, the following colors: Caran D’ache n 052, Carbothello n 675, 670, Caran D’ache n 064. Fade with your fingers. Lighten with Bruynzeel n 27 and darken where necessary with Caran D’ache n 069. Light up again with Carbothello n 681 and give some touches with Caran D’ache n 068. (See Fig 6 below)


Fig 6

Paint the outside (illuminated by the sun) with Caran D’ache n 011. Blend each time with your fingers. Increase the light with Caran D’ache Titanium White. Continue to work the inside to lighten with Carbothello n 690, 615, Caran D’ache n 068 and 542. Reinforce the dark parts with Carbothello n 670, 625, Caran D’ache n 069, 046 and 408. Now we paint the angle above the eye with the following sequence of colors: Bruynzeel n 27, Caran D’ache n 052, Carbothello 675, 670, Caran D’ache n 064, 069, Carbothello 625. Fade with your fingers. (See Fig 7 ).

Start to light up with Caran D’ache n 068, pass again 052 and continue with Carbothello 690

Fig 7

Overlap the Carbothello 105 in the upper part with this last color. Darken again with Carbothello 670 and Caran D’ache n 046. Illuminate the upper part with Carbothello n 210. Paint the outside (illuminated by the sun) with Caran D’ache n 011. Blend each time with your fingers. Blend the light color of the light with the color of the fur with Caran D’ache n 068, 052 and Carbothello 690. Fade with your fingers. Light up with Caran D’ache 542 and 011 again.


Increase the light with Caran D’ache Titanium White. (See Fig 8)

Fig 8

Paint the right eye using the same colors as the left eye. Work the dark parts above and below the right eye with Carbothello 625 and Caran D’ache 046. Blend with Carbothello 642, then with Caran D’ache 069 and go over again with Carbothello 642. Always pay attention to the direction of the fur. Paint the fur over the eye with Bruynzeel n 27 and then work with Caran D’ache n 052, Carbothello 625 and 670. (See Fig 9) Fig 9

Strengthen the arch over the eye first with Caran D’ache n 046 and later with Carbothello 750. Continue to work the fur with Caran D’ache n 069, 064 and Crbothello 625. Fade with your fingers. Now work on the brightness with Caran D’ache n 068, 052 and Carbothello 690. Paint the brightest part with Caran D’ache n 011. (See Fig 10) Fig 10


Work the whole head with these same colors: Bruynzeel n 27 and then work with Caran D’ache n 052, Carbothello 625 and 670. Continue to work the fur with Caran D’ache n 069, 064 and Crbothello 625. Fade with your fingers. Now work on the brightness with Caran D’ache n 068, 052 and Carbothello 690. Illuminate with Caran D’ache n 542. Paint the brightest part with Caran D’ache n 011. Blend the fur with the luminous part using Carbothello 690, 615, Caran D’ache 542. Fade with your fingers. Continue with Caran D’ache 011, Bruynzeel n 27, Caran D’ache n 052 and Carbothello 210. Fade with your fingers. The small spot on the forehead is painted with Bruynzeel n 27 to which Caran D’ache n 068 and 011 and 542 is superimposed. The pink line at the corner of the right eye is painted with Carbothello 642, to which the n 681 is passed over. (See Fig 11) Fig 11


Nose Begin the nostrils and the central line with Caran D’Ache 009 and the remaining part of the nose with n 408 and 046. (See Fig 12, Below) Illuminate with Carbothello n 642, 726 and 706. Darken light areas slowly with Carbothello n 750. Light up the top with Caran D’Ache Chinese White. Following the photo, work again with Carbothello 726 and 706. Darken where necessary with Caran D’Ache 009. Paint the outer fur with Caran D’ache Titanium White and the fur above the nose with Caran D’ache n 068. (See Fig 13) Fig 12

Fig 13

Now work the upper part of the muzzle starting from Bruynzeel n 27. Continue overlapping colors with Caran D’ache n 052 and 675. Looking at the photo, illuminate with Caran D’ache n 011. Work near the nose with Carbothello n 670 and Caran D’ache n 046, 069, 064 and Carbothello 625. Gradually illuminate using Caran D’ache n 068, 052, Carbothello n 690. Fade with your fingers. Strengthen the very light part with Caran D’ache 011 and further illuminate with Titanium White. Give some touches of Carbothello n 205. Paint the dark furs on the nose with Carbothello 670. Continue to lighten to obtain a fusion of colors with the forehead with Carbothello 210, Bruynzeel 27, Carbothello 615 and Caran D’ache 542. Start giving a veil, where necessary, with Carbothello 675 to give the tan color of the fur. Begin to paint the attachment of the right ear always starting with Bruynzeel n 27. Follow with Caran D’ache 052, 068, 542 and Carbothello 681.


Paint the luminous upper part with Caran D’ache n 011. ( See Figs 14 and 15)

Fig 14

Fig 15

After painting with Bruynzeel n 27 and Caran D’ache n 052, work the darker part overlapping the previous colors Carbothello 675, 670, Caran D’ache 069.064 and Carbothello 625. Standardize the light part with the dark part using Caran D’ache n 068, Carbothello n 690, Caran D’ache n 011 and light with Titanium White. Paint the long furs of the right ear with Bruynzeel n 27 and superimpose on this color Caran D’ache n 068. Outline with Carbothello n 625 and Caran D’ache n 046. Now work with Caran D’ache n 052, Carbothello 675, 670, Caran D’ache n 069 and 064. Fade with your fingers. Individually illuminate ear fur with Caran D’ache 068, Carbothello 690 and Caran D’ache 542. Strengthen the shading with Caran D’ache n 046, 408 and Carbothello 750 (lightly). Now paint the cheek under the right eye always starting with Bruynzeel n 27 and then Caran D’ache n 052. Shade with Carbothello 675, 670, Caran D’ache 069.064, Carbothello 625 and 615. Illuminate with Caran D’ache n 068, Carbothello n 690, Bruynzeel n 27. Fade with your fingers. Continue to light up with Carbothello 690, Caran D’ache 052, Carbothello 210 and Caran D’ache n 542. Reinforce the shading near the ear with Carbothello n 675, 625 and Caran D’ache n 069 and 046. Continue to work with colors until you get the final result.


Paint under the nose always starting with Bruynzeel n 27 and then Caran D’ache n 052. Shade with Carbothello 675, 670, Caran D’ache 069.064, Carbothello 625 and Caran D’ache n 046. Darken the central part with Caran D’ache n 408 and Carbothello 750. Paint the furs down near the mouth with Caran D’ache n 068. Illuminate with Caran D’ache n 068, Carbothello n 690, Bruynzeel n 27. Fade with your fingers. Continue to light up with Carbothello 690, Caran D’ache 542 and 052. Strengthen the dark parts with Caran D’ache n 069 and 064. Paint the mouth with Caran D’ache 046 and shade with 069, 408 and Carbothello 750. (See Fig 16) Fig 16


Next, paint the chin with the same sequence of colors: Bruynzeel n 27 and then Caran D’ache n 052. Shade the dark parts with Carbothello 675, 670, Caran D’ache 069.064, Carbothello 625. Illuminate the light parts with Caran D’ache n 068, Carbothello n 690, Bruynzeel n 27. Fade with your fingers. Continue to light up with Carbothello 690, Caran D’ache 542 and 052. Strengthen the dark parts with Caran D’ache n 069, 064 and 046. Continue now, starting from the left, to paint the long furs of the ears and chin following the colors listed above: Bruynzeel n 27 and superimpose on this color Caran D’ache n 068. Outline and paint the dark parts with Carbothello n 625 and Caran D’ache n 046. Now work with Caran D’ache n 052, Carbothello 675, 670, Caran D’ache n 069 and 064. Fade with your fingers. Individually illuminate ear fur with Caran D’ache 068, Carbothello 690 and Caran D’ache 542. Strengthen the shading with Caran D’ache n 046, 408 and Carbothello 750 (lightly). Paint the body with Bruynzeel n 27 and then Caran D’ache n 052. Fig 17


Shade with Carbothello 675, 670, Caran D’ache 069.064, Carbothello 625 and 615. Blend with the fingers to obtain a uniform color under the ear. (See Fig 17 and 18) Fig 18

Illuminate by creating lines down with Caran D’ache n 068, Carbothello n 690 and Bruynzeel n 27. Fade with your fingers. Continue to lighten with Carbothello 690, Caran D’ache 052 and Caran D’ache n 542. Light with Caran D’ache n 011 and reinforce with Titanium White . Reinforce the shading near the ear with Carbothello n 625 and Caran D’ache n 069 and 046, 408 and Carbothello 750. Continue to work with colors until you get the final result. Proceed to the right continuing to follow the colors listed for the ear. (See Fig 19, below)


Fig 19

Remember, after applying the dark colors, always fade with your fingers.

(Detail photos on the next pages) Illuminate everything with Bruynzeel n 46 to increase the tan of the fur. Paint mustaches with Caran D’ache n 542. Now blend with your fingers following the direction of the fur without touching the eyes and nose. Paint the background with Caran D’ache n 719 near the fur and Pastel Soft Rembrandt 627.2. Blend with 620.5. To protect your work, place it in a glass frame. Have fun! Elisabetta






Enlarge or Reduce Line Drawing as needed



By Jane Allen Š 2019 How can you not fall in love when your handsome frog prince, AKA Freddy, comes bearing candy and flowers? As a princess, you look ravishing in your new dress with flowers sprinkled in your hair. Your prince is ready to sweep you off your feet with a night to remember. Everything is perfect and you can feel the magic in the air.


To make learning to sculpt this pattern has a link to several brief videos. You can watch a video, do the step and then move onto the next step. You will find the videos here: Editor’s note: Jane’s videos will transport you into her whimsical world and show you how much fun it is to pair QuikWood sculpting with painting! Supplies x 4 – 3” lengths 1/8” dowel x 2 – 2 ½” Styrofoam eggs x 1 – 4” Styrofoam ball x 2 – 2-ounce tubes QuikWood, x Small Heart shaped clay cutter ( x Kemper Tools – Flowers x Salt Container x Scrape book paper of choice 5 ¼” x 11 ½” x ½ yard tulle of choice x ½ yard of ribbon of choice Project Supplies x Parchment Paper x Avon Silicon Glove Hand Cream x Super Glue Gel x Basic Painting Supplies x Timer (optional but easier) Paints: DecoArt American x Aqua Sky x Blue Harbor x Bright Salmon x Burnt Sienna x Cadmium Yellow x Deep Burgundy x Evergreen x Green Lagoon x Hauser Medium Green x Lamp Black

Tools: x Cutting Blade or Old Knife x Exacto Knife x Sculpting Tools or Pencil x #03 Micron Pen x White Chalk Pencil x x x x x x x x x x

Margarita Mermaid Tail Moon Yellow Poodleskirt Pink Raw Sienna Spiced Pumpkin Tangerine Warm White Whispering Turquoise Wild Berry

Dazzling Metallics: x Emperors Gold Mediums: DecoArt x Adhesion Medium x Extender x Spray Sealer/ Finisher Matte x Decou-Page – Matte

Brushes: Lowe Cornell x #1, #3 Round (Series 7000) x #2/0, #6/0 Liner (Series 7350), x #1/2" Angular Shader (Series 7400) x #3/8” Crescent (Series 247)


Sculpting Instructions Sculpting Tips: x 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. x 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 of QW needed for the next step. Always make sure your QW is thoroughly mixed or it will not cure. x Before painting wipe surface with baby wipe to remove any excess oils. Mix any color paint (I usually use Burlap because it is the same color as the QW) with Adhesion Medium and apply to QW areas of project. Frogs: Getting Started: See Video Mix 1/4” QW and roll into a ball. Gently flatten with palm and pinch edges between fingers to flatten. Lie on top of head (pointy end of egg) and gently pat into pace. Blend edges onto Styrofoam. Allow to cure. Repeat for other frog. Frog Legs: See Video Mix 1/8”of QW and divide into 2. Pick the nicest side for the face and then line up and insert two dowels into bottom. They should be about ½” apart at the top and go out a little at the bottom. Roll piece of clay into a 1” coil and wrap around the top of the leg. Blend top edge into Styrofoam and then blend clay down on leg. Use extender if needed. Allow to cure. Repeat for other frog. Eyes and Covering Body: See Video Mix ¼” of QW and pull off two small balls about ¼” to make eyes for frog. Make sure they are the same size. Place on top front of face and then gently pat into place. With remaining clay pull off a small piece and pinch and flatten and then place on Styrofoam until all the Styrofoam is covered. Mix up additional clay if needed. Allow to cure. Repeat for other frog. Freddy’s Coat Tails: See Video Mix 1/8” of QW and roll into a coil about 1 ¼” long. Lay parchment paper over pattern and flatten onto pattern filling in the shape. Cut down center with Exacto knife. Allow to sit 5 minutes. Lift tails from paper and attach to back of frog. Blend top back onto frog. Bend tails up, keep checking until they cure. Flowers and Candy: See Video Mix 1/8” of QW and roll into a ball and flatten. Using small heart cutter cut out, this will be your box of candy. Reroll excess clay and flatten. Using two smallest flower cutters cut out flowers. Keep rerolling and cutting out flowers until you have used all your clay. Press tool or pencil in center of flowers. To make bouquet mix up 1/8” of QW and divide into 4. Roll one of the pieces into a coil about 1 “long. Using exacto knife press small lines into coil to resemble stems. Take second piece of clay and roll into a ball and attach to the top of the stems. Pull off small pieces from remaining clay and roll into a ball, then into a small cone. Flatten cone to make leaf and attach to ball. Begin adding flowers and small leaves. If you want more flowers above the others roll a small ball and place between flowers attaching flower to top. 108

Finishing Freddy’s Jacket: See Video Mix 1/4” of QW and roll into a coil about 5” long. Lay center of coil to back of neck and bring around to front positioning the coil as you would like the collar to lie. Once you are satisfied, begin pressing and flattening collar. Using exacto knife, place notch on each side to form lapels. Use one notch to make a leaf and place on his left lapel and then press a flower in place. Divide other clay from notch and divide into 2. Roll into buttons and place on coat. Freda’s Arms: See Video Mix 1/4” of QW and divide in 2. While waiting 5 minutes, draw around waist of body where the top of the skirt would be. Place a piece of parchment paper up to line and secure with tape or staple. This is to prevent the arms from sticking to the body so you can slip the skirt in place. Roll each piece into a coil about 2 ½” long. Flatten ends of hands. Using pointy tool, divide hands in three by pushing up at two points. Then pick up and shape with your fingers. Place arms on each side and gently press top of arms in place. Bend at elbows and have hands connect like she is awe of the candy and flowers. Shape arms making sure they are standing out where skirt would touch. Note: to make it easier I would paint the flowers, heart, and body before attaching the arms. I would also skip ahead and add the feet to both characters and the halo to her before painting. Freddy’s Arms: See Video Mix 1/4” of QW and divide in 2. Wait 5 minutes. Roll each piece into a coil about 2 ½” long. Flatten ends of hands. Using pointy tool, divide hands in three by pushing up at two points. Then pick up and shape with your fingers. Mix up a sliver of QW to attach flower and candy to him. The flowers will be in his right hand and the candy under his left arm. Place arms on each side and gently press top of arms in place. Bend right hand at elbow, attach flowers to body with QW and wrap hand around stem. Place box of candy on body and bend left elbow and wrap arm over bottom of candy with hand on side. Allow to cure. Adding her Flower Halo: See Video Mix sliver of QW and pull off half. Roll into coil about 1 ½” - 2 “long. Lay coil on her head and wrap around into a circle. Pull off small pieces of clay and roll into a ball and then a cone. Flatten cones to make leaves and attach to halo then add flowers. Add as many leaves and flowers as you would like. Allow to cure Adding Feet: See Video Mix 1/4” of QW and divide into 2. Stand frog on parchment paper and mark where dowel is on the paper. Roll each piece of clay into a coil about 1” – 1 ¼” long. Let sit 5 minutes. Lie on parchment paper and gently flatten front of coil. Using pointy tool, divide front of feet in three by pushing up at two points. Then pick up and shape with your fingers. Place frog legs into back of feet and use paint bottles to hold into place until it cures. Mix 1/8” of QW and divide into 2. Wrap around bottom on leg next to foot. Blend onto foot and up leg. Allow to cure.


If your frog is not standing straight, mix a sliver of QW and attach small piece to area of foot you need to make higher. Blend into place and allow to cure. Frog House – Getting Started: See Video Cut piece of scrap book paper to the size of your salt container. I cut mine 5 ¼” x 11 ½” which allowed for a ½” of overlap in the back. Use Decou-Page and glue to container. When dry cover paper with another coat of Decou-Page. For roof cut 4” Styrofoam ball in half. Using knife cut off excess Styrofoam from top to create a fat cone shape. Allow a little rim at the bottom. Mix ¾” of QW and roll into a coil that will go around the bottom of the roof. Keep rolling and checking until your coil is long enough. Then press into bottom edge of roof. Keep pressing and flattening, then pull clay up over top and down over bottom to create a smooth edge . Mix ¼” of QW and go around bottom edges of roof. Pull off thin piece on clay and blend into place. Mix ¼” of QW and go around top edge of roof. Pull off thin piece of clay and blend into place. Mix more QW if needed. Frog House – Door & Windows: See Video Trace outline of door and windows on house. Mix ½” of QW. Lay parchment paper over pattern. Roll QW into a coil about the height of the door. Begin pressing and patting to fill in door. Allow to sit 5 minutes. Lift door and place on house. Reshape if needed. For window trim mix ¼” of QW and divide into two. Roll into a coil about 3” long and wrap around window pattern on house. Align and then pat into place. Repeat for second window. For the door trim mix up 3/8” of QW and roll into a coil about 9” long. Pick up and lay center at top of door, then bring down each side and stretch if needed. Align and pat into place. For the windowsills, mix 1/8” of QW and divide in two. Roll into a coil about 1” long. Lay under window and press into place. For the finishing touches mix ¼” of QW. Pull off two small balls a little smaller than ¼”. Roll each into a small cone and place on the top center of door to make heart. Gently pat into place. Pull off small piece for knob and place on door. Pull off two small pieces and roll into a coil for door hinges. On top of door frame pull off small ball and roll into a cone, and place with point up on top of door. Then place two small balls on each side of cone and pat into place. Add two smaller ball s to each side. Pat into place. At bottom of door frame place ball, a little larger than a ¼”. Then add a smaller ball on the outside edge and one on top. Repeat for other side. On top of window frame place small ball smaller than ¼” and place on top center of window frame. Add a smaller ball on each side. Repeat for other window. Add two small balls where


window frame meets sill. Pull off two small balls and roll each into small coil, position on windowsill to make heart. Gently press into place. Repeat for other window. Using tool or pencil point insert into all the balls that were added to the house. Do not add holes to doorknob, center point on door frame and hearts. Frog House – Flower on Roof: See Video To make flower on roof mix 1” of QW and divide into 3 equal balls and mix ½” of QW and divide in two. Turn timer on to 10 minutes once you have the QW mixed up. Lay parchment paper over pattern. Using the larger balls of clay and the large petal pattern; roll piece of clay into a coil with pointy ends about the length of the pattern. Press and pat and fill pattern. Make two more petals the same size using the two larger pieces of clay. Make two smaller petals the same way using the smaller pieces of clay on the smaller patterns. Wait for timer to go off. Pick up petals and place on roof having tips curl up. Pull petals together at top and form into a point. Keep checking tips so that they are curled up. If you have some spaces on the roof that are not covered with clay, mix up a sliver and place on roof. Frog House - Finishing: See Video To attach the roof mix 3/8” – ½” of QW and roll into a coil about 8” long. Place coil on roof starting in front and going to back. Decide the front of the roof and then press onto house. Allow to cure. Mix 3/8” of QW and roll into a coil about 9” long. Allow to sit 5 minutes. Lift coil and starting about 2 “ from end wrap around top of flower with tip going up. Wrap around again and then wave and curl remaining piece of clay. Mix ¼” of QW begin pulling off small balls and place between petals on the roof to resemble stamen. Add about 3 – 5 between each petal, making them different sizes. Go around roof line and place balls randomly the whole way around. Place point of tool or pencil in each. Mix paint with adhesion medium and paint all the areas that have QW on them and inside the windows. Painting Instructions: Basecoat as follows: Green Lagoon - door Margarita - frogs Moon Yellow – door, window, and top of house trim Poodleskirt Pink – flower on top of house Tangerine – roof of house Whispering Turquoise - windows Frogs: Paint with a wash of Evergreen. Use chalk pencil and mark lines for clothes. See Video 111

Freddy: Draw a line from the back of his tails around to the front of the coat under buttons. Freda: Draw a line from the top of her shoulder down the front and back of her arm. On the front, draw line from the top of the shoulder to the other shoulder having it curve down in the front. On the back, draw a line going from shoulder to shoulder with it dipping down in the back. Draw a line around her waist to indicate the bottom of her “blouse”. Float around eyes, clothes and feet with Evergreen. Eyes: Paint lower half of eye Warm White (watermelon shape). Then paint Blue Harbor smaller shape for iris, then a smaller Lamp Black shape for pupil. On left side of each iris paint an Aqua Sky line. Paint Warm White highlight. Paint across top of eye and paint lashes on outside edges of each eye with Lamp Black. Float across top of his eye with Evergreen and her eyes with Aqua Sky.

Cheeks, Mouth and Nose. Line nose and mouth with Evergreen. Make the mouth a wavy line with a little “C” at each end. The nose is two small comma strokes. Drybrush on Bright Salmon cheeks. Freddy: Paint coat Blue Harbor, collar Aqua Sky, and buttons Emperor’s Gold. Paint leaves on flowers and stems with Hauser Medium Green, highlight with Margarita. Paint flower on lapel Cadmium Yellow. Paint flowers in bouquet one each: Bright Salmon, Cadmium Yellow, Poodleskirt Pink, Tangerine and Wild Berry. Paint candy heart Wild Berry and write Be Mine in Warm White.


Freda: Paint top of dress in Bright Salmon and trim with Emperor’s Gold. Paint leaves on flower halo with Hauser Medium Green and highlight with Margarita. Paint flowers Bright Salmon and Cadmium Yellow. Painting House: Door: Drybrush Aqua Sky across top half of door, drybrush smaller highlight with Warm White. Drybrush Mermaid tail on lower half of door. Paint knob Emperor’s Gold. Drybrush top of windows Warm White and bottom Aqua Sky. Line outside of window and divide in 8 with waterproof marker. Paint diagonal Warm White lines across each pane. Float Raw Sienna on frames and yellow trim on top of house. Go over trim here and there with Emperor’s Gold. Line Warm White randomly on window and door trim. Paint hearts Wild Berry and highlight tops with Poodleskirt Pink. Roof: Shade between flower petals with Spiced Pumpkin, strengthen with Burnt Sienna. Wash over stamen with Raw Sienna then Emperor’s Gold. Drybrush Warm White randomly around edge of roof. Flower - Float Down center of each petal twice leaving a space between floats with Wild Berry. Paint dots on petals with thinned Wild Berry. Float around top and between petals with Wild Berry and strengthen with Deep Burgundy. Paint stem with Hauser Medium Green and highlight with Margarita.


Finishing: Following manufacturer’s instructions, apply several light coats of spray varnish. Tutu: To make the Tutu cut three pieces of tulle 6” x 6” and lay them on top of each other. Fold in 4 and cut a circle from one corner of the outside edge to the other at the 1 ¾” mark. Cut down ½” from center point to make inside circle. Pull tutu up on Freda. It should be snug. Glue a few places with Super Glue Gel to secure. The tutu will be standing straight out. Fold tutu down and secure with rubber band or string for a few hours. Cut 18” of ribbon and wrap around waist and tie in a bow in the back. Trim excess.

Jane’s tip: Remember, when you create your Frog House, select a paper you like and adjust your colors to coordinate. Enjoy! If you would like to see more of my work go to my website at



For My Sweet By Sunny Tonini

I love to surprise my special someone with sweet treats – specially the homemade kind. Cupcakes, cookies and chocolate covered strawberries are high on the list! These hand painted goodies are just another way to show your Valentine how much they are appreciated, and without the extra calories! Surface: x 13”x 17” Cotton Hemmed Placemats - available at Dharma Trading Co. ( Project Supplies: x Standard Acrylic Painting Tools x Tracing Paper 116

x x x x x x

Transfer or Graphite Paper Ball Stylus 9” x 12” White Foam Core Board Repositionable Spray Adhesive Masking Tape Tim Holtz Flourish Layering Stencil THS032 – available at Cupboard Distributing (

Paints: DecoArt Multi-Surface Satin Acrylic x Bittersweet x Black Tie x Brown Sugar x Cocoa Bean x Coffee Bean x Coral x Cotton Ball x Dark Scarlet x Fruit Punch

x x x x x x x x x

Green Beret Leprechaun Lipstick Pink Tropics Raspberry Red Hot School Bus Shrimp Vanilla Shake

Mediums and Specialty Products x DecoArt Fabric Medium Brushes: Royal & Langnickel x Soft Grip Short Shader SG155 # 4, 6 x Crafter’s Choice Grip Round 9259 #3 x Stencil Brush 1113 – 3/8” Preparation: Following the manufacturer’s instructions, spray the foam board evenly with the repositionable adhesive, and let it dry/rest for about 5 minutes. Position the placemat on the foam board, and smooth it out with your hands. This will help keep the fabric taut and in place while you paint. Transfer the design onto tracing paper. Position it on the placemat 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 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. 117

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’ 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. Note: These steps are done using a wet on wet technique. Please prepare a moderate amount of the following mixes: Color Mix 1: Color Mix 2: Color Mix 3: Color Mix 4: Color Mix 5:

Coffee Bean + Black Tie (2:1) Bittersweet + Dark Scarlet (2:1) Bittersweet + Black Tie (2:1) Shrimp + Pink Tropics + Cotton Ball (1:1:1) Raspberry + Bittersweet (2:1)

Painting the Table Surface and Background: Use the masking tape to tape off the frame around the design. Make sure to position the tape right over the vertical dotted lines and to go all the way up to the stitching on the place mat. Press firmly along the edges. Table Surface: Using the 3/8” Stencil Brush, apply a layer of Fabric Medium following along the bottom of the entire design. This is to moisten 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. With the same brush, apply Vanilla Shake right up against the bottom of the design and work extending the paint downwards but still within the area with Fabric 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 gets lighter and fades away. Using the #4 Short Shader, apply a small amount of Brown Sugar to shade the area right below the design, and blend it down about halfway into the Vanilla Shake. You want to keep your darker areas close to the design. Corner load the brush with a small amount of Coffee Bean and deepen the shades in the corners and underneath the elements. Background: Position the stencil within the framed area and secure it with masking tape. Load the clean stencil brush with some Fabric Medium and a small amount of Vanilla Shake. Tap it on a paper towel a couple of times to remove the excess, and start working in light, circular movements from the stencil’s edge towards the center. This way, the excess paint gets deposited around the edges and not in the center.


Carefully remove the stencil, and then reposition it to repeat the pattern. The pattern overlaps approximately ½” from the edge, so it becomes a seamless repeating pattern. Continue stenciling around the design until the whole background is stenciled. Cupcake Wrapper: Basecoat approximately half the wrapper with Color Mix 1 using the #6 short shader. Holding your brush up on the chisel edge, apply the fold marks lightly with Cocoa Bean and a bit of Brown Sugar. The lines don’t have to be perfectly straight or even, you can eyeball the placement. Let dry a couple of minutes (while you work on the other half is enough time) and then apply Black Tie to the crevices between the lines to deepen the shade. Highlight the lines with light touches of Cotton Ball using the brush’s edge.

Cake: Basecoat the cake with Color Mix 2 using the #4 short shader, then shade underneath the frosting with a small amount of Color Mix 3. Let dry a couple of minutes. Load the stencil brush with a small amount of Color Mix 3, tap the excess on a paper towel, then tap the color on the cake to create texture. Wipe the stencil brush clean and repeat with small amounts of Cocoa Bean, followed by Brown Sugar (tap in different areas without overlapping). Let dry, then corner load a tiny bit of Cotton Ball and dry brush it around the texture to highlight it.


Frosting: Painting the frosting might seem daunting at first but working on each “swirl” at a time makes it very easy and enjoyable. Before you start, try to “see” each swirl and how they overlap and intertwine each other, starting from the top and working your way towards the bottom. Using the #4 short shader, apply some Cotton Ball to the highlight area, and start adding Coral without covering the highlight. Fill in the remaining area with Color Mix 4. Refer to photos for color placement. With the same brush, shade the dark areas with Fruit Punch and Raspberry (alternating), then deepen the shades in the darker corners with Color Mix 5. Highlight with Cotton Ball.

Cookie: Using the #4 short shader, basecoat the cookie’s outer heart with a mix of Brown Sugar + Vanilla Shake (1:1); shade the outer edge with Cocoa Bean. Basecoat the middle heart with Vanilla Shake. Basecoat the pink heart with a mix of Pink Tropics + White (1:1) and shade it with Fruit Punch. Let dry. Add a touch of water to some Vanilla Shake to loosen up the paint a bit and using the #3 round, decorate the outer heart with scallops and dots. Don’t worry if the color looks a bit faded, it will need to be touched up after it dries. Dip the end of your brush in some Fruit Punch and decorate the pink heart with dots. Let everything dry completely.


Strawberry: Using the #4 short shader, basecoat the strawberry’s sepals with Leprechaun and shade with Green Beret. Deepen the shades with a bit of Bittersweet and highlight with Cotton Ball. With the same brush, basecoat the strawberry’s uncovered area with Lipstick and shade (close to the chocolate covering) with Dark Scarlet. Deepen the shade with Color Mix 2, and use this color and the #3 round to create the seed cavities. Let dry. Using the #6 short shader, basecoat the chocolate-covered area with Cotton Ball and shade the bottom with Vanilla Shake. Let dry. Using the #3 round and Coral, add a few highlights around the seed cavities. Use the same brush and School Bus and tap a small seed into each cavity. Add a tiny bit of water to some Color Mix 2 and with the #3 round, paint the chocolate drizzle. Don’t make the lines too thin, I made them a bit thicker to give them more volume and to be able to highlight later. Let dry and repeat if necessary if the color is not very strong (you want a deep, chocolatey color). After it’s dry, use the same brush and some inky Cotton Ball to add highlights.

Red Rose: Sepals and Stem: Basecoat the sepals and stem using the #4 short shader and Leprechaun, shade with Green Beret. Deepen the shade with a small amount of Bittersweet and highlight with Cotton Ball. Rose: To paint the rose, start with the petals that are in the background and/or underneath, and work your way towards the petals in the first plane (or front) following these steps: with the #4 short shader, basecoat the highlight areas with Lipstick and fill in the remaining area with Red Hot. Shade with 121

Dark Scarlet, followed by Color Mix 2. Highlight with small amounts of Shrimp, followed by Coral. Let dry.

Details and Finishing Touches: Before adding the finishing touches, make sure the paint is dry to the touch. Use small amounts of paint. Frosting: Using the #4 short shader and small amounts of paint, apply Color Mix 5 to deepen the shades, mostly on the right hand side. Rinse and dry the brush well, and apply Cotton Ball to increase the highlights. Cookie: Using the #3 round and thinned Vanilla Shake, go over the scalloping on the cookie’s edge once more. With the same brush and thinned Dark Scarlet, write “Be Mine” or the message of your choice on the pink heart. Strawberry: Using the #3 round and thinned School Bus, add a little more color to the strawberry’ seeds. Rinse the brush and increase the highlights on the chocolate drizzles’ lightest areas with some thinned Cotton Ball.


Rose: Corner load the #4 short shader with a small amount of Color Mix 5 and deepen the shades between the petals. Rinse and dry the brush, then load it with a small amount of Coral, remove the excess on a paper towel and then dry rub highlights on the rose’s lighter areas. As the paint dries and is absorbed by the fabric, you may see areas that need additional shading or highlighting. Your painting is ready! Remove it from the board and let it dry for 72 hours. I would love to share my other hand painted designs with you! Please visit my Etsy shop at



Snow in Love By Deb Mishima A little bit of glitter adds more sparkle to these two, love struck Snowies!


Surface: x 10” Henry Plaque available from Cupboard Distributing No. 31-L154 Project Supplies x Usual Acrylic Tools x Optional - Small Hearts Stencil (purchased from Dollar Store) x White and Grey Chalk Pencil x White Transfer Paper x Ball Stylus Paints: DecoArt Americana Acrylics x Aloe x Antique White x Black Plum x Canyon Orange x Coral Blush x Desert Sand x Fawn x Hauser Medium Green x Heritage Brick x Lamp Black x Light Buttermilk

x x x x x x x x

Light Sage Magenta Mississippi Mud Plum Snow White Soft Sage Sugared Peach Wild Berry

Chalky Finish Paint x Timeless

Mediums: DecoArt x Galaxy Glitter, Black Hole x Galaxy Glitter, Clear Ice Comet x Matte Medium x All Purpose Sealer Brushes: Dynasty Black Gold x ¼” and ½” Angular Shaders Series 206A x #5 Round Series 206R x 10/0 Liner Microns: x 2/0 Pointed Flat x 5/0 X-Long Detail x 10/0 Detailer x Assorted Stencil, Dry Brushes and Scumblers x 2” Palmer White Bristle FSAFIL Series #37036 Preparation: Do Not Sand MDF Based on the surface you are using, if necessary, sand surface until smooth. Apply MultiPurpose Sealer and lightly sand again to knock down any raised grain.


Painting Instructions: Background: Basecoat the background with Chalky Finish, Timeless. Using the Palmer 2� brush and Snow White, lightly drybrush the background. Position the heart stencil on the surface and stencil with Snow White. Lightly apply several coats of Matte Medium. Allow to dry completely between coats. Transfer on the pattern and shade lightly around the design with Fawn. Snowies: Basecoat the faces with Light Buttermilk. Shade around the faces with Antique White. Transfer on the details. With Antique White, shade around the face, inside edge of the eyes, sides of the nose and where the faces touch any of the other pattern pieces. Highlight Snow White along the chin line, above and below the eyes and above the nose. Deepen the shading softly with Mississippi Mud. Drybrush the face with Snow White avoiding the shaded areas. Facial Details: Drybrush the cheeks Wild Berry. Dot the cheeks Snow White. Basecoat the nose Coral Blush. Shade the left side of the nose Heritage Brick. Highlight the rightside Canyon Orange. Line the nose Heritage Brick. Basecoat the eyes Lamp Black. Drybrush a little Snow White. Line and dot with Snow White. Line the eyebrows and lashes Lamp Black. Note: Do not line the hair until after the hats have been painted. Top Hat: Basecoat Lamp Black. Drybrush here and there Snow White to shape. Line the brim and dot the heart Snow White. Basecoat the stripe with Plum. Shade Black Plum around the stripe, walking in from the sides towards the center. Drybrush Magenta here and there. Dot Snow White. Add Hair with Snow White. Holly Berries and Leaves: Basecoat the leaves Aloe. Shade Desert Cactus. Drybrush Light Sage. Deepen the shading with Hauser Medium Green. Line the veins Hauser Medium Green. Drybrush a little here and there with Snow White. Basecoat the berries Sugared Peach. Shade Wild Berry. Highlight Snow White. Deepen the shading very softly with Magenta. Dot Snow White.


Scarf: Basecoat Aloe. Shade Desert Cactus around the button and along the top and bottom of the scarf. Highlight Light Sage under the Snowie’s chin. Deepen the shading Hauser Medium Green. Drybrush Light Sage. Drybrush again here and there with Snow White. Line with Sugared Peach. Basecoat the button with Plum. Shade Black Plum. Drybrush in the middle with Magenta. Dot Snow White. Line the threads Lamp Black.

Headband and Bow: Basecoat the headband with Plum. Shade Black Plum along the bottom and sides walking towards the center. Highlight Magenta along the top. Drybrush Magenta along the middle. Line Snow White. Basecoat the knot with Aloe. Shade Desert Cactus along the bottom and sides walking towards the middle. Highlight Light Sage along the top. Drybrush Light Sage. Deepen the shading with Hauser Medium Green. Drybrush again with a little Snow White. Dot Snow White. Basecoat the bow with Plum. Shade with Black Plum. Highlight Magenta where the inner and outer parts of the bow touch. Drybrush Magenta. Drybrush again with a little Snow White. Highlight again with Snow White. Line with Snow White. Basecoat the inner part of the bow with Aloe. Shade where the inner and outer bow touch Desert Sand. Highlight Light Sage around the outside edges. Deepen the shading with Hauser Medium Green. Drybrush Light Sage. Drybrush again softly with Snow White. Dot Snow White. Add hair with Snow White. 128

Hearts: Basecoat Sugared Peach. Shade Wild Berry. Highlight along the opposite sides of the shaded edges with Snow White. Deepen the shading with Magenta. Drybrush the hearts with Snow White. Line the stitching with Magenta. Dot and shape the tiny hearts with Wild Berry. Shape the hearts by making two dip dots with the ball stylus; immediately take the liner brush and pull down from each dot and join in the middle. Using the same technique, “scatter” little Wild Berry hearts throughout the background. Line the lettering Lamp Black.

Finishing Touches Splatter with Snow White avoiding the faces.

Let’s add a bit of sparkle to this love story. . . Brush on Galaxy Glitter, Black Hole here and there on the top hat. Brush on Galaxy Glitter, Clear Ice Comet to the large hearts. Following manufacturer’s directions, spray several light coats of All -Purpose Sealer; allow to dry between coats.


Line art is at 100%


Calling all artists…. We are now accepting submissions for the

2020 Pixelated Palette Ornament issue! This issue is always an extravaganza of styles, surfaces and artistry! There are only a limited number of spaces.

Guidelines While a “pair” of extravagant ornaments might be nice… we really prefer you submit a set of three, related ornaments! And only because they melt too quickly, no single ornament designs will be accepted. All submissions must be received by April 3rd, 2020 Acceptance emails and contracts will be mailed no later than April 20th Complete instructions and pictures must be received by June 1st, 2020 Send your submissions to 131

Profile for Brenda Dunham

Pixelated Palette January 2020  

Pixelated Palette January 2020