Passing the Paintbrush

A Look into the Historical Florals of Decorative Painting

By Diane Marie Kellogg Part 5-6

How far we have journeyed in our quest to learn about the historical florals of decorative painting. Most of our journey has taken us across Europe. From the Canal Boat Painting and Vardo painting in England to the Tole Painting of France. On to the Netherlands, we learned about the Rosemaling and Hindenloopen styles of painting. Heading East, we voyaged on to Sweden, where we experienced Dala also known as Kurbitz painting. Next, we traveled through the Alps and into Germany, Austria, and Switzerland where the beauty of Bauernmalerei became known to us. Throughout our travels, we were fortunate enough to talk with a few artists who are considered experts in their fields. Our thanks go out to each of these wonderfully talented women for sharing their expertise with us, Part One - Julie Tonkin with Canal Boat Painting, Part Two - Jan Boettcher with Rosemaling Painting, Part Three – Vivica Lammers with Kurbitz Paining and Part Four- Larissa Goncharova with Zhostovo Painting. On our return to the United States of America, we can easily see the influence of all of these floral painting styles among the decorative painting of today. There are many truly talented artists out there who have taken their love of floral painting and helped it to evolve into the lovely floral designs available to us now. Time and the immigration of so many wonderful cultures have brought us to this point in history, our present. For this entry in our series and the conclusion of the same, I decided to interview two of the most popular floral artists now living in the U.S. I have had the pleasure of meeting these awesome ladies, at the ACCI show in Chicago a few years back and more recently at one of the HOOT painting conventions. Let me say I was and am honored. I would like to introduce you to the wonderful artist known as the First Lady of Decorative Painting, Priscilla Hauser. When you meet Priscilla, you cannot help but appreciate her effervescent personality. She exudes positive energy that

encourages one to take a leap of faith and join her! Living the all-American dream, she recalls growing up in Tulsa, Oklahoma amid white picket fences, unlocked doors, and such. It was a different time and according to Priscilla, “the very, very best of times.” Growing up with “bunnies popping out of hats, doves flying everywherePriscilla Hauser. Photo beautiful silk scarves provided by Priscilla Hauser. flying through the air!” it is easy to picture her father, a professional magician,

and entrepreneur. Her mother was the opposite, a geologist, and a concert violinist. Priscilla had dreamed of becoming an artist, she loves color. Her parents, however, had different ideas for their daughter, afraid of her ending up living in some loft in NYC. They did let her go to the Philbrook Art Museum in Tulsa and take courses. She would eventually wind up in dental hygiene school in Dallas, where she was fated to meet the love of her life, Jerry Hauser. They were married a short time later. Loving color, she had painted from a young age with an old set of Prang watercolors. When she was about 12 a fiend received a hand-painted set of furniture which included a camelback trunk, covered with roses. Falling in love with the trunk, she was later given an unfinished trunk and told to paint it herself. She did! After her marriage, she and Jerry moved to Kansas City, Missouri. The local YWCA had a Tole Painting class which she signed up for six weeks she learned to paint in oils with a #5 round red sable brush, lovingly supplied by her mother, sent from Tulsa. From that point on she painted anything she could get her hands on. She started teaching in her garage and later in the back of a Sherwin Williams store. After a year or so she redesigned a little old house, painted it bright red and Priscilla’s Little Red Tole House came to be. Students soon came from all over the world to attend her classes. Her own publishing company and her public television series, The Magic of Decorative Painting, soon followed. In 1972 she founded the Society of Decorative Painters. A second location, Priscilla’s Studio by the Sea in Florida opened, and between both shops and travel teaching, Priscilla kept spreading her magic. When she lost her beloved Jerry about 11 years ago, she closed the doors of her Studio by the Sea but continues to teach privately. Over the years she has had a continual working relationship with the Plaid company. She has “designed, taught painting classes, and made several personal appearances at a variety of trade shows and conventions.” She continues to teach and make appearances for Plaid, along

with former students and friends, Andy Jones, and Chris Williams. Plaid Crafts YouTube channel carries many videos including ‘How to paint a Priscilla Hauser rosebud in 15 seconds.’ The Plaid Crafts Pinterest page has many how-to paint projects from Priscilla. Perhaps her favorite is the Paid ‘Let’s Paint’ program where she works with Andy and Chris on Facebook, teaching others the joys of painting. Inspiration takes many forms and Priscilla has cited music, nature, and animals as some of her inspirations. Animal rescue has become a passion of hers and she is the vice president of the Humane Society of Tulsa. Known for her roses, they are a particular favorite to paint. She loves acrylics, oils, and watercolors and cannot choose a favorite. She plans on continuing her relationship with Plaid and hopes to eventually open an online gallery to sell her paintings. While she has won many awards and is appreciative of all of them, she does say this… “most importantly, my love for painting and massive desire to teach others opened the joys of decorative painting throughout the world.” Perhaps her favorite saying says it all… ‘With brush in hand my mind empties of its sorrows and the beauty in life smiles!’ Next, I would like to introduce you to Donna Dewberry, whose One Stroke painting method

Photos provided by Priscilla Hauser. has opened up a whole new world to so many.

Photo provided by Donna Dewberry.

Born in central Florida, Donna is the oldest of five children. Growing up on a farm, she could not wait till her younger siblings were old enough to help with the chores, particularly milking the cows before school. Married to Marc in 1972 at the age of 18, they grew their family by seven beautiful children. Always wanting a pretty home, she soon decided to repurpose older items with paint and make them new again. She first started painting salt dough ornaments she had created. After a wonderful response from friends, she then went on to handcrafted salt dough Santas and eventually switched to poly-form oven-bake clay. Much larger and more detailed, she sold them at local arts & crafts shows and even earned some awards along the way. A collector of antiques she soon admired the hand-painted china and decided to learn to paint like them. With no patience for the multiple kiln firings and the length of time required she decided to go another route. She found a

Priscilla Hauser book, the rather famous one with the rocking horse on it and began her journey in selftaught decorative painting. New to the terminology in the book, she began multiloading her brush and learning decorative painting. She would later meet Priscilla and become good friends over the years. As she learned she often sold at local craft shows and retail shops. Primitive wood was popular, she would dip her hand-painted pieces in MinWax® Stain and then wipe off the excess. She even sold her wares in large chain stores and at Disney. As time progressed, she developed her techniques for painting flowers easily. Roses being one of her favorites, she worked hard to perfect what has become her most requested and most painted element. After a trip to the Atlanta Gift Mart and a conversation with a tin vendor, asking if he would like hand-painted verses a decal, he told them it just was not possible. That night, they proved him wrong, bringing him a hand-painted sample the next day. A large store buyer was in the booth at the time and immediately ordered multiple designs of Donnas on the vendor’s tinware. Returning home Donna worked on a technique that would allow multiple loading on the brush, to reduce the possibility of lifting paint off the tin using a traditional method. This would become the foundation of what is now known as the One Stroke painting technique. After contracting with the Plaid paint company, the love of One Stroke painting with Donna Dewberry has grown worldwide. Donna calls herself an acrylic artist and her

passion is education. She has a team of Education Leaders and they have certified over 16,000 One Stroke Certified Instructors or OSCI’s, around the world. With multiple levels of learning, there is something for everyone. Her relationship with Plaid has led to some wonderful programs, from Let’s Paint with Plaid® to Flowers of the Month in 2019 and Wreaths of the Month in 2020, be sure to check out the Plaid® Facebook page. The Youtube Donna Dewberry Channel brings some wonderful lessons from Donna, ‘Relax and Paint with Donna.’ www.youtube.com/ donnasdewberry Her Facebook page has a wonderful group that supports and shares. www. facebook.com/groups/donnadewberry You can find her complete product line and education program on her website at www. onestoke.com She and her husband, along with daughter Amanda, run the Dewberry U Art Center in Groveland, Florida. Product sales, art design, and education are all handled here. The Facebook Live Dewberry Show is hosted twice a week or more. Donna also travel teaches. Of course, you can often find her where it all began…at her dining room table, painting, and creating. May you be inspired by this article series and the living florals around us to put brush to canvas and create what you see.

Donna Dewberry and Priscilla Hauser. Photo provided by Donna Dewberry.

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Menthe Peperita

By Barbara Bunsey, CDA

Barbara began painting and teaching over 30 years ago. She’s taught at conferences, conventions, and in her home studio. Early American Life Magazine has named her to the Directory of Traditional American Crafts for over 10 years, and Colonial Williamsburg has commissioned her to paint pieces for its shops. She’s a member of the SDP, Decorative Arts Collection, and Tole Painters of the Western Reserve, where she’s held various board positions. In 2004, Barbara had an ornament selected for the official White House Christmas Tree, and met First Lady Laura Bush. In 2005, Barbara painted an ornament for the Library of Congress’s Christmas tree. In 2008, Laura Bush chose Barbara out of four artists to paint 1,000+ ornaments, which the Bushes used as gifts for family, friends, and White House staff.

SUPPLIES Paints: DecoArt®:

• Avocado DAO52-1 • Blush Pink DA355-3 • Cool White DA240-1 • Desert Cactus DA331-1 • Dove Grey DAO69-1 • Espresso DA271-1 • Light Lime DA348-3 • Light Mocha DA241-1 • Natural Buff DA311-1 • Sea Glass DA297-1 • Slate Grey DAO68-3 • Storm Grey DA328-1 • Titanium White DAO1-1 • Wild Berry DA362-3

BRUSHES:

• FM Black Gold: #10 & #16 Shader • 3/4” Wash Brush • #0 Liner • S, M, L Mezzaluna

SPECIAL SUPPLIES:

• DecoArt® Sealer • Compass • Chalkstone Pencil • Mop Brush

OPTIONAL:

• DecoArt® Varnish

INSTRUCTIONS BACKGROUND:

Sand, seal, sand. Base Light Mocha. Put chalkstone pencil in compass, measure 7/8”, then run the metal point around the outside edge of your surface so you now have a 7/8” line going around the outside edge. Using a brush-mix of Wild Berry + Avocado (approx. 1:1 ½), shade next to this line on the inside of the design using a large brush. When doing a long float, I like to dampen the surface first, then apply the float. The water will help soften the float. You can also use your mop brush to soften. You may need to do this step more than once but be sure to keep it light. Base candy cane edge Light Lime.

MENTHE PIPERITA SPRIG: Note:

Keep this more on the soft side, using light floats of color so as not to over-power the design. Leaves: Side-load a fairly damp brush with Sea Glass, blend, then softly apply to lighter areas of leaves, using a zig-zag motion to create the jagged edge of the leaf. Walk the color lightly toward, but not into, the center vein (keep the vein your background color.) Side-load a fairly

damp brush with Desert Cactus, blend, then

Image 1

softly apply to lighter areas of leaves, using a zigzag motion to create the jagged edge of the leaf. Again, walk the color lightly toward, but not into, the center vein. (Image 1) Repeat, adding soft

Avocado to the darkest areas. (Image 2) If you lost your center vein, lightly paint it in with Light Mocha. Wash over this with VERY THIN Avocado.

STEM:

Line in with very thin Sea Glass on the green sides and Espresso on the brown sides. VERY LIGHTLY line the green edge with a hit-and-miss line of very thin Desert Cactus.

FLOWERS:

Using one of the Mezzaluna brushes (whatever fits the area in which you’re working), dry, pick up Espresso, take out excess on palette, and begin to tap onto flower areas; repeat, adding Wild Berry to dirty brush, going over the Espresso, but letting it show in the “brown” areas; repeat, adding Pink Blush to dirty brush, then adding to the highlight areas. (Image 3) Add more Blush Pink to dirty brush and begin establishing more highlights; repeat, adding Natural Buff to dirty brush, tapping in brighter highlights; repeat, adding Cool White to dirty brush and only adding highlights to the brightest areas. (Image 4)

CUP & SAUCER:

Base Light Lime. Using dry Mezzaluna brushes, dry-brush highlights on cup and saucer with Cool White; repeat, adding Titanium White to dirty brush and applying this only to brightest areas. Be sure to brush horizontally to keep your areas round. (Image 5) Dry-brush shading, using dry Mezzaluna brushes, with Dove Grey, moving this color toward center areas; repeat, adding Slate Grey to dirty brush; repeat, adding more Slate Grey to Dirty brush; repeat, adding Zinc to dirty brush. Again, be sure to brush horizontally. (Image 6) Dampen right side of cup with clean water and, using very thin Slate Grey and liner brush, add cast shadow for string; repeat, adding thinned Zinc to top edge of shadow. (Image 7)

LEAF DESIGN:

Add to cup as for leaves above, using VERY thin paint, keeping it mostly on the outside edges, not walking in—Sea Glass on the lighter areas and Desert Cactus on the darker areas; add a light touch of Avocado to deepen a few areas. Veins are VERY thin Desert Cactus. When dry, dry-brush Cool White, then Titanium White, horizontally over right leaf. Dampen right leaf with clean water, then add a VERY THIN liner of Avocado to continue string cast shadow over leaf. (Image 8)

PINK AREAS:

Base Pink Blush. Be sure to line edge of cup. Use an S-stroke on the cup handle to keep the handle round. Using dry Mezzaluna brushes, dry-brush Natural Blush on highlight areas, again being sure to brush horizontally to keep areas round; repeat, adding Cool White to dirty brush. (Image 8) Add floated shading to stripes on handle and pink area on saucer next to cup, and line in on line around

Image 2

Image 3

Image 4

Image 5

Image 6

Image 7

Image 9

cup edge with Wild Berry; repeat, adding Zinc to dirty brush; repeat, adding a bit more Zinc in darkest areas. Add another light shading of Zinc to handle where it attaches to cup at top and center inside edge. (Image 9) Add a liner of Desert Cactus on saucer between pink and white areas.

Image 8

SHADOWS:

Using dry Mezzluna brushes, dry-brush Dove Grey over all the shadow area, beginning at Line 1; repeat, adding Slate Grey to dirty brush, and adding to area from Line 2 in to saucer; repeat, adding Zinc to dirty brush and adding from Line 3 to saucer. Float shadow under tag with Slate Grey; repeat, adding Zinc to dirty brush, keeping it mostly in the front and front right.

STRING:

Line in with Cool White. Add a liner of Titanium White at the center area near the handle, under the “turn” over the saucer, and where it attaches to the tag. Add a liner of VERY THIN Slate Grey at the top where it goes into the cup, at the center where it curves to the left and at the bottom where it goes over the saucer; repeat, adding VERY THIN Zinc where it goes into the cup and the left side where it goes over the saucer.

TAG:

Base with a wash of Slate Grey; when dry, wash over with Desert Cactus. Edge the front and right side and add lettering with a liner and Light Lime. Add a highlight to right front corner with Cool White. Dry brush highlight to right front corner with Sea Glass; repeat, adding Cool White to dirty brush. Float shade Slate Grey to left and lower left edge and right and top right edge, walking color on left toward center; repeat, adding Zinc to dirty brush. (Image 10)

CANDY CANE EDGE:

This should be based Light Lime. Dry-brush Cool White in center, but a little closer to the design so as not to cut the area in half; repeat, adding Titanium White to dirty brush, keeping this in the center of the highlight. (Image 11) Shade on each side with Dove Grey; repeat, adding Slate Grey to dirty brush and only pulling this on the side next to the design. Add stripes with Blush Pink and an S-stroke to keep the area round. Dry-brush Natural Buff for highlights, being sure to keep this in line with the other highlights. Shade each side with Wild Berry. Green lines are Desert Cactus. Add a line of Sea Glass for highlight, being sure to keep this in line with other highlights. Add a liner of Avocado to each side of line. Shade inside edge with thinned Zinc.

LETTERING AND STRIPE:

Make a brush-mix of Wild Berry + Avocado (approx. 1:1 ½). Add lettering and line separating design and candy cane with liner.

Enlarge or decrease the pattern size to fit the surface of your choice.

Note to reproduction companies/stores: The bearer of the original color magazine has full rights to have this drawing reproduced and enlarged one time for personal use. This notice has been printed in red ink for verification of authenticity.

January Snow

By Diane Trierweiler

The style that I paint in is more impressionistic. When you paint with long handled brushes on an easel, you use less pressure and hence becomes more “artsy”.

I have been painting for 45 years and opened a shop about 35 years ago. I also have been travel teaching to conventions and painting chapters as long as my shop has been open. My husband and family have always been supportive of my goals to teach painting to enjoy it as much as I do. I also have published 15 books, hundreds of packets and brochures and I also have my own brush line. Please visit my site for more information.

SUPPLIES:

SURFACE:

• 14x18 Canvas

PAINTS: DecoArt ®Americana acrylic paints

• Sapphire 099 • Periwinkle 366 • White Peach 024 • Whispering Turquoise 305 • Frosted Plum 335 • Burnt Umber 064 • Raw Sienna 093 • Russet 080 • Soft Black 155 • Blue Haven 318

Traditions: DecoArt® Americana

• Opaque White DAT58 • Indian Yellow DAT11 • Vermillion DAT09 • Naphthol Red DAT02

BRUSHES:

• Deerfoot stippling brush • 3/4 Flat glazing brush

Diane Trierweiler’s signature brushes:

• 10/0 Striper (liner) • #8 long handled tongue (china bristle) • 1/2 tongue (short handle red sable) • Tongue set (2, 4, and 8 short handled red sable tongues)

MISCELLANEOUS SUPPLIES:

• Duraclear® gloss varnish DS128 • DecoArt® Twinkles Glitter DCT1 • DecoArt® Sparkle Snow DS46C • DecoArt® Texture Sand DMM23 • Table easel • Palette knife (for putting background on) • Water tub • Graphite • Wet palette (optional)

PREPARATION:

Use your large palette knife to thinly spread the Texture Sand over the entire canvas. The sand will create the effect of snow. Smooth out the sand, leaving a few bumps and grooves. Let dry thoroughly. Place the pattern on or sketch the land line onto the canvas. The rest of the pattern will be placed on later.

TIPS:

Be sure to use a stiff bristle brush such as Diane’s #8 tongue. You might ruin a taklon or natural hairbrush. You need a stiff bristle brush to force the paint into the canvas and the sand material. The first coat of paint will be a little hard to fill in the surface. Use a lot of paint to work in a wet on wet method (painting wet paint into wet paint). Remember, this is the first coat of paint and it will look unfinished. This is just the underpainting.

PROCEDURE:

SKY AREA:

Paint in the top one third of the canvas with Blue Haven. While the paint is still wet, add some shadows at the top with Periwinkle. Deepen again with a little Sapphire. Use your dirty brush to add a lot of White to paint in the rest of the sky. Blend the paint into the Blue Haven. Wipe the brush off and add touches of White Peach. Use your 1/2 tongue to add tints of Whispering Turquoise (20% paint to 80% water). All skies are always darker at the top and lighter at the horizon.

BACKGROUND SUNNY AREA:

Use your 1/2 tongue brush to scumble in (slip slap) tints into the sky where the sun is glowing on the horizon. This is done with tints of Indian Yellow and Vermillion. Let dry, and add small touches of Naphthol Red. Make sure to blend the colors gently into the background blue. If you need to, you can add a little White to make the blending a little easier. Brush mix a little Frosted Plum and White together and scumble or stipple in the lavender tones that go behind where the trees will be.

DARK AREAS WHERE SHRUBS WILL BE:

Use your #2 tongue and your liner brush with Burnt Umber to place in the background trees. Use your stippling brush to pounce in dark shadows in front of the trees with Burnt Umber plus a little water. This will be along the land line and behind the large tree on the right. Use your stippling brush to stipple in a mix of White Peach and White here and there over the trees in front of the dark shrubs. Use your liner brush with Blue Haven to place in small twigs in front of the Burnt Umber area.

SNOW AREA:

The ground area is painted with Blue Haven. Add in the shadow areas with Sapphire while the Blue Haven is still wet. Add lavender tones with Periwinkle. The highlighted areas are painted in with White Peach. Highlight again with White. Keep layering the ground area with lights and darks until you achiev the look you want. Tint the snow with a little Whispering Turquoise. Use your 2, 4, or 8 tongue brush to base in the trees with Raw Sienna. Add shadows with Burnt Umber, Russet and then with Soft Black. Add some Soft Black for shadows. Highlight the trunks here and there with Indian Yellow and then with White Peach. Add patches of snow on some of the branches with White. The shadows on the ground next to the bottoms of the trees are placed in with Periwinkle. The twigs at the bottom of the trees is painted in with your liner brush using Burnt Umber. Add water to Soft Black and wash in some shadows for the rocks on the right hand corner of the painting.

PEOPLE AND SNOW TRACKS:

Use your small tongue brush to paint the people. The boy has a Raw Sienna hat and it is shaded with Burnt Umber. His coat is Naphthol Red. Shade with Burnt Umber and highlight with Indian Yellow. His pants are Sapphire Blue, shaded with Soft Black and highlighted with White. His shoes are Raw Sienna. The mother’s coat is painted with Vermillion and shaded with Burnt Umber. The coat is Raw Sienna and shaded with Burnt Umber. Highlight with Indian Yellow. Her pants are Sapphire Blue and are shaded with Soft Black. Highlight with White. Her boots are Raw Sienna. Shade them with Burnt Umber. The dog is based in with Soft Black plus White to make a grey. Shade with Soft Black. The footprints are placed in with Soft Black plus water. Shadow in under the people with the same wash.

FINISHING:

Use your stippling brush with Sparkling Snow to stipple in some piles of snow under the trees and along the horizon line. You may want more of the snow in the front of the scene. Use a small brush with Twinkles and paint this on the snow in the trees and wherever you would like some bling. When everything is dry, varnish with one coat of gloss varnish. Enjoy!

Enlarge or decrease the pattern size to fit the surface of your choice.

Note to reproduction companies/stores: The bearer of the original color magazine has full rights to have this drawing reproduced and enlarged one time for personal use. This notice has been printed in red ink for verification of authenticity.

Christmas-Berry Wreath

By Effie Carayannis

I am a passionate artist and designer living in Melbourne, Australia. I specialize in decorative painting, fine art, and mixed media. Creativity has given me a means to escape, fulfilling my days with fun, happiness, and relaxation. It continues to pull me into a whirlpool of color. I have shared my love of art over many years through numerous publications in Australian and international art and craft magazines. I teach at conventions and have conducted decorative painting classes in the community and at major craft shows.

My inspiration for this design came from a couple of stencils. They both have been used in this project. One is used as the background to create a woodgrain effect. The other is initially applied in the usual way, and then built up by adding several layers of painting techniques to develop it into one of the main elements of this project – the berry wreath.

SUPPLIES:

SURFACE:

• Deep edge artist board approximately 23 ½ inch x 18-inch x 1 inch – (available from any art and craft stores)

DECOART® AMERICANA ACRYLIC PAINTS:

• Dove Grey DA069 • Neutral Grey DA095 • Grey Sky DA111 • Winter Blue DA190 • Raw Umber DA130 • Antique Maroon DA160 • Warm White DA239 • Laguna DA350 • Red Violet DA140 • Payne’s Grey DA167 • Royal Fuchsia DA151 • Vivid Violet DA232 • Cadmium Orange Hue DA014 • True Red DA129 • Cadmium Yellow Hue DA010 • Lemon Yellow DA011 • Bright Green DA054 • Mistletoe DA053 • Driftwood DA171 • Black Green DA157

DECOART® TRADITIONS ARTIST ACRYLICS:

• Permanent Alizarin Crimson DAT51 • Naphthol Red Light DAT03 • Naphthol Red DAT02

OTHER DECOART® PRODUCTS:

• Gesso White DMM18 • Americana stencil brushes DABK20 • Americana stencil – Woodgrain ADS306 Americana stencil – Winterberry Wreath ADS401 Glazing Medium DS18 Glamour Dust – Celebration Pink DGD10 Glamour Dust Sprinkle-on Glitter - Crystal DAS37 DecoArt Americana Matte Spray Sealer DAS13

BRUSHES BY LOEW CORNELL®:

• America Painters Series 1 Inch Glaze/Wash • Golden Taklon ¼ Inch Angular Shader

LC7400-1/4 • Golden Taklon ½ Inch Angular Shader

LC7400-1/2 • Golden Taklon #10/0 Liner Brush LC7350-10/0 • Golden Taklon #2 Ultra Round Brush LC7020-2 • Golden Taklon #4 Ultra Round Brush

LC7020-4 • Golden Taklon #4 Filbert LC7500-4

MISCELLANEOUS SUPPLIES:

• Fine grit sanding pad or sandpaper • Painter’s tape • Paper towels • Ruler • Chalk pencil • Tracing paper • White transfer paper • Stylus • Water bin • Eraser

PREPARATION:

Apply two coats of Gesso using the 1-inch flat brush, allowing it to dry and sanding well after each coat.

PAINTING INSTRUCTIONS:

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

BACKGROUND:

Base with two coats of Dove Grey/Neutral Grey 1:1, using the basecoating brush.

Stencilling the background:

The Woodgrain stencil comes in a pack of two. Choose the first stencil (either is fine) and place it horizontally along the top edge of the board, then hold it down firmly; if you prefer, you can keep it in place with a piece of painter’s tape. With the dry stencil brush pick, up a little Grey Sky, wipe any excess paint off on a paper towel, then starting from the left-hand side of the board, gently pounce over the design. Add Dove Grey to the dirty brush, as required, to gradually change the color of the grain as you move towards the center. Next, add a touch of Winter Blue to the dirty brush, again, wipe any excess paint off on a paper towel and gently pounce over the remainder of the stencil. Carefully remove the stencil. Then place the second stencil from the pack and position it directly below the previous stencilled area. Repeat the stencilling process while alternating the stencils each time until you reach the bottom of the board.

Painting the panelling:

With the ruler and the chalk pencil, draw a line between each stencilled panel. Place painter’s tape below each line and seal the edges with Glazing Medium and let it dry. Float to shade above the tape with Neutral Grey, side loaded on the ½ inch angular shader, then remove the tape. Place painter’s tape above the drawn lines and seal the edges with Glazing Medium and let it dry. Float to highlight below the tape with Grey Sky and let it dry. Strengthen the highlight with Dove Grey, and then, remove the tape.

WREATH Stencilling the wreath:

Position the top of the Winterberry Wreath stencil just above the shading between the first and second wood panel in the background while keeping it centered horizontally. Place a piece of painter’s tape on each corner to keep it in place. At this point you can also mask the area where the ribbon will sit, or if you prefer, you can just sidestep the area when stippling. Place Raw Umber and Antique Maroon on your palette. Then using the dry stencil brush, pick up varying mixes of the paint colors with the tip of the bristles. Pounce on a paper towel to remove excess paint, then gently pounce over the stencil. Let it dry, then reload the brush and reapply as required. Remove the stencil.

TIP:

Feel free to add extra twigs and berries to fill any large gaps on the wreath. To prevent paint from drying on the stencil, wash the stencil regularly between applications. If paint is dry, soak in soapy water, then gently use a small soft toothbrush to remove the paint, especially between the corners of the design. This will ensure crisp edges each time you use it. Rinse, then pat dry with a paper towel.

PAINTING THE TWIGS:

Using the liner brush with Raw Umber and Antique Maroon, fill all the areas where the stenciled bridges connect so the design has a continuous flow. Paint over the twigs using varying mixes of the same colors watered down to an ink like consistency. Neaten these up as you go and add in extra twigs as required. Let it dry, then apply a couple more coats of the same colors. Add a little Warm White to the mix and add highlights to the overlapping twigs.

Next, strengthen some of the highlights with Warm White on the dirty brush. Strengthen the highlights once more using Warm White, again, keeping it narrower than the previous highlight. Add some final highlights here and there with a small amount of Laguna. Float to shade the twigs (behind the overlapping ones) with Raw Umber, side loaded on the ¼ inch angular shader.

PAINTING THE BERRIES:

Base all the berries with two coats of Warm White using the round brush that best fits the area. (refer to above image) The berries are painted in three shades of red and are referred to below as follows: Plum (Darkest), Pink, and Red Orange (Warmest). Refer to the main photo for reference of placement. Plum - Base with several coats of Permanent Alizarin Crimson using the round brush that best fits the area. Float to shade with Red Violet,, side loaded on the ¼ inch angular shader whilst referring to the picture for placement. Add a little Payne’s Grey to the dirty brush and float to deepen the shade. Dampen the filbert and remove excess water by dabbing on a paper towel, then pick up a little Naphthol Red Light and add a highlight by lightly dry brushing the color; keeping the highlights a little off center on each berry and referring to the picture for placement. Add a little Winter Blue to the dirty brush, then strengthen the highlight. Keep strengthening the highlight by adding a little more Winter Blue to the dirty brush to create a gradual change of color to the highlight. Pink - Base with several coats of Naphthol Red using the round brush to a solid coverage. Float to shade with Red Violet side loaded on the ¼ inch angular shader whilst referring to the picture for placement. Then deepen the shade with the same color. Dampen the filbert and remove excess water as before, and then, with a mix of Royal Fuchsia/Vivid Violet 2:1, add a highlight by lightly dry brushing the color; again keeping the highlight a little off center on each berry and referring to the picture for placement. Add a little Warm White to the dirty brush, then strengthen the highlight. Keep strengthening the highlight by adding a touch of Warm White to the dirty brush to create a gradual change of color. Brush over each berry with Celebration Pink. Red Orange - With a mix of Cadmium Orange Hue/True Red 2:1, base the berries to a solid coverage. Float to shade with Permanent Alizarin Crimson, side loaded on the ¼ inch angular shader whilst referring to the picture for placement. Next, deepen the shade with the same color. Dampen the filbert and remove

excess water as in the previous berry instructions. Then, with a little Cadmium Yellow Hue, add a highlight by lightly dry brushing the color. Once again keep the highlight a little off center on each berry and refer to the picture for placement. Add a little Lemon Yellow to the dirty brush, then strengthen the highlight. Keep strengthening the highlight by adding a little more Lemon Yellow to the dirty brush to create a gradual change of

color. Add a touch of Warm White to the brush for the final highlight.

TRANSFERRING THE LETTERING AND RIBBON:

Trace the pattern onto tracing paper, then, transfer the lettering and the major outline of the ribbon using the transfer paper and stylus; the remaining detail will be transferred later as you move through the pattern.

PAINTING THE LETTERING:

With a mix of Bright Green/Mistletoe/Driftwood 2:1:1, base to a solid coverage. Then using the same mix and Payne’s Grey 3:1, float to shade with the ½ inch angular shader. Add a little more Payne’s Grey to the previous color mix and float to deepen the shade. Deepen the shade once more with Black Green. Add highlights with Laguna along the left-hand side and the bottom of each letter. Next, outline the lettering with a watery mix of Black Green using the liner. Mix Glamour Dust -Crystal with Glazing Medium and brush over the lettering. Repeat for extra sparkle.

PAINTING THE RIBBON:

Base the ribbon using the filbert with Dove Grey to a solid coverage. Next, transfer the remaining detail from the tracing paper. Base the red stripes on the ribbon with Naphthol Red to a solid coverage. Float to shade with Red Violet/ Naphthol Red 1: touch using the ¼ inch angular shader. Dampen the filbert and remove excess water by dabbing on a paper towel, then pick up a little Cadmium Orange Hue/True Red 2:1 and add a highlight by lightly dry brushing the color in the center of the stripe. Add Lemon Yellow to the mix 1:1 and then strengthen the highlight. Base the green stripes with a mix of Bright Green/ Mistletoe/Driftwood 2:1:1 to a solid coverage. Then using the same mix and Payne’s Grey 3:1, float to shade with the ¼ inch angular shader. Add a little more Payne’s Grey to the previous color mix and float to deepen the shade. Add the highlights in the center of each stripe with Laguna, using the filbert in the same manner as before. Apply a wash with thinned Neutral Grey within the formed ribbon loops. Next, float to shade with Black Green using the angular shader, and then, float to highlight with Dove Grey using the same clean brush. To Define the sections of the ribbon, float to shade using Dove Grey/Neutral Grey 1:1 side loaded on the ½ inch angular shader. Then, deepen the shade with Black Green. Mix Glamour Dust -Crystal with Glazing Medium and brush over the white areas of the ribbon to highlight. Repeat for extra sparkle.

EDGE:

Carefully paint the edge around the board with a couple of coats of Winter Blue.

FINISHING:

Erase any transfer lines, then apply several light coats of Matte Spray Sealer, allowing drying time between coats.

Enlarge or decrease the pattern size to fit the surface of your choice. Enlarge design to 200% per artist.

Note to reproduction companies/stores: The bearer of the original color magazine has full rights to have this drawing reproduced and enlarged one time for personal use. This notice has been printed in red ink for verification of authenticity.