Pixelated Palette March 2020 Issue

March 2020 Table of Contents Patricia Jarrett

Linda Hollander

Jane Allen

Tea Time Fantasy

Home Tweet Home

6-10

39-45

Linda O’Connell TDA

Sharon Cook

Judy Ribitch

47-60

96-100

Sunny Tonini

Lorraine Morison

Understated Elegance

Tea Thyme in the Garden

87-95

Oh, For Peeps Sake

Bubbling Up Tulips

11-20

Sue Cochrane Dusk at the Cottage

Orchids Keepsake Box

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61-68

Pristine Pansies and Lace

102-108

Judy Diephouse

Oval Rosemaling Box

Elisabetta de Maria, CDA Hibiscus

70-75 27-32

Chris Watson

Sharon Bond

34-38

76-84

Art Inspire Note Pad

Easter Egg Express

April Preview

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Editor in Chief: Lindsey Applegate; palettepixels@gmail.com Executive Editor: Susan Mynyk; pixelatedsusan@gmail.com

Copyright Notice: ©2020 Pixelated Palette. The Pixelated Palette is produced 12 times per year by Cupboard Distributing, 1463 S US Highway 68, Urbana, Ohio 43078. All rights reserved on entire contents of this digital magazine. The information contained within this publication is presented in good faith. As the author(s) and publisher have no control over the application of the information presented, the results are not guaranteed.

Reproduction of editorial content is strictly prohibited without written permission of the Publisher.

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April 2020 Sneak Peek

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Welcome to all our new subscribers who signed up during the Las Vegas Painting Convention; we are delighted that so many people have joined our painting family!

Although I didn’t attend the convention, Lindsey tells me that many of you stopped by the booth to share positive comments about our content. Your kind encouragement and heartfelt suggestions continue to inspire us!

Those of us who stayed behind, had our own little Staycation adventure. Close to two dozen participants won surfaces, pattern packs, or supplies from an array of generous designers and manufacturers! Thank you to everyone who painted from the February issue. I hope that the tradition of painting and posting on our Pixelated Palette Facebook page continues. It was great fun to see the personalization each painter brought to their finished piece.

We know you enjoy painting on unique surfaces; Linda Hollander, our cover artist, has created a Tea-Time Fantasy that will have you searching your local thrift store for paintable treasures!

On to springtime…this month we are bursting with blossoms! Whether you like your flowers big and bold or softly refined, we have gathered an armload of florals for you to paint!

In addition, tucked in among the pages, you’ll discover classic stroke work, delicate lace and even a quaint cottage surrounded by vibrant trees and shrubs.

In response to the renewed interest of embellishing fabric, we have two, canvas clad surfaces. Sunny Tonini, a talented fabric painter, has transformed an ordinary canvas box into a lovely work of art. And making her debut this month, please welcome our newest designer, Chris Watson. Chris’s multi-media art journal will inspire you to capture your daydreams.

But it’s not really springtime unless you have a truckload of eggs, colorful “PEEPS” or perhaps, a comical bluebird who even brings his own house! You’ll find it all here!

Waving my paintbrush at ya’…

Susan

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By Linda Hollander Silver-plated vintage tea sets make wonderful surfaces to paint on! Full sets can be found at garage sales and in thrift stores for reasonable prices. Mismatched pieces, once painted, become a cohesive set!

It’s a wonderful adventure to transform an outdated or discarded misfit and transform it into an imaginative home décor piece. With the addition of simple graphic designs such as checks, stripes, diamonds, and dots, you can create a decorative collection that fits in so well with modern décor. Yes, sometimes they may be a bit tea-dious to paint, but so worth the effort!

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Surface: x Silver-plated tea service of choice Project Supplies: x Rust-Oleum 2X Ultra Cover Primer or similar metal primer x Chalk pencil or fabric marking pencil x Strong glue such as E-6000 (optional) Paints: DecoArt Americana Acrylics x Bleached Sand x Charcoal Grey x Cocoa x Warm White

DecoArt Dazzling Metallics x Copper

Mediums: DecoArt x Multi-Purpose Sealer x Sealer/Finisher #DAS13 Matte x Americana Staining and Antiquing Medium Brushes: Royal Aqualon: x Short Shader Series R2150S #6, 10 x Shader Series R2150 #10 x Liner Series R2250 10/0, 1, 5 x Wash Series R2700 1” x Wisp Series 2735 3/8” Notes: o Most vintage tea sets are tarnished to some degree. If the surface is smooth, just wash with set with soap and water and allow to dry thoroughly before priming it. If the set is excessively tarnished and you can feel the grim on the surface, its best to remove it with a tarnish remover or scouring pad. Removing all the tarnish is not necessary. Just clean it until it feels smooth to the touch, otherwise your paint may not adhere. o Priming the pieces can be done is two ways. In cold climates, during cold winter months, you can use DecoArt’s Adhesion Medium, then use gesso as a primer. Ideally, I prefer to use a spray primer for metal. In either case allow your primer to cure overnight. o Don’t rush painting over metal. Allow ample time for the various layers of paints and mediums to cure otherwise you will find the paint “lifting”. If this happened STOP! Let the paint dry or speed up drying with a blow dryer then use a fine grit sanding sponge to gently smooth the edges of the lifted area. o Use a thin coat of Multi-Surface Sealer to protect basecoats and layers of paint as you work. This will protect your work and allow you to remove mistakes easily. o Many tea sets have different shapes and features. If your set is different from the one used here, simply rearrange the design elements, so they make sense for your project. Leave some areas of your set plain so the eye has a place to rest. o Use appropriately sized brushes unless otherwise noted.

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Preparation: Clean the tea service and let dry (see notes above). Following the manufacturer’s directions, and working outdoors if possible, spray the pieces with primer. Two light coats are better than one heavy coat.

Basecoat: o Use Warm White to base the bellies of the pot, creamer, and sugar bowl; also base the diamond, checked, and striped areas. o Use Cocoa to underpaint the metallic copper areas. o Use Beached Sand to paint the large center area of the tray.

When the basecoated areas are thoroughly dry, apply a light coat of Multi-Purpose Sealer. This will protect the basecoats and make mistakes easier to wipe away.

Painting Instructions: Cheetah Print: Please refer to step photos A note on Staining and Antiquing Medium: Once the medium/paint mixture dries it will “lift” if it comes into contact with water. Therefore, brushing on a varnish can be tricky; it is best to spray seal it.

Belly Areas of Teapot, Creamer, and Sugar Bowl: Mix Staining and Antiquing Medium + Cocoa (2:1) and quickly cover one section at a time where the spots will be painted. Fade the color out toward the areas where stripes will be painted.

Avoid applying the mixture in the center of the striped areas (fig. 1).

Fig 1

Use the wisp brushes to manipulate the mixture to resemble fur. Make short choppy strokes and vary them slightly to the right and left in a random fashion (fig. 2, following page) Let dry. Spray with a light coat of Sealer/Finisher.

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Fig 2

Use Charcoal Grey to paint the stripes in the light areas. Thin paint with water as needed for flow. Begin in the center of the stripes and stroke toward you to end on a fine point. Return to center and pull in the opposite direction. Use the photos as guides for placement.

Use Charcoal Grey to paint the spots. Paint loose irregular spots and avoid making “patterns”.

Vary the size of the spots randomly as well (fig. 3).

Fig 3

Metallic Areas: Use long, smooth strokes to apply Copper to the areas. Let dry then repeat. You should allow the metallic paint to dry overnight. The paint should be well cured before you antique it else you may pull the Copper off.

Mix Staining and Antiquing Medium with Charcoal Grey (3:1). If you prefer less antiquing use less paint. Conversely if you want more patina, use more paint. Apply the mixture liberally, making sure to reach all the nooks and crannies of the detailed areas. For smooth areas, pull long, for even coverage. Let dry. Use a soft damp cloth or shop towel to remove excess antiquing.

Use patience and light pressure while rubbing off the excess so as not to disturb the Copper paint. If that happens you can touch up small areas with more Copper. Be sure to remove all

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antiquing medium from adjacent areas It will come off very easily with a wet cloth or brush. Spray the copper areas with Sealer/Finisher to protect them.

Checks, Stripes, and Diamonds: Use a chalk pencil to lightly mark the graphic areas. It isn’t necessary to measure these areas, just eyeball it. If you must measure a flexible ruler will be needed for accuracy. Use the pencil to divide the areas in half then make marks to divide the halves into quadrants. Divide each quadrant in equal stripes, checks, or diamonds.

You must have an even number of stripes and diamonds for the pattern to work out properly.

Use the short shaders and Charcoal Grey to paint the graphic designs until opaque. For best results, pull the brush toward you and lift the brush before you finish the check, stripe, or diamond. Turn the project around to paint the other side. This process will help you achieve nice sharp edges. Leave a small space where the checks and diamonds meet. Let dry. Double load the brush with Charcoal Grey and Cocoa and stroke on to highlight the graphic designs.

Use the stylus and Copper to add dip-dots between the diamonds. To make equal sized dots, reload the stylus after making each one. Let dry. Remove any pencil or chalk marks.

Finishing: Spray with the Sealer/Finisher.

Email Linda at: paintingfool@live.com

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By Linda O’Connell, TDA Calla lilies have a colorful history dating to Hera in Greek Mythology. They have come to symbolize rebirth and innocence. While painting this design you will learn the names for the anatomy of this elegant blossom.

Copyright 2019 Linda O’Connell. All rights reserved; no duplication permitted without permission 11

Surface: x 9x12 Canvas Supplies x DecoArt Media Modeling Paste x White Graphite x Fine Grit Sandpaper Paints: DecoArt Americana Acrylics x Deep Burgundy x Soft Black DecoArt Chalky Gesso x Black DecoArt Media Fluid Acrylics x Carbon Black x Green Gold x Titanium White

DecoArt Premium Acrylics x Cadmium Yellow x Carbon Black x Green Gold x Primary Yellow x Sap Green x Titanium White x Yellow Oxide Mediums: DecoArt x Premium Extender x Dura-Clear Varnish

Brushes: Dynasty Brush x Black Gold 206cb-Chisel Flat #14 x Faux Squirrel 1827FW- Filbert Wave #8 x Black Gold 206fw- Filbert Wave #2 x Faux Squirrel 1827R- #2 Rigger x ¾” Wash- Series 361 x Large Mezza Luna x Two medium old brushes ( for applying texture and paint over texture)

Preparation Using a ¾ wash brush, basecoat the canvas with one coat of Black Chalky Gesso. The Chalky Gesso will fill the canvas giving you a nice smooth surface omitting the need to sand. When dry, use a clean ¾ wash brush to base the canvas Soft Black. Working while the paint is still wet add some areas of Deep Burgundy blending into the Soft Black.

Transfer the pattern with white graphite paper.

Anatomy of a Calla Lily: The part of the flower that we would call a petal is called the spathe. The spathe is actually a modified leaf and not a petal. The center of the blossom is called the spadix.

Using an old brush tap a bit of modeling paste on the Spadix. The amount you use is how textured you want it to be.

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Linda’s Technique: When painting this design, you will apply another coat of the basecoat colour, so you are working wet on wet. You will lay in your darks and lights.

Blending technique: Work one element at a time to completion. Holding the brush handle towards the back and using very light pressure, you will swipe and blend in a pendulum movement.

Your lights will fade a bit into your basecoat, this is natural. You will brighten them on the second application of colour , and again with Fluid acrylics.

Did you know…

Basing first over a dark background will give you true colour.

Instructions Throughout the painting, refer to the pictures and colour charts for placement.

Prepare the Palette: Using a palette knife to mix, create the following mixes with the Premium acrylics: Light Green: Sap Green and Cadmium Yellow 1:1 Dark Green: Sap Green and a touch of Black.

On your palette lay your Light Green Mix, Green Gold, Sap Green and, Dark Green Mix. Let’s Paint Leaves Base the leaves and stem Sap Green. Paint your leaves, one at a time, to completion, so you are working wet on wet for each leaf.

Pix 1

Rebase the leaf Sap Green, add the dark mix to the dark areas, add Sap Green in the medium areas and the light mix on the light areas. Refer to your pictures and colour chart for placement.

Holding the filbert wave at the back of the handle, swipe to blend.

(Pix 1) On the front leaf, using a rigger, stroke Green Gold along the top Pix 2 and the edge of the turn. (Pix 2)

Pix 2

Rebase the stem Sap Green, lay your colours the same as you did on the leaves, then swipe. There is an area on the bottom of the spathe that has green, it is not part of the stem. Refer to the anatomy chart.

Go back and add more of each colour in the appropriate areas. Pick up a bit of extender on the filbert wave, load the brush in the colour and swipe in the area you want to increase the value of colour. Do not add the basecoat as you did in the first application of colour. ( pix 2)

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Lily Anatomy

Colour Map

Full size illustrations can be found on the pages following the line drawing

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Prepare the Flower Palette Using a palette knife to mix the Premium acrylics, create the following mixes: Light Grey: Carbon Black and Titanium White 4: tch, each puddle should be the size of a half dollar. You are mixing a light Grey similar to Americana Grey Sky. Medium Grey: Take 1/2 of the light grey mix and add a bit of Carbon Black, to get a colour similar to Americana Neutral Grey.

Dark Grey: Take ½ of the medium grey mix and add a bit of Carbon Black to it to get a colour similar to Americana Graphite. Look at your mixes, starting with the light, each mix should be a darker value.

On your palette, lay out your three grey mixes in value order, beside them place Titanium White, Carbon Black and Sap Green

Pix 3

Painting the Spathe: Using the filbert wave and referring to your colour map, stroke colours on the flower in the listed area; pull the paint in the direction that the flower grows.

At this point you are blocking in colour, do not worry about blending it. To block in colour you are putting your colour in the appropriate area, one coat. This will help you to see where your colour goes and will give you a true colour. (Pix 3) Base the light green mix at the bottom (under the turn) and at the tip of the spathe. Greens fade into the canvas, so we need to lay down a base to give us true colour. Leaving a little of this colour on your brush swipe a tint of colour onto the flower by the center, pulling from the center upwards.( pix 4) With the second application of colour, you Pix 4 Pix 5 will use your filbert wave like a pendulum.

Add a bit of extender to the brush, up your colour. Stroke the colour into the into the same areas you did on the first application; lay the next colour, blending into the colour beside it. The extender in your brush will give you more working time. There is a small area of dark to the left of the cup base that is Sap Green with a touch of Carbon Black. (Pix 5) Rebase the green at the bottom the spathe, tip and the little area to the left at bottom of turn. Using the same mixes as the leaves and the filbert wave as a pendulum, pull in your dark and light, using Primary Yellow for light and dark mix for the dark. Blend the colour into the basecoat. Leaving the Primary Yellow on your brush, pick up a bit of Titanium White and swipe into the center of the cup. Swipe lightly, you want to leave the stroke lines, but have it look like a natural highlight .

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Pix 6

Let’s reinforce: Colour plays an important part in creating dimension. Fluid acrylics are great for adding lights and darks; they have such vibrancy.

Using the filbert wave pick up a bit of fluid Titanium White, swipe the colour in the brightest areas of the spathe. Repeat if necessary. Wash the stem Green Gold. (pix 6)

Painting the Spadix Base the spadix Yellow Oxide tipped in Titanium White.

Shade the bottom of the spadix Sap Green. Using the Mezza Luna on the tip of the bristles, drybrush the top Primary Yellow Pix 7 tipped in Titanium White. Using fluid Titanium White add random dots at the bottom going up the left and right side a bit.

The dots fall onto the spathe . (pix 7) Final Details: Look at your piece. If you need to add darks or lights, float them with fluid acrylic.

Use Titanium White on the edges of the spathe. This is in the closest areas, for more depth do not float the whole edge.

If you need a stronger separation between the petals, or on the leaf outside the flower, float Carbon Black, fluid acrylic.

Allow your piece to dry for 48 hours. Following manufacturer’s instructions, apply Dura Clear.

Designer Note: I loved designing this piece. It is a great introduction to tube acrylics. Tube acrylics blend like oils and dry like bottle acrylics; the best of both worlds. This project was created as an instructional guide for all painting levels. I hope you enjoyed learning about the Cala Lily as much as I loved bringing it to life.

Linda

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Dusk at the Cottage

By Susan V. Cochrane The sun is setting, and the earth is resting. For many people, cottages and gardens always evoke a sense of peace and comfort.

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Surface x 5 x 7 Primed Canvas Project Supplies x Standard Acrylic Painting Tools x Removable Scotch Tape by 3M Mediums: DecoArt Americana x Sealer/Finisher (Matte) Paints: DecoArt Americana Acrylics x Antique Teal x Baby Blue x Baby Pink x Banana Cream x Black Green x Bluegrass Green x Bright Green x Burnt Sienna x Burnt Umber

x x x x x x x x

Desert Cactus Driftwood Laguna Lamp Black Neutral Grey Royal Fuchsia Ultra Blue Deep Warm White

Brushes: Royal & Langnickel, Royal Majestic Paintbrushes x 10,12 Shaders (Series R4150) x 0, 5/0 Liners (Series R4595) x Royal ¼” Deerfoot Stippler (Series 660) General Instructions Allow the canvas to thoroughly dry between all washing and painting steps. To ensure straight edges, apply removable scotch tape and seal the edges well to prevent seepage.

Painting (See numbered line drawing on following page) Wash the sky with Banana Cream. Add a streaky wash of Burnt Sienna horizontally across the top edge.

Transfer the chimney, roofs, walls, distant grass (horizon line) and a general outline for the tree foliage and garden mounds.

Float Warm White on the sky at the horizon line next to the distant grass.

Paint the distant grass with Desert Cactus. Float Black Green on the left and right sides and along the bottom of the patch.

Stipple vertical evergreen #1 and shrub mound #2 with Black Green.

Stipple Baby Pink and then Royal Fuchsia on shrub mound #2.

Stipple Bright Green on evergreen #1.

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Mask off the right-side edge of the chimney. Paint the chimney and house walls with Driftwood.

Transfer the window glass and door for placement. Paint the roofs with Neutral Grey.

Transfer the roof caps. Line the twigs on the roof caps with Burnt Umber. Dry brush some Banana Cream to randomly highlight. Dry brush some Black Green on the remaining roofs with random highlights using Banana Cream. Freehand the stones by using a pale, very faint wash of Burnt Umber and the 0 Liner.

Paint the window glass with a medium wash of Banana Cream. Float Burnt Sienna along the top and/or one side edge of the windows. Paint the window frame timbers with Neutral Grey. Shade the timbers to separate the vertical from the horizontal and create fine lines for the cracks using Black Green. Highlight the reflection on the window frame timbers with a dry brush of Banana Cream.

Transfer and paint the grids with Lamp Black.

Float Black Green on the walls next to the roof lines and on the chimney next to the top row of bricks. Float Black Green next to the caps and on the side roof next to the main roof edge.

Outline the two lower edges of the roofs with Lamp Black.

Paint the door and door trim with Neutral Grey. Line the vertical planks, paint the hinges and the door handle with Lamp Black. Also line the edges of the door trim and create some cracks as well.

Stipple garden and tree foliage with Black Green.

Finish the flower mounds and tree foliage as follows (working back to front): Flower Mound 3: stipple Bluegrass Green, stipple Laguna Flower Mound 4: stipple Baby Pink, stipple Royal Fuchsia Mound 5: stipple Bright Green Tree Foliage 11: stipple Bluegrass Green Flower Mound 9: stipple Bright Green Flower Mound 10: stipple Baby Pink, stipple Royal Fuchsia Flower Mound 7: stipple Baby Blue, dab spikes with Ultra Blue Deep Flower Mound 8: stipple Bluegrass Green, stipple Laguna Flower Mound 6: stipple Baby Blue, dab spikes with Ultra Blue Deep

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Vines: Stipple Black Green, dab Baby Pink, dab Royal Fuchsia.

Lamp Standard: Paint the post and frame around the glass with Lamp Black. Dry brush some Banana Cream on the post and frame for the highlights.

Paint the glass with Banana Cream, shade with Burnt Sienna, the candle flame is a faint dab of Banana Cream. Float Banana Cream vertically next to the vertical frame beside the glass. Stipple reflection on the surrounding mounds with Banana Cream.

Fence: Paint with Warm White. Shade the horizontal boards next to the vertical boards using Black Green. Dab some Bright Green grass along the bottom of the canvas under flower mound 8 going across the bottom of the fence.

Finishing Paint a few Neutral Grey birds in the sky; paint the sides of the canvas with Black Green.

Following manufacturer’s instructions, apply 2-3 applications of the Sealer/Finisher.

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Line Art is at 100%

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By Judy Diephouse I have always enjoyed painting rosemaling or any form of stroke work. On this design, I worked with a variety of the new colors from DecoArt Americana. You may always change the colors to fit your décor. Enjoy!

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Surface: x Oval Bentwood Box- #WD1122M – Hofcraft- 1-800-828-0359 Project Supplies: x Usual Acrylic Tools x Fine Grit Sandpaper x Flexible Ruler x Chalk Pencil x Satin Acrylic Varnish of Choice Paints: DecoArt Americana Acrylics x Blue Mist x Desert Cactus x Evergreen x Hauser Light Green x Open Water x Payne’s Grey x Salem Blue x Sea Glass

x x x x x x x

Shoreline Sugared Peach Tropical Blue Vintage Pink Warm White Wild Berry Yellow Ochre

Brushes: King Art x Liners- #6/0,#1, #2 x Flats- #4, #8, #12, ½” Preparation: Basecoat the entire box with Blue Mist.

Sand lightly between coats, trace on the pattern.

Painting Instructions Scrolls: Basecoat the scrolls with Open Water.

Shade the outer curve with a float of Tropical Blue.

Highlight the inner curve with Salem Blue Outline the outer edge with a fine line of a mix of Tropical Blue and a touch of Payne’s Grey.

The crosshatching between the ends of the scrolls is the darker mix.

The curls and strokes along the inside of the scrolls are Shoreline.

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Stems and Large Leaves: The stems are Evergreen.

The large leaves are base coated with a mix of Desert Cactus and Evergreen (1:1) Shade the tops of the leaves with a float of Evergreen.

Highlight the lower side with Hauser Light Green.

The overstroke on the top of the leaves is a mix of Evergreen and a touch of Payne’s Grey.

The strokes on the leaves are mix of Hauser Light Green and Sea Glass (1:1).

The strokes along the stems are the mix of Desert Cactus and Evergreen.

The small leaves are a double load of Evergreen and Hauser Light Green, (blend well on palette) The stem to the leaves is Evergreen Center Flower: Basecoat the petals with Sugared Peach.

Shade the base with Wild Berry Outline on the edge of the petal with Warm White The three strokes on each petal and the loose outline around the petal are Wild Berry.

The center is Yellow Ochre, crosshatched with Wild Berry, the dots around the center are Warm White.

Left & Right, 5 Petal Flowers: Basecoat the petals with Vintage Pink.

Shade the base with Wild Berry.

Outline the edges of the petals and add the strokes inside the petals with Warm White.

The loose outline is Wild Berry.

The center is Yellow Ochre, with a curl line of Wild Berry and dots around the center with Warm White.

The dots at the base of the stem by the center flower are Wild Berry.

Pink Crosshatching Sections: Basecoat the area with Sugared Peach.

Shade the top edge with Vintage Pink.

Crosshatch and loosely outline with Wild Berry.

The dots are Yellow Ochre.

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The Four Tulips: The inside petal is Yellow Ochre.

The two side petals are Wild Berry.

The overstrokes on the side petals are Sugared Peach.

The dots on the stem are Yellow Ochre.

Dot Flowers: The center dot is Wild Berry The outer dots are Sugared Peach Repeat the dots on the top three with Warm White.

Box Lid Details: Basecoat the rim and ¼” border on the top of the box with Open Water.

Shade the bottom of the rim with a float of Tropical Blue.

The ‘s’ strokes on the lid are Tropical Blue with dots of Shoreline in between.

Bottom of Box Basecoat at ¾” band at the bottom of the box with Tropical Blue.

Highlight the top edge of this band with a mix of Tropical Blue and Blue Mist(1:1) Repeat with a float of Salem Blue.

The stroke work trim is Shoreline.

Finishing: Allow the painting to dry thoroughly. Erase any visible tracing lines.

Varnish with three coats of your favorite satin acrylic varnish.

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©2020 Chris Watson

Art Inspire Note Pad

By Chris Watson www.chriswatsondesigns.com 34

I love nature and especially birds; chickadees are among my favorites. I chose this canvas note pad for several reasons; not only is it a great surface to paint on, it’s also a functional piece. I have already begun to fill the pages with designs. I also love using dimensional items to add interest. The little key is both decorative, and functional; it can actually be used to open your paint bottles! Enjoy!

Surface: x 8” x 5 ½” Creations in Canvas Note Pad by Dalee Book Co. www.daleebook.com Supplies: x Usual Acrylic Tools x Cosmetic Wedge sponges x Kneaded Eraser x Word Stencil, BCS281 available from www.lauriespeltz.com x Metal Key available from Chris Watson Designs www.chriswatsondesigns.com x Black Graphite Transfer Paper x 8” piece of gingham ribbon x Painters tape Paints: DecoArt Americana Acrylics x Avocado x Burnt Umber x Celery Green x Deep Midnight Blue x French Grey Blue x Grey Sky x Lamp Black

x x x x x x x

Light Buttermilk Raw Sienna Raw Umber Soft Black Titanium White Uniform Blue Winter Blue

Mediums: DecoArt x Americana Acrylic Spray Sealer/Finisher DAS13 Matte x DecoArt Fabric Medium Brushes Loew Cornell x ¾” Angle Series #7400 x ½” Angle Series #7400 x #4 or #6 Filbert Series #7500 x #1 JS Med Liner x 3/8” #270 Maxine Mop Series Surface Prep: Canvas is primed and ready to paint Lightly transfer design onto book using Black Graphite. If the tracing is too dark, use a kneaded eraser to lighten.

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Techniques: I like to use washes of color for my base coating. This allows some of the background color to peek through and add interest. Use the unpainted canvas background as the highlight color.

Use fabric medium to help the paint move and to prevent the paint bleeding.

Background: Sky and Ground are painted around the easel and canvas. You can wash over the paint brushes. Wash in sky area with Winter Blue. Deepen shadow area with additional Winter Blue. Wash in ground area with Celery Green. Shadow areas are Avocado.

Canvas and Easel: Shade canvas with Grey Sky. The highlight area is unpainted canvas. Strengthen the shading with Soft Black. Easel is shaded with a very light wash of Raw Sienna. Again, highlight is the blank canvas. Let dry. Reinforce the shade area of the easel with more Raw Sienna. Deepen shadow areas with Raw Umber. If you lose your highlight areas, dry brush with Titanium White.

Chickadee on Easel: Shade areas are done with Grey Sky. Be sure to shade under the eye. Leave the highlight area unpainted canvas.

Strengthen shade with Soft Black. Tint with Raw Sienna.

Eye is Soft Black with a Titanium White highlight.

Branches, Berries, and Leaves: Branches are a wash of Burnt Umber. Shade with more Burnt Umber. Berries are based with a wash of Winter Blue. Shade with Deep Midnight Blue. Highlight with Titanium White. Leaves are a wash of Celery Green. Be sure to leave highlight area blank canvas. Shade with Avocado.

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Chickadee Body: Mix a medium value grey mix of Light Buttermilk + Soft Black. Float Light Buttermilk in the bottom center of bird’s body, feather out to the left and right. Float the grey mix under the head cap and gently blend into the Light Buttermilk. Tint along the bottom of the bird’s belly with Raw Sienna. Highlight with Titanium White.

Chickadee Face: Wash in lightly with Light Buttermilk. Be sure to base in the eye. Float the grey mix under the cap area starting at the right side of the face and under the eye. Base the bird’s cap with Soft Black. Shade with Lamp Black. Highlight with Grey Sky. Pull some little feathers out on the top of his head. Tint the face with Raw Sienna.

Chickadee Eye: Base in with Soft Black…but leave a small ring of Light Buttermilk showing around the edge of the eye. If you lose the edge go back with a liner brush and Light Buttermilk and put it back in. Highlight the eye with Light Buttermilk.

Wing Feathers: Starting at the neck, loosely place in some Grey Sky and feather out. Place Light Buttermilk on the tip of the wing and feather in. Use the chisel edge of you angle brush to create the feather effect. Let Dry. Tint with Raw Sienna. Shade with Soft Black. If needed, strengthen shade with Lamp Black. Highlight the tip of the feathers with strokes of Titanium White.

Feet are Burnt Umber shaded with Soft Black and highlighted with Titanium White.

Brushes: Wash in handles with Soft Black. Keep the highlight area unpainted canvas.

Shade with Lamp Black. Strengthen highlight area with Titanium White.

Bristles are Raw Sienna; strengthen with Raw Sienna. Deepen shade with Raw Umber, if needed.

Metal ferrule is a wash of Grey Sky. Highlighted with Titanium White. Shade with Soft Black + Grey Sky mix if necessary.

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Words: Secure stencil to the book with a small piece of painter’s tape.

Tap the cosmetic wedge sponge into Lamp Black; remove most of the paint by tapping sponge on a clean palette. Stencil words onto the book.

Finishing: I use DecoArt Americana Acrylic Sealer/Finisher DAS13 Matte for a nice finish. I spray several light coats until I get a nice even coverage. Follow manufacturer’s instructions whenever using aerosol sprays. When dry, attach the key with a piece of your favorite ribbon.

Blessings, Chris

Line Drawing is at 100%

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By Jane Allen & Shara Reiner © 2020 39

Don’t you just love springtime and the birds arriving for the season? I can tell this bird is an artsy fellow by his colorful feathers and fun house.

To help you learn how to sculpt the components, I have created several, brief videos. You can watch a video, do the step and then move onto the next step. You can find the videos here: https://janeallencreates.blog/home-tweet-home/ Supplies x 2 – 2-ounce QuikWood x Medium clay star cutter (www.hobbylobby.com) x 1 – Tiny round finial (2065) (www.bearwithusinc.com) x 4 – Small round cone (1293) (www.bearwithusinc.com) x 1 – Round turned ornament (2065) (www.bearwithusinc.com) x 1 - Medium paper mache house (www.hobbylobby.com) x 1 – 3” Styrofoam egg EG300 (www.factorydirect.com) x 2 - 1/4” dowel rod – 6” x Tim Holtz Stencil - Harlequin T+S016 (www.cdwood.com) 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 Americana Acrylics x Blue Harbor x Bright Salmon x Cotton Candy x Dioxazine Purple x Foliage Green x Indian Turquoise x Lamp Black Mediums: DecoArt x Adhesion Medium x Extender x Spray Sealer/ Finisher Matte

x x x x x x x

Marigold Purple Cow Shoreline Sunny Day Teal Mint Warm White Wild Berry

Brushes: Lowe Cornell x #1, #3 Round (Series 7000) x #4 shader (Series 7300) x #2/0 Liner (Series 7350), x #1/2" Angular Shader (Series 7400) x Stencil brush

Tools: x Cutting Blade or Old Knife x Exacto Knife x Sculpting Tools or Pencil x White Chalk Pencil x 2” Diameter Cylinder Such as an 8oz Bottle of Paint

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Sculpting Instructions Sculpting Tips: When working with QuikWood (QW): remove jewelry especially rings, work on parchment paper or a wax palette. Apply Avon Silicon Glove before starting and periodically when working.

Use Extender for blending QW but be careful to not use too much because it will make your surface gummy. Only mix up the amount needed for the next step. Always make sure your QW is thoroughly mixed or it will not cure. Before painting, wipe surface with baby wipe to remove any excess oils. Mix any color paint (I usually use Burlap because it is the same color as the QW) with Adhesion Medium and apply to QW areas of project.

Note: Before attaching QW elements to house, stencil on the background and paint the detail on the house. I would also paint the bird completely before attaching it to the house.

Getting Started with the Beak: (watch video) Roll Styrofoam egg to flatten the one side. The flat edge will be the top of the bird and the front of the bird will be the pointy end.

Mix 1/2" of QW and roll into a cone about 2" long. Place on top front of the egg to form the beak. Begin blending the edges of the cone into the Styrofoam, reshape beak if needed. Since we are going to open beak allow to sit about 10 minutes.

Cutting Beak - Using Exacto knife begin cutting beak from tip to back on one side, then repeat on other side. Use blade of knife to lift the mouth open. Reshape if needed and allow to cure.

Tip: Sit egg in lid of QW or an egg box to keep it from getting damaged until it cures.

Making Tail Feathers: (watch video) Cut 1” of QW and divide into 3. Lay parchment paper over pattern. Roll clay into a 3” coil with a point on each end. Begin pressing and patting to fill in the pattern. Place a point on the back end of the feather. Move parchment paper and make next two tail feathers beside the first one.

Wrap parchment paper with tail feathers around 8 oz. paint bottle (2” diameter) and secure with rubber band or tape. Allow to cure.

Making wings: (watch video) Mix up 3/4” of QW and divide into 2. Divide each piece again into two with one piece being larger than the other. Take the larger part and roll into a pointy cone the size of the larger part of the wing. Lay parchment paper over pattern and press clay to fill pattern. Move parchment paper to the side and roll smaller piece of clay into a pointy cone and press and fill in small feather pattern. Repeat for second set of wings. Wait 5 minutes. Following pattern place smaller feather on top of the larger feather. Reverse the pattern for the second wing. Lay wings on book or box and fold down front of wings. When almost cured pick up wings and give them a little bend. Allow to cure.

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Adding Bird Eyes: (watch video) The flat side is the top of the bird. Mix up 1/8” of QW for the eyes. Pull off 2 equal ½” balls.

With the extra clay pull off small pieces of clay and press and blend to the Styrofoam behind the eyes. Use extender to blend onto existing QW. Continue adding QW until you have used the entire piece.

Place balls for eyes above the beak and slightly flatten. Using tool or pencil press in center of each eye. Using pointed tool press two small holes above eyes for antennae on tall bird. Allow to cure.

Adding Legs: (watch video) Mix up sliver of QW. The flat side is the top of the bird. Pull off small pieces of clay and press and blend to the Styrofoam behind the eyes. Use extender to blend onto existing QW. Continue adding QW until you have used the entire piece.

Mix up 1/8” of QW for the eyes. Pull off 2 equal ½” balls. Place balls for eyes above the beak and slightly flatten. Using tool or pencil press in center of each eye. Using pointed tool press two small holes above eyes for antennae on tall bird. Allow to cure.

Attaching Tail: (watch video) To add the tail, mix 1/2" of QW. Roll in a ball and position at the back of the bird. Blend edges onto the bird. Add the middle tail feather and place in center. Blend QW onto top and bottom of feather. Then add next feathers to each side and a little lower than center feather. Push clay against feathers. The middle feather should be higher than the side feathers. Make any final adjustments. When satisfied with shape of tail, shape the QW the feathers are inserted in, and blend out if needed. Stand bird face down in a cup to keep the tail upright. Allow to cure.

Note: tail should line up with the legs, not the head since the head is tilted to the side.

Adding Wings: (watch video) Mix up 1/8” of QW and divide into 2. Pull off small pieces of clay and press and blend the clay behind the wings on each side of the bird. Note: the one wing will be higher than the other and they will line up with the tilt of the body.

Mix up ¼” of QW and divide in 2. Roll into two balls and place on each side where you want the wings. They are a little below the eyes and back from the beak. Blend edges of each ball. Place wings on each ball. The small wing should be on the top. Blend clay to the back of the wing.

Position wings the way you want them and blend any excess clay in front of wings out onto the bird. Allow to cure.

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Adding Flowers, Mat and Perch to House: Mix ¼” of QW and divide into two. Roll one piece into ball and then slightly flatten on a piece of parchment paper. Using a blade tool pull from outside in to make the petals. Lay on house and then press finger in center. Pinch on each petal to pull up. Divide remaining clay in two with one piece larger than the other. Roll first piece into a ball and position on house, gently flatten and then press in center. Repeat for other flower.

Mix another ¼” of QW pull off small piece of clay and roll into a ball and place in center of largest flower. Pull off two more smaller balls and place in center of other flowers. Pull off small ball of clay and roll into a ball than a cone to form a leaf, position on house. Continue making leaves, then pull off small balls of clay to make filler flowers and position between leaves and flowers. Allow to cure.

To make welcome mat mix ½” of QW and shape into a rectangle mat about 1” x 1 ¾”. Position in front of door and insert end of perch into clay. Allow to cure.

Attaching Bird to Roof and Adding Feet: (watch video) Trim bottom of dowels on an angle. Mix ¼” of QW and divide into two. Wrap one piece into a 1” coil and wrap around foot. Shape over foot and blend excess up leg. Repeat for other foot.

Add some super glue on part of foot that will be against roof. Position in place making sure the bird is where you want it. Hold in place until it cures.

Mix up1/8” of QW and pinch between fingers to flatten. Then lay on parchment paper and flatten with the palm of your hand. Using medium star clay cutter cut one star, reroll excess, press and flatten and cut second star. Three of the points will be the toes of the bird. While on parchment paper pinch three points and pull two towards center. Pick up and lay on front of foot. Blend other two points up on the foot and blend them up the foot/ leg. Reposition toes if needed. Repeat for other foot. Allow to cure.

Painting Instructions: Basecoat as follows: House: Blue Harbor – top of house, perch on house Bright Salmon – Top of legs, finial on top of house Cotton Candy – two smaller flowers, Foliage Green chimney, leaves Indian Turquoise –bottom of legs on house Light Buttermilk – outside of house Marigold – Welcome mat, top of roof finial, large flower center Purple Cow - roof Sunny Day – inside of house, small flower centers

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Warm White – trim on top and bottom of house, bottom of top finial, edge of perch and separating section of legs Wild Berry - large flower, bottom of house Bird: Bright Salmon – bottom feather of wings Cotton Candy –top feather of wings Indian Turquoise –body Marigold – legs & feet Purple Cow – beak Sunny Day – balls on end of antenna Teal Mint – tail feathers Warm White - eyes House: Using Harlequin stencil, stencil the outside of the house with Shoreline . Note: I trimmed the bottom of the stencil so that I could get close to the bottom of the house.

Using #4 shader and Lamp Black paint checks on white edges of top & bottom of house, bottom of top finial, back of perch and center section of legs.

Randomly float Teal Mint on leaves and highlight randomly with Sunny Yellow. Shade around centers of flowers and back of leaves with Dioxazine Purple. Paint veins with thinned Dioxazine Purple. Highlight centers of flowers with Warm White. Paint smaller flowers with Warm White and centers with Lamp Black.

On perch paint line next to black and white checks with Bright Salmon.

Freehand WELCOME on mat with Lamp Black.

Paint thinned Light Buttermilk dots on top of legs.

Bird: Paint thinned Warm White dots on body. Paint pupils in center of eyes with Lamp Black. Float Sunny Yellow on tips of tail feathers.

Shade back of tail feathers, on body next to tail and wings, around tops of legs, between top and bottom 44

wing and front of wings with Dioxazine Purple. Line tail feathers and wings with Dioxazine Purple.

Finishing: Glue antenna on bird if needed.

Attach legs and top final to house with glue.

Following manufacturer’s instructions, apply spray varnish.

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

Large wings

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Are you starving for a creative outlet? Join us at Artful Webinars. Take a class with a different artist every month. You can try different mediums, styles and create ‘outside the box’ artwork. More artists are being added all the time. Receive a full pattern packet with every webinar.

Not sure a webinar is for you? No worries. The classroom is opened twice a month to give everyone an opportunity to try it before you buy it. Experience what it is like to be part of the new way of learning. You have the opportunity to meet the artists, see their projects firsthand, and ask them questions.

This is the way of the future. The future is NOW! So, don’t be left behind, join the fun and sign up for a webinar today!

2020 Artists include: (see the photos on the website) March 14 – Belinda Harrison (enamels on glass) June 20 – Fran Mittelstet (watercolor) March 21 – Janelle Johnson (colored pencils) July 18 – Debbie Cushing (colored pencil on suede board) April 18 – Nancy Kinney-Stout (acrylics) August 22 – Louise Jackson (watercolor) May 16 – Sandy LeFlore (acrylics) September 12 – Lydia Steeves (colored pencils) June 6 – Carol Craig (mudding) October 17 – Jan Boettcher (oils Rosemaling)

ArtfulWebinars.com

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By Sharon Cook 47

Many of us have fond memories from our younger days of PEEPS, those quintessential soft and sugary, brightly colored shapes of marshmallow that would find their way into our beloved Easter baskets. Whether you love PEEPS or dislike them, seeing them line the shelves in local grocery stores reminds me that spring is just around the corner, along with Easter, bunnies, chicks, and every other delightful thing associated with the season!

As you create this funny bunny, you will enjoy using clay to sculpt the flowers, nose, hands, hearts, and teeny-tiny glasses worn by one of the PEEPS. Finish off the project with simple techniques such as stippling to create the fluffy fur and use Scotch Magic Tape to create the plaid design in the bunny’s ears and feet. Just sit back, relax, and enjoy the process of creating this spring delight. Here’s to wishing you many moments of peaceful painting!

Surface: x Bunny Plaque; 10” x 16” size; Item #31-L669; Available from Cupboard Distributing; https://www.cdwood.com/products/bunnyplaque?_pos=2&_sid=d9285866c&_ss=r Project Supplies x Apoxie Sculpt Two-part Modeling Compound; available from Amazon.com; https://www.amazon.com/Apoxie-Sculpt-Natural-Modelingcompound/dp/B000V58DS0/ref=sr_1_4?keywords=apoxie+sculpt&qid=1580674682&sr=8x

Stretchy Tape ¾” (Optional, but quite helpful); Available from Creative Arts Lifestyle; https://creativeartslifestyle.com/all-products/stretchy-tape-3-4/

x

PEEPS Stencil, Item # SKU: 09-19241; Available from Cupboard Distributing; https://www.cdwood.com/collections/cd-stencils/products/ Scotch Brand Magic Tape; ¾” wide Stylus Grey and white transfer paper Tracing paper Three clear plastic page protectors or file folders Wire or thin ribbon for hanging bunny (optional) Exacto knife or small paring knife Scissors Mild grit sandpaper, sanding disk, or sanding sponge E-6000 Adhesive or GOOP Adhesive

x x x x x x x x x x

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Paints: DecoArt Americana Acrylics x Baby Pink x Blueberry x Boysenberry Pink x Brilliant Purple x Cocoa x Espresso x Evergreen x Fawn x Foliage Green x Jack-O’-Lantern Orange x Lemonade x Light Mocha x Midnite Blue Glamour Dust: x Ice Crystal

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

Milk Chocolate Open Water Orange Flame Purple Cow Raw Umber Razzle Berry Saffron Yellow Soft Black Sour Apple Summer Squash Tangerine Tropical Blue Warm White

Mediums x Americana Multi-Purpose Sealer x Americana DuraClear Matte Varnish

Brushes: Royal & Langnickel Zen, Z73WO, Oval Wash, Size 3/4” Majestic Script Liner, R4585, Size 10/0 Aqualon Angular, 2160, Size 1/2” Aqualon Round, R2250, Size 8 Zen, Z83SC, Soft Scrubber, Size 8 Brushes: Chris Haughey x Chris’s Epic 924 Script Liner, Size 18/0, https://www.cdwood.com/products/epic-18-0-script-liner Tracy Moreau x Tracy Moreau’s Stencil Brushes, Sizes Large and XLarge; Available from The Brush Guys; https://www.thebrushguys.com/cgi-bin/sc4/proddisp.pl?client=firesaleguys&catid=1&PRID=2737 Preparation The plaque requires no sanding. Apply Multi-purpose Sealer to the front, sides, and back of plaque. Allow to dry.

Sculpting the Flowers, Nose, Paws, Hearts on the Feet, and Tiny Glasses for the PEEP Make two extra copies of the line drawing. Place one copy of the line drawing which includes the bunny’s face and flowers into one of the clear plastic page protectors or plastic folders. In the second folder, place a copy of the line drawing which includes the PEEPS sign and bunny’s feet.

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Cut out from the other copy of the line drawing the following: the flowers on top of the bunny’s head (excluding the leaves and small filler flowers), the bunny’s paws, and all of the hearts (large and small) on the bunny’s feet.

(Refer to the manufacturer’s instructions for further detail on how best to handle the clay (modeling compound) during the blending process.)

Blend together two balls of equal size from the White Apoxie Sculpt, one ball from Part A and one ball from Part B. Each ball should be about the size of a small tangerine. Mix until both parts are wellblended and the clay is softened.

Roll the clay between your palms to flatten, then roll it out on the third clear plastic sheet protector. Roll out the clay until it is flat and approximately 3/16” thick.

Lay the patterns you have cut out of the flowers, hearts, and paws on top of the rolled-out clay. Using a small paring knife or an Exacto knife, cut out each shape from the clay by cutting around each pattern piece. Gently peel up the pieces of paper from the clay. Note that the paper can be dampened with water and gently rubbed off if it should tear when trying to peel it off, or if it seems difficult to remove.

Gently lift the cutout pieces of clay and place them on top of the plastic folders (that hold the copies of the line drawings inside) and match up the cut-out shapes of clay to the line drawings. Note that the shape of the clay may have become slightly distorted when you lifted it up from the plastic sheet to move it. Use the line drawings as a guide to reshape the cutout pieces of clay to the correct size. Once the clay cut outs match the shape of the pattern, use your fingertips, dampened with a bit of water, to smooth out the texture of the clay on the top and smooth out the sides.

Roll three small balls of clay and flatten them slightly to create the flower centers. Apply on top of the cutout flowers.

For the paws, use a stylus to form the separations between the “fingers” in the paws. Smooth the clay gently with your dampened fingertips, as needed.

To form the nose, roll a ball of clay about the size of a very large marble. Pinch one side of the ball of clay to a point. Press the clay down onto plastic sheet over the line drawing of the bunny’s nose.

Press and shape the clay to fit the line drawing of the nose. Use dampened fingertips to smooth the clay to your liking.

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Roll a small amount of clay into a ball, then roll between your hand and the plastic sheet to create a very thin “rope”. Cut two 1 ¼” long pieces from the clay rope. Place the rope pieces over the line drawing of the glasses on the PEEP and shape them to fit the circular shape of the glasses, trimming off any excess clay, if needed. (You should now have two “o” shapes of clay sitting next to each other with a small space between them.) Cut off a tiny piece of the clay rope, approximately ¼” long, and lay across both the inner edges of the two “o” shapes, to create a nose bridge which holds the glasses together. Smooth all with dampened fingertips, if needed.

Set aside all the clay pieces to dry. Allow 24 hours for the clay to fully cure to a rock-hard, semi-gloss appearance. After the clay is hardened, very gently peel the plastic sheet away from the bottom of the clay. Lightly sand off any rough edges that need to be removed. If any portion of the delicate glasses should break apart from each other, do not worry; all the sculpted parts will be attached in place at the completion of the project with E-6000 or Household GOOP adhesive.

Painting Instructions Transfer the main lines for the ears, face, body, sign, and feet. Basecoat the center of the ears and the feet with Warm White.

Buffalo Plaid: Step 1 – Taping for the Vertical Lines in the Plaid Stretch a piece of Scotch magic tape vertically down the center of each foot and down the center of each ear. Note that the buffalo plaid pattern will only be painted over the areas of the feet and ears that have been base coated with Light Mocha. IMPORTANT: 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 pieces of tape your put down (or the “placeholder” pieces of tape) 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).

• Add the next piece of tape to the left of the placeholder tape. You should now have a couple of taped “stripes” that run vertically up and down the ears and feet of the bunny.

Step 2 – Painting the Vertical Lines in the Plaid • Mix a pool of Blueberry with water to make a wash. The ratio should be about 85% water to 15% 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 between the Scotch tape stripes with one application of the Blueberry wash. Repeat with a second application, if desired, 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 in the Plaid • Follow the taping instructions as above, except the lines will run horizontally, rather than vertically.

Begin with the “placeholder” piece of 51

•

tape running horizontally in the center of the ear or foot, then add a piece of tape to either side of the “placeholder” tape. Remove the placeholder tape and lay it against the opposite side of one of the other pieces of tape. Apply another piece of tape next to the “placeholder” tape. Continue with this taping pattern until the ears and feet have stripes of Scotch tape running horizontally across them. Follow the painting instructions as indicated above, using the Blueberry wash, and allow the paint to dry thoroughly.

DO NOT REMOVE THE TAPE after painting the horizontal stripes; leave the tape in place.

Step 4 – Creating the darkest checks • Tape vertically over the places where you originally placed the first rows of tape in Step 1.

• 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 95% Blueberry/5% Light Mocha.

• Once the paint is dry, gently pull up the vertical and horizontal tape from the ears and feet.

Dry paint thoroughly before proceeding to the next step.

Step 5 – Taping for Thin Lines in the Buffalo Plaid • Use Scotch tape to block off very thin vertical lines that run across the darkest areas of the buffalo plaid in the ears and feet. Base the thin stripes with Fawn. Allow to dry, then gently remove the Scotch tape.

• Repeat the same process to create thin horizontal lines in the plaid. Remove tape when dry.

Shading the Buffalo Plaid Areas: Blueberry: Thin paint with water and apply a wide float around the edges of the buffalo plaid areas in the ears and feet. Float a few wrinkle lines inside of the ears.

Midnite Blue: Thinly float around the edges of the buffalo plaid areas in the feet and ears to deepen shading.

Basecoats: Light Mocha: Base the bunny’s face, chest, and tummy (area below the sign).

Fawn: Base the rest of the bunny, excluding the sign, and the paws.

Blueberry: Base the sign.

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Sign: Tropical Blue: Stipple, then dry brush, the center area of the sign.

Open Water: Repeat stippling and dry brushing again to brighten the highlights.

Midnight Blue: Float to shade around the edges of the sign.

Bunny’s Face, Chest, and Tummy: Trace the face details onto the bunny.

Tip: This next step is optional but very helpful. Use the ¾” stretchy tape to tape around the inside edges of the buffalo plaid areas (inside areas of the ears and feet). Stretch the tape, and clip it when needed, to allow it to bend around the curves of the buffalo plaid areas. The stretchy tape will help to block stippled and floated color from getting onto the buffalo plaid.

Cocoa: Dry brush around the face, chest, tummy, around the eyes, and above and below the mouth. Float around the face, chest, tummy, eyes, and above and below the mouth to strengthen the dry brushed color.

Warm White: Using the X-Large Tracy Moreau stencil brush, dip the tips of the longest bristles into a fresh pool of Warm White. Lightly pounce off the excess paint onto a dry paper towel, then stipple all over the face, chest, and tummy of the bunny. Repeat the stippling to brighten.

Cocoa: Dry brush around the face, chest, tummy, around the eyes, and above and below the mouth. Float around the face, chest, tummy, eyes, and above and below the mouth to strengthen the dry brushed color.

Warm White: Using the X-Large Tracy Moreau stencil brush, dip the tips of the longest bristles into a fresh pool of Warm White. Lightly pounce off the excess paint onto a dry paper towel, then stipple all over the face, chest, and tummy of the bunny. Repeat the stippling to brighten.

Cocoa: Thin slightly with water and float again around the face, chest, tummy, around the eyes, above the mouth, and below the mouth.

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Bunny’s Body, Paws, and Ears Cocoa: Using the X-Large Tracy Moreau stencil brush, dip the tips of the longest bristles into a fresh pool of Cocoa. Pounce off the excess paint onto a dry paper towel, then stipple all over the body, ears, outer face area, feet (around the buffalo plaid area), and paws.

Milk Chocolate: Repeat stippling over the Cocoa stippling to add a bit of color variation. Float around the outside edges of the plaque, and on the ears around the buffalo plaid area, on the head and body next to the Light Mocha areas, on the feet around the buffalo plaid feet, and on the paws between the “finger” separations and around the bottom of the paws.

Espresso: Thinly float over the Milk Chocolate floating to deepen shading.

Raw Umber: Float over the Espresso floating in the areas that the shading should be deepened, such as below the ear where it folds over, at the base of the ears where they meet the head, on the brown areas of the bunny closest to the eyes and cheeks, on the brown areas where the head meets the body, on the bottom of the paws, on the body next to the sign and feet, on the bottom of the bunny below the tummy, and around the bottom of the feet.

Remove the stretch tape from the plaid areas.

Bunny’s Face and Eyes Warm White: Base the eyes and the teeth.

Foliage Green/Milk Chocolate: (Equal mixture) Float the iris in the eyes. Repeat to strengthen the color.

Espresso: Thinly float the outside edge of the iris in the eyes.

Raw Umber: Using the 18/0 liner, line the fine spoke-like lines in the iris of the eyes. Float thinly around the outer edge of the iris.

Soft Black: Base the pupils of the eyes. Thin paint with water to a wash consistency (80% water/20% Soft Black) and base the inside of the mouth. When dry, float the bottom of the inside of the mouth.

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Open Water: Thin paint with water and very lightly float the top of the teeth, and down one side of each of the teeth. Float around the outer edge of the white portion of the eyes.

Baby Pink: Lightly dry brush the cheeks.

Boysenberry Pink: Very lightly dry brush the center of the cheeks.

Jack-O’-Lantern Orange: Base the clay nose.

Tangerine: Stipple and dry brush the top of the nose to highlight.

Saffron Yellow: Stipple and dry brush the top of the nose again to further brighten the highlights.

Orange Flame: Stipple and dry brush the bottom of the nose to shade. Float the bottom half of the nose to deepen shading.

Razzle Berry: Float the pointed tip at the bottom of the nose to deepen shading even further.

Warm White: Dot the center of the pupils in the eyes.

Boysenberry Pink: Thin the paint with water. Using a sheer float, add a bit of subtle blush to the bunny by floating the bottom edge of the bent ear, outer edges of the bottom portion of the ears, bottom sides of the face, sides of body, and bottom outer edges of the feet.

Flowers and Leaves Boysenberry Pink: Base the petals of the flower on the left side.

Baby Pink: Dry brush the tips of the Boysenberry Pink flower petals to highlight.

Razzle Berry: Float to shade the pink flower petals.

Purple Cow: Base the petals of the flower on the right side. Add a bit of Warm White to the Purple Cow and dry brush the tips of the Purple Cow flower petals to highlight.

Brilliant Purple: Float to shade the purple flower petals.

Jack-O’-Lantern Orange: Base the flower in the center.

Tangerine: Dry brush the tips of the orange flower petals to highlight.

Orange Flame: Float to shade the orange flower petals.

Summer Squash: Base the flower centers. Add a bit of Warm White and stipple the top of the flower centers to highlight.

Saffron Yellow: Float the bottom of the flower centers to shade.

Milk Chocolate: Apply dots of varying sizes with the stylus to the bottom half of the flower centers.

Foliage Green: Base the leaves.

Lemonade: Float the top edge of the leaves to highlight.

Sour Apple/Evergreen: (Equal mixture) Float to shade the bottom of the leaves on the head.

Line the stems of the filler flowers.

Warm White: Dot the white filler flowers. Add a few small dots to the top of the flower centers.

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Hearts for the Feet Boysenberry Pink: Base the small and large hearts.

Baby Pink: Stipple and dry brush the top third of the hearts to highlight.

Razzle Berry: Stipple and dry brush the bottom third of the hearts to shade.

Float the bottom of the hearts to strengthen the shading.

Finishing the Sign Attach the PEEPS stencil in place using a bit of stretch tape. Use stretchy tape to block off the area of the feet that you do not want to stencil the PEEPS onto.

Warm White: Stencil a couple of layers of Warm White over the PEEPS lettering and the bunny PEEPS. This will serve as an undercoat for the pastel colors that will be painted over the lettering and bunnies.

Summer Squash: Stencil the PEEPS lettering.

Warm White: Add a bit of Warm White to the brush and stencil along the top edge of the lettering to highlight. Wipe the brush out a bit on a damp (not wet) paper towel.

Saffron Yellow: Stencil the bottom third of the lettering to shade. Add a small touch of Tangerine to the brush and stencil the very bottom of the lettering.

Moving from left to right, stencil the PEEPS in the following order: The First Bunny: Stencil with Baby Pink; float shade across the bottom of the pink with Boysenberry Pink; deepen with Razzle Berry.

The Second Bunny: Stencil with Purple Cow; shade the bottom of the purple bunny with a float of Brilliant Purple.

The Third Bunny: Stencil with an equal mixture of Foliage Green and Sour Apple; shade the bottom with an equal mixture of Sour Apple and Evergreen.

The Fourth Bunny: Stencil with Jack-O’-Lantern Orange; shade the bottom with Orange Flame, and again with Razzle Berry.

Warm White: Using the 10/0 liner, load the paint fully on the brush, and line the “Oh, for” and the “Sake!” lettering. Base an oblong dot on the PEEPS for the eyes.

Soft Black: Dot a small oblong pupil in each of the Peep’s eyes. Base the small glasses worn by the green Peep. Paint a small, upside-down triangle on each Peep for a nose.

Lining: Soft Black: Thin paint slightly with water and use the 18/0 liner brush to outline each of the PEEPS letters, the bunnies, around the sign, around the plaid areas of the feet and ears, around the eyes, and above and below the mouth.

Soft Black: Line the eyelashes. Using short strokes that curve slightly line around the Light Mocha area of the face, body, and tummy.

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Finishing Instructions: Glamour Dust—Ice Crystal: Base generously over the flowers, leaves, small white filler flowers, nose, PEEPS lettering, the Peep bunnies, small black glasses, and the small and large hearts on the feet. Allow to dry, then repeat with a second application.

Dura-Clear Matte Varnish: After the Glamour Dust has thoroughly dried, varnish the top, sides, and back of the plaque, and the sculpted shapes you created from the clay.

Using E-6000 Adhesive or Household GOOP Adhesive, glue all of the clay pieces to the bunny.

Lay flat for 24 hours to allow the adhesive to thoroughly cure.

If desired, attach thin ribbon or wire to the ears to use for hanging.

Happy painting!

Copyright Notice: © 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.

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By Sunny Tonini sunny@artisanarie.com

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We all have those favorite, special little treasures that deserve to live in a beautifully decorated box!

Featuring elegant orchids, this box can be used to store goodies, decorate your home, or be given as a thoughtful gift to a loved one.

Surface: x 8” x 11” fabric covered photo/shoe box. x You may also adapt this design to other surfaces of your choice.

Project Supplies: x Standard Acrylic Painting Tools x Tracing Paper x Transfer or Graphite Paper Paints: DecoArt Americana Acrylics x Alizarin Crimson x Baby Blue x Banana Cream x Berry Cobbler x Black Forest x Blue Chiffon x Burnt Umber x Cranberry Wine x Evergreen

x x

x x x x x x x x

Ball Stylus Masking Tape

Foliage Green Grey Sky Hauser Medium Green Light Orchid Midnite Green Snow (Titanium) White Vivid Violet Warm White

Brushes: Royal & Langnickel x Soft Grip Short Shader SG155 #4, 6 x Crafter’s Choice Grip Round 9259 # 3 x Stencil Brush 1113 – 1/4" and 3/8” Preparation: Place masking tape around the box lid’s edge and going down the sides to protect the sides. Transfer the design onto tracing paper. Position it on the box lid and secure the edges with masking tape.

Carefully place the transfer/graphite paper underneath the design and trace it with a stylus. Try not to move the transfer paper around too much to avoid smudges on the fabric. You are now ready to paint!

Painting Instructions: Sunny’s Wet on Wet Technique: My wet on wet technique consists of base coating, shading and sometimes highlighting an area or element while the paint is still wet. First you put down the base coat, then immediately start adding layers of shading colors and blending them in by lightly scrubbing the fabric with the brush upright.

There is an “open time” while the paint is wet that you can work on the colors until you get the desired effect. After the paint is dry to the touch, you can still shade and highlight, but then it becomes a dry rubbing technique, where you work with much smaller amounts of paint in the brush to avoid lifting up the previous color layers. I mostly use wet on wet as the main technique, and dry 62

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.

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 canvas’ 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.

Painting the Background: Note: These steps are done using a wet on wet technique.

Place masking tape along the dotted line to isolate the right side of the design. Make sure to press firmly down the edge to keep the paint from seeping under the tape.

Prepare a moderate amount of Banana Cream + Warm White (1:2). Load the 3/8” stencil brush with some of the mix and using circular movements, fill in the background on the left side. Use the #4 or 6 short shaders, or the 1/4” stencil brush to carefully paint around the design and then immediately blend it in with the stencil brush. Apply an even layer of paint and let dry.

Apply masking tape along the line again, this time isolating the left side. Using the 3/8” stencil brush and circular movements, apply Blue Chiffon to the background and around the design. Work on a small area at a time and while the paint is still wet, load the stencil brush with some Baby Blue, remove the excess on a paper towel and shade the lid’s edges. Use small amounts of paint and circular motions to blend and fade the shading well. You can always go back and add more paint if needed to build up the color, keeping the darker values close to the outer edges. After you’re finished, keep the masking tape in place for the next step.

Stenciling: Position the stencil over the yellow background, making sure the design is well distributed within the area (start from the top edge) and secure it with masking tape. Load the 1/4" stencil brush with some Baby Blue, remove the excess on a paper towel leaving very little paint on the brush, and with the brush upright, start stenciling using circular movements, being careful to avoid going over the design lines. You can use a smaller brush as you get closer to the edges. Work the paint until you cover the stencil and carefully lift a corner of the stencil to check underneath. You can go back and add more color if needed, always using very small amounts of paint to build up the color.

When finished, slowly lift and remove the stencil, reposition it, and continue stenciling until the whole area is completed.

Remove the masking tape.

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Painting the Leaves and Stem: Leaves: Using the 1/4" stencil brush in the areas where you want the lighter values, basecoat the leaf with Hauser Medium Green; using the #6 short shader fill in the rest with Evergreen. Use small amounts of paint and while the paint is still wet, blend well with the brush upright. Corner load a small amount of Black Forest Green and deepen the shade in the dark areas; repeat the process with Midnite Green.

Rinse and dry the brush, corner load a small amount of Foliage Green and highlight over the light areas.

Stem: Using the #4 short shader, basecoat the stem’s center with Hauser Medium Green, fill in the rest with Evergreen and highlight with Evergreen. Use small amounts of paint and while the paint is still wet, blend well with the brush upright. Paint the knots with Hauser Medium Green and highlight with Evergreen. Shade the area just outside the knots with Burnt Umber.

Painting the Orchids: Please Note: The orchids’ petals are all painted following the same steps, and it’s best to work in small groups (2 or 3 at a time) while the paint is wet. If you’re a fast painter, you can work on a larger group at a time, keeping in mind that the paint has to be wet while you work on them.

Always start from the petals “in the back or underneath” and work your way towards the ones on top.

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Background Orchids: Using the #4 short shader, basecoat the orchids in the background (facing away) with Warm White and shade underneath each petal with a small amount of Grey Sky. Wipe the brush, corner load with Light Orchid and apply the color to the base of the petals, then using a sweeping motion, pull the color towards the edge following the petal’s shape. Repeat this step with Vivid Violet, using less paint and without walking the color out as far as you did the first time.

Rinse and dry the brush, load it with Titanium White. To create shading and nuances, apply the color to the petal’s outer edge and this time, sweep the paint in towards the base following the petal’s shape and blending in and over the colors applied before.

Forward Facing Orchids: The orchids facing forward are painted following similar steps. Basecoat the petal with Warm White, shade with Grey Sky. Wipe the brush, corner load with Light Orchid and apply the color to the base of the petals, pulling the color towards the edge. Repeat this step with Vivid Violet without walking out the color as far as you did the first time. Follow with Berry Cobbler, keeping this color much closer to the petal’s base. Let dry a couple of minutes and apply a small amount of Berry Cobbler again to intensify the color. Rinse and dry the brush, load it with Titanium White. Apply the color to the petal’s outer edge and sweep the paint in towards the base following the petal’s shape.

Orchid Center: (See pictures on the following page) Load the #4 short shader with a small amount of Berry Cobbler and Alizarin Crimson, and basecoat the orchid’s center. Corner load the brush with Cranberry Wine and shade under the curved side and all around the “lip”. Wipe the brush, corner load a small amount of Vivid Violet and lightly run two parallel lines down the center, blending the edges. Repeat this step with a tiny bit of Light Orchid to highlight the lines. Corner load the brush again with Light Orchid and highlight the curved side petal.

Using the #3 round and thinned Cranberry Wine, add the tendrils.

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Buds: Using the #4 short shader, basecoat the buds with Warm White. Corner load with Berry Cobbler and paint the petals, then deepen the color with a little bit of Alizarin Crimson. Add a touch of Hauser Medium Green. Pull the paint following the petal’s shape.

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

Leaves and Stems: Using small amounts of paint, corner load the #6 short shader and dry brush Midnite Green to deepen the leaves’ shades. Load the 3/8” stencil brush with a small amount of Foliage Green (remove the excess) and dry brush some color to increase the highlights.

Orchids: With the #4 short shader, apply small amounts of Titanium White to the petals’ outer edges to increase the highlights.

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Box: To protect your painting, apply masking tape to the box lid right where the stenciling ends. (Top edges of painted area) Load the 3/8” stencil brush with Baby Blue and paint the edge around the lid for a seamless look. Rinse and dry the brush well; paint the box bottom with Blue Chiffon with the same brush.

As the paint dries and is absorbed by the fabric, you may see areas that need additional shading or highlighting.

Reapply colors as necessary.

When the design is completely dry, following manufacturer’s directions, use a large, flat brush (1”) to apply several coats of satin or matte varnish.

I would love to share my other hand painted designs with you! Please visit my Etsy shop at https://www.etsy.com/shop/Artisanarie

Bonus line art suitable for a 4”x6” surface

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By Elisabetta De Maria &'$

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Dearest painting friends, I present a project painted on a thick canvas that does not need a frame. Among the many flowers that I love, there is the hibiscus. I wanted to capture its beauty on a large canvas, offset by a dark background. I am pleased with this bold portrait! I want to encourage you to try the new DecoArt Americana Premium Acrylics.

They are rich, highly pigmented colors that I had never tried before. I very much enjoyed painting with them. Paint boldly!

Surface : x 16’ x 20”, Gallery Profile Canvas (sides are at least 1 3/8’ deep) (cm 51 x 41 ) Project Supplies : x Ball Stylus x Fine Sandpaper x Standard Acrylic Painting Supplies x Lint Free Cloth Paints DecoArt Americana Acrylics x Antique Maroon x Black Plum x Fiery Red x Primary Yellow x Red Alert x Soft Black x Titanium White

Paints DecoArt Premium Acrylics x Primary Yellow x Pyrrole Red Mediums : x All Purpose Sealer of Choice x Varnish of Choice

Brushes : x Assorted Size Flats for Basecoating x Assorted Size Angular for Floating x Round Brush n 1 x Assorted Size Fine Liners x Mop Brush to Blend and Soften Color x Very old, badly frazzled, flat brush Painting Techniques Basecoat: Opaque application of background color on surface or component.

Shading and Highlighting: Load a small amount of paint in the corner of an Angle Brush, stroke the brush back and forth on the palette paper until most of the paint is out of the brush. It is important that the color be worked in the brush until it is completely transparent. Apply as if walking out a float of color. Repeat if necessary and use the Mop brush to blend the color.

Drybrush: I use brushes that are dome shaped, rounded and have shorter hairs. Dip the brush into the paint and then wipe the brush on a dry paper towel , rotating the brush until only a residue of paint remains. Move to the surface, use a light pressure and begin “scrubbing” the paint out of the brush, slowly, in a small circular motion. Work the paint outward, allowing it to diminish so that there is a gradation of color.

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Instructions Using a large brush, apply a coat of sealer and let dry.

Background Paint the background trying not to cover the part that will have to see the hibiscus born.

Start from the left with Antique Maroon and continue to the right, gradually fading towards the center, with Soft Black.

Shading and Highlighting : (Refer to color photo for placement) Hibiscus With a flat brush, paint one petal at a time; begin the painting with Americana Premium Pyrrole Red. Paint the tip of the petals with Americana Premium Primary Yellow and try to blend the Pyrrole Red with Primary Yellow together while the colors are still wet. This will create a beautiful warm orange color that will bridge two colors and blend them together.

Highlight the tip of the petals with DecoArt Americana Primary Yellow to get a warmer color and lighten some spots more with Primary Yellow Americana Premium. (Fig 1)

Fig 1

Fig 2

Fig 3

Continue to highlight further with Americana Premium Primary Yellow mixed with Titanium White. Shade with Black Plum and deepen with Soft Black.

With a used corner cutting brush and the color Americana Premium Pyrrole Red mixed with Titanium White (1: 1) to create the veins of the petals. (Fig 2) Outline the petals with Titanium White and a liner brush.

(Fig 3)

Fig 4

Highlight the petals with Red Alert and brighten with Fiery Red. (Fig 4) Refer to anatomy diagram on the following page to identify the parts of the hibiscus blossom.

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Once all the petals are all painted, begin painting the style, starting at the bottom with Premium Pyrrole Red. As you move upwards towards the anther, begin adding Premium Primary Yellow. The colors will blend and create a lovely, orange hue.

Finish painting the top styles with Premium Primary Yellow.

Shade with a brush mix of Premium Pyrrole Red and Premium Primary Yellow.

Highlight with Titanium White around the bottom of the stigma.

With the liner brush loaded with a brush mix of Premium Primary Yellow and Titanium White, create the fine hairs.

Fig 5

Frazzled Flat Brush

Paint the Anther with a #1 round brush and Premium Primary Yellow (make a small ball). Allow to dry.

For shading and highlighting, use a frazzled, flat brush to stipple on the color. (Fig 5 photo).

Dip half the bristles in the orange color created to shade the style (Pyrrole Red + Primary Yellow) and stipple shading on the anther.

Make the highlight with the same system and the Titanium White.

Paint the Filaments with the liner brush and the Titanium White color.

Using a #1 round brush and Premium Primary Yellow, create the stigmas by making oval dots.

Highlight the left side of the Stigma by corner loading an angle brush with a mix of Pyrrole Red and Primary Yellow.

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Pull fine hair with the with liner and Titanium White. Use the frazzled flat to tap highlights on the right side of the stigma. (Figs 6 and 7 photos)

Fig 6

Fig 7

Finishing Varnish as desired and display with great joy!

Happy Painting!

Elisabetta.

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Enlarge Pattern 200%

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By Sharon Bond “Ohh, this was such a fun project! A project that offers many options; let your imagination soar when it comes to painting the eggs! I used a few stencils here, but you have so many options on colors, stenciling (with one or MANY stencils) or even hand drawing personal designs (or names!) of your own! Just a fun, colorful and Springy project! Hope you enjoy!”

Copyright © 2020 Painted by Me, Sharon B - Photocopying or mechanical reproduction is strictly prohibited.

May be painted for fun or profit, but no mass production.

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Surface: x Truck Plaque – Available from www.cdwood.com – Item # 31-L621 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.) (I would suggest two sizes for this project; such as an Ultra-fine Sharpie and also a finer lined marker.) x Ordinary Ruler (Optional but very helpful!) x Scotch’s Magic Tape or Painters Tape x Circles and Squares Stencil – Available from www.cdwood.com – Item # 09-19018 (Optional) x All Purpose Template – Available from www.cdwood.com – Item # 09-00845 (Optional) x Tim Holtz Lace Stencil – Available from www.cdwood.com – Item # 09-60215 (Optional) x Tim Holtz Dot Fade Stencil – Available from www.cdwood.com – Item # 09-70805 (Optional) x Daisy Pattern Stencil – Available from www.creativeartslifestyle.com – Item # STCL1045_1 (Optional) x Ribbon, Twine, Wire or String to create hanger (Optional) x *Keep in mind that the ‘Circles and Squares Stencil’ and the ‘All Purpose Template’ are optional, but excellent tools to use in this project for creating the shapes you need easily! x **The stencils that I used on the Eggs are also all optional as well (the Lace stencil, the Dot Fade and Daisy stencil). Remember you could use any stencil you choose, or any design you choose! You could use one stencil for all or use many more stencils for different designs. You could also hand draw whatever designs you would like on the eggs, including personalizing them with names, if you wish!

Paints: DecoArt Americana Acrylics x Blue Haven x Boysenberry Pink x Cotton Candy x Country Blue x Desert Turquoise x Espresso x Graphite x Indian Turquoise x Lamp Black x Marigold

x x x x x x x x x

Peaches ‘n Cream Pistachio Mint Purple Petal Sable Brown Shoreline Slate Grey Warm White Whispering Turquoise Zinc

*Please Note: I did incorporate a 50/50 mix in this project! (Other than lightening with Warm White.) This is an easy mix! However, if you would prefer not to mix, the only additional color you would need would be: Grey Sky.

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Specialty Items by DecoArt: x Americana’s Matte Spray Finisher x Americana Dura-Clear Gloss Varnish (optional) x DecoArt Glamour Dust Glitter Paint – Ice Crystal (optional) x DecoArt Media – Liquid Glass (Clear) (optional) Brushes: x Angle Shader ¼” x Angle Shader 3/8” x Flat Shader # 10 x Glaze/Wash Brush ¾” x Round # 2 x Script Liner 10/0 Other Brushes from Cupboard Distributing: x #6 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-6 x #8 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-8 x #10 Oval Drybrush – Jo Sonja’s Sure Touch – Item # 03-2010-10 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: Start by basecoating the entire surface with Blue Haven. (You may need to apply a second coat for full coverage.) Not only will this be the background behind the eggs and in the truck window, but it will serve as an undercoat for the rest of the pattern.

Once dry, transfer on the main pattern outline.

Painting Instructions: Truck: You may choose to tape off over the wood slats before basecoating to help keep those lines straight. Basecoat the truck (avoiding the window, wooden slats and tires) with Indian Turquoise.

Once dry, drybrush with Shoreline. Highlight with Whispering Turquoise, especially on the top of the roof, the hood and fenders. Shade along all seams /dividing lines with Desert Turquoise. Once dry, finely outline the truck in Black, using your ruler to help with any straight lines.

Wood Slats: This includes the wooden slat under the door as well as the wooden slats in the truck bed. Basecoat all with two coats of Espresso. Once dry, drybrush with Sable Brown. Use a ruler and your Black Ultra-fine Sharpie to add the dividing lines to the wood slats in the back. If you wish, you can use a finer lined Black marker to add any woodgrain type details.

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Other Trim: The vertical strip between the door and the truck bed is painted solidly in Black. For the bumpers, (both front and back), they are based in Zinc, then drybrushed with Slate Grey. The headlight is based with Slate Grey and then drybrushed with Warm White.

Tires: Basecoat the tires in Graphite. Once dry, drybrush with Zinc. Highlight with Slate Grey. If the highlight looks a bit too bold, simply drybrush back over with more Zinc added to your brush.

Paint the small curved area above each tire, solidly in Black.

Basecoat the inside hub cap with Indian Turquoise and when dry, drybrush with Shoreline.

Basecoat the outside hub solidly with two coats of Desert Turquoise.

I used the circle template to help me finely outline each of the hubs with Black using a marker.

Once everything has dried, you can trace on the daisy design onto the center (inside) hub. Solidly paint all petals with Warm White (you may need two coats). Paint the centers by dotting with Marigold. Finely outline the flowers in Black. (You can use the small circle template, 3/16”, to finely outline the center dot if you wish.)

I also randomly added a few small daisies to each fender by simply using my stylus. Petals are dotted with Warm White and centers are dotted with Marigold.

Eggs: You could choose any colors you like to paint the eggs! I randomly added colors and based with the following colors: Boysenberry Pink, Country Blue, Marigold, Peaches ‘n Cream, Pistachio Mint, Purple Petal and Shoreline. (Keep in mind that some of the lighter colors may need two coats.) If you would like to paint the eggs exactly as I did here, I will include the names of the colors for each egg on the line drawing!

To lighten the colors on the eggs just a bit (a bit of a right sided highlight), I took whatever color I based in egg in, such as Shoreline and added a touch of Warm White to the brush with Shoreline to highlight. I did this with each color (Marigold based egg, Warm White added to Marigold to create a highlight, etc… etc…)

Once your eggs have dried, we can start stenciling! As I mentioned before, you can use the stencils I used or whatever stencils you might have on hand! You could also design your own or personalize them by 79

adding names! I did all my stenciling with Warm White and randomly used the following stencils: Lace stencil, Dot Fade stencil and a Daisy stencil (details are listed under supplies.)

Let dry and finely outline in Black (using a very fine lined marker).

At this point, you can trace the bunny scene inside the truck and the sign outline on the door. Tape around the sign edges to keep the edges straight and to protect your truck.

Sign: Basecoat the sign with two coats of Cotton Candy.

Once dry, drybrush with Warm White. With Boysenberry Pink, shade around the sign’s edges and under the bunny’s arm and paw.

Once dry, you can remove your tape and use a ruler to help you finely outline your sign in Black. Trace on your lettering and also outline it in Black; fill in the any open areas of the letters with Black as well.

The dots in the corners of the sign are finely outlined in Black, then dotted with Marigold and then another (tiny) dot of Warm White on top of that.

Before we start painting anything inside the truck, shade Warm White along the top inside edge (roof) and the inside edges of the window in the front and in the back (not across the bottom part though.)

While shading with this, also shade along the top edge of the ‘circle’ area where the eggs are.

Leave some Blue Haven area showing around each egg and just shade along according to the shapes. This just helps the eggs stand out a bit more!

Seat & Door Handle: The seat inside the truck is based in two coats of Espresso (you may wish to tape off around the seat first to help you keep your painting lines straight.) Once dry, drybrush with Sable Brown and then finely outline in Black.

The truck door handle is based in Zinc, with a stroke of Slate Grey as a highlight. Finely outline this in Black.

Bunny: Basecoat the bunny in Slate Grey. (There is no need to paint his muzzle, chest or the inside of the ear at this point.)

With an equal 50/50 mix of Slate Grey and Warm White (*This is where you could use Grey Sky if you wish, instead of mixing) drybrush over the bunny. Also paint the bunny’s muzzle and chest in this color and let dry.

Highlight over the bunny with Warm White, concentrating more on the muzzle, chest, paws and around the inside part of the ear.

To deepen the Warm White color on his muzzle and chest, I actually wet-brushed those areas with thinned Warm White.

Basecoat the inside of the ear with Boysenberry Pink, when dry, drybrush with Cotton Candy in his ears and on his cheeks.

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Basecoat his eye with Warm White. His iris is Shoreline and his pupil is Black. Finely outline the bunny and all of his facial features in Black (including his eye, eyelashes, etc.) The inside of his mouth is also Black. His nose is solid Boysenberry Pink.

I wanted to paint the bunny first before painting the steering wheel. Now we can finish the steering wheel by painting it in Black.

Finishing Touches: At this point, we will want to seal our project!

I simply spray sealed mine with Americana’s Matte Spray Finisher per instructions and let dry.

Again, there are so many options to what we can do to enhance our bunny plaque!! There are a few things that I did, and I will list them here! I used Americana DuraClear Gloss Varnish and applied this to the bunny’s eye, nose and open part of the mouth. I also painted the headlight with it as well. I used DecoArt Glamour Dust Glitter Paint (Ice Crystal) and painted all the eggs! (This is another place where you could add your own touches! You could paint each egg in a coordinating color of Glamour Dust Glitter Paint, or you could paint them in DecoArt’s Pearlizing Medium!) I also added DecoArt Media Clear Liquid Glass to add dimension to the Marigold centers of all small daisies, as well as the larger Marigold centers on the hub caps. I also added it to each dot on the door’s sign.

Once everything has dried, you can add wire or ribbon for a hanger, if you wish!

This project was a lot of fun; I hope you will enjoy this little bunny delivering his eggs for Easter!! ᇽ ᇾ Thank you!

Sharon B

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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 pixelatedsusan@gmail.com 86

By Patricia Jarrett There’s always time for friends to share tea and laughter!

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Surface x I used a metal cannister I found at a thrift store. The design will accommodate a smaller or larger cannister as the “bushes” in the back of the cannister can be added to or subtracted from. It will be necessary to make sure the height of the cannister is tall enough but once again the pattern can be adjusted to fit a taller cannister. This design also works well for a flat surface (for example, a tray).

Supplies x Graphite paper – grey and white x Stylus – different sizes x Clear plastic ruler (good to have but optional for this pattern) x Pencil – mechanical or very sharp pencil x Eraser x Tracing paper x Paper towels or blue shop towels (my favorite!) x Water basin x Q-tips x Identi-Pen (use for linework and I also sign my pieces with it), Cupboard Distributing, https://www.cdwood.com/products/identi-pen x Triple Threat Ghost Writer (optional)- this tool is amazing, does a thin chalk line, thin graphite line as well as a solid point that is great for tracing. This is a tool you will use and use and use again! It is offered at Creative Arts Lifestyle http://creativeartslifestyle.com/all-products/triple-threat-ghost-writer/ Important note: To ensure that the paint adheres to the metal surface, you can use either one of these mediums. x Heritage Multimedia Multi-Surface Sealer www.jansenartstore.com/heritagemultimedia-multi-surface-sealer-medium/ x DecoArt Paint Adhesion Medium – this can be purchased at many craft retailers and online retailers (i.e., DecoArt, Cupboard Distributing, Viking Woodcrafts and more).

Mediums:

x x

Available from DecoArt https://decoart.com/ Cupboard Distributing https://www.cdwood.com/ , http://www.vikingwoodcrafts.com/ Creative Arts Lifestyle http://creativeartslifestyle.com/

Acrylic Sealer/Finisher, DecoArt, Matte, DAS13 DecoArt, Americana Décor, Soft Touch Varnish

Paints by DecoArt Americana x Antique Gold x Arbor Green x Burnt Orange x Cadmium Yellow x Country Red x Dark Chocolate x Deep Midnight Blue x Dioxazine Purple x Hauser Dark Green

x x x x x x x x x

Hauser Light Green Hauser Med Green Lamp Black Light Buttermilk Pansy Lavender Purple Cow Rookwood Red Sea Glass Storm Grey 88

x x x

Terra Coral Terra Cotta Titanium White

x x

Warm Beige (formerly Flesh Tone) Winter Blue

Periodically, DecoArt discontinues paint colors. However, there is a published list of discontinued colors and mixing “recipes” to achieve some of the discontinued colors. The information can be found here: https://www.hofcraft.com/DECOART%20DISC%20GUIDE.pdf Information about brush selections: I have listed the brushes I feel comfortable using but you should substitute according to your preference.

Please note, large surfaces are painted with a large flat brush of your choosing.

Smaller areas are painted with a size flat brush that is comfortable for you. The same holds true for any round brush used.

The curved flat brushes were used for floating and I used the smaller size for smaller areas, middle size for larger areas and the large size for the largest areas.

I use both Crescent brushes and domed brushes for the dry brushing and used a size that was appropriate to the area being brushed.

Loew-Cornell x Curved Flat 7330, sizes 6, 10 and 12 * Discontinued, can substitute with flat or angle flat brush in sizes 6, 10, and 12. x Mesa 7830, size 8 x Crescent brushes, #247, ½”, 3/8”, ¼” and 1/8” * Crescent brushes have been discontinued. The Brush Guys sell a similar product – Mezzaluna http://www.thebrushguys.com/cgi-bin/scv4/proddisp.pl?client=firesaleguys&catid=3&PRID=4005 x LaCorneille 7500 Filbert Brush #4 x JS Mid Liner #2 x JS Mid Liner #10/0 x Large flat brush (for the larger areas) x Scruffy/ratty old brush – you know, that really ratty looking brush that has been around for a long time, Preparation If you are using a metal cannister, you should thoroughly clean the cannister in warm soapy water and a rinse. Let the cannister dry thoroughly. When dry follow directions of the medium you have chosen (either Multi-surface Sealer or dir Paint Adhesion Medium).

P Lid: Basecoat the top of the lid with 2 coats of Winter Blue; basecoat the sides of the lid with 2 coats of Light Buttermilk.

Using a #4 Filbert brush and Light Buttermilk, paint a scalloped border (may require 2 coats). Using a curved flat brush or flat brush of your choice, float a shade (S) around the scalloped border using o De Deep Midnight Blue.

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Cannister: The body of the cannister, including the underside, is basecoated with 2 coats of Winter Blue.

Knob: Undercoat the knob with two coats of Titanium White. When completely dry, basecoat knob with Cadmium Yellow.

The rays of the sun are painted on the cannister lid. Measure how far the knob extends beyond the drilled hole. Your sun rays should start here and base the area Titanium White and when dry paint Cadmium Yellow (2 coats) Sun Details: Transfer the face details onto the knob. Create the face lines by floating a shade of Burnt Orange. Deepen the line work with a fine liner. Float a highlight of Titanium White on the nose area and dry brush a bit of Titanium White on the forehead.

The eyes are based Titanium White with Burnt Orange irises and Dark Chocolate pupils. Using a stylus, add a teeny Titanium White dip dot on the edge of the pupil. The cheeks are dry brushed with Country Red with a bit of the same on the bottom lip When dry, transfer on the basic outlines using grey graphite paper. The intricate details will be done after all is base painted as follows.

Painting Instructions Sun Umbrella: Basecoat with 2 coats of Titanium White.

When dry, trace on the details of the umbrella including placement of the stripes and sections.

The dark sections of the umbrella are painted with Deep Midnight Blue using a small round or small flat brush.

The upper sections of the umbrella are highlighted (H) with Winter Blue on the blue stripes.

The sections of the umbrella are shaded with Deep Midnight Blue (refer to photo) for highlight and shade areas. The wood pole is painted with Dark Chocolate and (S) at the top of the pole and bottom of pole with a mix of Dark Chocolate and tiny bit of Lamp Black. Deepen the Dark Chocolate mix with a little bit more Lamp Black. Thin this mix with water and using a fine liner paint some wood grain on the pole (refer to photo). The base of the pole is painted Country Red. Highlight at the top with a mix of Burnt Orange with a touch of Titanium White. Shade the bottom of the base with a (S) of Rookwood Red. Outline the base using a fine liner and thinned Rookwood Red. 90

Table, Chairs and Tea Set: Basecoat Table and Chairs Titanium White and shade with a float of Storm Grey (refer to photo).

The tea set is based with Country Red. When dry, float a (H) of Burnt Orange on the teapot under the lid, under the knob on the top. Strengthen the (H) using a mix of Terra Coral and Burnt Orange. Using a fine liner and thinned Titanium White, paint a line on the bottom of the lid and under the knob. I then made a # mark on the pot with thinned Titanium White and “smudged” it with my finger. The teapot is shaded on the bottom and lightly on the bottom of the lid with Rookwood Red. The plates are highlighted with Burnt Orange on the top of the plate and shaded on the bottom with Rookwood Red. Strengthen the (H) using a mix of Terra Coral and Burnt Orange. Using thinned Rookwood Red and a fine liner, paint the circle line on the plates.

The cups are based with Rookwood Red. Trace in the line at the top of the cup and (H) this area (on the front of the cup) with Burnt Orange. Strengthen the (H) using a mix of Terra Coral and Burnt Orange. Try and capture a peek of the cup beyond the fingers of the “purple girl”. On the lip of the cup, add a fine line using thinned Titanium White and a fine liner brush. For the table edge, you will float a (S) on the top of the edge with Storm Grey.

The Girls: Both of the girls’ faces/necks are based with Warm Beige. The cheeks are dry brushed with Country Red. I used a very small deer foot brush but use whatever brush works best for you for dry brushing.

The eyes are painted with a very fine liner and a thinned mix of Lamp Black and Dark Chocolate.

The eyes are very tiny dip dots (I used Dark Chocolate for the “purple” girl and Hauser Medium Green for the “green” girl).

The lips are fine lines of thinned Terra Coral with a teeny bit of Country Red. The hands and feet are also based with Warm Beige, highlighted with a tiny float of Light Buttermilk and then lined with thinned Terra Coral and a very fine liner brush. The tops of the girls’ feet are highlighted with a float of Light Buttermilk. The legs beneath the dress edge are shaded with Terra Coral.

Hats: Both hats are based with Antique Gold, highlighted with Light Buttermilk and shaded with Dark Chocolate (see photo). The line work on the hat is done with a fine liner brush and thinned Dark Chocolate. I did also outline the hats with thinned Dark Chocolate.

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Napkins: Paint with 2 coats of Titanium White. Add dip dot design along edges with Titanium White.

Girl in the Purple Dress: Her hair is based with Burnt Orange. The line work for her hair is done using thinned Antique Gold and thinned Dark Chocolate and a very fine liner.

Clothing: Her underdress is painted with Purple Cow. The underdress is highlighted with Titanium White on the front arm, shoulder, at the top of the “collar” and on either side of the lower part of the underdress.

Pansy Lavender is used to shade the back of the underdress, lower arm area, under the apron and at the bottom of the underdress. Using the painted edge of the brush you used for shading, run it on the bottom section of the underdress to create folds/lines.

The apron is painted with Pansy Lavender and shaded with Dioxazine Purple especially around the back of the apron, around the napkin in her lap, the hem of the apron and the armhole area of the apron. The front of the skirt part of the apron is highlighted with Purple Cow. Her shoes are painted with Pansy Lavender and highlighted at the toe with Purple Cow and shaded with Dioxazine Purple on the bottom of the shoe.

The Girl in the Green Dress: Her hair is done with fine lines using thinned paint. The first color I used was Dark Chocolate, followed with Antique Gold and a bit of Burnt Orange. The Dark Chocolate is the predominant color.

Clothing: Her underdress is painted with Sea Glass; highlighted with Titanium White and shaded with Arbor Green. Refer to purple dress instructions for shading and highlight color placement.

The apron is painted with Arbor Green and is shaded with Hauser Dark Green (no real highlighting on the apron).

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Her shoes are Arbor Green, highlighted on the toe with Sea Glass and shaded on the bottom with Hauser Dark Green.

Shrubs: Basecoat Hauser Medium Green and Hauser Light Green (alternating). The Hauser Medium Green shrubs are speckled with a small scruffy/ratty brush dipped in Hauser Light Green and the Hauser Light Green shrubs are speckled with Hauser Medium Green. The Hauser Medium Green shrubs are then highlighted with Hauser Light Green and Shaded with Hauser Dark Green (see photos). The Light Green shrubs are highlighted with Hauser Light Green mixed with Light Buttermilk and shaded with Hauser Medium Green.

Patio Area: Basecoat with Terra Cotta and shade with Dark Chocolate.

Flowers: There are scattered flowering plants in between the shrubs and the patio.

The area at the top of the patio was shaded with Dark Chocolate just primarily to give it some definition.

When dry, add some flowers to help break up the line as it is a garden! I used Hauser Dark Green lines for the leaves and stems; the flowers are created with Cadmium Yellow and the tiny scruffy brush.

I decided to add some wispy clouds using Titanium White and a Mezzaluna brush and a dry brush technique. I kept my clouds very wispy!

Kitty: Base Lamp Black. Trace in the front leg/shoulder area of the kitty with white tracing paper (keep it light please). Float a highlight on the shoulder area with Storm Grey (if necessary, mix this with a touch of Titanium White).

Using a fine liner brush, paint in the inside ear inverted V-shape, a line at the base of the back ear, a line on the front of the kitty’s chest area, and the front part of the highlighted area on the shoulder/front leg. The whiskers are thinned Titanium White and using a fine liner. The nose is a tiny dip dot of Titanium White. The eye is based Hauser Medium Green and when dry, add in a tiny dip dot of Lamp Black.

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Finishing – After all is dry, following manufacturer’s instructions, apply 2 coats of Soft Touch Varnish. When dry, screw in the knob and you are “good to go”.

A word of encouragement from Patricia: As mentioned previously, this pattern can be adapted to many surfaces. The shrubs on the sides of the main element can be added or subtracted to fit most cylinder shapes; they will also be a wonderful embellishment for a more linear shape such as a box. This is your piece now and you should feel free to personalize it and make it yours!

I do hope you had fun painting this design. Remember you are not in a race, paint at your own speed and enjoy the process!

____________________________________________________________ This pattern can be enlarged or made smaller to fit any surface. My designs are for you to paint for fun or profit but not for mass distribution. I would appreciate you giving me credit for the design should you paint it to sell on eBay, Etsy, Facebook, web sites, etc. This pattern is not to be copied, scanned or photographed for distribution without my permission. The pattern may be hand traced for personal use or for teaching purposes only. If you have any questions concerning these, please do not hesitate to contact me. Contact me at: thesunflowercupboard@gmail.com

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Bubbling Up Tulips

By Judy Ribitch After a long cold winter, spring is here. Tulips emerge from the ground. Soft spring rain looks like soft bubbles dancing in the background.

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Surface: x 11 X 14 Wood Panel, Cupboard Distributing, info@cdwood.com Supplies x DecoArt - Bubble Stencil –, Andy09 x Ruler x Pencil x Stylus x Palette Paper x White Graphite x Tracing Paper x Water Basin x Palette Knife Paints: DecoArt Americana Acrylics x Aloe x Golden Straw x Honey Brown x Light Sage x Oyster Beige x Persimmon x Plantation Pine

x x x x x x

Soft Black Spiced Pumpkin Summer Squash Sunny Day Thicket Warm White

Mediums: DecoArt x Brush N Blend Extender x Multi Surface Sealer Brushes: Scharff x Series 158 - Golden Taklon angular -¼” and ½” x Series 405 – Golden Taklon -#4 round x Series 550 – Golden Taklon -1” wash x Series 1440 – Bringle Blender -#4 x Series 205 – Natural Hair stencil brush -#4 x Series 455 – Dresden liner – 10/0 Preparation: Divide the surface in half diagonally using the pencil and ruler.

Apply a thin layer of extender over the entire wood panel. This should be shiny but should not puddle. Base the upper left side of the surface with Soft Black using the 1” wash brush. Clean the brush and base the lower right side with Oyster Beige. Slipslap the 2 colors together in the middle where they meet. Do not over work the transition line but do make a soft transition between the colors.

The bubbles are added after the surface has dried with the bubble stencil and a mixture of Oyster Beige + Soft Black. Apply 97

this mix using a soft stencil brush and scant paint. Swirl the brush over the openings first in one direction and then reverse and swirl the brush in the other direction.

Note: All lights and highlights are added using a dry brushed method. Pick up a small amount of paint on a dry, domed brush. Wipe all excess paint off the brush.

Apply the paint to the surface in a circular motion. The paint will come out of the brush very slowly, creating a soft, defused highlight.

Refer to this Shading and Highlight Guide for Color Placement

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Leaves: The tulip leaves are base coated with Aloe using your angular brush. I apply 1 coat of paint when I basecoat. It may look a little blotchy, but this will disappear as you add the shading and highlights. Shading is added with floated Thicket using the angular brush. Establish the light area with a dry brushed mixture of Aloe + Light Sage. Add the highlight with dry brushed Light Sage. Deepen the shading with a floated mixture of Thicket + Plantation Pine. The darkest triangular areas are shaded again with floated Plantation Pine. Tints are then added with floated Summer Squash and Persimmon.

Tulips: The tulips are based with Summer Squash. The first shading is added with floated Golden Straw.

Establish the light area with dry brushed Sunny Day. Add the highlight with Warm White.

Deepen the shading with floated Honey Brown. The darkest triangular areas are shaded a final time with a mixture of Honey Brown + Plantation Pine.

Apply a thin coat of extender over the tulips. Add tints to the edges of the flowers with floated Spiced Pumpkin. Allow the extender to dry. Add shading to the tints by floating Persimmon on the tips here and there. A tint of Thicket is floated along the bottom of each tulip.

The sides of the wood panel are base coated with 2 coats of Soft Black. After the sides have dried thoroughly, varnish with water-based varnish. Apply at least 2 coats of varnish. Enjoy!

Tip- I varnish my pieces with DecoArt Soft Touch Varnish. Apply one coat of varnish. This first coat must dry for 2 hours before you add additional layers.

During this time all the brush strokes will level. Apply at least an additional 2 coats of varnish. Your finished piece will have a soft matte finish.

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Enlarge Pattern 134%

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Pansies are such a happy little flower in so many wondrous colours it is hard to choose just one colour. However as white is for purity, I decided to paint these with some pretty matching lace. Now you will always have pansies, perhaps on your window sill, to enjoy.

By Lorraine Morison

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Surface: x Shield shaped plaque with scalloped, routered edges, 311mm (12¼ in) diameter Project Supplies: x Wet palette x Palette knife x Sandpaper x Plastic Wrap x Ruler x White transfer paper x Tracing paper x Stylus x Chalk pencil x (Optional) Circle Template Mediums by DecoArt: x Americana Multi-Purpose Sealer x Americana Glaze Medium x Americana Brush ‘ n’ Blend x Americana Acrylic Sealer/Finisher Paints: DecoArt Americana Acrylics: x Celery Green x Charcoal Grey x Cool White x Country Blue x Deep Midnight Blue x Deep Periwinkle x Desert Cactus x Diox Purple x Evergreen x Golden Straw x Honey Brown

x x x x x x x x x x

Light Buttermilk Limeade Midnight Green Mint Julep Green Olive Green Royal Purple Snow White Thicket True Red Warm White

DecoArt Dazzling Metallics: x Splendid Gold Brushes: x Basecoating brush or roller x Raphael Round brush No.4 x Raphael Fine Liner 8413 No 2 x Angle Shader ¼, 1/16 Preparation: Create the Basecoat Mix: Country Blue + Royal Purple + Deep Midnight Blue (2:1:1) mixed with an equal amount of Multi-Purpose Sealer, Basecoat the surface with two coats of this mix, sanding between coats.

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Mottled Background: To achieve the background effect, when the surface is completely dry, apply a thin film of Glaze Medium over the plaque; using the plastic wrap, pounce over the piece with Deep Periwinkle and Royal Purple.

Routered Edge and Remaining Areas: The routered edge is painted with two coats of Splendid Gold.

Just above the gold edge, a 3mm (Ɨ in) section is painted with the basecoat mix with just a touch of Diox Purple included.

Paint a line of Splendid Gold along the inner edge of this section.

Trace the design from the pattern sheet onto tracing paper and then transfer it to the piece using the graphite paper and stylus.

Paint two Splendid Gold circles on the inside edge of the lace.

Note: All blending throughout the piece is done with Brush ‘n Blend.

Leaves: Basecoat the leaves with two coats of Desert Cactus. Shade the bases with Evergreen.

Highlight with Mint Julep Green. Vein Lines are Celery Green.

Tiny leaves: Basecoat with Thicket. Shade with Midnight Green. Highlight with Limeade. When dry, dry brush with Olive Green. Vein line is Celery Green.

Pansy: Basecoat with two coats of Light Buttermilk. Shade and divide the petals with washy Charcoal Grey. Next coat is Cool White. Highlight the tips with Snow White.

Centre: A Golden Straw curved line which is shaded with Honey Brown. The centre dot is True Red. Make a brush mix of Diox Purple/Charcoal Grey to paint the beard by pulling fine lines out from the centre.

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Lace: All lace is painted with Warm White.

Step 1. Divide each petal with three sections and paint fine lines across each section. Paint two thick comma strokes around each leaf.

Step 2. Wash in the tear drops with watery Warm White. Place dots around the tear drops.

Complete with a thick line around the dots.

Step 3. Paint the arch and add double lines across the arch.

Step 4. Crosshatch the teardrop shapes, place dots around, as shown. Paint lines joining the teardrops and finish with a dot in the middle.

Step 5. Paint large crosshatching in the eight sections between motifs. Add a cross at each line intersection.

Step 6. Paint thick Snow-White scallops, as shown, around this motif.

Finishing: acturer’s Leave the piece to dry overnight. Following manufacturer’s instructions, protect with several, light applicationss of a spray varnish.

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Line Drawing is at 100%

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Line Drawing is at 100%

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