HEARTS AND ROSES

PREPARATION: Sand the entire plate and lid with fine sandpaper. Paint all surfaces Antique Maroon. Sand all surfaces Apply second coat of Antique Maroon. Sand all urfaces lightly until smooth. Spray the entire plate and lid with matte finishing spray. Mix Walnut Oil into a small amount of dark red mixture to an ink consistency. Using the #4 flat brush, paint the entire top of the lid. Allow this to dry completely. Trace and transfer designs to plate and lid.

RED: Dark mixture – Equal parts Alizarin Crimson + Burnt Umber. (AC+ BU) Middle mixture – Equal parts Cadmium Red Light + Burnt Sienna. (CRL + BS) Light mixture – Cadmium Red Light. (CRL)

YELLOW: Dark mixture – Burnt Sienna (BS) Middle mixture – Yellow Ochre (YO) Light mixture – Equal parts Yellow Ochre (YO) + Titanium White (TW) + touch BU

WHITE: Dark mixture – Yellow Ochre (YO) Middle mixture – Unbleached Titanium (UT) Light mixture – Titanium White (TW)

GREEN: Dark mixture – Equal parts Prussian Blue (PB) + Burnt Sienna + Burnt Umber Middle mixture – Add Ivory Black to Cadmium Yellow Light to achieve medium moss green Light mixture – same as light yellow mixture

YELLOW SCROLLS: Using the #2 flat brush, load with middle yellow, and paint a stroke down the middle of the scroll, leaving the edges unpainted. Wipe the brush and re-load with YO. Side load into the BS. Paint, press, and blend the inner edge of the scroll. Wipe and re-load with YO. Side load with light yellow mixture and paint the outer edge of the scroll. Using the #2 filbert, load with light yellow mixture. Paint the “c” stroke that forms the knob of the scroll. Using the liner and thinned light yellow, paint a stroke just under the “c” stroke, rounding and pressing as you paint it. With liner, and thinned BS, Paint the inner edge of the scroll. Using the teardrop brush, load with thinned lightyellow mixture. Touch the tip of the brush into the BS. Paint the 2 teardrops on the inside of the scroll. Place 3 dots of light mixture at the base of the scroll with thinned paint and a stylus. Place a dot at the upper, inner edge of the scroll knob.

GREEN LEAVES: Using the #2 flat OR filbert, paint a stroke of middle green from tip of the leaf to the base leaving the edges unpainted. Wipe the brush and reload with middle mix and side load with dark green mix. Paint, press, and blend as you form the dark side of the leaf. Wipe the brush and load with light green mix. Paint, press, and blend as you form the light side of the leaf. Using thinned paint and the liner brush, outline the dark side of the leaf with dark green. As you paint this stroke, you will end at the tip of the leaf, lift slightly, and continue to paint the little extra stroke at the tip of the leaf. Outline the inner edge with thinned light green mix. Also, paint 2 vein lines with thinned light green following the contour of the leaf.

ROSES: The roses are painted by starting at the base of the flower and painting the strokes from side to side. I use the #2 filbert for the roses. Paint dark red about 1/3 of the way up the bowl of the flower. Wipe the brush and load with middle red. Starting just inside of the dark red stroke, paint and blend as you paint upward about 2/3 of the way up the bowl. Wipe the brush and load with CRL. Paint upward to just under the lower edge of the white bowl of the flower. Wipe the brush well, load with YO and paint one rounded stroke on top of the last CRL stroke. Wipe and re-load with YO and paint another stroke next to the last stroke and then wipe the brush well. Re-load with UT. Paint, blend, and round the white upward, almost to the tip of the white bowl. Wipe and re-load with UT and side load with TW. Paint round small “c” strokes to form the upper petals of the white bowl. You might want to outline these small petals with thinned TW. There should be a gradation of color and yellow should be noticeable at the base of the white bowl. Using the #2 filbert, load the brush with a mixture of UT and TW that has been thinned “a little”. With the brush just touching the red on the side of the bowl, press and paint a stroke of this mixture, picking up some of the red as you press and blend. You will paint from the wide knob of the stroke to the thin end at the base of the flower. Try not to go over this stroke. Each of the side petal strokes will be very unique and will nicely blend as you paint them. Using the stylus and thinned TW, place random dots in the white bowl and paint them to look like they are floating outward. I always place a white dot at the top of the side petals. It just kind of makes a nice accent to the petal. Paint a round stroke at the base of the 2 roses. Use the #2 flat loaded with YO and side loaded with BS. Darken to the edge of the bead. Wipe and re-load with YO and side load with light yellow mixture. Paint and round the circle as you blend. Place dots around the outer edge with thinned light-yellow mix and stylus. Paint 3 dark red dots on top of the yellow circle and place a thinned middle white dot on top of the red dots.

ACCENTS AND FINISHING: Use the teardrop brush and load with thinned light green mix. Tip the point of the brush into the middle green. Paint the 3 teardrops above the middle of the 2 roses. Loading the brush in the same manner, paint the teardrops on the outer edge of the yellow scrolls. Between the scrolls at the top, paint the TW dots using the stylus and 4 light yellow dots at the bottom of the scrolls. Using the #4 flat brush, load with thinned dark red mix and paint the inner and outer beads. Keep the inner bead dark red but continue on to paint the outer bead as follows. Once you have the dark red on and when it is still wet, wipe and re-load the brush with middle red, with the brush flat as you randomly “pat” the red onto the dark red all the way around the bead. Wipe and re-load with CRL and randomly pat the red onto the surface of the bead. Remember that you want to see all three shades of red when it is done. It should look like it has a marbleized appearance. Allow the plate to dry completely. Once the plate is completely dry, clean any stray marks, smudges, or tracing lines. Spray with light mists of satin finishing spray until you achieve the look that you like. Follow the instructions on the can. It is important not to spray too close as it may “crinkle” the paint.

LID: The yellow circles, leaves and roses are all painted in the very same manner as they are on the plate. They are a bit smaller, so the #2 flat or #2 filbert will work best. Once the center ring is painted, continue by using the thinned dark red mix and paint the outer sloping edge of the lid again using the #4 flat. While still wet, paint the middle red and light red in the same manner as the plate outer bead. It’s important to have the 3 shades of red to appear like it is marbleized. Allow the lid to dry completely. Once dry, clean any stray marks, smudges, or tracing lines. Spray with light mists of Satin finishing spray to the entire lid. Don’t forget to sign your work. Happy Painting!

Enlarge or reduce the size to the surface of your choice.

LID

BASE

Note to reproduction companies/stores: The bearer of the original color magazine has full rights to have this drawing reproduced and enlarged one time for personal use. This notice has been printed in red ink for verification of authenticity. Download all drawing patterns at http://bit.ly/FEB2020Drawings

Tracy Moreau is a classically trained Artist with more than 35 years of experience. Educated in Europe, Canada and the US, her work has a great many influences. Her combination of Fine Art, Faux Finishing and the Decorative Arts makes her work unique. Tracy’s design work is varied, from Home decor to Mixed media, she is versatile and creative and is generous with her knowledge and experience. Her sense of humor and relaxed approach to teaching endears her to her students, creating an atmosphere of fun and unabashed creativity. Author of several Books, three in French, Tracy’s work has been published in a wide variety of publications, from Craft and Painting Magazines to Home Improvement and decorating magazines.

Tulips were, at one time, a highly valuable commodity. Bulbs and hybrids were nearly as valuable as gold. Today the exquisite blooms, though short lived, are highly valued for their brilliant patterns and colors, the first splash of lively color after a long and gloomy winter. I hope you enjoy painting this, I enjoyed every minute creating it.

MICHEALS CRAFTS • 12 x 30 Profile Canvas

DecoArt® Americana • Lamp Black DA067 • Warm White DA239 • Saffron Yellow DA273 • Primary Red DA199 • Asphaltum DA180 • Foliage Green DA269 • Plantation Pine DA113 • Margarita DA299 • DecoArt® Ultra Matt Varnish

WWW.THEBRUSHGUYS.COM Dynasty® Faux Squirrel: • #2 Rigger, • #8 Filbert Wave • 1/2 Angular Shader • 3/4 Flat wash Jo Sonja • Jo Sonja fast Drying Glaze

MISC: • White Graphite Paper • Tracing Paper • Palette Paper TO BEGIN: I use Jo Sonja Fast Drying Glaze to float, to thin paint and to help level paint for base coats. It also helps the paint to flow smoothly off the brush. It helps thin the paint without reducing the vibrancy of the color or cause it to separate. Pour a small quantity into a shot class or a small cup and dress the brush in it instead of water. Apply two generous coats of Lamp Black (wet the brush in the fast drying glaze) to the front and side of the canvas. Let each coat dry well before applying the next. The line drawing is in segments and there are registration marks to help you position them properly. Line up each image and then tape them together to place them onto the surface. Trace and transfer the line drawing to the canvas using the white graphite paper (it helps to place something firm under the canvas to give you a rigid surface to transfer).

THE TULIP FLOWER: On the Palette: Warm White, Primary Red, Saffron Yellow, Asphaltum, Lamp Black (use the Fast Drying glaze for floating and thinning paint). Base the petals with Warm White, one at a time leaving a narrow, small space between the petals. Two coats should give you a nice opaque finish. If not, then apply a third coat. Paint in the details and bands of color on the petals with the Rigger, using Primary Red. You may want to over stroke these lines for richer color. Shade down the center vein of the petals with a weak float of thinned Primary Red. Apply a weak float of Saffron Yellow to the throat of the tulip (just above the front row of petals). Shade the spaces between the petals with a weak float of Asphaltum. Deepen the shading at the bottom of the tulip and in the areas that the petals overlap or turn over with a float of thinned Lamp Black mixed with a small amount of Primary Red (makes a deep red).