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  • Natural Splendor

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    Momzy Moo
    498 vues51 pages
    Decorative Painting book by Priscilla Hauser

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    Decorative Painting book by Priscilla Hauser

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    498 vues51 pages

    Natural Splendor

    Transféré par

    Momzy Moo
    Decorative Painting book by Priscilla Hauser

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    sur 51
    “Step-by-Step oa a Coram rer td Peete paint woodland scenes F any a Deer oe oe: ote Piss 1 eer i C4 vs. You CAN learn to paint — with the Sa ong tle guidance of internationally acclaimed artist TRG rH HON Coren ace cet cro 5 ve lollow and 1 became friends in the late 60s. In the early 70s, these beautiful wooden rounds, as well as the planks, were one of the most important products in the Walnut Hollow line, Today, cheir importance remains and perhaps is even more dominant because of our desite to paint things that are “natural.” It’s especially fun for me to work on these surfaces using a raw-wood or unsealed technique. By moistening the transferred design with a blending medium or thick extender, the wood stays, wet. This allowss more time to blend the acrylics. Not only do the projects in this book lend themselves to the natural style of decorating, many of them have a masculine feel. Seldom is it possible to dedicate a book to the men in my life, but in this cas, it is appropriate. So, for all the guys who paint and for all the gals who want to paint something for your guys, have at it! Ge ontents Mushnsms 6 Toads Tresure Among the Beres The Fawn Bucket of Bem nc Nesting athe Wheelbarrow ‘Harbinger of Spring, Lisle Chicks : nmin & Honeybee The Twahy Has Of tothe Faherman Tn Washing ‘STEP-BY-STEP WORKSHEETS Rice Favs, Tako Gras and Fem es Chic, Net, Bees and But Humming and Honeys seu Fob nl Lames Woke Fisting Gear and Wheebarow. CHNIQUES & TERMI loarodaction Pale Brashes sn Basic Supplies “Terminology Preparing Wood Sues Pattern Transfer nae Raw Wood Painting Teenie Fring Touches Decorative Painting Technigus Base Br Stokes Round Beh Liner Bash Fl Bah Double Loading PALETIE == ole and decorative Artists! Colors are indicated by a % and although manufactured by several J painting can be done ‘companies, will have the same color name. Mixed colors, indicated by a ¥, swith any type of paint, The are given different names by the various manufacturers finished effects will differ, depending upon the ~ : ~*~ characteristies of the medium you choose. I have painted the Se ee projects in this book using 4 Caximium Red Light 4 Cadmium Red Medium seoles Toe (a bright, orange red) (arich happy red! marvelous acrylics on the market today an tered fakes ere Toy wiate eee potable fo trae tty pigments: Ihave always fle you % Cadmium Orange -¥ Burgundy or Burt Commie cha oe (a sich, boghconmge] (G deep dak opie shading red) «quality paints ~ paints that have nent and good alot of pi coverage when applied to a ice. You will reap the benefits of doing this in more ways than T ean possibly explain 4 Cadmium Yellow Medium — 4 Cadmium Yelllow Light ¥ Yellow Green 10 you inthe wae! (a medium shade of yellow) (a ich, light yellow) (a yellow blue green) Some of the colors ‘more opaque than others. I generally prefer working with, opaque colors as much as posible, wsing transparent Paynes Gray 4 Burnt Sienna * Burnt Umber color only when a special effect E ic (a rust-red brown) (a deep, dark brown) the colors different names. I aie recommend you use this color %& Lamp or Mars Black ¥ Violet 1% Dioxazine Purple chart and match as closely as a) (hee Medium and Dark Green are you can your colors with what is shown on the chart. lee Blue, ss Yellow Green, Hauser Light, manufactured by Plaid Folk Ar®) and Deen % Prussian Blue ¥ ee Blue Cobalt Blue na, (a deep, dark blue) {a soft light grey-blue) (atich blue) is desired It is very easy to become confused when so many fine companies make paints but give Ameri These three greens are different values of each other and will enable ¥ Hauser Dark Green Hauser Medium Green Hauser Light Green you to paine pasiifiloes (arich forest green) (a medium value of forest green) — (a very’ light va Y Flesh % Yellow Ochre * Tumers Yellow * Raw Sienna 4 Ultaamarine Blue ¥ Metallic Gold 2 ‘the finest brushes money ‘can buy. Your brush is your r) most important tool, and your 1 work will only be as good as your brush! Don’t be afraid to spend money on fine quality 4 Mop brushes Flat brushes \ | 1! Rake, China bile Round and Liner brushes Stencil, sponge brushes CLEANING AND CARE OF SYNTHETIC BRUSHES %. ‘efore you begin to use it, a new brush must be broken in, just as a pair of shoes has to be broken in, to be comfortable and to serve you well. Most fine brushes come with sizing in them-a siffening agent that keeps every hair in place. You must work all of the siting out of your brush and clean it with water before using it. [is extremely important to clean your brushes thoroughly. In my many years of teach- ing, 'm still amazed that people never quite get all of the paint our of the hair of their brushes. They think they do, but they don't! ‘When you have finished painting for the day, clean the brush in water as well as you can. Place lice liquid detergent in the palm of your hand and work the brush back sind forth until you have gotten every bit of paint you possibly can out of the brush. Now shape the brush, leaving the soap in it, and store it with the handle down and the hairs up, so nothing will berd or bump into the hairs to misshape them in any way. When you are realy to paint again, simply rinse the brush in water. The soap will rinse away and not hurt the brush or the pein O58 Twill nee the following in tin to Yor paint and broshes: Palette Knife [ prefera good palette knife with a straight blade. The “feel should be soft and flexible so as you are mixing colors with water or other mediums, you can feel the consistency of the paint you are moving Sta-Wet Palette Acrylics dry fast; therefore, I find itmecessary to use a palette that stays wet. The Masterson ‘Sta-Wet Palette and Palette Seal are a necessary part of my painting supplies. The palette consists ofa plastic tray on. which rests a thin sponge. A special paper that you moisten with water, and ‘which allows water to pass through itself, is placed on top of the wet sponge. The tray fits into a large plastic box that seals. [is very important to set your pal cette up properly so your paints stay wet, and you have a proper matte surface on which to double-load your brush. The Masterson Sta-Wet Palette is available at your local arts and crafts store, or you ‘may write to: Masterson's, Box 155925 Phoenix, AZ 85060, Ifa Sta-Wet Palette is not available, substitute by placing several layers of soft absorbent paper towels or a thin sponge ina cookie sheet. Use coffee filter paper, moistened and flattened out of cut apart to cover the wet toweling. The water from the wet towels or sponge will pass through the filter paper, keeping your acrylics wet. Double-loading of a brush (carrying two colors on a brush at the same time) must be done on a matte surface. If you try to double-load on wax lighdy with your finger paper or a slick sur- face such as glass, the paint tends to bead up and will not level out and fill the brush properly. The matte surface works wel. ‘When sox press the paper ‘Soft Absorbent Rags or Towels Good, soft, absorbent towels cof 100% cotton rags are essential. The softness of the cloth you wipe your brush on is extremely important. Inexpensive, harsh or rough towels will wear down and curl the hair of your synthetic brushes very quickly. You ean actually destroy a brush by wiping it on ‘a rough surface! Brush Basin™ While it isn't neces- sary, and a wide-mouth container will do, a Brush Basin (the square one) is iy favorite. It holds a lot of water, has a rack in it chat will help to gently clean the paint from your brush, and has little slots that allow you to leave a brush in the water temporarily, while ppeeventing the bristles from touching the bottom of the basin. Brush cleaners There are many on the market, but itis important to know what they're for and how they work Just because it says it'sa brush cleaner doesn't mean it’s right for you. I prefer products such as mild liquid detergent. Shaklee Home Products Basic H™ (a Shaklee Home Product) is also a favorite for brush cleaning. (You can usualy find ca Shaklee Distributor by looking in the yellow pages of your phone directory.) Tracing paper Good transparent tracing paper is necessary to trace (and transfer) your design ‘or pattern. Stylus Tool used to transfer your traced design to a prepared surface. Also great for painting dors fr “filer” flowers or bores. Extender or blending and painting medium When using acrylic paint, use a paint extender or blending and painting medium to gain more time and keep these fastdrying paints wet longer. Extender has a very thin consistency. Blending medium contains ‘moisture comes tothe surface extender that is usually thicker in consistency. Matte medium A polymer emulsion or liquid plastic; it's ‘uses are many. 1 often mix a little extender with matte medium to make a thicker product to float color or blend swith. Think of matte medium as being the consistency of honey, extender the consistency of water ‘Sandpaper Available in various -grades, from very, very fine to very “coarse. Use as needed for smoothing raw wood surfaces; for basecoated surfaces I prefer to use a piece of a heavy brown paper grocery bag (one that has no printing on it). This smooths the wood grain but is not abrasive, and will not remove your painted basecoat. Elbow grease is needed, but the results are incredible Tack rag Cheese cloth or soft cloth treated with a mixture of varnish and linseed oil. (Ik is very sticky.) After sanding, wipe your project with a tack rag to remove all dust particles. I keep mine sealed tightly in a baby food jar. Clear acrylic spray, matte finish A wacerproof sealer, best applied in a series of light coats. I prefer a matte finish, and often use clear acrylic spray to seal a hasecoated surface before I begin the decorative painting Scotch™ Brand Magic™ Tape This wonderful tape in its various widths, when properly applied, will keep paint from seeping under its edge use Magic Tape to mask edges when I paint stripes and borders. ‘Sponge brushes in many widths, are important tools for applying basecoat colors. They should be thoroughly cleaned after use with soap andl water. Waterbase varnish Applied over finished paintings to protect and bring out the true color of the acrylic decorative paint, which dries flat until varnished. ‘ny time you begi to learn something new, itis important to understand the language, or terminology. It will be a great help if you will learn the terms described below before reading the instructions and practicing. ACRYLIC PAINTS are pigments ground in polymer emulsion (plastic). They dry very fast, and are fun to use. The solvent is water. BASE-COATING OR UNDERCOATING is just like eolor- book painting-it means that you should apply paint to cover an area or surface, let dy, lightly seal if desired, chen do your decorative painting, Basic BRUSH STROKES are like the letters of the alphabet. They are easy to learn, but they must be practiced. Basic brush strokes are done with both flat and round brushes. COLORBOOK PAINTING means to fill ima solid area between the lines of your design with a single color, much in the way you would in a coloring book CONTRAST IS THE KEY TO BEAUTIFUL PAINTING. It involves a sharp difference between two or more colors. In other words, when two edges come together, one edge must be light-generally this isthe edge to the front of the design—and the edge to the back is dark. Contrast makes your painting look alive, makes it “live.” If you will learn to paint with contrast, your work will have life. DOUBLE-LOADING means to carry two colors side-by- side om a brush. You will learn to double-load later on in. the book. Itis-a very important technique. Dry-BRUSH BLENDING is the second partner needed in order to learn to paint. It means to shade two or more colors together. FLOATED COLOR TECHNIQUE means a double- load of color plus extender, water, or a floating medium side by side on a brush. The color is then applied on top of a dry undercoat, to create shading or highlights. OI PAINTS are my favorite medium to work with. They are pigments ground in oil, are slow to dry, and are opaque (with the exception of the transparent oil colors). Because oils do not dry quickly, you can blend the colors together easily and beautifully. The solvent is turpentine or an. odorless turp substitute. OUTLINING is done with a 1 Liner brush, or the very fine point of any good brush. To outline, fill the brush, completely full of paint which is a thin, ink-like consistency. Twist the brush to a point, then apply the paint using a light rouch (don’t press down hard on the brush) OVERBLENDING means the colors have blended together so much that they have beome one solid, muddy color. Overblending can be caused by. a) your paint being too thin; }) applying too much pressure to the brush; ¢) blending too long. PAINT LIFTING If you use an extender when blend- ing and don’t let it dry and cure before adding more extender, your paint will lift If you use water, generally the paint will not lift. When using extender, always let the paint dry and cure before using it a second time, otherwise use water. PAINT CONSISTENCY is the thinness or thickness of the paint. Itis extremely important! When you cook, certainly all the batters you mix up are not the samme consistency. When you paint, you need to have dif- ferent consistencies for different things you are painting. Paine consistencies are described in detail on page 9. STIPPLE means to dab paint on in an up and down motion. A stiff or a soft brush may be used, depending on the desired stippled effect. WET ON WET means two oF more wet colors blended together, often on top of an undercoat (On occasion, the undercoat may need to be wet. An extender will help keep the colors moveable. the wonderful world of wood! —an ineredible andrelatively inexpensive surface to paint on, So many marvelous pieces are available. The Walnut Hollow collection ‘offers many serviceable, as well as decorative, pieces for home decor and gift giving Staining. Wood ‘There are many different ways to stain wood. In this ook we have chosen to teach you ways to-make the staining of wood as easy and professional as possible. We are using acrylic waterbase products 1 If the wood is rough, sand it, 2 Wipe with a tack rag. 3 Squeeze the desired stains onto apiece of waxed paper, wax- coated palette, or small disposable container. 4 Using a sponge brash, apply a {generous amount of stain to the 5 Rub with soft absorbent rags Let dry. ‘6 If you wish the stain to be darker or more intense, apply 1 second coat. Two excellent products that ‘enable us to ereate our own stains are Accent’s Waterbase Staining ‘Glaze -Designer Medium (a colorless wood stain), and ‘Liquitex’s Natural Acrylic Wood Stain. To make a stain the color of ‘your choice, simply add acrylic ‘paint to these products. Stir well and apply as described above. When thoroughly dry, you ‘should lightly seal the stained wood, which is still porous, before doing your decorative painting. If ‘you don’t, your paint will soak into the wood and will not properly blend, Also, ifyou happen to drop your brush oF make a mistake, itis very difficult to correct on unsealed wood, Sealing the Wood Whether to seal the wood or not before doing your decorative tomake, Acrylic paints dry quite fascon a well-sealed surfce. Ifyou do not seal the wood, you ean then moisten the area to be painted with a gel meclium or thick extender. The wood will stay wer, therefore, the acrylics will stay wet much, longer and be easier to blend. I recommend the unsealed wood method for beginners and for heavily-blended techniques. ec te fliowing process is one of many different ways that wood can be sealed. Always work ina well ventilated tea. This is extremely important 1 Usea clear acrylic spray, matte finish. Apply several light coats to the surface. Do not over-se the surface, or it may become too slick for your paint to adhere well 2 Once sealed, rub with a piece of brown paper grocery bag (with no printing on it) to smooth the surface. I takes elbow grease to do this, but it smooths beautifully. Ifyou prefer, a fine grade sandpaper can be used. Now you are ready to neatly trace and transfer vour design to your stained and sealed surface, Pattern Transfer to Raw Wood 4. Use tracing paper and a fine point marking pen o pencil to carefully make a tracing of your pattern, 2 Turn the tracing over, aru go ‘over the lines with a soft lead pencil on the buck of the paper: 3 Again tum the tracing over, so the soft lead lines are on the underside, and center it on your ‘wood surfie. Secure with tape to ensure it doesn't slip. 4 Retrace the lines with a pencil or sty to your surface. Don’t press hhard enough to make indentations in the wood! isto transfer the pattern Wher you use this method of pattern transfer you will be able to erase or soften the graphite lines on your woos surface. Psa so ior cilunce see weap alice toca Cher tvonbe st pints, aerylies dry to0 fast to be able to move and blend the paint for beautifal shading effects. But with the ever-increasing popularity of acrylics, I found it necessary to learn. Acrylic-on- to use them well, and teach acrylic techniques to my students. raw-wood ep The key lies in adding extenders to keep the acrylics from drying too quickly. | found the texture of artists? canvas makes it relatively easy to use with extender to make acrylics move and blend like my beloved oils. The irregular surface of canvas lly holds the extender like miniature cups, and acrylics will stay wet for quite some time. This led me to discover that raw wood surfaces also work with extender in much the same way as artists’ canvas. With a little practice, you'll soon enjoy the pleasure of painting on nature's own “eanvas. Blending Acrylics on Raw (unsealed) Wood © Practice on a xrap of raw wood to get the feel of the technique. Each piece of wood. behaves differently. Sometimes when you apply the extender or blending medium, it wants to bleed badly, Other times it won't bleed ar all! @ Use a generous amount of extender or blending medium. Also, be gerterous in the amount of paint you apply. You must have ‘enough paint on the surface in order to blend. Too little paint or too little extender simply will not get the job done! © ir your extender should bleed past the ‘edges of your pattern, carefully enlarge your design just enough to cover the bleed. Goacstion If my paint hasn't covered well enough to please me, can [apply more blending medium and paint a second time? RO ewer Vou cerutaty ney! ‘As long as you keep the wood damp, you can play with itas much as you like, and the acrylic paint will no lif! FINISHING €/OUCH Flyspecking Finish with Outdoor Finishes Flyspeck with one or as many colorsas Varnish Any decorative accessory used you desire. There are many ways to ‘outdoors should be brought in once flyspeck, and you should use whatever Varnishing does two things: it a year, thoroughly cleaned, lightly, technique works best for you. The brings up your colors, which dry. sanded and revarnished. Here are wads I prefer ate using an old tooth: flat; and it prot@ts your piece some helpful suggestions: 1s for Polyurethanes yellow; if this doesn't ‘matter, a good marine finish is not t (or too thin. ent on, ‘There are many waterbase fine to use. Be sure your paint is aa brown grocery bag or piece of paper to ‘varnish products on the market. thoroughly dry and cured before get the size flyspecks you desire, Don’t ‘They are generally non-yellowing, applying such a finish, ora be afraid —just do it! non-toxic and you ean clean your chemical reaction, such as 1. Seal the surface with one coat of brushes with water. When dry, the cracking, may occur. matte-finish waterbase varnish. Let finish is permanent and can be dry. cleaned with a damp cloth. “Most waterbase finishes do not 2. Rub with a piece of brown paper bag ‘Vamish should always be yellow, and therefore are with no printing on it to smooth the applied to ALL sides of a wood preferable for pieces which have a raised wood grain. piece, to seal the wood compltely colored background that you 3.Fill an old toothbrush by nubbifigd unt to yellow with age. bristles into the desired color. as durable as marine 4. Pull your thumb over the bist ith proper care and allowing paint droplets to sprinkle to your piece will warp. yearly refreshening, they will the surface below. You might want to After investing the time to create a serve you well. wear a rubber glove when you do beautiful painting, it is well worth a this! With practice, you will find you little extra effort to preserve it! Paste-wax, such as Johnson's Floor can control the direction in which the flyspecks fall. Some specks should 4 Brush a waterbase varnish on be lange, and some small. rather generously, and as quickly as possible. Let it dry ‘The Kemper flyspecking tool is a wonderful tool, but requires some 2 Apply second and third coats, practice. Fill the bristles with paint, allowing to dry in tum the handle with your fingers, and the last coat dry wu watch the specks, dashes and dots fly onto your surface. ‘8 Sand lightly with fi sandpaper or steel wool, Wipe with tack rag. don't like the specks, you can quteklywipe them away with 4 wet rag. ‘Wax, applied over the varnish on an outdoor piece will help: weatherproof it TMi cos ‘waterbase-varnish to 4 Apply a final coat your piede before You “flyspeck> Then, if you h Decorative Painting 2 OP cas aint Consistency Do you remember back in the terminology section when | told you paint consistency ‘means the thinness and thickness of the paint? Paint consistency is one of the most important parts of painting with acrylics or oils. There are as many different paint consistencies as there are oven settings for baking. You certainly cannot paint everything with only one paint consis tency. By consistency I mean the way the paint feels when itis mixed with a vehicle With acrylics we are talking about the vehicle being water or extender. Some times paint must be thick, other time must be ereamy, and other times very th For the prrojects in this book I have used “Thick or heavy cream Bid blessing acrylic pai high qual plops knife Ink consistency & always check your acrylic paint for the proper consisteney as you are working. Depending upon the humidity, room tem- perature, and air circu- lation, the vehicle will evaporate from the paint, crying it too fast, requiring you to adjust the consis- tency from time to time. RE ‘THICK OR HEAVY CREAM Generally the from the bottles of a it will squee: ity acrylic in this consistency. I do not recommend using acrylics that are too:thin or runny. If you use tube acrylics, it wll be to add water to the paint until it moves easily when you spread it with your palette knife. This is the consistency we often use for blending, BIRD BLESSINGS or THIN, CREAMY paint. Mix the vehicle or water into your paint until it off of the palette like bird blessings. INK CONSISTENCY For outlining and fine line work i is necessary to have the paint flow from the hairs ofa fine liner beush just as ink ‘would flow from a fountain pen. The paint should actually be as thin as ink. This consistency is also used for curlicues, striping, and dors. Let’s BEGIN There are two main partners involved in good tole and decorative painting [BASIC BRUSH STROKES with both flat and round brushes BLENDING OR SHADING techniques. ‘These partners working together achieve truly fine decorative painting. PLEASE FOLLOW MY DIRECTIONS CAREFULLY! The way you leam in the beginning will make or break the more advanced techniques you will lear later. Decorative painting can be learned; it is a technique, not a talent. I promise you that with patience and practice you can achieve thrilling and rewarding results ~ and furthermore, you'll love it! Practice, practice, practice! The old saying, ‘practice makes perfect,” certain- ly holds true. You can practice ona paint-and-erase worksheet-a piece of acetate that you clean with alcohol and re-use. Simply place the acetate over my worksheet and practice your strokes right ‘on top of mine. Practice each stroke at least 200 times-that’s right, 200!-and ‘even more if necessary. Painting on top ‘of my brush strokes will be the next best thing to having my hand there to guide ‘yours through the learning process After practicing brush strokes and double-loading techniques, move on to an actual project-the sooner the better! So what if t isn't perfect-you're learning, not perfecting! You have plenty of time to develop and perfect after you've leaned how. Ifyou don’t like the work on your first projects, donate them to bazaars ‘or garage sales-you may be surprised, and delighted to find that someone else will like them and buy them. Each time you paint something you will improve. I still have many of my first pieces. They're really bad, but I love them! CBASIC GARUSH CITRO n't ever let anyone tell you that knowledge of brush strokes is not important to you as a decorative painter. That is sheer nonsense. Brush strokes are vital to the total technique. Tike trying to sign your name without an good brushes you will eamy consistency — todo brush strokes with stokes wih round and flat brushes neh te You sc dow to paint Tue RounpD BRusH There are three basic round brush strokes that must be learned. These strokes are universal. They're called by many different names, but the strokes are basically the same. ‘These beautiful basic strokes are easily recognized in folk art designs of countries throughout the world. I have had the joy of teaching and studying in Europe, the Orient, and most recently Russia, and the brush strokes were always there. Stroke #1: The Polliwog, sometimes called a Teardrop Stroke. Stroke #2: Comma, Angled to the Left — sometimes called an Eyebrow Stroke. Stroke #3: Comma, Angled to the Right. ‘The #3 round synthetic watercolor brush is very versatile. It comes to a fine point, or ifpres- sure is applied it spreads widely apart. This brush holds a great deal of paint if it is property filled. 1, POLLIWOG: Fill the brush with paint, touch the brush to your practice paper, apply pressure to the brush, and start pulling toward you, lifting gradually. ‘Watch the hairs ofthe brush. Turning the brush slightly to the left or the right, keep pulling and lifting until a point is formed. This stroke should look almost like an exclamation point. Touch, press lift The Pollivog stroke and dra. - 2. COMMA, ANGLED TO THE LEFT: Fill the brush with paint, angle the brush to the left comer of your practice surface. Touch, apply pressure, start lifting and pulling the brush, leaning to the inside edge of the brush, Keep pulling and lifting until a point is formed, 3. COMMA, ANGLED To THE RIGHT: Simply the reverse of the preceding stroke — angle the point of your brush towand the right comer of your practice sheet, touch, apply pressure, start lifting, dragging and leaning to the inside edge of your brush, pulling until a point is formed. It's easier for a right-handed person to paint a comma stroke that angles to the left and for a left-hand person to paint comma strokes angled to the right. Practice painting comma strokes in different sizes Ie will seers a litele difficule at first, bt if you will have patience, believe me you will learn and you will be delighted. The Comma, Angled tothe Right The Comma, Angled to the Left 9 Tue Liner Brusu A member of the round brush family, basic brush strokes can be painted with the liner brush. However, its main function is painting fine lines. Line work should be practiced from the very beginning of your learning experience. It will probably take several months of practice to paint fine lines as well as you'd like to. The paint for line work should be a thin ink-like consistency Hike to use a #1 liner brush for my line work. 1. Fill the brush completely full by brushing back and forth in your thinned paint 2. Carefully twist the brush in the paint until it forms a fine point. 3. To make a straight line for striping, touch the tip of the brush to your surface. Using a light touch, pull che point of the brush toward you, 4. Curlicues or squiggles: paint these by making an M and then a W. Pur the Ms and the Ws together and you will find that you are doing beautiful curlicues. When painting curlicues, or any line work for that matter, the handle of the brush must point straight up toward the ceiling. ws si Be sure your paint is thin enough. ‘If you are unable to get a good point on your brush, try another brush. An excellent liner brush is essential for successful line work. licues and Striping * Be sure that you can see — that's right, see! So many of my students try to e paint with the glasses they use for reacling, Let me warn you, most sin- cerely, reading glasses are NOT painting glasses. ore ROUND BRUSH STROKES WORKSHEET LINER BRUSH STROKES WORKSHEET Use a #3 synthetic or watercolor brush Use a #1 liner brush THE FLAT BRUSH AND STROKES FLAT EDGE Before we begin to learn brush strokes, itis important to know CHISEL the parts of the flat brush. Study the illustration. EDGE ~ | There are two flat surfaces, one on each sie of the brush. \ ‘The two comers of the brush are called the chisel corners. ‘The all important edge that some people call a chisel edge isa chisel ‘edge, but is so important that I give it a name all its own and call it the flat edge. When you are actually painting on the flat edge of ‘your brush, the handle of your brush points straight up toward the ceiling. The two sides of the brush are called chisel edges. GHISEL EDGE Basic Flat Brush Seroke 1. Basic STROKE: Touch the brush on the flat edge, apply pressure to the flat surface, hold the pressure, pull the brush toward you, and lift, fee 2, LINE STROKE: Fill the brush with thin-creamy paint, stand the brush on the flac edge (remember, the handle should be pointing straight up toward the ceiling), and without putting any pressure on the brush, gently pull the brush toward you. “S” Stroke, 3. “S” STROKES: ‘Angled to the We paint “S” strokes that angle Left both to the right and to the left. Fill ‘your brush with thin-creamy paint. Stand the brush on the flat edge, the comer of the brush angled to the left or to the right, slightly pull and gradually apply pressure as the brush rolls Reverse the ‘on its flat surface, then lift back stroke for an up on the flat edge of the brush, “S” Stroke, releasing the pressure as you do, ‘Angled to the and drag. Your arm will move Right toward you, your fingers will do the work, ' <7 Comma Stroke, 4. COMMA STROKES: eae! 10 the To make a left-angled comma stroke, a. Fill your brush with thin: creamy paint and angle the head of the brush toward the left corner of your practice sheet. 'b, Touch on flat edge, apply pressure to flat surface, begin to pull toward you, lifting back up on the flat edge of your brush. To make a right-angled comma stroke, reverse the technique and angle the head of the brush toward the right comer of your practice sheet. Right- handed people normally find it * easier to make a comma stroke that angles to the left, and find it harder to make comma strokes that angle to the right. For left- handed people, the opposite is usually true Right-Side-Up Half Circle 5. HaLE-cIRCLE STROKES: e& Right-side-up half-circle stroke ind a. Fill your brush. with: thin paint. b. Stand your brush on the flac edge, apply pressure to the flat surface, hold the pressure and pivot the brush in your fingers down and to the right to form a half-circle. Upside-down haif-circle Follow the same steps, except pivot the brush up and to the right. Comma Seroke, Angled to the Right Upside-Down Half Circle Right-Side Up*u" Stroke Nil J Upside- a Down U" Stroke aa * This is an introduction to basie brush strokes at brush. There are more strokes and there with a are variations of these strokes. Practice, practice, es for at least an hour a day. You practice these need to-spend this amount of time practicing to really learn the strokes! Afterall, remember how long it took you to learn to sign your name! TANT POINTS of acetate over the brush stroke 7 Lay a clear she worksheet and practice your strokes on top of mine, Clean the acetate with a rag dampened with water and alcohol, and reuse it, Practice hundreds of strokes-this is the best thing you can do! ? Use h 3 Be sure your paint is a thin-creamy consistency quality brushes / Fill your brush completely full of paint. Left-handed painters may find ic easier to stroke from right to left, while right-handed painters may prefer stroking from lefe to right Do Lest Aen tc FLAT BRUSH STROKES WORKSHEET Manos JBLE-LOADED FLAT BRUSH STROKES WORKSHEET 6."U" STROKES: The vight-side-up “U” stroke a. Fill your brush with thin-creamy pain b. Starul the brush on the flat edge pull slightly toward you, gradually applying pressure . After you reach full pressure, gradually lift back up on the flat of the brush as you complete the other side of the“ ‘The upside-down * Reverse the directions given for the J” stroke right-side-up “U" stroke Line! stroke Practice double-loading! Douste-LoaDINc A FLAT BRUSH 1. Set up your wet palette (see instructions on page 3). 2. Squeeze two colors, such as Hauser Dark Green and Hauser Light Gree Cream the colors with water to a onto your palette. thin-creamy consistency, 3, Push each color into a neat litthe pile with your palette knife so that each hasa good clean edge to double-load against 4, Put light pressure on the brush to spread the hairs and stroke up inst the edge of the lightest color. (Load the lightest color first.) Stroke against the edge of the light color many times as shown iv the photo. Approximately halfof the brish will be irs ight color and half of the brush on the clean palette. 5. Stroke up against the edge of the dark color. Be careful not to push in too far. Stroke many times, as you wane the hairs of the brush to absorb (or fill) with paint To really get the brush full of paint, itisnecessary to blend on the 6 palette to soften the color. Then ‘20 back and pick up more paint Your brush must be full. You don't want a space betw en the £0) colors in the center of the brush-yaue want them to blend, into each other in the center. Blend on one side of the brush, then turn the brush over and blend om the other side. This le-loading a double-load? pushes the paint through the hairs of the brush from fron: to back. Keep the dark color in the center, as shown in the photograph, and when refilling the brush always blend in the same that you won't be losing all the paint from your brush. Once your brush is ice the ot on the palette so properly double-loaded, pea brush strokes again, Double-loa brush is done in the same way that we double-load the flat brush, but it is more difficult to double-load round round ne wit brushes because they come to a point = You will make mis- please don't be discouraged. If you rake a mistake, just clean your brush andl statt again. * You must be neat on your palette, When there is no good spot to double-load, pick up the paine with your palette knife and move it to smother place on your palette, '* When you are double-loading tiny brushes, use tiny puddles of paint. ‘When double-loading larger brushes, use larger puddles of paint. The puddles of paint must be in proportion to the size of your brush, or you ai have trouble trying to double-load, ; '* Don't be discouraged. Ifyou are Salle listen. to Mozart or tw get it out of your system, Then ‘back and start-again, i “Walk” the brush up to and into the light color, Stroke many times. Blend - blend - blend on ome side ofthe brush then tua the brush over and blend again. SHADING — @ the room you paint in should ble High humidity is always helpful Air circulation creates problems, Ie-causes evaporation and the paint dries very rapidly your brush on should be half wer and half cy. If you always wipe your brush on a dey rag when blending, you are simply drying the point from your brush-then when the brash returns tothe surface on which you're Henaing, it lifts more paint from that surface than is generally desizable always chill che water in my brush basin. Acrylics lke cold water at all times. Trarely use a hair dryer to dry my acrylic paint (the wood retains the heat, causing the paint you are trying to blend to dey more rapidly!) Instead, I work on another area of my painting. ention to these steps when you paint with acrylics, youl find your blending time will lly IF yous will pa improve dra ‘There are three types of blending or shading used in the world of acrylic painting. Froarine Cotor Floating color isa skill [fet all dlecorative painters should master. When we shade, by floating color, we generally apply a dark color over a dry undercoat to achieve the desired shaded effect, Or if highlighting is deisred, we use a light color. You ean practice floating with water and color, with a floacing medium and color, or with one of the blenidng mediums and eolot. Fill the bush fist with the clear liquid. Blot on soft absorbent rag or towel. Then stroke up ide against the edge of the color with on ‘of the brush, Steoke many, m Then blend on your palette to soften the ny times, ‘color, so that your eolor is geaduated in the brush from dark to mealitnm to light as illustrated on page 15. Wher the brush is properly loaded and full, apply or float on the shadow or highlight. ‘BLENDING BY STROKING ‘When we blend by stroking, we apply the colors, wipe our brush, and lightly stroke from the top to the bottom and from the bottom to the top, following the natural curves of the object we are blending. This blends the colors together BLENDING BY PATTING Blenaling by patting merges two colors together by moving the paine sideways, almost lke litte tornadoes Ifthe environ: mental conditionas are not correct, or your surfact not properly prepared, the acrylic rraine will dry extremely fas. 1. Apply floating medium or extender over the undercoated surface. 2. Apply che colors. 3. Blend by stroking andor patting the edges of the colors together using a light touch, Floating color Blending by soking eon which has not dried and cured will life if, more extender is applied on top of it. If water is used instead of extender, ‘generally the water does ot hit. The rule is When cextender is use, be sue i thas dried and cured before extender is used a second time. If you're not going c© M248 71 Wipe E) Transfer tly trace and properly ta design to the surface. Be careful not to bear down too hard with the stylus or pencil, pattern to avoid indenting the wood! ¢) Apply Carefully apply a thick blending medium or extender to the portion of the design you are painting. This wets the wood. blending As long as the wood stays wet, the acrylics will blend. medium ty Paint / He r mi K te A ster step color worksheets (>) Rub When the design is completed and thoroughly dried and cured, nub with a piece of brown paper bag with na) f it to smooth the raised wood grain, © Varnish 4pply evo or more coats of wa your choice to both sides of Apply a final coat of vamish to the face ~ Varnish of the piece. —___1@age PVORKSHEETS & GPROIEC Basic BRUSH STROKE, Dry-BrRUSH BLEND LEAF to soften the colors in the brush. 4. Pat on the shadow color at the bottom of the leaf, Often the shadow forms the first stroke (Fig. 3). Place a second stroke on top of the first 2) 6. The center stroke is an incomplete $ stroke. Ic forms the top of the leaf, To paint this stroke stand your brush on the flat edge efi sick an important area, this leaf busines a teacher teaches leaves ale bie different. There are many types of eaves, many diferent shapes, many different sizes. They're really wonderful to paint. They frame all of or flowers an frat. In this book Leach you to paint what I calla asic brush serokedry-brush-blend leaf. The le of leaf you we sell ary, just as our oun handertngs vary from person to person, Study the technique. Practice i wel ‘You will, in time, paint wonderful leaves! In the world of devorative painting, when lecorating items, we do not paint with an estab lished light source. We paint whatever isin the hack ofthe design dark, and whatever isto the front ofthe design light. What comes in the middle we paint a middle or medium value of color. When painting leaves, stay your design and then mark. the leaves. Leaves that are to the hack of the design are called “dark,” leaves in the middle are called a and the leaves that are the closest torthe front ofthe de stroke in the same manner (Fig with the dark or umber side pointing up. Pull slightly and let the brush roll to the Jefe applying pressure on the brush (Fig. 5) Double-load yous brush with Haaser Medium Green and White. Blend on the palette to sofien the color and paint two comma-tike strokes om the right ofthe la strokes on the left (Fig. 6). Be sure you the strokes angle outward. The hanle of the trash will poine in toward your nose 8, Wipe your brush and add to the center of the leaf a small amount of Hauser Light Green and, if desired, a touch of Yellow Green (Fig. 7) Again, wipe your brush and start blending at the base or bottom of the leaf, Use opposite the medium valu ign will be the lightest leaves. To really paint the leaves with contrast, [feel itis necessary t use three values of leaf green. [like Hauser Dark Green, Hauser Medium Green, and Hauser Light Green. On the color worksheet (page 19) [have painted a medium-to-dark value leaf anda medium-tolight value leaf. Carefully study these leaves and practice ight touch and pull towards the first stroke (Fig. 8), then pull to the second stroke, then up to the center, then to the fourth stroke, and then to the fifth stroke (Fig, 9), This is called Directional Blending. Study this in the phorographs. 10. Now pull from the outsisle edges back toward the hase (Fig, 10). Don't overblend ‘or muddy the leaves, Work quickly ~aerylie paint dries fast Step-by-step with the worksheet Colors Hauser Dark Green, White, Bume Umber, Hanser Medium Green, Hauser Light Green, Ice Blue, and Yellow Green. Brushes The size of the brush you use will depend on the size of the leaf you are painting, On the worksheet I used a #8 flat 11. Accent the edges of the medium value leaf, if desired, with a little lightened Iee Blue or Yellow Green (Fig. 11) A LIGHTER VALUE LEAF is painted in the same way, only the colors wary. Study the set A Menus To Lictrr Vawue Lear 1. Baseeoat the leaf as shown on the worksheet up of the lighter value leaf on the color worksheet. 3. Double-load the brush with, and in the photograph with Hauser Dark Green (Fig 1). Let dy Apply blending ani painting medium of exteniler (Fig. 2) Hauser Medium -nandl Burnt Umber. Blend on the palette 1. Undercoat the leaf in Hauser Green Medium and let dey 2. Apply blending and painting medium, 3. Double-load with Hauser Light Green andl Hauser Dark Green, and paint the left side of the leaf 4. Double-load with Hauser Light Green and White Paint the light side of the leat. Apply Hauser Light Green and White to the center, swipe the brush and blend. DARKER VALUE LEAF Undercoat in Hauser Dark Green. Let dry Apply blending and painting medium, Double-load with Hauser Dark Green and Burnt Umber, anal paint the base and the left side of the lea 4. Double-load with Hauser Dark Green and lee Blue and stroke the light side of the leaf Apply Hauser Medium Green and Iee Blue to the center of the leaf and blend. ‘VenninG THE Lear ‘The vein isa curved line, (rarely a straight line) which may be painted with the lat edge ofa flat brush (Fig 12), ‘or the point ofa liner brush, It starts at che bottom and doesn't duite touch the top, ani is often painted in the darkest shading color used on the leaf, Occasionally [will “wipe ou” rather than “paint in” a vein, overblend. If you apply too much pressure to the beush or coverblend, all the lovely colots that you want to see in the leaf will mix together and the leaf will be muddy * Be yenerows and use plenty of paint. * Don’t paint @ "B” on the fight side of the leaf. (The common among beginners.) Be sure your brush angles out the way it does on the leaf on my Woesheet. * When blocking in a leaf, aliiays stroke from the outside edge of the leaf in toward the * If you ruin your lea ly, re-hasecoat, and begin again, * Don't become di {to paint thi he results are unique. does take practice, but tt Correct leaf Incorect leaf ____£@Prge Fig. 10 Aussi Liar WORKSHEgEZ = === Medium to Dark Value Leaf Add colors of Directional choice to the blend from the center base out into each stroke Dircetional blend from Apply lee the outside edges back, Blue accent to the h strokes on dark edges Light, Medium and Dark Value Leaves Color Set Up for Light Value Leaf Pen er S ome rr Aer) ce cr Dark SS rome Maras Light be Coram ed a ron Sa eae! Tee! cen ‘ ee cap [Bt on as Umber a, highlights jee vm) oa Yer co tg re ren eran) \ naa cee Basecoat a an iie aes Sere ca mixture See Re TSE See Overstroke with Sa reas fred Ll Ce ‘ sae ra ree cas vas rae Se ea ace ie Mushrooms & SSoadstools My husband was born in northern Wisconsin not far from the Walnut Hollow factory The forests of northem Wisconsin ave breathing and swlking through them you se the fems and the magnificent toadstool in an array of different colors, shapes and varieties They are beautiful to paint andl the colors can be varied as you dese. If you haven't taken time to study these womdrous heats, dit. You'll be amazed at what you see © Titanium White M Raw Sienna 1H Bum Sie 1B Burne Umber wser Dark Gr wser Medium Green 2. Neatly trae Flat synthetic brushes in s Ice patter (one found on page 23, #10,#12,#14,216,#20andal liner blending medium the other on page. 48 Qox 6 1, Sand the surface if needed, and ck rag. Round, No. 5507, 6.5-7.5" nd transfer the Painting Instructions THE TOADSTOOL 1. Make a tan by mixing a touch of Raw Sienna into Titanium White 2. Wet the wood with blending gel or medium, 3. STEM Apply the tan mixture to the mushroom stem. Wipe the brush and ddouble-load with Burnt Sienna Shade the upper portion of the stern with Sienna. Shade the lower portion with a mixture of White\plus Burnt Umber. Wipe the brush arid blend. 4. Create a shadow by adding a touch of Ice Blue to the stem. This is shown ih detail on the step-by-step worksheet, 5. To paint the GILLS of the mushroom, be sure the wood i Wet with the blending mediima, ABAIY White. Let dry 6. Double-load the brush with a mixture of Burnt Umber plus a touch, ‘of Bumt Sienna on one side of the brush and White on the other, Shade the gills. Quickly wipe the brush and pull the shading toward the bottom of the gill area. 7. Using a liner brush andl thin paints detail the gills with neat thin lines of Burnt Umber, Burnt Sienna and White. Be sure you use an excelent liner brush and be sure your paint is very thin so that it will flow smoothly and evenly from the hairsjof the brush, 8. Be sure wood i§ wer in'the: mushroom GAP arca of the design. Apply White to the center of the cap as shown on the worksheet. Gé around the white with Raw Sienna. 9. Double-load a large brush with Raw Sienna and Burnt Sientia phisia touch of Burne Umber.'Apply the shading over the top of the cap: Wipe the brush and begiivto blend using as lage a brush as possible and a light couch, following the natural curve of the mushroom. Blend from the top down and from the bottom up. Lightly pat blend to smooth away to shading lines or use a soft mop brush. 10. The highlight is very important. If you make mistake, le the acrylic nd extender dry and cure completely. Dark Gretp and highlighted with Rub with a piece of brown paper bag’, \White. THe dark blades are with no printing on it to smooth the’ highlighted with Ice Blue. raised wood grain, Apply the ©The FERN is painced Burnt Umber and bending medium and start again. \“7==@yerstroke! in Burt Sienna. Neatly 11. If desied, the bottom edge of the highlight with White. cap can be stippled with\an old brush“ Uhavegiven you colors for everything anda little White. coithe worksheet, A efrefl study of the finished rourids will e valuable to you, Add Yur own rodches ‘Toadsrbl§ are ko much fin to paint. ‘The wide blades of GRASS are painted in Hauser Light, Medium and Dark. Green, as shown on the worksheet The light blades ate shaded with G PiU MONG THE: / BERRIES Hauser Medium Green WH Hauser Light Green hes Flat synthetic brushes ‘10, #12 and a1 Liner or scroll brush Ice Blue Palette Mi Paynes Gray | Titanium White 1M Prussian Blue 1 Raw Sienna BW Dioxazine Purple wipe with a tack blending medium 1H Burne Sienna 1H Burnt Umber BW Hauser Dark Green 2. Neatly trace and transfer the pattern found on page 46. Painting Inseructions LEAVES Paint the leaves and stems that are under the nes first. Instructions for my basic brushstroke, dry-brush blend leaves are found on page 18. Notice that the leaves have been created in dlark, medium and light values. Instructions for the STEMS and BERRIES are found on page 26; color worksheet is on page 29. NEST and EGGS [cis important to paint the nest and eggs, then paint the final leaves which lap over the nest last. This makes it really look natural and as ifthe leaves are actually flowing on top of the nest. 1. Apply blending medium to the nest. Basecoat nest with Burnt Sienna Basecoat the eggs in Ice Blue 2, Double-load a large brush with Burt Sienna and Burnt Umber. Blend on palette to soften color. (Carefully apply the dark shading around the eggs. 3. Double-load a lange brush with Ice Blue and Paynes Gray plus a touch of Burnt Umber, if desired. Blend on palette to soften color. Apply the shadows on the eggs. Neatly high- light, ifreeded, across the top of the eggs with a litele White. 4. Using a rake brush or a large flat brush, streak a litele Burnt Umber across the Burnt Sienna, 5. Using a Liner brush and very thin paint, begin to build the twigs and straw of the nest. [tis very important that the lines be thin and har there be many of them creating contrast. Filla liner brush full of thin paint and paint wavy lines of Burnt Sienna, a tan mixture of Burnt Umber and White, Ice Blue, Burnt Umber, and a rouch of Raw Sienna or a tiny touch ‘of Light Green, if desired. Let dry. 6. Double-load a large flat brush with blending medium and Burnt Umber. Blend on palette to soften color and apply shadows around the outside sedge of leaves that overlap the nest, <—f FINISHING ‘When you have finished the painting, let your work dry and cure. ‘Varnish with two or three coats of water base vamish. When dry, rub with a piece of brown paper bag with no printing on it to smooth the raised wood grain. ‘Then apply a final coat of water base varnish. THE FAWN Tove to join hands with people who share my feelings for animals. 1 want only to love them, protect them, and care for them. We have infringed on their environ- ‘ment so brutally. God bless and help the animals ‘The technique of painting this lee faum is very easy, yet very effective. Follow along step-by-step on the worksheet ‘on page 21 Walnut Hollow Basswood Country ‘Round, No. 5506, 5.5~6.5" across" Palete Titanium White m Black i Raw Sienna Burnt Sienna i Burnt Umber i Cad Red Light Brushes Flat synthetic brushes in sizes #1, #4, #8, #10, and al liner or scroll brush Preparation 1. Sand the surface if needed, and wipe with a tack rag. 2. Neatly trace and transfer the pattern, found on page 49. Painting Instructions 1. Wet the wood with blending medium ‘or gel 2. Make a tan mixture of White plusa ‘Touch of Burnt Sienna and a touch ‘of Burnt Umber. Paint the fawn with the mixture. 3. Double-load a brush with the Tan mixture and Burnt Sienna. Blend on. palette to soften color. Shade down the neck, across the back and in the shadows ofthe legs as shown on the worksheet. 4. Highlight the deer’s body with the (Off-white mixture (White plus Rav Sienna). Shade the tuft under the neck with a touch of Raw Sienna. 5. The inner ears are painted Off White. You can use a soft White or dirty your own White with a touch of Burnt Umber or Raw Sienna. 6. The hair inside the eats is created with a liner brush and thin. Burnt Umber and Burnt Sienna. 7. The nose is Black. Highlight with a touch of Gray. 8A tiny mixture of White plus Red Light is placed in the nostril ofthe 9. The eve is painted Raw Sienna. Shade with Burnt Sienna. The pupil is Black and highlighted with White. Outline the eye with a good liner brush full of thin Black. Three liele lashes are also Black. 10. When the eye is thoroughly dry, shade around it with the Off-white or soft White mixture. To do this, double-load a brush with blending medium or water and Off-white Blend on palette to soften color and float the white carefully around the eye. very far sighted, meaning | can't see up close, I use an coptivisor or surgical loop in order to see to paint the small details. If you have the same problem, you might want to speak to your doctor about the magnification needed for derailed painting. It could be a big help to you. BUCKET OF BERRIES ‘Walnut Hollow Basswood Country Plank, No. 3500, 7 to 9x11” Palette 1 Titanium White Ice Blue i Prussian Blue Ml Dioxazine Purple Wi Alizarin Crimson Hi Hauser Light Green Hauser Medium Green Mi Hauser Dark Green, Burn: Umber 1 Bumt Sienna Light Brown mixture of White plus a touch of Bu Double-load a large brush with Burnt Sienna and Burnt Umber. Blend on palette to soften color. Shade the dark edges with the Burnt Umber. 3. Double-load the brush with Burnt Sienna and White. Blend on palette to soften the color. Shade the light edges with White. Wipe the brush and blend by streaking the Burnt Umber across the Burnt jenna, softening the edges with <7 the light Brown mixture. the outside edge of the berry, 4. Ifyou havea large rake brush, you letting the dark color in the ‘may want to paint streaks in Burnt undercoat work its way into the ‘Unmber to create the look of wood brush so that it shades a you go. grain, You could also do this witha Pick up more White, as needed. liner brush, if you prefer 3, Begin to paint half to whole circle 5. The metal bands are hasecoated in strokes as you work inward toward Ice Blue. Shade the edges ofthe the center of the berry. Highlight bands with Burne Umber. with White ‘THE SHADOW Rub some blending medium onto em the area of the plank where the shadow goes. Double-load a large Ifyou find you have brush with the blending medium difficulty double- and Burnt Umber. Blend on the loading a small flac palette to soften the color. Apply the shadow next to the bucket and the berties. Wipe the brush and pull the color out into the blending medium. Sometimes I even soften the outside edge by rubbing it with my finger or apiece of sponge. VES are the basic brush- brush blend leaves as sal fon page18, or paint the puddles of paint sgvés of your choice. Notice that which are in ‘painted in dark, medium proportion to the size Ales of your brush. painted Hauser fn and shaded with eDaM Green and Burnt THE BRACTS arc basecoated in Umber. Highlight with lee Blue Hauser Green Medium. Shaded ‘with Hauser Green Dark BERRIES — worksheet on page 29 highlighted with Hauser Green 1. Apply blending medium. Basecoat Light to which a little White has the berry in Prussian Blue and been added to create contrast. Dioxazine Purple. If you want the berry to appear more purple, use FINISHING When the piece is mote of the purple color. A bluer dried and cured, varnish with two berry will require more blue in the _or three coats of water base hasecoat amish. 2. Double-load a small flat brash with When dry, rub with a piece of brown a litte of the Blue andlor Purple paper bag with no printing on it co and White. Careflly blend on smooth the raised wood grain. palette to soften the color. Begin ‘Varnish with a final coat. to paint “U" type strokes neatly and carefully all the way around NESTING IN THE WHEELBARROW B® Alizarin Crimson Brushes Flat synthetic brushes 1B Light Yellow & Yellow Medium . Bort Umber WM Hauser Light Green <—f~ 3. Paine the nails light Gray made from White plus a touch of Black ‘Shade with Black and highlight with White Preparation 1. Sand the surface ifneeded, and wipe with a tack rag. 2. Neatly trace and transfer the pattern found on page 43 ‘The HEN should be painted before the straw in the wheelbarrow, so that the straw can be painted on top of her. Painting Instructions ‘WHI BARROW 1A portion of the wheelbarrow, as well as the wheel is shown on the worksheet on page38. All portions of the wheelbarrow will be set up and blended in this manner. |. Make a medium value Brown by time with the m Double-load the b Brown and Burnt Umbe palette to soften the shadows. W pe blend. If you have may want to rake ‘Umber across the ‘or a mixture of White plus: Yellow, if desired. Apply the light Brown mixture highlight the edges to create cor between the slats of wood. Shade around the holes where straw will poke through with Burnt Umber and highlight with light Brown. ‘Neatly paint the BEAK Yellow ‘THE WHEEL Medium. Double-load the brush with 1. Apply blending medium to the wheel Yellow Medium and Burnt Umber. area. Blend on palette to soften the color. 2. Basecoat the wheel as shown on the Shade the beak. ‘worksheet. Shade dark with Burnt ‘Umber. Highlight with a touch of Yellow Ochre. 7. Paint the €¥E White. Paint the pupil Black. Outline using thin black paint. Highlight, as shown on the worksheet, with tiny dots of White. Paint the stRAW with a liner brush full of thin paint. Make fine, neat lines cof Yellow Light, Yellow Ochre, White, Burnt Umber, Burt Sienna and Raw Sienna. It takes many, many thin strokes to build a lot of straw and make it attractive. Let ‘some of the straw flow down over the ‘edge of the wheelbarrow and other strands up onto the hen. Generally, the thinner the lines ancl the more of them you paint, the more natural it “will look. under the wheelbarrow with a large brush ded with blending finished project. ‘the EURLICUES using an excellent ‘brush and thin Burnt Umber ey: ree iter Dark Green Some ‘of them were highlighted with a FINISH ‘When your painting is finished and ccured, varnish with two or three ‘coats of water base varnish or the varnish of your choice. When dry, rub with a piece of brown paper bag with no printing on it to smooth the wood surface, Then apply a final coat of varnish. fae cy Apply extender. Basecoat head, body Gail White ; ~) a ‘Ovbratrole sre arg Pe em oR ea pera (enemy Se ia Ae y a 1, ca Si re) oe pS: ——e Sc rn nee bey Yellow Sienna Shade Bt. Sienna ee ra crac fons Se Cranes ied ah 6 & a ed Ants Mts Be 7 oh rea ra oS Sey aia Sort eee Renee ree ey Ji Soe Burnt Umber Tis a Renee ea oe a Par) Prussian Purple cre Pret meen Ce mC ae Ra rea fae ooo ns AS oe = 7" " ar / Leer eater LoS ee cast? Cre a eA ac era ere en feet ec co Le i alt foe aie) ald dots 2, Prussian Blue 3. Hauser Lt, Green =

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