little sah ie Me By ee Forsyth ree Vol aN |HUMMINGBIRD RECIPE AND TEA HOLDER Palette: (Americana Deco Art) Desert Turquoise Graphite Neutral Grey Lamp Black Burt Umber Evergreen Raw Sienna Black Plum. Black Green Kelly Green Burgundy Wine Golden Straw Light Buttermilk. Hauser Medium Green Matte Varnish Brushes: 112” Flat, #3 Round, 510 Script Liner, 1/4" Filbert Comb, #8 Bringle Miracle Blender. Prep: Makela mix of 23 Desert Turquoise - 1/8 Graphite Add varnish and litle water to make a thin stain Apply it with a large brush, thinly enough that you can still see ‘some of the wood grain through the stain. After this is dry, pre wet the center top between the hummingbird and flowers and wash in some Desert Turquoise. Make sure to pre wet past the area where you are working so that the water will help soften the edges ofthe color. Apply the patter. WASH as follows: Leaves and stems: Hauser Medium Green. Columbine Petals: Light Buttermilk. Hummingbird: Wash the wings witha thin mix of Burnt Umber +a litle bit of Lamp Black, The eyes are based solid Lamp Black. The beak is putin wth the Liner and a solid mix of Burnt Umber * Lamp Black Developing, Painting; Columbines: The first shade is done with Neutral Grey. This is on all the under petals, curled areas, a bit on the edges of the top petals, and upside down °C” strokes in the canter. The next shade is done with Neutral Grey + a tiny bit of Lamp Black. This is over all the previous shades, You can add a few lines ofthis in the Conter ofthe petals with your Liner. Highlight with strong Light Buttermilk in the center of the petals using the Bringle Miracle Blender, Pre wet and tint the top petals and the bottom petals of the open flower, with Black Plum. This includes the buds. ‘When this is dry, reinforce the shades on the tinted petals with a shade of Black Plum. | tinted with touches of Burgundy Wine in this area also, pre wetting first. The lights in the center and curted edges are added with the Liner and Light Buttermilk, ‘The stamens in the center are putin with a Liner and thin Burt Umber. | then dotted them with the Liner and Golden straw Leaves: ‘Shade the under leaves and a few edges with Evergreen + a litle Black Green. Deepen this with thin Black Green. Highlight with thin lines using the Liner and Light Buttermilk + a tiny bit of Hauser Medium Green. Use this mix to dry brush the center of the leaves also. If he edges are not bright ‘enough, you can float this color on the edges in the light areas, When this dy, pre wet and tnt aIitle here and there with Cranberry Wine and Golden Straw. Hummingbird Using the ti of a #3 Round, pull in the gorretithroat) with Burgundy Wine When this is dry, add some upside down "G's wih the comer ofthe 12° Flat, in a mix of Burgundy Wine + a little bit of Light Buttermilk. If you find this to be too strong, pre wet and int with Burgundy Wine. Under these “C” strokes, add aie bit of Liner in Black Plum. | then took the Liner and in between this, added some fine feathers in Light Buttermilk. You can add some fine Liner feathar inthis above the goret, ust below the eye. You are now ready to Begin shading the wings. This is done with a strong ‘mix of Burnt Umber + Lamp Black on: the under sides, using your Liner. Try to make the lines thin, 80 that they look more natural. Highlight with a thin mix of Burnt Umber + Light Buttermilk using the Script Liner. ‘You can add some lighter ones adding less Burnt Umberto the mix Putin the feot withthe Liner and Lamp Black. When this is dry, add a tiny highlight with the Liner and a mix of Light Buttermik + Lamp Black (medium Grey). Begin puling inthe chest area with straight Light Buttermik using the Filbert Comb, and covering less on the sides. On the chest area, you an put in the darks sparsely, fading ito the light areas and Using the Liner This is done with a mix of Burnt Umber + a ik tle Hauser Medium Green. There are a few tufts on the sides and at the bottom where the branch is. | added some of this mix for stipes behind and a litle below the eye. Add some stripes on the head in this mix. You can add some liner lines in this, between the stripes, behind the eye and the litle tft on the right side behind the eye. Ifyou loose some of the darks on the side, just go back with the Liner and the dark green mix. On the fop ofthe head in between the dark green mix, ‘add some linet feathers in a mix of Kelly Green + Golden Straw. You can add a fer lighter feathers inthis area by adaing Light Buttermik to this mix. Shade around the eye wth a float of the dark green mix (Hauser Medium Green + Burnt Umber). Add some of this color around the edge of the head and side edges of the chest with the Liner. Add some fluffy feathers with Lighter Buttermilk, on the chest, behind eye, behind beak, botlom around where the branch hits and afew ‘on the edges. When this is dry, pre wet the sides and the stripe behind the eye and then tint with Raw Sienna. If it looks faded, wait unt tis dy and reapply. Tintin the same manner ‘on the top of the head and on the sides of the chest with Kelly Green. Look at the neck area and if it is faded, add another wash of Burgundy Wine. The beak's highlight is put in with the Liner and a mix of the base color + Light Buttermilk thin. | added a thin shade where the beak connects tothe head with the base color anda liner. The eye Is pre wet and thin Light Buttermilk dabbed in. After this is dry, put in a glint at the top and right comer of the eye with the Liner and Light Buttermilk. Dry brush the chest and a small amount on the top of the head wit Light Buttermik using the Bringle Miracle Blender.Letters: | painted these in with a #3 Round and a thin mix of Desert Turquoise + Graphite. Pull in the stripe with the Liner and Light Buttermilk. Inside this, pre wet and wash in thin Desert Turquoise. | used the #3 Round to put in the border around the letters with Light Buttermilk. | pulled them in like a comma stroke without the tail and straight instead of curved, @ «: © LT LE EER ERS MEMO BOARD (found this slate at Marlene’s shop and thought it would make a great memo board.) Palette: (Americana Deco Art) Evergreen Olive Green Antique White Raw Sienna Brillant Red Burnt Umber Burnt Sienna Lamp Black Paynes Grey Lamp Black Light Buttermik Brushes: 50 Script Liner, #3 Round, 14" Fibert Comb, #8 Bringle Miracle Blender. Extra Supplies: o-ips Prep: Was you slate with a little vinegar and water. Dry completely. Transfer pattern to your slate. Make sure that you use new graphite in a light color, or it will be hard to see your pattern. Base as follows: Note paper: Antique White. | found that | needed 2 coats to cover Leaves and stems: Olive Green Pencils: On the bottom of the pencil’s base with a mix of Raw Sienna + a little Light Buttermilk. The pencil on the right has this color on the top as well. The tip is put in with the liner and Lamp: Black. The pencil on the right is based in a mix of Light Buttermilk + a litle bt of Paynes Grey light blue). The pencil in the mouth of the mouse on the left is based in a mix of Briliant Red + Paynes Grey + a little Light Buttermilk (mauve color). Mice: The eyes and nose are based Lamp Black. The one on the right, you can see just a ite bit of the nose and eyes. The feet are based in a mix of Raw Sienna + Light Buttermilk + a it- tle bit of Brilliant Red (Flesh color). The inside of the left mmouse’s ear, is also this color, Developing Painting. (Remembe whn you are wérking with slate the paint takes longer to dry, so you have to be a little bit patient.) Mice: (See Worksheet) Fist, begin pulling the fur in with the Filbert Comb in the very Finishing; When itis dm, sand around the letter area and all the edges and comers, Take a slighty dampened rag and pickup Light Buttermilk, knocking a little off on the palette and begin streak- ing this colori. It should fade out sol. If anything Becomes too slong just lake a clean damp cloth and wipe i of I ke antiquing except wth paint, so you have to make sure the paint doesn't go on too strong, | added this around the edges Gt he top where the panting is. When this is dry, remove the ‘graphite lines, sign and vanish three coats of Matte Varrish darkest areas. This is with a mix cof Bunt Umber + Paynes Grey. This is done behind the ears and the neck on both mice. On the left ‘mouse, this is on the back ear, around the eye and down the back fading out to the front of the ‘mouse. On the right mouse, this is con the edge where it meets the paper and on the sides of the ears. Any areas that are too small, use the Script Liner. On the left mouse, the inside of the ear is shaded with Burnt Umber +a litle Paynes Grey. Now begin pulling in a middle value of Burnt Umber. When this is done, begin slowly lightening by adding Light Buttermilk to this. All areas should be covered at this point. You can now add the highlight on the nose, by pre wetting first, and putting a lite Light Buttermilk in the center of it. You can add some fine bro- ken lines around the eye on the left mouse with a mix of Light Buttermilk + a litle Lamp Black. The corner glints of the eye has this also. The glint is straight Light Buttermilk, The nails on the left mouse are Lamp Black put in with the Script Liner. ‘The feet are shaded with the Liner and thin Burnt Umber. The highlight on the feet are put in with the Liner and Light Buttermilk + a tiche of Brilliant Red. Add some fine liner lines around the edge of the ears with Light Buttermilk, You are now ready to tint. First a tint with Bumt Sienna, especially on the back. On the left mouse, tint the top of the head. You can pre wet and then lay this color in. After this is dry, go over this with Raw Sienna, When this is dry, add light fur with the liner and Light Buttermilk + a litle Burnt Umber. Try to do this, sparsely with very litte paint on the Liner. This is done on the ledges above the eye, ears, and in the middle of the head. Ifit becomes too bright, just wash Raw Sienna over this. The whiskers are put in with the Liner and Light Buttermilk. On the left mouse, wait until after you have done the pencil before you put in the whiskers, Notepaper: (See Worksheet) Shade With wide floats of Burnt Umber 2 couple of times, ‘Add some Liner lines on the edges with Light Buttermilk + |]a litte Burnt Umber. Do this with broken lines. The printing is put in with the Liner and Burnt Umber. When this is dry, dry brush in the center with Light Buttermilk, using the Bringle Miracle Blender. Tint with a litte Briliant Red by pre wetting first. After this is dry, pre wet again and tint with a little Olive Green. Pencil on the left: ‘Shade the sides of the pencil in the left mouse’s mouth with a mix of Paynes Grey + Brillant Red. Use your liner to add the diagonal lines with Light Buttermilk. Dry, pre wet and add a shine with the Liner and Light Buttermilk down the center. ‘Shade the side edges of the bottom of the pencil with Burnt Umber. Add a tiny glint on the tip with Light Buttermilk. Pencil on the right: (See Worksheet) ‘Shade the sides of the ‘slue area on the pencil with Paynes Grey. Add a few lines in this with the Liner. The very top of the pencil has a glint of Light Buttermilk. Pre wet first, and put itn with the Liner. Add a glint down the pencil with this color and the Liner. The end is done the same way as the other pencil Leaves: (See Worksheet 2) The leaves are first shaded with Evergreen. This is done down one side of the center vein, under leaves and at the base of the leaves. The next shade is done with a mix of Evergreen + Paynes Grey. You can streak a litle of this on the stems with the liner. The vein lines are put in with the Liner and a darker mix ofthis color. Add the highlight with a dry brush, lightly using the Bringle Miracle Blender and Light Buttermilk +a little Olive Green. Afer this is dry tnt with oe: @: @: 6 @: ©: NATURES BOUQUET PALETTE: (Americana Deco Art) Graphite Paynes Grey Colonial Green Evergreen ‘Avocado Blue Haze Titanium White Light Buttermilk Brilliant Red Bumt Umber Golden Straw ‘Sea sponge, Burnt Umber oil paint, floor wax, and Q-tips. (For antiquing) Prey Stain the box with Minwax Early American oll based stain. | put the stain on and wiped it off right away, so it's not very dark. Let cure 24 hrs. Apply pattern. Tape the edges with masking tape Base coat with Colonial Green. Try not to make this t00 solid Fade it out on the edges, as we will be sanding a lot off. I did 1 this on the topside and edges. Take a fairly wet sea sponge land sponge very thin Blue Haze on top of this. You can take Brilliant Red + a little Paynes Grey. Add a few lights on the stems with the Liner and the highlight mix Raspberries: (See Worksheet 2) ‘Thes€ are swirled in with a slightly dampened Q-tip and a mix of Brilliant Red + a little Light Buttermilk (knocking a little off on your palette). Twist the Q-tip a little as you apply the paint. | found that you need to add quite a bit of paint, as the red is transparent. After this is thoroughly dry, add the shades with the comer of the flat and a of Paynes Grey + Brilliant Red. Dry, add some highights with thin Light Buttermik + a litle Paynes Grey. | also added some with Light Buttermilk + Brilliant Red. Add some: unripe looking berries with a thin float of Olive Green + a little Light Buttermilk. Dry and tnt wih ait Briliant Red on the dark- er sides. After this is dry, add a tiny glint with the tip of the Liner and Light Buttermilk. There are a few hairs on some of the ends: where the berries would have fallen off. These are put in with the Liner and Burnt Umber. After this is dry, add some lighter hairs with Light Buttermilk + Burnt Umber and a few dots on the end of these. All the end calyxes are put in with a triple loaded #3 Round. First, fully load the brush in Olive Green and then tip one side into Light Buttermilk and the other side into Evergreen + a little Paynes Grey. Pull flat and then twist and lift up to a point as you end. If you find that these are too big, you could use a liner instead of the #3 Round. Lettering: This is put with the Script Liner and Antique White. Add some Burnt Umber on the left sides. The dip dots are put in with the end of the #3 Round and Antique White. Varnish with at least three coats of Matte Varnish, Hopefully this will help you remember things! You can use regular chalk or a chalk pencil. ee & oe Gf the clean edge of the sea sponge and take some of it off if it becomes too strong. It should be very subtle and you should ‘see more of the lighter color. After this is thoroughly dry, you can sand a lot off from the edges of the top and sides, If it appears lighter than the original, don't worry, we are going to antique the edges and comer after it is painted. Wipe with a clean cloth and apply the pattern. | base coated all the items with one thin coat unless specified Leaves and stems: Avocado Calla lilies: Light Buttermilk Eggs: Colonial Blue + Light Buttermilk. (Lighter than the back- ground). Chickadee: WASH the head and the triangle under the beak ‘Burnt Umber + Paynes Grey. WASH the wings with Burnt Umber. The eye, beak and the legs are based SOLID Burnt Umber + quite a bit of Paynes Grey (almost black). Bees: Outline the body, wings, antennae and legs with a dark brown mix of Burnt Umber + Paynes Grey. The dark stripes. are also this color. The yellow stripes are Golden Straw. Developing Painting: Chickadee: ‘The wings and tail are shaded on the under sides with a mix of Burnt Umber + Paynes Grey. This is done with very thin paint, as the wings are quite sheer in color to give an impres- sion of movement. The highlights are done with a thin mix of Light Buttermilk + Burnt Umber. On the left side of the tail itis a lie lighter so use more Light Buttermilk in your mix. Around the top of the head, above the eye and under on the triangle are shaded with Burnt Umber + Paynes Grey. Pullsome fine lines with the liner inthe same color around the edges. Dry brush a little Light Buttermilk + a litle Burnt Umber in the center of the head using the Bringle Miracle Blender. Pull Light Buttermilk feathers with the tip of the #3 round on the chest, on top of the wing and on the cheek. When this is dry, shade under the wings with a mix of Burnt Umber + Paynes Grey. Shade on the back edge with this color. | then took the liner and added some fine liner ines on the lighter areas with Light Buttermilk. Pre wet and wash Burnt Umber over the top of the wings when this is dry. Dry brush a little Titanium White on the chest withthe Bringle Miracle: Blender. The feet and beak are high- lighted with the Liner and @ mic of Light Buttermilk + Burnt Umber. The eye has a broken line around it with the same mix, but thinner. The glint is put in vith the liner and Light Buttermilk. The bird gots litle antiquing later 0 ition dark enough dont worry. Leaves and Stems The leaves have some spots on them. | put these in with a dampened Q-tip and Light Buttermilk. Try to make these look uneven and not like polka dots. You can make some wider ones that don't look like perfect circles. The leaves and the stems are first shaded with Evergreen + a litle Paynes Grey. The next shade is with more Paynes Grey in the mix. This is on all the under sides, down one side of the vein and stems, the base and under the curled edges. Highlight with varying mixes of Avocado + Golden Straw + Light Buttermilk. This is done with floats, dry brushing in the center and liner work on the fges. Reshade with Evergreen in the darkest areas. You can dry brush a little light in the centers with just Light Buttermilk. Add a few lines on the edges and under the curves with the liner and a mix of Evergreen + Paynes Grey. Pre wet and tint a itl with a mix of Golden Straw + Briliant Red Calla Lilies: First, begin to shade these with Light Buttermilk + Graphite. The nex! shade is done with ust THIN Graphite. Try to make these floats narrower than the first shade. Highight with Light Butlermik on the edges. Add some fine hit and miss liner lines on the edges, especially on the folds. Dry brush inthe centers with Titanium White and the Bringle Miracle Blender. Add some fn ines ofthis color in the centre ofthe tubular part. The calyxes are dabbed in wth the tip of #3 Round and a mix of Golden Straw + Brilliant Red. Float a little tint on the edges of the tubular part with various thin mixes of Golden Straw + ‘Avocado + Light Buttermilk. Tint a little around the centers and on the edges of the tubular part with Golden Straw + Brillant Red. You can pre wet first so this goes on sheerly. If you loose some of the brightness, after this dries, you can dry brush some more of the Titanium White. Ribbon: Double load a #3 Round and pull the ribbon in with one stroke. You can come up more on the point of the brush to make the ribbon narrower. Premix a litle Golden Straw + Light Buttermilk, Use this color as your middle value and then tip on the side of the brush in thin Burnt Umber. Now you are ready to pull in the rib- bon with one stroke. If you loose some of the lights you can streak in alittle more Light Buttermilk when it's dry. Nest and Eggs: | stippled the nes with a dampened Bringle Miracle Blender and a mix of Burnt Umber, Avocado, and Light Buttermilk. | added more Burnt Umber to. the dark mix and shad- ed the inside, on the bottom and side edges. Add lights with more Light Buttermilk at the: top and in the center. Try to do this wet on wet, wiping the brush and blending the colors a litle so that you don't get any strong lines between them. When this is dry, you can float a little Burnt Umber inside, and at the bottom of the nest. Before | started pulling the liner work | painted the eggs. Shade the eggs with a mix of Colonial Green + Graphite. Float a thin highlight on top of the eggs with a mix of Light Buttermilk + a litie Colonial Green. Dry brush a litte ofthis in the center with the Bringle Miracle Blender brush when it's dry. Use a liner to speckle the eggs with thin Burnt Umber + Paynes Grey. Now you can begin pulling the liner on the nest. Try to keep your brush dirty with the middle color, adding darks, and lights as needed. This will help prevent stripes of color. Use lighter values of Burnt Umber + Avocado + Light Buttermilk, Try to make this a litle messy and not perfect. After the nest is dry, pre wet under the nest and add Blue Haze + Paynes Grey. This helps anchor the nest. Do this a couple of times. Bees | highlighted a litle Light Buttermilk atthe top of the body with the tip of a dry #3 Round. Wash the wings with this color also. Tint a litle on the bottom ofthe body with Golden Straw + Brilliant Red. On the legs, add a little liner with Light Buttermilk, Finishing, Don't forget fo sign it and remove the graphite lines. | var- nished with a couple of coats to make sure its sealed wel before antiquing, (Refer to the front of the book for J) antiquing.)SPRING STELLAR JAY Palette (Americana Deco An): Light Buttermilk Lamp Back Paynes Grey Plantation Pine Cadmium Yellow Slate Grey Cerulean Blue Titanium White Hauser Light Green Sapphire Traditional Burnt Umber Traditional Burnt Sienna Brushes: 112" Fat, 1/4” Fibert Comb, #3 Round, 5/0 Scrit Liner, #8 Bringle Miracle Blender. Prep: Stain the wooden surface with Minwax Fruitwood oll based stain. Cure 24 hrs. Pre wet the sky area and wash in a little Cerulean Blue. Apply the pattern. On the slate, the bases are Solid, and on the wood the bases are WASHED in. Base as follows: Bird: Beak, feet, and eye are solid Lamp Black on both pieces. The wings and tail: Sapphire. Roof of birdhouse and watering can: Slate Grey. Birdhouse post: Traditional Burnt Umber. Birdhouse: Traditional Burt Sienna Flowers: Base the centers with a few coats of Cadmium ‘Yellow. The outside petals are based with a few coats of Light Buttermilk. The small calyx that joins the flower to the stem is a mix | ight Buttermilk + Traditional Burnt Umber. Developing, Painting; Bidens 3 Begin puling strokes on the head and part way down the chest with Paynes Grey + a little Lamp Black, using the Filbert Comb. Don't wory if this doesnt show up as well on the slate as we will add some lights to this later. Shade the wings and tail on the under sides with this mix. You may need to use the Liner I the small areas are too hard to get into. Highlight on the top side of the tail and wing area with a mix of Sapphire + Light Buttermilk. You can do this with the Liner - slowly bright- ening. Pull the rest of the feathers down the neck with Sapphire. Slowly begin lightening by adding Light Buttermilk to this color Add some light feathers in the dark areas near the top of the bird with a mix of Paynes Grey + Titanium White. Slowly brighten the light areas. When you are happy with the color, pre wet and wash Paynes Grey over the dark head and neck area. On the rest of the chest, wash in Sapphire. When dry, wash a litle Cerulean Blue here and there to brighten some of the blue areas, The eye and feet have a highlight done with the Liner and a Grey mix (Light Buttermilk + a little Lamp Black). The glint is straight Light Buttermilk. The beak is highlighted with a skinny float in the same light Grey mix. You can brighten this a little with the Liner adding more Light Buttermilk to the mix. The nose hole is put in with the Liner and Lamp Black. Birdhouse: 14 Shade the birdhouse pole with a mix of Traditional Burnt Umber + Lamp Black. Highlight with a mix of Traditional Bumt Umber + Light Buttermilk. The siding on the birdhouse is shaded with a mix of Traditional Burnt Umber + Lamp Black on the slate. The grain lines are put a Liner and the same ‘olor. The wood piece is shaded with just Traditional Burnt Umber. Highlight with a mix of Traditional Bumt Sienna + Light Buttermilk. | dry brushed this in the center of the bird- house also with the Bringle Miracle Blender. When dry, tint with a dry brush of Paynes Grey. The roof is shaded with Slate Grey + Lamp Black. Drybrush a highlight on the roof with Titanium White + Slate Grey. The nail holes are put in with the Liner and a mix of Traditional Burnt Umber + Lamp Black. When dry, pre wet and tint a litte with Traditional Burt Sienna, Pre wet and tint with a touch of Paynes Grey. Wateri ng, Can: ‘Shade with Thats of Slate Grey + Lamp Black. Highlight with floats and dry brushing, using a mix of Slate Grey + Titanium White. Add a few highlights with the Liner and this light mix. I floated a couple of back to back shines in a lighter mic of this. When dry, pre wet and tint with touches of Bumt Sienna, and Cerulean Blue. Flowers: The center yellow area of the flowers is shaded with a mix of Cadmium Yellow + Traditional Burnt Umber. Paint a few lines streaked down the center with the Liner. Shade the outer petals with a mix of Hauser Light Green + Traditional Burnt Umber. Add Liner with this also. When dry, cry brush with the Bringle Miracle Blender and Light Buttermilk. Float on the lighter edges with this. You can add some of this on the edges of the petals with the Liner also. On the outer petals, tint a little Cadmium Yellow + Traditional Burnt Sienna here and there. Float Traditional Burnt ‘Sienna on the bottom of the cup in the center. When dry, tint the center with strong Cadmium Yellow. Add a few stamen dots with the Liner and Light Buttermilk. The part tha joins the stem tothe flower is shaded with a Liner and Traditional Burnt Umber. Add some lights with a mix of Light Buttermilk + a little Traditional Burnt Umber. When dry, tint with a little Traditional Burnt Sienna, Leaves: Using a 1/2” Flat or Filbert brush, triple load and begin puling the leaves in with one stroke. Fully load with Light Hauser Green, tip one side with Plantation Pine + Paynes Grey and the other side with Light Buttermilk. Pull from the bottom up, lifting up on the chisel edge as you end. Where the petals curl, lift and twist a5 you add a tle less pressure before you end the leaf. The stems are pulled in with a mix of Hauser Light Green + Plantation Pine ‘a litle Paynes Grey. | shaded a few of the weak leaves, wi the dark mix of Plantation Pine + Paynes Grey. Streak a ite light color on the stems and leaves with Hauser Light Green + Light Buttermilk. Daisy Filler: Pall n the petals with the #3 Round loaded in Light Buttermik The center is dabbed in with the tip of the brush and Plantation Pine + Paynes Grey. When dry, float a litle Hauser Light Green + Light Buttermilk on the top of this. Float a little Traditional Burnt Sienna under the center on the petals. Pull the stems, with a mix of Hauser Light Green + Plantation Pine + a little Paynes Grey. Using the tip of the #3 Round loaded in this mix, freehand a few flick leaves on the stem. On the wood at the base of the leaves, to help anchor them, float a mix of Traditional Burt Umber + Plantation Pine. Finishin ‘Sign, varnish, hang and enjoy!l= GOLDAINGR’S BIRDHOUSE‘" ‘ , e Le RoPe ot iat oles Memo Board&™PHO with Ger yRe TREAT ENLARGEWHO WILL GET. Sia ou eaeHUMMINGBIRD RECIPE AND TEA HOLDERINTER CARDINAL LITTLE HELPERS MEMO BOARDNie ae PAA s) GARDEN FEASTSUMMER WAXWING Palette: (Americana Deco Art) Shale Green Burnt Umber Evergreen Olive Green Dritwood Lamp Black Antique Gold Lavender Red Violet Light Buttermilk Traditional Bunt Sienna Ultramarine Blue Brushes: #6 Cat's: Tongue, 1/4” Filbert Comb, 1/2" Flat, #3 Round, 5/0 Script Liner, #10 Bringle Miracle Blender. Prep Stain'the wood with Fruitwood minwax oil based stain. Cure 24 hrs. Make up @ mix of paint with 1/3 Shale Green, 1/3 Burnt Umber and 1/3 Evergreen. Paint the insert with one ayer of this. When dry, paint over this with another thin layer and while wet, add some straight Shale Green in the center fea fading it oul Use a clean brush to soften the transition ‘When it's dry, apply the pattern. Wash the bases as follows: Stems and leaves: Olive Green. Birdhouse and pole: Driftwood. Caterpillar: Olive Green. Waxwing: Eyes, beak and feet are based Lamp Black. Wash the wings with @ mix of Lamp Black + Burnt Umber. The tails washed jin thin Cadmium Yellow + Light Buttermilk. Developing Painting; Birdhouse: Begin shading with a mix of Driftwood + Lamp Black. Add a few knots with the chisel edge of the brush. The nail holes are putin with this mix using the Liner. The inside ofthe hole is Eased sold Lamp Black + Burnt Umber. When this is dry, dry brush with your Miracle Blender with Driftwood + a littie Light Buttermilk. | added this on the edge of the hole with the Liner. fda tow gints on the nails too. When al is dry, pre wet and wash in Traditional Burnt Sienna. On the front edges, | pre Wet and tinted a litle Red Violet. Caterpillar: Shade the body segments and bottom with a tiny float of Evergreen + a litle Bumt Umber. Put the eye in with this mix. ‘Add some fine hairs with the Liner and Olive Green + Light Buttermilk. If it looks faded, wash over with Olive Green. Stems and Leaves: Shade with a mix of Evergreen + a little Burnt Umber. This is. done at the base of the leaves, on some of the tips and down, ‘the center vein. Highlight with a thin float of Light Buttermilk + Olive Green. The veins are put in with a lighter mix of this using the Liner. Pre wet a few areas and tint with a mix of Traditional Burnt Sienna + a little Burnt Umber. Float thin Burnt Umber up the stems to make them darker. | also added afew floats on the leaves here and there with Evergreen. Lilacs: Using the #6 Cat's Tongue, dab in thin splashes of color with a varied thin mix of Ultramarine Blue + Red Violet. Where they fade out, pre wet the area first. When this is dry, add some lighter petals on top with the same brush and a mix of Lavender + Light Buttermilk. Add some thinner faint petals in the faded out area, Dab the center with the Liner and a mix of Ultramarine Biue + Red Violet + a litle Lamp Black. I then took a liner and added some fine liner on the edges of a few of the petals with the light mix. When this is dry, pre wet and tint here and there with Red Violet Waxwing: Begin shading the wings with Lamp Black. You may need to do this a couple of times. Highlight with the base color + Light Buttermilk. When this is dry, add some fine Liner lines on the edges with a brighter mix. The under til is shaded with a mix of Antique Gold + Lamp Black. Adé some fine Liner lines with Light Buttermilk. When this is dry, pre wet and wash with Cadmium Yellow. The back wing is done the same as the top wings. Using your Liner, pullin the black mask with Lamp Black Using the Liner, pul in the light stripe with Light Buttermilk The feet have a highlight with the Liner and a mix of Light Buttermilk + Lamp Black. The beak has a Liner highlight with this same mix in the center and above the nose hole. | shaded the end of the beak with thin Lamp Black. Paint the broken eye ring with the Grey mix using your liner and thinned paint. The glint is straight Light Buttermilk. Begin pulling in the feathers starting at the top of the head and going part way down the chest with the Filbert Comb and Antique Gold. On the brighter part of the chest, pullin feathers in the same way but with Cadmium Yellow. In the lightest areas, add feathers using a mix cof Cadmium Yellow + Light Buttermilk In the dark areas, pull a scant amount of Burt Umber either with the Comb brush or the Liner. Shade this under the wing sections also. Above the wing feathers, begin pulling in a mix of Antique Gold + Burnt Umber + Lamp Black. Add some lighter feathers near the cen- ter by adding Light Buttermilk to this mix. Using the Flat brush, shade down the back with thin Lamp Black. Add a litte bit of this with the Liner atthe front above the first wing feather. Float Lamp Black under the beak. Add a few light feathers above the wing area on the top edge with thin Light Buttermilk and the Liner brush. There is a litle red on the tips of the wings. This is put in with the Liner and a mix of Traditional Burt Sienna + Red Violet. Add a tiny glint in front with the base + Light Buttermilk, Wash the yellow areas with Cadmium Yellow. Pre wet and tint the neck area and under the beak with Bumt Umber. When this is dry, pre wet and tint wth a thin amount of Red Violet. Aer this is dry, dry brush using the Bringle Miracle Blender and Light Buttermilk + a litle Antique Gold. Pull some Liner feathers on the edges with this mix also. Shade a small float above the tal feather with thin Lamp Black. Filler Flowers and Leaves Using the Liner loaded in Light Buttermilk, pul the petals around the daisies from the outside edge in. Paint the center in with a couple of coats of Cadmium Yellow. When dry, shade the bottom with Traditional Bumt Sienna. | washed a lite Burnt Umber over these when dry, as | found them a little bright. The stems are put in with the Liner and Evergreen + a litle Burnt Umber. The leaves are put in with this mix using the Liner. Press, fatten and then end on the tip. Tha Finishing; 2 Remove graphite lines, sign, varnish, and enjoy.MICE AND FAWN’S GARDEN FEAST Palette: Americana Deco Art Biack Plum Lamp Black Cadmium Yellow Antique Gold Celery Green Plantation Pine Raw Sienna True Red Antique Maroon Hauser Light Green Light Buttermilk French Grey Blue Traditional Burnt Umber Cadmium Orange Matte Varnish Brushes: 1/2" Flat, #4 & 8 Bringle Miracle Blender (for dry brushing), 5/0 Script Liner. #8 Round, 1/4" Folk Art Filbert Comb, #6 Filbert Comb or Cat's Tongue, large Deerfoot or scruffy to stipple car- rot tops. Pre Wash with a mix of Celery Green + Water based matte vamish +a lite water. When ths is dry, you can apply the patter, leaving off the grapes that overhang on the basket for now. Be sure to transfer the pattern carefully, this makes it a lot easier when painting the animals. WASH in the base coats as follows: Carrots: Cadmium Orange. Radishes & Tomatoes: One coat of Cadmium Yellow. After this is dry, base over this with one coat of True Red. Ailleaves & stems: Hauser Light Green Grapes: Antique Maroon. The stems are Traditional Burnt Umber. Fawn & mice: The ears are afleshtone mix (Raw Sienna + a little True Red + Light Buttermilk.) The top mice’s feet are based in this also. Base the deer's muzzle and mice's eyes with solid Lamp Black. Developing Painting: Basket The basket is put in with a triple loaded #6 Filbert Brush. First, load in thin Antique Gold and then tip one side into Traditional Burnt Umber and the other side in Light Buttermilk. Begin with the handle and top rim. Begin laying the weave in with a °S" stroke following the shape, and ending more on the chisel edge of the brush. The basket weave is pulled in overlapping stokes that are not quite as fat. When this is dry, pull a couple of basket weave strokes going the other direction - not too many (see picture). These are more of a curved stroke. Pull some Liner lines on the handle and rim, withthe 5/0 Script using Traditional Burnt Umber in the dark areas, You can also pull a few in the lighter areas with Antique Gold + Light Buttermilk. When this is totally dry, begin shading under the rim of the basket and on both sides of the handle following the shape. This is floated in with Traditional Burnt Umber. | faded the basket out on the sides with a thin wash, pre-wetting 24 first with this color. Shade under the grape leaves and any grapes where the background is showing. | then pre wet and tinted with thin Cadmium Orange. Apply the rest of the grapes. Carrots: ‘Shade down the sides with a mix of Cadmium Orange + Traditional Burnt Umber. Pull in on the chisel edge across the carrots or you could use a Liner instead. Dry. Dry brush with the larger Miracle Blender and a small amount of Light Buttermilk + a little Cadmium Orange in the center of the car- rots. Tint a litte Plantation Pine on one side. Tint a litle here and there with true Red. Leave the tops for now. Fawn Eyes: Base the ees wet on wet. In the pupil area, starting at the top of the eye, wash Lamp Black and while this is wet, wash Traditional Burnt Umber in the iris. Add some lights in the iris area with a mix of Light Buttermilk + Traditional Burnt Umber. If you find it has dried, pre-wet and then do the Liner. | added a few lighter Lines with this mix when dry. You can float a thin imix of this on the outside edge of each eye. Pre wet and dab in the glint with Light Buttermilk. Then make the glint alittle stronger when dry. Put a thin line at the bottom of the eye with the Liner and this color. Shade a tiny bit of Lamp Black + Traditional Burnt Umber in each comer to tone this down. | added a line for the lid with a thin mix of Light Buttermilk + a little Traditional Burnt Umber. Add a fine Lamp Black line at the bottom of the iris edge. Fawn Nose: The nose is dry brushed in a Grey mix (Light Buttermilk + Lamp Black) with the large Bringle Miracle Blender. This is done on the sides and a litle on the top. Add a dry brush with straight Light Buttermilk on the left side. Add a little Liner on the edge of the nostril hole with thin Light Buttermilk. You can also add some litle fur patches on the sides of the bottom part of the nose in this as well. Add a few fine small dots on the bottom of the nose. Add a dark Line under the nose with a mix ‘of very thin Traditional Burnt Umber + a litte Lamp Black. Fawn Ears: Shade inside the ears with Traditional Burnt Umber. This was done on the edge of the ear and inside the creases. Dry brush a litle on the ears in the lighter areas with Light Buttermilk and the larger Miracle Blender. Fawn Fur: You need to be careful to watch the fur direction, especially on the sides of the face. Using your Filbert Comb Brush, begin pulling the darks in, fading into the light areas as the paint comes of the brush. First use Traditional Burnt Umber to do this. Add some dark fur with a mix of this + a litle Lamp Black, just in the very darkest areas. You can now pull in the middle value using Raw Sienna in the same way. Try to overlap into the dark areas without covering them up totally. You can float a little of the dark mix after you finish this. This is done on the ‘edge of the ears, under the neck and on the sides of the body. Begin pulling some lights on the body with a mix of Light Buttermilk + Raw Sienna, gradually going lighter. The very lightest areas are done with straight Light Buttermilk. You can use the Liner and pull the fur on the ears, spots, and above the eyes in this also. Float thin Traditional But Umber around the outer edge of the eyes. | washed over the body (except on the chest) and the edge of the ears, with Raw Sienna. When this is dry, pull some fine light fur in with the Liner in the very eeea, —— lightest areas with thin Light Buttermilk. Add some fine lashes With Light Buttermilk + Traditional Burnt Umber with your Liner. {dd a fine Lamp Black line with the Liner brush on the top of the eyelid. Tint a tiny bit of Cadmium Orange in the brown areas, Pull in the whiskers on the chin and eyebrow lines with mix of Traditional Burnt Umber + Lamp Black. Radishes: Begin shading with a mix of True Red + Antique Maroon, ‘Shade over this with a little smaller float of Antique Maroon. Pull alittle bit of this on the chisel edge of the brush or use a Liner and thinner paint At the ends of the radishes, float some Light Buttermilk a couple of times. Then pull hairs off this with | fhe Liner. Dry brush this in the lightest areas withthe smaller Bringle Miracle Blender. Tomatoes: Shade the same way as the radishes. Dry brush the lightest reas with the larger Bringle Miracle Blender gradually building the color up with Light Buttermik. If it becomes too bright, you ‘an wash over it with True Red. The stems and leaves were put in with a #3 Round double loaded with Olive Green on one side and Plantation Pine + a litle Burnt Umber on the other side. Thinly streak a litle Olive Green + Light Buttermilk to add afew lights, Grapes: Highlight with a dry brush using the small Miracle Blender and ‘mix of Light Buttermilk + True Red (not too bright). When this isdry, begin shading with Black Plum, You can be fairly strong since this color is very transparent. This is done on the under areas, bottom and right sides. On the left sides, float True Red | ifyou lose some of your lights, dry brush them again. Add a {ny glint with the small Langnickel and Light Buttermilk. On some of the left sides. Add a tiny float of French Grey Blue Stems: Shade the stems with a mix of Freditonal Burnt Umber + a it fe Lamp Black. Pull some fata stoms in with the Liner and this color. Add a few little gins vith the Liner and a mix of Light Buttermilk + a little Traditional Burnt Umber. Leaves: Shade the leaves with a mix of Pantation Pine + a little Teaitonal Bumt Umber. The veins are pulled in with this Ink using your Liner. Dry brush in the center areas, skipping past the darks, with the large Bringle Miracle Blender and a small amount of ght Buttermilk + a touch of ‘Hauser Light Green. On the: ‘edges, | tinted with a thin mix ar true Red + Black Plum Mice: ‘The ears and noses are shad- t6in Traditional Bumt Umber The mouse on the bottom has tis nose outlined with this and the Liner. The furis very similar to the fawn's fur. Pull in the darks with the Filbert Comb, leaving the small areas for the Liner. First start with Traditional Burnt Umber, and then do a lit- tie less with Lamp Black added. You can then pullin the mid- dle value with Raw Sienna. Try to overlap some of this into the dark areas so you get a nice transition of color. Add some lights over this with a mix of Raw Sienna + Light Buttermilk, gradually lightening. Wash Raw Sienna over the fur now. ‘When this is dry, add the very lightest fur in with Light Buttermilk using the Liner and very thin paint. If anything becomes too bright wash Raw Sienna over it. The eyes on the top mouse have a broken Liner line around them in Grey (Light Buttermilk + a litle Lamp Black). The glint is dabbed in with Light Buttermilk ‘The feet have a Liner line around them, and the toes are sepa- rated with Traditional Burnt Umber. They also have Light Buttermilk put in with the Liner in the center of them. When you are happy with everything, you can pre wet and tint a litie Cadmium Orange over the fur. The whiskers are put in with the Liner and Light Buttermilk Carrot Mie Using a large wet Deerfoot or scruffy brush, and very THIN paint, begin stippling with Plantation Pine. Make this light and airy, not SOLID. | use a fairly wet brush, but not dripping. Stipple the light mix over this with a mix of Celery Green + Light Buttermilk. Pull the stems in with thin Plantation Pine and the tip of the #3 Round. When this is dry, streak a litte light over this here and there in a mix of Celery Green + Light Buttermilk Finishing; Remove ani graphite lines, sign, and varnish with at least three coats of Matte Varnish. If you're using this a lot you might want to add more coats. That's it! Enjoy.THREE BABY ROBINS Palette: Lamp Black Light Buttermilk Black Plum Rookwood Red Antique Mauve Flesh Tone Traditional Burnt Sienna Leaf Green Plantation Pine Cerulean Blue Antique Gold Traditional Burnt Umber Matte Varnish Brushes: 412-1" Fiat, #4-8 Bringle Miracle Blender, 5/0 Script Liner, #9 Round, 1/4” Filbert Comb, 3/4” Mop Prep Make'a mix of Matte Varnish + Cerulean Blue + a little Light Buttermik +a ile water. Tis should be a fairy watery mix- ture. Apply quickly and stain the lid of the basket. Pre-wet closer to where the birds are going to sit, and wash in Light Buttermilk. You may need to do this a couple of times to get it bright enough. When this is dry, apply the pattern. WASH AS FOLLOWS; Branch and sioms: Traditional Burnt Umber. Flowers: Flesh tone Leaves: Leaf Green Birdies: Base the eyes solid Lamp Black. The beaks and feet are based one strong coat of Anique Gold. The inside of the mouth is based with a mix of Antique Gold + Rookwood Red. The nails are put in with the Liner and Lamp Black. Wesh the heads and the part wings with Traditional Burnt Umber. Developing Painting; Sky: (See Worksheet) Usifi@ larger fat brush and loading up fairly well wth Light Buttermilk, begin floating in the clouds. | went over these several times to build up the depth. Try to make them vari- ous irregular shapes. Use a mop brush to soften. Pre wet frst, hen tuck a litle Cerulean Bive behind a couple of the clouds to give them more depth. Dry brush them to make them stronger with the #8 Bringle Miracle Blender and Light Buttermilk. When you are satisfied with the lightness, pre- wet and tint with a little Antique Mauve on the left side. Branch and Stems: Shade the branches with a mix of Traditional Burnt Umber + a little Lamp Black. | pulled a little of this color on the stems. with the Liner. Using the small Bringle Miracle Blender, dry brush a mix of Traditional Burnt Umber + Light Buttermilk in the centre Flowers and Buds Using the tip of #3 Round, pull in the center veins in antique Mauve. Begin shading with Rookwood Red. The next 7.6 shade is litle narrower and thiner with Black Pha. The darkest shade is put in the "V” areas using very little Black Pium + a litle Lamp Back. Add some Liner lines on the petals with thin Black Plum. Highlight a litte on the top edges with Light Buttermilk + a litle Flesh Tone. Dry brush in the center of the petals with the #8 Bringle Miracle Blender and Light Buttermilk. Using your Liner, add a few lights with this on the edges ofthe petals and in the center light areas. The Center is stippled in with a mix of Leaf Green + Antique Gold +a litle Traditional Burnt Umber. Pull some stamens in with the Script Liner and a mix of Light Buttermilk + Antique Gold. Add a few lighter sta- mens with just Light Buttermilk. Wash over this with thin Antique Gold. Pre-wet and tint a litle here and there with Traditional Burnt Sienna to tie in the colors with the birdies, Leaves: ‘Shade the leaves with the 1/2" Flat and Plantation Pine. This is done on the under leaves, at the base of the leaves, on the flower bud ends, and down the center veins. Highlight with a dry brush using the larger Bringle Miracle Bender and a mix of Light Buttermilk +a little Leaf Green. Add a few Liner lines down the center of the leaves with this mix also. When dry, pre-wet and tint with Rookwood Red. Tint with a little Traditional Burnt Sienna on the edges. Birdies: (See Worksheet) Shade the beaks and feet with a very thin mix of Traitional Burnt Umber +a litte Lamp Black. Reinforce this with Liner lines. Use the Liner to highlight a litle with Light Buttermilk + Antique Gold The eyes have a broken highight line around them with thin Light Buttermilk. The glint is put in withthe Liner and this color also. Begin shading the wings with tin floats of Traditional Burnt Umber + Lamp Black. You can use thin Liner to reinforce this. Highlight the top edge with thin Light Buttermilk and the Liner. Shade the same dark mix around the top of the head, beak, and eyes. Now you are ready to pul in the feathers on the chest. Use the 1/4” Filbert Comb Brush loaded in Light Buttermik to begin puling the chest feathers. Using the Script Liner and the dark ‘mix, pullin the dark pattern on the chest and the edges of the head and body. Vary them a litle around the head to give them personalities, When ths is dry, pre-wet the chest and wash the sides with Traditional Burnt Sienna. You can use @ Mop brush to soften any lines if necessary. | had to do this a couple of times to get a strong enough color. When this is dry, use the Liner to ada some fluffy ight feathers on the head and a few on the edges with thin Light Buttermilk. If yu find thatthe head is too bright, just shade it again with the dark mix. Dry, then with the Bringle Miracle Blender, dy brush the light inthe chest with Light Buttermilk Finishin Using a larger Flat brush, float some Cerulean Blue around the edges of the lid. Using the #8 Miracle Blender, dry brush in the sky areas with Light Buttermik. You may need to build this up, Remove your graphite lines, sign, and varnish. Stain the basket with Early American Minwax ol stain or a coor of your choice. Cure 24 hrs, i ia a i ki ie eeWHO WILL GET THE TREAT Paltte: (Americana Deco Art) Light Buttermilk Lamp Black Trdtional Bumt Sienna “tanium White Golden Straw Traditional Raw Umber Neutral Grey Driftwood Traditional Burnt Sienna Black Plum Mauve Cerulean Blue Deep Teal Avocado Back Green Eggshell Brish'n Blend Brushes: 414" Filbert Comb, 1/2" -1/4” Flat 510 Script Liner, #8-10 Bringle Miracle Blender, 3/4" Mop Brush. Pre Stain he wooden areas with Minwax Early American of based stain. Cure 24 hrs. Paint the tin ware with metal primer paint. | used a grey color. Cure. Base one to two coats of Light Buttermilk over the wood and tin ware, Leave the top with the stain if you prefer. Sand. Wash the middle sky area pre wet- ting first with water and washing in Cerulean Blue. Apply the pattern and base as follows: Birds: The eyes and feet are based solid Lamp Black. The beaks are based Golden Straw. The open beak is washed with a mix of Golden Straw + Traditional Burnt Sienna Hedgehog: The eyes are based solid Lamp Black. The nose is based with one coat of Traditional But Umber. Birdhouse: Wash the roof and the decorative top with thin Traditional Burnt Sienna. The siding is washed thin Deep Teal. Daffodis: Wash the bottom light petals with strong Eqgshel The cup is washed in Mauve. Stems: Wash just the stems with Avocado. The piece that attaches © the stom and the flower is washed in Traditional Burt Sienna. Developing Painting; Mouse: Please refer to Little Helpers Memo Board (Mice) Birdhouse: Shade under each shingle with Traditional Burnt Umber + Traditional Raw Umber. You start with the brush flat ‘nd then pull up on the chisel in between each shingle, flatten, then pul up on the chisel again following the shape. You may reed to darken a few with more color. | had to, and dont worry if they don't look perfect, that's what gives it character. Add some nail holes withthe Liner and Traditional Raw Umber. When all is dry, pre wet and wash in a little Burnt Sienna and a little Deep Teal, separately. The top finial and tar ae shaded with Traditional Raw Umber. This is on the top piece of the roof also. Highlight with the tip of a #3 Round and Light Buttermilk + a little Traditional Burnt Sienna. Wash the foal with Traditional Burnt Sienna. Begin shading the siding with floats of Traditional Raw Umber + Deep Teal. This is also inthe hole ofthe birdhouse, Leave a litle thickness edge on the left side. Highlight with a thin float around the hole and a mix of Light Buttermilk + Deep Teal. | dry brushed this color with the Bringle Miracle blender in between the slats. The nails are put in the same way as the ones on the roof. When dry, pre wet and tint Under them with Traditional Burnt Sienna. On the left side, pre wet and tint a touch of, Golden Straw. Hedgehog; Using the Filbert Comb, rake in his pricKles on top of his body Set some of the dark lines on the nose, head area, and neck with the Liner and Traditional Raw Umber. On the head and the rest of the bottom, rake in the same manner using Neutral Grey. The ears are put in with the Liner and this color, Add some Titanium White to this color and pull some fine lines on the top edge of the ears. On the top ofthe prickly area, begin pulling in prickles with the Liner quite well loaded with Light Buttermilk, making sure to do these strokes on a siant in each direction, rather than uniform. On the leftover areas, use fine ‘strokes with the Filbert Comb and Titanium White. Do not Cover the darks in the underneath areas, under the neck and around the nose area. Use the Liner to pull some sof fine hairs in the same color. Wash the top of the prickles with a mix of Traditional Burnt Umber + Traditional Burnt Sienna. Pre wet tinder the eyes and above the nose and then wash ina litle Traditional Raw Umber. Under the nose on the top lip, float in a mix of Traditional Burnt Umber + Traditional Burnt Sienna. Put in the eye gints with the Liner and Titanium White, Adé some fine short Liner hairs on the muzzle area. Add a few ight prick- les with the Liner and Titanium White. Add the bottom lip with ‘the Liner and Titanium White. There is a Lamp Black shade in. the nostris and a lite bit at the base of the nose. Put the high- lights in with the Liner on the nose with Light Buttermilk. There is.a very soft dry brush on the top of the nose using the Bringle Miracle Blender and this color. The whiskers are pulled in with the Liner and Traditional Raw Umber. Add a few prickles on the top edge ofthe Body with this also, Pre wet under the bottom of him and wash in Traditional Raw Umber + a little Black Green. Mop to soften. You can do this under the front bird's: feet as well, to help anchor them. Pull a few hairs at the base of the hedgehog with the Liner and Neutral Grey. Stems and Leaves: Triple load the smaller Flat by first loading in Avocado, tipping one side in Black Green and the other side in Light Buttermilk + Golden Stew. Begin ih the brush fatened > fs you start and then twist in smaller arees when you 2/"‘end. Try not to use paint too thickly. | also pulled in some phan- tom background leaves. These are washed in with a thin mix of Black Green + Traditional Raw Umber. This is to create an impression of background leaves only (No detail). On the other leaves, float in the darks with this same mix. This is done on the under areas or flips and also down one side of the stem. | highlighted a littie on some of the leaves with a thin mix of Light Buttermilk + Golden Straw (more on the yellow side). | also ‘added this to the light side of the stem. Tint a few here and there with a thin float of Teal Green and some with Golden Straw. The part that connects the flower to the stem | shaded with a mix of Traditional Burnt Umber + Traditional Raw Umber. | also added some Liner with this, Use the Liner and add some lights with a mix of Light Buttermilk + a litte Traditional Burnt Umber. Dry brush a lit- tle of this in the centers with the tip of #3 Round. Daffodils: Shade the bottom petals with Neutral Grey, Add some fine Lines with this. Go over the shaded area with a thin float of Avocado, Tint thin Mauve on the edge of the petals with a float On the cup, shade with a mix of Mauve + Black Pium: Strengthen with thin Black Plum. Add a few lines with the Liner and the mix of Mauve + Black Plum. Dry brush the center areas with the Bringle Miracte Blender using Titanium White. Highlight the edges with this using the Liner. | also pulled a few lines of this in the center of the petal. Wash Mauve on the top ruffed edges to tone the color down. Birdies: Set the wing and tail pattern with the Liner and a mix of Traditional Raw Umber + Lamp Black. Wash the wings in with Traditional Raw Umber. Shade under the wings and tail with thin floats of the dark mix. In the areas that are too small for a float, use a Liner wth thinner paint. Add the highights with the Liner and a mix of Titanium White + a little Traditional Raw Umber. | added a few lighter ones on top of this. Above the wings, pullin a grey mix of Titanium White +Lamp Black (dark- er grey), using the tip of a #3 Round. When this is dry, add Some lighter ones ina lighter mix using the Liner, Wash over this area with Neutral Grey Inthe white areas, put an 2,g under coat of Neutral Grey in with the tip of he #3 Round inthe dark triangle area and the head, using the same brush, pull in » the feathers Cs with Traditional 3 Raw Umber. ‘Add some fine fluffy feathers | with your Liner and a mix of Traditional Raw Umber + Lamp Black on the edges, inside the triangle area, the bot- tom of the chest, and on the head. On the chest and cheek, pull feathers in using Titanium White in the same manner. Add some fluffy ones with Titanium White and your Liner. Pull some very sparse, short feathers on top of the head and triangle with Titanium White. Wash over this and the head area with Traditional Raw Umber. Add a broken Liner line around the eye with a mix of Titanium White + a litte Lamp Black. The glint is straight Titanium White dabbed in with the Liner. The feet are highlighted with a Liner and the grey mix. The beak has an outline of Traditional Raw Umber using the Liner and to sepa- rate it. | added a highlight with the Liner and a mix of Titanium White + a little Golden Straw. The open beak is shaded with float of Traditional Raw Umber. | washed a tiny bit of Traditional Bumt Sienna on the beaks. Pre wet the edges of the birds and tint with a little of this, Beetle: Base the body and legs in Lamp Black using the Liner. Dry {Add sore Liner highlight with a mix of Light Buttermik + Lamp Black (alight grey color). Dry brush with the Bringle Miracle Blender in the center ofthe body with this light grey a8 wel Bee: {Ads the yellow stipes with the Liner and Golden Straw. Using the Liner, base the dark stripes Raw Umber + Lamp Black and cutine the wings, antennae, and body. Wash the wings Titanium White. Using the tip of #3 Round, dry brush in the center ofthe body with ths, Filler Wheat: Using the tip of #3 round, dab inthe tops with Traditional Burnt Umber, Pull the stems with the Liner in this. When dry, add some wheat withthe Liner on the top part, with Traditional Raw Umber (See Filler Leaves on Painting Tachiques). | streaked a litte of this on the stems. Finishin Pre wet thé-base of the flowers and leaves and float using 4 larger brush with Tradtional Raw Umber +a litte Biack Green You may need to do this a couple of times. Sand some off the edges or use Menthyi Hydrate to remove it | antiqued all the areas with Drfwood, Ty 10 do this one section ata time, Fist, apply the Brush 'n Blend. Let it set up for a couple of minutes, then apply Driftwood over the entire area. Wipe with a clean dry cloth but leave Dritwood in some of the areas, especially the crevices. When this is dry, remove graphite lines, sign and then varnish. iBUNNY ON BIRDHOUSE Palette: (Americana Deco Art) Uniform Blue Traditional Burnt Sienna Gooseberry Pink Marigold Traditional Burnt Umber Jade Green Buttermik Titanium White Plantation Pine Black Plum Paynes Grey Baby Pink Lamp Black Hauser Dark Green Brushes: 1/2” Flat, #3 Round, #8 Bringle Miracle Blender, 5/0 Script Liner, 14" Filbert Comb Rake, Extra Supplies: Americana Deco Art Crackle Step 1 and Step 2, paste wax and Burnt Umber Oil paint. Prey Seal, ‘sand lightly and paint the sides with one good coat of Buttermilk I shoul look jst ite Bt streaky. The top ofthe foof and base are washed in with Hauser Dark Green. The bases are done with WASHES unless otherwise specified. Leaves, stems and ends: Jade Green. Flowers: The two side flowers closest to the bunny are washed in strong Baby Pink. The outer flowers are washed in thin Goosebery Pink Butterfly: Wash the wings in a mix of Uniform Blue + a little Ttantm White. The body, antennae ard Liner around the wing ‘edge are put in with thin Lamp Black. Clay pots: Traditional Burnt Sienna. Nuthate: Wash the wings and tal with Uniform Blue (Not shoulder area). The eye, feet, and beak are based in s Lamp Black Bunny: The nose is based in with a mix of Gooseberry Pink + Burnt Umber to tone the pink down. Bug: Base solid Lamp Black, Developing Painting: Bunn Pace the eye in frst wth Bumt Umber and while thisis wet, blo in some Lamp Black for the pupil. This is done more towards the back of the eye. You are now ready to begin pulling the fur in withthe Fiber Com, Begin ioacng tin Lamp Black ané png in the dark areas (not in the white spotted areas). Try to watch the gradual directional changes of the fur. You can now pull in the white spoted areas nthe same manner. Pul inthe Grey areas with a little less paint and Lamp Black + Titanium White. Use your Filbert Comb Brush to pull in the bulk of it. Then you can change fo the Liner and pull nthe very fine hairs inthe ‘smaller areas. Gradually add a few lighter areas with the Liner Ging more Titanium White in the mix. | foated Lamp Black between the muzzles, under the ear, arms, legs, and neck. hace wih tis in between the toes and then with the Line, pull in the light hairs with Titanium White. Tint with a touch of Baby Pink in the white areas, Pre wet this first and use thin paint. Put 4 smal shade on the botom ofthe nose wih thin Traditional Burnt Umber. Add a small glint of Titanium White with the Liner in the center of the nose. To finish the eye, put in some thin liner on the very bottom of the eye with Titanium White +a litte Lamp Black. There is also a tiny glint with this in the commer of the eye n the left side. The glint on the top and the small one on the right are put in with the Liner and Titanium White. The whiskers ‘a put in with the Script Liner and a mix of Titanium White + Lamp Black (med. Grey) Nuthatch: Begin shading the wings with a thin mix of Paynes Grey + Lamp Black and your Liner. | found this area too small to ‘shade with a float. You can put a couple in, under the tail and at the top of the wings with this mix. You might need to go over the Liner areas a couple of times, but try to do them sofly so that they don't look outlined. Thinner paint helps. Go over them a couple of times rather than painting strong lines. Highlight in the same manner using the Liner and a mix of the Base + Titanium White. You can begin pulling the shoulder area in with the Filbert Comb and Uniform Blue. Gradually lighten this with Titanium White and the Liner. After this is all dry, you can pre wet and tint this area and the tail and wings with Uniform Blue. Dry, and then tint with Paynes Grey in the same way. You are now ready to begin pulling the feathers in the head area. | used the Liner to do this and started with the Black stripes using Lamp Black. Pullin the light strioes with the Liner and Titanium White. Overlap each color and add some strokes to the edge of the head to make him look fluffy. You can start to pull in the chest feathers with the Filbert Comb and Titanium White. | used the Liner to do the futy feathers on the edges On the very edge ofthe ight areas, | pulled some Liner in a mix of Paynes Grey + Lamp Black. Add some thinner feathers to make him stand out from the background. The eye has @ broken line around it put in with the Liner and the light Grey mix (Titanium White + Lamp Black). The glint is put in with the Liner and straight Titanium White. The beak is highlighted with the light Grey mix using your Liner. The feet are also highlight- ed with the Liner and this mix. Pre wet the chest area and tint 2 couple of times with Traditional Burt Sienna, drying in between tints, Straw Using your Liner, pull in some darker straw with a mix of Marigold + Traditional Burnt Umber. You can pull some light ones over this with Marigold + litle Titanium White Bu Highlight the top of the bug with a small float of the light Grey mmx. Puta ltie of this on his body and legs with the Liner. Butterfle Outline the aie with a mix of Lamp Black + Paynes Grey. | then added some Titanium White Liner on the top edges of the wings and around the spots. Shade under the wings and base with Paynes Grey. Add a little highlight on the antennae and body with the light Grey mix. Dry brush in the centre near the top of the wings with Titanium White using the Miracle Blender. Bees: Using the Liner, stipple in the yellow areas with Marigold. The dark stripes are put in the same way with a mix of Traditional Burnt Umber + a little Lamp Black. Outline the wings and put in the antennae with this. When this is dry, add a little glint in the center of the body with the tip of a dry #3 Round and 29 Titanium White, Dry and then float thin Burt Sienna on the sides.oo S La ~ ; y) ‘ LLY 2 aoe °, oN < : ee mA RIAN DP Fi Hb aw ~~ .? ay “A Vo) A Z2I= . ae ie ee )A) ‘ suave ea < SPUNGE - STELLARy tas Oe ua q S, Pos mae ays wr « 283 mh ow aie a KSTable of Contents é Pg 4 - Getting Scolded Pg 6 - Goldfinch’s Birdhouse Pg8- Baby Magpie’s Lunch ‘Tray ® Pg9- Fall Owl Pg 10 -Hummingbird Recipe and 6 ‘Tea Holder Pg 11 -Little Helpers Memo Board Pg 12 -Natures Bouquet e Pg 14 -Spring Stellar Jay Pg 23 -Summer Waxwing 6 Pg 24 -Mice and Fawn’s Garden Feast Pg 26 Three Baby Robins Pg 27 -Who Will Get the Treat Pg 29 -Bunny on Birdhouse Pg 31 -Winter Gathering Pg 32 -Winter Cardinal Pg 34 - Carols’ Pattern Packets Wood Sources Wee Folk Woodshop: (604) 857-8855 Bunny Birdhouse, Goldtincn Birdhouse, Recipe Published by Country Wood Publishing tox, Nature's Bouquet, Mice and Fawn Stool anx Copyright 2002 by Country Wood Publishing. All rights tT Oatace Teor Ae ec aC OD seis ‘ ea fete ‘Stonebridge: 1-800-Art-Tole reserved. Designs in the book may be hand traced for per- Tea Halder Box cio Wit get the treat” Lemp sonal use, painted for fun or for profit. Designs may be and Piggy Bank’ “Three Robins” Basket taught, and photocopying for class use only is permitted. ‘Artist's Club: (360) 260-8900 ‘Commercial use is not allowed without written permission. Bambi Oval, Round Wall Plates: Winter Cardinal, ISBN, 0-9689854-3- ae Fall Owi, Summer Waxwing, Spring Steller Ja ‘The Society of Decorative Painiers ir as Country Wood Studio: 605) 558-4868 rs ‘organization uniting decorative painters from all over the Little Helpers Memo Board world. For more information concerning membership, Kanaka Tole Studio: (604) 467-2383 please contact: “Steller Jay” Slate USA: SDP, 393 N. Mclean Blvd, Wichita KS, 67203-5968 COW: (604) 596-9541 "Baby Magie” Tray CAN: C-Dan, 4981 Hwy #7E, Unit 12A Suite 253 Sap Bucket: Gift Stores. Markham ON, Canada L3R INT K+C Int.(Ken): (604)826-0246 imate stamens ‘Who will get the treat” TV Cabinet. Neko tance ee For more information visit our web sit: ee www.lindalock.com Photography by toll free phone and fax: Graphics Garage (604) 888-0874 1-877-278-5354 Outside North America (604) 514-8318sides, on the inside areas and the under flowers. Then add Clay Pots some liner and dots with thin Black Plum. Add a few lights with Shade the clay pots a couple of times with Traditional Burnt Titanium White on the dots and edges with the Liner. Dry Umber. You can add a litle Lamp Biack if you find this is going brush this in the center ofthe flowers with the Miracle Blender. ‘on too transparently, but make sure itis a dark brown color. if you find the flowers look faded, ust wash the base color ‘When this is all dry highlight with the Miracle Blender, dry back over them, The other flowers are done the same way, but brushed with the base color + Titanium White in the center with Baby Pink instead of Gooseberry Pink areas skipping past the rims. then highlighted with his on Fe A ane some of the edges with the tip of a #3 Round oe re Pre-wet the ground area a few times and wash in a mix of ee Traditional Burnt Umber + Lamp Black. The ditt in front of the Tile 6ygs are shaded with ae ae Traditional Burnt Umber. | ee : ‘Traditional Burnt Umber also added a litle bit of When this is dry, chop in Liner and | speckled the Sere eaes cries ‘eggs with this, but thinly. ie Highlight with a dry brush Flat. The grasses are free and the Miracle Biender with Hea bres Titanium White in the center Valor hate LE of the eggs. fully load in Marigold and Leaves and Stems: then tip on one side with Begin shading the leaves Titanium White and the with Plantation Pine + a little other side with Plantation Jade Green. This is on the Pine. Stay up on the chis- under sides and down one el edge and pull these in sido of the vein. Shade over oil Vary the length and bend this with Plantation Pine + i , a few to look natural Paynes Grey. You can yi =inichi shade with this mix on the ; Finishin stems, unopened buds, and calyxes. You can either do this with the chisel edge of your flat or use the tip of a #3 Round in the small areas. Use the Liner and pull the small stems coming off the stalk with this mix. Some of this | freehanded. | added a few Liner lines to define some of the stems, calyxes, and the veins on the leaves in this. Streak a litte high: light on the edges and cen- ters with Jade Green + Titanium White with the Liner. Highlight the leaves with this mix by dry brushing itton with the Miracle Blender. | pulled a lighter imix of this in the center of the vein with the Liner. When this is dry, pre-wet the leaves and tint some with Marigold and some with Gooseberry Pink. The unopened buds have a When yourare pleased Lab ecarvaing, ee Me. crap. toes, ai Perc Gaal and make ure tal You dont ioe =r asa zine egg il rah those spots. Apply the crackle Step 1. If you want eee mere than ove coal (eed the otto, instructors) ters ooughty Gy apply Step 2. Make sure frat you opty tie wih sot trust and dat go Bee Ker you ea erg iting. the, to pe tego. You dort want foros guy | opie tty uct and ede fe oo any eh oa foo New herd tat shee ifs human ature wont fo pus Lot ths dy event, Dont pene Re rong tam toe the asks. They a sma fot ot Goosebory feay oral ond ae et ip ona ra Foxgloves. Moe your antiquing mix as Shadé the Gooseberry Pink described in “Painting Towers wi he base Techrves" 30 sso Black Pum Thee done down teWINTER GATHERING Palette: (Americana) Deco Art Lamp Black Paynes Grey Light Buttermilk Winter Blue Burnt Umber Forest Green Raw Sienna True Red Burnt Sienna Golden Straw Titanium White Matte Varnish Brushes: 112" Deerfoot, #6-#14 Bringle Miracle Blender, 1/2" Fla, 5/0 Script, #3 Round, #16 Langnickel Flat, 1/4” Filbert Rake. Extra Sup lie: il Bint Umber bi paint, paste wax, low odor thinner Pre Mix Winter Blue + Maite varnish and seal and stain the back- ground all in one step. | use a litle water with this to make it inky. You should be able to see the wood grain through the color. | stained the frame with “Early American” Minwax oil based stain. Apply the basic pattern to the oval when dry. Tree: (See Worksheet 2) Using the 1/2” Deerfoot, loosely stipple the tree in with a dampened brush. Use Forest Green with a litte Paynes Grey, and for the darkest areas use more Paynes Grey. Try to work in small areas, blending the colors together. Add Titanium White to the Forest Green + Paynes Grey mixture. | stippled this on lightly, in the shape of tree branches. Try to make this loose and airy looking. After this is dry, float some of the dark mixture behind the deer to bring him forward. On the left side, chop in the snow with Titanium White and the Flat Langnickel. Using the flat Langnickel side loaded on the chisel edge with the paint on the bottom of the brush, chop in an impression of the branches. On the right side, | pre wet the tree and tinted with @ thin mix of Paynes Grey * a litle Burnt Umber. Snow: All the snow is done in the same way. First, do the ground, and then the animals. After the fence posts are painted, do the snow on the post tops and the roof of the birdhouse. Using the #14 Bringle Miracle Blender, stipple in the snow with Titanium White in the light areas and Paynes Grey + a lit: tle Burnt Umber + Titanium White in the ark areas. On the ground area, shade with the same mix on the under sides and bottom, You can highlight the top of the snow, if i's not bright enough, with more Titanium White. Use a smaller brush to stipple inthe snow on the ooftop of the birdhouse and around the bottom of the fence. Birdhouse and Fence Posts: Shade the wooden areas on the birdhouse and fence posts with a mix of Paynes Grey + Burt Umber to make a dark brown color. On the left under side of the roof and bird house opening, shade with the dark mix. Add graining lines with the chisel edge of the flat and this mix. You can add a few grain lines with the Liner. The nails are put in with the darker mix + more Paynes Grey. Add a lle glint with the Script Liner and Light Buttermilk. Dry brush the highlights with the large Miracle Blender and Light Buttermik + Burt Umber. Highlight the ight areas on the posts, birdhouse and pole with the 1/2" Flat and this mix. Under the nail holes, pre wet with afar bit of water, 0 thatthe color will run, and putin some Burt Sienna to cre- ate the rust Fawn: (See Worksheet 2) The muzzle is painted in with Lamp Black. The eyes are put in with Burnt Umber and while wet, lay in the pupil with Lamp Black. Start pulling the fur in with the Filbert Comb. Start with the dark areas and fade into the lighter areas, with a mix of Bumt Umber + a little bit of Paynes Grey. After the darks are pulled in, begin pulling in the middle values with Raw Sienna, Extend these into the dark areas, so that the colors blend together. Pull in some of the lighter hairs on the edges and in the lighter areas of the fur with Raw Sienna + Light Buttermilk slowly lightening. Pull the spots, muzzle edge and the chest in with straight Light Buttermilk, Shade the outer part of the ears and inside the creases with a mix of Burt Umber + Paynes Grey. Shade this at the base of the ears and under the mouth Shade a litle ofthis on the sides of the nose and a lttle on the top of the nose. Separate the legs and around the back and bottom edge with this mix. On the outside of the eyes, outline the top and the bottom with Burnt Umber + Light Buttermilk Float this mix on the bottom of the eye to lighten the iris area ‘Add the alints in the left corner and the lights with the Liner and Light Buttermilk. Add some fine Lamp Black on the top edge between the light brown area and on the bottom of the eye, above and below the light brown area. Outline the edge of the eyeball. There is more detail on the left eye than the right eye. Pull fine eyelashes just below the black line with Light Buttermilk + a litte Burnt Umber. Pull a few whiskers and eye- brows in with straight Light Buttermilk. Highlight the nose with thin floats of Grey (Light Buttermilk + a litle Lamp Black). Add a few liner highiights with thin Light Buttermilk. Dry brush a It-