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Sharing With You One of the mose difficult tasks related with each book is the one of writing something interesting or unusual about myself [have introduced myself in the sual manner in each book and you know the personal satitcs like where I live, how many children Fhave, what my interests are and the lke. You see Fim really not all that inceresting — what I would really enjoy is learning about some of you. I have enjoyed many of your experiences from past correspondence and found myself going from tears to laughter as I read your letters and teonaits. The time you have taken to write me has always inspired me and 1 look forward to bearing from ‘pou, I want to know what you like, what you don't like, what you want t0 see in decorative paincing designs, ‘and really who you are and what’ important to you. Please drop me a few lines about yourself and dant for- ‘get to include a return address, e-mail address or phone number. 1 look forward to your replies. This book is a new look for me. I hope you like it. I bave painted the designs with FollArt® Metallics. These metallic: give the colors sparkle and shine. By adding Metallic Gold or other metallic colors into some of my favorite shades, [ave achieved a glowing brilliance tbat fascinates me. And because the painting seemed a legant alto. You will see that I used Liquid Leaf and Gold little more elegant, chen my srimeups became e Foiling to srim edges of many of the projects. I hope you enjay trying this new look. About the Artist DONNA DEWBERRY na Dewberry has been invalved swith arte and crafts all of her married life — over 25 years. After many gs of painting at her dining table, she developed a technique for stress-free painting that became the bbasis for the One Stroke™ technique and her series of One Stroke" painting books. Donna has kept the important basic things needed for a hhappy and successful life = her family. hher religion, and her painting. Ie’ « in painting, as well, hat there are some jon of the arn and practice the basics of the “One-Stroke" technique, you nt any design in this book. Dedication I would like to pay tribute to the chemists ar Plaid. Sometimes I forget how really important theirjob is and how crucial the work they us. They literally take an ida and make it possible. juct as important to decorative painting as are brushes or our designs. [am in ‘awe of the process that each paint product must go through before ir reaches ‘our palettes. We painters say we would like “such and such a color” and before you know it there is a new shade to add to our palette. The = that it takes for that to happen is amazing and the people who eet? bring that about are even more amazing. | thank cach of them and want them to know that the task they: perform aes. does not go unnoticed One-Stroke Certification For information on Don three-and-a- half-day seminar, where she teaches her painti rechniques as well as how co sart a business in decorative painting and provides tips for being a good teacher, haw to dem stores, and how to get your ed, contact het inting pul onc of these ways: * By mail: Dewberry Designs 124 Robin Road, Suite 1700 Almonte Springs. FL. 32701 * By phone: 407-339-0239 * By fax 407-339-5513 © On the Web (certification and seminar information and Stroke resource) magusine) * By e-mail oncstrokefi@earthlink net _ Tmitiadewberry CHILDREN'S FOUNDATION Painting Supplies you WiLL NEED FoukArr® AcryLic Paints For all decorative painting. acrylic paints give great results. They dry quickly, are odor fiee, are easy to usc, and come in a wide varicty of colors. Pleid® Enterpricer, Inc. manufactures the FolkArc* brand of acrylic paints that Luse in all my decorative paint- ing. Because FolkArt® paints are actylic-based. cleanup is easy with soap and waren FolkArt* Acrylic Cole quality boule acrylic pain and creamy formulation and long open time make them perfect for doco rative paincing, They are offered in a huge range of wonderful ‘colors and in gleaming metallic shades, ‘Cleanup is easy with soap and water. FolkArt® A pure colors that are perfect for your own shades. Their intense colors and creamy consistency are wonder for blending, shading, and highlight- ing, FoukArt® FloaTinc Mebium | use Floating Medium 868 co hefp the paint stay wetter, for shading, an: to create transparent paint effects. Please donot follow instructions on the bore when using Floating Medium with the One Stroke™ Tech nig will be 1 instructions tell you when and how Floating Medium should be used. Load the brush as instructed, then dip the tips of bristles straight down into a puddle of Floating Medium. On your palette, werk in two to three strokes, You are ready to paint. are high Their rich pre-mixed FoikArr® One StROKE™ Brushes & Sponces With Donna Dewberry’s easy Onc Scroke™ techniques, you will need only a few specially designed brushes. ‘Large-size Brushes: Specially made for painsing large designs on furmieure and wall Y flac 1184 1-1/2" flac 1189 Large Scruffy Brush 1190 Mid-size Brushes: There are the brushes most often used for pinting home decorating accesieries 3/4" flac 1176 flac ‘Scruffy Brush 1 Brush Set 1171 includes a 3/4” flat, #12 flat, and #2 script liner. Brush Set 1177 includes a @8 flat and #10 at, Minicsize Brushes: Brush Set 1173 includes #2 flas, #6 flat, and #1 script #1174 small scruffy Sponge Painters: A set of two sponges (#1195) is avail able for painting large surfaces or creating interesting effects. See “General Information” section for instructions far using these painters. FOoLKArT® FinisHes Apply finish to your painted projects to protect your beautiful painsing and add sheen to the surface. I Tike clear non-yellowing spray scalors best, In this book, FolkAre® Lacquer is used exclusively for the fi Lacquer scalers for the be outside because they are very hard and provide good protection from the weather. They will not yellaw in the sun and weather like most other sealers will, [like to use them on any mezal surfaces, no matter where they will be used, because of the hard finish. These three finishes: Matte 773, 774, and Gloss 775. MEerALLic Tims ‘There are a variety of products thar can be used to. add metallic elegance to the trim areas of the projects Liquid Leaf* by Plaid*: Classic Gold come 3 6110 ~ This is a bright, lusterous pure metal paine chat is applied with abnsh, ‘Treasure Gold” by Plaid: Renaissance Gold 3030 ~ This product in a warlike form can be applied by rubbing it onto the surface with yout fingertips or a sponge. Royal Coat® Decoupage Foil Kit 1422 by Plaid® — A liquid adhesive is applied to the surface and allowed to dry. The adhesive, when dry. is The gold foil is placed on the c. The metallic foil part sand a plastic carrier is palled away. Gold Metal Leafi This is a product that has been used for many years 1 guild frames, trim on furniture, or ng is desired. A lige sive is applied ro the When dry. the adhesive tacky, The weightless pieces of metal leaf are placed onto the face and adhere to the adhesive ReusaBle TEACHING GUIDES These are sold where you find other One Stroke™ painting supplies, Use these unique laminated worksheets to jokes. To learn and pain right on top of the illus sand follow the strokes, then int again? The dlank Reusable Teaching Guide is a great way (0 pra you've mastered the strokes with the illustrates guides. practice your practic ntinued on next page continued trom page 3 You can also lay plastic sheets over the worksheets in this book and practice the strokes on the sheets. ‘Sunraces For PAINTING One Stroke” technique can be painted on most any type of surface. Specific surfaces used for the projects in this book are described in the individual project jisted. Most ace readily available at erafts or depart- ment stores. ‘To make it easier to locate a retailer near you for a particular item, instructions, and sou contact information for suppliers is listed at right. MisceLtaneous SupPLies ‘Tracing paper, for tracing patterns from the pattern sheet ‘Transfer paper and stylus, for transferring parceens Brush Plus® Brush Cleaner, for cleaning brushes Brush Basin®, for rinsing brushes Paper towels, for blocting brushes Sources Wood Trays Wood-Ware, Inc P.O. Box 100746 Cape Coral, FI. 33910 Phone Toll Free: 1-866-579-3837 Web: wweewood-warenet Vintage Tinware Decorator & Craft Corp. Wholesale only, contact them for your local retailer 428 S, Zcha Wichita, KS 67207 Phone: 316-685-6265. Email: The Essex Collection. 8 Kondelin Red Gloucester, MA 01930 Phone: 978-282-9700 General Instructions To FOLLow Usinc One STROKE Brushes ‘One Stroke™ brushes are essential for the One Stroke™ technique. They have been designed especially for this of stroke work Here's brief pass mae purpose of cach brush: Scruffy: | originally created the scruffy by shaping the bristles of an old, worn out brush inco an oval after carefully curring them fo a uniform length of about 1/2". The One Stroke™ serully brushes you can buy arc ready «0 use. All you have to do is “fluff che scruff” — remove che brush from the packaging and form the bristles into an oval shape by gen- tly palling them, then twist the bristles in the palm of your hand uncil they are a nice oval shape. Now youre ready eo pounce the beush into: paine and begin ‘A fluffed scruffy brush is used to paint mosses, wisteria, lilacs, ind fur, fauix finishes, and shading textures. This brush is not used with water. To clean, pounce the bristles in the Brush Basin® = dont rake them; the natural bristles can break. Allow the brush to dry thor- ‘oughly before painting with it again Flat Brushes: #2, #4, 26, #8, #10, 212, 3/4", 17, and 1-1/2" ‘One Stroke™ flat brushes are designed with longer brise tles and les thickness in the body of the brush than other flat brushes, so they have a much sharper chisel edge. A sharp chisel edge is essential as most of the strokes begin, and then end on the chisel edge. “These brushes are ready 10 use from the package. Simply dampen the bristles in water and dry chem with a paper towel hefore loading, When cleaning flat brushes, you can use the rake in the becom of the Brush Basin®. Flar One Stroke" brushes are synthetic and don't have a tendency to break, bur be gentle, Remember everyonc’s comfort zone is different. While one painter is comfortable using a #10, another painter may be just as comfortable with 2 3/4" fat brush. Use the size beush that is suitable for the size of your project and with which you feel most comfortable. Script liners: Tina sizes, #2 and #1 # The #1 script liner (sometimes referred to as the mini) i used for small detail work where a lot of control is needed. ©The #2 script liner is used where less control is needed, such as whem painting curlicues or string ribbons. ‘They are used with paine that is inky (thinned with water to the consistency of ink.) Use them this way: Wer the beush, Load paine on your paleste. Dip the brush in water three ta four times. Roll the wer brush in che painc, twirling the brush to load. Pull out to the side of d palerte until well loaded with inky pais. Clean script liners as you would flacs: be gentle. bux lean thoroughly. Loavine One Stroke BrusHes 1. Wet your brush and gently tap on paper towel co remove excess water, 2. Pick up paint by colar and the oppos if one comer of the brush in one comer of the brush in another . forth in a sweeping =: Repeat step 2 once of swice until the brush is ppalat cwo-thirds of the way up the bristles. GENERAL INSTRUCTIONS * When brush is loaded correctly, your strokes should feel as though the bristles glide, IF the brush is coarse or splits, you do nor have enough paint on the brush, * Dorit brush back and forth on your palette cvery you pick up paint — if you do, you won't have enough paint on your brush to finish your strokes. + When loading brushes 46 and smaller, load with one color first, then sidestroke into the second color to double load. + When you run out of pains and need to reload, pick up a souch of paint of cither color and start painting. Using Fioatinc Mepium in THE ONE STROKE” TECHNIQUE Rather than following the boule instructions, usc Floating Medium this way to help the paint flow more smoothly: 1. Squccar a puddle of Floating Medium on your palette, 2. Load brush with paint first, as instructed. 3, Dip the tips of the bristles of the loaded brush straight down in the puddle of Floating Medium. 4, Stroke the brush on the palette 2-3 times, and you're ready to paint. ‘SPONGED FinisH Tips Follow these steps when youre sponging a faux finish. Using a sponge is similar to using a scruffy brush — if you ‘over-pounce, you will ruddy up the look. You wane the colors to be distinct. (On a small project, you could use a serufly brush instead of a sponge.) 1, Squceze paint colors on your palette as directed. 2. Dampeh a household sponge in water, squeeze dry. 3. Pounce half the sponge in one color and the other half’ in the other color, 4. Pounce the sponge on the surface, remembering to the placement of the sponge so as not co create & repeated pattern. 5, Re-load sponge as it begins to lose its colon. Douste Loavinc One STROKE FLAT BRUSHES TRANSFERRING PATTERNS The pattems for the projects for this book are located ‘on the pattern sheers at the center of the book. ‘To remove the pattern sheets, open the center staples, lift out the pattem sheets, and close the staples. To keep the pattern ‘sheet intact, trace pattern on tracing paper with a pencil or n, ‘To transfer, place the item to be painted on your work surface and lay the traced pattern in position an project. ‘Slip transfer paper between parrern and item. Trace pattern with 2 stylus to transfer ‘Tips for transferring patterns: * Reduce or enlarge the pattcens as necessary on a copy machine to accommodate the sizeof your project. Use dark transfer paper for light surfaces and white for dark surfaces, * Lightly tape the panern co the surface to keep it from si o trace every fine detail, Transfer the main outlines of the pattera. Tracing every detail takes away from the natural look you arc erying to ata Hints For Usine Metatuic Finishes: The desigas are painted with metallic paints to add. luster and elegance. Metallic trims complete this elegant look. Gold foil, gold metal leaf, or gold paint such as Liquid Leaf™ by Plaid® can be used to trim edges or other areas of your projects. Following are some tips for using these trims: = When applying gold foil, make sure that the bond is not a milky color. It needs to be transparent and sticky 0 the touch, Place dull side of foil against bond and press hard in crevices wich your fingers or a brush so thae the foil adheres to the surface, * When painting with gold Liquid Leaf, i is recommended that you tape off areas fora cleaner look. + When applying gold Liquid Leaf, use an old brush char you can either discard after using or one that you will nor be using with acrylics anymore. Clean with mineral spirics. + To apply Treasure Gold metallic wax, usc a clean cloth to rub it on. You might want co use rubber gloves as it is hand to remove from fingers, Daisies in the Corners TRAY GATHER THESE SUPPLIES FolkArt® Acrylic Colors: Blue Sapphire 656 (Metallic) Inca Gold 676 (Metallic) Licorice 938 Plum 668 (Metallic) Thicket 924 Wicker White 901 FolkArt® Artists’ Pigment™ Colors: Burnt Umber 462 Yellow Och FolkArt® One-Stroke™ Brushes: 10 and #12 surface. 1, Lightly sand and el 2. Basecoat the whole tray with wwe three coats of L bes 3. Wearing tice. Allow to dry jecessary, sand the rubber gloves, Renaissance Gold with a cloth onto the ecign around the edge of tray. b the easure Gold basket weave 4, Ifyou need to, transfer daisy pattcen PAINT THE DESIGN Use a little Flo 10 help Background for Dai Refer to Daisy & Chrsanchemeane P Werk Double load tt lic Plum paint and the Wicker White: Then pounce and pick up some metallic Blue Sapphire on the plum side, Pounce the background color onto the two corners of the tray as shown in the photo of project. Large Leaw Refer to Daisy & Chrysanshemams Pain Jing Worksheet, taing colors given here. 1. Double load the #12 flac brush with Thicker and Wicker White, picking, up a liule Yellow Ochre on the whit side. Work in well. Paint the wiggly Script liner — size #2 Scruffy brush Il scruffy brush Painting Surface: ‘Wood basket availabl Other Supplies: ¢ Gold Renaissance Gol from FolkAre™ Matte La FolkArt® Sacin L Cloth Rubber gloves aisy Ieaves with the outer the 2. With one-stroke sh as you pi Poe only half flowers with Lavender Daisic 10 filbere bras and Wicker t picking wy ate the colors f same brush, paint the h 20" x 15" Weod-Waae, Ine.) lic wax: 3030 h che Thicker side to Pull che stems into sas You paint them, ull up to the chisel the back half of the h centers at this time, ics: Double load the hk with Blue Sapphire ite. As you strok p Plum, then alter- 3. Centers: Multiload the small serufly brush by pour Wicker White, Pounce the dais the front petal previously left u ‘Stems & Leaves: Refer te Daisy Ch Wankibec 1. Load dl Burnt Uni paint the stem: Flowers 2. Double load thi ncing into Thicker and Yellow Ochre. ‘When the centers are dry, stroke on 5 of es ed. nin irpuanchemuans Painting lar bruch with Thicker, and Inca Gol sand calyxes of the #10 flas brush with 6 Thicket and Wicker White, picking up Yellow Ochre on the white side; work in well. Paint the one-stroke Teaves. As yo times you can pick up Inca Gold for nice sparkle. You may also paint some leaves with the #8 flat brush Load the #2 script liner with Inca Gold. Add gold accents to the one- stroke leaves by starting at the tip of Inea Gi Licorice 938 1671 (Merallic Thicket 924 Wicker White 901 FolkArt® Artists’ Colors: Burnt Umber 462 Yellow Ochre 91 FollArt* One-Stroke™ Brushes: Flats Filbert ~sice Script liner ~ size #2 Painting Surface: Wood tray, 17" from Wood-Wir Other Supplies: Liquid Leaf: Clas 4.6110 FolkArt™ Antiquing Medium: Apple Butter Brown FollaArr® Floating Medium 868 FollAre® Satin Lacquet 774 Mineral Spirits Brush for Liquid Leaf PREPARATION 1. Lightly sand 2. Basecoat the the two or three coats of Licorice. Allow between coats and, if neces sand light th id clean surface, puter edge of the ssic Gold Liquid brush used needs co b al spirits and c he acrylic pain the Lig erwards. Leaf has dried, rub medium into the if nc and give depth, 5. If you need to, transfes uray. Use a Sitsle Floating Medina as needed 10 help pains flow more smooch Large Leaves: Refer y & Chrysanthemum Painei 1, Double load the #12 flat brush with Thicket and metalic [nea Gold. 2. Paine the wiggly Chrysanthemum leaves with the Thicker side turned to the outer edge. 3. When you reload the brush to paint more leaves, occasionally pick up Yellow Ochre on the Inca Gold side. (Chrysanthemums: Refer 19 Daisy & Chrysanthemame Pair 8 nce TRAY Workshect, using calor listed bere 1. To paine the lighter flowers, double load the #10 filbert brush with Wicker White and Yellow Ochre. Every once in a while, pick up a lit de Inca Gold to add some sparkle Start on the flac edge of the brush and as you pull the stroke down. ward, nthe brush as you 3c chisel edge. Gradually low Ochre re white as you go down 10 Is are lighter. 2. For the dark area in the middle of the large white flower, pick up a li de Burnt Uniber on the white side. 20 Blossoms Bouquet CONE BASKET TH Py FolkAst® Acrylic Colors: Bluc Sapphire 656 (Metallic) Peridot 671 (Metallic) Sunflower 432 Thicket 924 ‘Wicker White 901 FolkArc® Artists’ Pigment™ Colors: Yellow Ochre 917, FolkArc! One-Stroke™ Brushes: Flats — sires #6, #8, #12, and 3/4" Scripe liner ~ size #2 Painting Surface: Vinrage Tin Cone Bask FolkAre® Floating Medium 868 FolkAre® Matte Lacquer 773 or FolkAr® Satin Lacquer 774 If your surface does not hi whitewash finish on it, load 3/4" flar brush with slightly ‘Wicker White and paint on a whi wash finish. Wipe with a rag, needed. the 3/4” flat brush, basccoat the center uncmbossed area w nflower un ic is well Allow to dry between nd, if necessary, sand lightly between coats Add shading al square with ch two to three coats of wered Medium. Make the cle heavier at the im comers, sd to, transfer pattern Yellow ( topand b 4. Ifyou needed White Blossams: Refer to Blosiom & Filler Flower Painting Workshees. Omit Inca Gold used on the Worksheet. 1. Double load che #12 flat brush with Wicker Whire and Floating Medium, Pai fs with 2. Only the hacks of the half blossoms are painted at this time, CHRYSANTHEMUM ELEGANCE continued irom page & 3. To paint the darker lowers, double load the #10 filbere brush with mostly Yellow Ochre and a litle Burnt Umbct. As you work down- ward, starr picking up Wicker White on the Burnt Umber side. Every once in a while pick up some Inca Gold. Stems & Leaves: Refer ta Dairy & Chryranthemum Painting Worksheet, uszug colors listed here. 1, Load the #12 flat brush with Burnt Umber or Thicket, use one color on some and the other color on others, and paint the stems and bases of the Biossoms BOUQUET continued from page 9 3. Load the #2 script liner with inky Yellow Ochre. Using the tip of the brush, pull out the yellow lines on the blossoms. If you roll the bristles ‘out on the palette before you begin, you wont have too much paint on your brush, 4, Use the handle of the script liner co dip into Thicket and dot on a few dows in cach center. 3, Load the #2 script liner with inky Thicker and pull out some green stamens from che grecn dots pick up a lide Thicket, not inky, and dot on the stamen ends. 7. Use the brush handle to dip into | metallic Peridot and dot over the center dots to make it nice and shiny. 8. Once the centers are dry, add the fiones to the half blossoms. flowers. 2. Double load the #10 filbert brush with Inca Gold and Peridot. Paine ‘the leaves that are like the flower petals, using the same strokes. 3. To paint the stalk leaves, use the chisel edge of the brush to paint the stalk, and then paint the leaves like the petals were painted. 4, Use either the #10 filbert brush or the #12 flat brush co paine the one- stroke leaves, whichever ane you are most comfortable with. Double load the brush with Peridot and Thicket, adding some Wicker White co the “Thicker side. As you paint the leaves, sometimes you can pick up Inca Gold and Yellow Ochre on cither side, to add vari 5. Load the #2 sc ier with Inca Leaves: Refer to Blossom & Filler Flower Painsing Worksheet. 1. Dauble load the #8 fl brash with ‘Thicket and metallic Peridot. Use a litcle more Peridot than Thicker. Wi Thicker side ourward. paint the wiggle leaves with the slider sick. Dont forget to pull the stems into the leaves 2s soon as you paint each leaf, 2. Use the #6 flac brush ro paine the one-stroke leaves, but just pick up Peridot each time as you paine them. You do not have to clean out the ‘Thicket when you start. 3, With the same brush, add the bases (calyxes) co the half blossoms. | Butcerflies: Refer to Blossom & Filler Flewer Painting Worksheet, using colors given free 1. ad the #8 flat brush with Wicker White and paint the butterfly’s top wings, then use the chisel edge to 10 Gold. Add the small gold strokes to the ends of the bunches of comma stroke leaves by starting with the bristles being pushed a little then pull up ro the tip as you come down 6, Use the same brush to add gold accents to the one-stroke leaves by starting at the tip of the leaf and pulling up to the tip, following around the shape af the leaf. With the same brush, add the gold accents to the stalls of the flowers and paint the stems into the one-stroke leaves. FINISH ‘When dry, lightly spray with several ‘coats of satin lacquer sealer, paint the bortom wings. 2. Load the #2 script liner with inky Thicker (instead of Peridot shown ‘on workshect). Paine the body and antennae. a 3. You can sign your project while you fae inky Twists thc bra? Blue Filler Flowers: Refer to Blossom & Filler Flower Painting Worksheet. 1. Double load the #6 flac brush with metallic Blue Sapphire and Wicker ‘White. With the blue to the outside, painc the small blue flowers. 2. Use the same brush, with the chisel edge, to paint the trali 3.Dip the brush handle into che Yellow Ochre and dot on the centers. EINISH When dry, lightly spray with several conaés of satin or ratte lacquer sealer factd Bt. Umber to your brush Peridot, inca Gold & touch Floating Medium DN gC Cra Ul he NUN CR Ae)s)¢: =e , Cue 2 \ = Mee AC Me a) & metallic Blue Sapphire (96 fiat) Pee mete tae er) ert) ead A Prd CTH ra : 1 ‘ on ‘ ‘ r ca eee Tar le hs 4 Pr ety RN Ce gtr : (re) Pct Bive Sapphire (Scruffy brush) ae Pring Pree ais (W10 Fabert) Touch, ant Br Conter: ins et ee ee ae TORS et ee eed ad 2 . cee om es Thicket/ \ : to (#72 flat) Peas a ae ete ert) CeCe W. White, Yelow Ochre & inca Gold nic) Pr aaa) Perc One-Stroke Leaf: : ; Thicket/inca Gold Derg ea Care ale Te Ue hele) eter al fay Spe ten ts gee 2 BLossom & FILLER FLOWER PAINTING WORKSHEET Finished Center = Inca Bowar Gols & Yellow Ochre (#2 > script liner) IN FR White Blossom: W.White & inca Gold (#12 flan Thicket & Bud: We at (82 One-stroke Leaf Large Leaf: pt liner) Peridot (#6 flat) #8 fiat Sha, < Calyx Thicket & Peridot (2 flat Center linework #2 seript ier ~ dab Blossom (Other colors) ae Peridot, W. White inky Bu Umber Slide & (82 script liner) pul Inca Gold/ i Y Red vot (#12 Flat) Qe " Blue Filler Flowers: Trailing € Pull, Blue Sapphire/W. White (#6 flat) Flowers: pee sal ee strokes x back ¢ Center- Butterfly dot Yellow W. White (#6 flat), Ochre ge MS Inky. % x Peridot (92 Scripy Liner) Classic Fruit WOODEN KITCHEN ACCESSORIES SET GATHER THESE SUPPLIES FolkArt® Acrylic Colors: Berry Wine 434 Inca Gold 676 (Metallic) Peridow 671 (Metalic) Plum 668 (Metallic) Thicker 924 Wicker White 901 FolkArt® Artists Pigment™ Colors: Burnt Umber 462 Dioxazine Purple 463 Yellow Ochre 917 FolkArc® One-Stroke” Brushes: Hand 3/4" Flats — sizes PREPARATION 1. Clean surface. 2. Use the painter's tape to tape off the area above and below the design area that will be gilded. 3. Paint on the Classic Gold Liquid Leaf on exposed design area. The brush used nceds co be cleaned with mineral spirits and cannot be used with the acrylic paint afterwards. 4.IF you need co, transfer patterns to wood pieces. PAINT THE DESIGN NOTES: Use a little Floating Medium as needed to help paint flow more smioothl. Design Placement: The instr sions will be given for all bree projects at come time, Pains the items im the order given as they apply r0 the project you are painting, If you are painting all three es. you dont have to paint each one separately bur can paint all of the rer on all pieces a the same time. Fruit Painting Works Double load the 3/4” flac brush with Berry Wine and Yellow Ochre; add metallic Inc Gold. Paine apples as shown on the worksheet, making sure to blend, but don't overblend, Script liner — size #2 Painting Surface: Marching wood tray. box with hinged lid, and plancer Other Supplies: Liquid Leaf*: Classic Gold 6110 Brush for Liquid FolkAre* Floating Medium 868 FolkArc® Matte Lacquer 773 FolkArc® Satin Lacquer 774 Mineral Sp P, casy release masking tape Peart Refer to Fruit Painting Wookshect. 1. Double load the 3/4” flax brush with Inca Gold and Yellow Ochre. On. the Yellow Ochre side, pick up a touch of Burnt Umber. Paint both halves of the pear, blending nicely 2. Paint the blossom end with inky load the 3/4” flat brush wich pxazine Purple, Yellow Ochre and Inca Gold. Add a litle metallic Mum for a lighter purple color. Paine the plums. (Paint the second plum slight overlapping the first) Leaves Painting Worksheet. using colors given here “The leaves ate all painted with a variety of colors. These are the colors used. starting with Thicket double loaded with Yellow Ochre and Wicker White. Pick up same of the other colors as you work: doit clean your brush in beeween, ‘Thicker Berry Wine Yellow Ochre Inca Gold Wicker White Peridot 14 Double foad the 3/4” flar brush and paint che wiggle leaves and I longer one-stroke leaves. Double load the #12 fla brush and paint the smaller wiggle leaves and one-stroke leaves. To paint the gold leaves around the Dix, Purple, Yellow Ot cS ; lat 7 Plum: kes Apple: Bory Wine/Yoliow Ochre inca Gold (3/4" fay) Pear: Yellow Ochre & Inca Gold (3/4" fiat) re & Inca Gald (3/4" flat) Inky Thicket & Inca Gold (92 scrips nen Grapes: azine Purple/Matallic Plum & ‘occasionally pick up Inca Gold (#12 fla Finish & smooth stroke METALLIC FINISHES Gold Foil 1 Brush on or sponge on foil bond. If you pounce it ‘sparingly you will achieve crackled look 2 Allow to dry until clear and sticky to the touch. 3. Prace dull side of gold foil to surface, 4, Press with your fingers, then peel away. Gotp AcceNTS PAINTING VVORKSHEETS Gee croalle / eke tcn) Fi Oi kor ret) Cea) eGo ice Wea ra Ee ea Tre Te ec a) HYDRANGEA & LILACS PainTING WORKSHEET | Hydrangea: e; S & } Dot centers — Weitne & Gere: a Yellow Ochre Fed (12 flat) “CA f ®) & inca Gold (oan slice Baby's Breath ‘Stem oa Alternate Burnt ‘Umar. Thickat & Inca Pounce Coal sept ine Wicker White, Blue’ Sepphire & metallic Plum (#12 fist) Sterling Overlap strokes Lilacs W. White & Biue Sapphire, alternate ‘with metallic Pium (#10 filbert) a Alternate leading color to creste: depth One-Stroke Leaves Thicket & Peridot (#6 flat) Push & slide Dot centers — ‘Yellow Ochre & Inca Gold; high light W. White Floating Medium (@i2 fan Lilac Medallion trunk FolkArt* Acrylic Colors: Blue Sapphire 656 (Metallic) ‘Garnet Red 663 (Metallic) Inca Gold 676 (Metallic) Plum 668 (Merallic) Thicker 924 Wicker White 901 FolkArc® Artists’ Pigment™ Colors: Burnt Umber 462 FolkArt* One-Strake™ Brushes: Flats ~ sizes #12 8¢ 3/4" Filberts sizes #6 & #10 Scriptliner — size #2 Small Scruffy beush Painting Surface: Wood camelback trunk, 16" 11" x 12", with sand Other Supplics: Liquid Leaf*: Classic Gold 6110 Brush for Liquid Leal™ ‘Treasure Gold® metallic wax: Renaissance Gold 3030 Folle\re* Floating Medium 868 Black spray paint Black larex wall paine Mincral spirits Cloth Rubber Gloves FolkArc® Matte Lacquer 773 oF FolkArc® Satin Lacquer 774 PREPARATION Lightly sand and clean surface Basecoar the whole chest with wo or three coats of black latex wall paint, Allow to dry between coats and, if necessary. sand lightly herween coats. 3. Basccoat the metal stand with black spray paint, 4. Once the stand is dry, pur on the rubber gloves and use the cloth to tub che Renaissance Gold metallic wax ante parts of the stand ro high- ight it 5. Trace on the patterns for the center medallion shape and corners that will be solid gold. Paint these arcas with Classic Gold Liquid Leaf. The brush used will need ro be cleaned ‘with mineral spirits and cannot be used with the acrylic paint after- wards 6. Ifyou need t0, transfer design pattern, PAINT THE DESIGN Use a little Flossing Medium sx needed to help paint flow more smwothly Gold Filigree Accents: Refer to Gold Accents Painting Worksheet. 1. Load the 3/4” flac brush with meeal- lic Inca Gold. Use the chisel etge to paine the crisscrossed lines. 2. To paint the little flowers on the lines, load the #6 Filbert brush with Inca Gold, Stare on the flar side of the brush and turn brush as you come up to the chisel edge at the 3. Dip the brush handle into the pud- dle of Inca Gold and dot on the flower centers. 4. Double load the #6 filbert or 212 comfortable with) with Inca Gold and Burnt Umber. Paint che design around the gold medallion shape and comers, 5. Double load the #12 flat brush with Inca Gold and Burnt Umber and paint the tassel as shown on the worksheet. 6.Load the #2 script liner with Inca Gold and paint the accents om the csign, 20 Background of Floral: On the area where the floral design will be painted you will paint on a background, Load the 3/4" flar brush with merallic Garner Red and randomly brushing back and forth co fill im the area, Large Leaves & Stems for Baby's Breath: Refer 10 Leaves Painting Worksheet and to Hydrangea & Lilacs Painting Worksheet Use colors given here Double load the 3/4" fle brush with Thicker and Inca Gold; pick up a lirtle Garnet Red on the gold side. Paint che wiggly daisy leaves wit the Thicker side to the ourer edge. Pull che stems into the leaves as soon, as you paint them. .. With the same brush or the #12 flat brush, on the chisel edge, lead with the gold and paint che stems for the baby’s breath. Lilacs: Refor to the Hydranges & Lilacs Printing Worksheet 1. Double load the #10 filbere brush with Blue Sapphire and Wicker White. As you stroke, start picking up Plum, then alternate the colors for a nice variety. Paint the lilacs, a¢ shown on the worksheet, overlapping, Yellow Ochre and dor on some centers. Repeat with Inca Gold. Highlight with Wicker White. 3.Load the #2 script liner with ‘Thicket. Paint the stems ar the base ‘of the partial flowers. Baby's Breath: Refer co the Hydrangea & Painting Worksheet. Load the small scruffy brush by pouncing into Wicker White. Pounce fon the baby’s breath and keep pouncing. into the paine to pick up fresh paint before gets too muddy, Don't use to0. much paint, keep it light. EINISH ‘When dry, lightly spray with several ‘coats of satin or matte lacquer sealer. Summer Hydrangea stool OR SIDETABLE GATHERTHESE SUPPLIES Follcrt® Acrylic Colors: Blue Sapphire 656 (Merallic) Inca Gold 676 (Metallic) Plum 668 (Metallic) ‘Thicker 924 ‘Wicker White 901 FolkArt* One-Stroke™ Brushes: ‘Flats ~ sizes #8, #12 and 3/4* incr — size #2 Painting Surface: ‘Wood square bar stool with Vincage Tin top (by Decorator & Crufi Corp.) Other Supplies: FolkArc* Floating Medium 868 FolkArt® Matte Lacquer 773 or FolkArr® Satin Lacquer 774 PREPARATION 1, Lightly sand and dean surface. 2. If your susfice dock noe have 2 white» ini fae wash finish on it, load your 3/ brush wich slight White and paint on a whitewash fin ish, Wipe with a rag, if needed. 3. If you need to, transfer patterns to scool top and sides PAINT THE DESIGN Use a tittle Floating Medium at needed paint flaw more smoothly ‘Hydrangeas: Refer ro Hydranges & Lilacs Painting Worksheet, using the colors given here 1. Double load the #12 flat brush wich Blue Sapphire and Wicker White, As you stroke, start picking up metallic Plum on the blue side, then alternate the colors for a nice variery. Paint the hydrangeas wich the white side outward, as shown on the work- sheet, overlapping as you go. (Dont ‘overlap coo much or it will look heavy) 2. Dip the handle end of brush into ‘Wicker White and then into Inca ‘Gold and dot on the centers. Leaves: Refer to Leaves Painting Werksbeer and se Hydrangea ¢ Lilacs Painting Worksheet. 1. Double load the #12 flat brush with Thicker and Wicker White, picking le Inca Gold on the inn well. Paint the wiggle leaves with the Thicker side to the outer edge. Pull the stems into the leaves as soon as you paint them. 22 larger one-stroke leaves, 3. Load the #8 flat brush with Thicker and paint the smaller one-stroke leaves. 4. Load the #2 scripr liner with inky ‘Thicker and paint the accent marks and curlicues. FINISH When dry, lightly spray with several coats of satin or marte laequer sealer: White Hydrangea TINTILE Ale pictured on front cover GATHER THESE SUPPLIES FolkArt® Acrylic Colors: net Red 665 (Metallic Thicker 924 Wicker White 901 FolkArc® Artists’ Pigment™ Colors: Burnt Umber 462 FolkArt* One-Stroke™ Brushes: 34 Flats = sizes?12 an Scripr liner ~ six Painting Surface: Rusted Vin Tin Tile (by raft Corp.) ‘Other Supplics: Treasure Gold® menlic way: Renaissance Gold 30 FolkArt® Float Sloth Rubber Gloves FolkAr® Man FolkArt® Satin Lacquue PREPARATION 1. Clean surface. 2 Basecoat the center panel with owo or three co inen. flat brush to wipe some wax onto the design around the 5.If you need to, transfer design pattern to-center pancl iT THE DESIGN Medium as needed Float more smooth to help paint fi Leaves: Refer to Leaves Pas colors given bere. 2. Double load the Double load the with on Thicket and Inca the worksheet, overlapping as you little B go. (Don't overlap too much or it side. Work in well. Paint the wigg leaves with the Thicker si 2. seripe liner with inky Jmber and a little Inca Gold. the stem 8 you paine them. flat brush with and a lircle Thicket. Paint | 3. the one-stroke 3. Load the r with Paine accents following outer edge leaves as soon Inca € into Inca Gold and make small dots in each center. Repeat with Thicket, {. Load th l & Lilac P. ‘alors given here. Double load the #12 flac brush wich Wicker White and a touch of Garnet Red. As you stroke, start pa touch of Thick ide, chen alte Curlicues: script liner with inky a litle Inca Gold FINISH ‘When dry the Gar spray with several lacquer sealer. the color 23 The Gilded Grape Tray GAT FolkArt® Acrylic Color Inca Gold 676 (Me Peridor 6 Plum 668 (Metallic) Thicker 92! FolkArt™ Burnt Dioxas ists’ Pigment™ Co Other Supplies: Royal Coar® Decoupage Foil Kit 1 FollkArc® Floating Mediu FolkArs® Matte Lacquer 773 2a RATION sand and clean surface ¢ 3/4" flac brush aber and metallic fn th of bi Push a lictle vines GATHER THESE SUPPLIES FolkAre® Acrylic Colors: Beery Wine 434 ca Gold 676 (Metalic) Peridot 671 (Merallic) Thicket 924 Wicker White 901 FolkArt® Artists’ Pigment” Col « Umber 462 Yellow Ochre 917 FolkArt® One-Stroke™ Brushes: Wieod breadbox (part of th sccessorics act used cse this book) Other Supplies: id Leaf: Classic Gold 6110 quid Leaf um 868 25 iquid rca, The cleaned used with the acrylic fierwards. need to, transfer patterns (© 4.18 you THE Gitpep Grape ‘continued from page 24 2. Double load the 3/4” flat brush with Thicket and metallic Peri Wich the Peridot side ourward, grape leaves. Pull che stems into the Teaves as soon as you paint each leaf ae Frit Pasiuting Worksheet. 1, Double load the #12 flat brush with Dioxazine Purple and metallic Plum. Paint the grapes, overlapping as you go. As you pick up more plat, alternate the colors and add in metallic Inca Gold. Also alternate | the colors thar are on the outside edge of the grapes. This makes a REGAL Rooster ‘continued from page 25 PAINT THE DESIGN Use a litrle Flocting Medinm as needed to help paint flow more smoothly Rooster: Bef o Ren Painting Werks 1. Double load the 3/4” flat brush with Yellow Ochre and Wicker White. Paint the base of the body w srokes that go down and up. As paint, alternate colors, adding a little Burne Umber, Berry Wine, and Inca Gold in with the ether colors. Don't clean your brush. 2. Load the #12 flat brush with Berry Wine and Yellow Ochre. Paine the comb and wartle. 3. Load the #2 flac brush with Yellow (Ochre and paint the beak, then through some Burnt Umber. Add the stems to the grapes as in che photo of project. One Stroke Leaves: Refer to Leaves Painting Warksbect, suing colors given here. Double load the #12 flat brush with Peridot and tle Thicker. You want to use mostly Peridet. Paint the one= stroke leaves, pulling in the stems as Gold Foil Accents: 1. Brush the foil bond adhesive onto some of the vines to accent the 4, Paint the head area with the 3/4” flat brush, using the same colors as for the body but use more Berry ‘Wine, Stroke from the edges inward. 5. Paint the rail feathers on che chisel edge of the 3/4” flac brush, and push to make a lirtle fatter. Double load swith different combinations of Berry Wine, Yellow Ochre, Inca Gold, Thicker, and Peridot, 6. Load the #2 script liner with laky Burnt Umber. Paint beak accents and the eve, 7. Load the #2 script liner with Wicker White and add beak and eye high- Tighe 8, Load the #2 script liner with Inca Gold and add an accent to the eye. 9. With che same brush, add the accents to the comb, head feathers, body feathers, and tail feathers. painting. following right on the vines. Allow bond to dry uncil complecely clear and sticky co the touch, Place the dull side of the foil fon the surface and rub with your finger, then peel away. Repeat press and peel action until bonded area is completely covered with foil. 2. Cover the outer rim and molded grapes with the bond adhesive, brushing ic on, Use more adhesi for a heavier finish or less for a lighter finish. Have fun with ie! Repear the procedure in previous step. ‘When dry lightly spray the whole tay with several coats of matte lacquer sealer. 0 ‘Leaves Refer ta Lasves Painting Worksheet, wsing calor given here. (is pier tee eaten Inca Gold with a little f color. ‘Load the 3/4" brush with Inca Gold and Peridot; vary colors by picking up Berry Wine and Burnt Umber along with the Inca Gold. Don't Beak: Yellow Ochre & inca Gold (#2 flat) Accents - inky ByaUmbar (#2 script liner) Highlight — inca Gols (#2 scriptliner) Body: Yellow Ochre/Wicker White & inca Gold (3/d flat) SS Overlap strokes from bottom, ‘working toward neck Roses & Silver Tray jAT Hi) FolkArc® Acrylic Colorse Garnet Red 665 (Metallic) Peach Pearl 674 (Metallic) Peridos 671 (Metallic) Plum 668 (Metallic) Silver Sterling 662 (Metallic) Thicker 924 Wicker White 901 FolkArt® One-Stroke™ Brushes: Flats — sizes #12.and 3/4" Script liner = sire #2 Small scraffy brush Painting Surface: ‘Wood oval tray with molded rose-design, 21" x 15 available from Wood-Wire, dnc) Other Supplies: FollAre® Floating Medium 868 FolkArc® Matte Lacquer 773 or FolkArr® Satin Lacquer 774 28 PREPARATION tly sand and clean surface. coat the whole tray with two or three coats of Wicker White. Allow to dry between co neces sary, sand lightly between coats. 3. Paint the outer edge o tray with imeaallic Silver Seething, Let dr 4. Wipe a liule bit of Wicker We into the molded rose parts of the GATHER THESE SUPPLIES FolkAst® Acrylic Colors: Gamet Red 665 (Merallic) Inca Gold 676 (Merallic) lalian Sage 467 Thicker 924 Wicker White 901 FolkArt® Artists’ Pigment” Colors: Burnt Umber 462 FolkArt® One-Stroke™ Brushes: Flats = sizes #12 and 3/ Painting Surface: ‘Wood shelf with Vintage T 14" x 6-1/2" x 1/4 (by Decorator & Craft Corp) Other Suppl FolkAvre* Floating Medium 868 Cloth FollAre® Matte Lacquer 773 or FolkArt* Satin Lacquer 774 EPARATION 1. Clean surface 2. If your surface does nox have a whitewash finish on it, load your 3/4” flat brush with slightly inky Wicker White and paint on a white wach finish. Wipe with a cloth, ceded. 3. Basecoat the center pancl of the Vintage Tin area with rwo or thi coats of Italian Sage. 4, Soften the green edges by using a flat brush loaded with inky Roses & SILVER ‘continued trom page 28 PAINT THE DESIGN Use a lrle Fiearing Medium as needed 10 help paint flow more moorbly. Roses: Refer to Roses Painting Worksheet. 1. Double load the 3/4” flar brush wich metallic Peach Pearl and Wicker White. Paint the large peach roses and half rose. 2. With the same brush, paint the rosebuds. 3, Double load the 3/4” flat Garnet Red and Wicker paint the large pink rose, half rose, and rosebuds. Leaves & Stems: ite eerie eed oe colors given here. Refer 10 Hydranges Pink HYDRANGEA ‘continued trom page 29 PAINT THE DESIGN Use a little Floating Medium as-needed to help paint flows more smoothly. Leaves: Refer to Leaves Painting Worksheet, wing col gen be 1. Dele Toad che-344° ac brash with Thicket and Inca Gold, picking up a little Burnt Umber on the green side. Work in well. Paine the wiggle leaves with the Thicker side to the outer edge. Pull the stems into the leaves as soon as you paint them. 2. With the same brush, paint the 3, Load the 3/4” beush with Burnt Umber and Inca Gold and make the flower stem thicker by pulling on the chisel edge alongside the green stem, leading with the Inca Gold. Lilac Paincing Worksheet for baby's breath stems. 1. Double load the #12 flac brush with ‘Thicker and Peidor. Paint the stems for the baby’s breath flowers using the chisel edge of the brush and leading with the Peridot. ith the same brush, paint the wiggle leaves, the wiggle Icaves with a slider on one side, and che one stroke leaves, as on the pattern. Some one-stroke leaves will be on top of the wiggle leaves and some will be underneath. Occasionally pick up a litle Wicker White on the Peridot side for the one-stroke leaves. Baby’s Breath: Refer to Hydrangea & Lilac Painting Worksheet Double load the small scruffy brash by pouncing half into the puddle of Silver 2 me Fopdrangee Lilt Pal fer so Hydra Lilac Patuts Wikied eine gation 1. Double load the #12 flat beush swith Wicker White and a touch of Garnet Red. As you stroke, start picking up a touch of Burat Umber on the Garnet Red side, then alternate the colors for a nice variety. Paine the hydrangeas with the white side outward, as on the worksheet, overlapping as you go. (Don't overlap too much or it will look heavy.) 2. Load the #2 script liner with inky wnt Umber and a little Inca Gold. Il the lines for the stems into the bunch of hydrangeas. Alternate color with Thicket. ip the tip of your #2 script li wo Inca Gold and add aceent lines in the stems 4. Dip the handle end of brush into Wicker White and Inca Gold and Secrling and the ocher half into Wicker ae Neoee on the ee breach and uncing inte the paint to pick up fresh paint bore i gts 00 maddy. Butterflies: Refer to Blossom & Filler Flower Painting Worksheet, nsing colors given here. 1. Double load the #12 flat brush with metallic Plum and Wicker White and paint the butterflies’ top wings, then use the chisel edge to pull up the botwom wings. 2.Load the #2 scripr liner with inky Thicket. Paint the bodies and antennae. 3. Desit forger to sign your project! EINISH ‘When dry, lightly spray with several ccoats of satin or martelacquer sealer. dot on the flower centers. Butterfly: Refer to Blossom & Filler Flower Painting Worksheet, wing colors given sere 1. Double load the #12 flat brush wit ‘Wicker White. picking up a Burnt Umber, Paine the butterfly’s top wings. Use the chisel edge to pull upthe bottam wings. 2. Load the #2 script liner with inky Burnt Umber and paine the body, ‘Then pull the brush through some Inca Gold and add antennae. 3. Don’t forget co sign your project FINISH When dry, lightly spray with several coats of satin or matte lacquer sealer. Roses PaintinG WORKSHEET Petal: Peach Pearl & Wicker White (3/4 flat) Paint ‘osebud center 2nd, i Palnt'gecond Rosebud: Paint chisel strokes last. Half Rose Garnet Red & Wicker White (3/4 flat) Peony Circlet TRAY GATHER THESE SUPPLIES FolkArt® Acrylic Colors: Berry Wine 434 Garnet Red 665 (Metallic) Inea Gold 676 (Metallic) Peridot 671 (Metallic) icker 924 FolkAre® One-Stroke™ Brushes: 12 and 3/4" Script liner — size #2 Painting Surface: Round wood tray, 16° diam (available from Woad-MWare, inc) Other Supplies: Liquid Leaf: Classic Gold 6110 Brush for L FolkaArt® Floating Medium 868 Mineral Spiries FollArc® Matte Lacquer 773 or Palkrc® Satin Lacquer 774 PREPARATION 1. Double load the 3/4" flat brush with 1. Lightly sand and clean surface. Wine and Wicker White. On the inside bottom of the c sides pick up a latte tray with two or three coats of Red. Paint the outer Wicker W Allow to dry same brush or the 3. 3c of the tray with the Classic Gold Liquid Leaf, The flat brush loaded way, brush used will need to be «leaned re mast comfortable with mineral spirits and cannot be used with the acrylic paine after 3. Load the #2 script liner with inky ‘Thicket and pull out stamens from the middle veal the 4.1f you need to, transfer ttern to inky Inea Gold and pull out more sta DESIGN mens from the middle 5. Dip the tip of the seri the Inca Gold and dot om little sta «ends (pollen