2014 PDF

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SDP EPUB , 2014
The DecoraTive arTisTs UlTimaTe informaTion & creaTive soUrce
SD P E P UB, 2 01 4
ON THE COVER
Wild Currants
Jo Sonja Jansen mda, vgm
PROJECTS & LESSONS

4 Celestial Santa
AcrylicLynne Andrews
10 Angel Chest
AcrylicShara Reiner cda
18 Wild Currants
AcrylicJo Sonja Jansen mda, vgm
26 On Healing Wings
Acrylic/Color PencilErika Joanne
10
34 Design to Surface Transfer

Skillbuilder
36 Four Seasons Kitty Tassels
AcrylicRika Muramatsu cda
45 Brushstroke Studio, Part I
Skillbuilder
Maureen McNaughton Gourzing mda, tda
26
36
45
45
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DECORATIVEPAINTERS.ORG
ONLINE EXCLUSIVE 2014
ACRYLIC
Photos / steve GeriG
ACRYLIC
LYNNE ANDREWS
Tis cool-palette Santa is perfectly camoufaged

for navigating a chilly winter sky.
ho says Christmas has to be red and green? Ive been painting Santa in a low-key palette for several years now, and Ive
found that you can spot him even in muted colors like these.
PRE PA RATIO N
Lightly sand and tack the surface. Apply
Multi-Purpose Sealer to the entire surface, front
and back, following manufacturers directions.
Allow this to dry.
Apply two Buttermilk basecoats to the entire surface, drying and sanding lightly between coats. Dry,
and transfer the design.
ISSUE No. 3, 2011
ACRYLIC
Painters Checklist
SURFACE
This wooden Santa measures 16-12"x 9"
at his widest and tallest points
(41.91 x 22.86cm).
PALETTE
DECOART AMERICANA ACRYLICS
Antique Gold
Flesh Tone
Burnt Umber
Lamp Black
Buttermilk
Slate Grey
Deep Midnight Blue Snow White
DECOART DAZZLING METALLICS
Shimmering Silver
DECOART GLAMOUR DUST GLITTER PAINT
Ice Crystal
BRUSHES
LOEW-CORNELL
Series 4 no. 2 duster/stippler
Series 270 12" Maxines oval mop
Kolinsky Series 272 no. XS dome round
Series 2014 no. 8 round scumbler
La Corneille Golden Taklon Series 7020
nos. 4, 8 & 14 ultra rounds
MISC.
Basecoating brush
SUPPLIES
400-grit sandpaper
Basic painting supplies (page 127)
Cheek Chalk (Rose)
DecoArt Americana Matte Spray Sealer
DecoArt Decorating Paste
DecoArt Multi Purpose-Sealer
Elmers Glue-All
Hair dryer (optional)
Koh-i-Noor Rapidograph Pen #00/.30
Tin stars*
SOURCES
n The surface (item no. 2011-WS27) is
available from the artist at lynneandrews.com.
See the Artists Sketch (page 66) for more
contact information.
n Cheek Chalk is available from
Cupboard Distributing at cdwood.com
or (937) 652-3338.
* I used eight rusty tin stars with a small hole
measuring 12" across. These are available from
Cupboard Distributing (see entry above).
2014 ONLINE EXCLUSIVE
LET S PAI NT
FACE
Use the #4 ultra round to apply a transparent wash of Flesh
Tone onto Santas face, and mop. You should always be able
to see the transfer lines through the wash. If you cant, immediately pick up more water. Float Burnt Umber around the
outside of the nose, forming each eye and mopping as you go.
Continue foating up to and against the beard and mustache.
Stroke almond-shaped eyes of Lamp Black, adding a tiny
dot of Snow White and, beside that, a small semicircle to
each; refer to the Step by Step (opposite). Add a Flesh Tone
dot to either side of the nose to form the nostrils. Paint Snow
White eyebrows. Use the dome round to dry-brush Rose
Cheek Chalk to the cheeks.
COAT
Except for the fur trim, Santas entire coat is washed with
Slate Grey using the no. 14 ultra round; bring the wash up to
the collar and as low as the bottom fur trim. Mop with the
duster/stippler. Repeat this light wash until youve achieved
the desire depth of color. Wash Snow White onto all fur trim.
(Te band in the middle of the sleeve remains Buttermilk.)
Te small V shape between the bottom of the beard and the
collar is washed with Lamp Black and mopped.
Use foats of Lamp Black to shade the top of the sleeves,
the folds in the coat, both sides of the Buttermilk band on
the sleeves, and all instances where the fur trim abuts Santas
coat, hat, mittens, and face. Mop if needed.
Paint the paisley with undiluted Shimmering Silver; dry,
and add a smaller Lamp Black paisley inside each larger
shape. Dot each with a stylus and Shimmering Silver at its
wide end. Paint the half moons Shimmering Silver. Use the
Rapidograph pen to draw a double row of stitches around
each paisley and a single row around each moon. Stars and
stylus dots are scattered randomly across the coat; use Lamp
Black and Shimmering Silver respectively for these. Use the
pen to fll in the checks in the bands on Santas sleeves.
ACRYLIC
STEP-BY-STEP
FACE
EYE DETAIL
STEP 1
STEP 2
STEP 3
MOON & WING
STEP 1
STEP 2
ROBE
STEP 1
STEP 2
STEP 3
PA I N TI N G TIP S
Floating: I use ultra round brushes for foating. Tese brush
are a combination of a round and a liner: Te bristles hold
a large amount of thinned or unthinned paint, while the
point allows access to the smallest areas. When foating
with the ultra round, treat it as you would a fat or angular: Dip the brush into water, blot it on a paper towel, and
dip the tip into the paint. Work the paint into the brush by
brushing back and forth on a palette once or twice. Lay the
tip of the point up against the surface, holding the brush
almost parallel to it, and continue just as you would with a
fat. Afer foating, use a mop to sofen and blend.
Blending: When applying washes, use a small mop to

blend and sofen them, especially at the edges. Tis is an
important step in working with washes.
Layered washes: In the layered wash technique, washes
are layered over one another to build up a depth of color.
For added sofness, mop immediately afer applying the
wash. Each layer must be completely dry before applying
the next or the paint will lif. Use a small hair dryer on a
low setting to speed the drying process. (To view a tutorial on layered washes, visit lynneandrews.com.)
ACRYLIC
A CC E S S O RIE S
BE ARD
Use the #8 ultra round to apply at least two washes of

Lamp Black to the hat, mittens, and boots, and to the interior of the lef-hand sleeve; mop between washes. Add more
Lamp Black to the wash and return to the hat, strengthening the shading at the top and bottom from the tip of the
hat inward; see the fnished piece for guidance.
Santas right cuf (our lef) has some shading lines
drawn on the exposed part of its interior, near the mitten.
Use the pen to add these lines. A little bit of sky shows to
the right of the right-hand mitten and beneath the sleeve
on the lef. Use a heavy wash of Deep Midnight Blue for
this. Paint the rope Shimmering Silver and foat Lamp
Black on either side of it. Separate the boots with a foat of
Lamp Black. Highlight the boots, mittens, and hat with a
#8 scumbler and dry-brushed Shimmering Silver.
Lightly wash Snow White onto the beard and mustache,

extending out onto the coat. Keep this wash transparent.
When dry, foat Burnt Umber around the outside of the
mustache. Mop. Drag Burnt Umber down onto the beard,
under the mustache. When dry, add individual Snow
White hairs extending out from the sides of the face, over
the mustache, and down into the beard.
W I N G S & M OON
Lightly wash Snow White on both wings. When dry,
wash Antique Gold on top of both wings and mop. Float
Lamp Black between the wings and the coat with the no. 8
ultra round. When dry, use the no. 4 ultra round loaded in
Snow White to apply feathers; use a press-and-pull stroke.
Use a mix of Deep Midnight Blue+Lamp Black (1:1) to
foat the face on the moon. Darken the eyes with the same
mix and apply details as you did on Santas eyes. Paint the
eyebrows Deep Midnight Blue. Apply a heavy wash of Lamp
Black between the moon and the hat, mopping to blend.
Dry-brush the cheek as before. Add the small, thin triangle
of Snow White wing if needed.
TE XTU RE D TRI M
Add a half-dollar-size puddle of Decorating Paste to
your palette using a palette knife. Add two dots of Snow
White and mix thoroughly with the knife. Apply Decorating Paste generously to all the fur trim, covering all areas
and using the #4 ultra round to get into the smallest spaces. Once the paste is applied, go over it with the duster/
stippler brush: Tis will give the paste a furry texture. Dry
completely. Wash Lamp Black onto any fur that might
need shading. Mop to blend.
F INISH ING
Use Elmers Glue-All to fx the rusty tin stars onto the
rope. Any stars hanging of the surface can be nailed into
place. Let the glue set before continuing.
Spray the surface with several light coats of Spray Sealer.
Before applying the fnal coat, lightly sprinkle Ice Crystal
Glamour Dust to any area to which youd like to add a little
sparkle; I added Glamour Dust to the moons face and the
fur trim on the coat, but be extremely selective, as its
easy to overdo it. When youre happy with
the sparkle, spray the fnal coat of sealer.
ARTISTS SKETCH
Lynne Andrews has been painting
professionally for three decades, but only
happened upon decorative painting a few
short years ago. She has since authored
six books, most recently 2007s Great and
Small, and contributed to 100 Angels and
Ornament Extravaganza, both from the
American Museum of Decorative Painting.
Lynne has designed and published over
one hundred pattern packets.
A sought-after travel-teacher, Lynne currently divides her time between designing
and teaching. You may write to Lynne at
181 Tourtellot Hill, Chepachet, RI 02814;
or email andrews181@cox.net. Visit her
website at lynneandrews.com.
ACRYLIC
For a free design at actual size,

affx two frst-class stamps to a #10 SASE
and send to:
The Decorative Painter
Attn: CELESTIAL SANTA
ISSUE 3 - 2011
393 N. McLean Blvd.
Wichita, KS 67203-5968.
Allow four weeks for delivery.
Designs are 90% of original.

Enlarge 111% for actual size.
ACRYLIC
Angel
Chest
ACRYLIC
Stash a little bit of heaven in this

buoyant, bursting-with-color
wooden chest design.
SHARA REINER
cda
olka dots, checks, stripes, a veritable cornucopia of fruit in a riot of

colors, plus one single angel decorate this little footed chest, and all of it on
a black background. You can worry about mixing patterns and colors when you
get dressed in the morning; I say, when youre painting, take a chance and throw
the whole lot in!
P REPARATION
Basecoat the entire box and lid exterior in Lamp Black. Dry, sand lightly, and
apply a second coat.
ISSUE No. 1, 2012
ACRYLIC
Painters Checklist
SURFACE
The footed, wooden chest on which
I painted measures 12"x 11"x 7"
(30.48 x 29.21 x 19.05cm).
PALETTE
Antique Rose
Hauser Medium Green
Black Plum
Indian Turquoise
Blue Mist
Lamp Black
Burnt Sienna
Purple Cow
Butterscotch
Snow White
Country Red
Spa Blue
Deep Burgundy Spice Pink
Espresso
Tangelo Orange
Flesh Tone
True Ochre
Foliage Green Warm White
French Vanilla Wasabi Green
Grape Juice
Wedgwood Blue
BRUSHES
SCHARFF BRUSHES INC.
Golden Taklon Series 142 nos. 6, 12 & 16
Champagne Handle fats
White Bristle Series 222 no. 12 moon flberts
Golden Taklon Series 455 no. 1 Dresden liner
Series 685 12" or 34" moon mop
SUPPLIES
Permanent black pen (03 tip)
SOURCES
The footed box (item no. PS-140)
is available from Palette and Sawdust,
401 Smokey Ln., Caldwell, ID 83607;
(208) 459-2380; paletteandsawdust.com.
LET S PAI NT
BE LOW M AIN DE SI GN
Basecoat the bottom skirt and legs in Country Red, drybrushing the color on to let a little black show through here
and there. Apply fnger dots of Spice Pink with small center
dots of Wasabi Green.
ABOVE MAI N D ESI GN

Paint the green band near the top of the piece with drybrushed Wasabi Green. Paint the small ovals Spice Pink and
add dots of Country Red.
Paint the edge of the lid Blue Mist, and then over-paint
this with dry-brushed Spa Blue. Paint the top of the lid with
Warm White. When dry, mark of the checks with pencil
and paint them loosely with Lamp Black.
Te white stripes on the outside of the
blue lid edge are painted casually with a
#16 fat and Warm White; its okay for a
lot of black to show through.
MAI N DESI GN
Note that all sideloaded color added
in the main design is sofened with a
mop brush.
ACRYLIC
STEP-BY-STEP
STEP 1
STEP 1
STEP 2
STEP 2
STEP 1
STEP 2
13
ACRYLIC
ANGEL
DAI SIE S
Paint the wings with a wash of Warm White. Add

Warm White stripes.
Paint the face and neck Flesh Tone, and shade
them with Flesh Tone+Burnt Sienna. Te nose is Flesh
Tone+Burnt Sienna; use a #1 liner. Apply the ovals to the
cheeks with thinned Antique Rose and add shine marks
of Warm White.
Paint the eyes Lamp Black.
Paint the hair Tangelo Orange. Te halo is Indian Turquoise with a highlight of Indian Turquoise+Warm White.
Paint the center of the daisies True Ochre, and shade

them frst with Deep Burgundy and then, sofly, with
Black Plum. Highlights, as well as the dots in the centers,
are added with French Vanilla.
Paint the petals Warm White with the #6 fat, pulling from the outside to the center. Highlight the outer
edges with Snow White. Paint the dots around the center Lamp Black.
G R E E N P EA RS
Paint the green pears Wasabi Green. Apply a frst
shade of Deep Burgundy and a second, sof shade of Black
Plum. Use Wasabi Green+tch French Vanilla+tchWarm
White for the highlight, dry-brushing it with the moon
flbert. Add the stem with Espresso.
GREE NERY
Paint the large leaves Hauser Medium Green and
shade them with Lamp Black. Apply highlights frst of
Foliage Green and then Wasabi Green.
Paint all vines Wasabi Green.
Paint the medium leaves Foliage Green. Te smallest
leaves are Foliage Green+True Ochre.
RE D FLOWE RS
An example of the red fowers is marked with a number 1 on the line art on page 70.
Paint the red fowers Country Red, shading around the
center with Deep Burgundy. Highlight the outside
edges with Spice Pink. Te dots are Tangelo Orange, except for the large, central dot, which is applied with your fnger and Butterscotch. Highlight
this center dot with Butterscotch+Warm White.
Te stamens and dots are Lamp Black.
YELLOW F LOWERS
An example of the yellow fowers is marked
with a number 2 on the line art on page 71.
Paint the yellow fowers French Vanilla; create the plaid using thinned Warm White. Shade
the fowers around (but not in) the center with
True Ochre.
Paint the centers of the fowers with Blue
Mist. Shade them with Black Plum and highlight them with Spa Blue.
PI NK FLOWE RS
An example of the pink fowers is marked
with a number 3 on the line art.
Te pink fowers are Spice Pink. Paint the strokes on
the outer circle Spice Pink+Warm White.
ACRYLIC
Paint the fower centers French Vanilla and create the

plaid using very thin Country Red. Over-stroke the plaid
where lines meet with Country Red.
light them with Spa Blue. Each grape

is completed with a shine dot of Warm
White+tch Spa Blue.
CH E CK F L O WERS
STI TCH WORK
An example of the red fowers is marked with a number 4 on the line art.
Te check fowers are painted Warm White with
Lamp Black checks, a triangle of Grape Juice, and Purple
Cow stripes.
Use the line art and the completed piece as your guides when adding stitchwork; youll fnd stitches
on fowers and on the bands bordering the center design on the
top and bottom, and lines along
the perimeter of the angels wings.
Add these using the permanent
black pen.
CH E R R I E S
Paint the cherries Country Red. Apply a frst shade of
Deep Burgundy and a second shade of Black Plum. Use
Spice Pink for the highlights.
F INISH ING
Y E L L O W P EA RS
Paint the yellow pears True Ochre. Apply a frst shade of
Deep Burgundy and a second, sof shade of Black Plum. Drybrush a highlight of French Vanilla using the moon flbert.
G R E E N A P P LE
Te apple is Foliage Green with a frst shade of Deep
Burgundy and a second shade of thinned Black Plum. Paint
the highlight French Vanilla using a dry moon flbert.
Paint the stem Espresso.
B LA C K BE R R IE S
Start the blackberries by painting an oval of Black
Plum. Place dots over this; the darker dots are Grape Juice
and the lighter dots Purple Cow.
FI L L E R F L OWERS
Te small, white fnger-dot fowers that appear here
and there are applied with your fngertip and Warm
White. Te center dot is Butterscotch.
Te groups of blue stylus dots are made with Indian
Turquoise.
GR A P E S
Add as many grapes as needed to fll out the design
to your satisfaction. I paint them with my fngertips and
Blue Mist; shade them with Wedgwood Blue and high-
When all paint is completely

dry, spray your work using
a product with a matte fnish. Follow this with several
coats of water-based varnish.
I also wax afer varnishing; I
fnd that it helps to keep the
lid from sticking.
ACRYLIC
#1
#2
#4
#3

affx two frst-class stamps to a #10 SASE and send to:
Attn: ANGEL CHEST
ISSUE 1 - 2012
393 N. McLean Blvd.
Wichita, KS 67203-5968.

#4
#1
#3
16
ACRYLIC
#4
#2
Design is 55% of original.

#3
artists sketch
Shara Reiner CDA is a wife, mother, grandmother, and painter, best known for her funky, free-and-fun folk
art style. Shara has authored eight books, coauthored four, and designed hundreds of packets. Her travelteaching has taken her throughout the United States and beyond, and she has earned the eternal gratitude of
the editorial staff of The Decorative Painter, whom she has bailed out with last-minute masterpieces on more
than one occasion.
Shara has been a member of SDP since 1981. You may write to her at 12815 Camino de la Breccia,
San Diego, CA 92128; or email SHARA@ANGELTHYME.COM. Visit Sharas website at ANGELTHYME.COM.
17
ACRYLIC
18
ACRYLIC
Wild Currants
JO SONJA JANSEN
mda
Muted colors take stage

on this fne example of
country tin painting.
ISSUE No. 2, 2012

19
ACRYLIC
Painters
Checklist
SURFACE
This painting was done on a tin
coffeepot that measures approximately
10" (25.4cm) tall and 6" (16.5cm)
in diameter at the base.
PALETTE
JO SONJAS ARTISTS COLOURS
Carbon Black
Russet
Husk
Sea Grass
Jaune Brilliant
Tarragon
Red Earth
Tiger Lily
Red Violet
Unbleached Titanium
Rosewood
Yellow Oxide
BRUSHES
JO SONJAS SURE TOUCH
Series 1350 nos. 3 & 4 rounds
Series 1360 no. 2 short liner
Series 1385 nos. 4 & 6 flberts
Series 2040 nos. 8 & 10 pointed
round blenders
SUPPLIES
Emery cloth (coarse)
Jo Sonjas All Purpose Sealer
Jo Sonjas Retarder Medium (optional)
Jo Sonjas Water Based Polyurethane
Varnish (satin)
Painting medium of choice (Jo Sonjas
Magic Mix Medium or water)
SOURCES
The Colonial Sturbridge Coffee Pot (item
no. FT-2245) is available from Della and
Company, 5208 Lake Charles Dr., Waco,
TX 76710, (254) 772-6927,
dellaandcompany.com.
20
his painted piece is a contemporary interpretation of a

traditional art form. Te history of decorative painting
includes many beautiful design styles, and I love the charm
and simplicity of early American tin decoration. Bringing
new life to that style through the use of fresh colors and stylized forms provides hours of creative painting joy!
PR E PA R ATION
Te cofeepot comes primed, but to ensure the paint
adheres well, I like to wash, rinse, and dry the piece before
painting. Lightly sand the cofeepot with coarse emery cloth.
Apply one coat of Jo Sonjas All Purpose Sealer. Dry well.
Basecoat the body and lid with Sea Grass. Basecoat the foot,
spout, and handle with Rosewood. Basecoat the edges with
Russet and the top and bottom bands with Husk. Add a small
amount (about 10%) of sealer to your colors, if desired.
Allow the piece to dry overnight or for twenty-four hours,
then dry-brush Carbon Black+tch Tarragon into the grooves,
edges of the Husk borders, etc., to enhance the architectural
details of the piece. Use a pointed round blender (no. 8 or 10)
or old flbert for this technique.
ACRYLIC
STEP-BY-STEP
STEP 1
STEP 2
STEP 3
STEP 4
CURRANTS
Base
PEAR
PEACH
APPLE
TULIP
Shade
Highlight
Detail
ACRYLIC
LET S PA I NT
PEA R
Basecoat with Yellow Oxide. Shade with a stroke of Russet. Highlight with
strokes of Unbleached Titanium. Paint the center with thin Unbleached Titanium
and add Russet seeds. Shade with Red Violet or Rosewood+tch Carbon Black.
PEACH
Basecoat with Yellow Oxide. Add a dabby blush with Tiger Lily. Add dots
of Unbleached Titanium, lines of Rosewood, and maybe some dots of Red
Violet+tch Carbon Black.
A PPLE
Basecoat with Tiger Lily. Shade with a sideloaded brush of Red Earth. Add
dots of Unbleached Titanium and lines of Rosewood+tch Carbon Black.
TULI PS
Basecoat with Red Earth. Highlight with a sideloaded brush of Tiger Lily.
Add lines of Rosewood+tch Red Violet and a few lines of Carbon Black. Highlight with strokes of Unbleached Titanium.
CUR R A NTS
Basecoat with Tiger Lily. Shade with Red Violet and/or Rosewood. Highlight
with a dabby application of Jaune Brilliant and Unbleached Titanium dots.
LEAV E S, STE M S, A ND TE NDR I LS

On the main design, basecoat with thin Tarragon, shade with Carbon Black
strokes, and highlight with Unbleached Titanium strokes. On the border design, basecoat with Tarragon, shade the center of the leaf with dry-brushed
Carbon Black, and highlight with Sea Grass. Paint the stems and veins with
Carbon Black and highlight with tch Unbleached Titanium.
R ICKR ACK BOR DE R S

Basecoat with Rosewood. Highlight with Tiger Lily. Add Carbon Black dots
and lines.
PA I NTI NG TI PS
n Tin the paints with water or painting medium to basecoat each object.
n To add open time to your colors, thin them with a little retarder medium.
n Use shape-following brushstrokes to paint each element.
n Use the round and flbert brushes for basic painting; the short liner for lines, dots,
and fne details; and the pointed round blenders for dry-brushing.
ACRYLIC
COM PA S S RO SE
( LID)
Paint Rosewood strokes and highlight with Tiger Lily. Add

smaller strokes in between with Husk. Add Tiger Lily dots
around the inside edge of the lid.
STR I PE S
Add stripes of Tarragon. Highlight with Sea Grass
strokes. Add Carbon Black dots.
TR I M
Dry-brush the edge of the trim with Rosewood or
Russet with lighter values of Tiger Lily+Yellow Oxide
or Tiger Lily+Yellow Oxide+Unbleached Titanium.
FI NI SH I NG
When the painting is dry, apply three or four coats
of Jo Sonjas Water Based Polyurethane Satin Varnish
following the manufacturers instructions.
ACRYLIC

affx two frst-class stamps to a #10 SASE and send to:
Attn: WILD CURRANTS
ISSUE 2 - 2012
393 N. McLean Blvd.
Wichita, KS 67203-5968.
artists sketch
Jo Sonja Jansen MDA is a self-taught artist who began painting with oils in her teens, which is when she won her
rst art contest. She took up painting again in adulthood, this time infusing her Norwegian, Penn Dutch, English, and
Spanish heritage into her folk art style of painting. She became a Master Decorative Artist in 1974, received SDPs
Silver Palette Award in 1980, and was awarded the Vesterheim Gold Medal in Rosemaling from the Vesterheim
Norwegian-American Museum in 1996. In 2007 she received SDPs Presidents Commendation Award. Jo Sonja
has been a member of SDP since 1974. Following almost forty years of active teaching, research, and personal
painting, she now enjoys a small place of business in a coastal Victorian town in northern California, among the
giant redwoods. You may write to Jo Sonja at 2136 Third St., Eureka, CA 95501 or email FOLKART@JOSONJA.COM. Visit her website
at JOSONJA.COM.
24
ACRYLIC
25
MIXED
MEDIA
Painters Checklist
SURFACE
14.25" x 9.5" (36.2 x 24.13cm)
wooden plaque
PALETTE
JO SONJAS ARTISTS COLOURS
Carbon Black
Poppy
Husk
Sea Swirl
Island Sand
Shamrock
Mulled Rose
Sunfower
Olive Branch
JO SONJAS METALLIC COLOURS
Opal Dust
PRISMACOLOR PREMIER
COLORED PENCILS
Black
Poppy Red
Crimson Lake
Pumpkin Orange
Indigo Blue
Slate Grey
Moss Green
BRUSHES
JO SONJAS SURE TOUCH
Series 1350 no. 3 round
Series 1370 no. 12 fat
Series 1375 " square wash
Series 1385 no. 8 flbert
MISCELLANEOUS
2"or 3" fat bristle
SUPPLIES
Jo Sonjas All Purpose Sealer
Jo Sonjas Magic Mix Medium
Jo Sonjas Polyurethane Matte Varnish
Krylon no. 1306 Workable Fixatif
Spattering tool
Wood glue
SOURCES
Layered Scroll Plaque, colored pencils
and other various supplies available from:
Erika Joanne Designs, P.O. Box 630,
Manchester, WA 98366; (360) 769-8870;
or erikajoanne.com.
28
n this Paint & Pencil angel design well be using my

two favorite mediumsacrylics and colored pencils.
Te acrylics ofer an opaque foundation, and the colored
pencils are used to create the detail. Tis project is perfect
for introducing the beginning student to these two very
diferent mediums. Anyone can do this!
MIXED
STEP-BY-STEP
STEP 1
STEP 2
STEP 1
STEP 3
STEP 2
STEP 3
STEP
1
STEP 1
STEP
2
STEP 2
STEP 3
STEP
3
STEP 1
STEP 2
STEP 3
29
MEDIA
MIXED
MEDIA
PR E PA R ATION
Seal each of the wood pieces with Jo Sonjas All Purpose Sealer; let
dry and sand lightly. On the main board, basecoat the middle square
design area with Husk. Basecoat the rest of the main board, including
the back, with Carbon Black. Basecoat the laser scroll frame with Olive
Branchand the scrolled sections of the frame with Island Sand. Allow all
painted areas to dry.
Transfer the main outlines of the clouds, angel, birds, tulip, earth,
and trees, using gray graphite paper and your stylus.
Following the design outlines, basecoat the angels face, neck, and
hands with Mulled Rose. Basecoat her hair, the yellow parts of the tulip,
and the yellow felds with Sunfower. Next, basecoat the angels sleeves,
bottom of her dress, and brown felds with Olive Branch. Basecoat the
clouds, birds bodies, swirl section of the angels dress, and blue area of
the tulip with Sea Swirl. Using Poppy, basecoat the red section of the
angels dress, red petals on the tulip, and the red felds. Basecoat the tulip
leaves, green felds, and each tree with Shamrock. Use Carbon Blackto
basecoat the angels eyes and the checkers on her dress. Finally, basecoat
the birds wings and tails and the angels wings with Island Sand. Use
the no. 3 round to line the stripes on the angels sleeves and the bottom
of her dress with Island Sand. Allow all basecoating to dry thoroughly.
All dots and glitter will be done later.
Next, lightly sand the basecoat layer with fne sandpaper to remove
any bumps or ridges. Touch up basecoat paint if needed. Ten lightly
transfer the rest of the details of the design, using a stylus and either gray
or white graphite paper, depending on the area.
COLOR E D PE NCIL PA I NTI NG TI PS

It is very important to always keep your colored pencils sharp; be sure
to make liberal use of your pencil sharpener. Your details will sufer with
a dull pencil, especially when lining. Place a scrap of tracing paper under
your hand as you draw to protect the painting from oils in your skin. Use a
2" to 3" fat brush to sweep away pencil crumbs and dust periodically.
As you work in each area, refer to the step-by-step worksheetand
graphics to help you in the placement of the detail. Shading with a pencil is similar to foating color with a brush. In this design, most of the
colored pencil work is done in single layers. Tis means only one pencil
color was used to create the shaded efect in each area.
A wash of color is an even layer of pencil using very light pressure. To
shade, wash the area frst with a light layer of color. Ten use more pressure on the pencil in the darker shaded areas. As you move out, reduce
the pressure on the pencil to create the gradation of color. Go over the
area several times if needed to create the desired color and efect. Also,
turn your pencil ofen while working. When lining with the pencil, a thin
line looks more appealing than a thick line. Keep the pencil especially
sharp as you carefully line each area.
MIXED MEDIA
LET S PA I NT
PE NCI LI NG STE PS
Put your acrylic painting supplies aside and pull out
your colored pencils for these steps.
FACE, NECK , H A NDS, A ND H A I R

Use Pumpkin Orange to shade the angels hair, neck,
hands, and details on the face. Color the cheeks and lips
with an additional layer of Poppy Red.
DR E S S
Shade the angels striped sleeves and the striped section
at the bottom of the dress with Pumpkin Orange. Use Indigo Blue to shade the blue sections of the dress and Crimson Laketo shade the red section. Shade the scallops with
Slate Grey.
ANGEL WINGS, BIRDS, AND CLOUDS

Still using Slate Grey, shade the angel wings and bird
wings. Shade the bottom of each cloud and the body of
each bird with Indigo Blue. Use Pumpkin Orange to shade
the birds beaks.
TULI P
Shade the tips of the leaves and base of the fower
with Moss Green. Shade the red petals with Crimson Red, the
yellow area with Pumpkin
Orange, and the blue area
with Indigo Blue.
31
MIXED
MEDIA
H ILLS A ND TR E E S
Use Moss Green to shade the trees and the green felds
on each hill. Shade the red felds with Crimson Lakeand
the brown felds with Black. Use Pumpkin Orange to shade
the yellow felds and Slate Grey to shade the tan felds.
DETA I LS
Line all the details of the design with the Black colored
pencil. Make sure your pencil is sharp and your lines are
thin. Also, black has strong pigment, so be very careful not
to smear the lines as you work.
Use a no. 3 round brush to add the comma-strokes
to the sides of the frame with Island Sand paint (mix the
paint with a bit of Jo Sonjas Magic Mix for better fow of
the strokes). Use a stylus tip to add dots to each commastroke design, clouds, wings, tulip, scallops, and the swirls
on the dress, and highlights to the angels eyes, still using
Island Sand paint. Add the red dots to the yellow felds
with Poppypaint, and the black dots to the angel wings,
hair, and the feathers on top of each birds head with Carbon Black. Once the dots are dry, go back and lightly shade
over the dots on the clouds and the swirl section of the
dress with the Slate Greycolored pencil.

Add a touch of glitter to the design by repeating dots
of Opal Dust with the tip of a stylus over all the dots except the ones on the clouds and the felds. Also, use a no. 3
round brush toapply Opal Dust over the comma-strokes
and the swirl sections on the wood frame piece. Ten
lightly spatter the design with an old toothbrush and Carbon Black, avoiding the angels face.
FI NI SH I NG
Use wood glue to carefully glue the frame to the board.
Allow glue to set for an hour or two.
Lightly spray the piece with four light coats of Krylon
Fixatif, changing direction with each coat and drying
in between; this will protect your work and remove any
wax bloom that might have developed. Wax bloom is
wax from the colored pencils rising to the surface, creating a dull look. No worries, though, because a simple
coat of Krylon Fixatif does the trick to clear it up. When
your painting is completely dry and set, you can apply
a few coats of the matte varnish. To display, prop your
fnished plaque on an easel. Lovely!
On He a li ng Wing s i nt r o d uc e s b e gi nn e r s to
c om bi n i n g tw o m e d i u m s
a cr yli cs a nd c o l o r e d pe n c il s
wi th ce l e s t i a l r e s u l ts .
artists sketch
Erika Joanne has been a member of SDP since 1999. Her design work encompasses a wide range of styles
and subject matter, from lifelike realism to the whimsical and purely imaginative. Erikas Paint & Pencil line
of design packets, which successfully combines colored pencil and acrylic paint with unique results, and her
fanciful new Signature Nutcracker line can both be seen on her website at ERIKAJOANNE.COM. Be sure to sign up
for her free newsletter when you visit. She also gives SDP members a special discount through her website; enter
the code LUVSDP when ordering. You may contact Erika at ERIKA@ERIKAJOANNE.COM, (360) 769-8870, or Erika
Joanne Designs, P.O. Box 630, Manchester, WA 98353.
MIXED

affx two frst-class stamps to a
#10 SASE and send to:
Attn: ON HEALING WINGS
ISSUE 2 - 2012
393 N. McLean Blvd.
Wichita, KS 67203-5968.

33
MEDIA
SKILLBUILDER
Design to Surface
Transfer
Photos by Vicki Alley tda
Painters Checklist
SURFACE
Basecoated surface
SUPPLIES
Graphite paper
Mechanical pencil or pen
Painters tape
Photocopy of design
Stylus
Tracing paper
SOURCES
Projects from The Decorative Painter;
or decorativepainter.org.
ransferring an accurate design to any surface is easy.

Most projects require that the surface is basecoated prior to
applying the design.
Begin by photocopying or printing the design to the actual size needed for the painting surface. Lay the design on a
fat surface, such as a table. Some artists fnd it helpful to use a
light box or a window. Tape all four edges of the design to the
fat surface so that it will not move during the tracing process.
During the painting process, it may be necessary to retrace lines lost under paint. Simply realign the pattern over
the surface, tape it down, insert the graphite paper, and with
the stylus retrace the necessary lines.
SKILLBUILDER
STEP-BY-STEP
STEP 1
STEP 2
STEP 3
STEP 4
Lay the tracing paper over the design. Tape the tracing paper down
on at least two sides so that it will
not move.
Using a mechanical pencil or pen,

trace all lines of the design onto
the tracing paper. Be as accurate
as possible. Before removing the
tracing paper, double-check that
all lines have been traced.
Position the traced pattern on the

surface that you will paint. Make
sure to align the pattern in the
exact position desired. Tape the
tracing pattern down on at least
two sides.
With the graphite side down (facing

the surface), slide the graphite paper
between the pattern and the surface.
STEP 5
STEP 6
STEP 7
STEP 1
Be sure to use a graphite color

that will work on your basecoat
white for dark basecoats and dark
for light basecoats. Make sure that
the graphite sheet is large enough
to handle the entire pattern.
Using the small end of the stylus,

re-trace the pattern so that it transfers to the painting surface.
As you trace, lift up the pattern

and graphite occasionally (without
losing its position on the surface)
to ensure that the pattern is easily
visible on the surface. If the lines
are hard to see use additional pressure as you trace, or replace the
graphite paper with a new sheet.
After all lines have been transferred, remove the graphite paper
and put it aside. Remove the tracing paper and begin painting.
PA I NTI NG TI PS
n Refer to the Painters Checklist for supplies.
n Read all instructions before beginning the project.
n Select the color of your graphite paper so that it will
be easily seen on your basecoat color.
SPECIAL FEATURE
SKILLBUILDER
35
ACRYLIC
Photos/steve GeriG
ACRYLIC
Four
Seasons
Kitty
Tassels
RIKA MURAMATSU
cda
Make your home festive year-round

with a cat for all seasons.
ISSUE No. 3, 2013
ACRYLIC
Painters Checklist
SURFACE
Four 5" x 218" (12.7 x 5.4cm)
wooden clown head tassels and
four 6" (15.24cm) key tassels
PALETTE
Antique Rose
Hauser Dark Green
Arbor Green
Honey Brown
Buttermilk
Light Buttermilk
Country Red
Light French Blue
Cranberry Wine
Mink Tan
Dusty Rose
Moon Yellow
Eggshell
Shale Green
Flesh Tone
Soft Black
Grey Sky
DELTA CERAMCOAT ACRYLICS
Flesh Tan
Quaker Grey
BRUSHES
1
4", 38" & 12" angulars
1" fat
No. 10/0 liner
Nos. 2 & 4 rounds
SUPPLIES
400-grit sandpaper
Cotton swabs
Chalk pencil
DecoArt Easy Float
Eraser
J.W. etc. Right-Step Clear Matte Varnish
Wire or ornament hooks
SOURCES
n Clown head tassels (item no. 1850)
are available from Bear With Us, Inc.;
1331 Green Forest Ct #16, Winter Garden, FL
34787; (407) 347-5939; bearwithusinc.com;
katie@bearwithusinc.com.
n Key tassels (item no. Y134-802) are available
from World Wide Trims; (951) 639-9639;
worldwidetrims.com.
38
our kittens call my house home, so when I came across

this surface I was immediately inspired to design a
kittys face to match. I have created four seasonal images,
so you can enjoy them all year. Te design is made up of
simple lines and easy paint mixes. Have fun with this project, and proudly display your furry friends all year long!
ACRYLIC
STEP-BY-STEP
CAT FACE
STEP 1
STEP 2
STEP 3
STEP 4
HAT DECORATION
STEP 1
STEP 2
STEP 3
STEP 4
PR E PA R ATION
Sand the surfaces with 400-grit sandpaper, and then
remove any dust.
Basecoat the face of each kitten with Flesh Tan. Te
basecoats for the other details depend on the season with
which the tassel corresponds.
Te basecoats for the kittens bodies are as follows:
SPRING: Eggshell
SUMMER: Grey Sky
FALL: Flesh Tan
WINTER: Country Red
HATS: Paint the trim border and the ball of the spring and
summer hats with Grey Sky, and those of the fall and winter hats with Quaker Grey. Te remainder of the hat on
the spring tassel is Eggshell, the remainder of the hats on
summer and fall are Flesh Tone, and that for the winter
tassel is Country Red.
Allow all paint to dry completely, and then transfer
the details onto the surfaces.
PA I NTI NG TI P
For solid, even basecoat coverage, load the paint to the
brushs ferrule, and then spread it evenly across the surface.
Fewer strokes will give you a better, more even coverage.
39
ACRYLIC
HAT AND BODY

SPRING
STEP 1
STEP 2
STEP 3
STEP 2
STEP 3
STEP 2
STEP 3
STEP 2
STEP 3
SUMMER
STEP 1
FALL
STEP 1
WINTER
STEP 1
40
ACRYLIC
LET S PA I NT
FACE S
All four faces are the same.
Basecoat the ear, the tip of the nose, and the
mouth with Dusty Rose on the no. 2 round. Using the
same brush, line the contour of the ear with Honey Brown.
With washy Buttermilk apply strokes in an outward direction, extending from the center of the face for the fur.
Allow this to dry completely. Clean the brush, and then
load with washy Honey Brown. Apply lines on top of the
Buttermilk, creating a variety of colors.
Te back of the head consists of fve vertical wash lines.
Sideload the 38" angular with Honey Brown, and then paint
below the hat and band.
Sideload the no. 2 round with Mink Tan, and create the
sides of the nose (near the eyes). Te area where the eye
sits is wide, while the tip of the nose is narrower.
STEP 2: Shade inside the ears with Antique Rose on the
3
8" angular. Shade on the backside of each ear with a
washy Sof Black (page 83). Using the liner brush, paint
small strokes of hair on the ears with Buttermilk. Te inside of the ear and the face are lined with Buttermilk, and
other outer areas are lined with Honey Brown.
Te whisker pads are dotted with Buttermilk using
the no. 10/0 liner. Paint small Antique Rose lines over
the nose and down the lip. Create the contour lines of
the nose and mouth with Mink Tan+Sof Black. Darken
the area under the nose with the same mix, adding a bit
more Sof Black. Basecoat the eyes with Sof Black on the
no. 2 round, and pull in the eyelashes with the same color
on the no. 10/0 liner.
STEP 3: Add a small amount of dark hair to the outer
edges of the ears and forehead with Honey Brown+Sof
Black (2:1) on the no. 10/0 liner. Use the same mix for
the back of the head. Add lighter hair to the nose and
mouth area with Light Buttermilk. Add short lines of the
same color to the insides of the ears. Te center will be
the lightest area of the face. Apply a U shape on the bottom of each iris with Arbor Green, giving the efect of
refected light. Use Mink Tan on the no. 10/0 liner to create the whiskers and eyebrows. Using the no. 10/0 liner,
apply tiny dots of Flesh Tan in the refected light area.
Te center of each iris is Light Buttermilk.
STEP 1:
the liner and create the dot petals of the fowers. Te centers of the fowers are created with the stylus using Moon
Yellow and Honey Brown. Te polka dots on the ball of the
tassel and on the trim band above the face are Flesh Tan.
STEP 1: Basecoat the cherry blossoms and buds with
Flesh Tone using the no. 2 round. Te leaves are painted
with Moon Yellow+Arbor Green.
STEP 2: Using Moon Yellow+Arbor Green on the 38" angular shade the fowers centers. Shade the leaves under
the fowers with Arbor Green+Hauser Dark Green. Te
stems are painted with the same color mix using the tip
of the no. 10/0 liner. Each fowers calyx consists of small
comma-strokes. Load the brush with Moon Yellow+Arbor
Green, tipping with Arbor Green+Hauser Dark Green.
STEP 3: Add the leaf vein, working from root to point, using Arbor Green+Hauser Dark Green on the no. 10/0 liner.
Te center dots from which the stamens extend are Arbor
Green, and the stamens are Light Buttermilk. Dots of Honey Brown and Moon Yellow complete the tips of the stamens. Te contour of each fower is Flesh Tone+Cranberry
Wine (2:1) on the " angular. Te leaf accent is a sideload
of Honey Brown. Te border design consists of commastrokes of Light Buttermilk on the no. 10/0 liner.
SUM M E R
With a sideload of Light French Blue on the " angular, paint the bottom section of the wooden tassel and the
section above the trim band. On the hat, create dots with
Buttermilk using a moist cotton swab. Te dots on the ball
and trim band are applied with Flesh Tan using the stylus.
STEP 1: Basecoat the leaves with Arbor Green. Te centers of the sunfowers are painted with Honey Brown+Sof
Black (2:1) on the no. 2 round.
STEP 2: Using the 38" angular, shade the leaves with
Hauser Dark Green, adding Flesh Tan highlights. Basecoat
the sunfowers petals with Moon Yellow.
STEP 3: Shade the sunfower petals with Honey Brown
using the " angular, and then line the veins with Hauser
Dark Green on the no. 10/0 liner. Apply the veins working from the root of the leaf to the outer edge. In the
center of the fower, paint crosshatching lines with Sof
Black. Using the stylus, add Sof Black and Buttermilk
dots between the fower petals.
DETA I LS
SPR I NG
FA LL
With a sideload of Shale Green on the " angular, paint

the bottom section of the wooden tassel and the section
above the trim band. Load Light Buttermilk on the end of
Basecoat the bottom section and the section under the

ball of the wooden tassel with Flesh Tan+Honey Brown
on the " angular. Te leaves on the hat are drawn in by
41
ACRYLIC
42
ACRYLIC
handsome are Mink Tan, and others are created with

Moon Yellow+Honey Brown using the no. 2 round. Each
leaf is painted in two strokes (see Step 1 on page 84). Apply
an Antique Rose accent to the tip of each leaf using the 38"
angular. Te vein lines are painted with Honey Brown+Sof
Black. Te trim band and ball are based with Quaker
Grey+Light Buttermilk. With the same mix on a moistened
cotton swab, dab in texture while the base is still wet. Add
more Light Buttermilk each time in order to lighten it.
STEP 1: With just two strokes per leaf, basecoat one leaf
with Mink Tan and the other with Moon Yellow+Honey
Brown on the no. 2 round. Te acorn is painted with Honey Brown+Sof Black, and the hat with Honey Brown+Sof
Black (2:1).
STEP 2: Using a no. 10/0 liner and Honey Brown+Sof
Black (2:1), paint the veins and the decorative lines and
scrolls. Te acorn is shaded with Sof Black. Highlight the
upper part of the hat just under the ball with Honey Brown.
STEP 3: With Buttermilk on the no. 10/0 liner, apply the
crosshatch lines on the end of each acorn and the highlight areas on the body of each acorn. On the end of each
yellowed leaf, add an Antique Rose accent color. Using the
handle end of the brush, add dots of Antique Rose to the
berries and the end of each vine.
WI NTE R
Shade the bottom section and the section below the
ball with Cranberry Wine using the " angular. Apply the
snowfakes in the following manner. With the chalk pencil draw 38" circles for the centers of the snowfakes here
and there, in the upper Cranberry Wine section. Add eight
Dusty Rose lines extending from the circles in eight different directions. At the end of each line add three small
Dusty Rose comma-strokes. Te dots in the centers of the
snowfakes are Flesh Tan. Te trim band and the ball follow the same technique as that of the fall tassel.
STEP 1: Basecoat the holly leaves with Arbor Green using
the no. 2 round. For the snowfake border above the bottom section, apply a chalk mark every 38". Over each mark
apply the snowfakes half-circle centers using Dusty Rose.
Te lines and comma-strokes are Dusty Rose applied with
the 10/0 liner.
STEP 2: Using the 38" angular, shade the leaves with
Hauser Dark Green, and then highlight them with Flesh
Tan. Te leaf veins, vines, and stems are lined with Hauser
Dark Green on the no. 10/0 liner.
STEP 3: With the handle end of the no. 10/0 liner, add the
Dusty Rose berries. In front of each berry (but not touching them), and on the end of each vine, add dots of Flesh
Tan using the stylus. Outline each leaf with Flesh Tan using the no. 10/0 liner. As a fnishing touch, add a Flesh Tan
dot to each snowfakes half-circle center, using the stylus.
FI NI SH I NG
Erase all visible chalk lines, and then apply two or three
coats of Right-Step Clear Matte Varnish following manufacturers instructions. Allow each coat of varnish to dry
before applying the next.
Tread the end of the suspension cord of the fabric tassel through the center of the wooden tassel. Attach wire or
ornament hook, and it is ready to hang.
Enjoy your new decorations all year long!
artists sketch
Rika Muramatsu CDA began painting in 1990 and spent many years in the United States studying painting
techniques and design theory. She joined SDP in 1994. Rika earned her CDA in 1999, Master Stroke in 2000,
and Master Floral in 2005. Rikas painting style is known to consist of soft colors and designs, and her pieces
have been showcased internationally in painting magazines. She teaches mostly in Ginza-Soleil, Vogue Gakuen
in Tokyo, Japan, but is also a travel-teacher. She has studied acrylic and oil in Nagoya, Osaka, Japan and in
Taiwan. You may contact Rika by mail at 4-10-58 Megurita-cho Higashimurayama Tokyo, Japan 189-0025; visit
her website at PAISIBLE.HOBBY.LIFE.CO.JP; or email her at RIKA@PAISIBLE.HOBBY.LIFE.CO.JP.
43
ACRYLIC
For a free design at actual size, affx two frst-class stamps to a #10 SASE and send to:
Attn.: FOUR SEASONS KITTY TASSELS
ISSUE 3 - 2013
393 N. McLean Blvd.
Wichita, KS 67203-5968.
44
SKILLBUILDER
Brushstroke
Studio
Part I
MAUREEN MCNAUGHTON GOURZONG
cda , tda
Featuring the Pressure Stroke: Straight and Curved
ISSUE No. 1, 2014

45
SKILLBUILDER
L
Painters Checklist
SURFACE
Use any practice surface you would like.
PALETTE
Banana Cream
Butterscotch
Grape Juice
Green Tea
Honey Brown
Light Avocado
Lilac
Pansy Lavender
Pineapple
White Wash
BRUSHES
MAUREEN McNAUGHTON BRUSHES
No. 5/0 liner
No. 4 round
SUPPLIES
DecoArt Easy Float
Distilled water
Wet palette
SOURCE
Maureen McNaughtons brushes
are available at Pamered Palette
(703) 754-8141 www.pamperedpalette.com.
46
n
Q
earning brushstrokes will help every facet of your

decorative painting techniques. It teaches you brush
control, fow, and rhythm. I invite you to join me in this series
of articles, where we will study strokework step-by-step together. I will introduce one or two brushstrokes in each issue,
starting with the easier round brushstrokes, and working up
to the more difcult ones as we progress. Practicing will be
even more rewarding with the small project Ill include.
Paint consistency, brush loading, and stroke refnement will be explained fully in this frst column but will
not be repeated. It is advisable to keep this issue handy in
the future. Also, I encourage you to keep Issue #4, 2012, at
hand to refer to my article, Strokework, (pages 113118),
for even more information.
To achieve the shape of the stroke and the sof streaks
within, it is of utmost importance that the acrylic is fresh.
I encourage you to use a wet palette, which dramatically increases the open time of the paint. Make an extender with
distilled water and DecoArt Easy Float (3:1). Mix just one
drop of extender in a 1" (2.5cm) puddle of acrylic paint. Note
how the paint blends together beautifully and the stroke
glides more smoothly. When needed, add additional drops
of extender to make thicker paints the same viscosity as the
other colors used in the study.
LOA DI NG TH E ROUND BRUSH

Dampen the brush and then remove all traces of water
from the ferrule by tapping it on the edge of the brush basin. Blot water from the bristles with dry sof paper towel.
Pull color out from the edge of the puddle, making a loading zone that is twice the length of the brush. Press frmly
and open the brush so there are no paint-starved bristles
inside, which would prevent the brush from opening fully
in the stroke. Tis process will fatten the brush. Return it
to a round shape by gently stroking all sides through the
loading zone with no pressure. Watch that your loading
zone is not too juicy, as too much paint will cause ridges
along the outer edges of your strokes.
Scrape all sides of the outer tip along the sharp edge of
the palette to remove paint. Tis makes bare bristles that will
grab the tipping color. With the handle pointed straight up,
dip and swirl the tip into a contrasting hue. Gently tap all
sides of the tip on the palette to remove excess paint and reshape the brush.
SKILLBUILDER
LOA DI NG TH E LI NE R
Tinner paint is required when using the liner. Dip the brush tip into
extender and brush-mix it with the color as you load the complete length of
the brush. Make a sharp point by scraping the paint of the tip along the sharp
edge of your palette. Tis method of loading will produce many ultrafne lines
as the diluted color feeds down to the point of the brush.
HOLDI NG TH E BRUSH
Position your fngers on the ferrule as loosely as possible. Point the handle up
to the ceiling. It is tempting to hold it of to one side, but this wont allow the brush
tip to pull through the middle, resulting in a deformed stroke. Rest the forearm but
lif the wrist of the surface. Use your pinky fnger for support or put the other hand
under the wrist, like a bridge. Sometimes we have a death grip on the brush, which
prevents it from opening. If this happens, try clenching the other hand as you pull
the stroke.
TH E PE R FECTLY TI PPE D STROKE

Te tipping color is pure at the beginning of the stroke. As you apply pressure, the
brush tip opens as it rakes the tipping color through the stroke. Tis produces the sof
streaks. In the middle third of the stroke, the streaks become a middle value as the tipping color blends with the loading color. Te hue will be closer to the loading color by
the end of the stroke, but note that there is still tipping color on the brush. Wipe of the
residual tipping color onto dry sof paper towel. Reload, as described above, for the
next stroke. No need to wash the brush until you change colors.
R E FI NI NG TH E STROKE
Not all strokes turn out exactly as we would like. Remember that you can
go over any stroke a second time, once it is dry. Background color can reshape a stroke. Also, you can fx or refne the stroke and the values within
it with the liner as follows:
When the stroke is completely dry, refne any coarse streaks in the
middle with fne lines using a brush-mix of the two hues.
If the tipping color did not carry far enough into the stroke or is uneven,
pull lines of tipping color in that area.
If required, pull fne lines of loading color in from where the stroke fnished.
Ideally, we need three values in the stroke to create form. In the refning process, ensure that the values gradually weave together to create the
same sof, streaky efect as would happen in a perfect stroke.
PR E S SUR E STROKE
Tis is the ideal stroke to begin the learning process. It teaches you how
to press down to open the brush and release pressure as you pull to taper the
shape. Determine the easiest direction for you to pull the stroketoward you,
away from you, or from side-to-side.
We ofen use a number of strokes to create a shape, such as for the leaves in
this project. Always allow one stroke to dry before pulling in the adjacent stroke.
Tis prevents a ridge of paint from forming between the strokes.
SKILLBUILDER
STR A IG HT PR E S SUR E STROKE
STEP 1
Lay the brush down, hesitating to allow the brush to open.
STEP 2
Pull the brush in a straight path, releasing pressure to taper the
stroke as the brush moves along its course.
STEP 3
The brush should be up on the bristle tips at the end of the stroke.
STEP 4
Lift the brush off the surface.
48
SKILLBUILDER
CURVE D PR E S SUR E STROKE
STEP 1
Lay the brush down, hesitating to allow the brush to open.
STEP 2
Pull the brush in a curved path, releasing pressure to taper the
stroke as the brush moves along its course.
STEP 3
The brush should be up on the bristle tips at the end of the stroke.
STEP 4
Lift the brush off the surface.
49
SKILLBUILDER
VIOLAS
STEP-BY-STEP
STEP 1
STEP 2
STEP 3
STEP 4
Load the no. 4 round in Green Tea; tip in Light Avocado. Form the leaf
with pressure strokes pulled into the center vein.
Pull many fne lines of Pineapple

out from the center vein with the
no. 5/0 liner.
Use the no. 5/0 liner to pull in a

center vein with Pansy Lavender.
Pull a curved line in each stroke
with a brush-mix of Butterscotch
+Banana Cream.
STEP 1
STEP 3
STEP 4
STEP 2
Form petals with short pressure Pull long Lilac lines out from the
strokes pulled into the fower center. fower center with the no. 5/0
Load the no. 4 round in Lilac. Tip in liner.
Pansy Lavender for light petals and
in Grape Juice for dark petals.
STEP 1
STEP 2
Load the no. 4 round in Lilac. Tip

in Pansy Lavender for top light
petals and in Grape Juice for top
dark petals.
50
Follow with shorter Pineapple Use a stylus to dot Butterscotch

lines.
centers. Use the liner tip to dot
White Wash pollen.
STEP 3
STEP 4
Load the no. 4 round in Honey

Brown; tip in Banana Cream for
the curved pressure stroke forming the side petals.
Form the lower petal with two Use the no. 5/0 liner to pull many
straight pressure strokes pulled into fne lines of loading color on each
the center. Load the no. 4 round in stroke, out from the fower center.
Pineapple; tip in Butterscotch. Allow
the frst stroke to dry before pulling in the second.
SKILLBUILDER
STEP 5
STEP 6
Use the no. 5/0 liner to form the

green center with fne Light Avocado lines pulled down from one
point into the lower petal.
Pull in the Grape Juice lines on the
side and lower petals.
2
1
STEP 7
Form the bud with two pressure

strokes pulled to the stem. Load the
no. 4 round in Lilac. Tip in Pansy
Lavender for the frst stroke and in
Grape Juice for the second stroke.
Use the no. 5/0 liner to pull Lilac
lines out from the stem on the second
stroke. Brush-mix Green Tea+Light
Avocado for the stems and curved
calyx. Accent the calyx with a Pineapple line.
Pull in the tendril with a brush-mix of

Lilac+Pansy Lavender.
Use the no. 5/0 liner to darken the top
half of the green center with shorter
Grape Juice lines.
Frame the center opening in the lower
petal with two bold White Wash lines
pulled down from the top.

affx two frst-class stamps to a #10 SASE
and send to:
Attn: BRUSHSTROKE STUDIO PART I
ISSUE 1 - 2014
393 N. McLean Blvd.
Wichita, KS 67203-5968.
artists sketch
Maureen McNaughton Gourzong CDA, TDA began her teaching career in Canada in 1974, and was teaching
internationally by 1980. She became an SDP member in 1985, a CDA in 1988, and passed the Master Stroke
in 1991. In 1999, Maureen was appointed to the SDP Excellence in Teaching Task Force, and she has written
numerous articles for The Decorative Painter. You can email her at MAUREEN@MAUREENMCNAUGHTON.COM, or visit her
website at MAUREENMCNAUGHTON.COM.
51

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