Donna

Transcription

Donna

9407R_Basic: 9407R_Basic
9/8/10
5:15 PM
Page 1
DECORATIVE
PAINTING #9407RD
UPDATED
BAS
ASIIC STROKES WORKBOOK
BY DONNA DEWBERRY
An Updated Guide to One-Stroke Technique
BY PLAID
®
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Page 2
Learning the Basics is the Foundation of the
One-Stroke Technique
This book is intended to teach you how to use FolkArt¤ paints and the various sizes of One-Stroke
brushes to create the beautiful One-Stroke flowers, fruits, birds, and bees. Once you know how to load the
brush and have mastered the various strokes, you can use that knowledge to paint a flower or an entire
bouquet.
The step-by-step photos show how to use each brush to create your favorite flowers and leaves. These
techniques can be used with any size brush to create small to large flowers and leaves. The Painting
Worksheets show each stroke you need to master, but even more useful, is the fact that they are the exact
size as I painted them. For example, if the instructions say to load the 3/4" flat brush, the Worksheets
show exactly the size stroke that the 3/4" flat brush makes. You can put a piece of plastic on top of these
worksheets and practice making these exact strokes. You can master these techniques faster this way and
know exactly what size flower or leaf each brush can create.
M EET THE A RTIST
Donna Dewberry
One-Stroke Certification
Donna Dewberry has been involved
with arts and crafts all of her married life
– over 25 years. After many evenings of
painting at her dining room table, she
developed a technique for stress-free
painting that became the basis for the One
Stroke™ technique and her series of One
Stroke™ painting books.
Donna has kept the vision of the important basic things needed for a happy and
successful life – her family, her religion,
and her painting. It’s true in painting, as
well, that there are some very important
basic techniques that every painter needs
to know for success. So this book is a
basic review of the strokes Donna uses to
accomplish her One-Stroke Technique.
For information on Donna’s three-andhalf-day seminar, where she teaches her
painting techniques as well as how to
start a business in decorative painting and
provides tips for being a good teacher,
how to demo in stores, and how to get
your painting published, contact her one
of these ways:
Need technical assistance using a Plaid product? Can’t find a particular product at a
retailer near you? Our Consumer Advisory Team can help. Give them a call at 1-800842-4197. You can also contact us on line at www.plaidonline.com. While you’re
there, check out the great crafting ideas, information on Plaid products, and keep up
with the latest crafting news.
•By mail:
Dewberry Designs
125C Robin Road
Altamonte Springs, FL 32701
•By phone:
407-260-2508
•By fax:
407-831-0658
•On the Web:
www.onestroke.com (certification and
seminar information)
www.thestrokingedge.com (complete
One-Stroke resource)
•By e-mail:
dewberry@magicnet.net
Disclaimer: The information in this instruction book is presented in good faith, but no warranty is given, nor results guaranteed, nor is
freedom from any patent to be inferred. Since we have no control over physical conditions surrounding the application of information
herein contained, Plaid Enterprises, Inc. disclaims any liability for untoward results.
IMPORTANT: Please be sure to thoroughly read the instructions for all products used to complete projects in this book, paying particular
attention to all cautions and warnings shown for that product to ensure their proper
and safe use.
PLAID ENTERPRISES, INC.
Copyright: All Rights Reserved. No part of this book may be reproduced in any
form without permission in writing, except by reviewer, who may in reviewing this
publication, quote brief passages in a magazine or newspaper.
2
NORCROSS, GA 30092-3500
www.plaidonline.com
Printed in U.S.A.
©2000, Plaid Enterprises, Inc.
4th Printing 8/01
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Page 3
One Stroke“ Supplies
FolkArt Paints
¤
The FolkArt® family of paints makes painting fun and easy. The qualities such as blendability, smooth flow, and quick drying make the paint perfect for the One-Stroke technique.
Because FolkArt® paints are acrylic-based, cleanup is easy with soap and water.
FolkArt® Acrylic Colors are high quality bottle acrylic paints. Their rich and
creamy formulation and long open time make them perfect for decorative painting.
They are offered in a huge range of wonderful, pre-mixed colors and in gleaming metallic shades. Cleanup is easy with soap and water.
FolkArt® Artists’ Pigments™ are pure colors that are perfect for mixing your own
shades. Their intense colors and creamy consistency are wonderful for blending, shading, and highlighting. When used with mediums they work much like oils.
FolkArt® Sparkles™ are paints that add subtle iridescence or bright shimmer. They
are available in a variety of bright and subtle colors.
FolkArt¤ Mediums
FolkArt® Floating Medium #868 helps paint flow more smoothly, thus aiding your
brush strokes. It should be used when you are painting on any surface that is not sleek.
It is especially helpful when painting on walls. Use this medium for painting shadows or
for watercolor effects.
FolkArt® Glass & Tile Medium #869 gives more tooth to non-porous surfaces and
increases the durability of paint on glass, tile, and tin. Use it to undercoat the design
(unless you’re painting on etched glass; then an undercoat isn’t necessary) and as a sealer.
FolkArt® Textile Medium is mixed with paint to create a permanent, washable
bond with fabric.
FolkArt¤ One Stroke“ Brushes
With Donna Dewberry’s easy One Stroke™ techniques, three brushes are all that are
needed to create all the various designs – a flat, a scruffy and a liner. You can paint
home accessories such as boxes, flowerpots, and small furniture pieces with the standard-size brushes. Tiny projects such as watches and mini boxes can be painted with
the Mini Brushes; and large wall murals can be painted with the Large Size brushes.
Standard-size Brushes:
3/4" flat #1176
Scruffy Brush #1172
Brush Set #1171 includes a 3/4" flat, #12 flat, and #2 script liner. Brush Set #1177
includes a #8 flat and a #10 flat.
Large-size Brushes:
Specially made for painting large designs on furniture and walls.
1" flat #1184
1-1/2" flat #1189
Large Scruffy Brush #1190
Mini Brushes:
Mini Scruffy Brush #1174
Mini Set #1173 includes a #6 flat, a #2 flat, and a #1 script liner.
Sponge painters #1195:
Die cut sponges made for basecoating, sponging, or stenciling.
Reusable Teaching Guides
Optional: Use these unique laminated worksheets to practice your strokes. To learn
and practice, paint right on top of the illustrations and follow the strokes, then wipe
clean and paint again! The blank Reusable Teaching Guide is a great way to practice
once you’ve mastered the strokes with the illustrated guides.
Miscellaneous Supplies
FolkArt¤ Finishes
I like clear, non-yellowing spray sealers best, so when I want a matte finish I use
FolkArt® ClearCote™ Matte Acrylic Sealer. For a glossy finish, I use FolkArt®
ClearCote™ Hi-Shine Glaze. (A spray sealer is especially suitable for metal surfaces, to
eliminate the chance of streaking.)
On wood and other porous surfaces, a brush-on waterbase varnish, such as FolkArt®
Artist’s Varnish, can be used. Artist’s Varnish is available in 2 oz., 4 oz., and 8 oz. bottles in gloss, satin, and matte sheens.
Designs on glass can be sealed with FolkArt® Glass & Tile Medium.
3
Tracing paper, for tracing patterns from
the pattern sheet
Transfer paper and stylus, for transferring patterns
Brush Plus® Brush Cleaner, for cleaning brushes
Brush Basin®, for rinsing brushes
Paper towels, for blotting brushes ❑
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Page 4
U SING A FLAT BRUSH
The flat brushes are the most-used brushes. They are the
brushes that are used to paint the majority of the elements of
the design. You will paint the flowers, fruit, leaves, and
branches with the flat brushes. The One-Stroke flat brushes
are available in the following sizes: #2 and #6 (mini); #12 and
3/4" (standard); 1" and 1-1/2" flat (large size).
Chisel edge
Bristle
Ferrule
Handle
Double Loading A Flat Brush
This technique is used for the standard size brushes and the large size brushes.
1. Wet your brush and gently tap on a
paper towel to remove excess water.
Pick up paint by dipping one corner of
the brush in one color.
2. Dip the opposite corner of the brush in
another color. This will form triangles at
each corner of the brush.
3. Stroke brush back and forth on a clean
spot on your palette to blend the paint.
Triple Loading
4. Flip brush over to the other side and
push it away from you, blending on the
same spot on the palette. Be sure to
keep the colors in the same spot on the
blending area of the palette.
5. Notice how a correctly loaded and
blended brush should look. The paint
fills the brush 3/4ths of the way up the
brush, but does not get into the ferrule
of the brush. When brush is loaded correctly, your strokes should feel as
though the bristles glide. If the brush is
coarse or splits, you do not have enough
paint on the brush. Reload the brush as
needed, but do not blend on the palette
after each reload or your paint will start
to become muddy in your brush, with
the colors blending together.
4
To add a third color to brush, first
double load as instructed. If your
third color is a light shade, load that
color on the light side of brush. If it
is a dark shade, pick up on dark
side of brush.
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Page 5
U SING A FLAT BRUSH
Floating
Floating Medium added to the brush will
make the paint glide easier on the surface and create the proper consistency
for the paint. Using it will help keep your
brush moist.
1. Dip your loaded brush into the Floating
Medium every third or fourth stroke.
2. Stroke into the blending area on your
palette to blend.
Double Loading the Mini Brushes
This side-loading technique is used when
loading the #2, #6, #8 and #10 brushes.
Because the mini brushes are so narrow,
they can’t be loaded like the standard
and large brushes.
1. Dampen the brush and blot on paper
towel to dry. Dip the entire bristle section of brush into the darker paint puddle. Pull brush out of puddle to smooth
paint into bristles.
Side Loading Brushes
The standard and larger brushes can be
side-loaded by pulling the edge into the
third color.
Scruffy
brush
1-1/2" flat
1" flat
Not actual size
5
2. Pull one edge of the brush along the
edge of the lighter paint puddle.
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Page 6
U SING A FLAT BRUSH
Painting Rosebuds
See the Roses Worksheet on pages 8 & 9. Various size brushes will make roses of different sizes. The worksheet shows the size
roses that can be made with the #12 flat brush and the 3/4" flat brush.
1. Determine the width of the
rose bud by making 2 parallel lines to use as your
guidelines. Double or triple
load your brush with a dark
color and a highlight color
(white or yellow).
2. Position the brush so that
the light color of paint is at
the right side of brush.
Make the top of the bud
first. Position the chisel
edge of the brush at the left
guideline.
3. Pull brush into a curve, ending at the opposite guideline
with the brush up on the
chisel edge.
4. Make the lower “U”-shaped
section of the bud by starting on the chisel at the left
guideline.
5. Pull brush in a curve to
opposite guideline, ending
on the chisel edge of the
brush. Make another layer
of the bottom stroke, positioning stroke just slightly
lower than the first.
6. To make the calyx, double
load the same flat brush
with your leaf color and
highlight color. Start with
the chisel edge at the base
of the bud.
7. Lean and pull the brush
and lead with the lighter
edge of brush as you pull
stroke along side of bud.
Do not bend the wrist, but
pull arm.
8. End the calyx on the chisel
edge as you lift the edge of
brush.
Painting Roses
1. Double or triple load your brush. Make one shell-shaped
petal of the rose at a time. Start stroke with the lighter colors
to the outside.
2. Wiggle and pull the brush as you pivot the brush into a
curve. You will have a slightly scalloped outer edge.
continued on next page
6
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Page 7
PAINTING R OSES
3. End the stroke on the chisel edge to
complete the first petal.
4. Make some guideline dots in a circle to
help you determine the positioning of
the five outer petals. Overlap each petal
onto the previous one.
5. Paint the five shell-shaped petals to
complete the outer skirt of the rose.
6. Next, paint a rose bud in the center of
these outer petals. Make the top part of
the bud, overlapping it onto outer petal
#1.
7. Next, paint the bottom stroke of the
rose bud.
8. To begin painting the inner row of
petals, touch the brush at the right of
the rose bud. Make another shellshaped petal here.
9. Make another shell-shaped petal on the
left side of the rose bud.
10.Continue adding the shell-shaped
petals below the bud until you have
painted four petals.
11.Clean up the bottom of the bud by restroking over the bottom stroke.
12. Paint a comma stroke on each side of
the bud, ending on the chisel.
13. Make a comma stroke just under the
bud for the last petal of the rose.
7
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Page 8
Push, wiggle, and slide to
create the shell-shaped petal.
ROSE W ORKSHEET
1
sta
rt
d
en
2
5
3
4
Place bud in
center of outer
skirt of rose.
Smaller rose made with a #12 flat brush.
Load #12 brush with Berry Wine and Wicker White
To finish, paint comma
strokes in center.
2nd layer of skirt
Rose Bud
Use 3/4" flat brush
loaded with Berry Wine
and Wicker White.
Push, wiggle, and slide to create the shell-shaped petal.
1
start
start
end
Make top of
bud first.
start
end
2
Large rose made with 3/4" flat brush.
Load brush with Berry Wine and Wicker White.
end
1
Make
bottom
stroke to
complete
bud.
Make 5 petals
for outer skirt.
Make 4 petals for second
row of shell-shaped petals.
5
1
2
Re-stroke bottom
of rose bud to
clean up before
adding comma
strokes.
2
4
3
4
3
Finish center by making three
comma strokes at each side
and below bud.
Daisy
start
Push
and lift
to complete
petal
end
8
Load #12 flat brush with Wicker White
Pounce center
with a small
scruffy brush
that is loaded
with Green
Forest and
School Bus
Yellow.
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Pansy
Page 9
ROSE & PANSY W ORKSHEET
Wiggle
1
1
start
3
2
end
4
Load 3/4" flat brush
with Dioxazine Purple
and wicker White.
5
Individual
petals
Bottom Petals
Make 5 overlapping
petals
rt
end
sta
Load #12 brush
with Thicket
and School Bus
Yellow.
Make these on
the chisel end of
brush.
touch and slide
Load 3/4" flat with Dioxazine Purple and Sch. Bus Yellow.
Dot School Bus Yellow with handle for center.
Calyx
Rose Bud
start
end
Load #12 flat brush with Thicket
and Sunflower. Using chisel edge,
touch, lean, and slide.
Stem
Touch and pull
down on the
chisel edge
Completed Rose
9
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Page 10
U SING A FLAT BRUSH
Painting a Pansy
See Rose & Pansy Worksheet
Paint individual shell-shaped petals using a
flat brush loaded with Dioxazine Purple
and Wicker White. Start at left side of
petal. Pull brush in a curve as you wiggle.
End on chisel.
Make 5 overlapping shell-shaped petals.
Add individual teardrop-shaped petals at
bottom of pansy. See the next three steps
for instructions on making the teardrop
petals.
Making Teardrop Petals
Load the flat brush with Dioxazine Purple
and School Bus Yellow. Touch chisel edge
of brush.
Pull the brush into a curve.
End brush on the chisel edge.
Painting the One-Stroke Leaf
See Leaves, Greenery, & Wisteria Worksheet.
Load the flat brush with Thicket and
Sunflower. Start by touching flat side of
brush.
Push brush down and pivot, turning green
side slightly toward tip.
10
As you get close to end of leaf, pull up on
chisel edge at tip.
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Page 11
U SING A FLAT BRUSH
Painting a Heart-Shaped Leaf
Load a flat brush with Thicket and
Sunflower. Make guidelines in a “v” to
help keep the top of your leaf even.
Begin at one guideline with the flat side of
the brush. Have the green side of brush to
the outside. Touch down with brush.
Push and wiggle the stroke.
Begin turning brush as you get to tip.
Turn and slide as you pull brush up to
chisel edge.
Make both sides of leaf in this same way.
To make a turned edge on leaf: Begin
making leaf in the same way, as you get to
middle of leaf, pull brush up to chisel.
Twist brush 180˚ and flip to other side.
Pull down to tip and end of chisel edge.
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Page 12
U SING A FLAT BRUSH
Painting a Tulip
See Tulip & Iris Worksheet
Load flat brush with Berry Wine and
Sunflower or Wicker White. Touch brush
to surface to begin the center back petal.
Wiggle and push brush up side of petal.
Pull brush up to chisel edge at tip. When
you reach tip, do not lift brush.
Pull brush back down other side of petal
as you wiggle and push.
Make a side petal using the same technique as the center petal, however, just
make one side.
For the inside edge of the side petal, make
an “S” stroke. See the following photo
showing an “S” stroke.
Making an “S” stroke: Begin brush on
chisel, pull to flat side, twist and end on
chisel.
Painting a Tulip Leaf
See Tulip & Iris Worksheet
Load flat brush with Green
Forest and School Bus Yellow.
Touch on chisel edge to start.
Pull brush to flat edge, lean
and pull to make the long
leaf.
To make a folded leaf: Pull up
to chisel edge and slide it to
the side slightly.
12
Pull brush back down, twist
slightly, and end on chisel.
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Tulip
Page 13
TULIP& I
RISW ORKSHEET
Load 3/4" flat
brush with Berry
Wine and Wicker
White.
Tulip or Iris Bud
Push & wiggle
1
wiggle
Load 3/4" brush
with Diox. Purple
and W.White
slide
slide
Push and
wiggle
3
2
end
start
start
start
Iris
Pull strokes back
lift
start
start
5
4
slide
slide
Stem
Load 3/4" flat with Gr.
Forest and Sch. Bus
Yel.
Use chisel edge and
lead with Yellow.
Touch base of flower
and pull down to end
of stem.
Leaves
Pull
strokes
back
Center
Load #12
brush with
School Bus
Yel. and W.
White
Load 3/4" flat
with Gr.
Forest and
Sch. Bus Yel.
lift to
chisel
flip
Use chisel
edge and
lead with
White –
make downstrokes
push
push
13
Start on
chisel
end on chisel
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Page 14
U SING A FLAT BRUSH
Painting a Daisy
See Wildflowers, Butterflies, & Bees Worksheet
Load the flat brush with
School Bus Yellow OR School
Bus Yellow and Wicker
White. Touch chisel edge of
brush to surface and lean.
Pull brush towards you. Push
slightly to widen stroke. End
up on chisel and lift.
Make these teardrop strokes
in a circle to create the daisy.
Make strokes at various
angles.
Use the brush handle to dot a
center in daisy.
Painting a Thistle
Load flat brush with Dioxazine Purple
and Wicker White as shown in the first
photo. Touch chisel edge and flip brush
away from you.
Make petals that angle away from the
stem. See the second photo.
Painting a Wildflower
Paint in stem first. For flower, load brush
with Night Sky and Wicker White. Touch
chisel edge to surface, slightly above stem.
Lean brush towards you, pull and lift.
Lead with the white edge.
14
Paint a series of petals down the stem,
working strokes from left to right.
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Page 15
W ILDFLOWERS, UBTTERFLIES
, & EES
B W ORKSHEET
Butterfly
Wings: Load #12 flat with Night
Sky and Wicker White
start
Bee
Antennae & body: #2 script liner
loaded with inky Thicket
lift
start
lift
push
end
push
touch
pull
end
Body: #12 brush loaded
with Yellow Ochre
chisel edge
- pull
Dragonfly
push
Dragonfly wings: #12 brush, Wicker White
Antennae: #2 liner
loaded with inky
Night Sky
start
lift
end
touch
pull
push – lift to chisel
Body: #12 flat loaded with Night
Sky and Wicker white
Bee Wings:
load #8 flat
with
Wicker
White and a
touch of
Licorice.
Details: #2
liner loaded
with Licorice
Pink Wildflower
Center: dot with handle end
Daisy
Load #12 flat with Sch. Bus Yel. and Wicker White
touch
Tail
#2 liner loaded with
night sky
Wildflowers
Load #12 flat with Berry
Wine and Sch. Bus Yel.
Thistle
Load #12 flat with Diox.
Purple and Wicker
White on chisel edge
Load #12 flat with Night
Sky and Wicker White
pull
downward
touch
pull
downward
dab
dab
dab
Thistle
Grass
Load 3/4" flat with Thicket and Sunflower
Pull on chisel edge, leading with Sunflower
15
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Page 16
U SING A FLAT BRUSH
Painting Grass
See Wildflowers, Butterflies, and Bees Worksheet
First, load brush with Thicket and
Sunflower. Start on chisel edge.
Then pull strokes upward. Do not tilt
wrist.
Painting Vines
See Leaves, Greenery & Wisteria Worksheet #2
Load brush with Thicket and Sunflower.
Begin on chisel edge, leading with
Sunflower.
Pull brush along with arm, do not tilt
wrist. Lift at end.
Make intertwining vines by crossing over
original vine.
Painting Branches
Load brush with Burnt Umber and Wicker
White. Touch brush to surface at an angle.
Lead with light color and pull, twist,
release as you make an uneven line.
16
Release pressure and lift at end of branch.
If you run out of paint, reload and begin
slightly overlapping end of last stroke.
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Page 17
U SING THE S
CRIPT LINER
The script liner is used to paint thin vines, bows, detail lines, and other small elements. The paint is also very thin when used with
the script liner. The #2 and the #1 script liners are available within the standard and mini One Stroke brush sets.
Loading the Brush
Thin the paint with water to an inky consistency. Load brush by rolling it in the
paint puddle.
When the brush is loaded with paint,
twist and roll out of the puddle.
Painting Vines, Curlicues and Vines
The photo shows the proper way to hold
the brush. The brush is moved along on
it’s tip as you pull it along with your entire
arm.
Curlicues: These are made by pulling the
brush in spirals.
Vines: pull the brush along in an uneven
line.
Cross the vine with other lines to make an
intertwining look.
Bows: First make the two loops of the
bow.
Make the tails and add a small dot for the
knot.
17
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Page 18
U SING A SCRUFFY
BRUSH
The scruffy brush is used to pounce in background foliage, animal fur, and also to paint lilacs or wisteria. There are three sizes of
scruffy brushes available: mini, standard, and large.
Preparing the Scruffy Brush
When you take the scruffy brush from the
package, it needs to be prepared for painting. First, pounce it into the palm of your
hand to help remove sizing and fluff the
bristles.
Next, use thumb to spread the bristles.
Loading the Brush
Load 1/2 of brush into first color. Push
hard on brush and pounce into color.
Load other half of brush into second color
in the same way.
Painting Wisteria or Lilacs
See Leaves, Greenery & Wisteria Worksheets #1 and #2
Load brush with Dioxazine Purple and
Wicker White. Pounce loaded brush into a
half circle shape, with darker color on outside.
Paint a second layer by making a smaller
half circle to overlap the first one.
18
Pounce down to a point, leaning brush as
you taper to finish flower.
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Page 19
U SING A SCRUFFY BRUSH
Wisteria and heart-shaped leaves were used to
decorate this metal mailbox. See pages 20 & 21
for Worksheets showing steps how to paint the
elements of the design. See Wildflowers,
Butterflies & Bees Worksheet on page 15 showing how to paint the butterfly. See page 22 for
the actual size design that was painted on the
mailbox.
Painting Moss & Greenery
See Leaves, Greenery & Wisteria Worksheet #1
1. Load brush with Thicket, Sunflower
and a little Wicker White (optional).
Pounce an irregular half circle, with the
darker color on the outside.
2. Move across, overlapping half circles.
19
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Page 20
LEAVES, G
REENERY & WISTERIAW ORKSHEET #1
Heart-Shaped
Leaf
2
Load 3/4" flat
with Thicket &
Sunflower
1
Push,
wiggle,
turn, stop
– then
slide to
tip.
4
3
Wisteria
or Lilac
5
Load standard scruffy brush with Dioxazine Purple
and Wicker White.
Pounce overlapping half circles.
start
6
end
Lean brush on
side as you
taper
Script Liner Vines
Stem – make on
chisel edge
Load #2 liner with inky Thicket
Curlicues
One Stroke Leaf
Load #12 flat with
Thicket and
Sunflower
start
Moss
end
Stems
Pounce
make on chisel
edge, leading
with Sunflower
3
1
5
2
4
6
Load standard scruffy with Thicket, Sunflower, and Wicker White
Don’t
do this
20
Overlapping various colors can create
background greenery
Vines
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Page 21
LEAVES, G
REENERY & WISTERIAW ORKSHEET #2
Load 3/4" flat with
Thicket and Sunflower
Using chisel edge,
lead with
Sunflower, making
a loose, wavy line
Add trailing
vines by
crossing over
Steps to Painting
the Design
1. Make the main vine
to establish the flow
of the design
2. Add some trailing
vines.
3. Paint in Heart-shaped
Leaves
4. Add the smaller
One-Stroke Leaves
5. Paint in Wisteria
6. Add curlicues to
finish design.
21
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Page 22
Mailbox Design
This is an actual size painting of the
design used on the mailbox shown on
page 19. It can be used as a pattern if
desired. Simply trace the outline of the
elements and transfer to your surface.
Add additional leaves as needed.
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Page 23
U SING SPONGE
PAINTERS
Loading the Sponges
These Sponge Painters #1195 are sold in a set. They are great
for basecoating large areas, stenciling, or even painting large
design elements such as tree trunks. The smaller sponge is
used for smaller areas or tight places. The die-cut edges can be
used for specific shapes: use the square edge to make bricks;
use the rounded edge to paint curved shapes; and use the
pointed edge for things such as ears.
1. Dampen sponge with water and squeeze dry. Pull the sponge
through the paint puddle to load.
2. Double Load: Pull one side of sponge along the edge of the
second color of paint.
3. Notice how the second color is just on the edge of the
sponge.
Painting a Tree Trunk
Double load the sponge with a dark and
light color of brown. Pull the sponge along
both outside edges of the tree trunk pattern.
Be sure to push with your finger on edge of
sponge so that the darker color is applied.
Fill in center of tree trunk with the lighter
color that is loaded on sponge. Pull,
pounce, or move sponge in a circular
motion to fill in area.
Create definition in the center area of the
tree by using the double loaded sponge to
make curving lines.
Basecoating and Stenciling
The rounded edge of the sponge can be
used to basecoat along curved areas.
Large areas can be basecoated by simply
pulling or rubbing the loaded sponge on
the surface.
23
A loaded sponge can also be used for stenciling.
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Page 24
PRACTICEPAINTING
The old saying is true, “Practice makes perfect.” The best way to master the OneStroke technique is to practice painting your strokes directly on top of my strokes. The
Worksheets in this book are the actual sizes that I have painted them so that when you
use the brushes as instructed, your strokes will be the same size as those shown on
the Worksheets. There are two ways to practice your strokes.
Open book to the Worksheet with the
design you wish to practice. Place a piece
of acetate or stiff clear plastic directly on
top of the Worksheet page. Tape it in
place so that it won’t move. Paint your
strokes directly on the plastic, mimicking
my strokes.
With practice, your strokes will look just
like mine.
TRACING AND
TRANSFERRING
Place tracing paper over the pattern you
wish to transfer. Neatly trace the design
with a pencil.
Using Reusable Teaching Guides
There is a wide selection of plastic laminate One-Stroke Teaching Guides that will aid
in your practice.
Position tracing on surface, then slip a
piece of transfer paper under tracing.
Retrace the design. Hint: you can use a
different color pencil or pen for your second tracing so that you can see if you
have traced all the lines.
Load the size brush as indicated and paint
directly on the teaching guide. Simply
wipe off your practice strokes and use
them again and again until you are
pleased with your progress.
Remove tracing and transfer paper to
reveal the transferred design.
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Page 25
This metal watering can was already white. You can paint metal with FolkArt®
Acrylic Colors or Apple Barrel® Indoor/Outdoor Enamels. If using FolkArt®
Acrylic Colors, first spray the surface of the area to be painted with Matte
Acrylic Sealer (#788). This will give the area tooth so that it will accept the
paint better. When painting is dry, coat with Outdoor Matte Sealer #896.
When using Apple Barrel Enamels, no preparation or finish sealer is needed.
See page 26 for the Worksheet showing how the sunflower is painted step
by step. See page 27 for an actual size painting of the design on the watering
can. You may use this design as a pattern by simply tracing and transferring to
surface.
25
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Page 26
Petals
SUNFLOWER W ORKSHEET
Center
Push, turn, lift
Load standard scruffy brush with
Maple Syrup and Licorice.
3
start
end
1
2
4
Load #12 flat with
Sch. Bus Yel. and
Yellow Ochre
6
5
Pounce a donut shape in the middle
of sunflower center.
start
Pull the petals from
the wet center to
create the varied
coloration on
the petals.
push &
wiggle
turn
end
Leaf
Load 3/4" flat with Thicket and Sch. Bus Yel.
Stems
Finished
Sunflower
Load 3/4" flat with Thicket and Sch. Bus Yel.
On chisel edge, leading with Sch. Bus Yel.,
touch brush at base of flower and pull down
stem.
Repounce edges
of the center.
Pick up Yellow Ochre on the Maple Syrup side of the
brush and pounce in a “c” shape to highlight.
26
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Page 27
Watering Can Design
This is an actual size painting of the design used on the watering can shown on page
25. It can be used as a pattern if desired. Simply trace the outline of the elements and
transfer to your surface.
27
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Page 28
Pansy Cupboard Design
This is an actual size painting of
the design used on the cupboard
shown on page 29. It can be used
as a pattern if desired. Simply trace
the outline of the elements and
transfer to your surface.
28
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Page 29
See pages 9 & 10 showing how to paint a pansy. The painting on
page 28 is the actual size design that was painted on this cupboard.
29
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Page 30
Rose & Iris Design
This is an actual size painting of the design used on the box
shown on page 31. It can be used as a pattern if desired.
Simply trace the outline of the elements and transfer to your
surface.
30
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Page 31
See Rose and Iris Worksheets and photos showing how to paint the designs
step by step. The painting on page 30 is the actual size design that was painted on the box.
31
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Page 32
Fruit Floorcloth Design
This is an actual size painting of the design used
on the floorcloth. It can be used as a pattern if
desired. Simply trace the outline of the elements
and transfer to your surface.
32
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Page 33
This design was painted on the backside of a vinyl flooring remnant. Simply basecoat the back and paint. Coat
finished painting with FolkArt® Outdoor Sealers for the
ultimate in protection. See Worksheets on pages 34 & 35
for fruit painted on floorcloth.
33
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Page 34
Pear
PEAR & BIRD W ORKSHEET
start
end
start
start
Fruit Leaves
2nd
1st
Load 3/4" flat with
Sch. Bus. Yel. and
Green Forest
Make a “V” for a guide.
turn
brush at
point to
end
Shading on pear:
add a little Burnt
Umber to sideloaded brush.
5-Petal
Flowers
end
Load 3/4" flat with Yellow
Ochre and Sch. Bus Yel.
Stem: use
Green Forest
on chisel
edge.
push
Load #12 flat with
Wicker White and
Sch.Bus.Yel.
Build flower a petal at
a time.
Use #2 script liner and inky Burnt
Umber for blossom end of fruit.
Bluebird
Load #12 flat with
Berry Wine and
Wicker White
Load #12 flat with Midnight and Wicker White
Head
Body:
Breast:
turn
start
end
Back Wing:
Load #12 flat with Wicker
White and
Midnight
start
end
slide
down
to tip
Push,
turn,
lift
slide
turn brush at
point to end
end
Eye: script liner
and Licorice
Bow
#2 script liner and
inky Berry Wine
Paint as
you would a
One-Stroke Leaf
Front Wing: same
as back wing.
Add a
touch of
Wicker
White for accent.
Feathers: use chisel edges to
pull in feathers.
Beak: #2 script
liner and Yellow
Ochre
Hummingbird
Body
Paint the same as
the bluebird but
paint vertically.
Load #12 flat with Green
Forest and Wicker White
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Page 35
A PPLEAND PLUM W ORKSHEET
Apple
smile on apple
start
1
2
end
Complete apple
Stem: 3/4" flat loaded
with Burnt Umber and
Wicker white.
Load 3/4" flat with Berry Wine and
Sch. Bus Yel.
Make long flat strokes all the way
around the edge of the apple.
Use chisel edge, leading
with white. Touch smile
of apple and pull back.
Fill in Center: drag
strokes from smile half
way down.
Plum
Load 3/4" flat with Dioxazine
Purple and Wicker White
start
1
Make “C” stroke. Begin on chisel, pull flat,
and end on chisel.
Flip brush for third stroke, then finish
up by smoothing strokes back and forth
to smooth center.
2
3
end
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Page 36
UPDATED
BASIC STROKES WORKBOOK
DECORATIVE
PAINTING
#9407RD

Donna

Transcription

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