= by Gracey OH y cord UO "Introduction Springtime is so inspirational for a floral painter. The warm. days and fresh blooms inspire me to capture the beauty of everything in my garden and every other garden I see. I know Lean’ paint everything at once, so I take many, many photos that can be used at a later date. Many of the projects in this, ‘book have been created using some of these photos. I hope you enjoy painting the projects as much as I have. ave fun and stay inspired. Acknowledgments | must firstly thank my family: husband Don; three children, Joe, Meg and Will; and my dad and mum, Lance and Laurette, for their patience, encouragement and assistance with this and all my projects. Designing, painting and writing take a lot of time and concentration, My family is always there to pick up the pieces around me and keep everything functioning as smoothly as possible. Thanks heaps, ‘Again, Susanne Barrett, my great friend and colleague, has zgiven me invaluable assistance as a sounding board and proof: reader. It is greatly appreciated. Also many thanks to Carol Langton for her expertise in spell checking and proofreading. Gill Brazier and the staff at Chroma Australia have again been a wonderful help with product and technical support. A big thank-you. ‘To Bill, Jan and everyone at Viking Folk Art Publications ‘thank you for your support and faith in my work. To all my students, thanks for keeping me inspired. Pyare eee) Published by ‘Viking Folk Art Publications, Inc. 301 16th Avenve SE. ‘Waseca, MN, 56093 (607) 8359009 INCORPORATED Fax (507) 8358541 Ball books@vikingpuh com Website: waw viking publications com ‘Made in the USA Copyright ©2003 Tracey Sims and Viking Folk Art Publications, Inc. ‘The designs in this book are for personal use only. All rights are reserved, No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording of otherwise, without prior written permission of the copy right holder, Teachers are permitted to trace and copy one pattern only per student. This right does not reciprocate for those students Society of Decorative ‘Painters If you enjoy decorative art and sharing painting ideas with others, I encourage you to join the Society of Decorative Painters, which is a unique and exciting organisation of enthu siasti painters, Fr information, write to SDP, 393 N. McLean Bivd., Wichita, KS 67203-5968 Web site: www.decorativepainters.org Disclaimer Publisher warrants that this book was prepared and published in good faith, However, the publisher makes no. warrants either expressed or implied concerning, Dut not Limited t suracy ofthe informa tien contained inthis book. or (2) the ‘obtain! from the use ofthe informati ‘book. Publisher {does not warrant of guarantee that the application ofthe information co tained inthe book is free from infringement of any copyright or pat hel by any third party. The information or application ofthe information ‘continent this book is not intended forthe use of young people or those ‘oho ate inexperienced. Publisher's sole Tali, iFany, arising out of the application and use ofthe information contained in this book shall be lin ited solely to money damages not to exceed the sale rice of this book. ‘Any elaim must be mae in writing to the publisher Within one year of purchase of the Book. Supplied PAINTS. Jo Sonja's® Artists’ Colours, including Potting Shed Collection, Background Colours and Metallic Colours Individual colours are listed in each project's supply lis. BRUSHES ROYAL® & LANGNICKEL AQUALON™ Series 2150 Shader (Flat): #4 Series 2160 Angle Shader: 1/8", 1/4", 3/8", 5/8", 3/4", 1" Series 2170 Filbert: #2, #4, #6, #8, #10 Series 2250 Round: #2, #3, #4 Series 2585 Fine Liner: #10/0 Series 2700 Flat Basecoating: 1" Series 2950 Oval Wash: 1" ROYAL & LANGNICKEL Cheri Rol Mop: #1 (1/8"), #2 (3/16"), #3 (1/4"), #4 (3/8") Series 444 Long Flat Hog Hair Bristle:Series R111 Hog Hair Steneil: 1/2" Series 1400 Soft-Grip™ White Blending Mop: 1/2", 1" Royal Sable™ Series $005 Short Round (Smooshing): #4,#6, 8, #10, #12, #16 MISCELLANEOUS SUPPLIES Cake decorator’s piping bag with very fine nozzle Chalk pencil Cotton gloves (worn while gilding) Craft mastin Disposable blending palette Gold leaf Hair dryer Jo Sonja'st Acrylic Gesso Primer, white Jo Sonja’s® All Purpose Sealer Jo Sonja’s® Clear Glaze Medium Jo Sonja’s® Flow Medium Jo Sonja'st Gel Retarder Jo Sonja’s® Magic Mix Jo Sonja’s® Retarder Medium Jo Sonja's® Tannin Blocking Sealer Jo Sonja’s® Texture Paste Jo Sonja’s® Water-Based Polyurethane Varnish, Satin Kneadable eraser Krylon® 18Kt. Gold Leafing Pen Masterson’s Painter's Pal Palette knife, flat blade Paper towels Sanding pad, 320-grit Silver leaf Small containers for mediums Soft, lint-free cloths. Sponge roller, 3" Stylus ‘Tracing paper Water basin or brush tub Wax-free transfer paper, white and blue Wood glue Please refer to individual projects for additional supplies. Sources Chroma Australia Pry. Ltd, 17 Mundowi Road Mit. Kuring-gai, NSW 2080 Australia, PH: (02) 9457-9922 Web site: www.chromaonline.com All Jo Sonja’s paints and mediwns Chroma Inc., USA Distribution 205 Bucky Drive Lititz, PA 17543 PH: (717) 626-8866 Designer Decorative Arts, Australia 9 Fossilwood Court Buderim, Qld 4556 Australia PH: (07) 5476-9885 Porcelain pieces and wax-free transfer paper Designer Decorative Arts, USA Distribution Brenda Stewart by Design 228 Yorkshire Drive ‘Williamsburg, VA 23185 PH: (757) 564-7093 Web site: www.brendastewart.com Porcelain pieces Royall & Lang 6707 Broadway Merrillville, IN 46410 USA PH: (219) 660-4170 Brushes ‘Semco Unit 4/7-11 Parraweena Road Taren Point, NSW 2229 Australi PH: (02) 9525-4300, Fax: (02) 95: Royal & Langnickel brushes ‘Tracey Sims’ Hinterland Art Centre 8 Caloundra Street Landsborough, Qld 4550 Australia PH: (07) 5494-1297, Fax (07) 5494-1104 E-mail: TraceySims@bigpond.com All products used in this book Viking Wooderafts, Ine. 1317 8th St. SE. Waseca, MN 56093 PH: (800) 328-0116 Web site: www.vikingwooderafis.com “Lily and Pansy Key Cupboard,” “Grisaille and Butterflies” Tissue Box, Hair Dryer Holder and Soap Dispenser Sp eenRibbon errs era ere Seo eer ae aac Peat fn \ per Peres nn reflected light Ist shade 2nd shade & Reflected light Grapes highlights, highlight Bloom Plum ey g : Istshude & —-2ndsfiwle & Reflected light highlight highlight Final “sparkle” Bloom Basic Leaf Versio A mee Basic Leap Version t Macleay’s Swallowtail | \ 7 ly AK 7 tat shade nd highlight Shade behind Wns © Outline & dew Bed oso hihi Add veins 2nd shade Accent colours Daffodil ake riots Cane de { fm J . Gia é Peials: Ist Petals: Streaks Petals: 2nd shade Ist hi highlightGeneral Indtructiond Before commencing any of the projects featured in this, book, itis very important that you read the “Painting Terms” and “Techniques” sections that follow. If at any time you are unsure of the meaning of a word or technique, these Sections: will help clarify it for you and make the projects easier to ‘complete. PREPARATION ‘Many of the projects in this book have new and exciting surface preparations, and their instructions are ineluded with each individual project. TIMBER AND MDF/CRAFTWOOD: Use a 1" flat, basecoating brush to apply one coat of Jo Sonja’s All Purpose Sealer to the surface. Allow to dry and repeat. Allow to dry completely (preferably overnight). Use a large flat brush (0 apply two smooth coals of the appropriate basecoat colour 10 the surface, leting the first coat dry thoroughly and sanding. between coats. Wipe over the surface with a slightly dampened cloth to remove any sanding dust. On all flat surfaces, apply a final coat of paint with the brush and, while wet, smooth over the surfice with a slightly dampened sponge roller. This will zzive a fine, even tooth to the surface. PORCELAIN: Wipe each piece with a sof, lint-free cloth. Apply a thin coat of Jo Sonja’s All Purpose Sealer with a large flat brush; allow to dry, and then repeat. Allow the piece to cure for 24 hours before painting. TRANSFERRING PATTERNS, ‘Trace the pattern onto tracing paper. Position the tracing on the painting surface, then place the transfer paper underneath the tracing, coated side down. White wax-free transfer paper is best on dark-coloured backgrounds and blue on lighter backgrounds, Using a stylus, lightly trace the main pattern lines. After basecoating each individual element, transfer its pattern details as needed, COLOUR MIXES In each project, the mixed colours are listed in order with their ratios. Pine Green + Moss Green (2:1) means two parts Pine Green mixed with one part Moss Green, COMPLETION OF PROJECTS ‘Once each project has been completed and allowed to dry, remove any visible transfer lines using a kneadable eraser. Ifa lot of retarder has been used in the project, itis best to allow ‘a week before continuing. Apply a thin coat of Jo Sonja’s Clear Glaze Medium with a large flat brush and allow to dry thoroughly. This layer of glaze medium will allow the varnish to glide easily over the surface. Apply three or four thin coats of Jo Sonja’s Water-Based Polyurethane Varnish in alternate directions, allowing time to dry between coats. Painting Terms BASECOATING: Unless otherwise stated, sufficient coats of paint need tobe applied to give a smooth, opaque cov- erage. A large flat or filbert brush is best, and a few drops of Jo Sonja’s Flow Medium added to the basecoat colour will also help to keep the coats smooth and even, CHISEL EDGE: This is the thin edge (or top) of the flat brush or angle shader. DIRTY BRUSH: When a dirty brush is listed in the instructions, it simply means that you do not wash the previous colour from the brush. Wipe out the excess paint on a paper towel, then load in the new colour. DRYBRUSH: Load the dry smooshing brush with the ‘appropriate colour and work the paint well into the brush, Remove most of the paint by rubbing the brush in a circular ‘manner on a paper towel, Commence painting in the centre of the highlight area and rub the brush using a tight circular ‘motion to cover the required area, Build the colour up slowly to achieve a soft, blended look. DRYBRUSH BULL'S EYE HIGHLIGHT: Load the smooshing brush as described in the drybrush technique. ‘Commence in the centre of the highlight area and rub the brush using a tight circular action, keeping the highlight a round shape. (The round shape is what distinguishes this from the drybrush technique.) Ease off the pressure and amount of colour as you work away from the centre, DRYBRUSH EFFECT: Load a slightly dampened round, cr filbert brush in the desited colour and work well into the bristles. Using light pressure on the brush, gently sweep the colour over the appropriate area, slowly building up the colour to the desired level. This picks up the texture from the basecoating and gives the appearance of dry paint. SIDELOADING FOR FLOATING: Fully load an angle shader, flat, filbert or dagger brush with Jo Sonja’s Retarder ‘Medium and remove the excess by gently patting on a paper towel until the glossy appearance on the brush disappears, Pick up a small amount of paint on the comer of the brush (or the long side if using an angle shader or dagger) and blend both sides of the brush on the palette until there is an even ‘gradation of colour across the bristles. (The opposite comer of the brush should be free of paint.) If paint carries across the brush, pinch or wipe the side of the brush where paint is not required and blend again before applying to the piece. SIDELOADING A ROUND OR LINER BRUSH: Load the brush in the desired colour, then pick up a contrasting colour on one side of the brush by swiping across the side of the puddle of contrasting colour. Blend lightly on the palette before applying where required. FLOAT: Sideload an angle shader or dagger brush and apply colour where required: if necessary, soften the edges of the float by gently patting with a small mop brush. ‘Always use a brush large enough for the required width of the float. If the area to be covered by the float is 1/4", the bbrush required to successfully complete this float must be at least 1/2" wide. (Remember the paint only covers half the brush.) Under each project, I like to list all the brushes I use. (Continued on ‘Page 6)General Instructions (Continued from Page 5) BACK-TO-BACK FLOAT: Sideload an angle shader brush a for floating and apply colour down the centre of the appropriate area. Turn the brush over and apply another float, slightly overlapping the previous colour, to create a gradation ‘on either side of the main colour. Soften, if desired, with the mop brush. BACK-TO-BACK PIVOT FLOAT: This technique can be used to highlight raised triangular areas of flowers and leaves. Sideload an angle shader brush as for floating. Then, with the chisel edge of the brush parallel to the edge of the ‘element, stat to float downward, pivoting the heel of the brush as you work downward until it is at @ right angle to the edge. Flip the brush over and repeat, over~ lapping the centre of the previous float, BACK-TO-BACK ZIGZAG FLOAT: Sideload an angle shader or flat brush as for floating. Instead of pulling the brush straight down along the desired area, the brush is held at a 33° angle to the surface and pulled back and forth, creating a igzag effect. Flip the brush over and repeat, overlapping the centre of the previous float FLOATED BULL'S EYE HIGHLIGHT: Sideload the filbert brush as for floating. Laying the bristles at a 45° angle to the surface, with the loaded comer of the brush facing the centre, pivot the brush around in a full citcle, keeping the colour in the middle of the circle. Soften the edges and brush markings by gently patting with the mop brush. OVAL FLOAT: This is a cross between a back-to-back float and a bull’s eye float. Sideload the fbert brush as for floating. Commence floating down one side of the desired area then, instead of turning the brush over to work down the other side, pivot the brush around the corner and work up the other side, pivoting around at the top to meet up where you started. Soften all edges with the mop brush. An oval float has, softer, more subtle appearance than the drybrush technique. TRIANGULAR FLOAT: This float is used in triangular or “V"-shaped areas between two petals or leaves. Sideload the angle shader as for floating. The loaded tip of the brush is facing the inner point ofthe triangle, and the chisel edge of the brush is par- allel to the edge of the petal or leaf (the brush is beld in an upright position). Pivot the brush by pulling the short edge (heel) of the brush across the area where shading is required, keeping the tip of the brush stationary. FLOATED PLEATS: This stroke is used around the centres of flowers. Sideload the flat brush or angle shader as for floating. Using the chisel edge of the brush with the paint side facing inward (toward the flower centre) slide the brush toward the centre, pull very slightly around the curve, and then slide back away from the centre, This is all done on the chisel edge of the brush, Continue until you've worked around the contre FLUTING: This technique is used to create the ruffled ‘appearance on the edges of petals or leaves; it may be used on, the daffodils, irises and pansies. Apply a thin film of retarder to the area to be fluted, then sideload an angle shader or flat brush as for floating and float broken highlights along the petal or leaf edge, softening each side of the broken highlight by patting with a small mop brush, GLAZE: This is « transparent layer of paint applied by mixing pure pigment colours with rtarder andéor Clear Glaze Medium or Magic Mix. This is used to add accent colour, deepen shadows and give a “glow” to your paintings. It can be used to cover an entire area or small isolated sections, depending on the project requirements LINER WORK: All liner work is completed with paint that is diluted with water or flow medium to a thin, ink-like consistency. STIPPLE: Load the smooshing, deerfoot or old round brush with the required colour, then pounce it up and down on 4 @ Drybrush Drybrush Effect Back-to-Back Floated Zigzag Float Bull's Eye Float Back-to-Back Float Drybrush Bull’s Eye Oval Floatthe palette or paper towel first to remove excess paint. Then pounce on the designated area of the painting surface. STIPPLE BLEND: Load a slightly damp smooshing brush withthe basecoat colour, work well into the brush, then tip into the next value or desired colour. Hold the brush at a 45 angle and blend well on the palette using a pouncing action. Apply colour where required in the same manner. WASH: Apply a thin layer of paint diluted with water ‘and/or retard to an ink-like consistency. Cechniqued A few helpful hints before you start: ‘When painting the different elements in the projects, always remember that highlights should never encroach upon shaded areas, There should be a small amount of the medium- value base colour separating each area, When floating shadows, don’t “outline” each petal with the shade colour; instead, vary the width of each float, keeping them wider in the "V” areas ‘where two petals meet. This gives petals and leaves a more dimensional and realistie appearance. Iisa good idea to mix sufficient colours to complete each. project and store them on a wet palette. Label each colour mix, then refer to the technique section of the book to paint the elements Please refer to the colour worksheets as you read the instructions. Refer to colour photographs for shading and highlighting placement. BASIC FLOWER: Basecoat the flower with sufficient coats of paint to give a smooth, opaque appearance. Allow to dry, then transfer pattem details onto cach petal. All shadows are floated in underlying areas (next to overlapping petals) using an angle shader brush appropriate to the size of the shaded area. Use the largest brush possible to achieve the softest, most natural-looking shaclows. Soften the edges of the shadows by gently patting with a small mop brush First and second highlights are applied with an angle shader by floating, or by adding back-to-back pivot floats or fluting, con the petal edges. Remember not to allow highlights 10 encroach upon the shadows. Some petal edges ate “rolled” this effect is achieved by applying an oval float just in from the edge of the petal. These oval floats are marked with “xxxx" on ‘each pattern, A second and deeper shadow is applied in shaded areas where two or three lines meet to form a triangle (triangular float), and also in any areas where shading may need to be strengthened, Highlights can also be intensified, if necessary, by drybrushing with the smooshing brush over the centre of the highlight area, Tints and accent colours can be added as directed in the instructions for each project. BASIC LEAF VERSION 1: Basecoat the leaf with suf- ficient coats to give a smooth, opague appearance. Allow to dry, Float first shadows on either side of the main central vein and in all underlying areas (next to overlapping petals. or leaves) using an angle shader brush. Allow to dry. Referring to the photo and instructions of each project for placement, apply highlights with oval floats (marked on the pattern with "xxxx"), back-to-back pivot floats, straight floats or luting, Soften the edges of each float by gently patting with a small mop brush. Allow to dry and repeat with the second highlight colour, keeping these highlights slightly smaller than the previous ones, Using a fine liner brush loaded with each leaf’s first high- light colour, paint all veins as per the pattern, Use the 1/8" angle shader to float the first shade colour behind each small, side vein, then adda few extra smaller veins radiating out from these side veins. A second and deeper shadow is painted in all underlying areas, and in the triangular areas where three lines meet using the triangular float technique. Allow to dry completely. Use the angle shader to float accent colours on the tips of Jeaves and in areas where they are close to the flowers. BASIC LEAF VERSION 2: This technique is very sim- ilar to the first version — the only difference is in the appli- cation of the highlights, Instead of applying an oval float, the highlight is drybrushed using the smooshing brush. The dry- brushed highlight will appear to be stronger than the more del- ‘cate oval float. AIl shading, veining and accent colours are applied in the same manner as for the basic leaf. Either version may be used for any of the projects using the basic leaf technique. GILDING: To adhere the gold or silver leaf, apply one coat of Jo Sonja’s Tannin Blocking Sealer to the desired area and allow to dry until tacky. Add a couple drops of retarder to the Tannin Blocking Sealer and apply a second coat, allowing it to again dry until tacky. Wearing cotton gloves to prevent tarnishing, gently cover the sealer with the leaf, overlapping the edge of each previously covered section with the new sheet. Once the area is covered with leaf, secure by applying light pressure and rubbing with your gloved hand. Wait a few ‘minutes, then rub with more pressure to remove any loose pieces of the leat. Apply a thin film of Jo Sonja’s Clear Glaze Medium, FRACTURE GILDING: Prepare the arca to be gilded as ‘outlined above. For this technique however, you need to break up the leaf into small pieces of varying sizes and apply side by side, not overlapping as for general gilding. Rub firmly with the cotton-gloved hand, allowing more of the background, colour to show through (as opposed to the more opaque cov- ‘erage resulting from the gilding technique). Finish in the same manner as for gilding 7Lily Garland Colour Photo on Front Cover One of my favourite flowers is the arum lity. I remember as 4 child visiting my grandparens” farmhouse and seeing the large clumps of these beautiful creamy white flowers growing around their water tank. have many fond memories of visits to their home in Cambooya, and dedicate this garland to my nan who also had a great passion for lilies. She even carried them in her wedding bouquet PALETTE JO SONJA’S ARTISTS’ COLOURS Burgundy Green Oxide Olive Green Raw Umber smoked Pearl Teal Green Titanium White Warm White Yellow Light Yellow Oxide JO SONIA’S BACKGROUND COLOURS Forest Green Galaxy Blue BRUSHES Angle Shader: 1/8", 1/ Filbert: #2, #4, #6, #8 Fine Liner: #10/0 Flat Basecoating: 1" Hog Hair Stencil: 1/ ‘Mop: 1/8", 3/8", 1/4 Round: #1 Smooshing: #4 SPECIAL REQUIREMENTS Delta vine leaf stencil Jo Sonja’s Tannin Blocking Sealer Jo Sonja’s Texture Paste ‘Mylar film or stencil sheet Palette knife Round wooden lolly box with raised centre panel, 13° diameter @3em) Scalpel or stencil bummer Silver leaf, 6 sheets Soft, lint-free cloth PREPARATION Refer to “Preparation” in the General Instructions, Basecoat the entire box with Forest Green + Galaxy Blue (1:1). Allow to dry completely Faux Embossed Metal: Use a palette knife to apply a thin layer of texture paste to the centre panel on the lid, then stipple heavily with the stencil brush. Allow to dry completely. Cut the stencil for the lid vine pattern and place over the stippled texture paste. Use the palette knife to apply a layer of texture (Continued on ‘Page 10) 8", 1/2", 374"Lily Garland Lid Motif10 Pid Motif ily Garland (Continued from Page 8) ppaste over the stencil, then remove stencil and allow the tex- ture paste to dry overnight, Refer to the gilding instructions in the “Techniques” section of the book and apply the silver leaf over the entire centre section, including knob. Allow to dry thoroughly, then apply a thin film of Clear Glaze Medium over the gilded area. Mix the basecoat colour with retarder (1:1) and apply over the gilded area, ensuring the colour penetrates all crevices. ‘Take the soft, lint-free cloth and wipe back the colour, exposing the silver leaf on the high points of the stencilled pattern and stippled area, Dry thoroughly, then apply a coat of Clear Glaze Medium, Repeat this procedure around the side of the box using the Delta vine leaf stencil PAINTING THE DESIGN ‘Transfer the pattern to the lid using the white transfer paper and a stylus. LEAVES Refer to version 1 of the basic leaf instructions in the “Techniques” section atthe front of the book. Use the #6 filbert brush to basecoat the leaves with Green Oxide. st shade colours Teal Green, apply using floating and tian- gular float techniques. Ist highlight colour: Smoked Pearl + Green Oxide (1:1), apply using floating, oval float and back-to-back pivot float techniques. 2nd highlight colour: Ist highlight colour + Smoked Pearl (1:1), apply using floating, oval float and back-to-back pivot float techniques. 2nd shade colour: background basecoat colour, apply using floating and triangular float techniques. Accent colour: Burgundy LILIES Refer to colour worksheet. Basecoat with five coats of Smoked Pearl + Green Oxide (1: touch), using the #6 filbert brush, Ist shade colour: Olive Green (lightly applied), using floating and triangular float techniques. Ist hightight colour: Warm White, apply using floating and ‘oval float techniques. 2nd shade colour: Olive Green + Smoked Pearl + background basecoat colour (1:1:1), apply using floating and triangular float techniques, 2nd highlight colour: Titanium White, apply using floating ‘and oval float techniques, Accent colour: Burgundy Float Green Oxide at the base of the flower where it meets the stem, Load the #1 round brush with Green Oxide, sideload one side with Teal Green and the other with the leaf 2nd highlight colour. Blend lightly on the palette, then paint all the stems. Use the #1 round or #4 smooshing brush to stipple the stamen with Yellow Oxide. Use a dirty brush and stipple blend Raw Umber on the base and outside edge of the stamen, and Yellow Light on the top and inside edge. Pick up a little Warm White on the dirty brush and tap on the highlighted area, Lightly float Raw Umber along the base of the stamen where it meets the lily, and apply the cast shadows with a water thinned wash of Raw Umber. FINISHING Use the 1/2" angle shader to lightly float the background basecoat colour around the faux embossed metal area and along the outside edge of the lid, Allow to dry completely, Please refer to the “Completion of Projects” in the General Instructions.Victorian Lily and Grape Clock Colour Photo on Front Cover PALETTE JO SONIA’S ARTI Burgundy Cobalt Blue Hue Diox Purple Green Oxide Olive Green Paynes Grey Purple Madder Raw Umber ‘Smoked Pearl Storm Blue ‘Teal Green ‘Titanium White Ultra Blue Deep Warm White Yellow Light Yellow Oxide JO SONIA’S BACKGROUND COLOURS Forest Green Galaxy Blue JO SONJA’S POTTING SHED COLLECTION Wild Grape BRUSHES ‘Angle Shader: 1/8", 1/4", 3/8", 1/2", 3/4" Filbert: #2, #4, #6, #8 Fine Liner: #10/0 Flat: #4 Flat Basecoating: 1" Mop: 1/8", 3/8", 1/4", 1" (Oval Washi 1” Round: #1, #2 Smooshing: #4, #6, #10 SPECIAL REQUIREMENTS. Corton gloves Jo Sonja’s Tannin Blocking Sealer Jo Sonja’s Wood Stain Glaze, Red Oxide and Yellow Bright Krylon Silver Leafing Pen Round timber clock with fancy hands, 11° diameter (30cm) Silver leaf, 2 sheets Soft, lint-free cloth PREPARATION Refer to the General Instructions for preparation of this, timber piece. Basecoat the clock with Forest Green + Galaxy Blue (1:1), and allow to dry completely. Use the oval wash brush to apply ‘thin film of retarder + the basecoat mix to the clock face and, while this is wet, blend some Smoked Pearl into the centre tusing a crisseross action. Lightly sweep over the surface with the 1" mop brush to soften any visible brush marks. Allow t0 dry completely Refer to the fractured gilding directions in the General Instructions and apply the silver leaf to the rim of the clock. ‘Apply a thin film of Clear Glaze Medium over the entire clock and allow to dry, Transfer pattern outlines to the elock face using white transfer paper and a stylus. If silver clock hands are not available, colour them with the silver leaf pen. PAINTING THE DESIGN Refer to the colour worksheet when painting lilies, grapes and ribbon. LEAVES, LILIES AND STEMS Refer to the instructions for the “Lily Garland” project Stipple the stamens with Raw Umber. GRAPES ‘The grapes are painted using the same colours and tech- niques as those in the “Jennifer's Basket” project. Omit the ceast shadow instructions. RIBBON ‘Basecoat the ribbon with the #4 flat and Paynes Grey + ‘Titanium White + Ultra Blue Deep (1:1: touch). Use the 1/4" angle shader to float shadows with Paynes Grey + Ultra Blue Deep (1: touch). Use the 1/4" angle shader and the back-to-back ‘igzag float technique to highlight the ribbon with the basecoat mix + Titanium White (1:1). Dry and deepen the shadows with Paynes Grey. Allow to dry, then intensify the highlights with the first highlight colour + ‘Titanium White (1:1). Use the fine liner and Paynes Grey to paint thin lines ‘along each side of the ribbon. Create the reflected colour by floating Burgundy on the ribbon wherever it touches the grapes. NUMBERS Paint the numbers using the silver leaf pen. They may need two applications. FINISHING Allow to dry completely, then use the 3/4" angle shader to float the background basecoat mix around the outside edge of the clock face, overlapping the numbers, and along the adjacent edge of the gilding. Soften the edges with the 1” mop brush. Please refer to the “Completion of Projects” in the General Instructions.Lily and ‘Pandy Key Cupboard Colour Photo on Front Cover PALETTE JO SONJA’S ARTISTS” COLOURS ‘Antique Green Burgundy Cobalt Blue Hue Diox Purple Green Oxide ‘Naples Yellow Hue Olive Green Purple Madder Raw Sienna Raw Umber Red Violet ‘Smoked Pearl ‘Teal Green ‘Titanium White ‘Turners Yellow Ultra Blue Deep Warm White Yellow Deep Yellow Light Yellow Oxide JO SONJA'S BACKGROUND COLOURS Forest Green Galaxy Blue JO SONJA’S POTTING SHED COLLECTION Wild Grape BRUSHES ‘Angle Shader: 1/8", 1/4", 3/8", 1/2", 3/4" Filbert: #2, #4, #6, 48 Fine Liner: #10/0 Flat: #4 Flat Basecoating: 1" ‘Mop: 1/8", 3/8", 1/4", 17 (Oval Wash: 1" Round: #1, #2 ‘Smooshing: #4 SPECIAL REQUIREMENTS Cotton gloves Jo Sonja’s Magic Mix Jo Sonja’s Tannin Blocking Sealer Krylon Silver Leafing Pen (optional) Silver leaf, 2 sheets Soft, lint-free cloth ‘Timber key cupboard, 10 3/4" x 8" x 25/8" (27 S/8em x 20cm x 65cm) PREPARATION Remove all hardware from the key cupboard and store carefully. Refer to “Preparation” in the General Instructions section of the book. Basecoat the cupboard with Forest Green + Galaxy Blue (2:1). Allow to dry completely. Use the oval wash brush (0 apply @ thin film of retarder + the basecoat mix to the inner panel on the cupboard door and, while this is still wet, blend some Smoked Pearl into the upper right-hand area using a crisseross action. Lightly sweep over the surface with the 1" ‘mop brush to soften any visible brush marks. Dry completely. Refer to the fractured gilding directions in the General Instructions and apply the silver leaf to the rim of the cup- board. Apply a wash over the gilding with the background colour + retarder (1:1). Apply a thin film of Clear Glaze Medium over the entire cupboard, Allow to dry, then transfer pattern outlines to the centre of the cupboard door using white transfer paper and a stylus. PAINTING THE DESIGN Please refer to the colour worksheet when painting lilies and pansies. LILIES, LEAVES AND STEMS Refer to the “Lily Garland” project instruction. PANSY LEAVES Refer 10 version 1 of the basic leaf instructions in the “Techniques” section of the book. Apply shading and high- lights by floating Basecoat: Antique Green Ist shade colour: Teal Green + Ultra Blue Deep (2:1) Ist highlight colour: Antique Green + Titanium White (2:1) 2nd highlight colour: Ist highlight colour + Titanium White @) 2nd shade colour: Diox Purple + Red Violet (2:1) RIBBON ‘The ribbon is basecoated with Naples Yellow Hue + Turners Yellow (2:1). Float shading at either end of the “S” shapes and atthe ends of the ribbon tails with the 1/4" angle shader and Raw Sienna + Yellow Deep (2:1).Once the shading is dry, high= light with the back-to-back zigzag float technique and Naples Yellow Hue. Allow to dry and repeat highlights with Naples Yellow Hue + Titanium White 2:1), PANSIES Refer to the basic flower painting instctions in the “Techniques” section of the book. CENTRE PANSY Basecoat: Wild Grape Ist shade colour: Wild Grape + Purple Madder (1:1), apply using floating and triangular float techniques. Ist highlight colour: Wild Grape + Titanium White (1:1), apply using floating, oval float and fluting techniques, 2nd shade colour: Purple Madder, apply using floating and triangular float techniques. 2nd highlight colour: 1st highlight colour + Titanium White (2:1), apply using floating, oval float and fluting techniques. Load the #2 filbert with Wild Grape and sideload with ‘Titanium White. Blend slightly on the palette, then paint the turned edges on the main petal, Keeping the white side of thebrush facing its outer edge. Paint the “beard” in the centre of the main petal with the fine liner and Turners Yellow. Once the pansy is completely dry, apply a thin glaze of Magic Mix + Red Violet (1:1) over the entire flower. Soften any brush marks by gently patting with the 1/4° mop brush, Reinforce the “beard” with more Tumers Yellow. Ifnevessary the tuned petal edges on either side of the “beard” may be reinforced with Titanium White. REMAINING PANSIES AND BUDS Basecoat: Wild Grape + Cobalt Blue Hue (1:1) Ist shade colour: Wild Grape + Purple Madder + Ultra Blue Deep (2:2:1) Ist highlight colour: basecoat colour + Titanium White (2:1) 2nd shade colour: Purple Madder + Diox Purple (1:1) 2nd highlight colour: 1st highlight colour + Titanium White Qa) (Once shading and highlighting have been completed, lightly glaze these flowers with Red Violet + Diox Purple + Magic Mix (1:1:1). Soften any brush marks by gently patting with the 1/4" mop brush, CALYCES AND STEMS Basecoat the pansy calyces with the #2 round brush and Antique Green. Float shading with the 1/8" angle shader and the pansy leaves first shade colour. Use the #2 round and the irybrush effect to create the highlights with the pansy leaves highlight colours. Use the same colours to paint the stems. FINISHING If silver hardware is not available, paint with the silver eat pen. n the General Please refer to the “Completion of Projects” Instructions. Lily and Pandy Key CupboardBlue Wis Plate Colour Photo on Page 19 PALETTE JO SONIA’S ARTISTS” COLOURS Cadmium Yellow Light Cobalt Blue Hue Diox Purple Indian Yellow Jade Teal Green Titanium White Ultra Blue Deep BRUSHES Angle Shader: 1/8", 1/4", Filbert: #2, #6 Fine Liner: #10/0 Flat Basecoating: 1” Mop: 3/16", 1/4", 1" Round: #1 SPECIAL REQUIREMENTS Jo Sonja’s Wood Stain Glaze, Red Oxide Krylon I8Kt. Gold Leafing Pen Lattice porcelain plate, 7 3/4" (19.Sem) diameter Soft, lint-free cloth PREPARATION Refer to “Porcelain Preparation” in the General Instructions. When cured, transfer the pattern to the plate using blue transfer paper and a stylus. aie Floated Trim and Shadow Foliage: Mix Teal Green + Cobalt Blue Hue (2:1). This is referred to as the Dark Green Min. On the palette, dilute some of this Dark Green Mix with enough retarder to create an ink-like consistency. Use the 3/4" angle shader to float this mix around the central flower, then soften all edges with the 1/4" mop brush. Allow to dry, then load the #6 filbert brush with the diluted mix and remove excess paint from the brush by holding the bristles on a paper towel until the sheen disappears. Paint each shadow leaf (indicated on the pattem with broken lines) with a single long stroke. Soften by gently sweeping over each leaf from tip to base with the 1/4" mop brush. Dry. Float the diluted Dark Green Mix around the edge of the plate, ensuring, it penetrates all crevices of the embossed pattern, Using a soft cloth, gently rub over the embossed area to remove colour from the raised area of the pattem. Soften the edges of the float with the 1" mop brush, if required. Allow the plate to dry completely, PAINTING THE DESIGN LEAVES Use a 46 filbert to basecoat the “A” leaves with two thin coats of Jade + retarder (1: touch), and the “B” leaves with Jade + Cobalt Blue Hue + retarder (3:1: touch), Float shading on the “A” leaves with a 1/4" or 3/8" angle shader and Jade + Teal Green (1:1). Use the chisel edge of the brush to streak some of this colour into the body of the leaf. Repeat this same technique for the “B” leaves with Jade + Dark Green Mix (1:1). Highlight the leaves marked “A” by loading the #6 filbert with a brush mix of Jade + Cadmium Yellow Light + Titanium, White. Use the chisel edge of the brush to streak highlights, through the centre of each of these leaves. Pick up extra Titanium White on the dirty brush and strengthen the high- lights, To highlight the “B™ leaves, use the same technique and a brush mix of Jade + Titanium White Blue Iris PlateIRISES Basecoat the areas ofthe petals marked “D” on the pattern with the #6 filbert brush and Titanium White + Ulta Blue Deep + Diox Purple (3:3:1). This is referred to as the Dark Purple Mix. Combine the Dark Purple Mix + Titanium White (1:1) and basecoat the areas ofthe petals marked “L”, keeping the beard areas free of colour. Use the fine liner and Titanium ‘White to paint the beards; use thin strokes and work from the central vein outward. All shadows and highlights are painted using the 1/8", 1/4" 63/8" angle shader brush, whichever is appropriate tothe size of the petal. They are applied using the same floating. and streaking shading techniques that were used for the leaves. The highlights on the centres of the buds and on the upturned petal on the right are applied as back-to-back zigzag floats “D” PETALS Shade colour: Diox Purple + Ultra Blue Deep (1:1) Ist highlight colour: “L.” petal basecoat colour 2nd highlight colour: \st highlight colour + Titanium White aa) “L" PETALS Shade colour: Ultra Blue Deep + Diox Purple + Titanium White (2:1: 7 1st highlight colour: basecoat colour + Titanium White (1:1) 2nd highlight colour: \st highlight colour + Titanium White aly ‘To paint each beard, use the 1/4" angle shader to float two coats of Indian Yellow on either side of the central vein. Dry. then add a tiny speck of Diox Purple to Indian Yellow and apply a narrow float down the left side of the central vein on the main petal. Use the #1 round to paint the central vein lightly with Titanium White. Once this is dry, float Indian Yellow over the central vein and the shadows and allow to dry. Lightly float the Red Oxide Wood Stain Glaze on the top left of the central vein. Allow to dry completely, then use the fine liner and Titanium White to apply more streaky lines around the outer edge of the beard. CALYCES Use the same colours and techniques for the calyces as used. for the "B” leaves. FINISHING Please refer to “Completion of Projects” in the General Instructions. Once the vamish is completely dry, paint the cedge of the plate with the gold leaf pen. Freedsiad and Forge-menotd Colour Photo on ‘Page 19 PALETTE JO SONIA’S ARTIS Cadmium Yellow Light Cobalt Blue Hue Diox Purple Jade Naples Yellow Hue Pacitic Blue Raw Sienna Teal Green ‘Titanium White Ultra Blue Deep Ultramarine Blue Yellow Deep BRUSHES Angle Shader: 1/8", 1/4", 3/8", 3/4" Filbert: #2, #4, #6 Fine Liner: #10/0 Flat Basecoating: 1" Mop: 3/16", 1/4", 1" Round: #1, #2 SPECIAL REQUIREMENTS Jo Sonja’s Wood Stain Glaze, Red Oxide Krylon 18Kt. Gold Leafing Pen Porcelain sandwich tray, 10 1/4" x 7 1/8" (26em x 18em) Soft, lint-free cloth ‘OLOURS. PREPARATION Refer to “Porcelain Preparation” in the General Instructions to prepare the tray. When cured, transfer the pattem to the plate using blue transfer paper and a stylus. Complete the painted trim and shadow foliage as outlined for the “Blue Iris Plate.” Dry completely. PAINTING THE DESIGN MAIDENHAIR FERN Mix Jade + Ultramarine Blue + Teal Green (3:1:1). Load the #2 filbert in a water-diluted mix of this colour, sideload ‘with the undiluted mix, then paint two or three comma strokes side by side (withthe diluted mix on the right-hand side) for cach leaf. Paint the veins and stems withthe fine liner and Teal Green + Ultra Blue Deep (2:1). FORGET-ME-NOTS Load the #2 filbert with Pacific Blue + Titanium White (1:1), sideload with Titanium White, and blend lightly on the palette, Paint each petal with two adjacent crescent-shaped sirokes, keeping the Titanium White toward the outer edge. (Paint the crescent-shaped strokes with more of an arch than the comma strokes used for the fern.) Dry, then repeat if necessary. Paint the star in the centre of each flower with the #1 round and Titanium White, Dry and repeat. Use the fine liner to paint (Continued on Page 18)Freesias and Forget-me-nots (Contiaed 4rom ‘Page 17) ‘a small Ultra Blue Deep dot in the centre of each star, then use the 1/8" angle shader to lightly float Ultra Blue Deep + Diox Purple (1: touch) on petals around the star Load the fine liner with Jade and sideload with Teal Green, then paint the stems for the buds. Load the fine liner with Yellow Deep and sideload with Cadmium Yellow Light, then paint the tiny buds and a small dot between each point of the star, To paint the blue buds, load the #2 filbert with Pa Blue + Titanium White (1:1), sideload with Titanium White. then lightly blend on the palette. Use the side of the brush, tured slightly toward the chisel edge, and paint two comma strokes side by side ‘The small leaves on the rim of the tray are painted with the #2 round brush and the same colours and technique as the maidenhair fern, only this time the comma strokes face each other and start from the base, tapering off as you work out- ‘ward. Loosely outline and paint veins with water-diluted Teal Green FREESIAS Use the #4 filbert brush and Naples Yellow Hue to basecoat cach flower. Float shading with the 1/4* angle shader and Yellow Deep, then allow to dry. Float Raw Sienna to strengthen the shading. Deepen shading in the throat of each flower and at the base of the larger buds by floating with Red Oxide Wood Stain Glaze, Apply highlights using the drybrush effect and Titanium White. Paint the stamens and pollen dots with the fine liner loaded with Titanium White Paint the stems with the fine liner loaded with Jade and sideloaded with Teal Green + Ulira Blue Deep (2:1). Allow to dry completely. FINISHING Please refer to the “Completion of Projects” section in the General Instructions. Once the varnish is completely dry, use the gold leaf pen to paint the rim of the tray. Freedsiads and Forget-me-nots Cray ‘Rim MotifsLue Tris ‘Plate Pages 10-17 Freedsiad and Forget-menots20 Forget-me-notds Jewel Box Colour ‘Photo on Page 19 PALETTE JO SONIA’S ARTISTS’ COLOURS Cadmium Yellow Light Cobalt Blue Hue Diox Purple Jade Pacific Blue Teal Green Titanium White Ultra Blue Deep Yellow Deep BRUSHES Angle Shader: 1/8", 1/4", 3/8", 3/4", 1/2" Filbert: #2, #4, #6 Fine Liner: #100 Flat Basecoatin; Mop: 3/16", 1/4 Round: #2 SPECIAL REQUIREMENTS Krylon 18Kt, Gold Leafing Pen Porcelain jewel box PREPARATION Refer to “Porcelain Preparation” in the General Instructions to prepare the jewel box. When cured, transfer the pattern to the lid using blue transfer paper and a stylus, Complete the painted trim and shadow foliage using the same colours and techniques outlined in the “Blue Iris Plate.” PAINTING THE DESIGN LEAVES Basecoat the leaves with Jade. Mix Teal Green + Jade + Cobalt Blue Hue (2:2:1), then use the 1/4* angle shader to float shadows on either side of the central veins and in all underlying areas. Allow to dry, then float highlights with Jade + Titanium White + Cadmium Yellow Light (1:1: touch) Allow to dry, then repeat these highlights with the first high- light colour + Titanium White (1:1). Load the fine liner with the shading mix, and sideload with the final highlight colour. Blend lightly, then paint all veins through the centres of the Teaves. Basecoat the spent flower calyces with the #2 round and Jade, then use the drybrush effect technique to apply shading and highlights with the same colours as the leaves. Load the fine liner with Jade, sideload in the shade colour and paint all stems. Highlight with the first leaf highlight colour. FORGET-ME-NOTS Refer to the “Forget-me-not” painting instructions from the “Freesias and Forget-me-nots” project to paint these flowers and buds, FINISHING Please refer to “Completion of Projects” in the General Instructions. When dry, use the gold leaf pen to paint the rim of the box lid, and the top and bottom rims of the box base. Forget-me-notds Jewel BoxOlde Worlde Roses Tea Set Colour Photo on Page PALETTE JO SONJA’S ARTISTS" COLOURS Brown Earth Brown Madder Jaune Brillant Indian Yellow Moss Green Naples Yellow Hue Olive Green Pine Green Purple Madder Raw Sienna Rose Pink Titanium White Unbleached Titanium ‘Warm White Yellow Deep JO SONJA’S BACKGROUND COLOURS Primrose ‘Soft White JO SONJA’S POTTING SHED COLLECTION Comflower Wild Grape BRUSHES Angle Shader: 1/8", 1/ Filbert: #2, #4, #6, #8 Fine Liner: #10/0 Flat Basecoating: 1" Mop: 1/8", 3/16", 1/4", 3/8", 1" Round: #1, #2 Smooshing: #6 SPECIAL REQUIREMENTS Jo Sonja’s Magic Mix ‘Muslin cloth, 10em (2 1/2") Porcelain tea set: teapot, creamer and sugar bowl PREPARATION Refer to “Porcelain Preparation” in Instructions, 3a" the General Basecoat each piece of the tea set with three thinly applied ‘coats of Soft White + Primrose (2:1) (a eream colour), ensuring that there is no build-up of paint in the embossed pattern areas. To give the tea set a slightly aged appearance, mix Raw Sienna + Magic Mix + retarder (11:1) and randomly apply small patches to one area at a time, While the patches are wet, use a slightly dampened piece of muslin cloth to gently soften the edges of each patch, then to rub over the remainder of the patch to blend the colour into the background. Once this is dry, float Raw Sienna over the embossed areas, then gently rub over them with the slightly dampened muslin cloth to remove colour from the raised areas. Allow to dry, then float Raw ‘Sienna just below the embossed areas atthe top and just above the embossed areas at the bottom of each piece. Allow to dry 26 completely. Transfer pattern to each piece using blue transfer paper and a stylus. PAINTING THE DESIGN LEAVES, CALYCES AND STEMS LEAVES (Teapot) Refer to the basic leaf (version 1) instructions in the “Techniques” section of the book. * Teaves Basecoat: Moss Green + Pine Green (1: touch) Ist shade colour: Moss Green + Pine Green (1:1), apply using floating and triangular float techniques. Ist highlight colour: Moss Green + Warm White (2:1), apply using floating and oval float techniques. 2nd highlight colour: Ist highlight colour + Warm White (2:1), apply using floating and oval float techniques. 2nd shade colour: Pine Green + Moss Green (2:1), apply using floating and triangular float techniques. "Ieaves Basecoat: Moss Green + Pine Green (1:1) st shade colour: Pine Green, apply using floating and tian- gular float techniques. 1st highlight colour: Moss Green, apply using floating and ‘oval float techniques. 2nd highlight colour: Moss Green + Naples Yellow Hue + Warm White (2:1:1), apply using floating and oval float techniques. 2nd shade colour: Purple Madder, apply using floating and triangular float techniques. CALYCES Basecoat with Moss Green + Pine Green (1: touch). Float shacling at the base and tip of each sepal with Moss Green + Pine Green (1:1). Use the #2 round brush and the drybrush effect to create highlights using the “A” leaf highlight colours SHADOW LEAVES Mix Olive Green + retarder (1:1). Loael the #6 filbert brush ‘with this mix, remove excess on a paper towel, and paint all shadow foliage where indicated with broken lines on the pattern STEMS Load the fine liner with Pine Green and sideload with the “A” leaf first highlight colour, then paint all stems, OLDE WORLDE ROSE AND BUDS ROSE (Teapot) Refer to the basic flower instructions in the “Techniques” section ofthe book and the colour worksheet. Because the rose has three shadow colours instead of two, as well as some added glazes, it should be painted in the following order. Basecoat: Unbleached Titanium ist shade colour and floated pleats (refer to the General Instructions): Jaune Brillant + Rose Pink + Unbleached (Continued on ‘Page 24)Jennifer's Badhet Pages 30-33 LES) OTe yOlde Worlde ‘Rose ‘Pink 23 Glaze 2nd shade 2nd highlight a Ist shade — Isthighlight 3rd shade Basic Reat Centre detail Dersion 2 ‘Accent colour 2nd shade Shade 2nd highlight Veins behind veins Ist highlight Olde Worlde Rose Yellow is ae 2nd shade & highlight 3rd shade. Magnolia) Y P | ~ A Ast shace a ond state ‘ e highlight, repeat Ai Babee i scsnade BF cote 2nd shade colour ©) Accent colours of “Contre detail Cast shadows4 Olde Worlde Roses Tea Set (Continued from Page 21) ‘Titanium + Comflower (1:1:1: touch). Once this shading is, dry, use a 1/2" angle shader to float Indian Yellow + Magic ‘Mix (1:1) glazing over and beyond all shading, radiating ‘out into each petal. Soften with the 3/8" mop brush, if required. This gives each petal a lovely warm glow. Once this is dry, use the 1/4" angle shader to float the Indian Yellow glaze mix on the centre of the outer edge of each petal (not in the shaded areas). 2nd shade colour: Ist shade colour + Wild Grape (1: touch), apply using floating and triangular float techniques, Ist highlight colour: Warm White, using floating and oval float techniques. rd shade colour: Purple Madder + Brown Madder (3:1), apply using floating and triangular float techniques. 2nd highlight colour: Titanium White, apply using floating and oval float techniques, Use a #6 smooshing brush to stipple Brown Earth on the rose centre and, while wet, highlight by stippling in the middle Of the centre with Yellow Deep. Paint stamens with the fine liner and Warm White. Add pollen dots with Brown Earth comma strokes. Float Indian Yellow at the base of the stamens with the 1/4” angle shader. BUDS ‘The bud on the right-hand side is painted in the same manner as the rose, Basecoat the bud on the left-hand side with Naples Yellow Hue + Titanium White (2:1). Ist shade colour: Raw Sienna Ist highlight colour: Warm White 2nd shade colour: Raw Sienna + Indian Yellow (1:1). When dry, float this same colour on the outer edge of each petal. 3rd shade colour: Raw Sienna + Wild Grape (1: touch) Add accent colours to some of the leaves in the highlight areas with the rose Ist shade colour + Magic Mix (1:1). Float Raw Sienna + Magic Mix (1:1) loosely around the design area with the 3/4" angle shader, then soften with the 1/2" mop brush, if required. Allow to dey. FINISHING Please refer to the “Completion of Projects” in the General Instructions. Olde Worlde Roses Tea SetOlde Worlde Roded Tray and Serviette Holder Colour Photo on ‘Page 26 PALETTE JO SONJA’S ARTISTS’ COLOURS Brown Earth Brown Madder Jaune Brillant Indian Yellow Moss Green| Naples Yellow Hu Olive Green Pine Green Purple Madder Raw Sienna, Rose Pink Titanium White Unbleached Titanium ‘Warm White Yellow Deep JO SONJA’S BACKGROUND COLOURS Primrose Soft White JO SONJA'S POTTING SHED COLLECTION Comflower Wild Grape BRUSHES Angle Shader: 1/8", 1/4", 3/8", 1/2", 3/4" Filbert: #2, #4, #8 Fine Liner: #10/0 Flat Basecoating: 1” Hog Hair Bristle: #12 Mop: 1/8", 3/16", 1/4", 3/8", Round: #1, #2 ‘Smooshing: #6 ‘SPECIAL REQUIREMENTS Cake decorator's piping bag with extra fine nozzle Gold leaf, 4 sheets (tray) Jo Sonja’s Magic Mix Jo Sonja’s Tannin Blocking Sealer (tray) Krylon I8Kt. Gold Leafing Pen Jo Sonja’s Texture Paste Maslin cloth, 1em (2 1/2") Rubber band Timber duchess tray, 12 1/4" x 18" (30-Sem x 45cm) ‘Timber servietie holder, 9 1/2 x 9 1/2" (24em x 24em) PREPARATION Refer to “Preparation” in the General Instructions. Piping: Transfer the piping pattern to each end of the tray, and to the top and sides of the serviette holder with blue transfer paper and a stylus, Mix enough Soft White + Primrose (2:1) with texture paste (1:1) to make about four tablespoons. Using the bristle brush, apply three coats to the tray in a crisscross manner. Allow to dry. DO NOT SAND. Load the remaining mix into the piping sealing off the end of the bag with a small rubber band. Apply piping mix over the pattern lines and allow to dry for 24 hours. Aging: To create the aged effect, mix Raw Sienna + Magic Mix + retarder (:1:1), and randomly apply small patches 10 the surface of the tray, working one area at a time. While the patches are still wet, use a slightly dampened piece of muslin cloth to gently soften the edges of each pateh; then rub over the remainder of the patch, blending the colour into the textured surface, Once this is dry, use the 3/4” angle shader to float this same ‘mix over each piped area, Gently rub over the surface with @ slightly dampened piece of muslin cloth to remove paint from the raised areas, then allow to dry. Float the mix around the bottom edge of each inner side of the tray, then soften with the 1" mop brush, Repeat around the edges of the base of the tray and allow to dry completely. Use the same techniques for the serviette holder. Transfer the patterns. PAINTING THE DESIGN Refer to the colour worksheet to paint the roses. Tray ROSES, BUDS, CALYCES, LEAVES AND STEMS Refer to the instructions for the “Olde Worlde Roses” tea set project to paint the pink rose and buds, calyces, leaves and. stems. The yellow roses are painted with the same colours as the bud on the left-hand side of the teapot. Add a second high- light colour with Titanium White. Paint the stamens in the yellow rose on the right-hand side with the fine liner and Yellow Deep. Repeat with Brown Earth, then add pollen dots with tiny comma strokes of Brown Earth. DEWDROPS ‘To paint each of the dewrops on the pink rose, float a small crescent-shaped shadow on the left outside edge and right inside edge with the pink rose 2nd shade colour, Dry and repeat lightly with the 3rd shade colour on the larger droplet. Allow to dry, then float a thin, transparent application of ‘Warm White on the inside left edge of the droplet, Pick up a touch of Titanium White on the tip of the fine liner, then add the “sparkle” to the shadow on the right-hand side and a softer “sparkle” on the lower left-hand highlighted edge. Mix Olive Green + retarder (1:1), Load the #8 filbert brush with this mix, remove excess on a paper towel, and paint all shadow foliage where indicated with broken pattern, (Continued on Page 29) 25Olde Worlde Roses (Continued from Page 25) Serviette Holder Refer to the “Olde Worlde Roses” tea set project for the colours and techniques required to paint this project. For the yellow rose, refer to the tea set instructions for the bud on the left-hand side of the teapot. Add a 2nd highlight colour on front petals with Titanium White 1 FINISHING Refer to the gilding technique in the General Instructions, and apply gold leaf to the tray handles. Please refer to the “Completion of Projects” in the General Instructions. Use the gold leaf pen to paint the edges of the tray and the routed edge of the base. Also paint the routed trim on the base of the serviette holder. Olde Worlde Roses Serviette Holder Right Side Piping Motif Flip for opposite side TINE Upper Back Right Side Piping Motif Filip for opposite side _s-OK Tray Patterns: on Pages 28-29Olde Worlde Roses 25 & 29 Instructions on ‘Pages 25 & 2F Cray Piping Motif 20> | C LENSJennifer's Badket Colour Photo on ‘Page 22 On a trip 10 New Zealand a few years ago, Jennifer Bell knowing I loved to paint baskets, ailowed me to photograph ‘one she had been given. It was a beautiful antique basket full of glass fruit and flowers, and I knew instantly that I would: hhave to use this baskes in a design some day. Now 1 finally nave. Thanks, Jennifer PALETTE JO SONJA’S ARTISTS’ COLOURS. Brown Earth Cadmium Yellow Mid Cobalt Blue Hue Diox Purple Indian Yellow Pine Green Purple Madder Raw Sienna Raw Umber ‘Smoked Pearl Storm Blue Teal Green ‘Titanium White Warm White Yellow Light Yellow Oxide JO SONJA’S BACKGROUND COLOURS: Light Teal JO SONIA’S METALLIC COLOURS Rich Gold JO SONIA’S POTTING SHED COLLECTION Claret Rose Geranium ‘Mustard Seed Raindrop Vines Wild Grape BRUSHES Angle Shader: 1/8", 1/4", 3/8", 1/2", 3/4" Filbert: #2, #4, #6, #8 Fine Liner: #100 Flat: #4 Flat Basecoating: 1" Hog Hair Bristle: ‘Mop: 1/8", 1/4", 3/8" (Oval Wash: 1" Round: #2 ‘Smooshing: #6, #10, #16 SPECIAL REQUIREMENTS Cotton gloves Craft muslin, 10cm (2 1/2") Embossed wooden trim decorations (2) Gold leaf, 6 sheets Jo Sonja’s Acrylic Gesso Primer, white Jo Sonja’s Magic Mix (Contimed on Page 32)oy OO Jennifer's Badket2 ennifer’s Basket (Continued from Page 30) Jo Sonja’s Tannin Blocking Sealer 5o Sonjas Wood Stain Glaze, Yellow Bright and Red Oxide MDF ov timber platter, 15 1/4" x24" Gem x éem) Soft in-free loth Wood glue PREPARATION Refer to “Preparation” in the General Instructions at the front of the book. Basecoat the rim of the platter and the two ‘wooden trim decorations with Light Teal ‘Use the bristle brush and a crisscross action to apply a thick textured coat of gesso (0 the centre of the platter. Dry and repeat two more times. DO NOT SAND. Fresco Finish (Centre of Platter): On a disposable palette, combine Magic Mix + Teal Green (3:1), Working one arca at ‘atime, use the oval wash brush to apply random patches of the mix over the white central area, Ensure that approximately ‘one-thitd of the white background remains uncovered. With a slightly dampened piece of muslin, gently rub in a circular ‘motion around the edge of each patch to soften any hard lines, then gently rub over the remainder of the patch. Let dry. Combine Magic Mix + Rich Gold (3:1). Cover the entire central area with random patches of this mix; rub gently with the slightly dampened muslin, leaving some areas darker than others. Dry completely, then repeat this procedure with Magic Mix + white gesso (3:1). Once completely dry, use the oval wash brush to apply a thin barrier coat of Clear Glaze Medium over the entire central area. Dry thoroughly, then transfer the pattern outline to the centre of the tray using blue transfer paper and a stylus, Gilding: Refer to the General Instructions for directions Apply gilding to the edge of the platter and to the wooden ‘embossed decorations. Embossed Decorations: Mix Light Teal + retarder (1:1) and paint over the gilded, embossed decorations, ensuring the mix penetrates all crevices. Use a lint-free cloth to rub back the antiquing mix, Ieaving colour in all crevices. Allow to dry completely. Glue to the platter with wood glue PAINTING THE DESIGN Refer to colour photograph and pattem for placement of shading and highlighting. Refer to the colour worksheets when painting magnolias, grapes and plums. BASKET Use the #16 smooshing brush to stipple one coat of Raw Umber over the entire basket area. Dry, then apply basket detail using white transfer paper and a stylus. Use a #2 round brush to basecoat the wicker with two coats ‘of Mustard Seed. Using a dirty brush, pick up Yellow Oxide + ‘Warm White (2:1), work into the brush by gently blending on the palette, and commence highlighting the centre of each section of the wicker using the drybrush effect technique. (Refer to “Painting Terms” in the front section of the book.) ick up extra Warm White on the dirty brush and work it well on the palette, then continue to use the drybrush tech- higue to highlight until the desired degree of light is achieved. Referring to the pattern for placement, paint the bands (including one at top of basket) with short straight or diagonal strokes, using the #2 round brush and Mustard Seed; highlight them the same way as for the wicker. Allow to dry. Use the 3/8" angle shader to float Raw Umber above and/or below each band, and down the righthand side of the basket. Continue using Raw Umber (o float shading under the fruit, petals and leaves that overlap the basket. Basecoat the handle with Mustard Seed and highlight each strand following the wicker instructions. Float Raw Umber between each segment and on the underside of the handle (0 shade. LEAVES Basecoat the “A” Ieaves with Vines, and the “B” leaves with Vines + Raindrop (1:1). Mix Teal Green + Pine Green (1:1); this is referred to as the Dark Mix. Refer to version 2 of the basic leaf instructions in the “Techniques” section of the book. Shade and highlight all leaves with the following colour Ist shade colour: basecoat colour + Dark Mix (I:1) 1st highlight colour: basecoat colour + Warm White (1:1) 2nd highlight colour: Ist highlight colour + Warm White (1:1) 2nd shade colour: 1st shade colour + Teal Green (1:1) Apply a thin coat of Raw Sienna + retarder to the “A” leaf highlight areas, and deepen some of the shadows with Claret Rose. PLUMS. ‘Basccoat each plum with the #6 filbert brush and two coats ‘of Geranium, Float shading with the 3/8" angle shader and Claret Rose. Dry completely. Using the #16 smooshing brush and a mix of Geranium + ‘Cadmium Yellow Mid (1:1), commence highlighting using the ‘drybrush bull’s eye technique as outlined in the front section of the book. Pick up some Warm White on the dirty brush ‘work well into the brush and intensify the centre of each high- light, Highlights on the front plums should be lighter than on the rest. Deepen shadows by floating with Purple Madder. Dry completely. Add reflected light and bloom (the “frosting” on plums) by floating with Cobalt Blue Hue + Titanium White an, Paint cast shadows on the plums with the #4 filbert brush and Purple Madder + retarder (2:1). Refer to broken lines on the pattern for placement GRAPES Use the #4 filbert brush to basecoat the grapes with two coats of Wild Grape. Using a brush mix of Purple Madder + Storm Blue, float shading in all underlying and shadow arcas. NOTE: Pick up varying amounts of these colours to ereate a Tietle more interest Use the #10 smooshing brush and the drybrush bull’s eye technique to highlight each grape with Wild Grape + Titaniu White (2:1). Pick up extra Titanium White to intensify high- lights on the front grapes. Add extra Titanium White (pure colour is on the brush) to create the “sparkle” on the grapes.Use the 1/4” angle shader to deepen the shadows by floating Purple Madder + Diox Purple (2:1) into all underlying areas. Dry completely. Apply a thin glaze over all the grapes with Red Oxide Wood Stain Glaze + Purple Madder + retarder (1:1: touch). Dry and repeat. Once this glaze is dry, strengthen the highlights using the drybrush bull's eye technique and Titanium White, Float reflected light with the #6 filbert brush and Wild Grape + ‘Titanium White (1:1). Allow to dry. Sideload the brush with a mix of the Red Oxide + Yellow Bright glaze colours (2:1) and apply to the reflected light areas. Repeat if necessary 10 strengthen the colour. Use the #2 round brush and Titanium ‘White to add extra sparkle to the highlights, Mix a touch of Cobalt Blue Hue + Titanium White (1:1) and use the #6 smooshing brush to apply a very light drybrushed frosting to represent the bloom on each grape. Paint cast shadows with the #2 filbert brush and Purple Madder + Diox Purple + retarder (2:1). MAGNOLIAS Refer to the basic flower technique outlined in the “Techniques” section. Basecoat the petals with the #6 filbert brush and two coats of Smoked Pearl Ist shade colour: Smoked Pearl + Claret Rose + Teal Green (10: touch: touch); apply using floating and triangular float techniques. 33 1st highlight colour: Warm White. Apply using floating, oval floats (marked “xxx") or back-to-back pivot floats. Dry between applications and repeat 2nd shade colour: Smoked Pearl + Claret Rose + Teal Green GS:1:1), using floating and triangular float techniques. 2nd highlight cotour: Titanium White. Apply using floating, oval floats or back-to-back pivot floats. Dry between applications and repeat. Float Raw Sienna + Indian Yellow (1:1) around each of the ‘open flower centres and into some shadow areas. Lightly float Geranium on some of the petals that are near the plums. Float cast shadows on some of the petals with the 2nd shade colour + retarder (2:1) Use the #2 round to paint the crescent in the centres of the open flowers with Geranium, then shade either side of this centre with Claret Rose. Paint the remaining centre element with Mustard Seed and highlight its centre by drybrushing with Yellow Light. Paint “spikes” with Brown Earth SURFACE UNDER BASKET Float Light Teal to the left and right of the basket, and along its base with the 3/4” angle shader. Soften and blend into the background with the I" mop brush FINISHING Complete the project as outlined in the General Instructions. Mother's Day Roded Colour Photo on ‘Page 22 PALETTE JO SONJA’S ARTISTS" COLOURS Indian Yellow Pine Green Raw Sienna Raw Umber ‘Smoked Pearl Teal Green Titanium White ‘Warm White Yellow Light Yellow Oxide JO SONJA’S BACKGROUND COLOURS Light Teal JO SONJA'S METALLIC COLOURS Rich Gold JO SONJA’S POTTING SHED COLLECTION Claret Rose Geranium ‘Mustard Seed Raindrop Vines BRUSHES Angle Shader: 1/8", 1/4", 3/8", 1/2", 3/4" Filbert: #2, #4, #6, #8 Fine Liner: #10/0 Flat Basecoating: 1 Hog Hair Bristle: #12 Mop: 1/8", 1/4", 3/8", Oval Wash: 1" Round: #2 ‘Smooshing: #6 SPECIAL REQUIREMENTS Cotton gloves Craft mustin, 10cm (2 1/2") Gold leat Jo Sonja’s Acrylic Gesso Primer, white Jo Sonja’'s Magic Mix Jo Sonja’s Tannin Blocking Sealer Tumed wooden powder bowl with 8" diameter lid (20m) PREPARATION Refer to “Pre LID: Basecoat the lid with Light Teal, Allow to dry, then use the oval wash brush to apply a thin film of retarder + Light ‘Teal over the lid. While this is wet, blend some Warm White into the centre of the lid using a crisscross action. Add a little ‘Teal Green to the outer edge, then lightly sweep over the surface with the 1" mop brush to soften any visible brush marks. (Continued on ‘Page 34) "in the General Instructions,Mother's Day Roses (Continued from “Page 33) Dry completely, then apply a thin coat of Clear Glaze Medium over the lid, Allow to dry. Transfer pattern outlines to the lid using white transfer paper and a stylus. Refer to the fractured gilding technique in the General Instructions to decorate the rim of the lid, BASE; Use the bristle brush and a crisscross action to apply a thick textured coat of gesso over the base of the bowl. Dry and repeat two more times, DO NOT SAND. Decorate the base with the fresco finish from the “Jennifer's Basket” project. Once the fresco is completely dry, use the 3/4” angle shader to float Light Teal around the top edge of the bowl PAINTING THE DESIGN LEAVES All leaves are painted using the same colours as those in the “Jennifer’s Basket” project; however, the first version of the basic leaf technique is used as outlined in the “Techniques” section in the front of the book. Highlights are applied using the floating and oval floating techniques, Omit the Raw Sienna application to highlight areas. ROSE AND BUDS Refer to the basic flower instructions in the “Techniques” section. Use a #6 filbert brush to basecoat the rose with four or five smooth coats of Smoked Pearl Ast shade colour: Smoked Pearl + Claret Rose + Teal Green (10:1:1), apply by floating. Ist highlight colour: Warm White. Apply using floating and oval floats (marked “xxx") 2nd shade colour: Smoked Pearl + Claret Rose + Teal Green (S::1), Use floating and triangular float techniques. 2nd highlight colour: Titanium White, Use floating and oval float techniques. Float Raw Sienna + Indian Yellow (1:1) in shadow areas. Very lightly float Geranium on some of the petals to add a blush of colour. Stipple the centre with the #6 smooshing brush and Yellow Oxide. Stipple blend a highlight at the top of the centre with Yellow Light and a shadow at its base with Raw Umber. Use the fine liner to paint some stamens with Yellow Light, and others with Claret Rose. Tip the brush into Claret Rose and then Raw Umber; add pollen dots with a small comma stroke at the tip of each stamen, Basevoat the calyces with the “B” leaf colours. Highlights are applied with a back-to-back zigzag float technique and the 1/4” angle shader. Float shadows at the base of each sepal, also with a zigzag action. Basecoat the thorns with Mustard Seed and shade their bases with the 1/8" angle shader and Raw Umber, FINISHING Complete the project as outlined in the General Instructions, Mother'sBasket of Spring Flowers Colour Photo on Back Cover The flowers used in this design came from the beautiful ‘garden of my good friend Susanne, What a pleasure it was 10 see it in full bloom this spring. PALETTE JO SONJA’S ARTISTS COLOURS Brown Earth Bumt Sienna Burnt Umber Cadmium Orange Cadmium Yellow Light Diox Purple Green Oxide Jade Moss Green Naples Yellow Hue Olive Green Pacific Blue Pine Green Raw Sienna, Raw Umber Red Violet Smoked Pearl Titanium White ‘Tumers Yellow Warm White Yellow Deep Yellow Oxide JO SONJA’S POTTING SHED COLLECTION Claret Rose Geranium BRUSHES Angle Shader: U/8*, 1/4", 3/8", 1/2 Ibert: #2, #4, #6, #8 Fine Liner: #10/0 Flat Basecoating: 1" Flat Brush: #4 Hog Hair Bristle: 1° ‘Mop: 1/8", 3/8", 1/2" Round: #1, #2, #4 SPECIAL REQUIREMENTS Cake decorator’s piping bag with very fine nozzle Cotton gloves Crafiwood hatbox, 6-sided, 9 1/2" x 11" x 6" (24em x 27.5em x 15cm) Gold leaf, 4 sheets Jo Sonja’s Acrylic Gesso Primer, white Jo Sonja’s Tannin Blocking Sealer Jo Sonja’s Texture Paste Jo Sonja’s Wood Stain Glaze, Yellow Bright and Trans Yellow Oxide Scotch™ Magic™ Tape Scalable plastic bag, such as Glad Snap-Seal ‘Small rubber band Soft lint-free cloth at PREPARATION Remove all hardware from the box and store ina safe place. Refer to “Preparation” in the General Instructions at the front of the book. Background Technique: Use the bristle brush and a criss- cross action to apply a thick textured coat of gesso to the entire box. Dry and repeat two more times. DO NOT SAND. Dilute Smoked Pearl with a touch of water and paint in a crisscross manner over the gesso with the 1" flat basecoating brush. Allow to dry, then transfer the piping design to the edge of the box with blue transfer paper and a stylus, Piped Border: Mix enough texture paste + Smoked Peat! (2:1) to make about three tablespoons. Spoon mixture into the piping bag, sealing off the end with a rubber band. Pipe this mix over the design lines and allow to dry for 24 hours. Keep any remaining texture paste mix in the piping bag. Place piping bag in a sealable plastic bag or container and store in the refrigerator until next required Gilding: Apply tape along the top edge of the box, next to the border, fo ensure a straight edge for the gilding. Refer 10 the gilding instructions as outlined in the “Techniques” section of the book and apply gold leaf ever all piped areas. Allow to cure for 24 hours. Mix white gesso + retarder (1:1) and paint over the gold leaf. Gently rub over this area with lint-free cloth to remove most of the gesso, especially from the raised embossed pattern. Allow to dry completely, then repeat the procedure with ‘Smoked Pearl + retarder (1:1). Dry completely, then apply a thin coat of Clear Glaze Medium, ‘Transfer the pattern to the lid and sides of box with blue transfer paper and a stylus. PAINTING THE DESIGN BASKET Use the #2 round brush to apply a water-diluted Burnt ‘Umber wash in the sections between the slats. Use the #4 flat brush to basecoat each individual slat with Raw Sienna + Yellow Oxide (1:1), Load the #4 round with Yellow Oxide, flatten the brush and work the colour well into the bristles, then use the drybrush effect to add highlights to each slat. Pick up Warm White on the dirty brush, flatten, work in well and continue (o add extra, highlight. Dilute Bumt Umber with a touch of water and use a #4 flat brush to paint a band the width of the brush across the middle and along the top of the basket. Apply more pressure on the brush to paint the wider band at the bottom of the basket. Load the #4 round with Yellow Oxide and sideload with Warm ‘White. Gently blend on the palette, then paint “S”-strokes side by side to represent the top band of the basket weave, and (Continued on Page 36)36 Basket of Spring Flowers (Continued from Page 35) straight comma strokes for the centre of the lowest band Using the brush loaded with the same colours, paint straight ‘comma strokes diagonally along the top and bottom of the lowest band, and on the middle band, (Refer to the colour photo for directional placement.) Once the strokes are dry, float Raw Umber on cither side of the middle band, and in all shaded areas with the 3/8" angle shader. Also float the cast shadows with Raw Umber. Dry. Apply a glaze to the entire basket with Trans Yellow Oxide Wood Stain Glaze + retarder (2:1). Float Raw Umber underneath the basket to ground it LEAVES Refer to the first version of the basic leaf instructions in the “Techniques” section of the book, and paint each leaf with the following colours. CAMELLIA LEAVES “A” Leaves Basecoat: Pine Green + Moss Green (1:1) Ist shade colour: Pine Green, apply using the floating and triangular float techniques. Ist highlight colour: Moss Green, apply by floating. 2nd highlight colour: Moss Green + Cadmium Yellow Light + Warm White (1:1:1), apply by floating, 2nd shade colour: Olive Green + Pine Green (1:1), apply using the floating and triangular float techniques. Leaves Basecoat: Pine Green + Moss Green (2:1) Ist shade colour: Olive Green + Pine Green (1:1), apply using floating and triangular float techniques. Ist highlight colour: Moss Green + Pine Green (2:1), apply by floating. 2nd highlight colour: Moss Green, apply by floating. 2nd shade colour: 1st shade colour + Claret Rose (2:1), apply using floating and triangular float techniques. There are two leaves on the pattern, which are marked “A” ‘on one area and “B” on the other area. I often do this to give a slight variation to the temperature of the leaf. Paint each area of these leaves as outlined above. Float accent colour on tips of leaves with Claret Rose, FORGET-ME-NOT LEAVES ‘These are the lighter leaves on either side of the design. Basecoat: Jade + Moss Green (1:1) Ist shade colour: Jade + Pine Green (2:1), apply by floating, Ist highlight colour: basecoat colour + Moss Green + Cadmium Yellow Light + Warm White (1:1:1:1), apply’ using floating and fluting techniques. 2nd highlight colour: 1st highlight colour + Warm White 2:1), apply using floating and fluting techniques. 2nd shade colour: Ist shade colour + Pine Green (1:1), apply by floating. Float shading on the right-hand leaves only with a trian- gular float and Claret Rose. DAFFODIL AND JONQUIL LEAVES Basecoat: Moss Green + Green Oxide + Pine Green (2:2:1) Ist shade colour: Pine Green + basecoat colour (2:1),apply by floating. Ast highlight colour: Jade + Moss Green (1:1), apply using drybrush effect technique. 2nd highlight colour: forget-me-not leaves Ist highlight colour, apply using drybrush effect technique. 2nd shade colour: Pine Green, apply by floating, IVY LEAVES Basecoat: Moss Green + Pine Green (2:1) Ist shade colour: Pine Green + Moss Green (2:1), apply by floating, Ist highlight colour: Moss Green + Cadmium Yellow Light + Warm White (1:1:1), apply using floating and oval float techniques. 2nd highlight colour: 1st highlight colour + Warm White (2:1), apply using floating and oval float techniques. 2nd shade colour: Pine Green, apply by floating, STEMS Paint the daffodil stem with the #2 round brush loaded with Moss Green and sideloaded with Pine Green, The papery sec tion of the stem is painted with Naples Yellow Hue + Warm White (2:1); add streaks of Raw Sienna to create shadows, (Refer to the colour worksheet.) Paint the jonquil stems with the #2 round brush loaded with Moss Green and sideloaded with Pine Green, ‘To paint the forget-me-not stems, use the fine liner loaded with Jade and sideloaded with Teal Green. To paint the ivy stems, load brush with ivy leaf highlight colour, then sideload with Pine Green, CAMELLIAS Refer to the basic flower painting instruct “Techniques” section of the book. ms in the Basecoat: Titanium White + Geranium + Diox Purple (10:1:1) Ist shade cotour: basecoat mix + Red Violet + Geranium (1:1 touch), apply using floating and triangular float techniques. Ist highlight colour: basecoat mix + Titanium White (2:1), apply using floating, oval float and back-to-back pivot float techniques, 2nd shade colour: \st shade colour + Diox Purple + Geranium (1: toueh: touch), apply using floating and triangular float techniques, (Continued on Page 38) Side Motif geste38 Basket of Spring Flowers (Continued from ‘Page 36) 2nd highlight colour: Titanium White + Naples Yellow Hue (1: touch), apply using floating, oval float and back-to-back pivot float techniques. Referring to the photo for placement, use the shade colours {0 also float shadows on the tips of petals and to apply floated pleats around the centre of each camellia, Use the 1/2" angle shader to float Raw Sienna on each petal next to the centre, Allow to dry. Use the fine liner to paint stamens with Yellow Deep + Raw Sienna + Titanium White (1: touch: touch). Also add stamens with Cadmium Yellow Light + Titanium White (1:1). Paint a small comma stroke of Brown Earth + Raw Sienna (11) at the end of each stamen to represent the pollen dots. DAFFODIL AND JONQUILS Refer to the colour worksheet. TRUMPET-LIKE AREAS Basecoat the trumpet petals with the #6 filbert brush and Cadmium Yellow Light + Turners Yellow (1:1). Float shading with Raw Sienna + Yellow Deep (1:1). Float highlights on the onquils with Titanium White + Naples Yellow Hue (2:1), and use the drybrush effect to highlight the daffodil with the same colour. Paint fluting around the daffodil edge with Cadmium Orange + Yellow Deep (2:1). Float Raw Sienna + Burt Sienna (1:1) to deepen shading. Use the #2 round brush to paint a small circle of Green Oxide in the daffodil centre. Paint stamens in the centres of the daffodil and all jonguils with Warm, White + Naples Yellow Hue (2:1). Allow to dry completely, then glaze both flowers with Yellow Bright Wood Stain Glaze + retaner (1:0, OUTER PETALS Basecoat the petals of the daffodil with Warm White + Naples Yellow Hue (2:1), and the petals of the jonquils with the daffodil basecoat mix + Warm White (1:1), Shade each petal with its basecoat colour + daffodil leaf basecoat mix (1: touch). Use the chisel edge of the brush and the shade colour to add streaks to each petal, starting at the centre and radiating ‘outward. Dry and repeat with the same colour. Float highlights fon the petals with the back-to-back zigzag float technique, using the basecoat mix + Warm White. Repeat with Warm White PRIMULA:(Upper-right Comer) Basecoat each petal with the #4 filbert and Titanium White + the camellia basecoat mix + Diox Purple (3:2: touch). Use the floated pleats technique to float shading around the centres with the basecoat mix + Geranium + Diox Purple (1: touch: touch). Float highlighting along the outside edge of each petal with the basecoat colour + Titanium White (1:1). Lightly float the basecost colour + Pacific Blue (2:1) in the underlying shaded areas of some of the petals Basecoat the centres with the primula base colour. Apply the shade colour by “dotting” across the base of the centres: apply the highlight colour across the tap in the same manner. FORGET-ME-NOTS Load a #2 filbert brush with the primula basecoat mix + Pacific Blue (1:1), then sideload with Titanium White and blend lightly on the palette. Paint each petal with two adjacent crescent-shaped strokes, keeping the white side of the brush toward the outside edge. Allow to dry and repeat, if necessary. Use a #1 round to paint the star in the centre of each flower with Titanium White. Use the fine liner to add a dot in the centre of each star with Pacific Blue + Diox Purple (1:1). Paint dot of Cadmium Yellow Light between the points of each star. Load the fine liner with Cadmium Yellow Light, sideload with Titanium White, then paint the tiny buds using tiny ‘comma strokes. ‘To paint the blue buds, load the #2 filbert with Pacific Blue + Titanium White (1:1), sideload with Titanium White, then blend lightly on the palette, Use the side of the brush, tumed slightly toward the chisel edge, to paint two small comma strokes side by side. ADDITIONAL TOUCHES Float some of the primula basecoat colour along the bottom edges of the forget-me-nots on the lower, right-hand side. Also, referring to the photo for placement, float this colour on the ivy leaves. ‘Very lightly float a touch of the primula basecoat colour in some Of the shaded areas of the jonguils. Mix Olive Green + retarder (1:1). Load the #6 filbert brush with this mix, remove excess on a paper towel and paint all shadow foliage where indicated with broken lines on the pattern. ‘To paint the side panels, refer tothe forget-me-not instructions, above. Once these flowers are dry, lightly and loosely float Olive Green around the outside edges of the designs, softening, with the 1/2" mop brush, FINISHING Please refer to the “Completion of Projects” in the General Instructions. Replace all hardware when the varnish is dry.Camellia Brush Box Colour Photo on Back Cover PALETTE JO SONJA’S ARTISTS’ COLOURS Brown Earth Cadmium Yellow Light Diox Purple ‘Moss Green Naples Yellow Hue Olive Green Pine Green| Raw Sienna Red Violet ‘Smoked Pearl Titanium White Warm White Yellow Deep JO SONJA’S POTTING SHED COLLECTION Claret Rose Geranium BRUSHES Please refer to “Basket of Spring Flowers” for brushes used. Rid Motif SPECIAL REQUIREMENTS Cake decorator’s piping bag with very fine nozzle Cotton gloves Craftwood brush box, 9 3/4" x 4.3/4" x 1 3/4" (25cm x 12em x 45cm) Gold leaf, 4 sheets Jo Sonja’s Acrylic Gesso Primer, white Jo Sonja’s Tannin Bloc! Jo Sonja’s Texture Paste Scotch Magic Tape ‘Small rubber band Sofi, lint-free cloth PREPARATION Remove all hardware from the box and store in a safe place. Refer to “Preparation” in the General Instructions. Refer to “Basket of Spring Flowers” for the background technique, piping and gilding instructions, sealer (Continued on Page 40) Camellia Brush Box Piping goa ‘Reverse pattern for lower halfGrisaille and Butterflies (Condinued from Page 40) ‘MACLEAY’S SWALLOWTAIL. Please refer to the colour worksheet. Use the #2 round brush fo paint all dark areas on the wings with two coats of Burnt Umber, leaving the basecoat colour to show through ‘where the spots are situated. The fine liner and Burnt Umber are used to paint all veins. Float Burnt Umber along the inside edge of the dark section ‘on each wing using the 1/8" angle shader. Allow to dry and use the 1/4" angle shader to float Burnt Sienna over the Burnt Umber on the two lower wings. Float Green Light + Pine Green (2:1) on the wings, along ceach side of the body, and on the dots along the top edge of the upper wings. Add highlights to the eyes, head and body with the dry- brush effect, using the #2 round brush loaded with Burnt Umber and sideloaded with Titanium White, UNION JACK Paint all the dark sections on the wings with two coats of Burt Umber, leaving the spots unpainted. Use the fine liner to paint the wing veins with Bunt Umber. Once completely dry, float Burnt Umber along the inside edge of the dark section ‘on each wing. Dry and repeat on the lower wings with Burnt Sienna, Once this is dry, float Prussian Blue Hue next to the Burnt Sienna, using the back-to-back float technique. Soften with the 3/8” mop brush, Add highlights to the eyes, head and body with the dry- brush effect, using the #2 round brush loaded with Burnt Umber and sideloaded with Titanium White. CAST SHADOWS. Load the #4 filbert brush with Raw Umber + retarder (1:1), Femove excess on a paper towel, and paint the cast shadows for each butterfly FINISHING Please refer to the “Completion of Projects” in the General Instructions. Paint the edges of each piece with the gold leaf Pen. Soap Dispenser Grisaille Motif Birdwing Butterfly Motif Macleay’s Swallowtail Union Jack Butterfly MotiGridaille & Butterflies Tissue Box Gridaille Motif ©, ume 2003 Top Baie" Dyer Kholden 1) Grisaille Motif op 2 Bottom 010h?