Painting on PaperT e c h n i q u e s G u i d e

Featuring

D O N N A D E W B E R R Y

Tips & techniquesfor creatingmemories onpaper

9807D

Donna Dewberry, a native Floridian,has been involved with art and craftingfor most of her life. After manyevenings of painting at her dining roomtable, she developed a technique forstress-free painting that became thebasis for the One Stroke™ techniqueand her series of One Stroke™ paintingbooks. She is internationally recognizedas a painter, designer and teacher.Donna loves using her decorativetalents to dress up any commonsurface.

2

Paint a Memory on PaperIt’s all in knowing how. In anything we might attempt, whether it

pertains to our career or our playtime, learning the correct skills isthe first step to success. This book will teach you the skills you needto become successful at painting on paper the One Stroke™ way.Using new FolkArt® Papier™ paints and the special tips and tricks

you will learn in this book, you will be able to paint great lookingpaper gifts. Whether it is a greeting card, a unique gift tag, a scrap-book page, or gift bags and boxes – they can be made extra special

by adding personal painted designs. I’ll teach you the tricks you needto know to create quick, easy, and terrific-looking gifts of paper.

ABOUT DONNA DEWBERRY

ONE STROKE CERTIFICATION

Plan to attend one of Donna’sthree-day seminars, where youcan learn her painting techniquesas well as how to start a businessin decorative painting. You willalso gather information on beinga good teacher, how to demo instores, and how to get your paint-ing published. Contact her one ofthese ways:•By mail:Dewberry Designs9005 Mossey Oak LaneClermont, FL 34711

•By phone:(352) 394-7344 or800-536-2627

•By fax:(352) 394-6488

•On the Web:www.onestroke.com (certifica-tion and seminar information)www.thestrokingedge.com(complete ONE Strokeresource)

•By e-mail:onestrokefl@earthlink.net

DEDICATIONI would like to dedicate this book to my daughter Amanda. Like most of myother children Amanda works for our company. She is extremely dedicated tothe teachers she works with and plays a huge part in keeping things orderlyat the office. Being extremely organized, Amanda helps me to keep up withimportant extended family dates. Amanda is also the proud mother of ourgranddaughter Lexi. I am always amazed as I watch the two of them togeth-er. They are so devoted and loving with one another. I want Amanda to knowhow much I love and appreciate all she does!

� FolkArt® Papier™ PaintPapier™ Paints were developed for use on

paper. They are acid free and they don’tcause paper to warp so they’re perfect forscrapbook enthusiasts. They are thick andcreamy and can be used straight from thebottle by squeezing, using the tip of thebottle like a pen. This will give you a dimen-sional line of paint. You can also mix themwith Flow Medium to a thinner consistencyfor brush painting. Papier Paints areavailable in a wide variety of colors,including opaques, metallics, and glitters.They also can be used on wood.

To use them as dimensional paints justsqueeze the bottle gently - the color shouldflow out of the bottle easily with littlepressure. If it does not flow out easily, inserta pin in the tip to clear it. You can outlineobjects, make swirls, or fill in any area byjust moving the tip around the area. Theglitter colors are best used straight from thebottle to add glitz and sparkle to yourdesigns.IMPORTANT: Wipe the tip of the bottlebefore replacing the cap. If paint is left onthe tip, it will build up in the cap and causethe tip of the bottle to bend, which willresult in poor outlines.

� FolkArt® Papier FlowMedium 1769

If you use Papier™ paints with a brush, itis recommended to use the Flow Medium aswell as the paint. This medium facilitatesyour painting just as a blending mediumdoes with other types of acrylic paint. FlowMedium is made especially for use withopaque and metallic Papier™ paints and foruse on paper.

How to Use Flow Medium:1. Load your brush as usual with the color.2. When your brush is fully loaded, dip the

chisel edge in a puddle of Flow Mediumand work into the brush. Keep in mindthat Flow Medium will make the colorstransparent if too much is loaded on thebrush. That’s why it’s important to fullyload your brush with color before addingFlow Medium.

3. To make a transparent wash, mix FlowMedium on the palette with the paint,then load the mixture onto your brush.

� Keepsake Colors™ Gel PaintThe only translucent formula scrapbook-

ing paint, Keepsake Colors™ produces asheer wash of soft color on cardstock,decorative paper and even vellum. Thispaint is ready to use straight from the bottle;no premixing required. Brush it on forsoftly colored backgrounds, or use withrubber or foam stamps. Use KeepsakeColors™ to tint matte black and whitephotos or photocopies.

� ONE Stroke™ Brushes forPaper

These brushes are especially designed foruse with the Papier™ Paint. They have stifferbristles for brushing out paint on paper. Thebrushes are tipped with green so that youcan distinguish them from the whitebristled Enamels™ brushes.The following brushes are available and areall used in this book:• Basic Set 1854 includes: Flats sizes #8,#16; Script Liner size #2

• Scruffy Brush 1855, size 1/2"• Texture Set 1365 includes: #8 and #10filberts, 1/2" rake, and 5/8" angle

� FolkArt® FinishesFolkArt® Papier™ Glass Finish: Just squeezeout over the top of a painted area that is dryto create an effect of looking through glass.Glass Finish can be used to make dewdropson leaves and flowers, or teardrops of joy orsadness. It can also be used to attach acharm to a page and make a bubble over thetop of it, or just to make items like a bubbleor balloons appear three dimensional. GlassFinish is available in 2 oz. squeeze bottles ineight colors, including clear and a variety ofcolor tints.

� Reusable Teaching Guidesand Worksheet Packs

Use these unique worksheets to practiceyour strokes. To learn and practice, paintright on top of the illustrations and followthe strokes, then wipe clean and paint again!You can also lay plastic sheets or OneStroke™ Transparent Practice Sheets over theworksheets in this book and practice thestrokes on the sheets.

� Miscellaneous SuppliesTracing paper, for tracing patterns from the

pattern sheet.Transfer paper and stylus, for transferring

patterns.ONE Stroke Brush Caddy 1060, for

rinsing brushes.FolkArt® Brush Cleaner & Conditioner

899 for cleaning brushes. It’s a cleanerand conditioner all in one! This uniquenew formula gently removes paints,mediums and varnishes from brushes andleaves them feeling brand new.

Paper towels, for blotting brushes.Pop Dots: These are foam dots, sticky on

both sides, used on some projects forraising parts of the design. They come indiameters of 1/8", 1/4", and 1/2" (fromAll Night Media). �

3

Painting Supplies

Shown above: script liner brush, #8 and #16 flatbrushes

Show above: rake brush and angle brush

Shown above: #8 and #10 filbert brushes

4

Tips to Learning the One Stroke Technique� Practice

Give yourself time to learn and practice. You will only getbetter with practice. Don’t be discouraged, everyone has tostart somewhere. Every time you paint something it looksbetter than the time before. Learning to paint is like learn-ing to walk; you had to learn to crawl, then to stand upbefore you could walk.

Practicing on the Reusable Teaching Guides or WorksheetPacks:

� Holding Your BrushEven holding the brush correctly takes practice. You have

to develop muscle memory to be able to hold the brush han-dle straight up and down. Everyone is used to holding a penor a pencil tilted. You will grip the brush the same exceptinstead of tilting the handle you need to keep it upright.

The bristles need tofollow where the ferule (thesilver part) of the brush isgoing. If you see the bristlesout to the side of the ferulethen you are tilting thehandle to the side. If duringa shell stroke the bristlesstart to pass up the ferulethen you are twistinginstead of wiggling. If at the end of the stroke, when you liftto the chisel edge, you see a slight bend to the bristle, thenyou are not all the way up on the chisel edge. Lifting thebrush off of the surface before coming all the way up on thechisel will result in a “feathered” ending to the stroke. Thisis caused by the bristles “flicking” as the brush is lifted up.These are things that you should be aware of as you arelearning. You will see each of these happen and as you getmore practice they will disappear.

� Choosing Your Brush SizeIt is easier to control the larger brushes such as the 3/4"

flat down to the #12 flat brushes when you are first learning.

Avoid using the smaller brushes until you are comfortablewith the loading process and the strokes. Many people thinkthat smaller brushes are easier to control. While this might betrue for other types of painting it is not true when learningOne Stroke. With the One Stroke method we use a doubleloaded brushmost of the time. Double loading smaller brushesis more difficult than large brushes. The colors get muddierfaster with smaller brushes. Another point to mention is thatwith the larger brushes it is easier to see the stroke happen. Inother words you can see the bristles better, there are more ofthem. The bristles will tell you if you are tilting the handleto the side during a stroke. They will also tell you if you aretwisting the brush instead of wiggling during a shell stroke.

� Loading the BrushYou also need to learn how to load your brush properly.

This means to get the paint on the brush in a controlledamount. The paint needs to be two thirds of the way up thebristles toward the ferule (the metal part). If you don’t haveenough paint on your brush you will not have enough tofinish the stroke. However you don’t want so much paint onthe brush that it looks like a glob of goo.

Work the paint into the brush until it is two thirds full.Try not to get the paint into the ferrule (the metal part ofthe brush). Keep your blending area short, no longer than1-1/2" when loading the 3/4" flat, shorter for smallerbrushes and slightly longer for larger brushes. Whenloading brushes smaller than the #12 flat, load the lightercolor first and then side load the darker color by strokingnext to the puddle of paint and allowing the bristles of onecorner to touch the puddle.

� Use of WaterUse water only when cleaning the brushes. Blot out all

the excess water before using the brush. Use the FlowMedium to moisten the brushes and to thin the paint to usewith the liners, fan brushes and the rake brush or forshading and blending.

� Drying Between StrokesIf you are painting a stroke on top of an existing stroke

there are a couple of things that you need to keep in mind.If the paint of the first stroke is completely wet or com-pletely dry then painting a stroke on top will give you sat-isfactory results. However, if the paint is partially wet, likea thick edge, then painting a stroke on top will cause thewet parts of the first stroke to lift resulting in undesirablesplotches of thin and thick paint. To avoid this problemallow any strokes that will be overlapped to completely dry.Use a blow dryer or a heat gun to quicken the dryingprocess if needed.

1. Practice directly on theplastic cover of the work-sheet pack.

2. When you have complet-ed the design, wipe offthe paint with a damppaper towel.

5

Learn These Fun Techniques

Making beautifulgift boxes withdimensional accentsis a great way toshow off yourpainting and papercutting skills.

Stripes are easy tomake when youknow the tricksof the trade.

Creative brush stroking and a bit ofimagination can result in great ideas forscrapbook pages.

Lettering and details such as these dots are easyto accomplish when you know how to use thebottle tip or the Tip-Pen set.

6

BLOSSOMS PAINTING WORKSHEET

Single color desigsare fun & easyusing FlowMedium and onecolor. The color.ofthe backgroundshows through,creating anelegant softeffect.

Start

End

5/8" AngleThicket (toe) /Wicker White (heel) Start

#16 FlatViolet Pansy /Wicker White

TrailPetals

End

Build the flower from thetip back toward base

Start End

#8 FlatWicker White /Flow Medium

Connect 5 petalstogether at the center.

Start

End

Start

End

Fill the design& create agracefulflow with thetip of the bottle

Dot thecenter withtip of bottle.

#8 FlatWicker White / Sunflower /add a touch of School BusYellow to the Sunflower side

Pull vine by dragging toeof 5/8" Angle brush

Vine#16 FlatThicket (toe) / Wicker White (heel)

Blossoms

7

Painting with the Flat BrushFlat brushes are the brushes you will use to do most of your design painting.

One Stroke flat brushes are designed with longer bristles and less thickness in thebody of the brush than other flat brushes, so they have a much sharper chisel edge.A sharp chisel edge is essential as most strokes begin and end on the chisel edge.Remember that everyone’s comfort zone is different. While one painter iscomfortable using a #10, another painter may be just as comfortable with a 3/4"flat brush. Use the size brush that is suitable for the size of your project and withwhich you feel most comfortable.

chisel edge

flat side

DOUBLE LOADING FLAT BRUSHESUse this technique for brush sizes #12 and above.

1 2 3 4

1. Pour two puddles of the chosen colors on a disposable plate or apalette. Allow a space between the two puddles that is equal tothe width of the brush you will be using. Dip one corner of thebrush into the lighter color. Dip the other corner of the brushinto the other puddle of paint. Keep the brush positioned so thatthe color on the brush is near that same color of the puddle ofpaint.

2. Work the paint into the brush by making a “track” between thetwo puddles of paint. Touch the brush on the chisel edge, lay thebristles down and then pull in a straight line about 1-1/2" - 2"long. Don’t make the track longer or you will take off too muchpaint on the palette. Lift the brush at the end of the track. Flipthe brush over and work the paint into the brush on the otherside. Be sure to keep the paint color in the same place. Strokeback and forth about four times and then pick up more paint onthe corners and work the brush in the track again.

3. When your brush is fully loaded, dip the chisel edge in a puddleof Flow Medium and work into the brush. Keep in mind thatFlow Medium will make the colors transparent if too much isloaded on the brush. That’s why it’s important to fully load yourbrush with color before adding Flow Medium.

4. Work paint into the brush, working on the same track of color.Continue to do this until the paint is worked into the bristlesabout 2/3 of the way up towards the ferule (the metal part of thebrush). You will know that the brush is fully loaded when it feelslike you are painting with softened butter. If the brush feels likeit is “dragging” then you need more paint on the brush.

LOADING SMALL BRUSHESSize 10 and Under

1 21. Squeeze out two puddles of paint. Touch the chisel edge of thebrush to the edge of the puddle of paint. Push down and pull thepaint out of the puddle. Do this several times and then turn thebrush over and pull paint into the other side of the brush. Thiswill push the paint into the bristles of the brush. This methodwill control the amount of paint on the brush and allow you tospread it more evenly.

2. Sideload the brush into the darker color by pulling the edgethrough the paint. Do not work paint into brush at this point.

8

PAINTING WITH THE FLAT BRUSH

ONE-STROKE LEAFSee General Leaf Worksheet.

1 2 3 4

1. Make marks where you wish to place your leaves.2. Place the brush on the line. Then apply pressure and push

brush down on surface.

3. Slide brush as you pull up to tip. End on chisel.4. Pull stem half way up leaf to connect the leaf to the vine.

Pull brush on chisel. Lead with the light color.

1 2 3

1. Double load brush with two leaf col-ors. Pat brush down and apply pres-sure to spread the bristles. Do thistwice more. This is called a “starterstroke.”

2. Begin wiggling brush from side toside and pivoting it into a curve.

3. Stop wiggling and slide brush up totip.

4 5 6

4. Start the other side of leaf by placingbrush at the starting point on chisel.

5. Apply pressure, pivot and lift brushto chisel.

6. Pull a stem into leaf using the chiseledge, leading with light color.

WIGGLE-SLIDE LEAFSee General Leaf Worksheet.

9

PAINTING WITH THE FLAT BRUSH

VINESSee Blossoms Painting Worksheet.

1 21. Double load the brush with the two leaf colors. Pull brushtowards you on chisel.

2. Cross over main vine to make a natural look by pivotingbrush as you pull along.

FIVE-PETAL BLOSSOMSSee Blossoms Painting Worksheet.

1 2 3 4

1. With double loaded brush, start on the chisel edge.2. Push brush down to spread bristles.

3. Slide the brush up on the chisel, lifting the pressure.4. Connect five petals together at center.

CHISEL EDGE STROKESee Blossoms Painting Worksheet.

1 2

1. Start with brush up onchisel edge. Apply a littlepressure, let off pressureand lift.

2. Pull many strokes in thesame direction to createclusters of petals.

MANTRA FOR PAINTING LEAVESStroke a leafPull a stem

10

GENERAL LEAF PAINTING WORKSHEET

SunflowerLeaves hereare inverted

“V”

Start

Start

Start

End

End

End

Wiggle/Slide Leaf

One Stroke Leaves#16 FlatThicket /

Fresh Foliage

Pull stem into Leaf

Pull stem into Leaf

SunflowerLeaf

Start

Start

Slide

Wiggle

Option: Pull stemback through leafwithout lifting brush.

End

Theseleaves donot pivot

Start Start

Make a “V”with chisel

edge

How tobuild aHeart Leaf

Wiggle &pull till

you seea shellshape,

thenstopwig-

gling…

… andthen …

Outline leaf withtip of bottle

Pivotbrush

… slide to the tip tofinish the half

Embellishwith tip ofbottle

Embellish with tip ofbottle to add interest

CompletedSunflower

Leaf

11

LEAVES, FERN & BAMBOO PAINTING WORKSHEET

Add chiseledgestrokesto definesections

FernFern Strokes

BambooBamboo sections

5/8"AngleGreenForest /FreshFoliage

Start

Start

Start

End

End

End

End

Start

Start

Start

End

End

Outline to cleanup edges andadd interest

#16 FlatGreen Forest /Fresh FoliagePull strokeslonger to makeherb leaves

Start

End

OneStrokeLeaves

Pull stems intothe leaves

Curve stemsto makegraceful

Add curlicues andsign your namewith tip of bottle

Fern 1

Build fern bypulling leavestoward stems 6

54

32

78 9

Pull leaves thenpull fine chiseledge strokes

ROSE PAINTING WORKSHEET USING FLAT BRUSHES

12

2nd Skirt

#16 FlatGreen Forest / Fresh FoliageEmbellish with tip of bottle ofFresh Foliage

Paint wild rose-bud using samestroke used forbud in thecenter of theCabbage Rose

Add morecommastrokes

Embellish withtip of bottle

1st StepBasecoat with#16 Flat

Basecoat Buds#16 FlatBerry Wine /Wicker White

2 Step Roses& Leaves

Basecoat leaves#16 Flat Green Forest /Fresh Foliage

Completed 2 Step Roses & Leaves

2nd StepEmbellish withtip of bottle ofWicker White& FreshFoliage

Start

Start

End

OuterSkirt ofCabbageRose

Addcommastrokes

Center bud forCabbage Rose

Building the Rose1. Paint outer skirt2. Paint center bud3. Paint 2nd skirt4. Paint comma

strokes

2nd Skirt& Commastrokes start here

StrokeRosebud

CabbageRose

BUTTERFLIES PAINTING WORKSHEET

13

Start

End

Start

End

Start

Start

End

End

Chiseledgestrokes canbe usedforanothervariation

Dots

Touch

Pull

Wildflowers#16 Flat

Chisel edgestroke

#16 FlatSchool BusYellow /Sunflower

ButterfliesEmbellishwith tip ofbottle ofWicker White

BodyTip of bottleFreshFoliage

Paintwingsusing onlythe tip ofthebottles

Outline

Details

Daisies arefun toembellish

Crisscross

Dots

Embellish withtip of bottle

Wingoption:largerstrokes

Start

Outlinewith a

wiggle …or smooth

1

54

32

6

Combinebrushstrokeswithdimensionalembellish-ments

Touch,

pull, tou

ch,pul

l

Dots

Dot & pull

Daisy

SUNFLOWER PAINTING WORKSHEET

14

#16 FlatFreshFoliage /GreenForest

Pounce ina “C”shape

Start

Center3/4" Scruffy

Toothick

Keep linesthin

Outline thepetals for acountry look

Do not turn the brush around

Pull petalsout fromwet center

Start

End

#16 FlatSchool BusYellow /Yellow Ochre

Pulling from wetcenter adds detailcolor in petals

Embellish withtip of bottle ofYellow Ochre

Additional details can beadded with #2 Script Liner

#8 Flat Green Forest/ Fresh Foliage

Add clustersof One

Stroke Leaves

Embellishwith tip of bottle

Outline with tip ofbottle

Start

Start

End

End

Pull stem into leafwith chisel edge

Pull curlicues withtip of bottleGreen Forest

Loose wiggle

PALM TREE PAINTING WORKSHEET

15

Use two colors to addinterest and depth

End

Start

Spine:

Pull on

chisel

edge

Start

Start End

Lift quickly

#16 FlatGreen Forest /Fresh Foliage

Restr

oke spi

neaft

erpu

lling

leaves

tocle

anup

Embellishwith tip ofbottle

Paint leaveson bothsides ofspine

Workfrombottomto top

1

TrunkVariations

Wrong: toothick at top

Wiggle

#16 FlatBurnt Umber /Yellow Ochre

2

3

4

5

Paint grassusing tip ofbottle

Embellishwith tip ofbottle BurntUmber

Turnbrushtotaper&makethin

Pull leaves in thisdirection first

Pull to cross over to makefront half, restroke spineafter painting leaves

Use tip ofbottle

Opt

ion:

pullsp

ine

16

Painting with the Scruffy BrushThe scruffy brush is a very important brush for the One

Stroke technique. A fluffed scruffy brush is used to paintmosses, wisteria, lilacs, and some hair and fur, faux finishes,and shading textures. This brush is not used with a medi-um or water. I originally created the scruffy by shaping the

bristles of an old, worn out brush into an oval after carefullycutting them to a uniform length of about 1/2".

To clean, pounce the bristles in the Brush Caddy - don’trake them; the natural bristles can break. Allow the brushto dry thoroughly before painting with it again.

LOADING THE SCRUFFY

1. Before using the brush, fluff the edges by pulling thumbacross the bristles. Do not moisten the brush. It must be dry.

2. Keeping the handle of the brush straight up, pounce oneside of brush at the edge of the puddle of paint. Do notpounce in the center of the puddle. Take brush to next

puddle of paint. If you are loading just one color, turn thebrush and continue to pounce at edge of puddle until paint iscovering all bristles.

3. Pounce the other side of the brush at the edge of a second color.4. This photo shows a correctly loaded scruffy brush.

The tumbling chicks on thisscrapbook page were createdusing the scruffy brush. See thechick on the worksheet for thetechnique. The paint wassqueezed directly from the bottleonto the paper to create thefeet, bills, and eyes on thechicks.

1 2 3 4

17

SCRUFFY BRUSH PAINTING WORKSHEET

3

Eyes +Nostrils#2 Script LinerLicoriceDetails

#8 SchoolBusYellow /YellowOchre

ChickSchool BusYellow /Wicker White

1PounceBody

2Pouncehead

FacialDetails#2 ScriptLiner Licorice

Pull onchisel

Ear/Feet#8 WickerWhite /Licorice

Pounce cheekSmall Scruffy WickerWhite / Berry Wine

FrogThicket /Wicker White /Yellow Light

SheepWicker White /touch of Licorice

Pounce bodykeeping darkerside

Pouncehead

1

#2 Script LinerLicorice

EyeWicker White

Details#2 ScriptLinerLicoriceBody

#8 Thicket /Wicker White2

A filbert brush is a flat brushwith a chisel edge that has beencut in a curve. It is perfect formaking rounded petals and leaves.The outer edges of the daisy,chrysanthemum, and lilac strokeswill be perfectly rounded whenusing this brush. This brush canbe loaded in the same manner as aflat brush or the paint can be loaded on the flat sides as shown in thefollowing photos. When using the brush with the paint loaded on theflat side, do not work a track to blend the paint; instead, just startpainting. The following photos show the painting of a pink daisy petal.

1. Load brush fully into white paint.2. Load the flat side of the brush with the darker color.3. To make petal, push brush down on flat side.

18

Painting with a Filbert Brush1 2 3

4. Pull brush up.5. These photos show the variation of the petal colors as you pick

up more color.

6. You can also make a chisel edge stroke with this brush by simplystarting on chisel, applying pressure, then lifting.

7. Make a comma stroke by pulling end into a curve as you lift on chisel.

4 5 6 7

Painting with an Angle Brush

Lead with the heel topull the vines.

1. Push brush down on chiseledge.

2. Lean brush forward as youpull.

3. Slide to the tip.

1 2 3

An angle brush is similar to a flat brush. The only difference is that the chisel edge is trimmed at an angle making one side longer (toe)than the other side (heel). Loading this brush is the same as loading a flat brush; you just have to know which color is going on the outeredge of the stroke. The color on the outer edge needs to be loaded on the longer (toe) side. When you are making the track to work thecolor into the brush, it is easy to tilt the handle by mistake. By tilting the handle you will push the bristles on the heel side into the colorthat needs to be on the toe resulting in muddy colors. The handle needs to still be straight up, especially when loading. The angle brush,like all the other brushes, is easier to control if you are “pulling” the bristles during the stroke rather than pushing against them.

VINES LONG LEAVES

1. Start by patting brush downthree times.

2. Wiggle brush down. 3. End on the chisel. 4. To paint other side, repeattechnique.

21 3 4

WIGGLE LEAVES

FILBERT & ANGLE PAINTING WORKSHEET

19

Whitesidedown

#10 FilbertCobalt /WickerWhite

#10 FilbertSchool BusYellow /Wicker White

12 o’clock

9 o’clock

6 o’clock

3 o’clock

Filbert Daisy Fill in betweenwith morestrokes

Filbert Chrysanthemum

School BusYellow side up

Curve slightlyWhite side

up

School BusYellow /WcikerWhite

1

2

54

32

7

4

31

5

6

Filbert Iris

Flip brushso thatwhite side is upAdd more petals

Add morelayers

Start

Start

Toe

Heel

Wiggle

End

End

Heel

Start

Flip

End

Toe

Pull stem into leaf

by draggin the toe

5/8" AngleThicket (heel)School Bus Yellow (toe)Wicker White

Leaves

20

1 2 3 4

1. Load brush into white by pulling paint from the puddlewith the tip of the brush.

2. Load the second color (green) by pulling paint from

puddle with tip of brush.3. Make grass by pulling brush on flat side.4. You can also make grass by pulling brush on chisel.

1 2 3

1. Sideload brush with the dark color. 2. Sideload other side of brush with thelighter color.

3. Tap the brush on the tip to make thewild flower cluster.

PAINTING WILD FLOWERS

Painting with a Rake BrushPAINTING GRASS

RAKE & BOTTLE TIP PAINTING WORKSHEET

21

Papier Paint canbe used withKeepsake Gels

Start

Start

Start

Pull flat of brush tomake Sea Oats

Pounce on chiselto make moss

Pull up onchisel tomake longgrass &stems

RakeBrush

Pull flat of brushup to makeshort grass

Addtwistingtendrils

Pull tip tomake vine

Use a second color toadd more twisting tendrils

Add leaves &berries Dot pull

Dots

Embellish withPapier tips

Start#16 FlatThicketKeepsakesGel

Rakes makegreat hair,grass, wavesand furPounce Rake to

make flowers

Bottle Tip Vines

Plaid

22

1 2 3

1. This shows the WRONG way tohold the bottle. Do not hold the bot-tle straight up or the paint will notflow from the tip.

2. This shows the WRONG way tohold the bottle. Do not hold the bot-tle above the surface.

3. This is the RIGHT way. Tilt the bot-tle slightly and pull it along steadilyas you apply even pressure.

HOLDING THE BOTTLE

Using the Bottle TipYou can add dimensional details to your painting by using the bottle tip to apply the paint.

1 2 3 4

Dot with tip and lift bottlestraight up.

Hold bottle as instructedpreviously and pull tip alongedges of painted designs tocreate an interesting dimen-sional look.

The bottle tip lines cancreate wonderful detail lines.

Don’t forget to sign yourwork. The tip end of thebottle is great for this.

DOTS OUTLINING CURLICUES SIGNING

PLAID

This paper has a printed plaid design on it. Pulling a straightline of paint with the tip makes the plaid more dimensionaland interesting. You can also create this same look by paint-ing the wide lines with a flat brush using paint that isthinned with Flow Medium, then adding additional thinlines with the bottle tip.

BOTTLE TIP PAINTING WORKSHEET

23

Paint wide parts of letters with #8 Flat and Violet Pansy.Outline wide parts of letters or leave alone.Embellish with tip of bottle Fresh Foliage.

Letters can also be writtenwith the tips of the bottles

Add dots fora fun effect

Combine allvariations

#8 Flat &tip ofbottle

Tip of bottle

#8 Flat

Script Liner &tip of bottle

Scrolls:#2 Script Liner

Embellish withtip of bottle

Start

Tip of bottle

Push hard

Lift

End#8 Flat

24

1 2

USING GLITTER PAINT

1 2

1. Paint your design with a brush. Herea daisy is being painted.

2. Squeeze the nozzle over the wet paintto apply the glitter.

3 4

3. Don’t waste any loose glitter. Put itback in the tube by first unscrewingthe nozzle.

4. Funnel the loose glitter back intotube. Glitter will stick to the wetpaint, allowing any excess to beremoved.

USING LOOSE GLITTER

Glitter Effects

Thirteen great glitter colors are avail-able in the Papier™ line of paints. Usethe glitter paints to add sparkle to yourdesigns. When the paint is brushed outit is more translucent than the regularpaint colors.

1. Use the glitter paint squeezed fromthe bottle tip to create glitterydimensional lines and designs.

2. You can also brush out the paint.

The Papier™ Glitter Sets are a fine, loose form of glitter that can create extreme glittery effects. There are three color setsavailable – metallics, jewels and brights. Each set contains four colors of glitter. The tube is designed to prevent glitter frompouring out quickly. This loose glitter is dusted on top of wet Papier™ paint.

25

Cutting TechniquesCutting can add special interest to

your projects. Be sure you have sharpscissors. One of the techniques I like touse is shown in the how-to photo belowand the finished project at right. Forthis technique, make a dimensionaldesign with the tip end of the bottle.Allow the paint to dry. Use sharpscissors to cut along the edge of thepaint. The paint forms a finished edgeto the cut edge. Painting before cuttingis easier than cutting and then painting.

Another favorite cutting trick that Ilike to use is to paint a design first ontoa piece of cardstock or heavy coloredpaper. After the design is dry I cut itout, leaving a small amount of paperaround the design. I can glue thesecutouts to my scrapbook pages orgreeting cards or use Pop Dots toattach them to the surface. The PopDots raise the design above the surface,adding dimension to the project.

The greeting card was made by folding a 7" x 9" piece of card stockin half to make a card. At the vertical center of the front side of thecard, a vine border was made using the bottle tip. After the paint wasdry, sharp scissors were used to cut along the paint line. Printed paperwas glued to the inside of the card. Bells were painted on the frontside of the card and each was trimmed by gluing on a small bow.

3-D EFFECTS PAINTING WORKSHEET #1

26

Attach items tosurface withPop Dots tocreate 3-Deffects

#16 FlatEngine Red /Wicker White

Connect allpetals to onecenter

#16 FlatThicket / School Bus Yellow /touch of Wicker White

Cut a center from printed paper.Embellish with tip of bottle afterattaching to center of the flower.

Pull stemswith chiseledge.

Outline withtip of bottle

Embellish eyes& nostrils withBurnt Umber

Outline beakswith Pumpkin

Outline wings withtip of bottle ofSchool Bus Yellow

Outline feetwith tip of bottleof Pumpkin

Fiesta Flowers

Tumbling Chicks

3-D EFFECTS PAINTING WORKSHEET #2

27

Attach petals using PopDots for 3-D effects

#8 Flat Wicker White /touch ofLicorice

OutlineWickerWhite

#16 FlatAmethyst /WickerWhite

Wiggle in & out

Add DiscoGlitter Metallics (use tip of bottle)

SapphireBlue

AddEmeraldGreen

Start

Pivot

Stop

#8 FlatAmethyst /School BusYellow

OutlineWickerWhite

1. Cut outwings

2. Glue down &overlap atwing base

Scruffy brushCoffee Bean / Licorice

PetalsYellow Ochre /School BusYellow

Outline with SchoolBus Yellow

Cut out individual petals,layer & glue down

Pansy

Sunflower

28

Creating Glass Effects

SPONGING PAINTING ON PATTERNED PAPER

Special Effects

Using the Glass Effects paint colors, you can create areas of glass-like sheen to your designs.There are eight colors and tints available.

1. Simply drop the paint from the writer tip onto an area of yourpainted design.

2. You can use the tip to move the paint area and fill in the area ifneeded.

You can create textured backgrounds on paper and papier machéby sponging with Papier™ paints using one of the One Stroke™

Sponge Painters 1195. Simply dip the sponge into the puddle ofpaint. Blot on palette and pounce onto background.

Papier™ paints are opaque and cover so beautifully that you can paintyour designs on printed paper. There are so many great backgroundpapers available for scrapbooking. Now you can add your special per-sonal touch of a painted design on top of your favorite printed papers.

GLASS EFFECTS PAINTING WORKSHEET

29

WithoutGlass Finish

Cherries#8 FlatEngine Red / Berry Wine

Eyelashes#2 Script LinerInky Licorice

Water

Addhighlightswith #2Script LinerWickerWhite

#6 FlatFresh Foliage /Thicket

#6 FlatLicorice

Add GlassFinish

Add GlassFinish

DewDrop

With GlassFinish

Eyes

Water

30

Glass Finishes colors can be useto tint photocopies of yourphotos. Using Light Pink GlassEffects makes the print lookantiqued. Be sure to paint onmatte photocopies of yourpictures.

1 2

Tinting a Photo

1. Squeeze paint out onto the photocopy of your photo. 2. Brush out the paint to cover the photo.

31

The teddy bear on this scrapbook page was painted with the scruffybrush. See the Scruffy Brush Painting Worksheet on page 17 for thetechnique of painting fur. The One Stroke™ Background Template,Oval 1868 was used for cutting the ovals for the teddy bear painting.One oval was cut from plaid paper, then a small oval on which topaint the teddy bear was cut from white watercolor paper. LicoricePapier™ was thinned with Flow Medium and used with a flat brush topaint the lettering.

32

Painting with Keepsake Colors™

These acid-free, gel-formula paints were developed with scrapbookers in mind.The paints can be used for photo tinting on professionally-printed matte finishphotos as well as photos printed on a laser or ink jet printer on matte finish photopaper. The paints can also be brushed on printed papers or vellum to createtransparent washes. Use them instead of ink with rubber stamps. Keepsake Colors dryquickly and are available in a wide range of colors, including glitters.

The colors can also be used to paint One Stroke™ designs as shown on theKeepsake Colors worksheet. The colors are slightly translucent so they will give asoft look to your designs.

The following photos show how the various colors can be used to tint photos.

1 2 3

1. A filbert brush is loaded with Blushcolor.

2. This is used to tint the cheeks on thechildren in the photo.

3. Blue Sky loaded onto the filbertbrush is used to tint the dress.

4 5 6

4. Here Fresh Foliage is used to tintpalm fronds.

5. Thicket colors other fronds. 6. Raw Umber tints the tree trunks.

KEEPSAKE COLORS PAINTING WORKSHEET

33

Overlapstrokesto formbody

#8 FlatOrchid #8 Flat

Yellow Ochre /Sunny Yellow

Leaves#8 FlatThicket /Fresh Foliage

Push & pullStem on chisel

Dragonfly

Wings#16 FlatVioletPansy

Start

Easy Plaid#8 Flat Thicket#2 Script Liner Fresh Foliage#2 Script Liner Goldenrod

End

OnchiselPush& pull

Push&pull

Body#8 FreshFoliage /Periwinkle Stamping

WingsOrchid /VioletPansy

BodyFreshFoliage

LeavesFresh Foliage / Thicket

FlowersOrchid /BerryWine

34

For this scrapbook page, photocopied pictures were tinted withKeepsake Colors™. See page 32 for instructions. The palm trees in thephoto were extended onto the scrapbook page with the One Stroke™

painting technique and Papier™ paints. See the Palm Tree PaintingWorksheet for painting palm fronds.

35

You can give instant nostalgia to your scrapbook photos by tintingthem. Photo copies were made of the black and white photos, thenKeepsake Colors™ translucent gel paints were used to tint the prints.See page 32 for instructions on tinting photos with Keepsake Colors™.

TTeechnichniququesesGGuiuiddeeTTeechnichniququesesGGuiuiddeePAINTING ON PAPER

DECORATIVEPAINTING

#9807D

Disclaimer: The information in this instructionbook is presented in good faith, but no warrantyis given, nor results guaranteed, nor is freedomfrom any patent to be inferred. Since we have nocontrol over physical conditions surrounding theapplication of information herein contained, PlaidEnterprises, Inc. disclaims any liability for unto-ward results.

IMPORTANT: Please be sure to thoroughly readthe instructions for all products used to completeprojects in this book, paying particular attentionto all cautions and warnings shown for that prod-uct to ensure their proper and safe use.

Copyright: All Rights Reserved. No part of thisbook may be reproduced in any form withoutpermission in writing, except by reviewer, whomay in reviewing this publication, quote briefpassages in a magazine or newspaper.©2010 Dewberry Crafts

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