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8/8/2019 Mixed Media Paintbox
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Dusty Diablos by Michael deMeng
Encaustic Workshop
by Patricia Baldwin Seggebruch
Exhibition 36 by Susan Tuttle
Frame It! by Tonia Davenport
Image Transfer Workshop
by Darlene Olivia McElroy and
Sandra Duran Wilson
The Journal Junkies Workshop by Eric M. Scott and David R. Modler
Journal Spilling by Diana Trout
Kaleidoscope by Suzanne Simanaitis
Layered, Tattered & Stitched by Ruth Rae
Lifelines by Carol Wingert and Tena Sprenger
Micro Mosaics by Angie Weston
Mixed-Media Mosaics by Laurie Mika
The New Creative Artist by Nita Leland
Objects of Reflection by Annie Lockhart
Outstanding Mini Albums by Jessica Acs
Pretty Little Things by Sally Jean Alexander
Rethinking Acrylic by Patti Brady
Scraptastic!by Ashley Calder
Semiprecious Salvage by Stephanie Lee
Show It Off!
from the editors of Memory Makers Books
A String of Expression by June Roman
Taking Flight by Kelly Rae Roberts
Tiles Gone Wild by Chrissie Grace
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This book f ea t ures pro jec ts f rom
these g rea t F+ W Media, Inc. ti tles:
Acrylic Revolution by Nancy Reyner
Altered Books Workshop by Bev Brazelton
Altered Curiosities by Jane Ann Wynn
Amulets and Talismans by Robert Dancik
Art Escapes by Dory Kanter
The Art of Personal Imagery by Corey Moortgat
Art Stamping Workshop by Gloria Page
Artist Trading Card Workshop by Bernie Berlin
Bent, Bound & Stitched
by Giuseppina “Josie” Cirincione
Beyond the Bead by Margot Potter
Book + Art by Dorothy Simpson Krause
Canvas Remix by Alisa Burke
Celebrate Your Creative Self
by Mary Todd Beam
A Charming Exchange
by Ruth Rae and Kelly SnellingCollage Discovery Workshop—Beyond the
Unexpected by Claudine Hellmuth
Collage Fusion by Alma de la Melena Cox
Collage Lost and Found
by Giuseppina “Josie” Cirincione
Collage Playground by Kimberly Santiago
Collage Unleashed by Traci Bautista
Creative Awakenings by Sheri Gaynor
The Creative Edge by Mary Todd Beam
Delight in the Details by Lisa M. Pace
Digital Expressions by Susan Tuttle
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Week 12: Time Flies 40
Week 13: Elmer’s Glue Crackle 42
Week 14: Symbolic Collage on Wood 44
Week 15: Crackled Background48
Week 16: Digital Painting 52
Week 17: Crayon Cupcakes 56
Week 18: Collaged Angel Pendant 58
Week 19: Texture on a Painting 60
Week 20: Building a Frame Around an
Acrylic Box 62
Week 21: Texture Paste Design 64
Week 22: Poem + Art 66
Week 23: Verdigris (Faux Patina) 68
Week 24: Mirror Stars Brooch and
Earrings 70
Week 25: Watercolor in Encaustic 72
Week 26: Watercolor Lifting Technique 74
Week 27: Gel Skin 76
Ar twor k f r om
Be y o nd t he Beadby M a r g o t P o tte r
Table of Contents
Featured Titles 3
Introduction 7
Week 1: Painting on Silk 8
Week 2: Create an Observation Icon 10
Week 3: Glazing 12
Week 4: Southwest by Fareast Frame 14
Week 5: Emboss-Resist18
Week 6: Story Bracelet 20
Week 7: A Single Memento 24
Week 8: Special Occasion Collage 28
Week 9: Acrylic Paste Paintings 32
Week 10: Painterly Art Magnet 34
Week 11: Forest Floor Painting 36
Ar twor k f r om
A S t ri ng o f E x p re s sio nby J une Ro ma n
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Week 46: Pages Pendant
118
Week 47: Test the Flexibility of
Watercolor 122
Week 48: Abracadabra Collage 124
Week 49: Watercolor on Baby Wipes 128
Week 50: She Said 130
Week 51: Masking Tape Background 132
Week 52: Crackle Paste on Plexiglas 134
Meet the Authors 136
Index 143
Books of Interest 144
Ar twor k f r om
C ollage Lo st a nd F ou ndby G iuse p p ina “J o sie ” C ir inc io ne
Week 28: Mail Art to the Self 78
Week 29: Beeswax as Adhesive 80
Week 30: Distressed Painted Face 82
Week 31: Masking Fluid Resist 84
Week 32: Reliquary Pin 86
Week 33: Texturizing Canvas With
Acrylic Paint 88
Week 34: Carnivale 90
Week 35: Walnut Ink Aging 94
Week 36: Transformed Tote 96
Week 37: Custom Paint Swatches 98
Week 38: Painted Paper Bag Album 100
Week 39: Watercolor on Yupo Paper 102
Week 40: Enameled Sunset Pendant 104Week 41: Antiquing Chipboard 106
Week 42: Bandana Collage 108
Week 43: Textured Stamp Background 110
Week 44: Plexiglas-Framed Artwork 112
Week 45: Redeeming Discarded
Objects 116
Ar twor k f r om
C ollage F u sio nby Alma de la M e le na C o x
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Ar twor k f r om
T ile s Go ne W ildby C hr issie G r a c e
Ar twor k f r om
K aleido sco peby S uz a nne S ima na itis
Ar twor k f r om
Out sta ndi ng M i ni Al bu m sby J e ssic a Ac s
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Introduction
Idon’t know about you, but I often struggle with the call to “create some-
thing every day,” and I have a deep respect for those with a wellspring
large enough to accomplish this enormous task. I just don’t feel artisti-
cally creative each and every day. But I do believe that it’s important, as art-
ists, to keep our creative skills honed, and there’s no better way to do that than
to practice on a regular basis. So maybe some of us can’t pull out our box of
paints at a self-disciplined time every morning, afternoon or evening, but once
a week? Now you’re speaking in a language I can understand.
Mixed-Media Paintbox is going to make it easy for us to do exactly that—get
our feet wet (and our hands in the paint) at least once a week. The best part is,
we won’t even need to scratch our heads to come up with new ideas and proj-
ects because it’s already been mapped out for us! All of the contributing artists
in this book are among the most creative folks I know and they’re who I turn to
for inspiration, so I know you’ll enjoy them, too.
On the following pages you’ll find 52 projects—a new one for each week for
an entire year. Of course, you’re free to play with the projects and techniques
in any order you choose, but if you’re like me, you may not want to have to
think that hard. There will be techniques and products here that you’ve prob-
ably never tried before (from jewelry to book arts to assemblage), and that’s
going to tone up your creative muscle even more. Plus, if you find yourself
extra “into” any particular week’s project, the good news is that each project
was pulled from its own book, so there’s plenty more inspiration to be explored.
Whether you start your new commitment to creativity today or over the
weekend, there’s no pressure here—just have fun!
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Tonia Davenport Acquisitions Editor,
North Light Books
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A blank wooden flower turns funky with layers of crackle
paint, stamped stars and a minicollaged watch frame.
Lightweight wood cutouts sold for use on scrapbook pages makegreat jewelry components. This unexpected combination of ele-
ments can change completely based on your choice of colors and
finishes. Have fun and mix it up!
Week 12
Time FliesBY MARGOT POTTER | from Beyond the Bead
g wooden flower ( Pr ovo Cr aft)g metal watch face
( Or namentea)
g scr apbook paper ( Die Cuts with a V iew)
g “time flies” ( pr inted in 12-point T imes N ew Roman font)
g cr ackle paint ( Ranger )g pink paint dabber ( Ranger )g star stamp ( I nkadinkado)g 2 4mm cr ystal AB
Swar ovski flower s
g 2 3mm cystal AB Swar ovski butter flies
g 1 Lucite flower ( M aya Road)
g cr aft glue ( Beacon)g small paintbr ushg sandpaper g scissor sg Amazing Goopg o ptio nal: 1 pin back
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M a t e r i a l s
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1. Paint the flower with
a basecoat
Sand the front and sides of the
wooden flower. Paint the flower
with a pink paint dabber. Allow
it to dry. Use a small paintbrush
to paint the edges of the flower
pink. Allow the paint to dry. If
desired, paint the back of the
flower and allow it to dry.
2. Paint the flower with
crackle paint
Paint the flower with crackle
paint. Allow it to dry. (Thicker
paint makes thicker cracks,
and thinner paint makes
thinner cracks.)
3. Stamp the flower
Stamp the petals with the star
stamp, varying the placement
of the stars from petal to petal.
4. Smear on pink paint
Use your fingers to smear on
more pink paint. Allow the
paint to dry.
5. Adhere the
watch bottom
Adhere the watch bottom to
the center of the flower with
Amazing Goop. Allow it to dry.
6. Create the collage
Cut a piece of scrapbook paper
to fit inside the bottom of the
watch face. Cut out the “time
flies” phrase and adhere it to
the scrapbook paper with craft
glue. Add a selection of beads
on top of the collage. Slide the
watch face onto the bottom. To
make a pendant, drill a hole in
a petal and add a jump ring.
To make a pin, glue a pin back
to the center back of the flower
using Amazing Goop. Allow it
to dry.41
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Collaged Angel PendantBY RUTH RAE AND KELLY SNELLING | from A Charming Exchange
This beautiful pendant
would be great on a
necklace or hanging in a win-
dow. This week, incorporate
text along with paint to make
a meaningful piece. Choose
words and colors that inspire,
motivate or encourage you to
include on your charm.
Week 18
g metal angel shape
g book pages, paper
g pencil
g Burnt Umber glaze
g acrylic paint
g gel medium
g permanent marker
g brushes (various sizes)
teri lsMaterials
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5. Add final details
Add final details with a permanent marker, and add a
word of text, if you like.
2. Paint details on the wings
Fold the paper in half, and cut out the wing
shapes to create four wings. Apply a Burnt Umber
glaze over the surface of the paper wings.
Then, with a smaller detail brush, add details,
such as flower shapes. You could also collage
images here.
1. Trace the wing shapes
For the pendant, we use a metal angel shape as
the base. For the wings, you can either paint the
metal, or you can cover them with paper. If you
want to cover them with paper, trace the general
shape on the paper of your choice.
3. Add finishing touches
Continue painting until you are happy with your
wings.
4. Adhere wings to the metal shape
Use gel medium to adhere the painted wings to
the metal shape.
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Verdigris (Faux Patina)BY MICHAEL DEMENG | from Dusty Diablos
Week 23
g heatgung paintbr ush and water
g acr ylic paints: white, Phthalo Gr een, Dioxazine Pur ple ( Golden), M ar s Black ( Golden), Quinacr idone Gold ( Golden)
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M a t e r i a l s The process of getting a nice patina on copper is
easy—it’s a material that naturally achieves this
look and achieves it even more quickly with the super-
natural addition of manufactured patina solutions! But
for times when actual copper is not part of the deal, paint
washes will easily do the trick. Try this week’s technique
to turn any project into aged metal magic.
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Mix paint
This technique works best over something dark,
in this case, black. Mix white, a tiny bit of Phthalo
Green, and an even tinier bit of Dioxazine Purple.
Load a dry brush with the mixture and work excess
paint out of the brush on a paper towel. Run the drybrush over the dark surface, allowing the paint to
just skim the surface of the textures. When the first
layer is dry, brush a wash of Uszhhh (see below) over
the piece.
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1. Using a heatgun, heat the white paint until it
is bubbly. To begin painting, apply a wash of
black on one side.
2.
Apply a wash of Quinacridone Gold on the
other side and mix the two together gradually.
“ U s z h h h ”
T e c h n i q u e
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Distressed Painted FaceBY KELLY RAE ROBERTS | from Taking Flight
Painted faces can be added to a variety of mixed-media
pieces to add a personal touch. Try this week’s distressed
painted face project for a way to let loose and have fun. The some-
what weathered but sweet face is created using paint and sand-
paper—there are no mistakes with this very forgiving technique.
You’ll also find ideas for finishing touches, including the use of
gel pens, glazes, ink pads and ephemera.
Week 30
g r hinestone bezel
g heavybodied Golden acr ylics T itanium W hite, Bur nt Sienna, Bur nt U mber and Raw Sienna
g fluid acr ylics in var ious color s
g T atter ed Rose Distr ess I nk ( Ranger )
g gesso
g small paintbr ush
g fine detail paintbr ush
g white gel pen
g char coal pencil
g fine-gr it sandpaper
g o ptio nal: char coal blender
g o ptio nal: Raw U mber glaze
g o ptio nal: heat gun
M a t e r i a l s
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2. Layer darker paint in
areas of shadow
Add a bit more of the Burnt
Sienna and a little bit of Burnt
Umber to your mixed paint.
Apply the darker color to one
edge of the face, where the
shadows might rest, and to the
cheek and eyebrow areas. When
using this technique, I always
start with the shadowy areas
first, and then work my way to
the lighter areas.
3. Add white paint to
highlight areas of light
Apply some Titanium White
thickly to areas where the
light might rest. I’m targeting
the bridge of her nose, a bit of
one side of her forehead, and
areas near her eyes, chin and
forehead. The effect should
be splotchy and uneven; don’t
worry if it looks messy—in fact,
it should. Let it completely dry
before the next step.
4. Sand layers of paint
Take a piece of very fine-grit
sandpaper (the finest grit you
can find) and very lightly begin
sanding the heavy layers of
paint on the face and neck
until you get the blended effect
you want.
1. Layer skin tones of paint
Use a charcoal pencil to sketch your subject on a painted surface. To
paint this face, we’re going to layer skin tones of heavy-bodied acrylic
paint and then sand them away to create an even, blended surface
that appears weathered. Start by applying a layer of gesso on the face
and neck area of your subject to create an opaque base. Then blend
Titanium White, Burnt Sienna and Raw Sienna heavy-bodied Goldenacrylics and apply a thick coat of the mixture to the face and neck area.
Let it dry a bit, or give it a quick blast with a heat gun.
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6. Add finishing touches
Paint the hair with fluid acrylic
paint and use the white gel pen
to add highlights and defini-
tion. Use fluid acrylics (I mixed
a few shades with a Raw Umber
glaze) to color in the dress with
a transparent hue so all the
layers beneath show through.
Use a soft charcoal pencil to
redefine any lines that have
been painted over and addany embellishments (I added a
belt). Use a white gel pen and
a rhinestone bezel to create a
necklace. Lightly rub a Tattered
Rose Distress Ink pad over the
surface of the dress and the
background to highlight the
wrinkles in the tissue paper,
giving the piece an aged look.
5. Draw and paint facial
features
Use a charcoal pencil to draw in
fine-detail lines for the facial fea-
tures—eyes, nose, lips, eyebrows
and hair line. Blend the lines with
a charcoal blender to soften them
a bit if you want to. Finish the
face by using a detail paintbrush
to color in the lips and eyes and a
white gel pen to add detail to the
whites of the eyes.
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Textured Stamp BackgroundBY KELLY RAE ROBERTS | from Taking Flight
This week, you’ll experiment with paint and stamps to add a
rich, textured appearance to your backgrounds. Be careful,
though; using stamps in your paintings can be addictive. It makes
it nearly impossible to stop into a craft store without buying a
new one every time!
Week 43
g 7 " × 7 " ( 18cm × 18cm) block of wood
g 3 r ubber stamps
g heavy-bodied acr ylic paints in assor ted color s
g foam br ush
g gessog paper towelsg o ptio nal: heat gun
M a t e r i a l s
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1. Gesso the wood surface
Use a foam brush to gesso the
surface of the wood. Allow it
to dry. If you wish, you can
use a heat gun to speed up
the process.
3. Stamp the design into
wet paint
While the background paint
it still wet, press a stamp
firmly into the paint to make an
impression. Repeat until you’ve
created a texture you like, and
then allow the surface to dry.
(Again, you can speed this upwith a heat gun if you wish.)
2. Paint the background
Select or mix a shade of heavy-
bodied acrylic paint you’d like
to use as the primary back-
ground color. Use a foam brush
to apply a coat of paint to the
gessoed surface.
4. Stamp another design
and paint color
Mix or choose a coordinating
color of heavy-bodied acrylic
paint. Here, I simply added a
blue shade to my green back-
ground to create a turquoise
color in the same palette. Brush
the paint directly onto a differ-
ent rubber stamp, and press it
onto your surface to transfer the
pattern.
5. Blot the edges
Use a paper towel to blot the
edges and soften the stamp
impression. Blot until you’ve
refined the second layer of the
background to the level of tex-
ture and color you like.
6. Add a third layer of
textured stamping
Select a third stamp, brush
some more of the second color
of paint onto it and stamp it
randomly over the surface to
add yet another dimension
to the texture. Allow it to dry.
Now your beautifully textured,
stamped background is ready,
and you can go on to paint the
subject of your choice.
pTip
It’s very important to clean acrylic paint off of your
stamps immediately with water, or you will ruin your
stamp when the paint dries on the rubber.111
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Y0054 US $24.99(CAN $28.99)
ISBN-13: 978-1-4403-0907-6
ISBN-10: 1-4403-0907-8
Incorporating paint into your mixed-
media art has never been easier or more
fun. Open up your paint box and delve
into a year of creative ideas from 45 ofyour favorite artists. Whether you’ve used
paint for years or have been anxious to try
a new medium, you’ll find great
advice and ideas inside Mixed-Media
Paint Box. Each week, you’ll be guided
with step-by-step instructions through a
different project or technique that will add
instant depth and drama to your art!
g 52 projects and techniques, one for every week
of the year, to inspire a weekly dose of creativity.
g Tips, hints and suggestions from some of your
favorite authors, including Ruth Rae, Claudine
Hellmuth, Chrissie Grace, Bernie Berlin and
Margot Potter.
g Step-by-step instructions for jewelry-making,
assemblage, journaling, collage and a variety
of painting techniques to incorporate into your
own art.
Discover inspiration and new ways to
express yourself every week inside
Mixed-Media Paint Box!
Crafts