Midnight Clearby Debby Forshey-Choma

Midnight ClearBy Debby Forshey-Choma

Palette: DecoArt Americana AcrylicsBlack Green #13157 Blue Chiffon #13193Burnt Umber #13064 Cadmium Red #13015Camel #13191 Country Blue #13041 Deep Midnight Blue #13166 Evergreen #13082Fawn #13242 Grape Juice #13236Graphite #13161 Raw Sienna #13093Rookwood Red #13097 Slate Grey #13068Snow White #13001 Tangelo Orange #13196Uniform Blue #13086 Warm White #13239Wasabi Green #13519 Williamsburg Blue #13040Winter Blue #13190 Wisteria #13211

Surface: Shelf Plaque #62431

Misc. Supplies:DecoArt Snowtex #87333 DecoArt DuraClear Matte Varnish #87395Palette Knife #70194 DecoArt DuraClear Satin Varnish #87394JoSonja Glazing Medium #83106 Snowfl ake Background Stencil #70815DecoArt Texture Crackle #84215 Soft Grip Embossing Stylus Set of 3 #70125C-Thru Graph Ruler Christmas Spirit Transfer Paper (optional)Shop Towels Americana Décor Image Transfer Medium #72006 (opt.)White Graphite Paper #70139 Stencil – Baroque Medallion #AS08-K (optional)Spattering Tool (or old toothbrush)

Brushes: Royal BrushesComparable Papillon by the Artist’s Club brushes and Artist Inspired Brushes are in parentheses.#1360 – sm, med & lge Debby’s Texture brushes (Loew-Cornell Angular Bristle Brushes, size ¼” #27197; size ½” #27198; size ¾” #27199) #4170 – 6, 8 Majestic fi lberts (Filbert, size 6 #20118; size 8 #20119) #1400 – ¾ SG White Blending Mop (Maxine Thomas Mop, size ¾” #27181)#4585 – 10/0, 5/0 Majestic liners (Script Liner, size 10/0 #20137; size 6/0 #20138)#3080 – 1 Oval Wash Combo (Varnish Set #20171)#4700 – ¾ Majestic glaze wash (Glaze Wash, size ¾” #20102)#4150 – 0, 2, 4, 6, 8, 12 Majestic shaders (Shader, size 0 #20123; size 2 #20125; size 4 #20126; size 6 #20127; size 8 #201029; size 12 #20131) #4160 – 5/8 Majestic angular (Angular Shader, size 5/8” #20112)#R1111 – ½” White Bristle stencil brush (Stencil Set #20189)

Preparation:1. Lightly sand over the entire shelf plaque; wipe off with a lint-free cloth.

1

Note – This background technique of Imagine Transfer and Texture Crackle will give the effect that the design is painted on an old piece of wood that has had many years of paint layers. In some areas those layers are chipped away, even down to the bare wood. This is an optional step.

Image Transfer2. Choose three images from the Christmas Spirit Transfer Paper, roughly tear the images out so that the paper has some ragged edges. Lay the images out on the surface for placement; refer to photo. Set the images aside, basecoat the surface areas where the images will be transferred with one coat of Warm White; using the glaze wash brush.

When dry, apply a generous coat of the Image Transfer Medium to one of those surface areas, lay one of the images face down and fl at into the Medium, pressing fi rmly. Rolling a bottle of paint over the image will help or use a brayer. Repeat steps with remaining images.

When dry, use a wet terry cloth over the image to gently scrub away the paper, until the image be-gins to show clearly. Then switch to using your fi ngers for the remaining fi bers. If you are not sure if you have removed all of the paper, let it dry for a few minutes, any remaining paper on the image will show as fuzz. Remoisten the image and rub it away. Allow to dry.

Apply Texture Crackle3. Place about 1/8th cup of Texture Crackle on your palette. It is a bit stiff, but when you work it with the palette knife it becomes creamy and easy to work with. Be sure to close the jar until you need more and keep the edges of the jar clean to ensure that the jar will re-seal properly.

Pick up a small quantity of Texture Crackle with the edge of the palette knife and begin applying it to the surface. Work with small amounts at a time to give you more control. Your application should be very thin, paper thin. Lay the knife fl at to apply the medium, then stand it up on the edge to lightly scrape away excess.

Apply randomly in small overlapping patches to avoid developing a set pattern. Also carefully overlap the edges of the image transfer, avoid straight edges, keep it random and ir-regular. Randomly allow areas of the wood surface to remain free from the Texture Crackle application; these areas will take the basecoat color dif-ferently and add more interest.

2

Allow to dry well and then sand very lightly to re-move any sharp or loose pieces. Note – When applying thin applications of Texture Crackle, it is less likely to be damaged and would be easier to repair, drying time is much faster with a thin application and less product is being used.

Basecoating Background4. Moisten a small piece of a shop towel with JoSon-ja Glazing Medium, pick up some Uniform Blue and rub the color over the Texture Crackle, in a circular fashion, changing directions frequently. Be sure to rub very lightly over the images; just to add a bit of color. Allow the Uniform Blue to be weak in some areas and stronger in others over the texture. Keep-ing the shop towel moistened with Glazing Medium allows the color to move easily over the texture.

Painting Instructions:5. When dry, use the white graphite paper, a traced pattern and a stylus to transfer the horizon line, snow hill lines and snowman to the surface.

6. Apply 2 light coats of Fawn to the crop fi eld (working around the snowman); using the 12 shad-

er. Allow to dry. Corner load the angle with Burnt Umber, fl oat shading across the top and bottom of the crop area. When dry, pre-dampen the crop area with clean water. With the sm Texture brush and Burnt Umber, dance in the rows of crops. Then randomly re-dance Burnt Umber over the crops; to deepen areas.

For proper use of the Texture brush, use the following method. Dampen the bristles with water to start the separation of bristles. Tap bristles into the paint on your palette, hold it perpendicular to your palette, pounce it up and down to get some of the paint off – keeping the paint sparse on the brush. Note – this brush can be used on the whole foot or just the toe. Tap lightly on the surface, dance with the brush up and down, rolling the brush in different direc-tions in between your fi ngers when it is up in the air (like dancing the twist, light on your feet). Al-low some drying time in between dances so the paint sets up and you don’t end up with a globby or muddy look.

Highlighting Snow Hills7. To assist in fl oating the snow hills, pre-dampen with clean water, then corner load the angle with Winter Blue, fl oat and walk out a wide highlight along the snow hills, fl oating down into the land areas; mop to soften.

Then continue by corner loading the angle with Winter Blue, randomly chisel fl oating* down into the land areas. *chisel fl oat by corner loading the angle, blend off on your palette, lay the bristles of the brush fl at 3

You can faintly see the Christmas Spirit Transfer Paper showing through the scene painting, giving your piece a little interest and texture.

on the surface, chisel edge up. Push the paint on the bristles front left to right in a scratching motion, allowing the bristles to pull a broken line that is slightly fl oated.

Repeat steps with Snow White, fl oating a narrower highlight fl oat on top of the Winter Blue; mop to soften. Then corner load with Snow White, random-ly chisel fl oating* into the land areas. Additional snow will be added after painting the designs.

Transferring Design8. Transfer the remaining design to the surface. Use the graph ruler to aid in the transfer of any straight lines, by dragging the stylus along the ruler’s edge.

Background Pines9. Work on only a couple of pines at a time. Slightly dampen the surface with clean water, where the pines will be pulled. The dampened surface will allow the pine to softly bleed, giving the boughs a softer effect; giving the illusion of the pines in the distance. Use the appropriate size fi lbert loaded across the chisel edge with Black Green. Up on the chisel edge of the brush, vertically pull the top of the pine, then horizontally up on the chisel edge continue to tap in the boughs, tapping from left to right, slowly and slightly widening as you work towards the base of the pine. Slightly allow some of the background to show through the boughs, so the pine does not begin to look like a triangle. Repeat the same steps with the remaining pines.

When dry, lightly and randomly go back over the boughs with Black Green; to deepen a few areas. When dry, lightly pre-dampen each pine again, load the appropriate size fi lbert with Snow White, lightly and randomly tap over the boughs; for snow.

Background Shrubs10. With the appropriate size Texture brush and Evergreen, dance in the background shrubs. Then repeat step with Snow White, randomly dancing on the shrubs; for snow and separation.

Bare Tree11. Double load the 6 shader with Raw Sienna + Burnt Umber, basecoat the trunk of the bare tree,

4

5

then up on the chisel edge, pull the limbs. With the 6 shader and Snow White, randomly dab on the limbs; for snow.

Painting Structures 12. Use the appropriate size shaders to basecoat the structures. Use the appro-priate size liners to pull wall lines. Use the appropriate size shaders to wash over the shade side walls; corner load the angle to fl oat shade on the opposite wall.Each numbered step will contain instruc-tions to complete the structure. Roofs, windows, doors will be completed in a later step. Refer to line drawing for num-bering.

Structure #113. Wasabi Green – basecoat walls, chim-neyDeep Midnight Blue – pull wall lines, wash over right wall, fl oat across top of left wall and down right side of chimney

Structures #2 and #314. Grape Juice + Snow White 1:1 mixture – basecoat walls, chimneysDeep Midnight Blue – pull wall lines, wash over right wall, fl oat across top of left walls and down right sides of chimneys

Structure #415. Camel – basecoat walls, chimneysRaw Sienna – pull wall lines, wash over the three right walls, fl oat across top of the three left walls and down right sides of chimneys

Structure #516. Cadmium Red – basecoat wallsSlate Grey – basecoat foundation of wallsRookwood Red – pull wall lines, wash over the three right walls, fl oat across top of the three left wallsGraphite – wash over the two right sides of the foundation

Silos17. Slate Grey – basecoat wallsGraphite, pull wall lines, fl oat shading down the right side of each wallWarm White – fl oat highlighting down the left side of each wall

Roofs18. Snow White – basecoat roofsCorner load the angle with Deep Midnight Blue, lightly fl oat shading across the top of each roof.

6

Double load the 5/0 liner with Deep Midnight Blue + Snow White, pull the side roof lines and chimney ledges.Load the 5/0 liner with Snow White, re-stroke over the side roof lines and chimney ledges; to brighten. Corner load the angle with Warm White, chisel fl oat* smoke puffs coming from the chimneys on the Camel house.

Windows and Doors19. With the appropriate size shaders, pull the windows –Graphite – dark windowsCamel – yellow windowsWarm White – barn doors

Corner load the angle with Rookwood Red, fl oat shading down the right sides of each Camel win-dow. Corner load the angle with Deep Midnight Blue, fl oat shading across the top of the two barn doors.

With the 10/0 liner and Warm White, pull the win-dow panes, outline the windows on the Camel house and barn, then pull the door brace across the top of the large barn door. Use the 10/0 liner with Burnt Umber, pull the shutters next to the windows on the Camel house. With 10/0 liner and Deep Midnight Blue, pull the door handles on the barn doors.Fence20. Double load the 2 shader with Warm White + Slate Grey, pull the fence posts. Then double load the 5/0 liner with Warm White + Slate Grey, pull the wiring between posts.

Snowman21. Basecoat the snowman with two coats of Snow White; using the 8 shader. Allow to dry. Lay the Baroque Medallion stencil over the snowman. Apply a thin, even layer of the Texture Crackle over the stencil, staying inside the out-line of the snowman. Gently remove the stencil and wash immediately. This leaves a raised design on the snowman. Pick-up any Texture Crackle that is outside the snowman outline; using the palette knife. When dry, lightly sand over the stencil design remov-

ing any sharp particles. Then apply one coat of Snow White over the entire snowman including the raised design; using the 8 shader.

Basecoat the carrot nose with Tangelo Orange; us-ing the 2 shader. When dry, corner load the angle with Rookwood Red, fl oat a shade across the bot-tom of the nose. Then corner load with Cadmium Red, fl oat a highlight across the top of the nose.

Corner load the angle with Deep Midnight Blue, lightly fl oat a shade down the left side of the snowman and the ‘c’ stroke for the arm inset. Then corner load the angle with Camel, lightly fl oat a tint down the right side of the snowman.

Double load the 2 shader with Raw Sienna + Burnt Umber, pull the twig arm. Corner load the angle with Burnt Umber, fl oat a shade across the base of the twig arm.

Ground Foliage22. With the sm Texture brush and Evergreen, dance in the ground foliage; refer to photo for placement. Then with Snow White on the toe of the Texture brush, lightly and randomly dance on the snow. Corner load the angle with Snow White, randomly chisel fl oat* additional snow under-ground foli-age, structures, along the fence line and into the snow hill areas; to brighten.Window Tints23. Corner load the angle with thinned Camel, chisel fl oat* tint on the snow areas directly below the yellow windows. Repeat step very lightly and randomly with Rookwood Red.

Snowfl ake Stenciling24. Refer to photo for placement of snowfl akes or use your own positioning. Position the stencil, secure with tape, stencil adhesive or hold with your fi ngers. Using Warm White and the 1/2” stencil brush, ap-ply color in a circular motion one direction and then in a circular motion the other direction over the a snowfl ake. Carefully remove the stencil by holding one end with your fi ngers and lifting the opposite end. Repeat steps to complete remaining snowfl akes.

7

8

When completed, this application should have a slight distressed appearance. If it is too solid or perfect, simply use a moist piece of paper towel and the Faux Glazing Medium to gently rub away some of the excess color.

Falling Snow25. With thinned Snow White and the Spattering Tool; spatter over the entire design.

Finishing:Faux Finished Technique on Top Frame Inset 26. Basecoat with a Blue Mixture (Country Blue + Williamsburg Blue 1:1); using the 12 shader.Read through the steps in faux fi nishing before you begin.

This particular faux fi nish is referred to as a positive effect. You apply the glaze base with a sponge, faux tool, etc. to achieve the effect.

First to be able to work easier with the glaze base and have more open time to manipulate the faux fi nish effect, I applied one coat of satin varnish to the area to be faux fi nished. Use the Oval Wash Combo

to apply the varnish; it doesn’t leave any visible brushstroke marks after the varnish has dried.

Follow the label instructions on the Glazing Medium; mix the glaze 1:1 with Blue Chiffon + a shot of water. Using the large Texture brush, dance the glaze mixture over the top frame inset and the side edges. Continue to work the Texture brush over the surface to soften the fi nished look.

Completing Shelf Plaque27. Basecoat the remaining areas of the plaque (top shelf ledge, side edges of plaque and back side) with Deep Midnight Blue; using the glaze wash brush. Repeat basecoat to achieve an opaque coverage.

Snow-Tex28. Following the instructions on the label of the Snow-Tex, apply snow piles to the shelf’s top ledge. Refer to photo for placement.

29. To protect fi nished painted pieces, varnish the entire shelf plaque with the DuraClear matte varnish; using the Oval Wash Combo brush. I did not varnish over the Snow-Tex areas. This brush doesn’t leave any visible brushstroke marks after the varnish has dried.

9

Pat

tern

at

100%

1” x

1”

To en

sure

your

pa

tter

n is

at 1

00%

, th

is bo

x sho

uld

mea

sure

1” x

1” w

hen

prin

ted.

10

Copyright 2016 by Debby Forshey-Choma and Crafts Americana Group, Inc. All Rights Reserved. #331979

No. *A331979*© Artist’s Club ®. All rights reserved. For private, non-commercial use only. Please see our web site for terms of use.