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Wild Rose and Wine Glass Tea Light
Pen and Ink with Rouged Oils
© 2001 by Mary Owens
This is a fun project that can be completed in a short time. Feel free to convert the technique to Acrylic washes or just about any medium you are comfortable working with. The really wonderful part about this project is the fact that is functional. No lampshade parts are required, just finish the design, stitch with needle and thread, put a tea light into the glass and pop the shade on top. Works like a dream!
MATERIALS YOU WILL NEED TO CREATE THIS PROJECT:
· A long stemmed wine glass. For the size I have included in this packet, my glass measures 2 ¾ inches
across the width of the opening at the top of the glass and the glass is 8 inches high. If your size and
opening is different, make a photocopy of the pattern for the lampshade, cut it out after you size it up
or down on the copy machine and see how it balances with the glass you are going to adapt the
lampshade to. The top edge of the paper MUST be level with the wine glass rim, and not be any higher
than the rim so it does not catch on fire! Keep adjusting the size until you find one that is right.
· Your choice of paper for the lampshade. I used Canson “Canva-Paper” for Oil and Acrylic. This is
a coated, textured paper. As mentioned earlier, you can use any grade or textured watercolor paper.
· Liberty Matte Spray
· The Koh I Noor technical pen [size #1] and Black Daler Rowney FW Acrylic Artists Ink
· Fiskar Scissors [I used the one with the deckle edge for that ripped watercolor paper effect]
· Regular scissors
· Paper towels
· Pencil
· Needle and white thread
· A tea light
· Suggested oil colors
· Permalba Gel Transparentizer
· Suggested brushes
· Waxy palette paper
· Magic Rub Eraser and a “Click” Eraser that can be purchased at any office supply store
· Cotton swabs and a small jar with Windex or any glass cleaner that contains ammonia
· A light box for tracing or graphite paper [old] and a stylus for transferring. [Anyone owning an opaque
projector can just put the pattern in the projector, image it down onto the paper, size it to fit your
lampshade, and complete the inking without tracing and transferring!
· A bar of plain soap for cleaning brushes after completing the oil rouging on this project
SUGGESTED PERMALBA Martin F/ Weber OIL COLORS
§ Payne’s Gray
- Burnt Umber
- Alizarin Crimson Permanent
§ Cad Yellow Medium
SUGGESTED BRUSHES:
Scharff Series 100 Classic Brights; sizes 4, 14, 20 and 32
Scharff Liner Brush Series 455, size 1
Scharff Scumbler Set Series 240 Touch-It
PREPARATION:
After purchasing a wine glass, make a photocopy of the pattern for the lampshade, cut it out, shape it and
see how it fits. Does it balance with the size of the glass? If it does, trace the pattern onto the BACK of your
choice of paper, whether it is watercolor or the canvas paper I mentioned earlier. [This way the pencil lines
will be on the inside of the lampshade.] Cut the straight edges with regular scissors, and then use the Fiskar
Scissors to cut the deckle edge; if desired.
Go outside and spray the surface you will be working on with at least 4 GENEROUS coats of Liberty
Matte Spray. Let it air out really well, and make sure each coat is dry before applying the next coat. If your
sealer is not applied on the heavy side, you will not be able to remove any inking boo-boos as well as
correcting the oil rouging. You will want the surface of the paper to have a plastic-coated appearance.
After the spray has dried completely, you have a few choices for getting the pattern onto the paper:
transfer the design on with old graphite paper, use a light box and proceed directly to the inking, use the
opaque projector [as mentioned earlier]. Ink in as much detail as you want to. Remove any mistakes with
Windex and a cotton swab. Let that immediate area dry before going on with more inking.
When the inking has dried, apply a few applications of Liberty Matte Spray.
Read through the following instructions before starting if you have never worked with my technique. It
Will give you an overview of how I incorporate the rouging technique.
THE DIFFERENT APPROACH I USE TO ADD COLOR [AN EXPLANATION]
Rather than "painting in" the color, I prefer to use the term "rouging" or "tinting". The paint is applied in small amounts in an area where the shading or color is the richest or most intense, then different sized Blenders are used to coax the color over the surface, graduating the intensity or value of the color from deeper and richer to a medium value, then on to a lighter, brighter tone, or area appearing to catch a highlight or reflected light. The most important thing to remember is every area that is painted should hold at least 3 values of color to give the appearance of dimension.
SOME RULES AND REGULATIONS [only kidding...they're just helpful hints]
Brush-mix a bit of gel into the paint as needed. In most cases [if working on a really slick surface], apply the paint dry [right from the tube so to speak], and move the paint around with completely dry brushes. If you are working on a surface that seems to be very porous and the paint appears to drag, use a tiny amount of the Gel Transparentizer I mentioned in the Materials required section. Just incorporate a tiny bit of the gel into the brush before loading with paint. Mix the paint and gel together on the palette before adding the color to the surface, and then proceed to rouge as directed.
What about mistakes and paint outside the patterned areas?
Dry cotton swabs are excellent for lifting color in an area where you have "over-painted". Rub in a circular motion to lift color off the surface, and then go back to using one of the Blenders to soften the outside edges of that area. The clicker eraser can remove paint from around the objects also.
Another trick I use to "take the pressure off" is to apply the color in stages, and I use the matte spray to "speed-dry" these "glazed" applications of color between coats. In every area that is tinted, I applied at least 2 different color glazes, drying them between applications. This keeps your color clear and vibrant, with less chance of "mudding". Once you get the hang of this, it can become a lot of fun!
Keep a close eye on the colored photo in the packet for reference. I will tell you the colors I used in an area, but you need the photo to see how far I blended it out.
Vary the sizes of the brushes for laying the color in, as well as blending the color out.
“Swirl” brushes on paper towel after every few strokes, during the blending process.
STEPS FOR APPLYING THE OIL ROUGING
TINTING THE PETALS AND BUDS
Use the Liner Brush to mix a bit of Payne’s Gray into some Alizarin Crimson Permanent to create a
plum color. Add a bit of gel if needed. I suggest you try the rouging without the gel and if it is not needed
leave it out. Tint the petals following the photo on the cover sheet. Clean up with the click eraser and dry
cotton swabs as you go along. Pay special attention to the turns in the petals and strive to maintain the 3-value
progression.
THE LEAVES
Clean out the Liner and then mix a bit of Payne’s Gray into some Cad Yellow Medium. Tint the dark areas as
shown in the photo, blend out to graduate the values from deepest in the crevices to the lightest tones in the
central areas of the leaves. Again, use the click eraser as well as cotton swabs to clean up. After spray-drying
you can go back and rouge a bit of Burnt Umber onto the tips and edges.
INTERMISSION!
At this stage, make sure everything is clean and sharp. Go outside to apply at least 4 coatings of the
matte spray to dry your painting. The first coating of the matte spray should be a light mist. The second is
applied heavier; then each one after that progressively gets heavier.
THE FINAL STAGES
THE BACKGROUND ROUGING
You will be incorporating 3 color tones “intermittently”. Try to mingle the color tones into each other so each
addition of color will not cancel out the first rougings. Remember to apply the color lightly- you can always go
back and strengthen.
Start with Payne’s Gray and a bit of gel on the larger Scumbler Brush. Stipple the color into the areas of the
design that appear to be the deepest or strongest in color. Use the #32 Blender to tamp over the outside edges
so the line of demarcation disappears. Blend the color down so the 3-value progression is the strongest in the
central areas of the design, then graduates out so it disappears as it reaches the outside perimeter.
Buff the excess color from the largest Scumbler, then go into some Burnt Umber and brush-mix with a scant bit of
additional Payne’s Gray. Repeat the process as outlined above. Make sure the color does not totally cancel out
the straight Payne’s Gray that was applied previously.
Scuff the largest Scumbler on paper towel again to remove excess paint, then pick up a bit of the Alizarin
Permanent and add some Payne’s Gray to that. Add touches to the background and buff down so it is ever
so scant in appearance.
Use dry cotton swabs to remove excess color from the leaves, buds, and petals. Keep changing swabs often to
keep the areas being wiped off as sharp in contrast as possible. Keep referring to the photo.
After evaluating the final stages of the background tinting, use the Liner and bits of a stronger mix of Alizarin
Permanent + Payne’s Gray to deepen the petals and buds. Use the Matte Spray to dry the final rougings. Use a
needle and white thread to stitch the lampshade together.
ANY QUESTIONS, FEEL FREE TO CONTACT ME:
MARY OWENS
6325 Tonawanda Creek Road Lockport, NY 14094
phone [716] 433-3168 fax [716] 433-3119 toll free in the US [888] 433-3170
E-mail mary@maryo.com Website: www.maryowensdesigns.com
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