|
This is what you will need to get together to complete this
project:
- B&B Dip-n-Etch (if only doing a small project the 4oz. size
will
do wonderfully.)
- Glass
surface.
- A
technical pen or your choice of permanent marker
-
Liberty Matte
Spray
- Your
assortment of brushes and Paper Towel
- Q
Tips and Windex for removing inked boo-boos
- I did the tinting on this project using my oil rouging technique
but you could convert to acrylics easily.
- I used Permalba Oils made by Martin/F. Weber.
ETCHING INSTRUCTIONS (Dip-n-Etch):
Please refer to the homepage of my website and click on the
underlined link for B & B products.
INKING INSTRUCTIONS FOR FRONT OF GLASS
- Set the etched glass directly on top of your printed pattern for
the front of the glass.
- Proceed to ink in the design in as much detail as you wish.
Mistakes with the ink can be removed with a cotton
swab
moistened with any glass cleaner that contains ammonia!
Let the wet area dry completely before going back to add ink
to that particular area.
- After completing the inking process you are ready to add color!
- Go outside to spray with two light coats of Liberty Matte
Spray to set your ink.
INKING INSTRUCTIONS FOR BACK OF GLASS:
After all steps for inking and painting are completed
as per written
instructions on web site, flip glass over to the wrong side. Position
over the line drawing to the right Ink and spray to dry. Your piece is
now complete.
INSTRUCTIONS FOR THE OIL ROUGING:
[A SPECIAL NOTE: Feel
free to convert this design to acrylics, or even watercolor!
My designs can be adapted to any surface, surface choice, and
you can use any medium! Copyright
2001 by Mary Owens. Teachers
have permission to copy the pattern and notes for their students.
Feel free to use this design for fun and profit…ENJOY AND
MAKE MONEY!!]
After
completing all of the inking on the front of the glass, as
well as spraying the mists of matte spray, you are ready to add color! You
can use any oil colors in your collection.
My oil paint of choice is
Martin/F. Weber Permalba colors.
If you do not have the brand that I
use, feel free to mix and match…nothing requires that you adhere
to
my color choices only! I
used a scant amount of Martin/F. Weber Gel
Transparentizer to allow the oils to move more easily.
SUGGESTED MARTIN/F. WEBER PERMALBA OIL PAINTS:
> Paynes
Gray
> Alizarin Crimson Permanent
> Cad
Yellow Medium
SUGGESTED BRUSHES:
I love these wonderful Scharff Brushes and use them in all my
classes and packets. If you collect the sizes I suggest here, you have the best of
everything! But, feel
free to use brushes you have in your own collection.
> Scharff Series 100 Classic Bright sizes 4, 6, 8,14,20 and
32
>
A
Scharff Liner Brush Series 455, size 1
> A Scharff Scumbler Set Series 240 Touch-It
STEPS FOR ADDING COLOR:
THE BUTTERFLY:
Use the Liner to apply a scant amount of the Paynes Gray on the
wings where they meet the body. Notice
in the photo that the color is the most intense in this area?
Keep referring to the photo as a guide for color placement.
After applying a small amount of color, use one of the mid
sized Blenders [either the #8 or #14] to tamp the color away from the
point of origin. You will
notice the color “rouge” away to a bright highlighted area and see
a 3-value balance of shading. I
tell students that are familiar with acrylics that the end result
should resemble a well-executed “float”.
Later on after applying several mists of Liberty Matte
spray to
dry the paint, you can go back and re-add color to intensify.
After
applying the Payne’s Gray, add touches of Alizarin Crimson Permanent
+ a tad of Paynes Gray [to create a plum tone] to the outer edges of
the wings to add a tinge of interest to the Blue tones.
Again, buff slightly with the corner of one of the Blenders to
soften. Make sure to
swirl the Blenders onto paper towel to keep them dry and clean between
rougings. If you don’t,
the colors will “mud”.
THE THISTLE:
The flower portion of the wildflower is tinted with a mix of
Alizarin Crimson Permanent + a small amount of Paynes Gray to create a
soft pinkish tone [almost a plum shade…but you have the final
decision on what colors you like the best!]
Use the Liner to set color where the flower meets the hull.
Notice how the color diffuses as it moves up and away from the
base? Use the #14 Blender
to diffuse the color. Maintain
the 3-value balance. There
should be no hard edge at the very top of the flower.
Again, this can be intensified later.
I like to incorporate the “speed-drying process” with
Liberty Matte spray between rougings.
It allows for greater depth, much like re-floating color to
intensify acrylics. I
always incorporate several light mists of the spray and build from a
light mist, to a little heavier mist til I achieve at least 4-5 sprays
over my oil rouging.
The
“hull” or base of the flower is tinted with a mix of Cad Yellow
Medium + Paynes Gray [an olive to evergreen color tone].
Follow the photo as a guide.
Use the smaller Blenders to maintain control of the blending in
the smaller areas of the stem. Again,
this can be intensified later.
INTERMISSION:
This is the perfect time to go outside and apply as many light
mists of the matte spray as needed to completely dry the oil
paint. DO NOT flood the
surface! Keep the mists
light and delicate and it will take only a small amount to completely
dry the oil paint because you have only applied a scant amount to
begin with. The benefit
to using my method is not using a lot of oil color and not using many
colors! With a limited
palette, you can achieve a multitude of color variations.
BACK TO WORK!
THE BACKGROUND:
Notice in the photo that there are two color additions rouged
into the background? I
want to start with the rosy tones first.
Use the small Scumbler to brush-mix a bit of Paynes Gray into
some Alizarin Crimson Permanent.
This should create almost the same color that you used on the
flower itself. Stipple color directly behind the flower [touching the
outside edges so it almost “frames” it].
Use the mid sized Blender to buff the color up and away,
working it away from the flower, itself.
I tried to create an “aura” behind the flower, which I
thought “pushed” the flower itself forward.
Repeat the steps if needed to frame the area behind the
subject.
I mixed the same green shade we used before to add depth to the
areas at the base of the stem. Again,
use the Blenders to soften the color.
Repeat the speed-drying steps and then re-evaluate to judge whether
you need to add more color for depth. If you decide to add more, remember you have to speed-dry
again.
THE FINAL STAGE:
It may be hard to detect in the photo in this packet, but I did
add a minor touch to create a dimensional look!
I flipped the glass piece over to the backside and inked a few
more blades and weedy touches so when you looked at it from the front,
the additions appeared way into the background.
Trust me…it’s a great touch!
I included the second pattern you can work from much the same as
the pattern and instructions in the beginning of the packet!
Lay the glass wrong side up on the pattern.
Line it up with the dots that indicate the edges of the flower.
Do NOT ink the dots, they are only guide dots!!
Ink in the weeds or grassy blades as indicated on the pattern.
If you are happy with the results, spray lightly with the
Liberty Matte spray to protect and finish your work.
As always, if you have any questions, feel
free to contact me for help or suggestions.
I love feedback as to
what you have done with my designs.
Watch my website for seminars possibly in your area!
|
