Bambi Friend

8/17/2019 Bambi Friend

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A Friend for Bambiby Barb Halvorson


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A Friend for BambiBy Barb Halvorson

Note from Barb: Oils have always been my preferred medium of choice and what I’m most proficient at. Ihave recently started to paint more in acrylics; even though I have never learned the proper way to float, orrather I do not have the desire to. I drown every time. I paint with acrylics just as I would if I were using oil paints. Instead of floating, I use glazing techniques. I use water to moisten the area instead of a medium.

The fact that acrylics dry and I can come back with color in a few minutes or cover up my errors almostimmediately, really has an advantage. Often I have said that I’d never paint with acrylics! Never say never, I have really started to enjoy the Americana Acrylics and painting with the Papillon Brushes. Thank you for

letting me share “A Friend for Bambi” with you.

Palette:DecoArt Americana AcrylicsBlack Forest Green #13083 Bright Orange #13228Bright Yellow #13227 Burnt Sienna #13063Citron Green #13235 Lavender #13034

Leaf Green #13051 Mauve #13026Slate Grey #13068 Traditional Raw Sienna #13222Traditional Burnt Umber #13221 Yellow Ochre #13008Warm White #13239 Wedgewood Blue #13038

Sky Mix: Two parts Warm White + one part Wedgewood BlueFawn Mix: Two parts Raw Sienna + one part Burnt Sienna

Surface:Wood Bank #62484

Misc. Supplies:DecoArt MultiPurpose Sealer #87392Palette Paper Pad #70560Sanding Pad Fine/Medium #707961” Foam Brush #70171Tack Cloth #70104Tracing Paper Pad #83176Gray Graphite Paper #70139

DecoArt DuraClear Varnish – Matte #87395Paper Towels

Brushes:Papillon by the Artist’s ClubComb, size 1/8” #20151

Liner, size 0 #20146Shader, size 2 #20125; size 6 #20127Glaze Wash, size ¾” #20102

Preparation:Take the bank apart by unscrewing the screws on the bottom.

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Sand the pieces using the sanding pad. Wipe away the dust with the tack cloth. Seal with DecoArtMultiPurpose Sealer. Sand again when dry. Basecoat the painting surface with two coats of theSky Mix, using the 1” Sponge Brush. Transfer the main pattern lines. Basecoat the bottom of thebank with Traditional Burnt Umber, the trim with Mauve and the sides and top with Black ForestGreen.

Painting Instructions:

Background Foliage: Paint the distant back-ground foliage behind thefawn first with Wedgewood

Blue + Warm White, on topof this add a few lavenderclusters with just a touchof Lavender + Warm White.Use a soft dry worn size 6Shader and fully load thebrush with paint. Practice

on the palette paper be-fore painting on the piece.

Press the bristles down,make sure the paint isevenly distributed on thebrush and that the bristlesare fanned out. Althoughyou do not want a heavybuild-up of paint on thebrush, you need to carry enough paint to create a bit of texture in the foliage. Using a tapping mo-

tion; be careful not to create exact shapes such as circles or round balls. Work into groups or clus-ters and never cover too much of the background color, or your painting will lack depth. Vary theheight and try not to makethe foliage in a straightline. As you reach towardthe top, you should havevery little paint left in yourbrush. This will make thefoliage look even more dis-

tant and wispy. Althoughthere is very little foliage

on the background, youmight as well practice.

Fawn: Refer to the coloredworksheet as you paint.Always paint in the direc-

tion of the natural hairgrowth of the animal or theway you would pet Bambi’sfriend.Base the eyes in with Lamp

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Black using the size 2 Shader. With the liner brush put the sparkle in first with a dot of Wedge-wood Blue, on top of this add a smaller dot of Warm White. On the bottom of the eye there is afaint broken highlight line, put this in with Slate Grey using the liner brush. Next, paint the whitepatches with Warm White. While the paint is still wet, pull individual hair strokes into the patches

with touches of Traditional Burnt Umber and Slate Grey using the comb brush vertically. Be very

careful, you can barely see these strokes. When the white is completely dry, remoisten the whitepatch. At the very bottom, right above the pupil, I glazed in what appears to be an indication ofan eyelash. Do this with the liner and Traditional Raw Sienna. This has no detail, and is shown onthe color worksheet.

Paint the outside and very bottom of the ears with Traditional Burnt Umber. Add a little highlighttrim with Slate Grey + a touch of Warm White. This should not go around the entire ear. Use a

small Shader brush or liner. Paint the inner center of the ear with Mauve + a touch of Warm White;add a few random brush strokes with Traditional Burnt Umber. Pick up slightly thinned WarmWhite and with the chisel edge of the comb brush, add hairs to the inside of the ears. Do not make

them all one length and watch the stroke direction. Make sure you set them by gently softeningthe bottoms into the base.

Basecoat the nose and muzzle with Lamp Black. Paint the details with Slate Grey + a touch ofWarm White + a touch of Wedgewood Blue using the liner brush. Apply a dash of this color on thehighlight area of the nose. Add the extra bright highlight with Warm White. Put this on the center

of the dash and paint the highlights near the corners of the mouth and around the nostrils. Everso lightly, soften the edges of the highlights. Suggest the little dots of hair spots that you see inthe dark middle section of the nose with Wedgewood Blue. If this becomes too bright, add a touchof Lamp Black to it. Add nostrils with Warm White + a touch of Slate Grey and soften them into theblack areas surrounding the muzzle. The mouth is Warm White, with a tiny indication of a mouth

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line made with Slate Grey. You can see this clearer on the worksheet. There is a touch of LampBlack, tiny hairs at the bottom of the mouth. Pull this down with a couple using a couple bristlesof the comb brush. The white area under the mouth on his neck is if first put on with TraditionalBurnt Umber towards the very left; Slate Grey toward the center and Traditional Raw Sienna +Warm White at the very left. Pull some tiny white hairs down (watch stroke direction) with thechisel edge of the comb brush. Make sure the paint underneath is still wet or glaze this in later.The grey area above the muzzle is Slate Grey with tiny strokes down the center. I glazed a bit ofLamp Black at the left side of this area.

Base all the brown areas (including the face) with the fawn mix. Look again at the worksheet forplacement. Shadow the dark areas with Traditional Burnt Umber while the area is still wet. Ifthe area becomes dry, remoisten it and glaze in the dark areas. Put Yellow Ochre + touches ofTraditional Raw Sienna + Warm White for the highlight color. The highlight colors should be onthe forehead, the top of the back, his hip, shoulder and leg. Add tiny hairs with the comb brush,

sometimes use it horizontally, sometimes vertically. Put light hairs over dark and dark over light.Make sure you put in the blue hairs on the side of the fawns neck with Wedgewood Blue.

The spots toward the back don’t show up much; therefore they are smaller. I used a small Shaderbrush and Slate Grey. Toward the front, the spots become larger, use Warm White and put theseon with a comb brush. Set them into the body, pull a few tiny hairs over the spots. Add just a hintof Wedgewood Blue + Warm White in the body here and there. I like reflecting a little of the back-ground color onto my animal even though it is hardly noticeable. This creates color balance andties the background colors and animal colors together.

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Tree Trunk: Base the tree in with Slate

Grey. Add bark with the very tip of thechisel edge of the comb brush. Thishas to be wet in order for it to work.Let this dry, glaze a light coat of SlateGrey and Lamp Black over it. Highlightthe right side with Slate Grey + WarmWhite. Create the knot hole by basing

it in with Traditional Burnt Umber +Lamp Black. Add a few bark lines com-ing from the knot hole.

Bushes: All the bushes are done withthe warn out size 6 Shader brush. Thebristles must be fanned out, the brushfully loaded with paint but evenlydistributed on the brush. Highlight thedarker ones with clusters of Leaf Green

+ a touch of Warm White. When thereis very little paint left on the brush, goup to the background foliage and addjust a touch of this to the right and leftof the deer. This adds a bit of color bal-ance to the painting. Without cleaningthe brush, pickup Citron Green and addthe clump of lighter bushes.

Flowers: Be loose and free with theflowers; don’t line them up in rows, and

don’t paint the same number of pet-als on every flower. Mix a variety ofshades using Mauve, Lavender + WarmWhite; centers are dots of Bright Or-

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ange and Bright Yellow.Use the chisel edge ofthe size 2 Shader, pressdown & quickly put two,three, or four petals oneach flower. Put stems

on with Leaf Green + atouch of Warm White.

Finishing:Once the project is fin-

ished, look to see if youhave enough shadows,highlights and color.Refer to the color pho-tos. If you need to addor change things, be sureto remoisten the area

and add darks and lightsworking toward contrast.

Let dry completely andfinish with several coatsof DuraClear Varnish –Matte. You might wantto lightly “sand” betweencoats with a brown pa-per bag.Reassemble the bank.


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Base ears

in soften

Traditional

Burnt Umber

randomly

Watch Stroke

direction

Forehead Hair

Step 1 Step 2

Tree Bark Glaze Dark

Line Outside of Ear

Use Chisel Edge of

Comb Brush


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Glaze or

Float

Hair Spots

Dash

Tiny Mouth Hairs

Base in Fur

Add Highlights

Spots on Fawn

Smaller and Darker

Forehead Hair


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Pattern at 100%

1” x 1”

To ensure your

pattern is at 100%,

this box should

measure 1” x 1” when

printed.


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Copyright 2011 Barb Halvorson and Crafts Americana Group, Inc.

All Rights Reserved. #331543

No.*A331543*© Artist’s Club ®. All rights reserved. For private, non-commercial use only. Please see our web site for terms of use.

Bambi Friend

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