TINY DANCERMarianne Andreazza Designs

www.mariannepaints.com

Surfaces: 1. 12 x 14 MDF palette board (cdwood.com)2. 8 x 8 canvas panel (dickblick.com) or craft store

DecoArt Americana PaintPeony Pink DA215Watermelon Slice DA324Cadmium Orange DA014Bright Salmon DA329Banana Cream DA309Avocado DA052

Teal Green DA107Olive Green DA056Titanium White DA01Sand DA04Irish Moss DA312Deep Burgundy DA128Burnt Umber DA064Lamp Black DA067

DecoArt Decou-Page:Decou-Page Matte sealer/glue DS106Decou-Page Papers

Gold Trends DP103Victorian Romance DP03

DecoArt StencilsAmericana Décor “Distressed Harlequin” ADS03Decoart Jacobean Floral TS08Americana “Motivation” ASMM41

DecoArt Metallic LustreWhite Frost ML16C

DecoArt MediaWhite Gesso DMM18Gold Interference Medium DMFA100

DecoArt Other:DecoArt Glazing Medium DS18DecoArt DuraClear Soft Touch Varnish – Matte DS123

Brushes/Tools:Large worn flat ¾” or larger#$, 6, 8,or 10 flatsBlending brush10/0 Script Liner¼” angle shaderSmall stencil brushPalette KnifeBrayerSanding Block (hardware store)Large 2-sided emery board

Other Materials:Transfer paper, stylus, water basin, paper towels, clear plastic ruler, gray chalk pencil

DIRECTIONS:

Surface Preparation:

Neither the palette board nor the canvas board needs preparation or sanding to start the project before the application of the Decou-Page papers.

Slated Board: Slated Board: If there are any rough edges, sand them. This product is MDF so very little sanding was required.Decoupage paper pack used: DecoArt Gold Trends (DP103). Unfold the paper and be sure it is big enough for your surface. This paper is exactly the same size as the surface…a complete coincidence. The area of this piece is large, so we will apply the paper in steps using the lines in the slated surface to define them.

With a worn wash brush, apply a generous amount of DecoPage paste to the first row.

Carefully place the paper on top of it and smooth out any wrinkles quickly. After the initial placement, use a brayer to roll out any ripples in the section. You’ll need to use some pressure on the brayer to get the section smooth.

Repeat with sections 2-4. Be careful not to get too much DecouPage glue in the seams of the pieceWASH THAT BRUSH. DecoPage paste is glue.

And yes, that’s me taking that picture…The paper should be as flat as a mirror, and this paper is metallic after all .

After all the sections are smooth and the piece is dry, trim the edges with a sanding block. Hold the piece over the edge of a counter and hold the block at an angle. Sand the edges and the paper will come off evenly. Be sure to sand the edges gently because you do not want to tear the paper at the edge of the piece. Remember to work at an angle.

Next clean up the seams. Use a craft knife to cut along the seams. Then sand the edges by using a large emery board to get into that little crevice. Clean out the seams of any extra paper or glue. With the back of a paintbrush, punch a hole through the paper where the pre-drilled holes are at the top of the piece. Do this now so that you always know which end is up ;).

Canvas Inset Board: This surface is a standard 8 x 8” canvas board. I used the same process as outlined above to attach the background paper, except

this piece is smaller and there are no grooves, so the entire surface can be papered in one step. With canvas, however, be mindful of the fabric nap because it will be necessary for you to use a little more DecoPage paste to get the paper to adhere properly. Likewise, you’ll need to use a good deal of pressure with the brayer to smooth out the paper because of that fabric nap.

With both backgrounds decoupaged, we’re ready for the next step, which is to give them a coat or two of DecoArt’s Gesso. Again use that worn flat brush to apply the Gesso. Use a palette knife to scoop out about 1T of Gesso onto your palette. Totally wet the wash brush and dilute the gesso somewhat with it. Before you apply Gesso to the surface be ready with a folded Viva paper towel (or other non-patterned cloth). Gesso is going to dry fast and you will not have time to be deciding what rag to use once the Gesso is applied.

12 x 14 Board:

Apply the diluted Gesso quickly using horizontal strokes, and focus on the first section of the board only. Before it is dried, wipe it down with the Viva towel. You can decide you like horizontal strokes as I do, or you can use circular strokes to create a different pattern, and if you want significant texture you can use a sponge in a pouncing motion to remove some of the Gesso.Repeat on all the other sections until all have 1 coat of Gesso on them. Let it dry.

Apply a second coat of Gesso and smooth it out the same exact way as described in #1 above until all 4 sections of the board have 2 coats of Gesso on them.

So why did we just cover up all that pretty foil? Layering to create texture is fundamental to mixed media are, not to worry, we will see some of that foil because you are going to gently sand the entire surface.

As you sand, and because there are varying thicknesses of the Gesso you just applied, the metallic is going to show through in places. You’re also going to see some of the wrinkles in the paper…it’s all good because this background is all about texture! Sand to your taste, and that depends on how much metallic you want showing through. Be mindful the paper is delicate so don’t sand through the metallic!

Now that both boards are prepped with Decou-Page papers and gesso, they need to be stenciled

Use the Distressed Harlequin stencil to provide additional texture to the background of the 12 x 14 palette board. Load a cosmetic sponge with Spa Blue and lightly paint in the stencil. This is a 12 x 12 stencil, but you will need to find the “repeat” to cover the entire surface once the original stenciling is dry.

Use the Floral Jacobean stencil on the 8 x 8 canvas board, painting in the stencil lightly with Sand. If you want added glow to the background, let the stencil lay on the surface while the paint is drying. Then use the same cosmetic sponge to apply a light coat of Gold Interference Medium from the Media line.

Create the Frame around the canvas board:

To position the canvas board on top of the palette panel and draw the frame around it, measure 1.5” from the right edge of the project and draw a vertical chalk line to the left of your ruler from top to bottom of the palette board. Be

sure this line is straight. Lay the canvas board onto this line by lining up its right edge to the chalk line. Be sure the square is straight on the board. Trace around the board with a chalk pencil. This is where you will adhere the board to the piece. BUT DO NOT ATTACH IT YET! When you are satisfied that you have placed the 8 x 8 square appropriately, use your ruler to draw another square around it by measuring ½” all around it. We will call this the “frame”. By doing this drawing with a gray chalk pencil you can easily erase the lines or rub them off with a damp cloth if you need to adjust the positioning of it. Be sure you are satisfied with it before you proceed.

The beauty of using a chalk pencil is the line disappears when you apply paint to it. To paint the frame, use a 3/8” angle brush loaded with Burnt Umber in the toe and water in the heel. With a steady hand float color along the inside of the smallest square first. This will provide a shadow between the canvas board and the palette board. Next, shade the outside of the square, and don’t forget to paint the angled lines in each corner.

Next you will lightly “age the edges of the palette board and the canvas board. With the same brush, thin a small puddle of Burnt Umber and load that paint into the brush, just as you would to float color. This time the paint has been thinned, which will create a more subtle float. Have a paper towel at the ready in case you have too much water in the mixture. Float the Burnt Umber all around the edges of the two surfaces, blotting any excess water as you do so. There is enough texture in this project, so it does not need drip marks too ;). If the aging is not dark enough, let the first layer dry and go back to ensure you don’t pull paint off the piece. Be mindful that there is paper underneath this project, so we do not want too much water on the surface.

TRANSFER PATTERNS:

Transfer patterns to both pieces with transfer paper and a stylus. Use light pressure to create tracing lines, but dark enough for you to follow. We are layering color with glaze to create the flowers, so dark tracing lines will show through.

MASK THE DESIGN:

There are a lot of layers on this surface, but we also want the flowers and hummingbird to be center stage, so you need to mask the layered background. Use a small flat brush, #6, or a size more comfortable for you, loaded with Titanium White to basecoat the entire pattern. One coat will work for the leaves, two for the flowers, and at least two coats on the hummingbird. The hummingbird is white so you do not want the background to show through on it.

TRUMPET FLOWERS:

For the first layer of color you’ll be working with two brushes at once. One #6 flat brush will be loaded with Peony Pink, and one smaller (suggest #4) flat or filbert will be loaded with Banana cream. You will also be using a round blending brush at the same time. Have a clean piece of paper towel at the ready to wipe excess paint from the blending brush as you work.

Layer 1:

Paint the petals of the trumpet first. Paint the first layer of color with Peony Pink and Glazing Medium loaded on a #6 brush or one which is more comfortable for you. Paint the petals around the flower leaving the center unpainted. Load a smaller brush with Banana Cream and paint the center of the flower. You need to do this quickly. Pat the Banana Cream to the edges of the center and pick up the blending brush. In a circular motion, work the two colors together so there is not a definite line between the two colors. Continue to paint all the trumpet flowers in the same manner. Next paint the long part of the trumpet with a small #4 flat, first with Banana Cream, pick up some Peony Pink on the same brush. Work the pink under the petals and down the shaft to the stem. Your result should be more yellow at the stem, more pink under the petals.

The flower will be a little ugly at this point, but here comes the fun…get a small puddle of glaze on your palette and an angle brush of a size comfortable to you. I use a 3/8” to start and sometimes go down to a ¼” in tight spaces. We are using glaze instead of water for two reasons: 1. Glazing adds depth to the flower and moves better than water, and 2. Too much water may lift some of the decoupage work on the background.

Layer 2:Load your angle brush with Watermelon in the toe and Glazing Medium in the heel. Blend the brush out on your palette. The Watermelon Slice edge of the brush goes against the inside edge of the petal, and walk some of that color towards the center. The goal is to have more color on the edge and less toward the center. For the side view flowers with no petals, walk the Watermelon Slice up the trumpet part of the flower but do not paint over all the yellow by the stem.

Using the same brush, float some Watermelon slice onto the flower center to define it with a small c-stroke.

Layer 3:Crazy as it sounds, Orange brightens red. Create a puddle of Cadmium Orange and Glazing Medium. Load the mixture onto a small flat brush and deepen the color on the petals of the trumpets by painting a light coat over the petals, working toward the center. If the layer “screams orange” quickly wipe it off and add some more glaze to the mixture and try again. Wipe the excess paint from the brush on a paper towel.

Layer 4:Using the same brush as Layer 3, load it with Glazing Medium, and swipe the brush into the side of a puddle of Bright Salmon. Pick a few of the petals which would catch the most light. Quickly swipe the center of those petals with the Bright Salmon/Glazing Medium. Do not cover the entire petal, you’re looking for just a little highlight and brightness.

Layer 5 (Optional):I love the yumminess of Gold Interference Medium, especially on top of reds. If you would like to add more pop to your flowers, load a small flat brush with the Gold Interference Medium. Brush a small amount on top of the petals and touch a few trumpets…watch the color glow. This medium is an accent, so be careful with it. You can also choose to apply it to some of the leaves as well.

LEAVES: Basecoat all leaves with Avocado. One coat may work, two will probably be necessary.

To shade use a #10 flat brush with a good chisel edge. Load the brush with Teal Green and blend the paint into the brush on your palette. Start at the tip of the leaf. Stand the brush on the chisel edge and swipe it toward the center of the leaf but not to the center. You will get a dry-brush effect if the brush were loaded properly. If the paint is too heavy, blend the brush out on the palette another time or two.

To highlight use the same brush and technique, but this time load the brush with Olive Green. Highlight the opposite side of the leaves. Do not wash the brush.

For the veins, use a 10/0 liner brush to create an inky mix of Olive Green and Titanium white. Paint the veings with this mixture and a light touch. You want the veins to be subtle, not strong.

Shadow leaves: Using the same dirty #10 brush, work it into some Glazing Medium. This will create a transparent green to paint shadow leaves. If the color is not strong enough, add some paint used for the leaves (choose your color according to your preference. Add a FEW of these shadow leaves. Do not let them overpower the design.

HUMMINGBIRD: Mask the hummingbird with Titanium White. When it is dry, use a 3/8” angle brush loaded with Burnt Umber in the toe and water or Glazing Medium in the heel to float a shadow around the bird. It is easier to place the feathers over the shadow than it is to create the shadow later on.

Belly: Now that the hummingbird is masked, pick up Butter Cream on a 10/0 liner and add sporadic strokes to the chest and belly of the hummingbird.

Wing: use a #2 round brush to paint the outer layer of feathers with Irish Moss. While that is still wet, use a palette knife to put a tiny bit of Metallic Lustre, White Frost onto your palette. Work the Lustre into the Irish Moss and repaint the outer layer of feathers. This will bring more body to the feathers and make them glisten as hummingbird feathers do. Next, brush mix some Avocado and Burnt Umber to create a dirty green and paint the middle layer of feathers. Again, add some White Frost Metallic Lustre to the brush and repaint the fathers. Lastly, brush mix some Burnt Umber and Deep Burgundy. Paint the inside row of feathers. Again adding some White Frost Metallic Lustre to the brush to paint the inside row of feathers on the wing.

Tail: Paint the tail the same way as the wing was painted, with the outside row being Irish Moss/Metallic Lustre and the inside row being Burnt Umber/Deep Burgundy.

Belly Chest: Use a 10/0 liner loaded with Titanium White to paint the smaller feathers on the belly and chest. Paint them with short strokes in rows starting at the base of the tail (refer to photo). Allow some of the Butter Cream feathers you painted earlier to show through. This will give you a light shading underneath the stark white feathers. Continue up the chest to underneath the throat. Paint tiny strokes around the eye.

Throat: Starting at the base of the throat, and using a 10/0 brush loaded with Deep Burgundy, paint short strokes on the throat to the base of the beak.

Eye/Beak: Load a 10/0 liner with Lamp Black and paint the beak and eye. When the eye is dry, load that same brush with Titanium White and paint the eye highlight and tiny white feathers around the eye.

Head/Back: With the 10/0 linter, paint tiny strokes of Irish Moss on the crown of the head and down the hummingbird’s back.

Foot/Underbelly: Again with the 10/0 brush loaded with Burnt Umber, paint the tiny hummingbird foot. With the same brush add a few strokes of short feathers on the underbelly and above the foot.

Words:Use the DecoArt Motivation stencil to paint the words onto the project. Secure the stencil to the piece with tape. The words on this stencil are close together, so it might help for you to use tape on the words surrounding the one you are stenciling so that your stencil comes out clean with no interference from neighboring words. Load a tiny amount of Lamp Black onto a small stencil brush and work the paint into the brush on a palette. Tap the brush LIGHTLY onto the stencil. The secret to stenciling without bleed is very little paint, light tapping and several coats, letting each one dry before you do the next. Patience is a virtue. I prefer that my letters not have spaces in them as is the case with most stencils. To close the spaces in the letters up, load the 10/0 liner with Lamp Black and hand paint the connections in the lettering.

As you position the stencil on the large palette board as shown in the picture, you will now know why I recommended not attaching the two surfaces together until the very end, particularly with the word “Explore which is positioned on top of the painted frame around the canvas.

Attaching the 8 x 8 canvas board to the 12 x 14 palette board:I used double sided foam tape so I could raise the 8 x 8 canvas off the palette board somewhat. You can glue it, but be sure the glue does not create a slippery surface, allowing the canvas board to slide out of place during the drying time.

Finishing:Apply two coats of DuraClear Soft Touch Varnish. I use the matte finish to ensure that there is no glare on the piece for photography or viewing.