anupdatedguidetoone-stroketechniqueonestroke.com/filestodownload/9407rd.pdf ·...

DECORATIVEPAINTING #9407RD

BY DONNA DEWBERRY

BYBY PLAIDPLAID®®

UPDATED

BBASASIICCSSTTRROOKKEESS WORKBOOKAn Updated Guide to One-Stroke Technique

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Disclaimer: The information in this instruction book is presented in good faith, but no warranty is given, nor results guaranteed, nor isfreedom from any patent to be inferred. Since we have no control over physical conditions surrounding the application of informationherein contained, Plaid Enterprises, Inc. disclaims any liability for untoward results.

IMPORTANT: Please be sure to thoroughly read the instructions for all products used to complete projects in this book, paying particularattention to all cautions and warnings shown for that product to ensure their properand safe use.

Copyright: All Rights Reserved. No part of this book may be reproduced in anyform without permission in writing, except by reviewer, who may in reviewing thispublication, quote brief passages in a magazine or newspaper.

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PLAID ENTERPRISES, INC.NORCROSS, GA 30092-3500

www.plaidonline.comPrinted in U.S.A.

©2000, Plaid Enterprises, Inc.

4th Printing 8/01

Learning the Basics is the Foundation of theOne-Stroke Technique

This book is intended to teach you how to use FolkArt¤ paints and the various sizes of One-Strokebrushes to create the beautiful One-Stroke flowers, fruits, birds, and bees. Once you know how to load thebrush and have mastered the various strokes, you can use that knowledge to paint a flower or an entire

bouquet.The step-by-step photos show how to use each brush to create your favorite flowers and leaves. Thesetechniques can be used with any size brush to create small to large flowers and leaves. The Painting

Worksheets show each stroke you need to master, but even more useful, is the fact that they are the exactsize as I painted them. For example, if the instructions say to load the 3/4" flat brush, the Worksheetsshow exactly the size stroke that the 3/4" flat brush makes. You can put a piece of plastic on top of theseworksheets and practice making these exact strokes. You can master these techniques faster this way and

know exactly what size flower or leaf each brush can create.

Donna Dewberry has been involvedwith arts and crafts all of her married life– over 25 years. After many evenings ofpainting at her dining room table, shedeveloped a technique for stress-freepainting that became the basis for the OneStroke™ technique and her series of OneStroke™ painting books.Donna has kept the vision of the impor-

tant basic things needed for a happy andsuccessful life – her family, her religion,and her painting. It’s true in painting, aswell, that there are some very importantbasic techniques that every painter needsto know for success. So this book is abasic review of the strokes Donna uses toaccomplish her One-Stroke Technique.

Need technical assistance using a Plaid product? Can’t find a particular product at aretailer near you? Our Consumer Advisory Team can help. Give them a call at 1-800-842-4197. You can also contact us on line at www.plaidonline.com. While you’rethere, check out the great crafting ideas, information on Plaid products, and keep upwith the latest crafting news.

One-Stroke CertificationFor information on Donna’s three-and-

half-day seminar, where she teaches herpainting techniques as well as how tostart a business in decorative painting andprovides tips for being a good teacher,how to demo in stores, and how to getyour painting published, contact her oneof these ways:

•By mail:Dewberry Designs125C Robin RoadAltamonte Springs, FL 32701•By phone:407-260-2508•By fax:407-831-0658•On the Web:www.onestroke.com (certification andseminar information)www.thestrokingedge.com (completeOne-Stroke resource)•By e-mail:[email protected]

M EET THE ARTISTDonna Dewberry

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� FolkArt¤ PaintsThe FolkArt® family of paints makes painting fun and easy. The qualities such as blend-

ability, smooth flow, and quick drying make the paint perfect for the One-Stroke technique.Because FolkArt® paints are acrylic-based, cleanup is easy with soap and water.

FolkArt® Acrylic Colors are high quality bottle acrylic paints. Their rich andcreamy formulation and long open time make them perfect for decorative painting.They are offered in a huge range of wonderful, pre-mixed colors and in gleaming metal-lic shades. Cleanup is easy with soap and water.FolkArt® Artists’ Pigments™ are pure colors that are perfect for mixing your own

shades. Their intense colors and creamy consistency are wonderful for blending, shad-ing, and highlighting. When used with mediums they work much like oils.FolkArt® Sparkles™ are paints that add subtle iridescence or bright shimmer. They

are available in a variety of bright and subtle colors.

� FolkArt¤ MediumsFolkArt® Floating Medium #868 helps paint flow more smoothly, thus aiding your

brush strokes. It should be used when you are painting on any surface that is not sleek.It is especially helpful when painting on walls. Use this medium for painting shadows orfor watercolor effects.FolkArt® Glass & Tile Medium #869 gives more tooth to non-porous surfaces and

increases the durability of paint on glass, tile, and tin. Use it to undercoat the design(unless you’re painting on etched glass; then an undercoat isn’t necessary) and as a sealer.FolkArt® Textile Medium is mixed with paint to create a permanent, washable

bond with fabric.

� FolkArt¤ One Stroke“ BrushesWith Donna Dewberry’s easy One Stroke™ techniques, three brushes are all that are

needed to create all the various designs – a flat, a scruffy and a liner. You can painthome accessories such as boxes, flowerpots, and small furniture pieces with the stan-dard-size brushes. Tiny projects such as watches and mini boxes can be painted withthe Mini Brushes; and large wall murals can be painted with the Large Size brushes.

Standard-size Brushes:3/4" flat #1176Scruffy Brush #1172Brush Set #1171 includes a 3/4" flat, #12 flat, and #2 script liner. Brush Set #1177includes a #8 flat and a #10 flat.Large-size Brushes:Specially made for painting large designs on furniture and walls.1" flat #11841-1/2" flat #1189Large Scruffy Brush #1190Mini Brushes:Mini Scruffy Brush #1174Mini Set #1173 includes a #6 flat, a #2 flat, and a #1 script liner.Sponge painters #1195:Die cut sponges made for basecoating, sponging, or stenciling.

� Reusable Teaching GuidesOptional: Use these unique laminated worksheets to practice your strokes. To learn

and practice, paint right on top of the illustrations and follow the strokes, then wipeclean and paint again! The blank Reusable Teaching Guide is a great way to practiceonce you’ve mastered the strokes with the illustrated guides.

� FolkArt¤ FinishesI like clear, non-yellowing spray sealers best, so when I want a matte finish I use

FolkArt® ClearCote™ Matte Acrylic Sealer. For a glossy finish, I use FolkArt®ClearCote™ Hi-Shine Glaze. (A spray sealer is especially suitable for metal surfaces, toeliminate the chance of streaking.)On wood and other porous surfaces, a brush-on waterbase varnish, such as FolkArt®

Artist’s Varnish, can be used. Artist’s Varnish is available in 2 oz., 4 oz., and 8 oz. bot-tles in gloss, satin, and matte sheens.Designs on glass can be sealed with FolkArt® Glass & Tile Medium.

One Stroke“ Supplies�

�Miscellaneous SuppliesTracing paper, for tracing patterns fromthe pattern sheet

Transfer paper and stylus, for transfer-ring patterns

Brush Plus® Brush Cleaner, for clean-ing brushes

Brush Basin®, for rinsing brushesPaper towels, for blotting brushes �

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The flat brushes are the most-used brushes. They are thebrushes that are used to paint the majority of the elements ofthe design. You will paint the flowers, fruit, leaves, andbranches with the flat brushes. The One-Stroke flat brushesare available in the following sizes: #2 and #6 (mini); #12 and3/4" (standard); 1" and 1-1/2" flat (large size).

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USING A FLAT BRUSH�

Double Loading A Flat BrushThis technique is used for the standard size brushes and the large size brushes.

4. Flip brush over to the other side andpush it away from you, blending on thesame spot on the palette. Be sure tokeep the colors in the same spot on theblending area of the palette.

5. Notice how a correctly loaded andblended brush should look. The paintfills the brush 3/4ths of the way up thebrush, but does not get into the ferruleof the brush. When brush is loaded cor-rectly, your strokes should feel asthough the bristles glide. If the brush iscoarse or splits, you do not have enoughpaint on the brush. Reload the brush asneeded, but do not blend on the paletteafter each reload or your paint will startto become muddy in your brush, withthe colors blending together.

To add a third color to brush, firstdouble load as instructed. If yourthird color is a light shade, load thatcolor on the light side of brush. If itis a dark shade, pick up on darkside of brush.

Triple Loading

1. Wet your brush and gently tap on apaper towel to remove excess water.Pick up paint by dipping one corner ofthe brush in one color.

2. Dip the opposite corner of the brush inanother color. This will form triangles ateach corner of the brush.

3. Stroke brush back and forth on a cleanspot on your palette to blend the paint.

Bristle FerruleHandle

Chisel edge

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USING A FLAT BRUSH

FloatingFloating Medium added to the brush willmake the paint glide easier on the sur-face and create the proper consistencyfor the paint. Using it will help keep yourbrush moist.

Double Loading the Mini Brushes

1. Dip your loaded brush into the FloatingMedium every third or fourth stroke.

2. Stroke into the blending area on yourpalette to blend.

This side-loading technique is used whenloading the #2, #6, #8 and #10 brushes.Because the mini brushes are so narrow,they can’t be loaded like the standardand large brushes.

1. Dampen the brush and blot on papertowel to dry. Dip the entire bristle sec-tion of brush into the darker paint pud-dle. Pull brush out of puddle to smoothpaint into bristles.

2. Pull one edge of the brush along theedge of the lighter paint puddle.

The standard and larger brushes can beside-loaded by pulling the edge into thethird color.

Side Loading Brushes

1" flat

1-1/2" flat

Scruffybrush

Not actual size

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USING A FLAT BRUSH

Painting RosebudsSee the Roses Worksheet on pages 8 & 9. Various size brushes will make roses of different sizes. The worksheet shows the sizeroses that can be made with the #12 flat brush and the 3/4" flat brush.

1. Determine the width of therose bud by making 2 paral-lel l ines to use as yourguidelines. Double or tripleload your brush with a darkcolor and a highlight color(white or yellow).

2. Position the brush so thatthe light color of paint is atthe right side of brush.Make the top of the budfirst. Position the chiseledge of the brush at the leftguideline.

3. Pull brush into a curve, end-ing at the opposite guidelinewith the brush up on thechisel edge.

4. Make the lower “U”-shapedsection of the bud by start-ing on the chisel at the leftguideline.

5. Pull brush in a curve toopposite guideline, endingon the chisel edge of thebrush. Make another layerof the bottom stroke, posi-tioning stroke just slightlylower than the first.

6. To make the calyx, doubleload the same flat brushwith your leaf color andhighlight color. Start withthe chisel edge at the baseof the bud.

7. Lean and pull the brushand lead with the lighteredge of brush as you pullstroke along side of bud.Do not bend the wrist, butpull arm.

8. End the calyx on the chiseledge as you lift the edge ofbrush.

Painting Roses1. Double or triple load your brush. Make one shell-shapedpetal of the rose at a time. Start stroke with the lighter colorsto the outside.

2. Wiggle and pull the brush as you pivot the brush into acurve. You will have a slightly scalloped outer edge.

continued on next page

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PAINTING ROSES

3. End the stroke on the chisel edge tocomplete the first petal.

4. Make some guideline dots in a circle tohelp you determine the positioning ofthe five outer petals. Overlap each petalonto the previous one.

5. Paint the five shell-shaped petals tocomplete the outer skirt of the rose.

6. Next, paint a rose bud in the center ofthese outer petals. Make the top part ofthe bud, overlapping it onto outer petal#1.

7. Next, paint the bottom stroke of therose bud.

8. To begin painting the inner row ofpetals, touch the brush at the right ofthe rose bud. Make another shell-shaped petal here.

9. Make another shell-shaped petal on theleft side of the rose bud.

10.Continue adding the shell-shapedpetals below the bud until you havepainted four petals.

11.Clean up the bottom of the bud by re-stroking over the bottom stroke.

12. Paint a comma stroke on each side ofthe bud, ending on the chisel.

13. Make a comma stroke just under thebud for the last petal of the rose.

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ROSE W ORKSHEETPush, wiggle, and slide tocreate the shell-shaped petal.

start

end

Smaller rose made with a #12 flat brush.

Load #12 brush with Berry Wine and Wicker White

Push, wiggle, and slide to create the shell-shaped petal.

Place bud incenter of outerskirt of rose.

2nd layer of skirt

To finish, paint commastrokes in center.

Rose BudUse 3/4" flat brushloaded with Berry Wineand Wicker White.

start

Large rose made with 3/4" flat brush.Load brush with Berry Wine and Wicker White.

startend

end

start end

Make top ofbud first.

Makebottomstroke tocompletebud.

Make 4 petals for secondrow of shell-shaped petals.

Re-stroke bottomof rose bud to

clean up beforeadding comma

strokes.

Make 5 petalsfor outer skirt.

1

2

3

4

1

2

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Pounce centerwith a smallscruffy brushthat is loadedwith GreenForest andSchool BusYellow.

5

Finish center by making threecomma strokes at each sideand below bud.

Daisy

Pushand liftto com-pletepetal

start Load #12 flat brush with Wicker White

end

1

5

4 3

2

1

2

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ROSE & PANSY W ORKSHEET

Individualpetals

Make 5 overlappingpetals

Load #12 brushwith Thicketand School Bus

Yellow.Make these onthe chisel end of

brush.

Bottom Petals

2 3

4 5Load 3/4" flat brushwith Dioxazine Purpleand wicker White.

startend

Pansy

Wiggle

Load 3/4" flat with Dioxazine Purple and Sch. Bus Yellow.touch and slide

start

end

Dot School Bus Yellow with handle for center.

Rose Bud

startend

Calyx

Load #12 flat brush with Thicketand Sunflower. Using chisel edge,

touch, lean, and slide.

StemTouch and pulldown on thechisel edge

Completed Rose

1

1

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USING A FLAT BRUSH

Painting a PansySee Rose & Pansy Worksheet

Paint individual shell-shaped petals using aflat brush loaded with Dioxazine Purpleand Wicker White. Start at left side ofpetal. Pull brush in a curve as you wiggle.End on chisel.

Make 5 overlapping shell-shaped petals. Add individual teardrop-shaped petals atbottom of pansy. See the next three stepsfor instructions on making the teardroppetals.

Load the flat brush with Dioxazine Purpleand School Bus Yellow. Touch chisel edgeof brush.

Pull the brush into a curve. End brush on the chisel edge.

Making Teardrop Petals

Load the flat brush with Thicket andSunflower. Start by touching flat side ofbrush.

Push brush down and pivot, turning greenside slightly toward tip.

As you get close to end of leaf, pull up onchisel edge at tip.

Painting the One-Stroke LeafSee Leaves, Greenery, & Wisteria Worksheet.

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USING A FLAT BRUSH

Painting a Heart-Shaped Leaf

Load a flat brush with Thicket andSunflower. Make guidelines in a “v” tohelp keep the top of your leaf even.

Begin at one guideline with the flat side ofthe brush. Have the green side of brush tothe outside. Touch down with brush.

Push and wiggle the stroke.

Begin turning brush as you get to tip. Turn and slide as you pull brush up tochisel edge.

Make both sides of leaf in this same way.

To make a turned edge on leaf: Beginmaking leaf in the same way, as you get tomiddle of leaf, pull brush up to chisel.

Twist brush 180˚ and flip to other side. Pull down to tip and end of chisel edge.

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USING A FLAT BRUSH

Painting a TulipSee Tulip & Iris Worksheet

Load flat brush with Berry Wine andSunflower or Wicker White. Touch brushto surface to begin the center back petal.

Wiggle and push brush up side of petal.Pull brush up to chisel edge at tip. Whenyou reach tip, do not lift brush.

Pull brush back down other side of petalas you wiggle and push.

Make a side petal using the same tech-nique as the center petal, however, justmake one side.

For the inside edge of the side petal, makean “S” stroke. See the following photoshowing an “S” stroke.

Making an “S” stroke: Begin brush onchisel, pull to flat side, twist and end onchisel.

Painting a Tulip LeafSee Tulip & Iris Worksheet

Load flat brush with GreenForest and School Bus Yellow.Touch on chisel edge to start.

Pull brush to flat edge, leanand pull to make the longleaf.

To make a folded leaf: Pull upto chisel edge and slide it tothe side slightly.

Pull brush back down, twistslightly, and end on chisel.

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TULIP& IRISW ORKSHEETTulip

Load 3/4" flatbrush with BerryWine and WickerWhite.

Push & wiggle

wiggle slide

slide

32

startstartendstart

start start

4

5slide

slide

StemLoad 3/4" flat with Gr.Forest and Sch. BusYel.

Use chisel edge andlead with Yellow.Touch base of flowerand pull down to endof stem.

CenterLoad #12brush withSchool BusYel. and W.White

Use chiseledge andlead withWhite –make down-strokes

1

LeavesLoad 3/4" flat

with Gr.Forest andSch. Bus Yel.

push

flip

push

Start onchisel

end on chisel

Tulip or Iris BudLoad 3/4" brushwith Diox. Purpleand W.White

Push andwiggle

IrisPull strokes back

lift

Pullstrokesback

lift tochisel

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USING A FLAT BRUSH

Painting a DaisySee Wildflowers, Butterflies, & Bees Worksheet

Load the flat brush withSchool Bus Yellow OR SchoolBus Yellow and WickerWhite. Touch chisel edge ofbrush to surface and lean.

Pull brush towards you. Pushslightly to widen stroke. Endup on chisel and lift.

Make these teardrop strokesin a circle to create the daisy.Make strokes at variousangles.

Use the brush handle to dot acenter in daisy.

Painting a ThistleSee Wildflowers, Butterflies, & Bees Worksheet

Load flat brush with Dioxazine Purpleand Wicker White as shown in the firstphoto. Touch chisel edge and flip brushaway from you.

Make petals that angle away from thestem. See the second photo.

Painting a WildflowerSee Wildflowers, Butterflies, & Bees Worksheet

Paint in stem first. For flower, load brushwith Night Sky and Wicker White. Touchchisel edge to surface, slightly above stem.

Lean brush towards you, pull and lift.Lead with the white edge.

Paint a series of petals down the stem,working strokes from left to right.

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W ILDFLOWERS, BUTTERFLIES, & BEESW ORKSHEETButterfly

start

lift

push

end

DragonflyAntennae: #2 linerloaded with inkyNight Sky

Dragonfly wings: #12 brush, Wicker White

touch

pull

push – lift to chisel

Body: #12 flat loaded with NightSky and Wicker white

start

push

liftend

touchpull

Body: #12 brush loadedwith Yellow Ochre

start push

Antennae & body: #2 script linerloaded with inky ThicketWings: Load #12 flat with Night

Sky and Wicker White

chisel edge- pull

Bee

lift

end

Bee Wings:load #8 flatwithWickerWhite and atouch ofLicorice.

Details: #2liner loadedwith Licorice

Center: dot with handle end

Pink WildflowerLoad #12 flat with BerryWine and Sch. Bus Yel.

ThistleLoad #12 flat with Diox.Purple and WickerWhite on chisel edge

touchpulldownward

dabdabdab

DaisyLoad #12 flat with Sch. Bus Yel. and Wicker White

touch

pulldownward

Thistle

GrassLoad 3/4" flat with Thicket and SunflowerPull on chisel edge, leading with Sunflower

WildflowersLoad #12 flat with NightSky and Wicker White

Tail#2 liner loaded with

night sky

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USING A FLAT BRUSH

Painting GrassSee Wildflowers, Butterflies, and Bees Worksheet

First, load brush with Thicket andSunflower. Start on chisel edge.

Then pull strokes upward. Do not tiltwrist.

Painting VinesSee Leaves, Greenery & Wisteria Worksheet #2

Load brush with Thicket and Sunflower.Begin on chisel edge, leading withSunflower.

Pull brush along with arm, do not tiltwrist. Lift at end.

Make intertwining vines by crossing overoriginal vine.

Painting Branches

Load brush with Burnt Umber and WickerWhite. Touch brush to surface at an angle.

Lead with light color and pull, twist,release as you make an uneven line.

Release pressure and lift at end of branch.If you run out of paint, reload and beginslightly overlapping end of last stroke.

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Cross the vine with other lines to make anintertwining look.

Bows: First make the two loops of thebow.

Make the tails and add a small dot for theknot.

The photo shows the proper way to holdthe brush. The brush is moved along onit’s tip as you pull it along with your entirearm.

Curlicues: These are made by pulling thebrush in spirals.

Vines: pull the brush along in an unevenline.

USING THE SCRIPTLINERThe script liner is used to paint thin vines, bows, detail lines, and other small elements. The paint is also very thin when used withthe script liner. The #2 and the #1 script liners are available within the standard and mini One Stroke brush sets.

Loading the Brush

�

Thin the paint with water to an inky con-sistency. Load brush by rolling it in thepaint puddle.

When the brush is loaded with paint,twist and roll out of the puddle.

Painting Vines, Curlicues and Vines

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USING A SCRUFFY BRUSHThe scruffy brush is used to pounce in background foliage, animal fur, and also to paint lilacs or wisteria. There are three sizes ofscruffy brushes available: mini, standard, and large.

�

When you take the scruffy brush from thepackage, it needs to be prepared for paint-ing. First, pounce it into the palm of yourhand to help remove sizing and fluff thebristles.

Next, use thumb to spread the bristles.

Preparing the Scruffy Brush

Load 1/2 of brush into first color. Pushhard on brush and pounce into color.

Load other half of brush into second colorin the same way.

Loading the Brush

Load brush with Dioxazine Purple andWicker White. Pounce loaded brush into ahalf circle shape, with darker color on out-side.

Paint a second layer by making a smallerhalf circle to overlap the first one.

Pounce down to a point, leaning brush asyou taper to finish flower.

Painting Wisteria or LilacsSee Leaves, Greenery & Wisteria Worksheets #1 and #2

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USING A SCRUFFY BRUSH

Painting Moss & GreenerySee Leaves, Greenery & Wisteria Worksheet #1

1. Load brush with Thicket, Sunflowerand a little Wicker White (optional).Pounce an irregular half circle, with thedarker color on the outside.

2. Move across, overlapping half circles.

Wisteria and heart-shaped leaves were used todecorate this metal mailbox. See pages 20 & 21for Worksheets showing steps how to paint theelements of the design. See Wildflowers,Butterflies & Bees Worksheet on page 15 show-ing how to paint the butterfly. See page 22 forthe actual size design that was painted on themailbox.

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20

LEAVES, GREENERY & WISTERIAW ORKSHEET #1

1

2

4

3

Load standard scruffy brush with Dioxazine Purpleand Wicker White.Pounce overlapping half circles.

Script Liner Vines

Wisteriaor Lilac

5

6Lean brush onside as youtaper

Load #2 liner with inky Thicket

Heart-ShapedLeafLoad 3/4" flatwith Thicket &Sunflower Push,

wiggle,turn, stop– thenslide totip.

Stem – make onchisel edge

start

end

One Stroke LeafLoad #12 flat withThicket andSunflower

start

Stems

make on chiseledge, leadingwith Sunflower

end

Overlapping various colors can createbackground greenery

Don’tdo this

MossPounce

Load standard scruffy with Thicket, Sunflower, and Wicker White

1

2

3

4

5

6

Curlicues

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LEAVES, GREENERY & WISTERIAW ORKSHEET #2

Using chisel edge,lead withSunflower, makinga loose, wavy line

VinesLoad 3/4" flat withThicket and Sunflower

Add trailingvines bycrossing over

Steps to Paintingthe Design

1. Make the main vineto establish the flowof the design

2. Add some trailingvines.

3. Paint in Heart-shapedLeaves

4. Add the smallerOne-Stroke Leaves

5. Paint in Wisteria6. Add curlicues tofinish design.

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Mailbox Design

This is an actual size painting of thedesign used on the mailbox shown onpage 19. It can be used as a pattern ifdesired. Simply trace the outline of theelements and transfer to your surface.Add additional leaves as needed.

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23

USING SPONGE PAINTERS�

Loading the Sponges

These Sponge Painters #1195 are sold in a set. They are greatfor basecoating large areas, stenciling, or even painting largedesign elements such as tree trunks. The smaller sponge isused for smaller areas or tight places. The die-cut edges can beused for specific shapes: use the square edge to make bricks;use the rounded edge to paint curved shapes; and use thepointed edge for things such as ears.

1. Dampen sponge with water and squeeze dry. Pull the spongethrough the paint puddle to load.

2. Double Load: Pull one side of sponge along the edge of thesecond color of paint.

3. Notice how the second color is just on the edge of thesponge.

Painting a Tree Trunk

Double load the sponge with a dark andlight color of brown. Pull the sponge alongboth outside edges of the tree trunk pattern.Be sure to push with your finger on edge ofsponge so that the darker color is applied.

Fill in center of tree trunk with the lightercolor that is loaded on sponge. Pull,pounce, or move sponge in a circularmotion to fill in area.

Create definition in the center area of thetree by using the double loaded sponge tomake curving lines.

Basecoating and Stenciling

The rounded edge of the sponge can beused to basecoat along curved areas.

Large areas can be basecoated by simplypulling or rubbing the loaded sponge onthe surface.

A loaded sponge can also be used for sten-ciling.

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PRACTICE PAINTINGThe old saying is true, “Practice makes perfect.” The best way to master the One-Stroke technique is to practice painting your strokes directly on top of my strokes. TheWorksheets in this book are the actual sizes that I have painted them so that when youuse the brushes as instructed, your strokes will be the same size as those shown onthe Worksheets. There are two ways to practice your strokes.

�TRACING ANDTRANSFERRING

�

Open book to the Worksheet with thedesign you wish to practice. Place a pieceof acetate or stiff clear plastic directly ontop of the Worksheet page. Tape it inplace so that it won’t move. Paint yourstrokes directly on the plastic, mimickingmy strokes.

With practice, your strokes will look justlike mine.

Using Reusable Teaching GuidesThere is a wide selection of plastic laminate One-Stroke Teaching Guides that will aidin your practice.

Load the size brush as indicated and paintdirectly on the teaching guide. Simplywipe off your practice strokes and usethem again and again until you arepleased with your progress.

Place tracing paper over the pattern youwish to transfer. Neatly trace the designwith a pencil.

Position tracing on surface, then slip apiece of transfer paper under tracing.Retrace the design. Hint: you can use adifferent color pencil or pen for your sec-ond tracing so that you can see if youhave traced all the lines.

Remove tracing and transfer paper toreveal the transferred design.

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25

This metal watering can was already white. You can paint metal with FolkArt®Acrylic Colors or Apple Barrel® Indoor/Outdoor Enamels. If using FolkArt®Acrylic Colors, first spray the surface of the area to be painted with MatteAcrylic Sealer (#788). This will give the area tooth so that it will accept thepaint better. When painting is dry, coat with Outdoor Matte Sealer #896.When using Apple Barrel Enamels, no preparation or finish sealer is needed.

See page 26 for the Worksheet showing how the sunflower is painted stepby step. See page 27 for an actual size painting of the design on the wateringcan. You may use this design as a pattern by simply tracing and transferring tosurface.

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26

SUNFLOWER W ORKSHEETCenterLoad standard scruffy brush withMaple Syrup and Licorice.

Pounce a donut shape in the middleof sunflower center.

Pull the petals fromthe wet center tocreate the variedcoloration onthe petals. push &

wiggle

Load #12 flat withSch. Bus Yel. andYellow Ochre

PetalsPush, turn, lift

startend

start

1

5

64

3

2

LeafLoad 3/4" flat with Thicket and Sch. Bus Yel.

endturn

StemsLoad 3/4" flat with Thicket and Sch. Bus Yel.On chisel edge, leading with Sch. Bus Yel.,touch brush at base of flower and pull downstem.

FinishedSunflower

Repounce edgesof the center.

Pick up Yellow Ochre on the Maple Syrup side of thebrush and pounce in a “c” shape to highlight.

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27

Watering Can Design

This is an actual size painting of the design used on the watering can shown on page25. It can be used as a pattern if desired. Simply trace the outline of the elements andtransfer to your surface.

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28

Pansy Cupboard Design

This is an actual size painting ofthe design used on the cupboardshown on page 29. It can be usedas a pattern if desired. Simply tracethe outline of the elements andtransfer to your surface.

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29

See pages 9 & 10 showing how to paint a pansy. The painting onpage 28 is the actual size design that was painted on this cupboard.

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30

Rose & Iris DesignThis is an actual size painting of the design used on the boxshown on page 31. It can be used as a pattern if desired.Simply trace the outline of the elements and transfer to yoursurface.

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31

See Rose and Iris Worksheets and photos showing how to paint the designsstep by step. The painting on page 30 is the actual size design that was paint-

ed on the box.

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32

Fruit Floorcloth DesignThis is an actual size painting of the design usedon the floorcloth. It can be used as a pattern ifdesired. Simply trace the outline of the elementsand transfer to your surface.

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33

This design was painted on the backside of a vinyl floor-ing remnant. Simply basecoat the back and paint. Coatfinished painting with FolkArt® Outdoor Sealers for theultimate in protection. See Worksheets on pages 34 & 35for fruit painted on floorcloth.

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34

PEAR & BIRDW ORKSHEETPear

start

1st 2nd

start end

end5-PetalFlowers

Load #12 flat withWicker White and

Sch.Bus.Yel.Build flower a petal at

a time.

Load 3/4" flat with YellowOchre and Sch. Bus Yel.

Fruit LeavesLoad 3/4" flat withSch. Bus. Yel. andGreen Forest

Make a “V” for a guide.

start

turnbrush atpoint toend

Stem: useGreen Foreston chiseledge.

Shading on pear:add a little BurntUmber to side-loaded brush.

Use #2 script liner and inky BurntUmber for blossom end of fruit.

end

push

slidedownto tip

turn brush atpoint to end

BluebirdLoad #12 flat with Midnight and Wicker White

Head

startend

start

Body: Breast:turn

slide

Load #12 flat withBerry Wine andWicker White

Push,turn,lift

endEye: script linerand Licorice

Bow#2 script liner andinky Berry Wine

Back Wing:Load #12 flat with WickerWhite andMidnight

Paint asyou would aOne-Stroke Leaf

Feathers: use chisel edges topull in feathers.

Front Wing: sameas back wing.

Beak: #2 scriptliner and YellowOchre

Add atouch ofWicker

White for accent.

HummingbirdBodyLoad #12 flat with GreenForest and Wicker White

Paint the same asthe bluebird butpaint vertically.

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35

APPLEAND PLUM W ORKSHEETApple

start

end

Load 3/4" flat with Berry Wine andSch. Bus Yel.

Make long flat strokes all the wayaround the edge of the apple.

Complete appleStem: 3/4" flat loadedwith Burnt Umber andWicker white.

Use chisel edge, leadingwith white. Touch smileof apple and pull back.

smile on apple

Fill in Center: dragstrokes from smile halfway down.

PlumLoad 3/4" flat with DioxazinePurple and Wicker White

start Flip brush for third stroke, then finishup by smoothing strokes back and forth

to smooth center.

Make “C” stroke. Begin on chisel, pull flat,and end on chisel.

end

1

2

3

1 2

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DECORATIVEPAINTING#9407RD

UPDATED

BASIC STROKES WORKBOOK

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