EX

CLUSIVE

THANKFULby Cindy Mann Vitale

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PALETTEDecoArt Americana AcrylicsAvocado #13052Avocado Dip*Baby Pink #13031Banana Cream #13545Burnt Siena #13063Burnt Umber #13064Cocoa #13253Coral Shell #13551Coral Blush #13515Cranberry Wine #13112Deep Periwinkle*Fawn #13242Green Tree #13290Georgia Clay #13017Grey Sky #13111Grape Juice #13236Hauser Dark Green #13133Lamp Black #13067Leaf Green #13051Lemonade*Light Buttermilk #13164Light Mocha #13241Melon #13245Mink Tan*Navy Blue #13035Olive Green #13056Orchid #13033Oxblood #13139Red Violet #13140Sea Glass #13520Saff ron Yellow #13263Tangerine #13012Titanium (Snow) White #13001Toff ee #13059Warm White #13239Watermelon Slice #13557Whispering Turquoise #13537

SURFACESScroll Hanger #63242Teacup Cutout #63240Artist Club® Tombstone Plaque #63228

MISC. SUPPLIESWood Filler 4 ounce*Multi Purpose Sealer #87392DecoArt One Step Crackle

Weathered Wood #84146Americana Decor Crackle Medium Clear 8 oz #72005Dura Clear Matte Varnish #87395Americana Wood Glue #70246Acrylic Sealer Finisher Matte Spray #70836DecoMagic Brush Cleaner #84160Pencil, eraser, rulerPro Art Tracing Roll #83175Gray Graphite Paper 18x36 #70141Wet palette, or plain white coated paper platesWater binPaper towelsVery fi ne grit emery clothZig Millennium Pen

BRUSHESPapillon by the Artist's ClubRound size 1 #20157Round Size 3 #20158Round Size 5 #20162Shader size 12 #20131Glaze Wash size 1 inch #20103

*Discontinued by DecoArt

PREPARATIONTHE SCROLL HANGERFill the holes with the Americana Wood Filler. Allow to dry, and sand lightly to smooth the surface.

TOMBSTONE PLAQUEBase coat with Titanium White. Allow to dry, then transfer the design.

TEACUP CUTOUTBrush on an even coat of the Multi Purpose Sealer and allow to dry.

I prefer to transfer the larger designs onto the surface and paint the background in, and around, the de-sign. After the background base coat, and shading, have dried, I transfer the smaller designs elements, if needed.

The entire background can be based in before trans-ferring the design if you prefer. Depending on the base coat color, an underpainting of white may be needed, for the best results. Honestly, I try to avoid this step, if possible.

Thankfulby Cindy Mann Vitale

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Some details are added with the pen after the base coating, shading, and fi nal fi nishing steps have been completed. Transferring may not be necessary if they can be drawn on freehand.

Since the teacup will be glued onto the plaque, transfer the outline of the cup onto the board. As you begin the painting process, paint ‘inside the transfer lines’ to provide an allowance for positioning during assembly.

The Tombstone Plaque

THE HARLEQUIN DESIGNTransfer the brown and ivory diamond shapes.

THE PILGRIM DOLLTransfer the outline of the face, hands, hair, hat, bow, collar, sleeves, apron, and dress. Omit the facial details, hair strand detailing, and the folds of fabric.

THE TURKEY FIGURINETransfer the separation on the turkey head from the blue area to the red area, the band of blue around the wing, the stripes on the wing, and the outline details on the tail feathers. Omit the eye, the polka dots on the body, the scallop design, and the three-prong design on the tail feathers.

THE CARVED WOODEN PUMPKINTransfer the outline of the pumpkin, the heart inset shape, the carved outline detail around the heart, and the checkerboard design. Omit the line accents on the pumpkin. These will be done later with the pen.

THE GOURDTransfer all the design details.

THE CORN, SILKS AND HUSKSThe multi-colored kernels of Glass Gem corn are my in-spiration to give this design a fun and exciting palette! Imagine a corn that matures to a rainbow of colors and can also be popped for a snack. A perfect scenario!

Since pink is one of my favorite colors, I’ve incorporat-ed the pink shades along with the many other rainbow colors to give this design a unique and interesting pal-ette. Feel free to adapt the colors for your own prefer-ence.

Transfer the individual kernels of corn, the husks, and the strands of silk. Some of the silk strands tips may get lost during the shading of the background so these can be omitted at this point, or transferred again, as needed. Omit the line work detailing inside the husks. This will be done later with the pen.

THE PURPLE POSIES, STEMS AND LEAVESTransfer the outlines of the posy petals, the green posy

center, the stems, and the leaves. Omit the grey/black dots around the posy center, and the large yellow dot. These will be added after painting, and shading, are completed. Do not transfer the spiral design and lines on the petals. These will be added later with the pen.

THE VINES, BERRIES AND LEAVESTransfer the outline of the vines, the berries and the leaves. See note below for the leaves. Omit the stem, and highlight, on the berries, the tapered tips and wood details on the vines, and the leaf veining.

Note: The leaves can be transferred in the initial trans-fer process, but since they are so small, may be lost during the base coating and/or shading process. They can be omitted and transferred later.

The Teacup

TRANSFER THE FOLLOWINGThe scalloped design along the top rim, and the base, the stripes at the top of the cup, the base, and on the handles, the outline of the ‘Thankful’ inset, and the pink posies. I transferred the leaves around the pink posies, but if you prefer, those could be added later. Omit the dots in the scalloped areas, the polka dots and the spiral oval design, on the handle, the blueberry vine design, and the word ‘Thankful.’

Do not transfer the blueberry vine design and the word ‘Thankful.’ until you have completed the base coating, shading, and background areas. Omit the stems, high-lights and leaf detailing until the painting, and shading, on the berries and leaves have been completed.

PAINTING INSTRUCTIONSThe Scroll HangerPaint the scroll hanger, including the sides, with Burnt Umber. Allow to dry.

Brush the Weathered Wood medium over the entire surface in an even coat, including the sides. The appli-cation should not be too thick, or too thin, for the best results.

The Weathered Wood medium should be completely dry to the touch before moving to the next step.

Using Warm White, and the No. 12 shader, apply the paint in a ‘patting’ motion, laying the paint down onto the surface. Pulling the paint across the surface can drag the Weathered Wood medium across the surface and prevent the correct result.

Applying the paint in diff erent directions as you lay the paint down onto the surface will also help to give good results.

Refi ll the brush with Warm White paint as needed, and

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repeat the steps given above until the entire surface, has been covered.

As the paint dries, the separation will begin, giving the weathered wood eff ect.

The Tombstone Plaque

THE BACKGROUNDBase coat the entire back ground area with Olive Green and Warm White mixed in a 50:50 ratio. When dry, shade with diluted washes of Avocado, focusing around the sides, the top of the plaque, and the top corners. Keep the shading lighter in some areas to maintain contrast with the base coat.

THE HARLEQUIN DESIGNBase coat the brown areas with Fawn. Shade with Burnt Umber.

Base coat the white areas with Warm White. Shade by fl oating some diluted Fawn over the white areas, and in some areas, shade with a small amount of Burnt Umber, as well.

THE CORN, SILK, AND HUSKSThe Corn Kernels: There’s no right or wrong way to cre-ate the corn kernels. Obviously, this is going to be a ‘do your own thing’ method since there are too many ker-nels to specify a color for each individual kernel. And honestly, it doesn’t matter. The purpose is to create a

kaleidoscope of colors. You can refer to the photo, as a suggestion. But the easiest method may be to just go with what looks likes a good balance of color to you.

THE BASE COAT AND SHADING COMBINATIONS:Deep Periwinkle and Warm White in a 50:50 ratio. Shade with diluted Navy Blue.

• Warm White—Shade with diluted Cocoa.• Baby Pink—Shade with diluted Watermelon Slice.• Banana Cream—Shade with diluted Cocoa.• Orchid and Warm White mixed in a 50:50 ratio.

Shade with diluted Grape Juice.• Coral Shell—Shade with Coral Blush.

The Husks: Base coat the corn husks with Light Butter-milk. Shade with Cocoa.

The Corn Silk: Transfer, or freehand, any of the corn silk if this has not yet been transferred. Base coat with Light Buttermilk. Shade with Saff ron Yellow. Add some diluted Cocoa in a few areas to deepen and give more contrast.

THE BERRIES, VINES AND LEAVESThe Berries: Base coat with Deep Periwinkle and Warm White mixed in a 50:50 ratio.

Shade with Navy Blue, maintaining some contrast with the base coat. Add the stems with a dot of Lamp Black and the highlights with Warm White.

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The Vines: Base coat with Fawn, pulling out the paint to create narrow tips. The curled ends will be created with the pen after the antiquing step has been completed. Shade with Burnt Umber.

The Leaves: Transfer, or freehand, some (or all) of the leaves, if needed. Base coat with Lemonade. Shade with a mixture of Leaf Green and Avocado in a 50:50 ratio.

THE PURPLE POSIES, STEMS AND LEAVESThe Petals: Base coat with a mixture of Orchid and Warm White mixed in a 50:50 ratio. Shade with Red Violet focusing the shading toward the center of the fl ower center, leaving the ends lighter.

The Center: Base coat the centers with Avocado Dip and Warm White mixed in a 50:50 ratio. Shade with Avocado.

Transfer, or freehand, the dots around the outside of the center. Paint on with Grey Sky. Allow to dry and shade over each dot with a very small amount diluted Lamp Black.

Transfer, or freehand, the large yellow dot. Base coat with Banana Cream. Shade with Saff ron Yellow. The spiral design will be done later with the pen.

The Stems and Leaves: Base coat with Whispering Turquoise and Warm White mixed in a 50:50 ratio.

Shade with a mixture of Sea Glass and Hauser Dark Green. A suggested ratio would be approximately 90% Sea Glass to 10% Hauser Dark Green. Adjust with less Hauser Dark Green, to prevent the mixture from being too dark, if needed.

The veining will be applied after the antiquing process is completed.

THE PILGRIM DOLLThe Face and Hands: Base coat with Light Mocha. Shade around the chin area, forehead and around the hands with diluted Cocoa. The center of the face should remain light.

Transfer, or freehand, the facial details (eyes, eyebrows, nose, and mouth) Mix Light Mocha and Cocoa in a ratio of 95% Light Mocha and 5%. Using a liner brush, lightly paint on the facial details, including the mouth, with this mixture. Continue to work with this mixture to deepen the area over the eye lids and to defi ne the nose. If needed, add more Light Mocha over the eye lids to lighten and provide contrast. Use Cocoa to paint on the eyebrows and eyelashes.

The Cheeks and Mouth: Paint on the lips with Baby Pink. Use diluted Watermelon Slice to deepen. Leave one side of the bottom lip lighter for contrast.

Pat diluted Watermelon Slice on the cheek areas. Begin with light coats and building up the layers to deepen to the desired intensity is suggested

The Hair: Paint on with Cocoa. Paint in streaks with Burnt Sienna.

THE HAT, COLLAR, CUFFS AND APRONBase coat with Warm White. Shade with diluted Lamp Black.

THE DRESSBase coat with Grey Sky. Shade with diluted Lamp Black.

The shading should create the eff ect of the folds of fabric for dress, the bow and the apron.

THE TURKEY FIGURINEThe Top of the Head: Base coat the blue area with Deep Periwinkle and Warm White in a 50:50 ratio. Shade with diluted Navy Blue, concentrating the color at the top of the head and fading toward the red area of the neck. Transfer, or freehand, the eye. Paint on with Lamp Black.

The Snood, Wattle and Neck: Research tells me that the skin hanging over the turkey beak is the snood, and the wattle is the skin that hangs under the chin! Base coat with Watermelon Slice, blending the paint on the neck

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up into the blue area at the top of the head. Shade with Cranberry Wine.

The Body: Base coat with Grey Sky. Shade with Lamp Black. Transfer, or freehand, the polka dots. Paint on the polka dots with Warm White. Shade over them lightly with diluted Lamp Black to soften and blend.

The Wing: Paint on the blue band with Deep Periwinkle and Warm White mixed 50:50. Shade with Navy Blue. Paint on the black and white stripes by basing in the white areas with Warm White. Paint on the black areas with Grey Sky. Shade the grey areas with diluted Lamp Black. Float some of the diluted Lamp Black shading mixture over the white areas to soften.

The Tail Feathers: Paint on the red bands with Water-melon Slice. Shade with Cranberry Wine. Paint in the scalloped area with Warm White. Shade with Burnt Umber. Transfer, or freehand, the scalloped design. Base coat the blue scallop areas with the same mixture as for the top of the turkey head. Shade with diluted Navy Blue. Freehand, or transfer, the dots. Paint on with Grey Sky. Shade with diluted Lamp Black.

The Zig-Zag Area: Base coat the black areas with Grey Sky. Shade with diluted Lamp Black. Base coat the brown areas with Fawn. Shade with diluted Burnt Umber.

The Three Prong Design Area: Base coat with Warm White. Shade with diluted Lamp Black. The three-prong design will be added with the pen after the antiquing process is completed.

The Striped Area: Base coat the white areas with Warm White. Base coat the brown areas with Fawn. Shade with diluted Burnt Umber and fl oat some of the diluted Burnt Umber over the white areas as well.

The Black and White Feather Tips: Paint, and shade, the same as the black and white striped areas on the wing.

THE CARVED PUMPKINBase coat the pumpkin with Tangerine and Warm White, mixed in a ratio of approximately 75% Tangerine and 25% Warm White. Shade with diluted Georgia Clay. Add a little shading around the carved heart design, but keep most of the shading concentrated around the top and bottom areas of the pumpkin to keep the cen-ter area lighter. Use a small amount of diluted Oxblood to intensify the shading at the top and bottom of the pumpkin.

THE HEART DESIGNPaint in the carved detailing (around the outside edges of the heart) with Fawn. Shade with diluted Burnt Umber.

Paint in the red squares with Watermelon Slice. Shade with diluted Cranberry Wine. Paint in the white squares with Warm White. Shade with diluted Burnt Umber.

THE GOURDBase coat the light areas with Light Buttermilk. Base coat the green areas with Green Tree.

Shade the green areas with Hauser Dark Green. Float some diluted Hauser Dark Green onto the Light But-termilk areas to blend and soften. Refer to the photo to help with shading placement.

The TeacupThe Background: Base in the background areas for the scalloped design, all striped areas, the background behind the blueberry vine, and the background of the ‘Thankful’ inset with Warm White.

The background area of the bowl of the cup is based with Toff ee and Warm White mixed in a 50:50 ratio. All are shaded with Mink Tan.

The Scalloped Edges: Base coat scallops along the top, and base, with Grey Sky. Shade with diluted Lamp Black. Transfer, or freehand, the dots. Paint on the dots with Deep Periwinkle. Shade with Navy Blue.

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The Green Striped Bands: Base coat with Avocado Dip mixed with Warm White in a 50:50 ratio. Shade with Avocado.

The Blueberry Vine: Paint the berries, and the leaves, the same as instructed above for the blue berries and leaves.

The Striped Areas: Paint the stripes on the cup and handle with Toff ee. Shade the with Mink Tan.

Polka Dots on the Handle: Base in the background area with Coral Blush and Warm White mixed in a 50:50 ratio. Shade with Coral Blush and Georgia Clay mixed in a 50:50 ratio. Transfer, or freehand, the polka dots. Base coat with Warm White. Float some of the shading mixture over the polka dots to blend and soften.

The Teardrop Accent Area on the Handle: Base coat with Fawn. Shade with Mink Tan.

The Oval Thankful Inset: Base coat the red edging with Watermelon Slice. Shade with Cranberry Wine. Transfer, or freehand, the word ‘Thankful.’ Base in the lettering with Toff ee and shade with Mink Tan.

The Pink Posies and Leaves: Base coat the posies with Melon and Warm White mixed in 50:50 ratio. Shade with Melon and Watermelon Slice mixed in a 50:50 ratio.

Transfer, or freehand, the yellow center. Base in with Banana Cream. Shade with Saff ron Yellow.

Transfer, or freehand, the dot in the center, around the outside edges of the center. Paint on with Grey Sky. Shade with diluted Lamp Black.

The Leaves: Transfer, or freehand, if needed. Base coat with Lemonade. Shade with Leaf Green and Avocado in a 50:50 ratio.

FINISHINGVarnishingI dilute the varnish in a 50:50 mixture with water. Apply in a thin even coat over the scroll hanger, the plaque and the teacup after all the painting, and shading, has been completed.

Allow to dry. I apply a second coat, working in the op-posite direction, to ensure complete coverage.

One Step Crackle Medium for the TeacupUsing the One Step Crackle Medium creates an aged, or crazed, appearance to the surface.

Brush on the medium in an even coat with a small round brush.

The medium can be applied only in select areas, such as the handle, the base, up around the rim and a few random areas over the bowl of the cup.

The medium could be applied over the entire teacup surface, if you so choose.

Allow the medium to thoroughly dry.

Apply diluted Burnt Umber over the crackle medium areas with a small round brush.

As the Burnt Umber paint dries, the crackled fi nish will begin to appear.

Allow the Burnt Umber paint to thoroughly dry, and then apply another coat of varnish over the teacup.

AntiquingI antique all my surfaces, if only with a very light ap-plication.

My antiquing medium is Burnt Umber mixed with ap-proximately 95% water and 5% paint.

Test to see if the solution appears too dark, and adjust with more water, or paint, if needed.

After the fi rst application of antiquing has thoroughly dried you can decide if you are pleased with the results. For a darker eff ect, apply another light coat of the antiquing. A word of caution is that applying too much antiquing creates a dark and muddy result.

I suggest applying the antiquing around the edges to keep the center lighter as the focal point.

Apply a very thin application of the antiquing over the entire plaque, and a small amount on the scroll hanger, in just a few places, to keep the ivory color.

Allow to completely dry.

I applied additional antiquing solution on the plaque, along the arched top, as well as on all four corners.

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For the teacup, since some of the Burnt Umber an-tiquing solution has already been applied over the One Step Crackle Medium areas, brush on a very light application only around the edges, keeping the center area light.

If needed, the highlights that were painted on the blue berries earlier can be ‘refreshed’ with another applica-tion of Warm White, depending on whether the eff ect was lost during antiquing.

InkingInking is an option, but I rarely omit this step from the design. The inking step adds ‘pop’ by pulling out cer-tain design elements. Inking is also an easy way to add details that would be more diffi cult, even impossible, with paint and brush.

My preference is the Zig Millennium pen, with black ink and a .005 point.

Inking details are added after the varnish, and antiqu-ing, have been applied and the surface has thoroughly dried.

Inking can be selective by choosing only certain ele-ments of the design for emphasis or inking the entire design.

My hands often shake, which obviously interferes with good results. So, here are a few good tips that I adopt-ed to compensate for my failings.

First, I want to mention that I have given up on ‘perfec-tion.’ If I’m close, that is good enough.

Secondly, I found that making shorter, broken lines is much easier for me and mistakes are not as apparent. And I have plenty of mistakes in all my projects.

A third option is to ‘fi x’ the design by fi lling in with more paint, or even painting over an area, and starting over. It takes a few applications of paint to cover the ink, but it can be done.

Outline, or trace, around each shape/element of the entire design. Refer to the photo for placement.

Interior detailing

THE TOMBSTONE PLAQUEThe Vines and Leaves: Add linework to create the ef-fect of wood on the vines and add curly tips to the ends of the vines. Draw veining on the leaves.

The Corn Husks: Add broken lines inside the corn husks. Refer to the pattern and the photo for place-ment.

The Purple Posies, Stems and Leaves: Add linework to the petals, and the spiral to the large yellow dot.

The Pilgrim Doll: Add linework to the hair to create strands of hair. Use small dotted lines to emphasize the eyebrows, nose, eyelashes and mouth. Draw on line work to create fabric folds for bow, sleeves, dress and apron.

The Turkey Figurine: Draw the three-prong design on the feathers.

The Carved Pumpkin: Add the line work accents down the top, and up from the bottom.

THE TEACUPThe Leaves of the Blueberry Design: Add the leaf vein-ing which is simply one line down the center of the leaf.

The Swirl in the Oval on the Handle: Begin at the outside edges of the oval shape and continue mov-ing inward until you’ve reached the center. Perhaps the reverse method would be more comfortable for you? If so, practice on a piece of paper to fi nd the right method for you.

The Leaves for the Pink Posy: Each leaf design has a three-part inner leaf design. I began at furthest tip, drew an oval, then drew a line back toward the posy. Then, added the two small ovals on each side. They are ‘perfect’ but close enough!

AssemblyPlace a few drops of the Americana Wood Glue on the back of the scroll hanger and press in place along the

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arch of the plaque.

Repeat to attach the teacup in the correct position.

SpatteringI almost always add a small amount of spattering on every project. Since I don’t mind getting paint on my fi ngers, I use a toothbrush to spatter my projects.

If the paint is too thick to create a fi ne spatter pattern, add a few drops of water to thin.

I test the spatter pattern on a piece of paper before ap-plying to the surface.

Spatter the entire surface lightly with Soft Black. For this design, I covered the face of the Pilgrim Doll with a piece of paper towel I tore to the correct size while spattering. I prefer not to have spattering on the face.

Focus more of the spattering around the edges of the surface.

Sealing (optional)If you would like to apply a fi nal protective sealer, I sug-gest the Acrylic Sealer Finisher Matte Spray. Follow the directions on the can. I apply two light coats.

HangingTo attach the wire hanger: Cut the wire to approxi-mately a 26 inch length.

Bend the wire at the 13 inch point, and create the loop, twisting to hold in place.

Push the ends of the wire through the holes from the back to the front. Curl and bend up to hold the plaque in place.

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Pattern at 100%1" x 1"

To ensure yourpattern is at 100%,

this box should measure 1" x 1" when printed.

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Pattern at 100%1" x 1"

To ensure yourpattern is at 100%,

this box should measure 1" x 1" when printed.

Copyright 2018 by Cindy Mann Vitale and Crafts Group, LLC. All Rights Reserved. #332366

No. *A332366*© Artist’s Club®. All rights reserved. For private, non-commercial use only.

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