EX

CLUSIVE

SWEETHEARTS N’STRAWBERRIES

by Cindy Mann Vitale

2 | artistsclub.com

PALETTEDecoArt Americana AcrylicsAlizarin Crimson #13179Arbor Green*Avocado #13052Avocado Dip*Baby Pink #13031Banana Cream #13545Blue Chiff on #13193Blue Haven #13553Boysenberry Pink #13029Burnt Umber #13064Cranberry Wine #13112Deep Periwinkle*Grey Sky #13111Grape Juice #13236Honey Brown #13163Lamp Black #13067Leaf Green #13051Lemonade*Light Cinnamon #13114Light Mocha #13241Mink Tan*Mocha #13060Oyster Beige #13549Pansy Lavender #13154Pink Chiff on #13192Peony Pink #13215Sapphire #13099Sea Glass #13520Soft Sage #13207Titanium (Snow) White #13001Warm White #13239Wisteria #13211*discontinued by DecoArt

SURFACESScroll Hanger #63242Teacup Cutout #6324012" Tombstone Plaque #63228

MISC. SUPPLIESAmericana Wood Filler*Americana Multi Purpose Sealer #87392Americana Weathered Wood #84146Americana Dura Clear Matte Varnish #87395Americana Wood Glue*Americana Acrylic Sealer Finisher Matte Spray #70836DecoArt DecoMagic Brush Cleaner #84160Pro Art Tracing Roll #83175

Gray Graphite Paper 18x36 #70141Brush Basin #70174Permanent black ink pen, .005 point.Wet palette, or plain white coated paper platesPencil, eraser, rulerPaper towels*discontinued by DecoArt

BRUSHESPapillon BrushesRound size 1 #20157Round size 2 #20158Round size 3 #20159Round size 5 #20162Shader size 12 #20131Glaze Wash size 1 inch #20103

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 Cut-outBrush on an even coat of the Multi-purpose sealer and allow to dry.

TRANSFERRING THE DESIGNI prefer to transfer the larger designs onto the surface and paint the background in, and around, the design. After the background base coating, 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.

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

Sweethearts N’ Strawberriesby Cindy Mann Vitale

artistsclub.com | 3

4 | artistsclub.com

lines’ to provide an allowance for positioning the tea-cup cut-out during assembly.

The Tombstone Plaque

THE HARLEQUIN DESIGN:Transfer the black and ivory diamond shapes.

THE ANGEL FIGURINE:Transfer the entire outline of the angel fi gurine, includ-ing the hair, wings including the black edging, outline of face and neck, collar, heart on the collar, dress including the sleeve and cuff details, hands, basket and handle.

Omit the following details: The facial details, rose design on the wings, polka dots around the heart, lace picot edging on the collar, stripes on the dress, posies and leaves in the basket, and basket weave design.

THE URN WITH ROSE WREATH AND POLKA DOT BOW:Transfer the outline of the urn, the bow, and the wreath stand (which is the green stick under the bow)

Omit the following: The rose heart shaped wreath (this will be transferred when the Angel dress is completed) the interior details on the urn, and the polka dots on the bow.

THE CUPCAKE:Transfer the outline of the cherry, the icing, and the cupcake holder.

Omit the following: The stem, leaves, highlight on the cherry, interior details on the icing area, and the polka dots on the cupcake holder.

THE STRAWBERRIES:Transfer the outline of the strawberries, including the glaze.

Omit the following: The stems, leaves, sprinkles on the glaze, and seeds on the strawberries.

THE BOUQUET AND BLACK AND WHITE STRIPED BOW:Transfer the outline of the blue daisies, including the petals and centers, rose and rosebud, purple posies, in-cluding the centers, and the leaves. Transfer the outline and the stripes on the bow.

Omit the following: The brown dots on the blue daisies, the black dots and yellow stamen on the purple posies, the petal detailing on the rose and rosebud, the inte-rior line detailing on the leaves, and the stems.

The Teacup

THE OUTLINE:The outline of the lace edging at the top rim and base

of the cup, outline of the rose, green band on the bowl of the cup.

THE ANGEL:Outline of the hair, wings including the black edging, outline of face, neck, and collar.

TEACUP HANDLE:Transfer the black and white striped areas, the two pink bands, the two green areas (with the polka dots) and the open rose.

Omit the following: The interior details of the lace design, and all of the dots, along the top rim of the cup and at the base. The interior details of the open rose, the leaves and stem, the blue dot design.

THE ANGEL:The facial details of the angel, the posy design on the wings, the heart shape, brush strokes and dots on the collar.

THE HANDLE:The polka dots on the green background areas, the leaves on the white background, and the interior details of the open rose.

PAINTING INSTRUCTIONSNote: The term ‘diluted’ for the shading mixture indi-cates a ratio of approximately 95% water to 5% paint. If a diff erent ratio is recommended, the ratio will be provided.

The 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 move the Weathered Wood medium and ruin the ef-fect.

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

artistsclub.com | 5

6 | artistsclub.com

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

The Plaque

THE BACKGROUND:• Base coat the entire background of the plaque with

Sea Glass diluted with Warm White in a 50-50 ratio.• When dry, begin shading with diluted Arbor Green

and Sea Glass mixed in a 50-50 ratio.• Deepen with diluted Arbor Green in some areas for

added contrast.• Concentrate the shading around the top of the

plaque, and around the bow and bouquet.

THE HARLEQUIN DESIGN:• Base coat the black areas with Grey Sky. Base coat

the white areas with Warm White.• Shade the grey squares with diluted Lamp Black,

fl oating a little of the diluted Lamp Black over the white areas to soften.

THE ANGEL FIGURINE

THE FACIAL DETAILS, NECK AND HANDS:• Base coat with Light Mocha.• Transfer, or freehand, the following details: The

eyebrows, the shape of the eyes, the nose, the mouth and the detailing for the fi ngers.

• Begin shading with diluted Mocha for contrast to defi ne the facial features, provide shading under the

chin and jawline, give contour to the hands, and to create the detailing for the fi ngers

• Paint on the eyebrows with diluted Light Cinnamon.• Use diluted Light Cinnamon mixed with Mocha in

a 50-50 ratio to deepen shading around eyes, and under the chin. .

• Paint in the eye area with Warm White. Add Blue Haven to create the irises. Paint in Lamp Black to create the pupils. Add a highlight of Warm White.

• Outline the eyes with diluted Burnt Umber.• Paint the mouth with Baby Pink. Mix Baby Pink and

Alizarin Crimson in a 50-50 ratio to deepen and give contrast. Use Cranberry Wine and Alizarin Crimson mixed in a 50-50 ratio to paint on a line to separate the lips and to deepen the corners. Add a highlight of Warm White in the center of the lips.

• Use the same mixture of Baby Pink and Alizarin Crimson to paint on the cheeks. Pat on the cheeks with the tip of a small round brush. Repeat if needed to deepen. Pat and blend, a little Light Mocha around the edges of the cheek areas to soften the eff ect, if needed.

THE HAIR:• Base coat the hair with Banana Cream. Using a

mixture of Honey Brown and Banana Cream in a 50-50 ratio shade to create contrast at the part in the center of the hair, and around the buns. Add high lights of Warm White and Banana Cream to lighten the center areas.

THE ANGEL FIGURINE’S WINGS:• Paint in the black edging with Grey Sky. Shade with

diluted Lamp Black.• Base coat the white areas with Warm White. Shade

with diluted Lamp Black.• Transfer, or freehand, the rose and greenery details.• Base coat the roses with Pink Chiff on. Shade around

the edges with diluted Peony Pink, then add a swirl of diluted Peony Pink to create the eff ect of rose petals.

• Base coat the leaves and the stems with Lemonade. Shade some leaves with diluted Leaf Green and some with diluted Avocado mixed in a 50-50 ratio with Leaf Green.

THE ANGEL FIGURINE’S DRESS:• Base coat with Pink Chiff on.• Shade the dress, the collar and the heart shape, with

diluted Boysenberry Pink. Add additional layers to create contour and contrast.

• Transfer, or freehand, the stripes. Paint on with Warm White with a liner brush, in irregular lines to give the eff ect of folds in the fabric.

• Transfer, or freehand, the dots around the heart, and the lace picot edging around the collar edges. Paint on these details with Warm White.

artistsclub.com | 7

THE BASKET FULL OF PURPLE POSIES:• Base coat the basket with Oyster Beige.• Transfer, or freehand, the basket design.• Paint on basket weave details, and shade, with

diluted Mink Tan.• Base coat the leaves with Lemonade. Shade with

diluted Avocado Dip.• Transfer, or freehand, the purple posies. Paint on

with Warm White and Pansy Lavender in a 50-50 mixture. While the base coat is still wet, add a swirl of Warm White with the top of a liner brush to add a highlight.

THE URN WITH ROSE WREATH AND POLKA DOT BOW:

THE URN:• Base coat the urn with Warm White and Soft Sage

in a 50-50 ratio.• Transfer, or freehand, the urn details.• Using diluted Avocado, shade the urn, and add the

detailing with a liner brush.

THE POLKA DOT BOW:• Base coat the bow with Grey Sky. Shade with

diluted Lamp Black.• Transfer, or freehand, the polka dots. Paint on with

Warm White.• When dry, fl oat a small amount of diluted Lamp

Black over the dots to soften.

THE ROSE HEART SHAPED WREATH:• Transfer, or freehand, the roses and leaves to create

a heart shaped wreath.• Paint on the roses with Warm White. While the base

coat is still wet, mix in diluted Mink Tan to create swirls to resemble an open rose.

• Paint on the leaves with Lemonade. Where there is an open space, paint in a stem with Lemonade. Shade leaves, and stem areas, with Leaf Green. The veining is added later with the pen.

THE CUPCAKE:

THE CUPCAKE HOLDER:• Base coat the cupcake holder with Warm White and

Wisteria in a 50-50 mixture.• Shade with diluted Grape Juice.• Transfer, or freehand, the polka dots. Base coat with

Warm White. Shade over the polka dots with diluted Grape Juice to soften.

THE ICING:• Base coat the icing with Warm White. Add shading

with diluted Baby Pink to create the eff ect of layers being sure to leave light areas of the Warm White base coat to remain for contrast.

THE CHERRY:• Transfer, or freehand, the cherry leaves and stem.

• Paint on the cherry with Warm White and Baby Pink mixed in a 50-50 ratio.

• Begin shading the base of the cherry with diluted Alizarin Crimson.

• Deepen the area at the base of the cherry with a second shading application of Alizarin Crimson and Cranberry Wine mixed in a 50-50 ratio.

• Paint on the stem with Mink Tan. Shade with diluted Burnt Umber.

• Paint on the leaves with Lemonade. Shade with Avocado and Leaf Green in a 50-50 ratio.

THE STRAWBERRIES:• Base coat with Baby Pink and Warm White mixed in

a 50-50 ratio. Shade with diluted Alizarin Crimson.• Add a second shading application of Alizarin

Crimson and Cranberry Wine mixed in a 50-50 ratio.• Transfer, or freehand, the seeds. Paint on with Burnt

Umber, using a liner brush.• Base coat the glazing with Warm White. Shade with

diluted Mink Tan. Use just enough of the diluted shading mixture to barely tint some of the glaze drips to give the eff ect of contour.

• Transfer, or freehand, the sprinkles. Paint on with diluted Alizarin Crimson in varying shapes and sizes.

• Transfer, or freehand, the stem and leaves. Basecoat with Lemonade. Shade some leaves with diluted Leaf Green, and others with a shading mixture of Leaf Green and Avocado mixed in a 50-50 ratio.

THE BOUQUET:

THE PURPLE POSIES:• Base coat the purple areas with Warm White and

Wisteria mixed in a 50-50 ratio.• Paint in the centers with Lemonade. Shade with

diluted Leaf Green.• Transfer, or freehand, the black dots around the

outside of the center. Paint on with Grey Sky. Shade with diluted Lamp Black leaving some of the dots very light for contrast.

• Transfer, or freehand, the yellow stamen. Paint on with Banana Cream. Shade to proved contrast with diluted Honey Brown.

THE BLUE DAISIES:• Base coat the petals with Warm White. Shade some

of the petals with diluted Sapphire Blue. Shade some of the petals with diluted Deep Periwinkle.

• Base coat the daisy center with Banana Cream and Warm White mixed in a 5-50 ratio.

• Shade around the base of the daisy center with Banana Cream. When dry, deepen the contrast by shading with diluted Honey Brown.

• Create dots around the base of the fl ower center, with some spilling over onto the petals, with the tip of a liner brush dipped in Burnt Umber. Add a few dots of Honey Brown.

8 | artistsclub.com

artistsclub.com | 9

THE ROSE AND ROSEBUD:• Base coat the rose and rose bud with Pink Chiff on.• Transfer, or freehand, the petal details.• Begin creating the petal design by shading with

diluted Peony Pink.• Deepen the shading, to create contrast, with a

mixture of Peony Pink and Cranberry Wine in a 50-50 ratio.

• Be sure to keep the edges of the petals light for contrast. Pat more Pink Chiff on back onto the petal edges if needed.

THE LEAVES AND STEMS:• Transfer, or freehand, the stems and any leaves

that may have been lost during the base coat and shading of the background.

• Base coat all leaves and stems with Lemonade.• Vary the diluted shading mixtures of Leaf Green and

Avocado, to give more interest to the results. For some areas, use a 50-50 mixture of Leaf Green and Avocado. In other areas, use a 25% Avocado to 75% Leaf Green for a brighter result. On some leaves, I used only diluted Leaf Green, or only a very small amount of Avocado in the mixture.

• The leaves next to the rose bud were shaded primarily with Leaf Green. Diluted Avocado was used more predominantly for all the other leaves. The interior details will be added later with the pen.

• Shade the stems with the same color techniques as given for the leaves.

THE BLACK AND WHITE STRIPED BOW:• Base coat the white stripes with Warm White. Base

coat the black stripes with Grey Sky.• Basecoat the inside area of the bow (the area that is

next to the leaves and posy stems) with Grey Sky.• Shade the black stripes with Lamp Black. Focus the

shading at the edge areas, keeping the center areas lighter for contrast.

The Teacup

THE BLACK BACKGROUND:(at the top of teacup, and at the base of teacup)• Base coat with Grey Sky. Shade with diluted Lamp

Black.• Transfer, or freehand, the blue dots. Base coat the

dots with Blue Chiff on. Shade with Deep Periwinkle.

THE ROSE, LEAVES AND STEM:• Paint this rose with the same colors, and techniques

as given for the open rose in the bouquet.

THE LACE EDGING AT THE TOP RIM AND THE BASE OF THE TEACUP:• Base coat the background area with Warm White.

Shade with diluted Lamp Black.• Transfer, or freehand the white dots at the center of

the lace semi-circles. Paint on the dots with Warm

White.• Transfer, or freehand, the ‘spokes’ coming from the

center dots. There are fi ve ‘spokes’ coming from each semi-circle. Paint on with diluted Grey Sky.

• Transfer, or freehand, the dots along the top rim of the teacup, along the bottom of the base of the teacup, and along all of the lace edges.

THE ANGEL DESIGN ON THE BOWL OF THE CUP:• Base coat the bowl of the teacup with Warm White.• Transfer the outline of the Angel design the same as

is given above for the transfer the instructions for the Angel Figurine with the exception of the hand and fi nger detailing.

• Shade very lightly around the outline of the Angel design and the edges of the teacup bowl with diluted Lamp Black.

• Follow the instructions as given above for painting the Angel Figurine’s facial details, neck, and hair.

• Paint the Angel’s wings the same as given for the Angel Figurine.

• The instructions for the blue daisies design is the same as for the blue daisies given above, as well as the leaves and stems.

• Paint, and shade, the Angel’s collar the same as instructed for the Angel Figurine’s dress. Use Boysenberry Pink shading to deepen the triangular edges.

• Transfer, or freehand, the heart and stroke work design. Use Warm White, and a liner brush to create strokes, and all dots for the heart shape and the collar.

THE HANDLE:

THE BLACK AND WHITE STRIPES ON THE TEACUP HANDLE:• Paint the black and white stripes with the same

paint colors, and instructions, as for the black and white striped bow.

THE ROSE AND LEAVES DESIGN ON THE HANDLE:• Base coat background area with Warm White.

Shade with diluted Lamp Black.• Transfer, or freehand, the leaves.• Paint the rose and the leaves with the same colors,

and techniques, as given above for the rose and leaves on the teacup.

THE GREEN AREAS WITH BLUE POLKA DOTS:• Base coat with Lemonade. Shade with Avocado.• Transfer, or freehand, the polka dots. Paint on with

Blue Haven. Shade with diluted Deep Periwinkle.

THE PINK BANDS:• Base coat with Baby Pink. Shade with Alizarin

Crimson.

FINISHING

10 | artistsclub.com

The sequence of the fi nal steps are as follows:• Varnishing• Antiquing• Inking• Assembly• Spattering• Spray Final Finish: optional

VarnishingI 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.

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.

artistsclub.com | 11

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 a very light coat of the antiquing for this design then adding a second application of antiqu-ing along the edges of the plaque, the arched top, and at all four corners.

Apply a light application of antiquing to the scroll to maintain the light ivory color.

Inking• Inking details are added after the varnish, and

antiquing, have been applied and the surface has thoroughly dried.

• Outline, or trace, around each shape/element of the entire design that you want to emphasize. Inking the design pulls out design elements, but you can be selective by choosing only certain elements of the design for emphasis or inking the entire design.

• Inking is an easy way to add details that would be more diffi cult, even impossible, with paint and brush.

• Use the line drawing, and the photo, as a reference.• Make shorter, broken lines, instead of trying to draw

longer, straighter lines if your hands are unsteady.• Inking mistakes can be ‘fi xed’ by fi lling in with more

paint, or even painting over an area, and starting again. It takes a few applications of paint to cover the ink, but it can be done.

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

Repeat to attach the teacup in the correct position.

SpatteringSpatter the entire surface with Warm White.

Since I don’t mind getting paint on my fi ngers, I use a toothbrush.

Test the spatter pattern on a piece of paper before ap-plying to the surface. If the paint is too thick to create a fi ne spatter pattern, add a few drops of water to thin.

For this design, I covered the Angel faces with a small piece of paper towel before spattering.

Final FinishingIf you would like to apply a fi nal protective sealer, I suggest the Americana matte spray sealer. Follow the directions on the can. I apply two light coats.

ATTACH THE WIRE HANGER:Cut the wire to approximately a 28 inch length.

Bend the wire at mid-point, twisting to create the loop.

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.

12 | artistsclub.com

artistsclub.com | 13

Pattern at 100%1" x 1"

To ensure yourpattern is at 100%,

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

14 | artistsclub.com

artistsclub.com | 15

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. #332448

No. *A332448*© Artist’s Club®. All rights reserved. For private, non-commercial use only.

Please see our web site for terms of use.