ROSES AND LILACS TIN HEART
By Susan Wimbley, O.S.C.I.
Plaid Essentials, Tin Magnetic Board Heart, #75011
Folk Art Acrylic Colors:
School Bus Yellow
Gold of Choice
Folk-Art One Stroke Brushes
(A pattern layout has been provided, but I encourage you to modify my designs to suit your surface. Once you learn the "alphabet of strokes", you can make the strokes "spell" anything you want.)
Remove the stickers and the plastic hang tabs from the heart. Remove the glue residue. I used Goo Gone successfully for this process. Wipe the surface with alcohol to remove any oily residue. Transfer the pattern or freehand the basic design.
Begin by painting a branch in a modified C-shape on the left of the heart starting at 10 o’clock and proceeding upward past the left side of the V in the heart’s center. Then, proceed down the left side to the heart’s tip. A second reverse C-shape is formed from 2 o’clock on the right side of the heart to the center of the V at the top and to about 4 o’clock on the left side. Next, paint the large leaves, three large roses and buds, followed by the filler leaves calyxes. Lilacs are added next, ending with filler flowers and butterfly. You are building large to small from back to front in this design.
Double-load a 3/4" flat with Maple Syrup and Wicker White. Lead with the White as you press to the side to create some width for the branches and wiggle the stroke to create a more lifelike appearance.
The rose uses a traditional heart-shaped leaf. Make a "V" on your paper for these leaves. Double-load Thicket and Sunflower on the 3/4" brush. With Thicket to the outside, wiggle on the outside of the "V" just like you did for the petal stroke. Push the brush down and ripple in and out, rotating the brush from 1 o’clock to 6. Watch the outer edge.
When you reach 6 o’clock, release the pressure to stand back up on the chisel and pull away from the center of your imaginary clock to a point. Try not to travel very far from the bottom point of that "V" you made with your brush. If you have problems, use the brush to rotate, creating the heart shape around the "V" without rippling, keeping the Thicket on the outside, and then go back and wiggle over the shape.
On your plate, put a quarter size puddle of the Berry Wine, and Wicker White. Double- Load Berry Wine and Wicker White on a #12 brush.
Start by practicing a shell-stroke or wiggle stroke as shown in the upper left side of the Rose Worksheet. Imagine a "V" on your paper and wiggle between the lines by placing the chisel of your brush on one angular side, and pressing bristles toward the other side, rotating about 1 number on an imaginary clock… 12 to 1, etc. (This pressure should feel like mopping a floor, not tickling it with a broom.)
Release pressure on the far side of the "V", stand on the chisel, and pull slightly in towards the base of the "V". Practice this stroke a few times on a scrap paper.
Begin your rose by using any size flat brush to basecoat a wide oval in Berry Wine.
Then make a ruffled skirt of the little shell strokes, all the way around the oval. Row 2- is the center of the rose. Make three or four shell-strokes slightly lower than the first row, curving slightly more than the outside edge and curving down a bit, resembling a frown. WIPE YOUR BRUSH BETWEEN EACH STROKE FROM NOW ON! This keeps your white edge clean! Row 3 closes in the center with several more shells curving slightly upward below row 2, resembling a smile.
Now switch brushes to a comparable size angle brush. Begin making comma, ripple and smile strokes as desired to fill the balance of the rose’s shape. (See worksheet) When base coated area is covered to your satisfaction, add a couple of side commas off the filled in area for a light airy feeling. For these strokes, double-load Wicker White on the toe of the brush (pointed end) and Berry Wine on the heel.
Start on the chisel edge toward the top/outside of the rose and lean the brush away from the center petals, pulling the stroke around the center and ending on the chisel again. To vary this stroke start on chisel, pulling in while on the chisel, and then lean the brush down on its side to form a ripple, proceeding back to the chisel to finish. Variation 3 is like 2, except lean up in the middle. These variations lend roundness to the center petal area of the rose. (Often called an S- stroke.)
Dip the tip of your liner brush into School Bus Yellow and make pollen dots. Follow with Thicket interspersed with the Yellow. Option- use double dipped brush handle dots here, but keep them tiny.
Using Berry Wine and Wicker White on your #12 Flat, make two push, turn, lift strokes overlapping each other slightly. This will resemble a fat chocolate kiss or a baby’s bare rear cheeks! Push the brush down, rotate the top edge one number on an imaginary clock and lift back up to the chisel, pulling to a point. Some of my students say, "nail it, rotate it, chisel it." Keep the brush bottom from making a little hop which gives a Dutch Shoe effect. It should be a smooth rotation. The end result is two little overlapping lobes at the base with a point at the tip. "Option- use a filbert here. This is one of the strokes from the basic Alphabet of Strokes."
Calyx for rose:
Load a #12 Flat with Thicket and Sunflower. Leading with the Sunflower, lean out slightly and then pull a long stroke along each side of the bud, crossing at the top. For the third calyx stroke, use a single push, turn, lift from the rosebud "alphabet of strokes" and make the same stroke using your leaf colors, in between the two side strokes, and covering the center lower part of the bud.
Double-load a #12 or 3/4" Flat with Thicket and Sunflower. Push down, rotate one number on an imaginary clock and lift to the chisel. This stroke is made like the rosebud. For variety, you can ripple the push part of the stroke and lift at the tip. You can add a bit of Maple Syrup to the Thicket side or Wicker White to the Sunflower side for more color variation.
Basecoat your flower with Blending Gel mixed with Dioxazine Purple. Using a filbert, make slip-slap strokes back and forth to cover the area, but not completely; leave some space. Next, fill in a second slip-slap layer with Dioxazine Purple, Heather and Lavender in a random application over the Blending Gel layer.
Load Wicker White on the tip of a filbert that is moistened with Blending Gel and slip- slap 4-petal flowers over the surface. This will pick up color from below and create a striped effect on the petals. The formation resembles an "X". WIPE YOUR BRUSH between strokes to avoid a muddy result. When completed, add tiny dots of School Bus Yellow and Gold to the centers of some of the flowerets.
White Five-Petal flowers:
These are created with the same seashell-stroke used around the back layer of the rose. Load Wicker White and School Bus Yellow on a #12 Flat. Create five wiggled Seashells coming from the center with Wicker White on the outside. Using your small scruffy double-loaded in School Bus Yellow and Thicket, pounce a center. Then, using your liner and Maple Syrup, add tiny dots around the edges of the pouncing. When this is dry, add Gold Sparkles to the center for accent. Use your liner to loosely outline the white petals.
Queen Anne’s’ Lace":
With the Baby Scruffy, pounce Queen Anne’s Lace randomly around the design.
Load a #12 flat with Dioxazine Purple and Gold, wiggle half of a heart -haped leaf. Add two slash strokes for tails, and using your liner, create the head and body with Gold.
Using Inky Thicket or Maple Syrup and the tip of your liner, make circles one way and the other where desired. Use your whole arm for these, and hold your brush between your thumb and forefinger loosely. Rotate from the shoulder, closer and closer till you reach the surface. Then, put your little finger on the surface to steady you as you make your squiggles. Try NOT to make them fly out like pinwheels in all directions. Let them flow out and back toward the design when they end.
Using your brush handle and gold, make small dots (berries/flowers). The same can be done with the white or any other color from the design.
In June of last year, Susan embarked on the road to a lifelong dream by attending a One Stroke Certification course in Buckhannon, West Virginia.
Susan studied with Elite One Stroke Instructor, Dorothy Bishop, in Baltimore, for over a year, and caught the addiction early, painting on "anything that does not move." Her home in Red Lion, Pennsylvania is full of murals, painted furniture, faux finishing and accent pieces.
Susan started her education as an art major at Towson University, but got sidetracked with marriage and children. She has dabbled over the last 30 years in various crafts, but with One Stroke, she found her true artistic passion.
"I could never paint before! I could do anything in black and white, but when I picked up a brush it was a disaster," Susan said. "This method allows you to blend shade and highlight all at the same time! It is like calligraphy in color. If you load and hold the brush correctly, you can learn to paint in no time."
Susan currently teaches at Ben Franklin Crafts in York, PA and also offers personal instruction. "I always wanted initials behind my name. My kids have MS, and RN, but OSCI will do for me!"
Susan Wimbley, O.S.C.I.
165 Furlong Way
Red Lion, PA 17356