Vibrant Blooms on a Trio of Trays
Designed by Penny D. Laich, OSCI
Ó 2003 All rights Reserved, PD Laich
3 trays: lg= 10 ½ x 17
Med= 10 x 10
Smll= 10 x 6 ½
Mine came from local vintage “junque” shop
Source for surfaces: Unfinished wood trays at art supply stores, or vintage trays from flea markets
Plaid Folk Art Artists Pigments:
#435 Napthol Crimson
#456 True Burgundy
#629 Red Light
#917 Yellow Ochre
Folk Art Acrylic Colors:
#449 Olive Green
#467 Italian Sage
#630 Poppy Red
#649 Warm White
#733 Teal Green
#736 School Bus Yellow
#987 Wicker White
Sponge brush (for wood trays)
One Stroke Brushes:
¾” Flat #1171A
#1 Script Liner #1171C
½ Scruffy #1206 OR Starter Strokes Med Scruffy #19807
Small Scruffy #1174
#868 FolkArt Floating Medium
#774 Satin Finish or #773 Matte Finish
#220 grit emery cloth, or fine sandpaper
White graphite paper
Brush Plus brush cleaner
One Stroke handiwipes
Prepare The Surface:
Clean surface with dry towel to remove any dust.
A.- For a vintage tray with surface already painted black: lightly sand the entire surface area that is to be painted, using fine grit sandpaper, or #220 emery cloth. This will remove any previous sealer or varnish and allow new paint to adhere properly.
Wipe off sanding dust with damp towel. Let dry.
B.- For an unfinished wood tray: clean surface with dry towel to remove excess dust. Basecoat tray with 2-3 coats of #989 Licorice, using sponge brush. Sand lightly between each coat.
Trace pattern with pen onto tracing paper.
Position tracing paper on surface-slide white graphite paper in between tracing paper and surface, making sure graphite side is toward the surface. Use stylus to trace design’s major elements.
*TIP check your work by lifting a corner to make sure you have not missed
Remove the graphite and tracing paper, and you are ready to paint!
STEP BY STEP PAINTING INSTRUCTIONS
(REFER TO COLOR WORKSHEETS THROUGHOUT)
Refer to finished product for color placement (to show which poppy is pink, or red, or yellow)
1) Double load ¾” flat brush with Magenta and Fuschia. Pick up a small amount of Wicker White on the Magenta side. Keeping lighter color to the outside, begin on chisel edge, push, wiggle up and down to form petal, ending on chisel edge. Layer petals, forming back of flower. Use float medium as needed.
2) Using dry small scruffy, pounce in “CENTER” of blossom, before painting front petals.
3) CENTERS (For ALL Poppies)
Double load small scruffy with Olive Green and Yellow Ochre . Pounce, keeping
Olive toward the bottom, Ochre on top.
4) While center is still wet, pull stamens with liner loaded with inky Olive/Sunflower. Dot tips of stamens with Sunflower. Add extra dots with Licorice.
5) Now you are ready to paint the FRONT petals----- with your ¾ Flat already loaded with Magenta/Fuschia/White, pick up even more white. Add front petals to pink poppy, still keeping the white to the outer edge. Refer to color worksheet #1.
Important note!!!!!: Because both yellow and red pigments are notoriously translucent (partially transparent), both the red and yellow poppies require extra work.
When painted on a dark background, to insure these poppies look rich and vibrant, you MUST paint the same petals twice.
This is what I term as “layers”. Layer 1 will set the mood; give a good base…..and Layer 2 will give the colors definition, or in other words, help the color to “pop-out” from the dark background.
6) Now that you are prepared to work x-tra hard, we can begin the YELLOW poppy.
BACK PETALS LAYER 1: Double load ¾” flat with Poppy Red and Yellow Ochre. Keep
Ochre to the outside and wiggle in and out, forming back
Petals. (refer to worksheet 2)
7) Let Layer 1, Back Yellow Petals dry.
8) BACK YELLOW PETALS LAYER 2: Double load ¾ flat brush with Yellow Ochre and School Bus Yellow---keep School Bus Yellow to the outside.
9) FRONT PETALS FOR YELLOW POPPY: Double load ¾ brush with School Bus Yellow/Wicker white, keeping white to the outside edge. Paint front petals.
10) Add highlights to back petals with white/float medium using 10” flat brush.
PARTIAL and SIDE-VIEW Red poppies are not as prominent in this design. Since they are “supporting elements”, each petal is painted only once (allowing them to appear further back in the composition)-- refer to worksheet #2
11) BACK PETALS FOR PARTIAL VIEW: Double load ¾ flat with Napthol Crimson/True Burgundy. Paint back petals.
12) FRONT PETALS FOR PARTIAL/SIDE VIEWS: Triple load ¾ flat with Napthol Crimson/True Burgundy (on one side), and Red Light (by itself), on the other side. Keeping Red Light to outside edge, wiggle in and out to form front petals.
FULL-VIEW LARGE RED POPPIES
Note: As previously discussed, these full red poppies will require painting in 2 layers, with a Highlight layer considered as Layer 3. Refer to worksheet #2
13) FULL RED POPPY---LAYER 1 BACK PETALS
Double load ¾ flat with Napthol Crimson/True Burgundy. Keeping Crimson to the outside edge, paint BACK petals.
14) Now: PAINT the CENTERS -Remember, Centers for ALL poppies are painted the same.( Refer to 3) on this list and to worksheet #1)
15) FULL RED POPPY—LAYER 1 FRONT PETALS: the front petals of layer 1 are also painted with Napthol Crimson/True Burgundy.
16) Let dry before proceding to Second Layer.
You will need a special mix of color, called “PPM” for part of LAYER 2 , Full View Red Poppies.
NOTE: “PPM” = Penny’s Poppy Mix
(Use 2/3 Napthol Crimson and 1/3 True Burgundy)
17) You are now ready for Red Poppy Layer 2 petals. To reinforce color, paint the petals again, this time, triple load ¾ flat with “PPM”(on one side) and Pumpkin/Red Light on the other side. Keep Pumpkin/Red Light to the outer edge.
18) let dry
19) FULL RED POPPY---LAYER 3 (THE ADDED HIGHLIGHTS) for tints and highlights, triple load #12 flat brush. Use School Bus Yellow/Warm White/Pumpkin, floating medium. Highlight tips of at least 3 back petals, and both front petals.
20) BLACK MARKINGS ON PINK AND RED POPPIES For those poppies showing centers, load liner with inky licorice. Starting near CENTER, paint thin lines radiating outward onto petals.
TIP: These lines should only extend onto 1/3 of the petal
21) Load #10 flat with Olive Green/Sunflower. Begin at base of pod—push down then curve back up to form oval podleaf. Overlap Podleaf strokes. Leave a small “gap” between right and left pod strokes. Add 2 smaller Podleaves by using touch, lean and pull stroke, ending at the base of the pod.
22) Optional: lightly feather paint from pod for fuzzy edges.
23) Add final “C” stroke at base of pod
24) Fill in “gap” in pod with Magenta using chisel edge of #10 flat
25) POD STEM: doubleload#12 flat with Olive Green/Sunflower. Pull on chisel edge. Lead with lighter color. Fuzzy Edges---with flat edge of #12 brush, touch stem lightly—quickly drag or “flick” outward.
26) Double load #12 brush with Olive/Sunflower. Chisel edge stems downward. Fuzzy the edges as for Pod stem (refer color worksheet#1)
27) Double load ¾ flat with Olive Green/Sunflower
Pick up a touch of wicker white occasionally. Start on chisel edge. With exaggerated movement, work back and forth with smooth sliding motion, keeping outside edge uneven, to provide a jagged look.
TIP: paint some leaves with Olive to the outside, and some leaves with Sunflower to the outside. The leaves with Sunflower to the outside will REALLY show up well against your black background!
28) OneStroke Leaves
Use your choice of #12 or #10 flat, (I made some leaves using each brush) double load with Olive Green/Sunflower. Start on chisel edge, Press-Turn as you lift brush to tip of leaf, turning green side to tip. Quickly stand brush up on chisel edge and pull stem into leaf, leading with the light color
29) Double load #10 flat with Sage/Teal Pull on chisel edge, lead with Sage
30) Use #10 flat brush with just a touch of Sage/Teal color, plus Float Medium. Paint onestroke shadow leaves. Shadow leaves on pattern are inked with dotted/broken lines
Queen Anne’s Lace
31) STEMS: Double load liner with inky olive Green and Sunflower. Paint stems (refer to worksheet#1)
32) LACE: Double load either StarterStrokes Medium Scruffy OR ½ “ Scruffy, with Sunflower/Wicker White. Pounce gently, lightly—keeping white to top. Tap/pounce gently in loose oval or cap shapes. Add some Sage/Tealgreen mix 50/50, and lightly or randomly pounce along lower edge.
TIP: many light pounces are best
33) Load liner with inky 50/50 mix of Sage and Teal Green. As you paint, the handle of the brush should be pointing straight up. Touch only the tip of the brush to the surface, and using entire arm movement, use a light and delicate touch.
TIP: pull the tip of the brush toward you applying as little pressure as possible—move in a circular motion, creating circles to the left, then to the right ,before ending in a delicate squiggle.
REMEMBER—curlies are dainty…..and just a few of them are needed
34) Sign your name with liner using inky Sage/Teal
Allow projects to dry and cure for a minimum of 24 hours
Use 2-3 coats of #774 Satin Finish, or #773 Matte Finish, allowing drying time between coats. Follow directions on can.
My design is for 3 trays, but can easily be adapted, enlarged or reduced, to fit many surfaces. Let your own creativity guide you…..and enjoy!!!!
BIOGRAPHY: Penny Laich
Although it has been only a few years since she arrived into her husband's home state of Pennsylvania, Penny has been teaching FolkArt and Tole painting for over 10 years, in Alabama. She received her One Stroke certification in Orlando, in December 1999, and One Stroke immediately became her most sought-after classes.
Reared in Muscle Shoals, Penny studied Art and Zoology at The University of North Alabama,(1963-67), and she maintains her 40-year connection with fine and decorative art as a member of The National Society of Decorative Painters, and the Dothan Wiregrass Museum, where her pieces have been for sale at the museum gift shop.
Penny has hand-painted ornaments at the Smithsonian, Blair House, and The White House. During the Clinton administration, one of her ornaments graced the official White House Christmas tree.
With One Stroke, Penny is becoming acclimated to new vistas in the painting world, having taught weekly One Stroke classes at The Painters Palette Decorative Art School in Philadelphia, until their close this past December. Now classes are at her home studio, and include both project and technique, many of which are her own designs!
" I continue to be influenced by many artists , and methods; however, One Stroke has given me a special freedom of expression. One stroke expands my artistic horizons, and teaching has allowed me the privilege of sharing this fun art style....and the friendships I have gained just makes my heart sing! I am very grateful for all these "life-gifts".
Penny D. Laich, OSCI
1011 Arthur Ave
WestBristol, Pa. 19007