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rose on marble
canvas painting
by Susan Wimbley, OSCI

By Susan Wimbley, OSCI
-Cabinet Door, Available at Home Depot or Lowe’s Home Repair Stores
FolkArt Acrylics Paints
-939 Butter Pecan
-901 Wicker White
-736 School Bus Yellow
-440 Violet Pansy
-404 Periwinkle
-924 Thicket
-467 Italian Sage
-448 Green Forest
-938 Licorice
-945 Maple Syrup
-964 Midnight
FolkArt Artists’ Pigment Color
-917 Yellow Ochre
-463 Dioxazine Purple
FolkArt Metallics
-654 Amethyst
FolkArt Sparkles
-265 Pure Gold
FolkArt ONE Stroke™ Brushes
-3/4" Flat
-12 Flat
-5/8” Spouncer
-8 Round or Round from Starter Strokes
-Small Scruffy
-6 Filbert
-10 Filbert
-¾” Angle
-Script Liner
Additional supplies
-Feather for veins in marble
-Cellulose sponge or sea sponge
-Foam Plates
-Water Container
-Paper Towels
-693Glazing Medium
-Saran Wrap
-Stylus or Pencil
-Tracing Paper
The project was done on a fancy cabinet door front from a local factory. This provides a super pre-framed art piece. I just sanded the center raised panel to give it some tooth and base coated with Licorice. The project can be adapted to any surface
Base coat the surface with Licorice.
Pick out some of the sponge forming larger holes for textural variety. Round off the edges of the sponge to avoid points in your marbleizing. Dampen the sponge in glazing Medium and double load it in Green Forest and Italian Sage. Sponge the two colors on a diagonal across the box lid. Twist your sponge back and forth as you go. If a softened effect is desired lay a piece of Saran Wrap across the sponged surface and pat lightly. Remove the Wrap. Let the lid dry.
On a veining feather or dampened liner brush, using inky Wicker White paint pull veins across the surface on the same diagonal, but keep them irregular by jiggling the brush or feather. Occasionally make cracks going off the veins and eyeball shaped white splotches along them too. Wrinkle a new piece of Saran Wrap and lay it on the surface after the veining. Pull off wrap to soften the effect.
Painting on dark colors like the marble offers a unique and striking background. However, some modifications need to be considered. Yellow is a transparent color and if an opaque coverage is desired, then a white basecoat may be necessary.
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.
(Refer to color worksheet)
On your plate put a quarter size puddle of the Butter Pecan, and Wicker White. Double Load Butter Pecan and Wicker White on the 3/4” flat 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 edge 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.
TIP - 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 edge and pull slightly in towards the base of the V. Practice this stroke a few times on scrap paper.
Begin your rose by using any size flat brush to basecoat a wide oval in Butter Pecan.
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 3 or 4 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. Row 4 is done like two jiggled mountains with a break in between and covers the bottom of the 3rd row of strokes forming the rose’s cup!
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 side commas off the filled in area for a light airy feeling. For these strokes, double load Wicker White of the toe of the brush (pointed end) and Butter Pecan on the heel. Start on the chisel…toe 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 edge 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!
Using the tip of your liner brush, dip into the School Bus Yellow and make pollen dots. Follow with Thicket interspersed with the Yellow. Another option is to use double dipped brush handle dots here, but keep them tiny.
Rose Buds:
Using Butter Pecan and Wicker White on the ¾” flat brush, 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 a point. Some of my students say “nail it, rotate it, and 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. One option is to use a filbert here. This is one of the strokes from the basic Alphabet of Strokes.
Calyx for Rose:
Double load the ¾” flat brush with Thicket and Italian Sage. Leading with the Thicket, so the lighter color shows on the marble, 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. Another ripple push, turn, lift stroke is made at the base of the bud on the stem.
Using the 3/4” flat brush double loaded with Butter Pecan and Maple Syrup, lead with the Maple Syrup to make some branches for filler.
Large Leaves:
The rose uses a traditional Sunflower shaped leaf. Make an inverted V on your paper for these leaves. Double load Thicket and Italian Sage on the ¾” flat brush. With Thicket to the outside wiggle on the inside of the V just like you did for the petal stroke. Push the brush down and ripple in and out, following an imaginary center line and ending on the chisel edge. Watch the outer edge.
Filler Leaves:
Double load your choice of filbert or the #12 flat brush with Thicket and Italian Sage. 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 also tip load to add more color to these leaves. This is done by double loading and dipping in your choice of third color. The filbert eliminates the flat base of leaves and petals. If you do not have a filbert, just double load any smaller flat and make the push, turn, lift stroke.
Double load the small scruffy in Wicker White and Yellow Ochre. Pounce on your plate to blend. Pounce an arch shaped flower head. Using your liner and some inky Thicket create a stem and supports for the flower head.
Place an oval shape in the center of your daisy. Using a round brush, load fully with Wicker White. Make your push, and lift to point stroke going inward to the center of the flower. Add a pounced center using the small scruffy double loaded with Maple Syrup and School Bus Yellow. Add Licorice and Wicker White dots around the center with the script liner and inky paint. When dry pat Sparkles Glitter on daisy centers and yarrow if desired for a highlight
Using Dioxazine Purple and Blending Gel, slip slap some strokes with a small filbert of choice. Add some more slip slaps with Blending Gel and Violet Pansy and then more with Periwinkle. Then wipe your brush and load the tip with Wicker White. Make some small push turn, lift strokes in fours, points to the center of the flowers. DO NOT fill in over all the dark. Add some tiny dots in the centers of some of the flowers with Italian Sage and School Bus Yellow.
Double load Green Forest and Wicker White on the #12 flat brush. Make two C strokes with the darker color on the outside. This is the head and eyes. Start with the brush east to west on the chisel. Push down and make a C to the left, ending on the chisel edge. Repeat for the right side. Make several straight pull strokes just behind the heart you just made, for the body. Tilt your brush slightly to make the body narrower and narrower, and then when long enough for your desired critter, pull two long tails with the chisel edge, leading with the Green Forest if on black! Reverse for light background.
For the wings, mix Green Forest and Wicker White to get a very pale green color and make the wing shapes. (See worksheet) Keep the wings wide and angled at the tips. Make each wing 3-4 times the width of the body. Prepare inky Green Forest by adding water in a little puddle, and roll your brush to a point. Loosely outline the wings and put in some veins. You may add Folkart Sparkles as an option. Add two dots above the head, and the antenna in between the dots and head. Prepare a glaze of Metallic Amethyst and glaze the wings and body.
Blueberries are made with the 5/8” dauber, triple loaded in Glorious Midnight, Wicker White, and an optional dot of Dioxazine Purple. Touch the surface and rotate, Repeat for as many Blueberries as desired. Then use white on the tip of your liner to create the star. Add a few stems.
Allow to dry before hanging.
Prior to relocating to PA in October 2001, Susan studied with Elite One Stroke Instructor Dot Bishop, in Baltimore, for over a year. She caught the addiction early, and has painted on “anything that did not move.” Her new home in Red Lion, PA is full of murals, painted furniture, faux finishing and accent pieces.
Susan started her education as an art major at Towson University, in Towson, MD, 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. “Teaching One Stroke has offered me a great transition into a new community, and following Donna’s sharing model has become my daily way of life. Teaching was my goal in 1963--- it only took a lifetime to finally reach it. I thank Donna every day for leading me down the most fulfilling road I can imagine.”
Susan currently teaches at Ben Franklin Crafts in York, PA; and at local Senior Centers. She also offers personal instruction and does travel teaching for workshops and seminars.
“I always wanted initials behind my name. My kids have MS, and RN…. but OSCI will do for me!”
Susan Wimbley, OSCI can be reached at:
165 Furlong Way
Red Lion, PA 17356