Mixed Media Paintbox

8/8/2019 Mixed Media Paintbox

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Dusty Diablos by Michael deMeng

Encaustic Workshop

by Patricia Baldwin Seggebruch

Exhibition 36 by Susan Tuttle

Frame It! by Tonia Davenport

Image Transfer Workshop

by Darlene Olivia McElroy and

Sandra Duran Wilson

The Journal Junkies Workshop by Eric M. Scott and David R. Modler

Journal Spilling by Diana Trout

Kaleidoscope by Suzanne Simanaitis

Layered, Tattered & Stitched by Ruth Rae

Lifelines by Carol Wingert and Tena Sprenger

Micro Mosaics by Angie Weston

Mixed-Media Mosaics by Laurie Mika

The New Creative Artist by Nita Leland

Objects of Reflection by Annie Lockhart

Outstanding Mini Albums by Jessica Acs

Pretty Little Things by Sally Jean Alexander

Rethinking Acrylic by Patti Brady

Scraptastic!by Ashley Calder

Semiprecious Salvage by Stephanie Lee

Show It Off!

from the editors of Memory Makers Books

A String of Expression by June Roman

Taking Flight by Kelly Rae Roberts

Tiles Gone Wild by Chrissie Grace

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This book f ea t ures pro jec ts f rom

these g rea t F+ W Media, Inc. ti tles:

Acrylic Revolution by Nancy Reyner

Altered Books Workshop by Bev Brazelton

Altered Curiosities by Jane Ann Wynn

Amulets and Talismans by Robert Dancik

Art Escapes by Dory Kanter

The Art of Personal Imagery by Corey Moortgat

Art Stamping Workshop by Gloria Page

Artist Trading Card Workshop by Bernie Berlin

Bent, Bound & Stitched

by Giuseppina “Josie” Cirincione

Beyond the Bead by Margot Potter

Book + Art by Dorothy Simpson Krause

Canvas Remix by Alisa Burke

Celebrate Your Creative Self

by Mary Todd Beam

A Charming Exchange

by Ruth Rae and Kelly SnellingCollage Discovery Workshop—Beyond the

Unexpected by Claudine Hellmuth

Collage Fusion by Alma de la Melena Cox

Collage Lost and Found

by Giuseppina “Josie” Cirincione

Collage Playground by Kimberly Santiago

Collage Unleashed by Traci Bautista

Creative Awakenings by Sheri Gaynor

The Creative Edge by Mary Todd Beam

Delight in the Details by Lisa M. Pace

Digital Expressions by Susan Tuttle

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Week 12: Time Flies 40

Week 13: Elmer’s Glue Crackle 42

Week 14: Symbolic Collage on Wood 44

Week 15: Crackled Background48

Week 16: Digital Painting 52

Week 17: Crayon Cupcakes 56

Week 18: Collaged Angel Pendant 58

Week 19: Texture on a Painting 60

Week 20: Building a Frame Around an

Acrylic Box 62

Week 21: Texture Paste Design 64

Week 22: Poem + Art 66

Week 23: Verdigris (Faux Patina) 68

Week 24: Mirror Stars Brooch and

Earrings 70

Week 25: Watercolor in Encaustic 72

Week 26: Watercolor Lifting Technique 74

Week 27: Gel Skin 76

Ar twor k f r om

Be y o nd t he Beadby M a r g o t P o tte r

Table of Contents

Featured Titles 3

Introduction 7

Week 1: Painting on Silk 8

Week 2: Create an Observation Icon 10

Week 3: Glazing 12

Week 4: Southwest by Fareast Frame 14

Week 5: Emboss-Resist18

Week 6: Story Bracelet 20

Week 7: A Single Memento 24

Week 8: Special Occasion Collage 28

Week 9: Acrylic Paste Paintings 32

Week 10: Painterly Art Magnet 34

Week 11: Forest Floor Painting 36

Ar twor k f r om

A S t ri ng o f E x p re s sio nby J une Ro ma n

4




55

Week 46: Pages Pendant

118

Week 47: Test the Flexibility of

Watercolor 122

Week 48: Abracadabra Collage 124

Week 49: Watercolor on Baby Wipes 128

Week 50: She Said 130

Week 51: Masking Tape Background 132

Week 52: Crackle Paste on Plexiglas 134

Meet the Authors 136

Index 143

Books of Interest 144

Ar twor k f r om

C ollage Lo st a nd F ou ndby G iuse p p ina “J o sie ” C ir inc io ne

Week 28: Mail Art to the Self 78

Week 29: Beeswax as Adhesive 80

Week 30: Distressed Painted Face 82

Week 31: Masking Fluid Resist 84

Week 32: Reliquary Pin 86

Week 33: Texturizing Canvas With

Acrylic Paint 88

Week 34: Carnivale 90

Week 35: Walnut Ink Aging 94

Week 36: Transformed Tote 96

Week 37: Custom Paint Swatches 98

Week 38: Painted Paper Bag Album 100

Week 39: Watercolor on Yupo Paper 102

Week 40: Enameled Sunset Pendant 104Week 41: Antiquing Chipboard 106

Week 42: Bandana Collage 108

Week 43: Textured Stamp Background 110

Week 44: Plexiglas-Framed Artwork 112

Week 45: Redeeming Discarded

Objects 116

Ar twor k f r om

C ollage F u sio nby Alma de la M e le na C o x




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Ar twor k f r om

T ile s Go ne W ildby C hr issie G r a c e

Ar twor k f r om

K aleido sco peby S uz a nne S ima na itis

Ar twor k f r om

Out sta ndi ng M i ni Al bu m sby J e ssic a Ac s




Introduction

Idon’t know about you, but I often struggle with the call to “create some-

thing every day,” and I have a deep respect for those with a wellspring

large enough to accomplish this enormous task. I just don’t feel artisti-

cally creative each and every day. But I do believe that it’s important, as art-

ists, to keep our creative skills honed, and there’s no better way to do that than

to practice on a regular basis. So maybe some of us can’t pull out our box of

paints at a self-disciplined time every morning, afternoon or evening, but once

a week? Now you’re speaking in a language I can understand.

Mixed-Media Paintbox is going to make it easy for us to do exactly that—get

our feet wet (and our hands in the paint) at least once a week. The best part is,

we won’t even need to scratch our heads to come up with new ideas and proj-

ects because it’s already been mapped out for us! All of the contributing artists

in this book are among the most creative folks I know and they’re who I turn to

for inspiration, so I know you’ll enjoy them, too.

On the following pages you’ll find 52 projects—a new one for each week for

an entire year. Of course, you’re free to play with the projects and techniques

in any order you choose, but if you’re like me, you may not want to have to

think that hard. There will be techniques and products here that you’ve prob-

ably never tried before (from jewelry to book arts to assemblage), and that’s

going to tone up your creative muscle even more. Plus, if you find yourself

extra “into” any particular week’s project, the good news is that each project

was pulled from its own book, so there’s plenty more inspiration to be explored.

Whether you start your new commitment to creativity today or over the

weekend, there’s no pressure here—just have fun!

7

Tonia Davenport Acquisitions Editor,

North Light Books




40

A blank wooden flower turns funky with layers of crackle

paint, stamped stars and a minicollaged watch frame.

Lightweight wood cutouts sold for use on scrapbook pages makegreat jewelry components. This unexpected combination of ele-

ments can change completely based on your choice of colors and

finishes. Have fun and mix it up!

Week 12

Time FliesBY MARGOT POTTER | from Beyond the Bead

g wooden flower ( Pr ovo Cr aft)g metal watch face

( Or namentea)

g scr apbook paper ( Die Cuts with a V iew)

g “time flies” ( pr inted in 12-point T imes N ew Roman font)

g cr ackle paint ( Ranger )g pink paint dabber ( Ranger )g star stamp ( I nkadinkado)g 2 4mm cr ystal AB

Swar ovski flower s

g 2 3mm cystal AB Swar ovski butter flies

g 1 Lucite flower ( M aya Road)

g cr aft glue ( Beacon)g small paintbr ushg sandpaper g scissor sg Amazing Goopg o ptio nal: 1 pin back

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M a t e r i a l s

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1. Paint the flower with

a basecoat

Sand the front and sides of the

wooden flower. Paint the flower

with a pink paint dabber. Allow

it to dry. Use a small paintbrush

to paint the edges of the flower

pink. Allow the paint to dry. If

desired, paint the back of the

flower and allow it to dry.

2. Paint the flower with

crackle paint

Paint the flower with crackle

paint. Allow it to dry. (Thicker

paint makes thicker cracks,

and thinner paint makes

thinner cracks.)

3. Stamp the flower

Stamp the petals with the star

stamp, varying the placement

of the stars from petal to petal.

4. Smear on pink paint

Use your fingers to smear on

more pink paint. Allow the

paint to dry.

5. Adhere the

watch bottom

Adhere the watch bottom to

the center of the flower with

Amazing Goop. Allow it to dry.

6. Create the collage

Cut a piece of scrapbook paper

to fit inside the bottom of the

watch face. Cut out the “time

flies” phrase and adhere it to

the scrapbook paper with craft

glue. Add a selection of beads

on top of the collage. Slide the

watch face onto the bottom. To

make a pendant, drill a hole in

a petal and add a jump ring.

To make a pin, glue a pin back

to the center back of the flower

using Amazing Goop. Allow it

to dry.41




58

Collaged Angel PendantBY RUTH RAE AND KELLY SNELLING | from A Charming Exchange

This beautiful pendant

would be great on a

necklace or hanging in a win-

dow. This week, incorporate

text along with paint to make

a meaningful piece. Choose

words and colors that inspire,

motivate or encourage you to

include on your charm.

Week 18

g metal angel shape

g book pages, paper

g pencil

g Burnt Umber glaze

g acrylic paint

g gel medium

g permanent marker

g brushes (various sizes)

teri lsMaterials




5. Add final details

Add final details with a permanent marker, and add a

word of text, if you like.

2. Paint details on the wings

Fold the paper in half, and cut out the wing

shapes to create four wings. Apply a Burnt Umber

glaze over the surface of the paper wings.

Then, with a smaller detail brush, add details,

such as flower shapes. You could also collage

images here.

1. Trace the wing shapes

For the pendant, we use a metal angel shape as

the base. For the wings, you can either paint the

metal, or you can cover them with paper. If you

want to cover them with paper, trace the general

shape on the paper of your choice.

3. Add finishing touches

Continue painting until you are happy with your

wings.

4. Adhere wings to the metal shape

Use gel medium to adhere the painted wings to

the metal shape.

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68

Verdigris (Faux Patina)BY MICHAEL DEMENG | from Dusty Diablos

Week 23

g heatgung paintbr ush and water

g acr ylic paints: white, Phthalo Gr een, Dioxazine Pur ple ( Golden), M ar s Black ( Golden), Quinacr idone Gold ( Golden)

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M a t e r i a l s The process of getting a nice patina on copper is

easy—it’s a material that naturally achieves this

look and achieves it even more quickly with the super-

natural addition of manufactured patina solutions! But

for times when actual copper is not part of the deal, paint

washes will easily do the trick. Try this week’s technique

to turn any project into aged metal magic.




Mix paint

This technique works best over something dark,

in this case, black. Mix white, a tiny bit of Phthalo

Green, and an even tinier bit of Dioxazine Purple.

Load a dry brush with the mixture and work excess

paint out of the brush on a paper towel. Run the drybrush over the dark surface, allowing the paint to

just skim the surface of the textures. When the first

layer is dry, brush a wash of Uszhhh (see below) over

the piece.

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1. Using a heatgun, heat the white paint until it

is bubbly. To begin painting, apply a wash of

black on one side.

2.

Apply a wash of Quinacridone Gold on the

other side and mix the two together gradually.

“ U s z h h h ”

T e c h n i q u e




82

Distressed Painted FaceBY KELLY RAE ROBERTS | from Taking Flight

Painted faces can be added to a variety of mixed-media

pieces to add a personal touch. Try this week’s distressed

painted face project for a way to let loose and have fun. The some-

what weathered but sweet face is created using paint and sand-

paper—there are no mistakes with this very forgiving technique.

You’ll also find ideas for finishing touches, including the use of

gel pens, glazes, ink pads and ephemera.

Week 30

g r hinestone bezel

g heavybodied Golden acr ylics T itanium W hite, Bur nt Sienna, Bur nt U mber and Raw Sienna

g fluid acr ylics in var ious color s

g T atter ed Rose Distr ess I nk ( Ranger )

g gesso

g small paintbr ush

g fine detail paintbr ush

g white gel pen

g char coal pencil

g fine-gr it sandpaper

g o ptio nal: char coal blender

g o ptio nal: Raw U mber glaze

g o ptio nal: heat gun

M a t e r i a l s




2. Layer darker paint in

areas of shadow

Add a bit more of the Burnt

Sienna and a little bit of Burnt

Umber to your mixed paint.

Apply the darker color to one

edge of the face, where the

shadows might rest, and to the

cheek and eyebrow areas. When

using this technique, I always

start with the shadowy areas

first, and then work my way to

the lighter areas.

3. Add white paint to

highlight areas of light

Apply some Titanium White

thickly to areas where the

light might rest. I’m targeting

the bridge of her nose, a bit of

one side of her forehead, and

areas near her eyes, chin and

forehead. The effect should

be splotchy and uneven; don’t

worry if it looks messy—in fact,

it should. Let it completely dry

before the next step.

4. Sand layers of paint

Take a piece of very fine-grit

sandpaper (the finest grit you

can find) and very lightly begin

sanding the heavy layers of

paint on the face and neck

until you get the blended effect

you want.

1. Layer skin tones of paint

Use a charcoal pencil to sketch your subject on a painted surface. To

paint this face, we’re going to layer skin tones of heavy-bodied acrylic

paint and then sand them away to create an even, blended surface

that appears weathered. Start by applying a layer of gesso on the face

and neck area of your subject to create an opaque base. Then blend

Titanium White, Burnt Sienna and Raw Sienna heavy-bodied Goldenacrylics and apply a thick coat of the mixture to the face and neck area.

Let it dry a bit, or give it a quick blast with a heat gun.

83

6. Add finishing touches

Paint the hair with fluid acrylic

paint and use the white gel pen

to add highlights and defini-

tion. Use fluid acrylics (I mixed

a few shades with a Raw Umber

glaze) to color in the dress with

a transparent hue so all the

layers beneath show through.

Use a soft charcoal pencil to

redefine any lines that have

been painted over and addany embellishments (I added a

belt). Use a white gel pen and

a rhinestone bezel to create a

necklace. Lightly rub a Tattered

Rose Distress Ink pad over the

surface of the dress and the

background to highlight the

wrinkles in the tissue paper,

giving the piece an aged look.

5. Draw and paint facial

features

Use a charcoal pencil to draw in

fine-detail lines for the facial fea-

tures—eyes, nose, lips, eyebrows

and hair line. Blend the lines with

a charcoal blender to soften them

a bit if you want to. Finish the

face by using a detail paintbrush

to color in the lips and eyes and a

white gel pen to add detail to the

whites of the eyes.




110

Textured Stamp BackgroundBY KELLY RAE ROBERTS | from Taking Flight

This week, you’ll experiment with paint and stamps to add a

rich, textured appearance to your backgrounds. Be careful,

though; using stamps in your paintings can be addictive. It makes

it nearly impossible to stop into a craft store without buying a

new one every time!

Week 43

g 7 " × 7 " ( 18cm × 18cm) block of wood

g 3 r ubber stamps

g heavy-bodied acr ylic paints in assor ted color s

g foam br ush

g gessog paper towelsg o ptio nal: heat gun

M a t e r i a l s




1. Gesso the wood surface

Use a foam brush to gesso the

surface of the wood. Allow it

to dry. If you wish, you can

use a heat gun to speed up

the process.

3. Stamp the design into

wet paint

While the background paint

it still wet, press a stamp

firmly into the paint to make an

impression. Repeat until you’ve

created a texture you like, and

then allow the surface to dry.

(Again, you can speed this upwith a heat gun if you wish.)

2. Paint the background

Select or mix a shade of heavy-

bodied acrylic paint you’d like

to use as the primary back-

ground color. Use a foam brush

to apply a coat of paint to the

gessoed surface.

4. Stamp another design

and paint color

Mix or choose a coordinating

color of heavy-bodied acrylic

paint. Here, I simply added a

blue shade to my green back-

ground to create a turquoise

color in the same palette. Brush

the paint directly onto a differ-

ent rubber stamp, and press it

onto your surface to transfer the

pattern.

5. Blot the edges

Use a paper towel to blot the

edges and soften the stamp

impression. Blot until you’ve

refined the second layer of the

background to the level of tex-

ture and color you like.

6. Add a third layer of

textured stamping

Select a third stamp, brush

some more of the second color

of paint onto it and stamp it

randomly over the surface to

add yet another dimension

to the texture. Allow it to dry.

Now your beautifully textured,

stamped background is ready,

and you can go on to paint the

subject of your choice.

pTip

It’s very important to clean acrylic paint off of your

stamps immediately with water, or you will ruin your

stamp when the paint dries on the rubber.111




Y0054 US $24.99(CAN $28.99)

ISBN-13: 978-1-4403-0907-6

ISBN-10: 1-4403-0907-8

Incorporating paint into your mixed-

media art has never been easier or more

fun. Open up your paint box and delve

into a year of creative ideas from 45 ofyour favorite artists. Whether you’ve used

paint for years or have been anxious to try

a new medium, you’ll find great

advice and ideas inside Mixed-Media

Paint Box. Each week, you’ll be guided

with step-by-step instructions through a

different project or technique that will add

instant depth and drama to your art!

g 52 projects and techniques, one for every week

of the year, to inspire a weekly dose of creativity.

g Tips, hints and suggestions from some of your

favorite authors, including Ruth Rae, Claudine

Hellmuth, Chrissie Grace, Bernie Berlin and

Margot Potter.

g Step-by-step instructions for jewelry-making,

assemblage, journaling, collage and a variety

of painting techniques to incorporate into your

own art.

Discover inspiration and new ways to

express yourself every week inside

Mixed-Media Paint Box!

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Mixed Media Paintbox