Pine Sleigh
Pen and Ink with Rouged Oils
© 2006 by Susan Larson, CMOT
Certified Mary Owens Teacher
A Thanks to Mary Owens
First I want to thank Mary Owens
for paving a path for her certified teachers and her students. Mary has worked
countless hours
through the years designing and perfecting this technique. She constantly finds
new ways to enhance this technique or put a new spin on it.
Always sharing and very generous, Mary encourages her CMOTs to design on our
own. Mary critiques and offers help in marketing our
designs and allows us to use her format in our packets.
Make sure to visit her
website at
www.maryowensdesigns.com
to see her latest designs and tips as well as her products and packets.
Be sure to mention my name, it won't get you a discount but I get Brownie
points. Again, thank you Mary.
I was looking for a simple pattern to teach as
an introductory to the technique. I've used Mary's "Thistle Visitor" many,
many, many times so as a Winter option here is a great simple design. You
could easily make it a bit more detailed
by adding a wood grain to the body of the sleigh.
MATERIALS REQUIRED FOR THIS PROJECT:
• Desired surface to work on (feel free to enlarge or reduce the design to fit any size surface desired).
• Tracing paper (unless you are using a projector, in that case, use the smaller for use in the projector.)
• Black Graphite Paper (if needed) and scrap of tracing paper to buff after sealing surface (definitely needed).
• Pencil or Pen for tracing and transferring (if needed)
• Magic Rub Eraser and a “Click” Eraser (a retractable cylindrical eraser in a holder that resembles a pen)
• Tape (always nice to have on hand)
• Koh-I-Noor Rapidograph Pen
(size 2x0/.30) and Daler Rowney, FW Black Acrylic Artists' Ink. After testing
by
Mary
Owens we have switched to this ink since it isn't as apt to clog your pen when
left in for long periods of time.
• Liberty Matte Spray Sealer
• Permalba Oils and Oil Paint Transparentizing Medium from Martin/F. Weber Co.
• Paper Towels
• Palette Knife
• Kemper Wipe-Out Tool (I have found I can't work without this tool also known as a double-ended eraser)
• Styrofoam plate (large)
• KopyArt Projector (optional, but shaves a bit off your time and no graphite paper needed then!)
SUGGESTED MARTIN F/WEBER OIL COLORS:
• Paynes Grey • Alizarin Crimson • Burnt Umber • Cad Yellow Medium
SUGGESTED BRUSHES:
Scharff Brushes are used in all
our rouging classes and packets. The Mongoose/Badger blender is used for the oil
rouging technique! If you substitute it will show in your final results. Mary
Owens did a lot of product testing for this
technique and over the years found the brushes that held up and performed the
best.
• Scharff Series 100 Classic Bright sizes 20 and 32 (depending on the size you make it. I did it to fit a 5 x 7 opening.)
• A Scharff Liner Brush Series 455, size 1
• A Scharff Scumbler Set Series 240 Touch-It sizes #2
Possible Surfaces:
(A
general reminder- the more porous the surface is, the more
sealer you must use to provide mobility
and correctability of paint.) Size your pattern to fit the surface of your
choice.
WOOD
Sand wood (if this is
your choice of surfaces) if needed and wipe surface with tack rag. You can
either paint the surface
a solid - 2 coats - light color (white or off white) or white wash with a rag
moistened with water and wrung out. For white
washing apply the acrylic paint to the rag and proceed to “stain” the wood
surface. Let dry then apply 3 - 4 good coats of
the Liberty Matte spray as listed above. Allow at least 48 hours for proper
curing time. After surface has set up sufficiently,
buff lightly with scrap of tracing paper (instead of a paper bag) to smooth
surface, transfer pattern on with graphite and you're
ready to ink. Whenever you paint a surface you must spray before inking. This
allows you to correct the inking should you
make a mistake. Once you are done inking go right to rouging, you needn't spray
until you've done your initial rouging.
WATERCOLOR OR PARCHMENT PAPER
Do not seal before inking design. Lightly transfer pattern lines on with graphite paper. Ink design. Keep in
mind that you cannot correct the ink on paper; erase graphite lines and smudges. Apply a generous 2-3 coats
of the Liberty Matte, letting the surface dry between coats. This insures the ability to move the oil paint over
the surface freely, and also insures the ability to do correction work on the painting surface. (Again, the more
porous the surface is at the onset, the more sealer must be used.)
STRETCHED CANVAS OR LOOSE CANVAS MOUNTED ONTO A BOARD SURFACE
No sealer is necessary before inking when using Fredrix Red Label Medium Duck canvas. Just transfer
traced pattern onto canvas, ink in design, erase graphite lines or smudges with an Magic Rub eraser, then
apply 3 generous coats of the
Matte spray, let dry. Buff with scrap of tracing paper.
GENERAL INSTRUCTIONS FOR THE
INKING PROCESS:
• Transfer only the
basic pattern lines onto the surface. Keep lines light and delicate so they can
be easily removed with an Magic Rub eraser.
• Use
the Technical Pen to ink in as much detail as desired. Keep referring to the
photo included in the packet for help in determining how
much of this you want to apply. The really neat thing about using a tech pen on
a perfectly completely sealed surface is the ability to do
correction work! On wood, canvas, or non-paper surface, simply dip a cotton
swab into a small amount of window cleaner with ammonia,
wring out a bit, then gently wipe over the booboo. It totally disappears! Let
the area dry before going back to ink over. If working on any kind
of a paper surface, the only option you have is to let the mistake dry and
either try to turn it into an asset, or scratch over it lightly with a razor
or exacto knife to lift it off the paper. Be careful, though!
• Feel free to add more ink detailing than is included in the pattern. You can
always try a few additions, and then remove them if you don't like them!
• After completing the inking process, make sure everything has dried. Lightly remove the graphite lines and smudges with the Magic Rub eraser.
• Dust off any crumbs from the
eraser. If working on canvas or any paper product, make sure to generously spray
seal the surface with the Liberty
Matte, 3 to 4 coats.
• After the sealer spray has dried, buff over the surface with a scrap of tracing paper to smooth. Now you are ready to add color!
Mary's Approach To Add Color,
An Explanation:
Rather than
“painting in” the color, she uses the term “rouging” or “tinting.” The paint is
applied with the Liner or one of the Bristle Scumblers,
in small amounts in an area where the shading or color is the richest or most
intense, then different sized Blenders are used to coax the color
over the surface, graduating the intensity or value of the color from deeper and
richer to a medium value, then on to a lighter, brighter tone, or
area appearing to catch a highlight or reflected light. The most important thing
to remember is every area that is rouged should hold at least 3
values of color to give the appearance of dimension.
Transparentizing Gel
• Do not use any turpentine in the brushes or paint during the entire process. On most surfaces you want to
"dress" your liner and scumblers in the transparentizing gel before you pick up the paint for the first time.
NEVER PUT YOUR BLENDER BRUSHES IN THE MEDIUM OR PAINT. To "dress" your brush, work a
small amount of medium through the brush. You don't want a clump on the end. You want a thin coat
worked onto each bristle nearly to the ferrul. Apply the paint into the brush much the same way. Don't just
have it in a clump on the end. You should not need to reapply the medium in your brush each time you go
into the paint. Only if you find your paint is dragging and not moving well should you add the medium. If
the paint has too much medium mixed in it will slide around and you won't get anything done. As you go
through this process and spray at different intervals you will find your paint moving easier and easier.
Once you've mixed your paint and medium into your brush place a small amount of paint into what will be the darkest area then proceed to rouge as directed.
• What about mistakes and paint outside the patterned areas?
Dry cotton swabs are excellent for lifting color in an area where you have “over painted”. Rub in a circular motion to lift color off the surface, and then go back to using one of the Blenders to soften the outside edges of that area. I also keep an extra Blender on the side to use for cleanup work. Use the edge of the bristles to scuff color back inside the patterned areas if it has a tendency to get away from you. If you need to completely eliminate the color from an area once you've removed as much as possible using the swabs finish removing any remaining color using the Magic Rub eraser or click eraser. Make sure to gently brush off the eraser crumbs.
• Another trick used to “take the pressure off is to apply the color in stages, and use the matte spray to “speed-dry” these “glazed” applications of color between coats. In every area that is tinted, apply at least 2 different color glazes, drying them between applications. This keeps your color clear and vibrant, with less chance of “mudding”. Once you get the hang of this, it can become a lot of fun!
• Keep a close eye on the colored photo in the packet for reference. I will tell you the colors I used in an
area, but you need the photo to see how far I blended it out and areas that are deepened for depth.
• Vary the sizes of the brushes for laying the color in, as well as blending the color out.
ADDING THE OIL ROUGING
In this design you will
pre-tint. Not all patterns have pre-tinting. Follow the sequences as I list
them below. Set the color in with the
liner brush, sometimes the Scumblers for the large areas, and use the various
sized Blenders to rouge. Keep a close eye on the photo
for reference and don’t hesitate to strengthen here and there by adding another
application. Remember less is always better. You
can evaluate later after more of the additional colors are added overall then
decide if the area needs strengthening. Once you mist it
with matte spray and dry the paint you cannot go back and lift color! Before
each spray lean your piece against something, turn
around and walk about six feet then turn and look. See if there are any glaring
changes you'd like to make before spraying. Then look
close to make sure there are no smudges or outside the line mistakes.
Use the Blender brushes very
carefully, don't pounce you will break the bristles that way. You use them
three ways depending on
the area you are doing. For most areas you want to tap the brush to make it
look like a deer foot. Hold the brush at a 45-degree angle
to the piece turn it so the corner of the brush is downward if you gently tap
down it looks like a deer foot. For long areas you want to
tap having the brush chisel flat to the surface. On both these techniques as
you come up from the surface, ever so slightly move down
toward you (never work away from you.) Don't keep going back into the dark area
or it will all become the same value. You need the
dark, medium and light. Make sure you don't have demarcation lines also known
as make up lines.
The third way to use the
brushes is to do what Mary lovingly refers to the hoola. Hold brush straight up
with chisel touching the
piece and gently swirl without much pressure. Kinda makes the brush look like
it's doing the hoola. This is done for areas like the
sky where we want to diffuse the color in a circular less structured way.
***
During the whole process you must “Swirl” brushes on a paper towel after every
few strokes, during the blending process. Fold
your paper towels in fourths, once one side is dirty flip over to the other
side, then refold to a clean area. Discard dirty paper towels
and keep a clean one handy. If you continue to use a dirty paper towel your
brush will build up paint in it and just muddy your piece.
SEQUENCING
Sleigh:
Mix
Alizarin Crimson and Burnt Umber 2:1 or until
you get a muted red. Refer to the color picture for color placement.
With the
liner brush apply paint to the darkest area then blend out to get the three
values of dark, medium to light. Work only on one area at
a time.
Floor:
Mix Burnt Umber and Payne's Gray 2:1.
Using the scumble brush to scuff the color horizontally to create the look of a
floor/tabletop.
Use the 32 blender and sweep the color gently back and forth.
TO SPRAY DRY:
To spray dry first swirl the can to mix the bottom then shake well for a good 10
seconds, hold the can approximately six inches from
the surface. Always move the can while spraying so you don't get a puddle in
one area. The first spray should be light. The second
spray a little heavier, the third spray should be even heavier still. Make sure
the spray dries well between each spray. Don't touch to
see if it is dry, if you touch and it's wet you will leave a crater. Once the
piece is dry you may proceed to the next rouging. If you don't
spray properly you may not dry the oils. If that happens you will end up wiping
away or muddying your colors.
Background:
Gently pinch wipe
out your scumble brush. It has the brown mix. Don't get too
hung up on it being clean. Work a little more
transparentizing medium in the brush then work it through your red sleigh
mixture. Scumble a little here and there around the sleigh.
Leave areas for your green and some white space. Use your 32 blender and "hoola"
the color out a bit. Don't go out too far. If you've gone
to heavy with the paint application take some off with the cotton swab or clean
folded portion of a paper towel.
Now
mix Payne's Gray
and Cad Medium Yellow 1:1 to start. You want to get a leaf green. Be
careful not to go to the yellow/green side.
You want a rich more true green. Then add a kiss of Burnt Umber. I'm
talking ever so slight. Too much and your green will be too olive.
You just want to make it a bit more Earthy. Pinch out the scumble brush
and work it through the green and it will clean your brush. Scumble
green around the outer portion of the sleigh here and there concentrating mostly
nearest the pine boughs in the sleigh. Again, "hoola" out the
color with the big blender. Then apply green inside the sleigh on the
bough. Use the 20 blender to tamp it out gently. You are ready to
SPRAY to dry.
Give it another good spray 3-4 times to finish.
Once the spray is dry you may add holly berries to the boughs with a red acrylic paint and a small stylus or the tip of a ball point pen. Allow to dry for at least an hour before touching. The dots take a while to dry all the way through.
You are done!
ANY QUESTIONS? FEEL FREE TO CONTACT ME:
Designs by Pookie-G
Susan Larson, CMOT
P.O. Box 950, Weirsdale, FL 32195
Phone: (352)821-4120
Email: pookiebearsden@aol.com Website: www.pookiebearsden.com
© 2006
Do not reproduce this pattern packet by photocopying or any form of mechanical
reproduction other than to increase or decrease line drawing for personal use.
The project may be painted for
fun or profit. Teachers may use the pattern to teach,
however, do not photocopy instructions to distribute to the class.