Honey Bear Candle Holder

Prep Step
Transfer the outline patterns to the appropriate wood. Cut the bear and the base from 3/4" pine. Cut six bees, the bee hive, and the bear's arms from 1/4" baltic birch plywood.

Drill tiny holes in the shoulders, tops of arms, bees, and the stand. Refer to the pattern packet for placement.

Slightly round the edges of all pieces, using a belt or hand sander. Sand smooth with 100 then 220-grit sandpaper, and dust off. Transfer main pattern outlines. Transfer details later as needed. Note: After basecoating each piece, let dry and sand lightly.

Honey Bear
Base the bear's face, hands, and feet Sable Brown. Base his shirt, sleeves, and the edge of the base Camel. Base his overalls French Grey Blue and the cuffs Lt. French Blue.

Base the muzzle and the inner ear Mink Tan. Blush the cheeks with Delane's cheek color.

Dot the eyes, paint the nose, mouth and eyebrows with Lamp (Ebony) Black. Let dry. Shade the face, ears, hands, and feet with Burnt Umber.

Stencil "wools" design on shirt and sleeves with Honey Brown. Shade the shirt and sleeves with Honey Brown.

Line and shade the overalls with Uniform Blue. Shade the cuffs with French Grey Blue and highlight with Buttermilk.

Bees, Beehive, & Stand
Base the beehive Honey Brown and the bee bodies True Ochre. Base the top of the stand and the bee wings Buttermilk.

Base the bee heads Lamp (Ebony) Black. Shade and line the beehive with Milk Chocolate. Add a few lines of Camel for highlights. The beehive door is Lamp (Ebony) Black.

Shade the bee bodies with Honey Brown. Use a #2 flat to paint Lamp (Ebony) Black stripes on their bodies. Dot the bee eyes with Buttermilk. Use a #.005 Sakura Pigma Micron permanent black pen to add the stitches on the wings.

Let all pieces dry completely and sand the edges lightly.

Antiquing Instructions
You can use your own favorite antiquing medium, or try Myra's Paste Wax method: Mix 1/2 cup wax with 1/4 teaspoon each Burnt Umber and Burnt Sienna oil paint. Apply mixture with a sponge brush to all pieces. Wipe dry with a clean cloth. Let dry for 15 minutes and buff with a clean, dry cloth.

Deepen antiquing around edges with a cloth dipped in Burnt Umber oil paint. Wipe nearly dry on paper towel. Rub gently around edges to darken. Use a clean cloth to blend into lighter areas.

Use a spatter brush or an old toothbrush to spatter first with Light Buttermilk, then with Lamp (Ebony) Black. Avoid spattering the bear's face.

Assembly
Glue the bee hive to the bear and attach the bear's arms to his body with 19-gauge wire.

Tie a bow from blue plaid scrap fabric and glue to the bear. Attach the bear to the stand with glue and a 3/4" drywall screw.

Cut twelve pieces of 19-gauge wire, 1/2" long. Bend and glue in place to make bee antenna. Cut various lengths of 19-gauge wire. Curlicue wire, attach bees, and glue wire into holes in stand.

Place a tin tray on the stand behind the bear, add a beeswax candle, and let the candle light warm up your evening!

PAINT BOX
Paints: DecoArt Americana Burnt Umber Buttermilk Camel Delane's Cheek Color French Grey Blue Honey Brown Lamp (Ebony) Black Lt. French Blue Milk Chocolate Mink Tan Sable Brown True Ochre Uniform Blue	Brushes: Loew Cornell All American Painter Series 4350-#10/0 liner Series 4300-#2, #8, #12, flats Series 4550-3/4" flat #4 scruffy flat 1/4", 1/2" stencil brushes
Supplies: 18" x 12" x 3/4" pine 12" x 6" x 1/4" baltic birch plywood 100 & 220-grit sandpaper Transfer paper 19-gauge wire #.005 Sakura Pigma Micron permanent black pen Antique medium of your choice 1" nails (1) 3/4" drywall screw Provo Craft Stencil #41-8134 Knits, Wool and Cross Stitch Sawtooth hanger 1/2" checkerboard stencil Beeswax pillar candle Tin tray for candle

Kool Kitty Paper Towel Holder

This is the first in my new line of "Cwazy Cats." I hope my "wabbit" lovers won't be too upset; I haven't abandoned them completely. I have a new fwend. His name is Jim Llyod, and he has a wonderful imagination. He is also a talented wood cutter, so he and I created this "Kool Kitty" paper towel holder together. We hope you have a great time painting her and that she brings a smile to everyone who sees her.

Brighten up your next picnic with this lively and cwazy cat.


Preparation
Sand and seal all wood pieces, then sand again. Transfer the pattern with graphite paper and your stylus.


Watermelon Board
Base the center oval (the fruit) Cherry Red. You don't have to apply solid coverage; kind of slip-slap it on so there will be a little variation in color. Base the oval surrounding the fruit Light Buttermilk. Base the rind (outermost oval) Leaf Green. After the paint has dried, side load shade around the inside edge of the fruit with Brandy Wine. Base the seeds with Dark Chocolate, then shade them on the bottom half with Ebony Black. Add a highlight of Light Buttermilk to the upper right of each seed. Paint the watermelon slices and the belt buckle the same way as the watermelon board.




Miss Kitty
Base her fur with Antique White and shade with Khaki Tan. Add Light Buttermilk to her muzzle, then highlight her paws. (I don't think hands and feet apply here.) Brush a little Gooseberry on her cheeks and add a Light Buttermilk highlight. Base the inside of her mouth with Brandy Wine. Base her cuspids (teeth) Light Buttermilk. Base her lip Gooseberry. Shade the bottom of her lip with Brandy Wine. Add a Light Buttermilk highlight. Dot on and pull out some whiskers with Sable Brown and a long liner. Base her nose piece with Gooseberry and shade all around it with Brandy Wine, then add a Light Buttermilk highlight on the front.

Straw Hat
Base with Golden Straw, shade the edges with Antique Gold. Use the liner to add some Sable Brown lines to indicate the weave. (I use this term loosely.)

Sundress
Base with Bright Green and shade with Leaf Green. Base the belt with Leaf Green. Shade the belt at the sides and around the buckle with Midnite Green. Deepen the shading here and there (around the collar and on random edges) on her dress with Midnite Green. Paint the gathers around the belt with a sideload of Leaf Green. Base the ruffle with Golden Straw and shade with Antique Gold. Add a few Light Buttermilk highlights near the gathers. Paint the negative space between her legs with Light Buttermilk.

Shoes
Base the tops with Sable Brown and shade with Dark Chocolate. Base the cork soles with Antique Gold and shade with Sable Brown. With the liner, dab on some broken lines and dots to make them look corky.

Glasses
Base each half with Gooseberry on the center. Shade that part with side-loaded Brandy Wine. Base the frames with Bright Green. Don't forget the nose piece on her face. Shade the edges of the frames with Midnite Green. Add a Light Buttermilk highlight to the pink area. Make sure to check the placement of the glasses so everything is painted in the right place.

Finishing
Paint the pole that holds the towels with two coats of Leaf Green. Also paint two coats of Leaf Green on the back of the cat and the bottom of the watermelon base.

Glue everything in place. If you wish to make it more secure, place two screws in the cat and the pole.

Spray-varnish all pieces. Tie the two watermelon slices onto her hands with jute. Now she's ready for any picnic or summer celebration. Pretty durn cute, if I do say so myself.

MATERIALS Wood Cutout Pieces
Acrylic Palette Antique White Light Buttermilk Khaki Tan Sable Brown Dark Chocolate Golden Straw Antique Gold Bright Green Leaf Green Midnite Green Gooseberry Brandy Wine Cherry Red Ebony Black	Brushes #4, 8 & 12 flat #1 round Long Liner	Other Supplies Sandpaper Wood sealer Graphite paper Stylus Spray varnish Jute Wood glue
Product Notes Acrylics by DecoArt Americana. Wood piece available from Pat Wooster, 123 Penny Lane, New Freedom, PA 17349 for $22.95 + $4.00 s&h (PA Residents add 6% sales tax).

Decorative Painting: Sponged Fruit Barrel

Many times instead of drawing a pattern or pencil sketching a design, I use various sized sponges, to stamp on a basic layout or design. Stamping gives me the flexibility to quickly fit the design in and around corners on boxes, furniture or any other piece I'd like to decorate with leaves, flowers or fruit. I then use the same stamps to add my favorite colors from my paint palette. I hope this project will inspire you to create your own stamped designs.


Stamp on color with this easy and fun sponging technique.


Barrel Preparation
Stain with a walnut oil stain and allow to air dry for several days before painting.

Background Preparation
Base the background or black area for the fruit with Ebony Black and pull the leaves away from the edges, freehand with Ebocy Black. Use this area to size your project. It could be square, round or oblong. Since you're stamping the fruit, you can fill up the space adding more or less fruit as needed.

Making the Stamps
Make the "stamps" from 1/4" or 1/8" fine-textured foam, such as the kind used for packing in jewelry boxes. Place metal lipstick cases, perfume lids or other lids with sharp edges over the foam, then rub briskly on a wooden chopping board, thus creating neat circular shapes. Make four sizes as indicated in the pattern. Then attach these small circles to wood dowels or thread spools with a low-temp glue gun.

Cut the watermelon and banana shapes from scrap paper similar to a stencil. Fill the inside area with the "plum" stamp. (Only two each of the watermelon and banana were stamped so the paper stencil was sufficient.) Dab on the green and white on the watermelon with the edge of the "grape" stamp. Make the seeds with a teardrop stroke of Ebony Black and a small round. Use a small liner to add a Snow White highlight to one side of each seed.

Transferring the Pattern
Use white graphite paper or white chalk on the reverse side of the pattern and transfer the design to the black area. It's not necessary to trace all of the pattern lines. Transfer the cantaloupe, peach, pears, watermelon, plums and banana.

Applying the Stampled Shapes
Use the three larger stamps to stamp the plums, cantaloupe, pears and peaches with Snow White. Use a paper stencil for the banana and watermelon and fill in these areas with Snow White. Then use the smallest circle stamp and fill in around the fruit with Snow White grapes. When you've completed all these steps, each piece of fruit should be white (see workup on page 47.)

Applying Color
Following the color chart, stamp each piece of fruit in sequence as indicated, using the colors listed.

Detailing & Finishing
Using the #4 or 6 flat, paint Ebony Black shadows around the fruit. Using a small liner and Ebony Black, make stems and curlicues.

Complete the project with your favorite finish.

MATERIALS 10" x 6" wood surface, or wooden barrel, 11" high, 29" circumference
ACRYLIC PALETTE		BRUSHES	OTHER SUPPLIES	PRODUCT NOTES
Forest Green Pumpkin Snow White Red Iron Oxide Tangerine True Red Kelly Green Ebony Black True Blue Salem Blue	Sea Aqua Blush Lemon Yellow Hauser Light Green Dioxazine Purple Lavender Orchid Evergreen Avocado	Large basecoat brush or sponge #4 or 6 flat Small liner Small round	Walnut oil stain Wood dowels or spools 1/4"- or 1/8"- thick packing foam Low-temp glue gun Sharp metal caps or lids White graphite paper or white chalk Wood finish or varnish	Acrylics by DecoArt Americana.

Decorative Painting: Chatty Birds

Send a joyful message on this elegant stationery to someone special. This grand prize winner of our mail art contest comes from Tokyo, Japan.

I call these two facing birds the "chatty birds," and they're one of my favorite painting motifs. I decided to paint them with some wildflowers for my entry in the mail art contest. As I was taking a walk around my house one day, I was inspired by the bright green clover which trembled in the spring breeze. In the sunlight, the leaves were fresh and the little pink flowers looked so sweet. I decided to paint them to complement the birds.

Preparation

Use a sharp pencil to trace the pattern on tracing paper. Transfer the design onto good quality letter paper and matching envelope using light colored transfer paper and a stylus. At this time transfer only the outline for the birds, leaving out the facial features, beak, feet and the feathers. Omit the clusters of wild berries.


Birds

Base the body with Lt. Ivory, using a #4 flat brush. Side load the brush with a thinned mix of Burnt Umber and Bouquet to shade along the head to the belly area. When dry, transfer the pattern for the eye, beak, feet and feathers.

Fully load a #2 round brush with Lt. Ivory and dip the tip of the brush in Burnt Umber to paint the comma strokes for the tail. Then paint the shorter feathers for the wings and back. The one longer feather is painted in the same way, but use a larger brush, if desired. Re-stroke some of the shorter feathers including the tail with thinned Bouquet.

Use a #10/0 liner for the details. Fill in the beak with Butter Yellow and outline with Burnt Umber. Paint the feet with Burnt Umber, adding a tiny dot at the tiptoes. The feathers next to the eye are Burnt Umber.

Paint a Black dot for the eye with the stylus and highlight the bottom with White. The eyelashes are done with Black. The cheek is a wash of Tompte Red done with the brush handle end. Allow to dry.

Leaves and Stems

Base all the leaves with Stonewedge, using a #0 or #2 flat brush. You can shade the inner areas with a side load of Turquoise and highlight some of the outer edges with Lt. Ivory. However, any areas of these stylized leaves could be shaded or highlighted. Add the veins with the #10/0 liner and Lt. Ivory, then add a Turquoise dot in the center with a stylus.

Paint the stem lines with a #1 script liner. Paint one of the two longer stems under the birds with Green Sea and the other with Alpine. Paint the rest of the shorter stems with either color as desired. Color variety in this delicate linework will enhance the design as a whole.

Flowers and Buds
Fill in each flower petal with a mix of Bouquet + a touch of Lt. Ivory and Tompte Red, using the #0 flat brush. Add highlights with the #10/0 liner and Lt. Ivory, then place a dot of Butter Yellow in the center and surround with a few Tompte Red dots.

Paint strokes for the bud with the #2 round brush and the same mix as for the flower petals, then add an "S" stroke to the edge with Lt. Ivory. Paint the bract and stem with the #10/0 liner and Stonewedge, then put a Green Sea dot at the bottom.

Wild berries are clusters of small dots of Silver and 14K Gold. They're just suggested and are painted like a bunch of grapes using the stylus.

MATERIALS Letter paper (6 3/8" x 8 1/2" and envelope 4 3/8" x 6 9/16", Moonstone Grey 100% cotton fiber
Acrylic Palette 14K Gold Alpine Black Bouquet Burnt Umber Butter Yellow Green Sea Lt. Ivory Silver Stonewedge Tompte Red Turquoise White	Brushes #0, 2 & 4 flats #2 round #10/0 liner #1 scrpit liner	Other Supplies Pencil Transfer paper, light colored Stylus Tracing paper
Product Notes Acrylics by Delta Ceramcoat. Brushes by Loew-Cornell (7300 flats, 7000 rounds, 7050 and 7350 liners). Stationery from Crane & Co., Inc., Dalton, MA.

Decorative Painting: Collector's Shelf

When I realized I was picking up my paint brush more often than my rolling pin, it seemed the next logical step was to paint the pin.


Preparation
Prepare a box to hold the rolling pin while you paint to prevent it from rolling. Notch the sides to allow the pin to hang suspended within the box by the handles.

Seal the rolling pin if there is no finish on it. I purchased one that was pre-finished, so I sprayed with matte finish spray before painting.

Lightly transfer the design with graphite paper, making sure to keep the shelf level across the rolling pin.

Dishes & Pitcher

* Very Dark (VD): D + Burnt Umber
* Dark (D): Raw Sienna + White + touch Black
* Medium (M): White + Raw Sienna
* Light (L): M + White
* Highlight (HL): White

Paint in the following sequence: small dish, large dish and pitcher.

Base the small dish referring to the workup and color placement map. Blend. Shade inside the rim with D and blend out. Add HL and refine the shading with VD. After blending, mop to remove any brush marks. Thin the light mix with turpentine and paint the outside rim. Repeat for the large dish.

Block in the colors on the pitcher and blend. Establish the contour of the pitcher with D on the inside neck curves and under the handle (refer to the color placement map). Add HL and blend out. Refine the shading with VD. Mop blend. The pitcher rim is thinned Raw Sienna + Burnt Umber. Add rim HL with L mix.

Crock

* Very Dark (VD): D + Black
* Dark (D): M + Black
* Medium (M): White + Raw Sienna + Cadmium Yellow Light + Ultramarine Blue
* Light (L): M + White
* Highlight (HL): White

Block in L, M and D values; blend. Shade under the rim and the top curve of the crock using mixes a value darker than the basecoat. Blend out. Increase shading with VD where needed. Add HL; blend and mop the entire crock.

Crock Stripe

* Dark (D): Permanent Red Violet + Paynes Gray + White + touch Cadmium Yellow Light
* Medium (M): D + White
* Light (L): M + White
* Highlight (HL): White

Use the stylus to mark stripes in the wet paint of the crock. Place stripe values coordinating with crock values, dark on dark, etc. Blend. Strengthen HL on entire crock.

Bean Pot

* Very Dark (VD): Burnt Umber
* Dark (D): Raw Sienna + Burnt Umber
* Medium (M): D+ White
* Light (L): White + Raw Sienna
* Highlight (HL): White

Block in L, M and D values. Blend. Shade under the rim with D and blend down. Block in handles and knob. Blend. Add HL. Refine shading with VD. Mop. Use L on liner brush to make comma stroke design.

Flowers

Color mixes are the same as for the crock stripe. Fluff in D, then overstroke with the liner brush going from M, L to HL. Add a few dot centers with Cadmium Yellow Medium.

Leaves

* Dark (D): Leaf Green + Burnt Umber
* Light (L): Leaf Green + White + touch Cadmium Yellow Light

Double load a small blender with D and L mixes. Blend on palette. Randomly place a few leaves around the flowers.

The pattern on the dishes is three stylus dots of the M crock stripe and two comma strokes of the L leaves.

Add violet accents to the pitcher and the bean pot with the flower values. Refer to the color placement map and worksheet. This can be done now while still wet or when dry it can be scrumbled or glazed on.

Tablecloth

* Dark (D): Medium value from crock
* Medium (M): D + White
* Light (L): M + White
* Highlight (HL): White

Tape off the tablecloth area. Press the edges tightly to seal. Block in the color values and blend. Add the HL and blend. Mop to remove any brush marks. Remove the tape. Add the stripe with the M value from the crock stripe. Add the edge trim with L comma strokes after you've painted the shelf.

Shelf

Paint Raw Sienna and shade wi th Burnt Umber near cloth edges. Use Burnt Umber and L from the pitcher with the chisel edge of a flat brush make streaks to resemble wood grain.

Finishing

After the piece is thoroughly dry, finish with your favorite brand of varnish. To display, put a dot of hot glue to the handle back where it meets the roller to keep it stationary.

MATERIALS Rolling pin, 7"-long barrel
OIL PALETTE		BRUSHES	OTHER SUPPLIES
Burnt Umber (S) Cadmium Yellow Light (L) Cadmium Yellow Medium (L) Ivory Black (S) Leaf Green (S)	Paynes Gray (S) Permanent Red Violet (R) Raw Sienna (L) Titanium White (S) Ultramarine Blue (L)	#2, 4, & 6 blenders #00 liner 1/4 wee mop	Sealer Graphite paper Stylus Box to hold rolling pin Odorless turpentine Masking tape Matte-finish spray Decorative wire hanger Hot glue gun and glue Varnish
PRODUCT NOTES Oils by Shiva (S), Liquitex (L) and Rembrandt (R). Brushes by Silver Brush, Ltd.; Golden Natural 2020S #2, 4 & 6 blenders, 2005S #00 liner, 5319S 1/4" wee mop. Matte spray finish by Krylon #1311. Rolling pins available at hardware and houseware stores. Wire hanger (2 1/4" heart and 8" bar) available for $5.00 ppd from Tole House, 5840 Maple Dr., Mission, KS 66202; (913) 722-0104.

Sunflower Gift Bag

I enjoy creating! When I sit down at my craft table, it's an adventure every time to see what will evolve. I like to use a variety of textures for a multi-dimensional look. Sunflowers are wonderful subjects, so I started with the basic idea on watercolor paper. Then I added hot glue for the center texture, a clay pot, wooden crow and jute. Voila-another adventure complete!

Procedure


Preparation: Transfer the pattern for the pot and leaves onto the bag (note placement in photo), using transfer paper. Transfer the flower pattern onto watercolor paper and cut out. Using a glue gun, apply glue in random squiggles to the center of the flower for texture. Let dry.

Pot: Paint the pot, using Butterscotch. Shade under the pot rim and under the leaves with Rusty Nail; highlight with a small amount of Warm White, using a dry-brush technique and a fabric brush.

Leaves: Paint the leaves with Sea Foam. Add a touch of Licorice to the Sea Foam and shade on one edge and near the flower. Add Warm White to the Sea Foam and highlight the leaves with a dry-brush (see photo). Fill in the areas between the leaves with Nutmeg.

Flower: Paint the petals with School Bus Yellow. Shade with Harvest Gold where they meet the center. Highlight with a touch of Warm White on the petal edges. Paint the center with Cinnamon. Shade toward the middle with Nutmeg, then dry-brush Warm White in the very center area. Use the 01 permanent black marker to detail the flower petals and leaves (including veins) and to outline the pot.

Assembly: Using hot glue, attach the 1' square sponge to the back of the flower, and then glue the flower to the bag at the top of the leaves. Spatter the bag with an old toothbrush and watered down Licorice. Drill a small hole in the top of the bird body. Paint the bird with Licorice. Dot the eye with Warm White, using the tip of the brush. With the permanent marker, write "To" and "From" on a small clay pot. Thread the jute through the hole in the bird and tie a knot. Then thread up through the bottom of the clay pot and tie to the bag handle. Spray with matte finish.

While you're at it, paint several bags at once. They fold and stack up conveniently and can be assembled in a jiffy when you need a quick wrap.

MATERIALS Bag with handles, approx. 8" x 10", natural color
Acrylic Palette Butterscotch Cinnamon Harvest Gold Licorice Nutmeg Rusty Nail School Bus Yellow Sea Foam Warm White	Brushes Large basecoat brush or sponge #4 or #8 flats #6 round Fabric brush	Other Supplies Transfer paper 2" clay pot Jute, 1/2 yd. natural colored 1" square sponge Watercolor paper 01 permanent black marker Old toothbrush Hot glue gun Wooden bird cutout Matte spray
PRODUCT NOTES Paints by Plaid Folk Art. Brushes by Robert Simmons - #4 & #8 flats and Loew-Cornell - #6 round. Permanent black marker 01 by Sakura Pigma Micron.

Filete Porteno: Filete Welcome

Learn to paint "Filete" -a beautiful art form that was introduced to Buenos Aires by European immigrants and came to define the city's ornamental style.


This project is an introduction to a fascinating popular technique that was born at the beginning of the century in Buenos Aires, called Filete Porteno. The etymological meaning of the word "Filete" is thread, from the Latin "filum," and it stands for "a thin line used as ornament." "Porteno," in a restricted sense, refers to Buenos Aires and its port, as well as its inhabitants and everything connected to the city. As poet Horacio Ferrer once put it, "A traditional art form and humble finery of the popular Buenos Aires, 'Filete' proudly and fondly embellishes carts and trucks, greengrocer's signboards and quaint, little flower windows. It has been handed down from masters to apprentices, recasting old European traditional patterns into a truly original Argentine art."

Filete is traditionally done with lettering brushes and enamel paint diluted with thinner or turpentine. But for this "Welcome" project, I've used acrylic paints and artists' brushes to make it easier for painters who are new to the technique and also to provide more versatility for multiple uses and surfaces-fabric, wood and so on.



Preparation
First clean your surface thoroughly and let dry completely. Trace the pattern onto tracing paper, then use transfer paper to transfer just the outer and inner ovals and the banner.

Backgrounds and Basecoat of the Banner
Paint the banner with Peaches & Cream and the inside oval with an equal mixture of Red Violet + Dioxazine Purple (see Step 1 of the workup). For the background, use Blue Mist and your 1/4" flat brush. Note: The paint must be lightly diluted, so it might be necessary to apply two or three layers for good coverage, depending on the paint. Once the basic colors have dried, transfer the rest of the pattern.

Basecoat
Paint the letters, the ornaments (top and bottom) and the outer border with True Ochre. If you're painting on canvas and mounting on a stretcher frame, add an extra 3/4" of True Ochre around the border to allow for covering the outside of the stretcher. Also, use True Ochre to paint the flower stamens. Next, paint the flower petals with Boysenberry (see Step 2).

Shading
Shade the ornaments and letters with Burnt Sienna, using the #6 script liner (see Step 3). Shade from the top to the middle of the letters and then add a thin line at the base of the letters. Shade the folds in the banner with Shading Flesh as shown in the workup, then shade the flowers with Cadmium Orange.

Highlights
Highlight all the elements with Snow White as shown in the photo: this includes light areas and edges on the banner, the top of the lettering and accents on the ornaments. Also highlight the tops of the flower petals and the stamens. Next, use the #2 script liner and Burnt Sienna to make the border line which separates the True Ochre of the outer border from the Blue Mist background.

If your welcome sign is going to be hung outdoors, use an old brush to apply several coats of protective varnish.

MATERIALS Artist canvas, 12" x 14" & oval stretcher frame, 9 1/2" x 11 3/4" or oval wood cutout, 9 1/2" x 11 3/4"
ACRYLIC PALETTE		BRUSHES	OTHER SUPPLIES
Blue Mist Boysenberry Burnt Sienna Cadmium Orange Dioxazine Purple	Peaches & Cream Red Violet Shading Flesh Snow White True Ochre	#2 & #6 script liners 1/4" one=stroke flat Old brush	Satin varnish Tracing paper Transfer paper
PRODUCT NOTES Acrylics by DecoArt Americana. Brushes by Loew Cornell: Series 7050 #2 & #6 script liners; Series 8100 1/4" one-stroke flat. Satin varnish by DecoArt.

Buenos Aires artist Jorge Muscia is the "unofficial ambassador of the fileteado art form" which became popular around the turn of the century in Argentina. More projects and information about the decorative art (and its link to the tango) are available in Jorge's book El Filete: Popular Art of Buenos Aires, published by Jackie Shaw Studio, 13306 Edgemont Road, Smithsburg, MD 21783.