| Background Treatments for Ground & Sky:
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| | paint into the bristles on palette using
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| 1. Begin with an unpainted piece and one
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| | a circular motion. This brush loading
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| solid value of paint.
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| | technique is the same as the dry stipple
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| 2. For the Sky, I brush mix a lighter
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| | technique, but move out of the blending
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| value with the base color of the sky and
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| | strip to remove most of the paint from
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| stroke a lighter area into the center to
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| | the bristles. You should have virtually
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| create more interest. To do this, use a
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| | no paint on the brush.
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| Splayed Flat brush and stroke the color
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| | 3. To apply the paint onto the surface,
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| on in different directions allowing soft
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| | use a rubbing or scrubbing method. This
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| brush strokes to show. Use lighter values
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| | will give a smooth even highlight, which
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| in the center and darker values on the
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| | is good on hard shiny areas or areas with
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| edges letting the color fade out.
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| | little or no texture.
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| 3. For the ground area, snow covered or
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| | 4. I use this technique most on faces,
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| not, try to let some of the base color
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| | containers, fruit and vegetables.
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| show through. This can create interest
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| | Helpful Hints:
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| and will also show the contour of the
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| | 1. The most common problems encountered
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| ground. This will help to pull the
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| | when trying the background or sky
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| painting together. When adding ground
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| | technique deal with value. Even though
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| cover, straight horizontal lines will
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| | the sky area is light in the center, you
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| appear as a flat surface, like a smooth
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| | need to gradually lighten the value. I
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| road, a sidewalk, or even an ice covered
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| | will very often brush mix 4 or 5
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| pond. Streaks that curve down or up will
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| | different values by starting with my
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| give the feeling of hills or valleys.
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| | basecoat value and add more and more of
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| Very often I will use a Splayed Flat
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| | the lighter value until I have my final
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| Brush to apply lights into my ground
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| | light. The colors should transition
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| areas. Use a small amount of paint and
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| | smoothly from one to another. A drastic
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| lightly glide over the surface, allowing
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| | value change will make the color appear
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| the wood grain or the texture of the
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| | chalky. Make sure your value at the edge
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| surface to show. This is generally
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| | is dark enough for a smooth transition of
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| referred to as using dry wispy strokes.
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| | color.
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| Textured Stippling:
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| | 2. When painting the dry wispy strokes on
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| 1. I will stipple lights on an area that
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| | the ground make sure you use paint that
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| I want to appear furry or very textured.
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| | is fresh from the bottle. If the paint is
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| 2. To stipple, I will generally use a
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| | starting to dry, it will not feed off of
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| brush that is made of natural hairs, not
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| | the brush properly, and will cause you to
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| synthetic. I will wet the brush then wipe
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| | apply too much pressure. The result is
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| out most of the water. This will leave
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| | blobs of paint or areas that appear solid
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| some moisture in the top of the brush
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| | with no shape following streaks.
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| making it easier to clean. Next I will
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| | 3. When applying the textured stipple
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| use my finger to spread the bristles on
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| | technique, if you stipple areas that
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| the brush since they will most likely
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| | appear solid, not light and airy, lighten
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| want to clump together when dampened. The
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| | your grip on the brush handle! Most
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| natural hairs will spread out easily and
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| | painters feel they need less paint, but
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| stay spread.
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| | they actually just need less pressure
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| 3. Load the brush and pounce on the
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| | when applying the paint to the surface.
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| palette to distribute the paint evenly
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| | If your stippling appears muddy looking,
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| into the bristles. Use a very light touch
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| | you are most likely stippling over wet
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| to apply the paint to the surface.
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| | paint. Allow each color to dry before
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| 4. I use this technique mostly on bears
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| | layering another on top.
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| and other furry objects.
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| | 4. When dry stippling the brush must be
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| Dry Stippling:
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| | completely dry. Be sure to blend the
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| 1. To dry stipple I use a dry stipple
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| | paint into the bristles of the brush
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| brush or a round fabric brush. The brush
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| | using pressure on your palette. Cutting
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| must be completely dry.
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| | corners here will result in a patchy
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| 2. Apply a small amount of paint on the
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| | look.
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| tips of the bristles. Using a lot of
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| | 5. To dry brush your brush must be
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| pressure, work the paint evenly into the
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| | completely dry. Be sure that there is
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| tips of the bristles by rubbing on your
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| | almost no paint on the brush. You will
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| palette in a circular motion.
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| | need to use a lot of pressure when
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| 3. Using quite a bit of pressure pounce
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| | applying the paint onto your surface or
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| the paint onto the surface. This will
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| | you will get a patchy look and can even
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| give a softer finer stipple effect than
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| | scrub a hole in the center of the
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| the textured stipple.
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| | highlight area.
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| 4. I use this technique on snowmen and
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| | 6. First and Final Steps For Professional
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| softer less shaggy looking fur. It will
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| | Results: 1. Prior to basecoating a wood
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| have a soft almost velvet look that could
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| | surface, lightly sand with fine #400
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| even be used to highlight a peach or
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| | sandpaper. 2. Remove all residue with a
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| fabric.
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| | tack cloth (slightly sticky cloth that
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| Dry Brushing:
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| | picks-up dust). 3. Seal surface with
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| 1. For dry brushing I use a dry stipple
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| | Delta Ceramcoat All-Purpose Sealer
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| brush or a round fabric brush. As with
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| | following label directions. 4. When dry,
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| the dry stipple technique the brush needs
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| | basecoat as desired for a smooth, even
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| to be completely dry.
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| | surface. 5. When project is complete,
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| 2. Apply a tiny bit of paint to the tips
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| | protect your surface with your favorite
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| of the bristles. Using pressure blend the
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| | Delta Ceramcoat Varnish.
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