Bluebird on My Shovel

Phone: 352-365-1330
Email: [email protected] ~ Website: www.sharonkuester.com
M2
Mr. Bluebird on
My Shovel
Mr. Bluebird on My Shovel
Songwriters have adopted the bluebird as a symbol of happiness and cheer. I’m sure you remember the song
“Mr. Bluebird on My Shoulder”? The Academy Award-winning song, "Zip-a-Dee-Doo-Dah," from Disney's
1946 live-action and animated film "Song of the South" makes reference to "Mr. Bluebird on my shoulder" as a
symbol of good cheer. Well, this little bird landed on my shovel when gardening one spring day in Michigan
and I was elated. Of course I didn’t have my camera so this is from memory, reference photos, and a little…no,
a lot of imagination. Enjoy!!!
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MATERIALS REQUIRED FOR THE PROJECT:
Desired surface to work on (I used an 8 x 10 medium grade FREDRIX canvas panel)
Simplified version of pattern traced onto tracing paper (unless you are using a projector, in that case,
reduce the pattern to fit on a 4” x 6” piece of paper for use in the projector.
Black Graphite Paper
Stylus or Red Pen for tracing and transferring (if needed)
Art Gum Eraser, Clic Eraser and a Faber Castell Pencil Eraser (Perfection 7056) for small details
Masking Tape
Rapidograph pen (3x0 and 1) with Black India Rapidograph Ink – Universal 3080-F
Liberty Matte Sealer or Americana Sealer/Finisher, DAS13 Matte
Martin F. Weber Permalba Oil Paints and Transparentizing Gel
Ammonia or Ammonia Based Window Cleaner
Paper Towels
Cotton Swabs
Styrofoam Plate for Palette
Palette Knife
Make-up Brush (for eraser crumbs) or some type of large soft bristle brush
Suggested Brushes
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SUGGESTED OIL COLORS NEEDED:
Payne’s Grey
- Alizarin Crimson Permanent
Burnt Umber
- French Ultramarine Blue
Cadmium Yellow Medium
- Transparentizing Gel
White
SUGGESTED BRUSHES:
Scharff Series 100 Classic Bright: sizes 8, 14, 20 and 32 (Blender Brushes)
Scharff Series 240 Touch-It: sizes 2, 4, 6 and 8 (Scumblers)
Scharff Liner Brush Series 455: size 1 (or your favorite liner)
COMPLETE YOUR INKING THEN FOLLOW THESE STEPS FOR THE OIL ROUGING:
PLEASE NOTE: This is the first time I have not added a background to my artwork. The simplicity of the
design was something I wanted to portray. But if you want to add a background, please do so.
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BLUEBIRD AND BLUEBERRIES:
With your palette knife take a small amount of White and add it to some French Ultramarine Blue. The blue we
are trying to achieve is a medium shade, not too light. Using your #2 Scumbler with some gel added to the
bristles, take a small amount of the medium blue mixture and work it into your bristles as well. Apply it as a
wash throughout the entire bird.
Then blend with your #14 Blender.
Now take your Scumbler and add a
little more intensity along the neck
and crown of his head, near the
beak, along the wings, and on the
tail under the wings. Tamp gently
with your Blender. Final step in
this process is to take a cotton swab
and pull out highlights along and
near the eye, the wings, and tail,
etc. Keep an eye on the photo.
For the blueberries, do the exact
same thing: light wash with your
Scumbler, blend, then add a little
more along the outside edges of the
blueberries. If needed take a cotton
swab and pull out a highlight in the
center of each blueberry.
BLUEBIRDS BREAST:
With your palette knife put aside a tiny amount of Alizarin Crimson Permanent and then add to this, a little bit
of Cadmium Yellow Medium, mix well until you get a nice bright Orange shade similar to what you see in the
photo below. Use your #4 Scumbler to add it to the center of the breast. Take your #8 Blender and rouge it out,
leaving white surrounding the bluebird’s neck and under the wings.
THE HANDLE:
Mix a nice shade of brown by adding
a little bit of Payne’s Grey into Burnt
Umber. Using your “clean” #4
Scumbler, add it to the handle. Blend
with your #20 Blender. Pull out
highlights with a cotton swab if
needed.
STRAWBERRIES:
Using your “clean” #4 Scumbler add
some Alizarin Crimson Permanent to
the strawberries. Blend. Then with a
cotton swab, pull out highlights.
Now, before you go to spray make sure that you remove all your smudges and over the line color errors
with your Clic Eraser. Remember to brush off your eraser marks with your makeup brush. You are
now ready to spray 3 progressive coats of Liberty Matte spray to speed dry your surface.
M2 – Mr. Bluebird on My Shovel
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SHOVEL AND SHADOW:
With your palette knife take some Payne’s Grey and put it aside then take a small amount of Burnt Umber and
add it to the PG. Mix well, it should have a nice Black tint. If it’s still too brownish, add more PG. Now take
your #6 Scumbler along with gel mixed into the bristles and the Black and add it to the handle part first, then
the metal part of the handle, then the shadow under the entire shovel. Blend by either pulling or tamping with
your #20 Blender. NOTE: If
it’s impossible for you to get
into the smaller areas
particularly the metal part of
the shovel, use a liner or small
Scumbler but make sure the
Scumbler is clean.
BLUEBIRD:
Using your Scumbler add a
very light application to the
bluebirds tummy and blend.
Next, take your liner and add
some Black to his legs.
Now, before you go to spray make sure that you remove all your smudges and over the line color errors
with your Clic Eraser. Remember to brush off your eraser marks with your makeup brush. You are
now ready to spray 3 progressive coats of Liberty Matte spray to speed dry your surface.
BEGINNING THE FINAL APPLICATION - GOING OVER EVERYTHING ONE MORE TIME:
BLUEBIRD: With your #2 Scumbler add a little Payne’s Grey to the bird’s head (above beak, chin/neck), to
the wings, on the tail under the wing and a little almost at the end of the tail.
BREAST: Add a small amount to
the center of the breast (it will dull
the orange a bit), and under the wing.
HANDLE: Now add straight Burnt
Umber to the handle and blend. Don’t
forget to pull out highlights.
STRAWBERRIES: Add another
application of straight Alizarin
Crimson Permanent. Pull out
highlights if needed.
Now, before you go to spray make
sure that you remove all your smudges and over the line color errors with your Clic Eraser. Remember
to brush off your eraser marks with your makeup brush. You are now ready to spray 3 progressive coats
of Liberty Matte spray to speed dry your surface.
THE FINAL APPLICATION - GOING OVER EVERYTHING ONE MORE TIME:
M2 – Mr. Bluebird on My Shovel
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BLUEBIRD: With your “clean” #2 Scumbler add a little French Ultramarine Blue to the bluebird again, just to
enhance him. Pull out highlights leaving highlight on and around his eye, top of shoulder, a few wing parts, tips
of wings near breast, and tail.
BLUEBERRIES: Add another
application of French Ultramarine
Blue to the berries. Then take a
cotton swab and add the highlight,
don’t forget the one that is tucked inbetween the strawberries!!
METAL PART OF SHOVEL: Add
another application of Black in and
on the same area of the metal part of
the handle if needed. Then look to
see how the shadow appears, is it
distinct enough, if not, don’t be afraid
to add more to the shadow.
Now, before you go to spray make sure that you remove all your smudges and over the line color errors
with your Clic Eraser. Remember to brush off your eraser marks with your makeup brush. You are
now ready to spray 3 progressive coats of Liberty Matte spray to speed dry your surface.
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Evaluate your artwork; does it need another application of oil? If so, go ahead and add it. I want to mention
that if you are creating this piece in class with me, and you get it home and find that you would like to add
additional oil applications, please do so. The more applications you add, the more dimension you will create.
FINISH WITH YOUR FINAL MISTINGS OF LIBERTY MATTE SPRAY TO DRY.
I hope you enjoyed creating this design, feel free to sign your name to your piece of artwork, create additional
pieces to give as gifts, sell your artwork or enter it into the county fair or an art contest as long as you do not
claim it as your original design. The pattern and instructions, however, may not be reproduced by any form of
mechanical means. Line drawings can and may be used, reduced or enlarged for personal use.
Please feel free to contact me if you have any questions at all:
Sharon Kuester
April 21 – November 14: 4850 White Birch Lane - Farwell, MI 48622
November 15 – April 20: 173 Paradise N. - Leesburg, FL 34788
Phone: 352-365-1330
Email: [email protected]
Website: www.sharonkuester.com
M2 – Mr. Bluebird on My Shovel
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You May Reduce or Enlarge the Simplified or Detailed Drawings as necessary
M2 – Mr. Bluebird on My Shovel
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M2 – Mr. Bluebird on My Shovel
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ABOUT VARIOUS PENS
PENS
There are two basic types: dip pens and reservoir pens. There are tons of different shaped nibs, each of which produces
different marks.
DIP PENS
Reed, quill and metal pens (that is, metal nibs set in metal holders) are classified as dip pens. They are loaded by being
dipped into the ink. Ultra-fine lines are best made by mapping pens, or crow-quill pens. If you are familiar with the crow
quill pen then it may be used, however, they are limited to stroke direction, and frequently drip and splatter.
RESERVOIR PENS (my choice of pen is the Koh-I-Noor Rapidograph)
This type of pen carries its own supply of ink in a holder or cartridge, avoiding the need for 'dipping'. However, the nib is
typically less flexible than that of a dip pen. Reservoir pens include: fountain pens and technical pens like the
Rapidograph suggested in the instructions have an advantage because of its ability to deliver a constant flow of ink
regardless of the direction in which the pen is moved and can be used on a wide variety of surfaces like canvas, wood,
glass, slate and paper as well. The drawings are bold and rich looking and very attractive. A good pen can last forever if
properly maintained. I only use India ink, I think it dries quickly and has a rich look. It is also very correctable by using
cotton swabs dipped in ammonia. Micron pens have become very popular due to their line work and disposability.
Microns do not last long when trying to create your drawing on canvas (depending on the drawing, most times they do not
last through one attempt), are not correctable or refillable and dry out quickly.
GETTING STARTED
1) It’s important not to handle your surface too much because the natural oils from your fingers or if you have lotion
on, will adhere to the surface and may bead up or skip when you get to that area.
2) Begin by taking your simplified line drawing…center it onto your surface. Don’t forget you can increase or
decrease the line drawing to fit the size you desire. Now tape the line drawing to the surface at the top only (one
4-5 inch piece of tape is good), smaller piece and your drawing can slip or detach from the surface.
3) Now take your graphite and place it underneath your drawing with the black shiny side down. Just slip it under,
there is no need to tape it, you can reuse it again and again. Make sure it is wax-free graphite! I usually use Loew
Cornell (it is wax-free, greaseless, and smudge proof).
4) With your red fine tip pen (do not use a marker!), begin transferring the line drawing onto the surface.
*NOTE: Always…always start at the top and work down! If you are right-handed begin at the upper left of the
design; if you are left-handed begin at the upper right of the design. It’s good practice to follow this step, because
later when you are inking you will not smear your ink. No need to press hard, just enough for you to see it later
when going over your lines with ink. In fact, you may want to take a peek after creating a few lines just to be sure
you don’t have the graphite backwards. Also, after inking, all these graphite lines will be erased.
5) After transferring the basic simplified drawing remove your graphite (to be used again and again), and remove
your tape and line drawing from your surface. DO NOT ERASE !!!!!!
INKING
First of all let me mention that I only use two sizes of pens, the 1/.50 (provides a little heavier line) and the 00/.30
(provides a finer line). I have been gravitating mostly to the .50 because it gives me a little bolder line which I
like. Plus the .50 gives a nice consistent flow of ink whereas the .30 sometimes has a hard time flowing through
the pen, giving it a “too fine” of a line or I’ve had it snag quite a few times (this is normal when working on
canvas).
6) Make sure you have a piece of paper towel handy to place under your hand and arm while you are inking because
the natural oils from your skin will adhere to the surface and you will not get proper coverage of ink when you get
to that section. This is a very, very important step to remember throughout your inking process.
7) Refer to the pattern to see which size of pen you will need to use to begin with. If using your crow quill you will
decide on your nib size, then dip the nib into the inkwell and trace the graphite drawing with dark, prominent
lines. If you are using a Rapidograph like indicated in the pattern, then just uncap the pen (DO NOT put the cap
on the back of your pen) and go over your graphite lines making your dark, permanent lines.
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TIPS FOR USING YOUR RAPIDOGRAPH PEN:
a) Uncap your pen by unscrewing not pulling the top off. DO NOT put the cap on the bottom/back of the
pen, you will push on the threads and when you close the pen it will not seal properly, causing the pen to
dry out.
b) Hold your pen in a normal position, not too high, not too low or flat (too low and flat will produce an
inconsistent line). DO NOT press hard, hardly touch the surface, just move your hand and begin drawing.
Pressing too hard your ink will not flow properly, you will feel all the bumps if you are using canvas and
most importantly of all, you can ruin the pen. By pressing too hard you can bend the tiny wire that makes
the ink flow through the nib and air channel.
c) Never ever shake your pen! If you do, the ink could quickly flow through the chamber spilling out and
onto your surface or if in class, onto the person sitting next to you.
d) If the pen stops working while you are drawing and you are sure it is filled with ink, there could be a
small air-bubble preventing the flow of ink. So….take your pen upside down, tip up, and tap 2-3 times on
the table. This will cause the bubble to break, releasing the ink to flow properly again. (I have to do this
quite often when using the .30 pen).
e) When not using the pen or breaking for more than a few seconds cap your pen.
f) VERY IMPORTANT: Please, please remember this otherwise you will clog your pens!!!! After you
spray with the fixative or after your oils are applied, NEVER, EVER, use your Rapidograph pen…it will
clog immediately!!! If you need a very minor touch up or a line, you can use a fine tip black Sharpie.
8) Remember to start at the top and follow the same instructions as you did for transferring, left-handed individuals
start on the right; right-handed individuals start on the left. Your ink will flow nicely if you have a nice light,
consistent motion of your hand, completing your first application of your simplified drawing. Once you’ve
completed the basic simplified drawing, watch the photo given in your pattern packet and finish the design with
either additional lines of .50 or finer lines of .30 (for trees and shrubs). The detailed line drawing will give you
an indication of which lines you need to add, whether it’s heavier or finer. And if you cannot tell, use your own
judgment, you do not have to do exactly what my instructions or other artist’s instructions tell you to do. 
CORRECTING MISTAKES
9) After completing your inking (or as you are inking) you can correct any mistakes if needed. Take a cotton swab,
dip it into a bit of ammonia, remove the excess and just wipe out the error. You will see it disappear!!! Take
another cotton swab and dry the area. You have to work quickly when correcting otherwise it may bleed so make
sure you have plenty of cotton swabs handy. Wait a few minutes for the area to dry before going over it again
with your pen. *NOTE: If the error is not seriously bad, just leave it; you will not even notice it after you apply
your oils. Or, if you have some white acrylic paint and a tiny liner, correct your mistake this way but make sure
it’s tiny little nits that you have to correct and not larger areas because sometimes the oils will bring out the
imperfection later.
**Corrections made with cotton swabs and ammonia will not work on paper surfaces!!! You will make
a hole in the paper when you try to correct by rubbing. This method of correcting works on every
surface but paper. So if you need to correct mistakes, use a liner and the same shade of acrylic paint as
the background.
10) Now grab your click eraser and remove any visible graphite lines you may see. Dust off any crumbs from the
eraser with a makeup brush or nice soft brush. Ammonia does not remove graphite lines, only ink. TIP: Only
remove the graphite lines, do not take your eraser and rub all over or you may take off some of the ink. Make
sure you go over your art very carefully because you will not be able to remove them after you spray. Ensure that
you have ALL YOUR LINES because like I mention above, once you spray, you will not be able to use your
Rapidograph pen.
11) Once you are finished with your inking you will need to spray to seal everything before applying oils. I still use
the 3 progressive spray rule!! Hold your piece straight up, spray in a consistent motion about a foot away. Too
far you will get only a mist which you do not want to accumulate. Too close, you may have it run. A safe
distance is about a foot. After the first spray, let it dry for a few seconds, turn your piece in a different direction
and spray again…wait, then spray for the third time. You are done! Don’t forget; do not use your Rapidograph!!!
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**Special Note: Should you make an error, don’t be too quick to remove the ink, but see if the mistake can be
turned into a happy accident. Remember old barn wood, trees, old bird houses are not perfect but warped so a
little crooked line will not be noticed. And another important reminder, never, ever, point out your mistakes to
others when you take your art home, they will only see the beautiful piece you created, not your mistakes!
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OIL ROUGING
Rouging is tinting or blending oils onto the surface and design of a painting. After you have inked your design onto the
surface of your choice and have sprayed with Liberty Matte Spray to seal the inked drawing, the oil is applied in small
amounts with Scumblers or a liner brush and then coaxed over the surface with a Blender, 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. Using oil paint, oil brushes and some matte spray, you can achieve a beautiful rouged look
on your designs. You can rouge watercolor paper, stretched canvas, canvas panels, tin, wood, slate, and even glass. The
effect you are striving for is very similar to the way you "rouge" your cheeks or apply "blush" to your face. Just
remember, the more porous the surface, the more matte spray sealer is needed to provide mobility for rouging. The oil
paint needs to be transparent enough to allow the inking to show through.
BEGINNING THE APPLICATION OF OILS
1) Make sure you have a few sheets of paper towels folded up and sitting to your side ready for cleaning your
brushes occasionally. I usually have mine in thirds, then just open it to the cleanest fold and start over again…this
way I know I am not wasting paper towels. **I want to mention for those that are new to this technique, do
not use the ammonia for any cleanup, it is only used for inking. You will be using cotton swabs and your
click eraser to clean up over the line errors.
2) First take your Scumbler and apply a very small amount of gel (transparentizing medium) onto the Scumbler, (I
call it sneaking on, because you do not want to apply too much gel or you will have too much mobility). Don’t let
the gel just sit there on the tip, take your Scumbler and work it into your bristles (don’t worry; you will not hurt
the brush, you must work it in a few times so that when you touch the Scumbler to the surface you will not wind
up with one big dark streak of oil). If you notice that you’ve taken too much oil on your Scumbler, swipe it onto a
paper towel once or twice to remove some of it. Now do the same with the oil and apply a small amount of paint
to the design where you see it is the darker value in the photo. Don’t keep going over the area to fill all the holes,
your Blender will do that. And make sure your Scumbler is not in an upright position but more flat in your hand
or you will wear the tip of the Scumbler out in no time. Now using a Blender brush you will gently coax the color
over the design until it fades out.
3) When moving on to the next color of oil, use the paper towels folded into thirds near your area and always dry
wipe the Scumbler or Blender onto the paper towel before picking up the next color. You do not want to wash
any of your brushes during your project until you are through for the day.
4) There are three types of rouging techniques to use with your Blender: The Hula, the Tamping, and the Pulling.
When using the Blender brush, remember to keep the brush straight up when rouging, if not, you may wear out
the hairs on the sides. **TIP: Everything should have three values, dark, medium, and light. If you follow this
rule, and see the contrast of colors in your piece you will create a three-dimensional feeling. You want to create a
soft feeling in your painting; your sky should have an airbrushed effect, kind of a fluffy texture. If the area has too
much paint on it, use a cotton swab in a circular motion to lift the color off the painting. Then return with the
Blending brush and soften the edges of the color. Cotton swabs are also great for pulling out highlights on your
design. You have to watch photos closely to see all the various highlights, shading, and values.
5) Swirl the Blender brush on the paper towel occasionally to remove excess paint. Keep adding values to each area
of the design that you wish to rouge. Repeat the same steps each time. If the paint won't move well due to the
surface, add a tiny bit of transparentizing gel into the brush before adding the paint. Blend the paint and gel into
the brush before adding it to the design.
6) You never want to mix the transparentizing gel into the oil paint. Doing so would make it too buttery, it
would go on well, but then when you pick up your Blender to rouge, it may disappear on you. How much gel to
use or not use is a learning curve, remember less is more!
7) Follow the steps in the pattern packet and add any oil that is part of the design, if you need to add more depth or
shadows now would be the time to do so. My patterns have one or two applications of oil, sometimes three;
however, if you want to add more applications, you have my blessing. After the piece has achieved the look you
want and think it has been completed and you have cleaned up any over the line errors with a cotton swab or click
eraser, lightly spray the entire surface with 4-6 light coats of matte spray. Each application should be light so that
the spray builds up on the piece. Let each coat dry.
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8) My last step is to enjoy what you are doing, relax and have fun. Don’t forget, if you make a mistake, it’s fixable!
SOME EXTRA TIPS AND SUGGESTIONS WITH YOUR OILS:
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I use a foam plate for my palette and throw it away if I am finished. I never have to clean anything except my
brushes. If you have oils left over on your plate, and you may be starting another project the next day or two, put that
plate into a zip lock or manually squeezed plastic bag and it will keep fresh. I personally have a really old rubbermaid plate with lid that I keep mine in….watch for them in garage sales or thrift shops!!
And I repeat…You do not want to wash any of your brushes during your project until you are through for the day.
Remember also, less is more. You can always, always add color.
Always spray outdoors or in a well-ventilated area.
Always keep a close eye on the colored photo 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. Vary the size of the brushes for laying the color in, as well as blending the
color out.
If you already have oils at home which are a different brand and want to use them, go ahead, just remember that the
colors may be slightly different than what you see in the picture from the pattern or the artwork that you completed in
class. Particularly your Payne’s Grey, it varies in shade by brand. And you must use the gel recommended, not
another brand or you will not get the best results, it will not blend well and could dry faster or get gummy.
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PROCEDURE FOR SPRAYING
It’s called Progressive Spraying. Start with a light misting of the matte spray, waiting a few seconds for it to set
up. The second spray is applied just a bit heavier and closer. Again; wait a bit for the spray to dry. This should
only take a short time to happen. Each spray after the prior one is, again, heavier and a little closer than the last.
Be careful to stay away from windows, cars, people, and don’t lay the piece down on the ground. And always
make sure you remove any smudges and imperfections before you spray or it will be permanent! HINT: have
the can at least a good foot away from the surface. If it is too far away you will accumulate a mist and it will
become hard for you to rouge as it builds up and become grainy. If you are too close, chances of over-spraying
can result in it dripping. There isn’t much you can do about that except allow a longer drying time before
beginning your rouging. Don’t worry; you will not notice the dripping later after many applications of oil and
spray.
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BLENDING TECHNIQUES (hula, tamping, pulling)
A very light touch is needed when using the blender brushes, if you press too hard it will wear them out
quickly. Do not go against the grain of the bristles; make sure you are always pulling the blender bristles in the
same direction.
HULA
With a soft touch, “Hula” the
blender brush, keeping the blender
horizontal with the handle straight
up, to blend the color out and
remove any demarcation lines.
TAMPING
PULLING
Hold your blender brush in an upright position
as shown. With the side of the brush “tamp”
up and down. You should be able to see the
oil move and blend out. “Tamping” will also
press the color into the background instead of
letting the color “sit” where you placed it.
Hold your blender brush in an
upright position as shown.
With the side of the brush
“pull” in a downward position.
You should be able to see the
oil move and blend out.
***Never ever go against the bristles of the brush, always tamp or pull so the bristles glide smoothly over the
surface and not in an unnatural position (pull toward you with the brush and not against). Also, when
performing the HULA with your Blender make SURE you hold the brush in an upright position. Using the
brush incorrectly will break the bristles on the sides. If you use and care for your brushes properly they should
last you a very, very long time.
SCUMBLERS
If you’ve purchased scumblers or have ever seen a “brand new” scumbler, you know that they are somewhat in
a point when new. Try NOT to use the tips of the scumblers when applying your oil or they will wear out and
become stumps. In other words, do not hold your scumbler in an upright position like you would your blender.
Hold your Scumbler in a downward, side position and apply your oil. Also, they are not to be used as blenders,
only for applying the oil. You use the blender to rouge, tint and distribute the oil.
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CARRYING FOR YOUR BRUSHES
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Do not use any turp in the brushes or paint during the entire process. Apply the paint dry (right from the
tube so to speak), and move the paint around with completely dry brushes. If you are working on a surface
that seems to be very porous and the paint appears to drag, use a tiny amount of the Gel Transparentizer I
mention in the Materials required section. Just incorporate a tiny bit of the gel into the bristles of the brush
before loading with paint. If you are mixing two colors together, do so with your palette knife and get the
color desired before adding the color to your brush and onto your surface, then proceed to apply as directed.
DO NOT use gel or any oils in your Blenders! The Blenders are only for rouging.
Swirl brushes on paper towels after every few strokes during the blending process. Swirling your brushes
on paper towels will also be the process used between various color applications, too.
Never throw out old, worn brushes. Your worn out Scumblers make great stipple or pouncing brushes.
When rouging with your Scumbler or Blender brush let the hairs move in their natural direction. Excessive
twisting, pushing down too hard, going in the wrong direction, and unnatural actions can quickly damage
your brush permanently.
DO NOT let paint work its way up into the ferrule. Paint is hard to remove from this area and the paint will
cause the brush to swell, resulting in a loss of brush shape and spring.
Never leave a brush soaking in water or any liquid for a lengthly time. The hairs can become waterlogged,
leaving your brush limp and lifeless until it has properly dried out.
Never let your paint dry on the brushes. Try to clean them as soon as possible.
Until they are completely dry, you should store the brushes flat so that the water does not enter the ferrule or
handle of the brush. Since they are made of wood improper storage could result in mildewing or rotting.
The above tips should be noted for ALL brushes, not just Scumblers and Blenders. Brushes, whether
they are made from natural or synthetic hair, are delicate and so should the materials used to clean them.
Even if you are cleaning any other type of brushes after other mediums like acrylic, remember use the
mildest product (it will get the job done).
WASHING YOUR SCUMBLERS, BLENDERS AND LINERS
When at home, do not use any brush cleaners on your Scumblers or Blenders. Take a cheap bar of soap that has
no lotion or perfume (I buy Ivory at the Dollar Store). I place the bar of soap in my hand and with warm water
running, I glide each brush over the soap with water several times then on the palm of my hand with the brush
several times, I keep repeating this process until you notice that it is running clean and you don’t see any color
coming off on the soap. Your Blenders will clean up quicker than your Scumblers because they do not have as
much oil accumulated on them. Your Scumblers will become stained but this is natural, do not worry about it,
as long as they are clean.
All the instructions are also included in my website along with additional information like “A Basic Oil
Color Mixing Guide with a Limited Palette” plus I am always adding more information.
Please do not hesitate to contact me if you have any questions.
Sharon Kuester
Phone: 352-365-1330
Email: [email protected]
Website: www.sharonkuester.com
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VARIOUS SURFACE PREPARATIONS
If surfaces are prepped properly you will be able to correct all mistakes made with ink or oils.
(A general reminder – the more porous the surface is, the more sealer you need to use to provide mobility and
correctability of paint.)
CANVAS PANELS, STRETCHED CANVAS, LOOSE CANVAS, OR MOUNTED CANVAS ON BOARD
No sealer is necessary before inking. Just transfer the pattern onto the canvas with wax-free graphite, ink in design, erase
graphite lines or smudges with an eraser, and then apply at least 2 coats of the Liberty Matte Spray, let dry. I recommend
the Fredrix Brand, medium grade with the red label canvas panels if using canvas. Although I use the canvas panels in
all my classes, you can use the stretched, roll, or purchase the tablet form of canvas sheets), as long as it is Fredrix.
BASECOATING WITH JW ETC - UNDERCOVER
This product is wonderful. Purchase JW Etc. Undercover in white or black at your local craft store. One thing I would
like to suggest, do not shake the bottle, this will cause bubbles to appear during your application. Swirl your bottle in
between your hands like you would a bottle of nail polish. Pour some out onto a styro-foam plate, using a sponge roller,
apply the paint on the roller then roll onto your surface. You can apply 1-2-3 coats (undiluted, no water), let the surface
dry for 48 hours then go right to your inking. The paint is permanent and will not chip. If desired, tint it with your
favorite acrylic paint. Use on ANY surface as your basecoat. Don’t have JW, see preparations below.
WOOD (preparation using acrylic paint)
Preparing the WOOD surface for the inking and rouging technique, 2 options:
1.) White-washing the wood with regular white (or any light color) bottled acrylic paint and water. First sand the surface
with extra fine sandpaper. Then use a soft rag that has been wet with water and wrung out. Put a small amount of white
acrylic paint or any other light colored acrylic onto the rag and stain the wood till you achieve brightness; but DO NOT
put so much on that you cannot see the grain glowing through. Let dry completely. You can check by touching the heel
of your hand to the surface. If it feels cool to the touch, it’s not completely dry. Once dry, feel it, you may need to sand it
again. It’s best to let it dry at least 24 hours before spraying 2-3 coats with your Liberty Matte Spray then let it (I always
wait at least 4-5 days, as you DO NOT want to clog your pens.
2.) If you would like to use a solid color you can do so. First sand the piece if it’s not smooth. Then you can either
white-wash the wood above but use less water and more acrylic paint. You may also use a sponge, a small roller or brush
to add the white or light colored acrylic. Let it dry (it may take a little longer). Sand again if needed. If you have the
coverage you want, just let it dry properly but it you want another coat of paint do so. Make sure after it is dry it is also
smooth to the touch! It’s best to let it dry at least 24 hours before spraying 2-3 coats with your Liberty Matte Spray then
let it dry (I always wait at least 4-5 days, as you DO NOT want to clog your pens.
IMPORTANT TIP: Just remember that whatever color you use will be the highlight that glows from under your
rouging. For instance, if you whitewash with an apple green and you are inking and rouging children’s faces….guess
what color their faces will be? That is why I almost always suggest white or a very light color acrylic.
SLATE or TIN
Make sure you wash slate if needed. Use a sponge roller or brush to apply 1-2 coats of white or a light colored acrylic
basecoat to the slate. Allow to dry at least 24 hours. You do not need to sand. Don’t worry about the surface not being
smooth, that’s the beauty of working on slate, it will not be a perfect surface. After the slate has dried thoroughly apply
one really generous coat of the Liberty Matte Spray to seal the surface then apply one light misty spray from at least 12
inches away to add tooth to the surface. Make sure you let it dry at least 24-48 hours before inking.
WATERCOLOR OR PARCHMENT PAPER
Do not seal before inking the design. Lightly transfer pattern lines on with graphite paper. Ink in design; erase any
graphite lines and smudges. Apply a generous coat or 2 of Liberty Matte Spray, letting the surface dry between coats.
You might have to add more of the spray if the paper you are working on is really porous. This insures the ability to
move the oil paint over the surface freely and also insures the ability to do correction on the painting surface. Let dry
thoroughly!!!
A PREVIOUSLY SEALED OR VARNISHED PIECE (MAYBE A TRUNK LID OR DOOR TO A CABINET)
Remove any dirt or waxy build-up on surface with mild detergent and water, let dry thoroughly. Transfer pattern on, ink
in, remove graphite smudges, and then apply a light mist of Liberty Matte Spray to protect your inking. After completing
the painting process, duplicate the finish that was on the surface prior to inking (varnish, etc.). Garage sale or flea
market finds are great for this. You can use your imagination on chairs, trunks, cabinets, vanity mirrors, dresser drawers
and I was commissioned once, up north, to do a design on a bedroom headboard of a nature and wildlife scene.
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PORCELAIN, PLATES and GLASS
Yes, it can be done; however, this is a whole new technique using Etching Crème for porcelain, plates and glass. If you
are interested, let me know well in advance and I’ll email you instructions and what you need to purchase. You must
allow a little longer time for prepping so don’t wait until the last minute.
Please do not hesitate to contact me if you have any questions.
Sharon Kuester
Phone: 352-365-1330
Email: [email protected]
Website: www.sharonkuester.com
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FILLING YOUR NEW PEN
First, the pen cap unscrews [1]. Set the cap down and
unscrew the clamp ring [the color coded ring] and the pen
holder at the same time [2]. Now pull the clear cylinder
away from the pen body [3].
Add ink filling 1/3 of the cylinder [4]. Assemble the parts
back together. Now to start your pen [5]. Hold it point up
with the cap off. Flick the handle with your fingernail, as
someone would prepare a hypodermic needle. Now, hold
the pen point down and repeat the same step. Now rap the
back of your hand with the heel of your free hand. Gently
draw the pen across paper and within a few seconds you will
have ink flow. DO NOT TAP ON THE TOP OR CAP PART
FACING DOWN.
SOME REMINDERS:
After your pen has ink in it:
1. Don't set the pen down without putting the cap back on it securely.
2. ALWAYS be careful NOT to screw the cap on too tightly. It will cause splitting on the pen holder.
Just tighten till you feel it is secure.
3. If you pause to do something and the pen is in your hand, gently put your index finger over the tip of the pen
so the ink does not get a chance to dry out. [Little things like this can prevent a lot of aggravation.]
4. NEVER store your pen for long periods of time with ink in it. If you do, store it on the side not straight up.
5. Never take the pen apart past the point where you pull off the tiny plastic cap and pull out the wire. If you follow the
suggestions for pen care and storage after use, there will never be any reason to go to this extreme. But if you do, be
careful you do not drop the tiny plastic cap down the sink (it is very easy to lose)
MAINTENANCE:
Here is a fail proof way to maintain your pen and always
have it in good working condition.
1. Disassemble the pen parts.
2. Use the nib wrench [1] to remove the pen point [2]
from the body [3].
3. Pull the cylinder [4] away from the pen body.
4. Rinse parts [2], [3], & [4] under tap water till no ink is
evident.
tiny plastic cap
My secret defense against the pens getting clogged and
having them not work the next time I go to use them is a
simple solution! After taking the pen apart as mentioned in
the previous segment, store the pen tip [1], and the pen
body [2] in a small container [a film canister works
wonderfully], filled with household ammonia. Any brand or
type will suffice. Submerge the 2 parts in ammonia and
store them in it until the next time you have a project to work
on. When ready to start a new project, take the tip and body
out of the ammonia. Wipe and tap onto paper towel to
remove ammonia. No need to rinse, just add ink to the
cylinder, assemble, write across paper, and within a few
seconds the ink cancels out any ammonia that would be up
in the stainless steel tip, and you have ink flow!
Occasionally you will find that your pen is beyond help, you pressed too hard and bent the tip, you dropped the tiny plastic
cap down the sink, etc., and needs servicing, put the parts in a small baggie along with a quick note that the pen is either
broke or doesn’t work (do not give too much information) along with $5, and mail it to the address below. In about 4-8
weeks you will get a brand new pen.
Chartpak / Koh-I-Noor
Attn: Pen Servicing Dept.
One River Road
Leeds, MA 01053
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