Crafty Lady ©2011 Laurie Speltz

Total Page：16

File Type：pdf, Size：1020Kb

Crafty Lady ©2011 Laurie Speltz Free Pattern – Not for Resale Supplies 1/8" Baltic Birch Black Permanent Ink Pen DecoArt Acrylic Matte Finish Palette-DecoArt Americana Green Tea, Hauser Medium Green, Flesh Tone, Terra Coral, Honey Brown, Snow White, Lamp Black, Burnt Umber, Camel, Autumn Red, Antique Maroon, Fawn, Blue Harbor, Deep Midnight Blue, Cadmium Yellow, Slate Grey, Sable Brown, Burnt Umber, Lavender, Toffee Brushes Black Gold by Dynasty Series# 206S Shader: 2,6,10 Series# 206FW Flat Glaze: 3/4" Series# 206A Angular Shader: 1/2" Series#206L Liner: 1, 2 Series#206MSC Mini Script Liner: 20/0 Painting Instructions Base the oval with Green Tea and shade with Hauser Medium Green. Mom – Base face and hands with Flesh Tone and shade with Terra Coral. Dry brush the cheeks with Terra Coral. The mouth is Terra Coral and the eyebrows are Honey Brown. The eyes are Snow White and the pupil of the eye is Lamp Black. The highlight dot on the cheeks is Snow White. Base the hair with Honey Brown and shade with Burnt Umber. The highlight lines in the hair are Camel. Shade around outside of Mom with Hauser Medium Green. Add detail with a Black Permanent Ink Pen. The ball of yarn is Autumn Red shaded with Antique Maroon. The knitting needles are Fawn. The dark red lines on the yarn are Antique Maroon. The blue pencil body and point of pencil are Blue Harbor shaded with Deep Midnight Blue. The yellow pencil body and point of pencil are Cadmium Yellow shaded with Honey Brown. Dark blue lines on blue pencil body are Deep Midnight Blue and the dark tan lines on the yellow pencil body are Honey Brown. The tan part of the pencils are Toffee shaded with Sable Brown. Base the spool with Toffee and shade with Burnt Umber. The hole in the. Crafty Lady ©2011 Laurie Speltz spool is Sable Brown shaded with Burnt Umber. The white threads on the spool and in the needle are Snow White. The needle is Slate Grey. Base the brush handle with Lamp Black. The brush ferrule is Slate Grey shaded with Lamp Black. The black lines on the ferrule are Lamp Black. The bristles on the brush are Sable Brown shaded with Burnt Umber. The light brown lines on the bristles are Toffee. Base the palette with Toffee shaded with Burnt Umber. Base the blue paint puddle with Blue Harbor and shade with Deep Midnight Blue, base the yellow puddle with Cadmium Yellow and shade with Honey Brown, the red puddle with Autumn Red and shade with Antique Maroon, the purple puddle with Lavender and shade with Lamp Black, the brown puddle with Sable Brown and shade with Burnt Umber. Shade around the outside of the puddles with Burnt Umber. Shade around outside of craft items with Hauser Medium Green. Add detail with a Black Permanent Ink Pen. Finish Spray with acrylic matte finish. Free Pattern – Not for Resale 2.

Copy Link

Recommended publications

Lacryl Is a Translucent Air Dry Acrylic Lacquer for the Plastic Sign Industry, for Spray and Screen
Lacryl is a translucent air dry acrylic lacquer for the plastic sign industry, for spray and screen. Intermix Toners 403 White 432 Permanent Red 452 Pale Brown 470 Fir Green 406 Super White 440 Magenta ZZ460 Midnight Blue 471 Shamrock Green 416 Lemon Yellow 443 Deep Red 461 Ocean Blue 480 Black 417 Buttercup 446 Deep Plum 462 Carib Blue 491 Clear Matte 425 Pumpkin 451 Light Brown 463 Bright Blue Clears Additional Colors (not shown) 490 Clear Gloss / 890 404 Blue White 491 Clear Matte / 891 L510002 Ivory - MTO 492 UV-Gloss 481 Black Matte 493 UV-Matte 482 HI-Hiding Black / 882 Thinner Recommendations for 400 Series Spray and 800 Series Screen Paint Products Spray Paints Dry Time** Paints Polycarbonate Styrene Vinyl Acrylics ZZ205 Thinner Fast Lacryl Series 400 • • • • ZZ215 Thinner Slow Lacryl Series 400 • • • • Screen Inks ZZ208 Thinner Very Slow Lacryl Series 800 • • • • ZZ218 Screen Retarder Very Slow Lacryl Series 800 • • • • Cleaner or Remover ZZ206 Cleaner / Remover • • • • **Retarders should be added at the 5-10% level. Additional amounts will affect drying. Retarders will eliminate dry spray and blushing. Dry spray can also be eliminated by blending various amounts of ZZ205 with ZZ215. See Sign Strip/Lacryl Technical Manual for full details. For safety information, please refer to website. 417 Buttercup 432 Permanent Red ZZ460 Midnight Blue 456 Dark Bronze 424 Sun Orange 832 860 416 Lemon Yellow 440 Magenta 461 Ocean Blue 496 Metallic Silver 444 Apple Red 840 ZZ861 896 425 Pumpkin 443 Deep Red 462 Carib Blue 497 Metallic Gold 437 Unique Red 843 862 837 453 Dark Brown 446 Deep Plum 463 Bright Blue 498 Silver Gray 447 Unique Red 846 863 898 455 Medium Bronze 451 Light Brown 470 Fir Green 406 Super White 438 Dark Red 851 870 806 480 Black 452 Pale Brown 471 Shamrock Green 403 White 439 Flame Red 880 852 871 801 839 400 Spray Viscosities • 800 Screen Viscosities All colors shown on this card approximate actual paint colors as accurately as possible.
[Show full text]
French Bulldog Club Of
French Bulldog (Bouledogue Français) Coat colours according to the FCI breed standard Standard FCI N° 101 17.04.2015 Admissible Colours Faults and Disqualifications French Bulldog - FCI N° 101 Jakko BROERSMA Raerd (NL), February 2016 Admissable Colours, Faults and Disqualifications 2/15 French Bulldog - FCI N° 101 INHOUD: 1. Introduction 4 2. Admissible coat colours 5 a. Colour 6 b. Brindle 6 c. Fawn 7 d. Pied 8 e. Fawn & White 8 3. Faults 9 4. Disqualifying faults 10 a. Variations on disqualifying faults 11 b. Merle 12 5. Additional non-admissible coat colours 12 a. Red and Cream 12 b. Explanation regarding Red and Cream 13 6. Other disqualifying faults 13 a. Colour of the nose 13 7. Appendix I – Differences in translation 14 Admissable Colours, Faults and Disqualifications 3/15 French Bulldog - FCI N° 101 1. INTRODUCTION: The colour definition for the French Bulldog has been changed several times since the first FCI breed standard was written in the early 1880’s. Next to that it differs on several aspects from breed standards of other kennel clubs around the world like for instance the American Kennel Club or the English Kennel Club. Although the different standards are basically equal regarding the coat colour– the French Bulldog usually is described as fawn, brindled or pied – several details in the definitions, faults and disqualifications ensure a diversity of interpretations among the FCI, AKC, KC and other kennel clubs. The FCI breed standard for the French Bulldog was revised on several areas in 2014 and was published on April 17th in French and English.
[Show full text]
Official Standard of the French Bulldog General Appearance
Official Standard of the French Bulldog General Appearance: The French Bulldog has the appearance of an active, intelligent, muscular dog of heavy bone, smooth coat, compactly built, and of medium or small structure. Expression alert, curious, and interested. Any alteration other than removal of dewclaws is considered mutilation and is a disqualification. Proportion and Symmetry - All points are well distributed and bear good relation one to the other; no feature being in such prominence from either excess or lack of quality that the animal appears poorly proportioned. Influence of Sex - In comparing specimens of different sex, due allowance is to be made in favor of bitches, which do not bear the characteristics of the breed to the same marked degree as do the dogs. Size, Proportion, Substance: Weight not to exceed 28 pounds; over 28 pounds is a disqualification. Proportion - Distance from withers to ground in good relation to distance from withers to onset of tail, so that animal appears compact, well balanced and in good proportion. Substance - Muscular, heavy bone. Head: Head large and square. Eyes dark in color, wide apart, set low down in the skull, as far from the ears as possible, round in form, of moderate size, neither sunken nor bulging. In lighter colored dogs, lighter colored eyes are acceptable. No haw and no white of the eye showing when looking forward. Ears Known as the bat ear, broad at the base, elongated, with round top, set high on the head but not too close together, and carried erect with the orifice to the front. The leather of the ear fine and soft.
[Show full text]
January 2020
SHERRILL FABRIC CATALOG January 2020 Fabric List Fabric Catalog January 2020 GENERAL INFORMATION (1) RAFT: It has been determined by the Joint Industry Fabric Standards Committee that various fabric treatment processes are detrimental to the performance of fabrics. Therefore, neither Sherrill Furniture Company nor the fabric mill can be responsible for any claims made involving fabrics that have Retail Applied Fabric Treatment. (2) The manufacturers of upholstered fabrics do not guarantee their products for wearability or colorfastness; whether "Teflon" treated or not; therefore, we cannot assume this responsibility. We also cannot guarantee match in color items ordered at separate times because of dye lot variations. (3) We do not in any way guarantee that Teflon finish will definitely improve cleaning quality of fabrics. (4) We buy the best quality covers available in each grade, consistent with the present day styles, and cannot guarantee fabric for cleanability, fastness of color, or wearing quality. (5) A number or letter opposite the colors in the different patterns indicate the color set in which you may locate the pattern. Example: P-PRINTS 4-BEIGE/WHITE 7-MELON/RED 2-GREEN 5-GOLD/YELLOW 8-BLUE/BLACK 3-TOAST/CAMEL 6-TURQUOISE Also, italicized numbers following the color set (example: Multi 7 - 17963) indicate the fabric's SKU number. (6) Special features of each (content, repeats, etc.) are listed directly under the pattern colors. (7) All current fabrics are 54 inches wide unless otherwise noted. (8) When "Railroaded" is noted on the list, this denotes that the fabric is shown railroaded in swatches and on furniture.
[Show full text]
HIGHLIGHTS of THIS ISSUE This Listing Does Not Affect the Legal Status of Any Document Published in This Issue
WEDNESDAY, OCTOBER 27, 1971 WASHINGTON, D.C. Volume 36 ■ Number 207 Pages 20569-20640 HIGHLIGHTS OF THIS ISSUE This listing does not affect the legal status of any document published in this issue. Detailed table of contents appears inside. PEANUTS— USDA regulation proclaiming 1972 marketing quotas and acreage allotments; effec tive 10-26-71 __________ ____ _____ - 20575 COTTON LOAN PROGRAM— USDA regulations on redemptions; effective 10-26-71-------------- 20577 BURLEY TOBACCO— USDA regulation on grade rates for advances to producers on 1971 crop; effective 10-26-71................ .........— .............. 20577 AIR CARRIERS— CAB regulation on use of rec ords on microfilm and microfiche; effective 10-27-71 ................. ......... ...................... 20579 CONTRACT APPEALS— NASA regulations; effec tive 11-15-71_________ _______________________ ___ 20580 UNFAIR TRADE PRACTICES— FTC cease and desist orders on false advertising (17 docu ments) ........................... ..............................20584-20596 ANTIBIOTIC DRUGS— FDA regulation revoking certification of 8 drugs; effective within 40 days unless stayed by objections____________ _____ ____ 20597 INCOME TAX— 1RS regulations relating to examinations of incomes of churches........... ......... 20599 AVAILABILITY OF RECORDS— EEOC rule setting schedule of fees; effective 10-27-71...... ............ 20600 COAL MINE HEALTH AND SAFETY— Interior Dept, regulations for transfer of miners with evidence of pneumoconiosis.................... 20600 Interior Dept, proposal of standards
[Show full text]
Gamblin Provides Is the Desire to Help Painters Choose the Materials That Best Support Their Own Artistic Intentions
AUGUST 2008 Mineral and Modern Pigments: Painters' Access to Color At the heart of all of the technical information that Gamblin provides is the desire to help painters choose the materials that best support their own artistic intentions. After all, when a painting is complete, all of the intention, thought, and feeling that went into creating the work exist solely in the materials. This issue of Studio Notes looks at Gamblin's organization of their color palette and the division of mineral and modern colors. This visual division of mineral and modern colors is unique in the art material industry, and it gives painters an insight into the makeup of pigments from which these colors are derived, as well as some practical information to help painters create their own personal color palettes. So, without further ado, let's take a look at the Gamblin Artists Grade Color Chart: The Mineral side of the color chart includes those colors made from inorganic pigments from earth and metals. These include earth colors such as Burnt Sienna and Yellow Ochre, as well as those metal-based colors such as Cadmium Yellows and Reds and Cobalt Blue, Green, and Violet. The Modern side of the color chart is comprised of colors made from modern "organic" pigments, which have a molecular structure based on carbon. These include the "tongue- twisting" color names like Quinacridone, Phthalocyanine, and Dioxazine. These two groups of colors have unique mixing characteristics, so this organization helps painters choose an appropriate palette for their artistic intentions. Eras of Pigment History This organization of the Gamblin chart can be broken down a bit further by giving it some historical perspective based on the three main eras of pigment history – Classical, Impressionist, and Modern.
[Show full text]
RAL COLOR CHART ***** This Chart Is to Be Used As a Guide Only. Colors May Appear Slightly Different ***** Green Beige Purple V
RAL COLOR CHART ***** This Chart is to be used as a guide only. Colors May Appear Slightly Different ***** RAL 1000 Green Beige RAL 4007 Purple Violet RAL 7008 Khaki Grey RAL 4008 RAL 7009 RAL 1001 Beige Signal Violet Green Grey Tarpaulin RAL 1002 Sand Yellow RAL 4009 Pastel Violet RAL 7010 Grey RAL 1003 Signal Yellow RAL 5000 Violet Blue RAL 7011 Iron Grey RAL 1004 Golden Yellow RAL 5001 Green Blue RAL 7012 Basalt Grey Ultramarine RAL 1005 Honey Yellow RAL 5002 RAL 7013 Brown Grey Blue RAL 1006 Maize Yellow RAL 5003 Saphire Blue RAL 7015 Slate Grey Anthracite RAL 1007 Chrome Yellow RAL 5004 Black Blue RAL 7016 Grey RAL 1011 Brown Beige RAL 5005 Signal Blue RAL 7021 Black Grey RAL 1012 Lemon Yellow RAL 5007 Brillant Blue RAL 7022 Umbra Grey Concrete RAL 1013 Oyster White RAL 5008 Grey Blue RAL 7023 Grey Graphite RAL 1014 Ivory RAL 5009 Azure Blue RAL 7024 Grey Granite RAL 1015 Light Ivory RAL 5010 Gentian Blue RAL 7026 Grey RAL 1016 Sulfer Yellow RAL 5011 Steel Blue RAL 7030 Stone Grey RAL 1017 Saffron Yellow RAL 5012 Light Blue RAL 7031 Blue Grey RAL 1018 Zinc Yellow RAL 5013 Cobolt Blue RAL 7032 Pebble Grey Cement RAL 1019 Grey Beige RAL 5014 Pigieon Blue RAL 7033 Grey RAL 1020 Olive Yellow RAL 5015 Sky Blue RAL 7034 Yellow Grey RAL 1021 Rape Yellow RAL 5017 Traffic Blue RAL 7035 Light Grey Platinum RAL 1023 Traffic Yellow RAL 5018 Turquiose Blue RAL 7036 Grey RAL 1024 Ochre Yellow RAL 5019 Capri Blue RAL 7037 Dusty Grey RAL 1027 Curry RAL 5020 Ocean Blue RAL 7038 Agate Grey RAL 1028 Melon Yellow RAL 5021 Water Blue RAL 7039 Quartz Grey
[Show full text]
What Are Ochre and Umber?
What a「e O⊂hre and Umber? 100% Natu「al I「on Oxide Pigments 〃柵e most economic。l p毎men誌fn the血dustγ’’ ochre (PrOnOunCed o′-ker) is a natura一′ mineral′ earth pigment. Chemic訓y′ it is a hyd「ated ferric oxide′ Chemical formulation: FeO(OH). Och「e is inorganic, Chemica一一y ine「t′ nOn-reaCtive with cement′ mO「tar Or brick′ and New Riverside produces two grades ofOchre pigments that are caIled 548 0chre and NIROX412. 548 Ochre is s=ghtlydarke「・ NIROX412 is mo「e yel看ow and has a greater tint strength. ochre is mined and processed in Cartersv紺e′ GAatthe oniyyear-rOund Ochre mInlng and processing operation in the United States. How応O`hre used? Ochre can be used aIone as a singie pigmentto achieve a range ofcoIors from light bu什to dark bu什simpIy byvaryingthe addition rate. As a wayto achieve a broader range ofcoIorswith a higheryeIIow or red shade, Ochre mayaIso be blended with synthetic pigments and used as a cost effective base. 548 0chre is a brown-yeIIow′ refined natu「al iron OXide pigment (Fe203) with an average particIe Size of-3 microns. it isthe mosteconomicaI bu什 COIor in the pigment industry. Broad appIication use for aii cement appiications. 5櫛くわhIe Umber is a contro看led productfrom a manganese enriched fo「m ofgoethite, a natur訓yoccurrIng InOrganic iron oxide. it is a brown earth pigmentthat is darkerthan the Ochre because ofits manganese and iron oxide content. It is highiyvaiued as a pe「manent pigmenteither in the raw or burntstate. Umber is Iightfast, insoluble in water, 「eSistantto alkaIis and weak acids and non-reaCtive with cement, SOIvents, OiIs, and most resins.
[Show full text]
Pigments Suitable for Encaustic
Pigments suitable for Encaustic For encaustic, pigments are melted into wax or a wax-resin-mixture. It is very important not to use toxic pigments with this technique. Pigments used for encaustic must not contain lead, arsenic or cadmium. The following list complies pigments which are heat-stable enough for this technique. However, the pigments should not be heated over the melting point of the wax and they should not be burnt. The pigments listed here are not safe for use in candle making. We recommend tests prior to the final application. Caution: Heated wax is a fire hazard and should never be left unattended. Wax vapors and fumes are hazardous for the health and should not be inhaled. An exhaust system should be installed to pull out wax vapors. Kremer-made and historic pigments 10000 - 10010 Smalt 11283 Alba Albula 10060 Egyptian Blue 11300 Red Jasper 10071 - 10072 Han-Blue 11350 Côte d'Azur Violet 10074 - 10075 Han-Purple 11360 Brown red slate 104200 Sodalite 11390 - 11392 Jade 10500 - 10580 Lapis Lazuli 11400 - 11401 Rock Crystal 11000 - 11010 Verona Green Earth 11420 - 11424 Fuchsite 11100 Bavarian Green Earth 11530 Gold Ochre from Saxony 11110 – 11111 Russische Grüne Erde 11572 - 11577 Burgundy Ochres 11140 - 11141 Aegirine 11584 - 11585 Spanish Red Ochre 11150 Epidote 11620 Brown Earth from Otranto 11200 Green Jasper 116420-116441 Moroccan Ochres 11272-11276 Ochres from Andalusia 11670 Onyx Black 11282 Nero Bernino 11674 Obsidian Black Synthetic-organic Pigments 23000 Phthalo Green Dark 23340 Isoindole Yellow 23010 Phthalo Green,
[Show full text]
Colorflex Standard Colors
100% PURE POLYURE A COLOR SYSTEM KANSAS CITY, USA 800.321.0906 Don't see a color that works for your project? Call VersaFlex about our custom color match program. Additional charges may apply. VF 1262 The color samples on this chart are for VF 1372 representation of color only. Colors will vary depending on viewing media. VF 1237 VF 1539 Actual cured color VF 1274 VF 1360 samples are available from VersaFlex at no VF 1089 VF 1307 VF 1275 charge upon request.* VF 1365 VF 1223 VF 1363 VF 1221 VF 1106 VF 1233 VF 1389 VF 1386 VF 1309 VF 1323 VF 1211 VF 1220 VF 1224 VF 1125 VF 1230 VF 1280 VF 1239 VF 1330 VF 1397 VF 1128 VF 1276 VF 1287 VF 1300 VF 1174 VF 1252 VF 1071 VF 1380 VF 1150 VF 1253 VF 1311 VF 1399 VF 1163 VF 1329 VF 1326 VF 1286 VF 1302 VF 1291 VF 1255 VF 1077 VF 1314 VF 1010 VF 1238 VF 1254 VF 1304 VF 1292 VF 1376 VF 1076 VF 1350 VF 1392 VF 1388 VF 1208 VF 1222 VF 1357 VF 1228 VF 1213 VF 110 4 VF 1006 VF 1005 * VersaFlex advises using actual cured samples when choosing color for projects. VF 1375 Note: These colors are not available in the GelFlex® or FSS 42D product lines. © 2016 VersaFlex Incorporated QF7.2.1a.3020 Rev 1 Date-11-21-16 VF 1005 Mesa Beige VF 1006 Antique Cork VF 1010 Forest Green VF 1286 Dark Walnut Burnt Sienna VF 1071 VF 1071 Burnt Sienna VF 1287 Tile Red Chestnut VF 1302 Enviro Green VF 1238 VF 1076 Less Brown VF 1291 Midnight Blue Eggplant VF 1314 VF 1077 Cobble Brown, Walnut VF 1292 OD Green Gold VF 1307 VF 1089 Very Light Light Grey VF 1300 Red Shade Blue Raw Sienna VF 1309 VF 110 4 Fawn Pebble VF 1302 Chestnut
[Show full text]
Omnicolor™ Multipurpose Color Concentrates U.S
OMNICOLOR™ MULTIPURPOSE COLOR CONCENTRATES U.S. COLOR SELECTOR ™ OMNICOLOR™ multipurpose color concentrates OMNICOLOR deliver consistently brilliant batch-to-batch color across a broad range of polymers with U.S. COLOR exceptional reliability and quality. The low usage rate, low minimum order quantities, and pelletized form for easy handling and storage CHART make these concentrates a versatile and cost- effective choice. White Pumpkin Mulberry Fern Green US OC0UFB US OC2SAF US OC4SAA US OC6UFC Bright White Nectarine Sky Blue Springtime US OC0UFC US OC2SAG US OC5UFB US OC6SAD Polar White Strawberry Red Powder Blue Racing Green US OC0UFD US OC2SAE US OC5SAD US OC6SAE Coconut Rose Pink Mid Blue Fresh Green US OC0SAD US OC3SAF US OC5UFD US OC6SAF Magnolia Flesh Pink Royal Blue Sage Green US OC0UFF US OC2SAH US OC5UFF US OC6UFG Vanilla Cherry Red Pale Blue Marine Blue US OC0SAE US OC3SAH US OC5SAF US OC5UFQ Sunflower Yellow Pastel Pink Navy Blue Lime Green US OC1SAE US OC3SAI US OC5SAG US OC6SAG Daffodil Yellow Flame Red Ultra Blue Olive Green US OC1SAF US OC3SAJ US OC5UFI US OC6SAH Citrus Lobster Red Pacific Blue Light Grey US OC1UFD US OC3SAK US OC5UFJ US OC7SAE Banana Tomato Red Baby Blue Dark Grey US OC1UFE US OC3UFJ US OC5SAI US OC7UFD Jasmine Fuchsia Purple Ash Grey US OC1SAG US OC3SAL US OC4UFB US OC7SAF Canary Yellow Admiral Red Ice Blue Mid Grey US OC1UFG US OC3SAM US OC5UFS US OC7UFF Marigold Cardinal Red Midnight Blue Dove Grey US OC1SAH US OC3UFM US OC5SAH US OC7UFG Ivory Fire Engine Red Cornflower Blue Soft Grey US OC8SAF US OC3SAN US OC5UFM US OC7UFJ Cream Rocket Red Alpine Green Graphite US OC8SAG US OC3SAP US OC6UFL US OC9SAG Seville Orange Raspberry Spearmint Green Moonstone US OC2UFB US OC3SAQ US OC6SAK US OC7SAH Mandarin Orange Burgundy Leaf Green Pebble US OC2SAE US OC3SAR US OC6UFN US OC7UFN Due to printing or monitor variations, color shown may vary from actual color.
[Show full text]
A Color Mixing Guide. CREA Your Color Story with Colors You Practice in Advance and Love
Use the color cards in this kit as an optional tool as you create. Fill it up with favorite color blends as you work ORY through the workshop (and notes on OLOR ST TE A C how to achieve them again), or pre-plan A color mixing guide. CREA your color story with colors you practice in advance and love. The best way to design beautiful A quick intro to figuring out colors. color schemes is to play! I’m so excited and glad that you’ve decided to paint with me in this workshop. I really hope the information in this booklet is helpful. Don’t be afraid to outsource for further information, Pinterest is a great tool for color schemes, and you can find just about everything else on Google. Enjoy yourself and have fun! THE THE CRAFTER’S CRAFTER’S BOX BOX Mixing paint doesn’t have to be hard! Let’s be honest, mixing colors seems so complicated. I hear that all the time. And anyone who has tried their hand at blending colors and has ended up with several different shades of brown by accident knows what I’m saying. I’m hoping this guide will help walk you though this workshop and also give you the confidence to blend many different shades of brown on purpose. I should also mention that while I feel very knowledgeable about color theory in the application I use it, I’m not actually a master. If this guide isn’t helpful or is conflicting to your college level color theory course, feel free to gently place this in the trash.
[Show full text]