Enjoy your free pattern!!! Please feel free to enlarge or reduce as you desire.
Simplified Drawing for Projector or Tracing
| Detailed Drawing |
The hummingbird...a beautiful, magical creature that captures everyone's eye. This pattern was created with the
wonder of this little bird in mind. Above all, the hummingbird represents joy. It denotes distinction, set apart from
other birds. Not only can it hover, but can actually fly backward. It embraces color and beauty, offering its wonderful
iridescent markings. The hummingbird is also noted for seeking harmony and good vibrations, avoiding discord and
harshness. By watching a hummingbird you dare to taste the sweet nectar of life!
MATERIALS REQUIRED FOR THE PROJECT:
• Desired surface to work on (I used an 11 x 14 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
• Pencil or Pen for tracing and transferring (if needed)
• Art Gum Eraser and/or Clic Eraser
• Masking Tape
• Rapidograph pen (3x0) 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
SUGGESTED OIL COLORS NEEDED:
- Payne’s Grey - Burnt Sienna
- Burnt Umber - Alizarin Crimson Permanent
- Cadmium Yellow Medium - Transparentizing Gel
- Ultramarine Blue
SUGGESTED BRUSHES:
• The Scharff Series 100 Classic Bright: sizes 8, 14, 20 and 32 (Blender Brushes)
• A Scharff Liner Brush Series 455: size 1
• A Scharff Scumbler Set Series 240 Touch-It
PREPARING THE SURFACES:
Stretched Canvas, Canvas Panel or Loose Canvas mounted onto a board surface – No sealer is necessary
before inking. Put surface under your projector and begin inking or transfer pattern onto canvas with graphite
paper very lightly, ink in design, then erase graphite lines and cleanup any smudges with an art gum eraser, apply
2-3 generous coats of Liberty Matte spray, let dry. Begin your rouging.
Wood – Sand wood if needed and wipe the surface with a tack rag. Lightly white wash with a rag moistened with
water and wrung out. Apply white acrylic paint to the rag and put on as though you were “staining” the surface. Let
dry. Apply 2-3 good coats of Liberty Matte spray. Allow at least 24 hours for proper curing time. After surface has
completely dried, buff lightly with scrap of tracing paper to smooth the surface. Transfer pattern on with graphite or
use your projector and go directly to your inking.
Watercolor Paper – Transfer pattern lines on with graphite paper very lightly. Ink design; erase any graphite
lines and smudges. Apply 2-3 generous coats of Liberty Matt spray. Allow it to dry between coats. Then apply 1-
2 coats of Liberty Matte spray if you want to be sure it is sealed. This eases moving paint across the surface of
your project and that will allow you to do correction work. Just remember, the more porous a surface is, the more
sealer you must use.
Slate – Use a sponge roller to apply 1-2 coats of white or a light colored acrylic basecoat to the slate. Allow to dry
and then spray 2 medium coats of Liberty Matte spray to the surface. Allow at least 24 hours curing time before
doing the inking. This is to save ruining your pens.
Your Special Yard Sale Find – Any piece you’ve found that takes your eye to create on that has been previously
sealed or varnished. Remove any dirt or waxy build-up on the surface with mild detergent and water, dry it very
well or you may have to go through the full process of removing all the finish depending on the condition of the
piece. You can then transfer the pattern on with transfer paper, ink in the design, be sure to remove any smudges
and transfer lines and then apply a light mist of Liberty Matte spray to protect the inking. After you finish your
painting, spray again with the Liberty Matte spray and Crystal Clear if you “want” a shiny surface.
BASIC INKING INSTRUCTIONS:
Transfer only the basic pattern lines onto the surface. If using graphite paper, keep lines light so they can be
easily removed with an art gum eraser. If using a projector put the small simplified pattern provided, in the
projector, ink in your lines on your surface. Use the technical pen to ink in as much detail as desired. Keep your
detailed drawing and photo out for constant reference. If you make a mistake, use a cotton swab dipped in a small
amount of window cleaner or ammonia, squeeze out a bit and then easily wipe the mistake out and it will disappear.
Do not ink in that area again until it dries!! (If working on any kind of paper surface, the only option you have is to
let the mistake dry and either try to turn it into an asset, or scratch over it lightly with a razor or exacto knife to lift it
off, be careful though!) If you have a white surface, you can apply a white acrylic paint or white out to cover the
error, let dry completely. Feel free to add or eliminate ink detail than is included in the pattern. After completing
the inking process, make sure everything has dried. Lightly remove the graphite lines and smudges with the art
gum eraser. Dust off any crumbs from the eraser. Go outside and apply 3 progressive coats of Liberty Matte
spray.
DIFFERENT APPROACH TO ADD COLOR (an explanation):
Rather than “painting in” the color, I prefer to use the term “rouging” or “tinting”. The paint is applied with either the
Liner or one of the Scumblers, in small amounts in an area where the shading or color is the richest or most
intense, then different sized Blenders are used to coax the color over the surface, graduating the intensity or value
of the color from deeper and richer to a medium value, then on to a lighter, brighter tone, or area appearing to
catch a highlight or reflected light. The most important thing to remember is every area that is painted should hold
at least 3 values of color to give the appearance of dimension.
SOME HELPFUL HINTS AND TIPS:
• 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 mentioned 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 on your palette and get the color desired before adding the color
to your brush and onto your surface, then proceed to rouge as directed.
• What about mistakes and paint outside the patterned areas? Dry cotton swabs are excellent for lifting color
in an area where you have “over-painted”. Rub in a circular motion to lift color off the surface, and then go back to
using one of the Sable Brights (Blenders) to soften the outside edges of that area. Also, use your Art Gum or Clic
Eraser, they are great for removing over the line errors, then just wipe off the crumbs with your makeup brush or
designated brush for cleanup.
• Another trick to “take the pressure off” is to apply the color in stages, and I use the matte spray to “speed-
dry” these “glazed” applications of color between coats. In every area that is tinted, I applied at least 2 different
color glazes, drying them between applications. This keeps your colors clear and vibrant, with less chance of
“mudding”.
SUGGESTED PROCEDURE FOR SPRAYING CALLED PROGRESSIVE SPRAYING: Start with a light misting of
the matte spray, waiting a few seconds for it to set up. The second 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!
• 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.
• Swirl brushes on paper towel after every few strokes during the blending process.
• Some blending techniques: “Hula” the blender brush, keeping the blender horizontal, to blend the color out
and remove any demarcation lines. “Tamping” will press the color into the background instead of letting the dolor
“sit” where you placed it. “Pulling” to gradually pull the color down with the Blender Brush sideways.
STEPS FOR THE OIL ROUGING:
SKY:
Using the photo as a guide for placement, brush mix a bit of gel into your largest Scumbler (size 8) then apply a
slight amount of Ultramarine Blue. Use the Scumbler to scuff the color into the sky. Buff color away with the largest
Blender. Leave some white areas for clouds. The sky should have a gauzy almost airbrushed effect. If paint
drags, it needs more gel added to your Scumbler.
FLOWERS AND BUDS (overall tinting):
To add a little more dimension to your flowers take your liner and a slight amount of Payne’s Grey, place a small
amount where you see the darker values in the photo. Gently soften with your small Blender.
HUMMINGBIRD:
You will now apply straight Payne’s Grey using either your liner or smallest Scumbler (which ever you feel the most
comfortable using) to the beak, under eye area, the wings, along the breast and tail. Gently pull, blend, and tamp
using your smallest Blender.
Now would be a good time 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.
FLOWERS (top half of flowers), BUDS AND HUMMINGBIRD (under neck):
Palette mix Alizarin Crimson + Ultramarine Blue to create a nice Cranberry color.
• Flowers (top half of flowers) and buds: keeping an eye on the photo, using your smallest Scumbler (size 2)
and/or your liner brush, apply the paint to where the color appears to be the darkest; then use your small Blender
(size 14) to rouge the color away from the point of origin. We will be using another application of color to the
flowers later so flowers will appear flat for now.
• Hummingbird neck: with your smaller Scumbler scuff the color throughout the neck area, keep an eye on the
photo for placement of color.
FLOWERS (bottom half of flowers):
Palette mix a tiny amount of Ultramarine into the Cranberry mix to get a deep purple. Apply the paint with your liner
brush to where the purple appears to be the darkest on the photo then take your smallest Blender and tamp
slightly to bring the color down very gently, making sure to leave the bottom tips of the flower or the balloon part
white.
Now would be a good time to spray again. 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.
HUMMINGBIRD (top of head, breast, top of wings):
Palette mix Ultramarine Blue into Cad Yellow to obtain a nice bright green. With your Scumbler (size 2) add
shading to the top of his head, under his beak, top of the right wing and along the breast area. Gently blend with
your smallest Blender to soften the edges. Remember to leave white highlights here and there.
HUMMINGBIRD:
You will now apply a second application of straight Payne’s Grey using either your liner or smallest Scumbler (which
ever you feel the most comfortable using) to the beak, the wings, along the breast and tail. Gently pull, blend, and
tamp using your smallest Blender.
LEAVES:
Using the same green mix that you used for the Hummingbird and a liner brush, add color to the leaves then soften
with the smaller Blender. You will add another application later to create additional dimension.
FLOWERS (top half of flowers) AND BUDS:
Now, to make your flowers really pop, take your liner and straight Alizarin Crimson, place a small amount over the
Cranberry where you see the darker values in the photo. Gently soften with your small Blender. Don’t forget to
leave the tips white, keep an eye on the photo for reference.
TIME TO GO OUT AND SPRAY…. Remember to erase and clean up any smudges.
HUMMINGBIRD:
Making sure your liner is clean (pinch wipe it several times until you don’t see any color coming off), take a tiny
amount of Cad Yellow (no gel) and make a yellow highlight from the beak to above the eye. You can also do this to
the right side of the wings on the tip of each joint of the feathers and a tiny amount on the upper part of the breast
and under his beak. Adding the Cad Yellow to the green areas will make his color more vibrant.
LEAVES:
Mix a very small amount of Payne’s Grey into the green mix already on your palette, it should be an almost deep
evergreen now, and using your liner apply the darker green color to the leaves then soften with the smaller
Blender.
FLOWERS (bottom half of flowers):
Apply a second coat of purple to the bottom half of the flowers as before. Gently soften with your small Blender.
HUMMINGBIRD:
With your Blender scuff a tiny amount of the purple on the Hummingbirds breast and right wing. Not too much, you
don’t want it to be overpowering.
STAMENS:
Take your liner with a bit of Alizarin Crimson and add it to the ends of each stamen, don’t color the whole stamen
just each end.
Now is time to step back and evaluate your artwork. Prop it up at least 3 or 4 feet away and analyze it. If you think
you would like to add additional color, now is the time to do it.
If for some reason the two small dots in the Hummingbirds eye has been colored in and is not visible , take the end
of a toothpick, dipped into a tiny amount of white acrylic paint and place the two dots into the eye again.
FINISH WITH YOUR FINAL MISTINGS OF LIBERTY MATTE SPRAY TO DRY.
I hope you enjoyed creating this design, feel free to 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 or for teaching. CMOTS please inquire about special pattern packet
rates for distribution to students in class.
Please feel free to contact me if you have any questions at all:
Sharon Kuester
1040 Linmar Avenue
Fruitland Park, Florida 34731
Phone: 352-365-1330
wonder of this little bird in mind. Above all, the hummingbird represents joy. It denotes distinction, set apart from
other birds. Not only can it hover, but can actually fly backward. It embraces color and beauty, offering its wonderful
iridescent markings. The hummingbird is also noted for seeking harmony and good vibrations, avoiding discord and
harshness. By watching a hummingbird you dare to taste the sweet nectar of life!
MATERIALS REQUIRED FOR THE PROJECT:
• Desired surface to work on (I used an 11 x 14 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
• Pencil or Pen for tracing and transferring (if needed)
• Art Gum Eraser and/or Clic Eraser
• Masking Tape
• Rapidograph pen (3x0) 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
SUGGESTED OIL COLORS NEEDED:
- Payne’s Grey - Burnt Sienna
- Burnt Umber - Alizarin Crimson Permanent
- Cadmium Yellow Medium - Transparentizing Gel
- Ultramarine Blue
SUGGESTED BRUSHES:
• The Scharff Series 100 Classic Bright: sizes 8, 14, 20 and 32 (Blender Brushes)
• A Scharff Liner Brush Series 455: size 1
• A Scharff Scumbler Set Series 240 Touch-It
PREPARING THE SURFACES:
Stretched Canvas, Canvas Panel or Loose Canvas mounted onto a board surface – No sealer is necessary
before inking. Put surface under your projector and begin inking or transfer pattern onto canvas with graphite
paper very lightly, ink in design, then erase graphite lines and cleanup any smudges with an art gum eraser, apply
2-3 generous coats of Liberty Matte spray, let dry. Begin your rouging.
Wood – Sand wood if needed and wipe the surface with a tack rag. Lightly white wash with a rag moistened with
water and wrung out. Apply white acrylic paint to the rag and put on as though you were “staining” the surface. Let
dry. Apply 2-3 good coats of Liberty Matte spray. Allow at least 24 hours for proper curing time. After surface has
completely dried, buff lightly with scrap of tracing paper to smooth the surface. Transfer pattern on with graphite or
use your projector and go directly to your inking.
Watercolor Paper – Transfer pattern lines on with graphite paper very lightly. Ink design; erase any graphite
lines and smudges. Apply 2-3 generous coats of Liberty Matt spray. Allow it to dry between coats. Then apply 1-
2 coats of Liberty Matte spray if you want to be sure it is sealed. This eases moving paint across the surface of
your project and that will allow you to do correction work. Just remember, the more porous a surface is, the more
sealer you must use.
Slate – Use a sponge roller to apply 1-2 coats of white or a light colored acrylic basecoat to the slate. Allow to dry
and then spray 2 medium coats of Liberty Matte spray to the surface. Allow at least 24 hours curing time before
doing the inking. This is to save ruining your pens.
Your Special Yard Sale Find – Any piece you’ve found that takes your eye to create on that has been previously
sealed or varnished. Remove any dirt or waxy build-up on the surface with mild detergent and water, dry it very
well or you may have to go through the full process of removing all the finish depending on the condition of the
piece. You can then transfer the pattern on with transfer paper, ink in the design, be sure to remove any smudges
and transfer lines and then apply a light mist of Liberty Matte spray to protect the inking. After you finish your
painting, spray again with the Liberty Matte spray and Crystal Clear if you “want” a shiny surface.
BASIC INKING INSTRUCTIONS:
Transfer only the basic pattern lines onto the surface. If using graphite paper, keep lines light so they can be
easily removed with an art gum eraser. If using a projector put the small simplified pattern provided, in the
projector, ink in your lines on your surface. Use the technical pen to ink in as much detail as desired. Keep your
detailed drawing and photo out for constant reference. If you make a mistake, use a cotton swab dipped in a small
amount of window cleaner or ammonia, squeeze out a bit and then easily wipe the mistake out and it will disappear.
Do not ink in that area again until it dries!! (If working on any kind of paper surface, the only option you have is to
let the mistake dry and either try to turn it into an asset, or scratch over it lightly with a razor or exacto knife to lift it
off, be careful though!) If you have a white surface, you can apply a white acrylic paint or white out to cover the
error, let dry completely. Feel free to add or eliminate ink detail than is included in the pattern. After completing
the inking process, make sure everything has dried. Lightly remove the graphite lines and smudges with the art
gum eraser. Dust off any crumbs from the eraser. Go outside and apply 3 progressive coats of Liberty Matte
spray.
DIFFERENT APPROACH TO ADD COLOR (an explanation):
Rather than “painting in” the color, I prefer to use the term “rouging” or “tinting”. The paint is applied with either the
Liner or one of the Scumblers, in small amounts in an area where the shading or color is the richest or most
intense, then different sized Blenders are used to coax the color over the surface, graduating the intensity or value
of the color from deeper and richer to a medium value, then on to a lighter, brighter tone, or area appearing to
catch a highlight or reflected light. The most important thing to remember is every area that is painted should hold
at least 3 values of color to give the appearance of dimension.
SOME HELPFUL HINTS AND TIPS:
• 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 mentioned 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 on your palette and get the color desired before adding the color
to your brush and onto your surface, then proceed to rouge as directed.
• What about mistakes and paint outside the patterned areas? Dry cotton swabs are excellent for lifting color
in an area where you have “over-painted”. Rub in a circular motion to lift color off the surface, and then go back to
using one of the Sable Brights (Blenders) to soften the outside edges of that area. Also, use your Art Gum or Clic
Eraser, they are great for removing over the line errors, then just wipe off the crumbs with your makeup brush or
designated brush for cleanup.
• Another trick to “take the pressure off” is to apply the color in stages, and I use the matte spray to “speed-
dry” these “glazed” applications of color between coats. In every area that is tinted, I applied at least 2 different
color glazes, drying them between applications. This keeps your colors clear and vibrant, with less chance of
“mudding”.
SUGGESTED PROCEDURE FOR SPRAYING CALLED PROGRESSIVE SPRAYING: Start with a light misting of
the matte spray, waiting a few seconds for it to set up. The second 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!
• 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.
• Swirl brushes on paper towel after every few strokes during the blending process.
• Some blending techniques: “Hula” the blender brush, keeping the blender horizontal, to blend the color out
and remove any demarcation lines. “Tamping” will press the color into the background instead of letting the dolor
“sit” where you placed it. “Pulling” to gradually pull the color down with the Blender Brush sideways.
STEPS FOR THE OIL ROUGING:
SKY:
Using the photo as a guide for placement, brush mix a bit of gel into your largest Scumbler (size 8) then apply a
slight amount of Ultramarine Blue. Use the Scumbler to scuff the color into the sky. Buff color away with the largest
Blender. Leave some white areas for clouds. The sky should have a gauzy almost airbrushed effect. If paint
drags, it needs more gel added to your Scumbler.
FLOWERS AND BUDS (overall tinting):
To add a little more dimension to your flowers take your liner and a slight amount of Payne’s Grey, place a small
amount where you see the darker values in the photo. Gently soften with your small Blender.
HUMMINGBIRD:
You will now apply straight Payne’s Grey using either your liner or smallest Scumbler (which ever you feel the most
comfortable using) to the beak, under eye area, the wings, along the breast and tail. Gently pull, blend, and tamp
using your smallest Blender.
Now would be a good time 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.
FLOWERS (top half of flowers), BUDS AND HUMMINGBIRD (under neck):
Palette mix Alizarin Crimson + Ultramarine Blue to create a nice Cranberry color.
• Flowers (top half of flowers) and buds: keeping an eye on the photo, using your smallest Scumbler (size 2)
and/or your liner brush, apply the paint to where the color appears to be the darkest; then use your small Blender
(size 14) to rouge the color away from the point of origin. We will be using another application of color to the
flowers later so flowers will appear flat for now.
• Hummingbird neck: with your smaller Scumbler scuff the color throughout the neck area, keep an eye on the
photo for placement of color.
FLOWERS (bottom half of flowers):
Palette mix a tiny amount of Ultramarine into the Cranberry mix to get a deep purple. Apply the paint with your liner
brush to where the purple appears to be the darkest on the photo then take your smallest Blender and tamp
slightly to bring the color down very gently, making sure to leave the bottom tips of the flower or the balloon part
white.
Now would be a good time to spray again. 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.
HUMMINGBIRD (top of head, breast, top of wings):
Palette mix Ultramarine Blue into Cad Yellow to obtain a nice bright green. With your Scumbler (size 2) add
shading to the top of his head, under his beak, top of the right wing and along the breast area. Gently blend with
your smallest Blender to soften the edges. Remember to leave white highlights here and there.
HUMMINGBIRD:
You will now apply a second application of straight Payne’s Grey using either your liner or smallest Scumbler (which
ever you feel the most comfortable using) to the beak, the wings, along the breast and tail. Gently pull, blend, and
tamp using your smallest Blender.
LEAVES:
Using the same green mix that you used for the Hummingbird and a liner brush, add color to the leaves then soften
with the smaller Blender. You will add another application later to create additional dimension.
FLOWERS (top half of flowers) AND BUDS:
Now, to make your flowers really pop, take your liner and straight Alizarin Crimson, place a small amount over the
Cranberry where you see the darker values in the photo. Gently soften with your small Blender. Don’t forget to
leave the tips white, keep an eye on the photo for reference.
TIME TO GO OUT AND SPRAY…. Remember to erase and clean up any smudges.
HUMMINGBIRD:
Making sure your liner is clean (pinch wipe it several times until you don’t see any color coming off), take a tiny
amount of Cad Yellow (no gel) and make a yellow highlight from the beak to above the eye. You can also do this to
the right side of the wings on the tip of each joint of the feathers and a tiny amount on the upper part of the breast
and under his beak. Adding the Cad Yellow to the green areas will make his color more vibrant.
LEAVES:
Mix a very small amount of Payne’s Grey into the green mix already on your palette, it should be an almost deep
evergreen now, and using your liner apply the darker green color to the leaves then soften with the smaller
Blender.
FLOWERS (bottom half of flowers):
Apply a second coat of purple to the bottom half of the flowers as before. Gently soften with your small Blender.
HUMMINGBIRD:
With your Blender scuff a tiny amount of the purple on the Hummingbirds breast and right wing. Not too much, you
don’t want it to be overpowering.
STAMENS:
Take your liner with a bit of Alizarin Crimson and add it to the ends of each stamen, don’t color the whole stamen
just each end.
Now is time to step back and evaluate your artwork. Prop it up at least 3 or 4 feet away and analyze it. If you think
you would like to add additional color, now is the time to do it.
If for some reason the two small dots in the Hummingbirds eye has been colored in and is not visible , take the end
of a toothpick, dipped into a tiny amount of white acrylic paint and place the two dots into the eye again.
FINISH WITH YOUR FINAL MISTINGS OF LIBERTY MATTE SPRAY TO DRY.
I hope you enjoyed creating this design, feel free to 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 or for teaching. CMOTS please inquire about special pattern packet
rates for distribution to students in class.
Please feel free to contact me if you have any questions at all:
Sharon Kuester
1040 Linmar Avenue
Fruitland Park, Florida 34731
Phone: 352-365-1330
| The Hummingbird |
| Sharon Kuester 1040 Linmar Avenue Fruitland Park, Florida 34731 Phone: 352-365-1330 |
You may have to play around with
your printing options. Print either
portrait or landscape to best fit the
illustrations as well as the
instructions. Don't forget you can
use your print preview on your
computer to view before printing.
your printing options. Print either
portrait or landscape to best fit the
illustrations as well as the
instructions. Don't forget you can
use your print preview on your
computer to view before printing.
All Rights Reserved 2004-2010 Sharon Kuester's Creative Palette. Although the design, artwork and instructions on this page is copyright protected you may reproduce it for your own personal use and it may be used for teaching. However, you cannot claim the design, artwork or any of the above as your own! You may not reproduce it in any digital or mechanical means including information storage & retrieval systems. |
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