Surface
03-1955 Butter Tin Milk Can

Delta Ceramcoat Acrylics
www.deltacrafts.com

Delta Products
7005 All-Purpose Sealer
7003 Exterior/Interior Satin Varnish
One-Step Background Stencil Quilted #95 863 1013
Stencil Spray Adhesive
Small wedge sponges

Brushes
Royal and Langnickle
www.royalbush.com

Aqualon
Series 2585 #0 liner
Series 2170 Filbert #6
Series 2150 shader #6 and 12
Series 700 wash/glaze 3/4”

Miscellaneous Supplies
Water container Paper towel
Tracing paper Transfer paper
Palette paper Scissors
Stylus Transparent tape

Preparation
• Apply an even coat of All-Purpose Sealer to the Tin Milk Can using the 3/4” wash/glaze brush. Allow to dry thoroughly. There is no basecoating needed it is already painted. The sealer will help to keep your paint from sliding around on you.

Stenciling
• Apply the spray adhesive to the One-Step Background Stencil, allow this to dry for several minutes and then pat off the excess spray with a piece of paper towel. Press the stencil firmly in place repeat as many times as needed to cover the surface. Using the wedge sponge pick up a small amount of color lightly pat on the palette to remove excess paint. Using a straight up and down motion pat on the stencil. Applying two thin coats of paint is better then one thick coat of paint. If you try to apply the paint to heavily the paint will bleed under the edge of the stencil.

Background Instructions
• Stencil the body of the Tin Milk Can using the technique from above in Cornsilk Yellow using the Quilted Stencil.
• Basecoat the blue area of the neck in a mix of 3 parts Rhytm N Blue to 1 part White using the 3/4” wash/glaze brush. Do the checks on this area in Cornsilk Yellow plus White using the #12 shader. A check is the exact width of the #12 shader and the same length as the width. Tip: Basecoating is simply applying paint to give a total opaque coverage this means solid so you can not see through it. Two thin coats are preferable to one heavy coat. A good tip is to load the brush, never more then halfway up the bristles. Start in the center of the area to be painted and push the paint out to the pattern line. This technique will leave no ridges on the edge of your painted area.
• Basecoat the slanted section in Cornsilk Yellow using the 3/4” wash/glaze brush. Using the #0 liner do the stripes in Straw, Lilac, White plus Deep Coral and White plus Rhythm N Blue. Using the same brush place a White stripe between each of the color. Using the 3/4” wash/glaze brush float along both edges of this area in Cornsilk Yellow plus a touch of Autumn Brown. Tip: To float load the brush first in floating medium or water, pat of the excess on a paper towel. Tip one corner of the brush in color, blend the color through the bristles of the brush using a short back and forth motion on the palette. The color should graduate from heavy color on the corner that you loaded, to no color on the opposite corner. If when you begin to paint, you have color showing from both sides of the brush, it is improperly loaded. Rinse and start again.
• With a mix of 2 parts White to 1 part Rhytm N Blue float the shadow along both sides of the checked area using the 3/4” wash/glaze brush. Use this mix to do all of the blue banding on the Tin Milk Can.
• Right next to the blue band on the top and bottom of the body of the Tin Milk Can do a small band of Cornsilk Yellow using the #0 liner.

Transferring PATTERN
Click on the word pattern to see a full view of the pattern.

• Lay tracing paper over the pattern and trace all lines except those used to denote shadows. The shadow lines are generally short straight lines and several of them. Main lines are where there are color changes.

• Detail lines are facial features, patterns on fabric, and etc. Lay the tracing over the surface and tape at the top and on one side. Slide the graphite paper between the tracing and the surface; draw over the main lines only. Do not add the detail lines these will be applied after the basecoating is done.

• Apply the floral pattern.

Painting instructions
Follow the step by step throughout the painting process. The arrows indicate the direction in which the brush will move.

• Using the #0 liner do all of the tole strokes in Light Foliage Green. Add an equal amount of Cornsilk Yellow to the Light Foliage Green and go along the top side of the green strokes. Tip: To make a tole stroke load the liner fully with color. Press firmly on the tip of the brush so the bristles flatten out slightly, forming the large end of the stroke. As you start to pull the brush lift up and rotate slight between the thumb and the index finger this will give you a fine point to end on.

• Using the #12 shader double-load in Light Foliage Green and Forest Green. Tip: To double-load, load one half of the brush in first color and the other half of the brush in the second color. Blend lightly on the palette until the colors blend in the center of the bristles creating a middle value. This technique accomplishes basecoating, shading, and highlighting all in one step. Stroke each leaf in the double-loaded brush, pressing the brush flat at the base of the leaf and lifting and rotating between the thumb and the index finger as you pull towards the tip of leaf ending on the edge of the chisel.

• Double-load the #6 shader in Deep Coral and White. Starting from right to left pivot the outside edge of the brush with the White corner, while the inner corner with the Deep Coral on it remains stationary. Repeat this process until all of the petals are done.

• Using the #6 filbert stroke each petal on the blue flowers in Rhythm n Blue, it will take two strokes to fill in one petal. Add an equal amount of White to the Rhytm N Blue and stroke towards the center of the flower going about halfway down the petal. Add another equal part White to the light mix and stroke again going about halfway down the middle blue color. Stroke the three top petals with White accents still using the #6 filbert. Basecoat the center of the flower in Straw using the #6 shader. Float the shadows on the lower half of the center with Autumn Brown using the #6 shader. Float the highlights in Pale Yellow on the upper side of the center. Dot with Cornsilk Yellow using a stylus or a toothpick.

• With a mix of equal parts Lilac and Vintage Wine stroke the little purple flowers pulling from the center out using the #6 shader, let it fray at the ends. Using the same brush pull Lilac from the outside edge of the flower towards the center going about halfway through the petals. Add an equal amount of White to the Lilac and using the #0 liner do small tole strokes pulling from the outside edge of the flower to the center. Do a few small White tole strokes on the upper edge of the flower using the same brush. Dot the center with Cornsilk Yellow using the stylus or the toothpick.

To Finish
Apply as many coats of Satin Exterior/Interior Varnish using the 3/4” wash/glaze brush.