4. Reflect the violets into the wet glaze. The reflections are transparent therefore working these into a wet glaze will keep them so.

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1 Glass Vase Stage Two Glaze the glass top to bottom edge to edge with one of the following: Genesis Magenta, Quin Crimson or QC + Red. Use a small amount of turp to help the paint move if necessary. 1. Begin the primary shine in the upper right with WW in the lightest area. Diffuse this application of paint out into the wet glaze. Strenghten with WW where the light is striking the glass directly. 2. Next apply pass through light in the lower left of the glass using Blue Tint. This is triangular in shape. Blend out toward the center of the glass. Reinforce the light right on the outside edge. 3. Add skim shines over the front of the glass with WW. Check that the brightest section is the primary shine. Only one skim shine is pointed out in the diagram below. Add WW on the edges of the glass to show the thickness of the glass. 4. Reflect the violets into the wet glaze. The reflections are transparent therefore working these into a wet glaze will keep them so Practice doesnt t make perfect, nor is it supposed to. Practice is about increasing your repertoire of ways to recover from your mistakes. -Joann C. Gutin in Discover 3

2 How to Mix a Leaf Palette Here are the steps used to create a leaf/green palette consisting of mixes: Step One: Mix a basic palette with a value scale a gray 2-8 or lay out the Genesis Values of Gray 2-8 (Mix on Wingate or disposable palette - not on the final storage palette. Transfer all mixes at the end of the mixing process so as to keep it neat and compact) Add Genesis Yellow to each gray pile of paint to create Basic Green. Step Two: Divide each Basic Green pile into 3 or 4 additional piles. In other words, across your palette you will have 4 (or 5) identical values scales of the scale you just made. Step Four: In the third value scale of Basic Green, add Y to each value 5-8 and BU to each value 2-4 to create the Warm Green Step Five: In the fourth value scale of Basic Green, add RS to each value 5-8, BU and QC to each value 2-4 to create Neutral Green Step Six: Place all of these value scales onto a large glass palette with a lid or in aluminum tins with lid. The paint will not dry or change. Whenever you need to paint leaves or green landscapes, just pull out your leaf scale. Step Three: In the second value scale of Basic Green, add UB each pile of paint to create Cool Green To create an optional cool scale, add Phthalo Blue 01 to the third value scale of Basic Green.

3 Calla Lilies Stage Two 1. Glaze the yellow sections of the lily with Y. This should be very subtle. Add a highlight in the slightly right of center using WW. 2. With QC + R line the outside edge of the lily. Coax this mix toward the pivot point. In the streaks, strive for variety in size, shape and length. 3. Add accent colors on the outside edges with QC, R, QC + UB. The accent is darkest on the outside edge. It initially lines the outside edge but is blended out toward the pivot point. Have a value change within each accent by applying additional paint. 4. Add shadow work using black plus a small amount of violet. Reference video and photo for placement. 5. Add center by basecoating center with Y. Shade with RS + BU. Highlight with WW.

4 Tulps Stage Two 1. With QC + R line the outside edge of the tulips. Coax this mix toward the pivot point. In the streaks, strive for variety in size, shape and length. 3. Add accent colors on the outside edges with QC, R, QC + UB. The accent is darkest on the outside edge. It initially lines the outside edge but is blended out toward the pivot point. Have a value change within each accent by applying additional paint. 4. Add shadow work using black plus a small amount of violet. Reference video and photo for placement. 5. Add center by basecoating center with Black. Highlight with WW.

5 Rose Stage Two 1. Glaze the yellow sections of the rose with Y. This should be very subtle. Add orange in the points of the triangle sections. 2. Add a Center with R. 3. Add accent colors on the outside edges with QC, R, QC + UB. The accent is darkest on the outside edge. It initially lines the outside edge but is blended out toward the pivot point. Have a value change within each accent by applying additional paint. 4. Add shadow work using black plus a small amount of violet. Reference video and photo for placement. 5. Add highlights using WW.

6 Lilacs Stage Two 1. Add stronger, more defined petals to the top of the lilac grouping using the original lilac mixes. 2. Add new growth green and airy petals to the outside grouping. 3. Add centers with Y. 4. Glaze the lilacs in a crescent shape next to the rose if the form is lost.

7 Violets Create the violet petals using the scale below. Each petal is painted with a crescent of dark across the back of the petal. The balance of the petal is medium. Add lights on top of the medium value to create either a bend in the petal as it catches the light or a ruffle on the outside edge. Add markings to the petal using the Dark value. Add a center with Y. Violet Mixes Medium: Light: Dark: QC + UB + TW Medium + TW Medium + Black

8 Primary Shine Explanation A primary shine is the reflection of the light source. It is where the light is striking the object directly. This shine will be in the center of the previously created light section. Shines begin with a transparent, dull haze behind the final shine. This shows that that light spreads out once it strikes an object. The harder the surface of the object, the less the light will spread. The shine is sharper on harder objects. The shine on the flowers will be a softer while the shine on the hard shiny vase will be sharp. Reinforce the lights on the objects with TW + Y. Inside of this light place WW if a light look is desired. Caution: This new light must be contained within the original light that was developed in stage one. If it goes onto the medium value, it could appear milky or chalky. Reflected Light Reflected light or bounce back light is light that is reflecting or bouncing off another object onto the dark side of another object. This light is a cooler light than the light used for shines. The light that creates shines is from the warm light source. Light cools as it travels through the composition. The reflected light becomes irregular as it bounces around. Reflected Light Procedure Load an old brush with Blue Tint. Wipe the majority of the paint out of the brush so as to have merely a dirty brush. This reflected light is placed on the dark side of the objects. It must go on the exact outside of the objects as this where the light is striking the object first.

9 Shadows Shadows occur only if these three things are present: light, an interruption of the light and a receiver of the shadow. If one of these elements is missing, a shadow cannot occur. Shadows have the following characteristics: The are transparent. They fall opposite of the light source. The shadow is the shape of the object causing the shadow. They follow the form of the object receiving the shadow Shadows are cooler than the receiver. Some shadows can cast colour (as in translucent glass or liquid). Use the above guidelines for the shadows on the table that occur from the vase. First place UB + BU (this makes a transparent black) where indicated in the photo. Then come in with opaque black (the black straight out of the jar) and strengthen next to and under the vase. Add shadows from the leaves onto the vase. Keep subtle. Add a shadow from the glass vase onto the table and the porcelain vase using the original glaze color as translucent objects cast color in the shadow. Add WW lights to show the pass through light. Strenthen the shadow with black. Varnish Varnish the dried piece with Final Coat brand varnish. This varnish can be applied with either a brush or a stain applicator pad. The first coat may separate or bead up. The subsequent coats of varnish will fill in this separation.

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