.
Here are a few web sites and some Tips, Tricks and Information to help you make the most of your painting. If you have some ideas to share, email them to us.
Web Sites:
About Painting - Forum, techniques and tips
Retired
Americana Colors
-
For retired colors, close colors and mixes
What is Paint?
We use it all the time, but how many of us really know what paint is. Paint is made up of 4 basic elements:
Pigments are the colors and include everything from dirt to flowers and lots of unusual 'stuff' in between. There is no difference between oil colors, acrylic colors and watercolors as far as the pigments used are concerned. There is a difference in the quality, permanence and workability.
Binder is the glue that makes the pigments stick to the surface you are painting. Tempera uses eggs as the binder; Watercolors and Gouaches (opaque watercolors) use gumarabic; Oils use linseed and soya oils.
Media works with the binder to stabilize it and coat the pigments so the binder can stick to them. (This is technically called a dispersion.) For tempera, water or polymer oil is the dispersion; for watercolor and gouaches it is sugars or honey; and for oils it is polymerized linseed, poppy or walnut oil.
Filler is what is added to make a color more opaque. (Some artists consider this 'dirt'.) This material clouds the actual pigment and is sometimes a cheap additive.
So what makes colors different? COST! And here you really do get what you pay for. The most costly part of the paint is the pigment. The least costly the filler. Paint manufactures have two ways of making paint opaque. One is to add lots of filler which increases opacity, but this also lowers the paints ability to mix well. The other is to add lots of pigment and that is where the cost come in. Pure colors with little filler are very costly to make. Most oils and water colors contain very little filler which makes them perfect for mixing, but the cost is quite high when compared to craft acrylics.
That doesn't mean oils are better than bottled acrylics and vice versa. Each media serves a purpose and it would be silly to use expensive paints on craft items or teaching stroke work to a new student or to use craft paints on items you want to last for many years. It is also very difficult to teach someone mixing and blending with a paint that contains lots of filler. As an artist you need to know the difference between these products and which is best suited to your needs.
For more information about paints see JansenArt Traditions "Artist's Technical Guide".
Clear Glazing Medium:
Clear Glazing Medium is one of the most versatile of the painting mediums. It is a hardening agent and can be used alone (without paint) or combined with any acrylic paint to create an extremely hard, durable painting surface. During the painting process Clear Glazing Medium can be applied to harden the surface and create a barrier coat that will both protect the painting-in-progress and still give a surface with a great deal of porosity, accepts subsequent layers of paint. When a layer of Clear Glazing Medium dries, it creates a layer that has thickness to it. When light enters the painting, it refracts off the layer of paint plus the glazing medium, creating the illusion of depth. The more layers, the more depth, but remember to limit the applications of glazing medium to three in any 24-hour period. (Unless a blow dryer, set to low, is used to force-dry.)
Here are some of the ways Clear Glazing Medium can be used:
1. Natural wood look - glazing medium only.
2. Opaque "one-step" basecoat for wood - four parts paint to 1 part glazing medium.
3. Transparent wood stain or "pickling" effects - one part paint to 4 parts glazing medium.
4. Washes - any color (transparent or opaque) thinned with glazing medium.
5. Transparent color glaze - transparent colors (those with virtually no white to them) thinned with glazing medium.
6. Seal ink on painter's pieces so that it will not "run" when varnished.
For more information on Clear Glazing Medium see "Artist Journal", Fall-2000, #42, "Tips & Techniques" by Carolyn Phillips or Jo Sonja's web site.
Texture Paste:
Texture Paste is brushable translucent paste of heavy consistency. If used 'as is' it makes a translucent white filler that can accent the grain of course wood or be 'built up' into 3-D effects. It can be used to create designs on wood, paper mache', plaster, clay pots, ceramic bisque, primed metal, or any surface that will accept heavy applications of acrylic paints. It may also be used to embed objects such as shells, buttons, and broken glass for mosaics, picture frames, walls, etc. Texture Paste can be mixed directly into your palette colors for textured strokes or it may be applied with a spatula, palette knife, course brush or cake decorating tips. When dried, it can be sanded to the desired smoothness and painted any color. Antiquing will emphasize the textural effects. Spray Varnish is the easiest way to finish a piece that has used texture paste. Texture paste cleans up with soap and water.(Keep brushes, knives, and cake tips wet until clean-up.) Texture paste is non-toxic.
Acrylic Paints:
Since acrylic paints don't like hot weather, just add ice cubes to your water basin. If you are using a Sta-Wet Palette, add ice water to the sponge under the palette paper. Keeping your paint cold helps the paint flow and prevents it from drying so fast and becoming sticky or skinning over. (Plaid, Ent.)
JO Sonja Paints:
NOTE: When using Jo Sonja paint, ALWAYS, shake extra well before squeezing out the paint. The pigment and binder of the paints have a tendency to separate, and if you're not careful, soon all you have left is pigment that is so thick that you can't get out of the tube. If, when you squeeze out the paint all you get is binder, use the following trick to get it back into the tube and shake until the binder is remixed with the pigment.
When you have squeezed too much paint out of a tube of Jo Sonja paint, you can get it back in by CAREFULLY squeezing as much air out of the tube as possible then put the open end of the tube into the pile of paint and release the tube. It will suck the paint back into the tube. Repeat as necessary.(Submitted by Barbara from Hughesville, PA.)
Save the caps from empty tubes of Jo Sonja paint. If you get a little heavy handed or get dried paint and twist too hard and break a cap, you have a backup. (Submitted by Nancy from Gilbertsville, PA.)
Painting small items:
To paint small items, attach them to cardboard with a piece of masking tape rolled over to form a circle, this will secure them and the cardboard allows you to have something to hold onto without getting paint all over your hands.
Tracing designs:
To keep your original pattern clean, when applying your pattern to your surface, position your pattern, tape in place with masking tape, place transfer paper under your pattern and then lay a piece of wax paper over the top. You can use a ballpoint pen or stylus to transfer the lines to your surface. If the phone should ring, or the kids need your help, When you come back you won't have to worry about where you left off with your tracing job, the lines will show up white on the wax paper. (Submitted by Gloria Falk, O'Fallon, MO)
Another trick for tracing designs is to use plain paper, top loading fax-copier. First put the tracing paper in the top along with the regular paper as a backing. Put the design in the fax-copier and press copy. The design transfers onto the tracing paper perfectly. (This hint came from the Siskiyou Chapter in Oregon).
Removing Paint from the edges of your design:
A Magic Rub pencil eraser works great for erasing those over-run lines, when floating or basecoating. Wet the eraser in water, dab off slightly and then using a light touch gently work off the dried paint. Wipe the paint off of the eraser and re-dampen as needed. Be careful not to rub too hard in one spot, as it can remove your original basecoat color also. This method does NOT work well on a stained surface. (Submitted by Gloria Falk, O'Fallon, MO.)
Cleaning Up Unwanted Paint on your Project:
(Patti from Spring Hill, FL.) suggests: using a Q-tip dipped in vodka
(Shelia from Stittsville, Ontario) says: don't waste the vodka! Dip your Q-tip in brush cleaner
(Pat from Hot Springs Village, AK.) favors: dipping in that well-known old brand of window cleaner
(Tabatha from Charleston, SC.) uses: good old fashion spit! As long as the paint is still a bit damp
(Christine from Monongahela, PA.) says: rubbing alcohol works wonders (use caution or it will take all the paint off,)
Removing Paint from your hands:
To clean paint from hands (wet or dry) try using baby wipes. Keep a container handy in your work area. You will find these handy little wipes very durable and efficient for cleaning up not only hands but also work area, etc. (Submitted by Louise from Byron, MI.)
Removing Paint from your Cloths:
(Pam from Spokane, WA. ) suggests: keeping some isopropyl alcohol near at hand. First spot clean your cloths with the alcohol, then use regular remover methods.
(Elke) says: Murphy's Oil Soal works well. (a 1:3 mixture with water also cleans and lubricates brushes.)
Removing Dried-in Paint from Brushes:
(Lydia) says soak your brushes in 'Winsor-Newton Brush Cleaner and Restorer' overnight and wash the next day with Simple Green cleaner. It will take out even the most dried-in paint.
Projects smell like paint:
Tired of that strong paint smell every time you open one of your lovely painted boxes? To make the inside smell as good as the outside looks, try putting a dryer sheet inside before you put the lid on. Also, a bit of wax or furniture polish around the inside of the lid will keep the top from sticking to the bottom and possibly pulling off the paint.
Breaking fingernails opening paint bottles?
Keep a small can/bottle opener with your paint supplies. When you open a bottle of paint, use the blunt end of the can opener. It will save those expensive manicures. (This hint came from the Siskiyou Chapter in Oregon.)
Removing the plastic wrap on the paint bottle caps:
Hold the bottle in one hand and the cap in the other. Turn and pull on the cap as if you were going to "tighten" the cap. The plastic wrap will slip right off. (Submitted by Gloria Falk, O'Fallon, MO)
Avoid wet palette mildew:
Keep copper pennies under the sponge of your wet palette. The copper is a mildew inhibitor and will keep your sponge fresh and mildew free. (This hint came from the Siskiyou Chapter in Oregon.)
Another mildew preventative is to use distilled water to dampen the sponge and paper. (Submitted by Gloria Falk)
How to make a homemade wet palette:
Cut a piece of Miracle Sponge (thin sponge, available at craft stores-that swells once it is dampened) the size of your paper. Dampen with distilled water. Place a piece of dampened bakery parchment over top (cut the same size.) Place this into the bottom of an airtight container (ie: Tupperware, Rubbermaid). When you leave your painting session, put the cover on the container. This will keep your paint moist. Note: It also helps to puddle your paint and, occasionally, as you are using the palette to mist it with a light spray of distilled water. (Submitted by Gloria Falk).
Form Following Strokes:
If all of your brush strokes follow the form of what you are painting it is easy to shape, highlight, shadow, etc. But if you paint in an 'unnatural' direction, it takes a great deal of work, and is sometimes impossible, to make the final form look as it should.
Smaller, Lighter, Brighter:
This is a good guide for adding shape and highlights to your work. As you add additional color to your base-coated shape, make the new, form-following, strokes smaller in size, lighter in color, and brighter. Each new layer of shaping should continue in this manner until you reach your desired result.
Bean bag work:
When painting fine line work, if you place your hand on a bean bag it will hold your hand steady and make it easier to get straight lines. (This idea came from the Siskiyou Chapter in Oregon).
How to fix a dent:
If you have a dent in your wood, steam it out! Put a damp rag on the dent and using a hot iron, steam it out by holding the iron against the damp rag for a moment and presto, no more dent! (Andi from Arlingon, TX.).
How to find the center of a circle:
All of us at one time or another have needed to find the center of a circle, here is an easy way from Jackie Shaw's "Beginner's Guide to Freehand Decorative Painting".
1. Lay the paper on the circle (tray, plate...) with the right angle touching the very edge---anywhere. Put your finger on the right angle corner of the paper. Now mark the edges of the circle where they intersect with the sides of the paper which formed the right angle. Do not mark the intersection by your finger.
2. Pick the paper up. Then lay it down on the circle to use it as a straight edge, and connect the two marks you made in step 1. You should have a line passing through the center of the circle.
3. Repeat step 1 anywhere along the circle's edge.
4. Repeat step 4 and viola! Where the lines cross is the center of your circle.
Hand lotion:
BEWARE! Hand lotion can cause surfaces and watercolor paper to repel paint. Use lotion after your project is tucked away! (This idea came from the Siskiyou chapter in Oregon).
Copyrights (and how they apply to the hobby and craft industry):
The U.S. Copyright Act states that an artist automatically creates a copyright when the artist creates the work, whether or not it has the copyright symbol on it. Copyright protection lasts for the life of the creator plus 70 years (whether or not the article/pattern/text/photo is still in print). If the artist or copyright owner does not specify what one can or cannot do with a pattern/text, then the standard provisions of the U.S. Copyright Act apply. This means that the pattern/text cannot be reproduced in any way. Instructional text, while part of the pattern, are separate and protected items. Copyright protection also extends to color pictures and may include not just the artist, but the photographer as well.
Photocopies and/or line drawings for personal use can be considered infringement unless the artist grants the purchaser that permission in a copyright statement (usually at the front of a publication). Copying patterns and/or instructions may be the 'friendly' thing to do, but it is illegal and robs artists of revenue. Changing a certain percentage of an original to make it 'legal' is not enough. If the 'revised' work captures the artist's originality and creativity and not your own, then it is infringement. Sharing 'unpublished' artist's work is a absolute no-no. Classes taken from artists often contain unpublished patterns and that is one of the many reason we are willing to pay the 'big bucks' for
the classes. Teaching another artist's work is an area where you need to exercise caution. Make sure you know what you can do before you start. Sometimes teachers must require students to purchase patterns.
What is Paint?
We use it all the time, but how many of us really know what paint is. Paint is made up of 4 basic elements:
Pigments are the colors and include everything from dirt to flowers and lots of unusual 'stuff' in between. There is no difference between oil colors, acrylic colors and watercolors as far as the pigments used are concerned. There is a difference in the quality, permanence and workability.
Binder is the glue that makes the pigments stick to the surface you are painting. Tempera uses eggs as the binder; Watercolors and Gouaches (opaque watercolors) use gumarabic; Oils use linseed and soya oils.
Media works with the binder to stabilize it and coat the pigments so the binder can stick to them. (This is technically called a dispersion.) For tempera, water or polymer oil is the dispersion; for watercolor and gouaches it is sugars or honey; and for oils it is polymerized linseed, poppy or walnut oil.
Filler is what is added to make a color more opaque. (Some artists consider this 'dirt'.) This material clouds the actual pigment and is sometimes a cheap additive.
So what makes colors different? COST! And here you really do get what you pay for. The most costly part of the paint is the pigment. The least costly the filler. Paint manufactures have two ways of making paint opaque. One is to add lots of filler which increases opacity, but this also lowers the paints ability to mix well. The other is to add lots of pigment and that is where the cost come in. Pure colors with little filler are very costly to make. Most oils and water colors contain very little filler which makes them perfect for mixing, but the cost is quite high when compared to craft acrylics.
That doesn't mean oils are better than bottled acrylics and vice versa. Each media serves a purpose and it would be silly to use expensive paints on craft items or teaching stroke work to a new student or to use craft paints on items you want to last for many years. It is also very difficult to teach someone mixing and blending with a paint that contains lots of filler. As an artist you need to know the difference between these products and which is best suited to your needs.
For more information about paints see JansenArt Traditions "Artist's Technical Guide".
Clear Glazing Medium:
Clear Glazing Medium is one of the most versatile of the painting mediums. It is a hardening agent and can be used alone (without paint) or combined with any acrylic paint to create an extremely hard, durable painting surface. During the painting process Clear Glazing Medium can be applied to harden the surface and create a barrier coat that will both protect the painting-in-progress and still give a surface with a great deal of porosity, accepts subsequent layers of paint. When a layer of Clear Glazing Medium dries, it creates a layer that has thickness to it. When light enters the painting, it refracts off the layer of paint plus the glazing medium, creating the illusion of depth. The more layers, the more depth, but remember to limit the applications of glazing medium to three in any 24-hour period. (Unless a blow dryer, set to low, is used to force-dry.)
Here are some of the ways Clear Glazing Medium can be used:
1. Natural wood look - glazing medium only.
2. Opaque "one-step" basecoat for wood - four parts paint to 1 part glazing medium.
3. Transparent wood stain or "pickling" effects - one part paint to 4 parts glazing medium.
4. Washes - any color (transparent or opaque) thinned with glazing medium.
5. Transparent color glaze - transparent colors (those with virtually no white to them) thinned with glazing medium.
6. Seal ink on painter's pieces so that it will not "run" when varnished.
For more information on Clear Glazing Medium see "Artist Journal", Fall-2000, #42, "Tips & Techniques" by Carolyn Phillips or Jo Sonja's web site.
Texture Paste:
Texture Paste is brushable translucent paste of heavy consistency. If used 'as is' it makes a translucent white filler that can accent the grain of course wood or be 'built up' into 3-D effects. It can be used to create designs on wood, paper mache', plaster, clay pots, ceramic bisque, primed metal, or any surface that will accept heavy applications of acrylic paints. It may also be used to embed objects such as shells, buttons, and broken glass for mosaics, picture frames, walls, etc. Texture Paste can be mixed directly into your palette colors for textured strokes or it may be applied with a spatula, palette knife, course brush or cake decorating tips. When dried, it can be sanded to the desired smoothness and painted any color. Antiquing will emphasize the textural effects. Spray Varnish is the easiest way to finish a piece that has used texture paste. Texture paste cleans up with soap and water.(Keep brushes, knives, and cake tips wet until clean-up.) Texture paste is non-toxic.
Acrylic Paints:
Since acrylic paints don't like hot weather, just add ice cubes to your water basin. If you are using a Sta-Wet Palette, add ice water to the sponge under the palette paper. Keeping your paint cold helps the paint flow and prevents it from drying so fast and becoming sticky or skinning over. (Plaid, Ent.)
JO Sonja Paints:
NOTE: When using Jo Sonja paint, ALWAYS, shake extra well before squeezing out the paint. The pigment and binder of the paints have a tendency to separate, and if you're not careful, soon all you have left is pigment that is so thick that you can't get out of the tube. If, when you squeeze out the paint all you get is binder, use the following trick to get it back into the tube and shake until the binder is remixed with the pigment.
When you have squeezed too much paint out of a tube of Jo Sonja paint, you can get it back in by CAREFULLY squeezing as much air out of the tube as possible then put the open end of the tube into the pile of paint and release the tube. It will suck the paint back into the tube. Repeat as necessary.(Submitted by Barbara from Hughesville, PA.)
Save the caps from empty tubes of Jo Sonja paint. If you get a little heavy handed or get dried paint and twist too hard and break a cap, you have a backup. (Submitted by Nancy from Gilbertsville, PA.)
Painting small items:
To paint small items, attach them to cardboard with a piece of masking tape rolled over to form a circle, this will secure them and the cardboard allows you to have something to hold onto without getting paint all over your hands.
Tracing designs:
To keep your original pattern clean, when applying your pattern to your surface, position your pattern, tape in place with masking tape, place transfer paper under your pattern and then lay a piece of wax paper over the top. You can use a ballpoint pen or stylus to transfer the lines to your surface. If the phone should ring, or the kids need your help, When you come back you won't have to worry about where you left off with your tracing job, the lines will show up white on the wax paper. (Submitted by Gloria Falk, O'Fallon, MO)
Another trick for tracing designs is to use plain paper, top loading fax-copier. First put the tracing paper in the top along with the regular paper as a backing. Put the design in the fax-copier and press copy. The design transfers onto the tracing paper perfectly. (This hint came from the Siskiyou Chapter in Oregon).
Removing Paint from the edges of your design:
A Magic Rub pencil eraser works great for erasing those over-run lines, when floating or basecoating. Wet the eraser in water, dab off slightly and then using a light touch gently work off the dried paint. Wipe the paint off of the eraser and re-dampen as needed. Be careful not to rub too hard in one spot, as it can remove your original basecoat color also. This method does NOT work well on a stained surface. (Submitted by Gloria Falk, O'Fallon, MO.)
Cleaning Up Unwanted Paint on your Project:
(Patti from Spring Hill, FL.) suggests: using a Q-tip dipped in vodka
(Shelia from Stittsville, Ontario) says: don't waste the vodka! Dip your Q-tip in brush cleaner
(Pat from Hot Springs Village, AK.) favors: dipping in that well-known old brand of window cleaner
(Tabatha from Charleston, SC.) uses: good old fashion spit! As long as the paint is still a bit damp
(Christine from Monongahela, PA.) says: rubbing alcohol works wonders (use caution or it will take all the paint off,)
Removing Paint from your hands:
To clean paint from hands (wet or dry) try using baby wipes. Keep a container handy in your work area. You will find these handy little wipes very durable and efficient for cleaning up not only hands but also work area, etc. (Submitted by Louise from Byron, MI.)
Removing Paint from your Cloths:
(Pam from Spokane, WA. ) suggests: keeping some isopropyl alcohol near at hand. First spot clean your cloths with the alcohol, then use regular remover methods.
(Elke) says: Murphy's Oil Soal works well. (a 1:3 mixture with water also cleans and lubricates brushes.)
Removing Dried-in Paint from Brushes:
(Lydia) says soak your brushes in 'Winsor-Newton Brush Cleaner and Restorer' overnight and wash the next day with Simple Green cleaner. It will take out even the most dried-in paint.
Projects smell like paint:
Tired of that strong paint smell every time you open one of your lovely painted boxes? To make the inside smell as good as the outside looks, try putting a dryer sheet inside before you put the lid on. Also, a bit of wax or furniture polish around the inside of the lid will keep the top from sticking to the bottom and possibly pulling off the paint.
Breaking fingernails opening paint bottles?
Keep a small can/bottle opener with your paint supplies. When you open a bottle of paint, use the blunt end of the can opener. It will save those expensive manicures. (This hint came from the Siskiyou Chapter in Oregon.)
Removing the plastic wrap on the paint bottle caps:
Hold the bottle in one hand and the cap in the other. Turn and pull on the cap as if you were going to "tighten" the cap. The plastic wrap will slip right off. (Submitted by Gloria Falk, O'Fallon, MO)
Avoid wet palette mildew:
Keep copper pennies under the sponge of your wet palette. The copper is a mildew inhibitor and will keep your sponge fresh and mildew free. (This hint came from the Siskiyou Chapter in Oregon.)
Another mildew preventative is to use distilled water to dampen the sponge and paper. (Submitted by Gloria Falk)
How to make a homemade wet palette:
Cut a piece of Miracle Sponge (thin sponge, available at craft stores-that swells once it is dampened) the size of your paper. Dampen with distilled water. Place a piece of dampened bakery parchment over top (cut the same size.) Place this into the bottom of an airtight container (ie: Tupperware, Rubbermaid). When you leave your painting session, put the cover on the container. This will keep your paint moist. Note: It also helps to puddle your paint and, occasionally, as you are using the palette to mist it with a light spray of distilled water. (Submitted by Gloria Falk).
Form Following Strokes:
If all of your brush strokes follow the form of what you are painting it is easy to shape, highlight, shadow, etc. But if you paint in an 'unnatural' direction, it takes a great deal of work, and is sometimes impossible, to make the final form look as it should.
Smaller, Lighter, Brighter:
This is a good guide for adding shape and highlights to your work. As you add additional color to your base-coated shape, make the new, form-following, strokes smaller in size, lighter in color, and brighter. Each new layer of shaping should continue in this manner until you reach your desired result.
Bean bag work:
When painting fine line work, if you place your hand on a bean bag it will hold your hand steady and make it easier to get straight lines. (This idea came from the Siskiyou Chapter in Oregon).
How to fix a dent:
If you have a dent in your wood, steam it out! Put a damp rag on the dent and using a hot iron, steam it out by holding the iron against the damp rag for a moment and presto, no more dent! (Andi from Arlingon, TX.).
How to find the center of a circle:
All of us at one time or another have needed to find the center of a circle, here is an easy way from Jackie Shaw's "Beginner's Guide to Freehand Decorative Painting".
1. Lay the paper on the circle (tray, plate...) with the right angle touching the very edge---anywhere. Put your finger on the right angle corner of the paper. Now mark the edges of the circle where they intersect with the sides of the paper which formed the right angle. Do not mark the intersection by your finger.
2. Pick the paper up. Then lay it down on the circle to use it as a straight edge, and connect the two marks you made in step 1. You should have a line passing through the center of the circle.
3. Repeat step 1 anywhere along the circle's edge.
4. Repeat step 4 and viola! Where the lines cross is the center of your circle.
Hand lotion:
BEWARE! Hand lotion can cause surfaces and watercolor paper to repel paint. Use lotion after your project is tucked away! (This idea came from the Siskiyou chapter in Oregon).
Copyrights (and how they apply to the hobby and craft industry):
The U.S. Copyright Act states that an artist automatically creates a copyright when the artist creates the work, whether or not it has the copyright symbol on it. Copyright protection lasts for the life of the creator plus 70 years (whether or not the article/pattern/text/photo is still in print). If the artist or copyright owner does not specify what one can or cannot do with a pattern/text, then the standard provisions of the U.S. Copyright Act apply. This means that the pattern/text cannot be reproduced in any way. Instructional text, while part of the pattern, are separate and protected items. Copyright protection also extends to color pictures and may include not just the artist, but the photographer as well.
Photocopies and/or line drawings for personal use can be considered infringement unless the artist grants the purchaser that permission in a copyright statement (usually at the front of a publication). Copying patterns and/or instructions may be the 'friendly' thing to do, but it is illegal and robs artists of revenue. Changing a certain percentage of an original to make it 'legal' is not enough. If the 'revised' work captures the artist's originality and creativity and not your own, then it is infringement. Sharing 'unpublished' artist's work is a absolute no-no. Classes taken from artists often contain unpublished patterns and that is one of the many reason we are willing to pay the 'big bucks' for
the classes. Teaching another artist's work is an area where you need to exercise caution. Make sure you know what you can do before you start. Sometimes teachers must require students to purchase patterns.