Make a Valentine's Day Gnome | Suzette Hussey | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

8 Lessons (1h 30m)
    • 1. Welcome!

      1:27
    • 2. Building the Armature

      3:34
    • 3. Adding the Clay

      35:33
    • 4. Sanding the Sculpture

      4:57
    • 5. Painting the Sculpture

      23:19
    • 6. Painting the Heart

      4:03
    • 7. Embellishing Your Sculpture

      16:02
    • 8. Class Project

      0:50
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About This Class

Welcome to Make a Valentine's Day Gnome! In this course I will show you how to make your very own Valentine's Day Gnome using paper clay. You will learn:

  1. How to make the armature.
  2. How to add and smooth the clay.
  3. How to make a heart embellishment.
  4. How to paint and embellish your sculpture.

This course is good for all levels. 

Meet Your Teacher

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Suzette Hussey

Artist, Skillshare Teacher

Teacher

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Transcripts

1. Welcome!: Hello, I am subsets and a welcome to make it a Valentine's Day. No, I am a mixed media artist and a sculptor with over ten years of experience. In addition to making these cute little whimsical sculptures, I love to work in my art journal and do gelatin printed and week's media. And this course, I will show you how to make your own Valentine's Day. No, I would take you step-by-step through the process of from building the armature, which is the skeleton of the sculpture, to add in and smoothing clay. When we have finished that on our sculpture has dried. I will show you how to paint your sculpture. And finally, how to embellish. If you need any help or feedback along the way, please reach out to me. I am more than happy to answer any questions and help you through this course. Thank you so much for taking this course and I do look forward to seeing you in class, right. 2. Building the Armature: In this first lesson, we are going to make the armature for our Valentine's knew, you will need your bag of cat litter. Are, or rice or sand or a rock or river stone. Anything that you can get. It's basically just a weight down to sculpture. Now the size of it depends on the size that you want your sculpture mine is about the size of a lemon. You'll also need your foil. And it's a very simple lesson where we are just going to put that in the middle of our foil sheet. And then we're gonna begin forming the shape of the nose. So as you can see, that stands up nicely and it's because the cat litter is right there weighing down the base. Now I'm looking at this and I'm saying, OK, the hat will probably start about here. This would be the nose and then the beard. So what I need to do now is build this up as the hat and I want it to be corralled. So there we go, start in the hat. And you can you can keep it straight up, you can turn it to that side, turn it to say there's no hard and fast rule there. I prefer to work with flow sheets because they're already caught, but you don't have to. Whatever foil you have on hand is quite fine. I'm add into the hat more now. And I am just going to make that graph right there. And I think this size is pretty good. I'm just pushing down and shape in it a bit more hair. Probably need one more sheet. I'm just gonna cover everything that will help keep it all in place. You can also use a dual gone if you find that it's small enough in spots and am going to finish it right here. And that's all there is to make in the armature. Don't worry about any little dip down like that because you will be adding clay and the clay can definitely take care of those didn't downs. So I'm gonna squeeze in it tightly and just shaping it a bit more. And in the next lesson, we will add our pay-per-click. 3. Adding the Clay: In this lesson, we are going to add our paperclip to our armature. I have my diluted white glue right here. I just keep on Java it because it's just easier for me. But what you can do is just get a little container, little lid or something like this and add some white glue and a bit of water. Just still looks like a syrupy texture. I keep Bentley proclaimed, in an airtight container. This helps to keep it from dry now because it isn't air dry clay. So that's a good idea when it's not a new sir Ziploc bag is another idea if you find that it is dried out to simple trick to fix it is to put it in a Ziploc bag and add a damp paper told for soft cloth that had damp, that you've saturated with water. This helps to moisten baton that clearly that this is a piece that was a little dry and that's exactly what I did. I had my damp paper towels in my plastic bag and I fasten that up and lifted and it's nice and soft again. So that's a good trick for paper CLI when it hardens out. So I'm gonna begin back, add in clay to my armature and then will smooth it. So add a thin layer of the glue, the diluted glue, that is the armature. Then we're going to cover it with clay. I do this because the foil is none porous. Meaning it won't absorb any water, anything. And they typically will cancel, can get air pockets. A lot of the time. It doesn't. But I prefer just to make sure because you don't want to go through that sculpture and then you have air pockets in a big crack in your place. So to be on the safe side. I do this. I add my diluted white glue all over my armature. Now, you have two choices here. You can break off bits of your clay and press it down like that. Or you can rule out your clay and do a sheet of it. And I'll show you how to do that as well. And then add it and press it down as you go along. So this is just a regular polymer clear ruler. Baffled can work as well if you don't have one or just a rolling pin, like what you use in the kitchen. So I just roll out sheets like that. And you can use that and cover your sculpture faster. The only thing with this method is you have to remember to go back in and press down that CLI. Otherwise you will have air pockets form. So you want to make sure there's a good adhesion between your armature and your clay. So whichever Works for you. Both methods are fine. When you're covering big areas, it's probably easier to roll it out. And smaller areas, it's probably easier to just add your bits of clay like that and pushed up smooth as you go along. And then we'll do a general smoothing. When we're finished. Mode. If you smooth as you go along, you have less work later on. And you want to get the sculpture as the clay rather as smooth as you disappoint. So you don't have much sand in when it's dry. So as you can tell, my clay is not very thick. It's quite a thin sheet and put in on. And I'm going to go ahead and press down with my fingers, very pressing down you can see the indentations here. That is where the dip down, it's right there. So we'll go ahead and add a bit more clay to that spot in a minute. You don't wanna go too thick with the paper clay because you're more you're more prone to crack when it's trying. Now, I find that this drives very well under a fan. I just leave it overnight usually and just switch on a thin and the event and by the next dates thoroughly dry. Another option if you're impatient or you're in a hurry is to put it in an oven. Low temperature, no more than 250 degrees Fahrenheit and different like 20-minute intervals. 20 minutes is usually ok. But sometimes if you have thicker spots, it might take a little longer or you may have to turn it over and do the other side for another 20 minutes. Because the side that leads on, of course, doesn't get as dry as the side that's faced up to the heated element. When you've done the base of your sculpture and your crazy all on, you're going to want to just bang it. Keep it flat to make it flat raw though. So it makes sure it stands up leg that you do not want a wobbly sculpture. We can go back in and smooth in a minute. I'm going to show you how to smooth their claim. I have a container here with a little bit of water. We're going to use that to smooth. I also have a paint brush. This is very handy in smoothing clay. It's old paint brush that I have dedicated to working with clay. I would not use your nice paint brushes for this process. Here I also have a variety of sculpting tools. You don't really need them for this project, but if you have them, go ahead and use them. If you find that your finger or your thumb gets tired and you don't have a sculpting tool like this, then what you can use is like a teaspoon and just use the back of it to rob your Sculpture. To begin, we're simply going to dip our finger in the water and just gently rub. Be careful not to use too much water though you don't want the clay all sticky and droopy. And also if you use too much water, what will happen is that your sculpture, the clay will crack as it's drying. Not a big deal though, we can fix that and I will show you how to fix that in the next lesson. Goes. A lot of times we do end up with cracks with air dry CLI the clear drives too fast. If you're clays shoe thick and if you added too much water in the smoothen process. And so this is using the tool. So it's great to blend out areas that are uneven like hair. Mike Lee has gotten dirty from my work area here. Not a big deal though, because we are going to be painting, sculpture. So as you can see, this tool is good for smoothing out large areas where it's not even. I'm going to show you with a teaspoon and I do have a plastic spoon. I don't have a metal lawn, but it's the same concept. And I will show you how that works great for smoothing clay. So here's my plastic teaspoon. So it's the same concept as using your finger. You dip it in the water and then you smooth it on the clay. So you do not need to go out and buy sculpting tools for this project. Let me show you the paintbrush really quick up ambushes handy in hard to reach areas which you don't really have in this project. At least not yet. And we can dip it in the water again and then just use it to brush under those hard to reach areas that your finger might not be able to help. So I'm gonna go ahead and finish smooth in this. I'll speed it up for you. And then we will add our our details. In this next step, we're going to decide where the rim of the hatch is going to go and the little gnomes news. And where we're going to add the beard. I have my notes that I put it back in my Ziploc bag when I wasn't using it because I do not want it to dry out. That's very important when you're working with air drag, please. So I have to decide at this point, do I want my hat to be fall in that way or that way? That way I knew where I'm gonna put my face and my beard. So I think I want the room of the hat about right here. So I'm gonna put in a line there just as a guide. And then the room, it's going to fall right down to a boat here. So my nose is going to be here. And then we can add the beard going down. If you put the nose on and you realize that you wanted the room a bit, hair, it's not a big deal. Just move it up and smooth it like that. That's just a good estimate to begin with. To add the nodes, we are going to use about half of a toothpick. I'm going to use a needle tool here. Any point t, truly a half is fine and I'm just going to push it down in there because I want this to go all the way through to my foil armature. I actually am going to dip it in a bit of glue just to ensure that it sticks because you don't want the nose fall in L. And then I'm going to grab a bit of Clay. Says of the nose is up to you. Roll it into a ball. I'm gonna put a little bit of blue or the nodes is going to stick. Normally, I wouldn't do this with wet clay on wet clay. But because I'm not really going to smooth or blend or rather the clay under here too much. I just want to make sure that it sticks nicely. So I'm only blend in an ever so slightly because I don't want to use the shape of that knows. The glue will ensure that that isn't full. If it does, however, it's not a big deal. You can reattach it after it's dry with some glue. So this is where the paintbrush comes in very handy. Just this smooth our own areas night that where you've attached another piece of play. I'm going to grab a bit of this. And what I'm gonna do is just grab some Klee. And I'm going to rule it out into like thin little wormy shapes, like what you're used to do when you're a kid with your plaster see rolling them out, trying to keep them as even as possible. And we're going to do several of these as we go along. And then you can just cut off bits. Now the beard is gonna start all the way a pair by the hat room. That's where we haven't put on the hat room just yet because we will use it to cover up those edges. So we're going to start right about there. And we're going to gently, I'm just adding some Watteau and then we're just going to gently push down and bringing it to the center like that. Because I want it to all to come to a peak right there. And we're just going to keep doing that until we have our Baird fully on. Your pushing down gently as we go through, we want that to stick. And there we have our Baird. So the next step is to get your needle tool or your tooth pick. Whichever one you have one hand you could use other half of that toothpick that you used earlier. And just go ahead and we're adding some lines in the beard. Worry about the bits will brush those off later. Just follow the shape of the bird for this great text chat. And it also helps to bring all the pieces together. Look like one buried as opposed to just a little. I'm just going to use this paint brush here to just go ahead and fill in that area there. Push that play on dough. And then we can go back with our trip to be very careful when you're near the news, poke it, and continue to have those lines. Were trying to get that hair like texture with the clay. That's good enough now. Now if you don't like the bits on the clay, just lightly go over it with your paintbrush, not pushing down at all. Just lightly brush it on top and those little bits will fall off. Now once you're happy with that beard, we can add the rim of the hat. I want to even up the hair and here a bit. So I'm gonna add just a little bit more play this, flipping it into water because it dried out a bit there. And attach it right here. This to even up. And there we have our Beard. So we will now add the rest of the room. We're going to roll out the clay just as we did before, but much thicker. You are going to need your old toothbrush. Or if you happen to have a wire brush, we're going to use it to add texture to the room. Oh, the hat. You can have either of those. You can use your toothpick and do tiny little stabs all the way around, a little hooks in the clay all the way around until you get that nice texture. Alright, we have this, it's more or less. So what we're gonna do is use our papers to add water all the way around. Here, we're gonna attach quickly. Then you're going to place our rim on. As we go all the way around here. Then you're going to grab your craft nine. So more water there. And I'm right where it joins. You're gonna turn off that. And we're just going to blend those two seams together. This is where the clay tool comes in handy if you don't have won. Those metal Neil files. One of those would work very nicely as a CLI tool or anything else with this shape that you might have lying around the house. And I'm just gently pushing this down. I don't want to push it so hard that the sheet gets altered. But I do want to make sure that it's firmly stuck to the clay beneath it. Now we have our face on. We're going to have to be more careful when we're handling this also. So you can grab your tool, your digital file, whatever we were used in, that we're just gonna go ahead and push that down. What I'm doing is joining the two pieces. This will help make sure that it doesn't fall off. If it does, however, not a big deal, just use your glue, stick it back on. That's the beauty of working with paper clay. It works. I mean, it's pretty much just like Paypal and that the du will hold it because the paper the paper is the bulk of the clay. The fibers in the clay are made from people. So you'll find that it behaves like people where you can just use glue. And it's nice and still don't. Once you finish that, grab that Cambridge, dip it in the water. And then you can go out and just smooth it off. You might have a bit of a line here. Are the two pieces join just gently go over those languages up here and then you can smooth it. If you are using a toothbrush, I would recommend you use a hard one so it can make the indentations in the clay as you gently press it down. Don't bang, bang, bang because you don't want the clay to get flat. We're trying to maintain that round. How text looks on the hat room. If you don't have a toothbrush and other option is just stoke bar around it like this with a toothpick. And as you can see, you get nice little holes in it. But I like to use is a wire brush. I do believe it's used for cleaning metal parts, but because their bristles are wire. They're really good for me context you're in the clear. We don't have into press too hard. So I like to use this one. This one is my favorite tool for adding text, Joe. But as I said before, you can get a similar look with a toothbrush and also with a toothpick. I suppose you could use a calm as well, but you'd have to be very careful to keep it directly on just the room and not get it into the rest of your sculpture. So I'll step would be just fixing any little areas you think need fixing. If a little joined his show in, you can smooth that out. As I am smoothing right here. Some of those were still sticking up, so I'm just going in with my tool and smoothing them out. If we see any other thing that needs fixing in any other area now is the time to do it. Any other smoothen that you see needs to be done because you can't send it when it's finished, but it's so much easier to get it done when the key is still wet. Or last step before we put it aside to dry is we're going to make a hole right in the end where that hole is going to be where I'm hanging my pendant. And I'm gonna push it all the way through like that. It's going through the foil as well in this case. Making sure I don't damage anything around here. And I'm going to pull that back out and leave a nice little hole there for me to hang. My little heart pendant. We're going to make next. So make sure it's not wobbly. If it is gently bang, bang, bang. That's much better now. And then put this aside to dry. And our final step now is to make our little heart pendant. If you have an embellishment that you want to use, that's fine. Or if you meet jewelry and you have a little heart, that's also fine, a little pendant. But I am just going to show you that we can just make it quickly with clay also. So you have to determine the size of it. You don't want it too big because you don't want it to look ridiculous on your Sculpture. And I'm just kind of playing with the clay, put it in a heart shape and might want that a bit thinner. And I'm just pressing down. And just making a heart shape. You might need your tool at this point and just bring it down more in the middle. Now before smooth this off, I want to just add my Hangeul. Now to make the Hangeul was going to need a bit of craft wire no more than an inch. Probably even less. What we're gonna do is fold it over like that. Now this has to go down in there and this is very tiny, so I'm going to print off a bit more of that. So grab your WACC quotas and just nip off the end. So how much y you need really depends on the size of the heart that you're making. To the next step will be to grab a players. This is 2a, T nose pliers for my jewelry making stuff. And I'm just going to curl up one end and curl up the other end and a squeeze them together. The reason I'm doing this is because it will prevent it slip in street out. It was just a straight piece of wire. It could just slip straight out. So this keeps the hook in place. The next step will be just to push it down into your pen. And this is why I didn't want to do too much detail just yet. Shaping. Shaping by pushing down. As I'm shaping it. Of course that means it's going to get a bit. But I just pinch off the end and shaped that end. Also. Tiny cartel play clutter. Go right ahead and use that for if you'd rather rule that out and draw little heart and cut it out that way. You can go ahead and do that. Also. For me, a heart is just such a simple shape that I would rather just free-form it this way. So I'm using my toothpick to press down there. Toothpick actually works really well into getting to these tiny areas. As you can see, you really don't need to buy sculpting tools a lot of the time I do find that I use a lot of tools that things that you have lying around the house, you know, like toothpicks and spoons and male fails with paper, clay. And Willie, advice would be if you're using household items, just make those be dedicated to your Klee and don't use them in your kitchen anymore. And there we go. That Miss MOOC that side also because both sides will show when it's dangling. Then I'm gonna set this aside to dry, along with my beautiful known. And in our next lesson, we will send any cracks that we have to fit and adequate objects so, so it's ready for us to paint. 4. Sanding the Sculpture: In this lesson, I'm going to go over sand and you're known and fixed in any cracks that you might find. So I mean, in a fine grid stand-ins bunch, this is 220. The ultraviolet sponges by 3M. But any sand paper you have will be fine. Just make sure if that's buying grit sandpaper. So this is straight forward. If you have hard to reach areas, the best thing to do is to cut off a bit off of the sponge and then go ahead and send those hard-to-reach tiny crack czar, tiny mark by a fingernail mark, for instance, will disappear with the sand is still come across one or two things that you have to fix. Some we'll get to that in just a minute. Pretty good for cracks. I would have to say that it's probably the only area that I'd want to fix it. We can see where it came away right there. So I'm going to show you how to do that. And if you had a big crack say here, it would be the exact same method that you would use to fix that crap. I'm just going to lightly go over the bear at all shift just to get rid of any little bits that are sticking out. And the nose from there we have it. I think that's good. And they'll just think we need much more and maybe just this tip here needs a little bit more. There we go. You can use a brush. Brush, brush off any of that dust that you have left. It will be a good idea for you to wear a mask, especially if you have allergies. The particles are very fine and powdery. I'm going to show you now how to fix that crack around hair where this separated from the main sculpture. So here I have a little bit of me and I have some diluted wet glue and an old paint brush. And I'm just going ahead and within that area under here where I'm gonna put the clay, wood, the diluted white blue, and then ruled out the clay very thin. And I am going to push it down to fill that area. If you had a crack in the middle of your sculpture, you would fix it the exact same way. So you just fill that in. Once it's filled in, you smooth it out and then you leave it to drag. That's pretty much it to fix in a crack. If you need to smooth it further, you dip your finger in some water and don't just go over the area. And that's it for sand in and fixing cracks. I'm going to let that dry. And then we are going to add a quote of just TO move right into painting. 5. Painting the Sculpture: The next step is to add a quote of Jesu. Just o is a primal. It prevents the clay from absorbing your acrylic paint. So in the long run, if you use less pain to when you're decorating your little sculpture here, because it won't absorb the paint, because it's a paper clay. And paper of course, will absorb the paint. So I am using a liquid x clear just so you can use whatever just so you have on hand. It doesn't matter whether it's a white just so they have colored just SOS black just so don't if you don't have to grow to him by anything too fancy. So I didn't just so is straightforward. You just go ahead and just give it a good coat with a soft brush because you don't want to leave the lines. And then you set it aside to dry. Before you move on. Adding your paints. Be sure to get down into all those little nooks and crannies. Sometimes with the clear gesso, it's harder to see you content it if you're using the care Justo, just by adding a drop of acrylic paint. But this particular sculpture, we are probably going to have to work in stages. You need somewhere to hold onto. While you're painting. Now it's fully covered. You can set this aside to dry or dry it with your heat gun if you prefer. And next we will begin painting our sculpture. Our num is now dry and we're going to begin to paint him. I am using three colors. I have quinacridone, magenta, Payne's gray, and titanium white. I am using golden acrylics for this particular sculpture, but you don't have to use what acrylics you have on hand. I have chosen quinacridone, magenta, because when you mix it with white, you get this lovely pink color. And when you add Payne's gray, you get these nice darker shades. And I thought this would be great for Valentine's Day, New. So to begin with, I am going to do the darker shades. I'm gonna make the hat, the lighter pink and the body, the darker shades. This will be white. And his nose, we will probably do a flesh color. So let's begin painting the body. So I'm going to add, see how when you add the pains degree get that deep, deep purple. So you just keep adding my quinacridone until you get the shade that you'd like. I'm going to add a little bit more hair cadets a bit to purple for what I wanted. You don't have to make scholars, as I say, if you have your craft acrylics and you just wanna go ahead and use those colors. That is also fine. But as you can see, you get these lovely shades when you mix the colors. So I'm just going to fill in the body area. I'll go back and with a smaller brush and get those little areas there. If your brushes leave in streaks, you can either switch to a softer brush or just school very lightly. I found that a light touch helps a lot. For a streaks are concerned. So I'm just gonna go ahead and paint the body and then go in with a smaller brush and paint the detail areas. Both of these colors are pretty translucent, so I will more than likely add a second quote. I am doing the white last. Because inevitably you will get some paint on the rim as we've done there. And quite possibly the beard. Me already, he's coming together. I'm just gonna get a smaller brush to get into that area. For the nose, any flesh tone paint, whatever color you choose, whatever shade it's up to you. You can go ahead and paint the nose. It's a good idea to turn your sculpture around when you're painting. Because inevitably you'll see something that you left out somewhere. And that's our little nose painted. This was this color, it was from PEBO. And it's called Rose portrait. As I said before. Use what colors you have on hand. Don't go out and spend a fortune. Mine paints. And for this class, now, I am going to paint the hat. I have my quinacridone, magenta, and my white. So I'm just gonna go ahead and mix it till I get the color that I want. I want to nice pale pink. That's a nice color. I will paint my hat. If you notice it's a lot more of peak when you add the white. Probably go evenly to still. When I do a second coat. Yes, I actually prefer kind of play with the mixing is we're mixing colors until you get the shape that you like. Beauty of acrylic paints, you can always go back over it if you're not happy with that. I'm think I'm happy with the coverage of this hat now, so I'm going to leave that alone and allow that to dry. It's time to move on now to paint in our Baird and the rim of our hat, I would suggest that you give your brushes very good wash after using the magenta and change your water. I am using vintage white by folk art. It's off-white color, just ever so slightly off. You could probably makes it if you had like a dude just dab of yellow with some white just to get like a kind of very light creamy color. Another makes is if you had an bleached titanium and titanium white, you could mix the two together to get just that very slight off white color. So I'm just going to paint in the beard area. I'm using my small brush first to go around the edges and try not to get it on my body because I don't want to have to go in and fix that unnecessarily. There will be areas that you have to go over, particularly if you got to paint on those areas. I always manage to get paint or it's not supposed to be. So I usually do end up going. I'm just gonna switch to a bigger brush now and just fill in this area here. I don't think you can afford gets an knows unless we're extremely careful. Now also have a little spot there on a nose. It looks like it needs another coat of paint. So while I am doing this, I will see other things that need to be fixed along the way. If you do get paint on your body, you can have a damp paintbrush nearby and a paper towel and just kinda go in there and get that off. That will save you having to go over it another time. Especially if you mix the paint like I did. And it's just easier not to have to make some more and try and get the exact color angle over yet another ten. I'm pretty happy with that beard. I seem to have some magenta in that burst still. So I'm just gonna go ahead and watch that bit off. And I think that's good for the bird and the next place will be the root. So we use the same paint for the room. You can use the whiter paint. It's up to you. Essentially, you know what? Let's use the Y to paint for the room and see how the titanium white will be. Very good. I'm just gonna put some right here on my Massey can see the difference in color. The titanium white is definitely a lot brighter. Then that white, as you can see when I painted to on here. I'm just going to stick to this small brush for the room. Of course, you could have your a old num and add some greta that beard. That would be quite cute as well. You don't have to do exactly what I am doing. You can make it your own. Now the two whites are side-by-side. I'm sure you can see the difference. One is just has that yellowish tinge to it and the other one is quite bright. The good thing about using this titanium white, it's a full bodied acrylic I'm using, is that it's very thick and it goes right oval. Those mistakes. We just grab my brush, fix this real quickly. Maybe go this one up here. So as you can see, it's really handy just to keep that other brush nearby. Now gonna continue with Myron. Go back in and correct those mistakes. As you can see, it gets really hard when you get to these detailed areas. Right here. It's going to happen at the top of their own as well. But, you know, it's fine. We'll we'll deal with it. Before I get to the top part is just clean this up here. There we go. You need a little bit so that you get on there. Just hold in it. You can just wipe off while they're still wet. Good idea also is you can use another paper towel or a soft box. You hold it while you're working on other areas. Alright, so let's get into this topic now. 6. Painting the Heart: While our little gnome is drying, we can go ahead and sand argue heart pendant that we're going to add to the tip of the hat. This does before. Use fine grit sandpaper. If it's very hard to hold, you can grab a pair of pliers. To just hold the end, keeps falling. And three Zoe's could probably work as well. Now it's nice and smooth. We're going to decorate it with some guilders spaced. This particular paste is by art anthology. If it gets hard, you can always add some oil paint thinner to your paste. And it will soften right back up again. It is an oil-based medium. So if your use your paint brushes with it, you're going to have to use oil paint thinner to clean them. And I'm using the cotton swab because I can just throw it away when I'm finished. And it's also quite smooth. So it gives me that nice shiny effect that I want. I'm going to have to hold it with my fingers to finish the rest though. We just turn that over. I'm just seeing if I can get any through that little hard to reach area, right. They're going to have to get creative to get it in there. And I will probably have to use a paintbrush. Let me find a paintbrush that is not that good anymore and I don't mind getting in the wax. Just okay. This is a stencil bush that will do. I'm gonna go ahead and load up my stands up brush and push it through there. And that really got it published nicely. Wants everywhere is covered. You can leave it to set for about at least ten minutes or so. And then you can go back in. E uses soft cloth like this. And then just Buffett, synchronizing shiny that gets when you bump it to just rub gently like that and it comes out with a very nice sheen. So I'm going to put this down is add some for the air I rubbed off awhile ago just to make sure it's fully covered. Alright, so that's fully covered. I'm gonna set this aside and we will shine it up in just a bit. 7. Embellishing Your Sculpture: Now the paint is fully dry. I am going to apply a stain. I am using antique and medium by plaid acrylics, and it's called apple butter brown. You do not have to apply a stain if you don't want to. I just like the effect that the stain has. It really brings out the texture in the piece. It's very straightforward. You need your paint brush, the stain, paper towel, maybe a wet wipe, not alcohol, baby wipe, and maybe some water. It's a straightforward process where you painted on and then you wipe it back off. You do small areas at a time. And this of course you want it really, really dark, but I recommend working in small areas and then wipe it off. And moving onto bigger air is. So I'm really pushing down that paint, trying to get it in all of those little Nixon crannies. You can turn your sculpture around to see if you have missed any areas. Too dark. You just take a damp wet wipe and wipe that back off. A baby wipe can also work for that. And that's how the jokes when I am just going to get some of that off from up there. Now we can continue with the hat. And this is pretty much how it will look there. Couple of areas that I want to lighten up. So I'm gonna go ahead and do that with this brush and just get them out. I don't want it to be sustained on the paint and spray my paper towel with a little bit of water, then go ahead and rub it. If you wipe off too much and you decide that you actually wanted a bit darker, you just go ahead and add more of the stain and repeat the process. It just depends on the look that you are going for. So I am just cleaning off my paintbrush now because I really want to go down and get out some of those spots in those tight areas. So I'm just trying to pull it out. My nodes has come a little loose. That's okay. You can fix that with some glue, some white blue under there, and you would glue or paper glue is fine. And that will hold that back in place. This lightening up these areas. Then even out the stain on there. The room looks very, very nice. Now I'm going to leave that as is and the beard is nice. I'm just gonna lighten up up here just a bit. They do kinda like the grungy look. So I don't want to wipe off too much. C any of the imperfections that you had when you're sculpting. The stain goes in those. And it leaves a nice text show. And it gives the piece car, it looks more dimensional. Think that looks great now right there, let me just finish up on this side. And then we can drive this a bit and then do sparked. The stain won't show up to March on this spark because it's already dark. But just to have everything, even I am going to use the stain down there also can give that a quick dry. And then we're gonna move on to the base. Same as before. Apply this Dane. Let it sit for a minute or so, maybe a few seconds depending on how dark you wanted and then wipe it off. I'm taking care goin around the beard because I don't want to have to deal with getting under there again. So there's a certain type of cohesiveness when you do the base as well. There's that one element carrying through throughout your entire sculpture. And that is pretty much it for the stain in. I'm going to let this dry and then we'll finish up with our embellishments. I've gone ahead and given this a coat of varnish, I used a spray varnish in Matt, my plaid crafts. That's just my preference. You can use what ever varnish you like, what you have on hand and whatever finish you like the planet crafts varnish comes in, sat in math and glossy, so it really is what you prefer. So the first thing we're gonna do is attach our heart to a jumping. This is just one of those little jewelry finding start to set by juries. It's very inexpensive. You're not going to be real silver or anything like that, but they really work well for these crafts. So you open up your jump, bring like that. And then you simply thread it through and you close it back. Next move this way. And then this is what we are going to hang right here. Of course you can use a smaller jump bring if you want or a larger one. It really is, you know what you want to do. You don't have to use a jumping at all. You can just thread your ribbon or your wire or string, whatever you're using through hair and attach it directly to your hat like that. I am using while and I'm gonna make a little hook for my wife. So I want to use the jumping. So I'm going to grab my lab about five inches. And what I'm gonna do is make the loop for that to hook onto. So I'm going to decide where I want it. About right there. So that was just over an inch left, right here. I'm leaving that for a very specific reason because we're going to wrap it around like that. As you can see right there. And then I'm going to hold that bit and continue to wrap it all the way down like a stem till it gets too hard for me to wrap. Course. You can use another playas for that. So I'm going to snip off the excess. And then I'm just going to use my plasma and squeeze that end down. That will be the bit that I'm going to attach to my jumping. So this is a jumping hair. We can just open this back up a bit. Thread this on just like the heart, and close that back. And then this is how we are going to hang our heart. So for the next step, I am going to thread this through here. Now I want it to hang down. I don't want it to stick out like that. I'm going to bend it right where you saw me. I'm going to bend it right there and see if I like how that looks. And it's like a little earring almost dangling from his hat right now. And then what I'm gonna do to secure it is I'm going to bend this bit back up. So as you can see, it moves around a bit, but that's okay. You have to get it as close as you can to that bit. With the tip of your players though that's very hard and you don't want to damage your sculpture. Final step will be making a little spiral. That's very simple. We're just going to wrap the wire around and around. And this cute little spiral is gonna close the wire for us. So this doesn't fall off. So you can leave your spiral like that if you like, you can go further down if you want it all the way down. And then to finish off, I'm just going to fold that oval. The spiral remain there. That's how I'm keeping it in. And this side will have my heart dangling. Then that's just how I attached my Heart. Of course, you don't need to copy this. You can, as I said, just thread some Ruben through their thread and whatever you have on hand leather Gordon, and attach your heart that way. So that is pretty much it for this little Valentines Day. No. I do hope you enjoyed my corps. Thank you so much for taking it. I hope to see you in another course soon. 8. Class Project : For your class project, I would love for you to share your Valentine's Day New sculptures. I look forward to seeing all the beautiful projects that my students make, narrowed Skill Share. If you want feedback along the way, I am happy to answer any questions you don't guide you in your sculpture should be valid for the Robert M. And you know you don't have to wait till you're finished up. Nobody builds projects. You can do it at any point through your sculpture. It's great to get feedback from your classmates. And of course, I will also be there to add questions.