FULL MOON COTTAGE

FULL MOON COTTAGE By Michael Cheek

Michael was born and raised in a small mountain town in North Carolina called Boone. In 1983, Michael began his journey in the art world. Over these past three decades, Michael has devoted a lot of time developing his “easy to learn” techniques. Since the early years, Michael has had the opportunity to teach countless students the joy painting can bring to an individual life! Michael resides in Taylorsville, North Carolina where he continues to teach local workshops as well as traveling to neighboring towns and cities.

SUPPLIES

SURFACE:

• 16 X 20 canvas

PALETTE: BOB ROSS® SOFT OIL COLORS:

• Ultramarine Blue • Turquoise • Alizarin Crimson • Burnt Sienna • Cad Yellow Light • Titanium White

BRUSHES:

• Artist Loft™ / flat bristle (Brushes come in a package of 12, purchased at Michael’s Arts &

Craft Stores®) • # 12, 9, 6, 2 • Bob Ross® #2 Script Liner

OTHER SUPPLIES AND EQUIPMENT:

• Soft Washcloth • Chip brush or sponge roller • Paper Towels • Odorless Thinner • White Graphite Paper (for tracing) • Stylus, Pencil or Pen

CANVAS PREPARATION:

• Michaels Kanvas Koat

PREPARATION

Using a chip brush or sponge roller, apply 2 coats of Michaels Kanvas Koat (black) to the canvas, allowing plenty of drying time between coats. Using White graphite paper, transfer the pattern to the canvas. (NOTE): Michaels Kanvas Koat is not available in any art or craft store. It is only available by ordering from Michael’s website. When using Kanvas Koat, you will not need the use of any oil medium to make the paint move, spread or blend. This happens automatically, right on the canvas! Helpful Hints When transferring the pattern to the canvas, only transfer basic lines. For instance, it will be difficult to paint around objects such as trees, bushes etc. Instead of cleaning the brush in thinner each time, use a paper towel to pinch the paint out of the bristles. This allows some color to remain in the bristles, causing more variety of color tones when loading the next mixes.

LET’S PAINT! SHALL WE? (The light source is coming from the right).

SKY AND MOON:

Using a #12 flat bristle, load a mix of Alizarin Crimson and a touch of Titanium White. This will be a medium to light pink tone. Using long horizontal strokes, paint in the glow area about half-way up. Pick up Ultramarine Blue in the same mix. This will now become a blue-lavender tone. Paint in the rest of the sky area, again using long horizontal strokes (Note: Try to leave some of the Black canvas showing through the sky area!) Using a #2 flat bristle, load a mix of Titanium White with a touch of Alizarin Crimson, (just enough to tint the white) and paint the moon using a circular motion.

BACKGROUND TREES:

Using a #12 flat bristle, load a mix of Ultramarine Blue and a touch of Alizarin Crimson. This will be a dark mix. Starting at the bottom of the water line and working off the corner of the brush, use downward strokes to paint the trees. As you progress the top of the trees, work for a light and airy look. Using a #9 flat bristle, load a mix of Turquoise and a touch of Cad Yellow Light on the bottom left corner of the brush. This will be a medium to dark green tone, not too bright! Turn the brush over so the paint is now on the top right corner of the brush. Working off the top right corner, push upward working in a circular motion to highlight the trees. Work in clusters! Pick up a touch more Cad Yellow Light in the mix, (this should be a bit brighter than what was just used) and highlight the tree behind the cottage in the same manner as just described. Again,

work in clusters! Using a #2 script liner, thin down Burnt Sienna with a touch of Titanium White and paint in the tree trunk and a few limbs.

WATER:

Using a #12 flat bristle, load a mix of Alizarin Crimson and a touch of Titanium White. This will be a medium to light pink tone. Using horizontal strokes, paint in the glow area about half-way down in the water, leaving some of the black canvas showing through. Pick up Ultramarine Blue in the same mix. This will now become a blue-lavender tone. Paint in the rest of the water using horizontal strokes, again leaving some of the black canvas showing. Pick up a bit of the dark tree mix, used earlier, and use a downward stroke to reflect in the water. Using a #2 flat bristle, load a mix of Ultramarine Blue and a touch of Titanium White. This will be a medium blue tone. Use the flat of the brush and paint in a few water lines horizontally. Using a #6 flat bristle, load a mix of Titanium White with a touch of Alizarin Crimson. Paint in the reflection of the moon in the water using a downward stroke.

COTTAGE:

(Note): In painting the cottage, let the black of the canvas be the shading! Bristle flats: #6, #2, script liner #2

CHIMNEY:

shadow side — Burnt Sienna / highlight side Titanium White +Burnt Sienna

ROOF LINES, OVER HANGS, WINDOW AND DOOR:

Black of canvas

SHADOW SIDE WALL:

Ultramarine Blue +Titanium White

HIGHLIGHT SIDE WALL:

Titanium White + Burnt Sienna + Alizarin Crimson

ROOF:

Burnt Sienna +Titanium White

HIGHLIGHTED WINDOWPANES:

Ultramarine Blue + Titanium White

HIGHLIGHTED DOOR:

Ultramarine Blue + Titanium White

PATH:

Using a #6 flat bristle, load a mix of Burnt Sienna and a touch of Titanium White. Using the flat of the brush, paint in the pathway using horizontal strokes. Use a bit more -Titanium White and brighten the path where the light is striking!

GRASSES:

Using a #6 flat bristle, load a mix of Turquoise and a touch of Cad Yellow Light. This will be a medium green tone. Use short, downward strokes with the flat of the brush and paint the grasses around the path and cottage. Add a bit more Cad Yellow Light and a touch of Titanium White to the mix and brighten a few of the grasses around the cottage.

FLOWERING BUSHES:

Using a #9 flat bristle, load a mix of Ultramarine Blue and a touch of Alizarin Crimson. This will be a dark mix. Base in all the flowering bushes around the path, back side of the cottage and the ones on the right side. Work off the bottom corner of the brush and use downward strokes, working in a circular motion. Also, use this same mix to pull down reflections from the bushes on right side, into the water. Using a #6 flat bristle, load a mix of Turquoise and Cad Yellow Light on the bottom left corner of the brush. This will be a medium to light green tone. Turn the brush over so the paint is now on the top right of the brush. Working off the right corner of the brush, push upward, working in a circular motion to create the highlighted bushes. Work in layers or clusters! Clean the brush and load a mix of Alizarin Crimson and a touch of Titanium White. This will be a medium to light red tone. Loading the brush as described and using the same technique, paint in the red flowers. Pick up a bit more Titanium White in the mix and brighten up just a few where the moonlight may be striking. Don’t highlight all of them!

FOREGROUND TREE:

Using a #6 flat bristle, load a mix Ultramarine Blue and a touch of Burnt Sienna. This will be a dark tone. Using the flat of the brush vertically, base in the trunk of the tree. Pick Burnt Sienna and a touch of Titanium White. Working off the corner of the brush, highlight the right side. A bit more Titanium White can be added for brighter highlights here, and there, on the trunk of the tree. Clean the brush and load a mix of Turquoise and Cad Yellow Light. This will be a medium green tone. Working off the corner of the brush, tap in the foliage, working back and forth across the tree trunk. Pick up a bit more Cad Yellow Light with a touch of Titanium White in the same mix and brighten a few of the leaves. Using a #2 script liner, thin down Burnt Sienna with a touch of Titanium White and weave a few limbs in and out of the foliage. A bit of reflected light can also be added to the left side of the tree trunk by thinning down Ultramarine Blue and a touch of Titanium White.

ROCKS:

Using a #2 flat bristle, load a mix of Ultramarine Blue and Burnt Sienna. This will be a dark tone. Using the flat of the brush, paint in a few rocks around the water banks. generally, paint humpshapes. Pick up Burnt Sienna and Titanium White and highlight the rocks on the right side. You can have as many or as few as you want.

BIRDS:

Using the #2 script liner, thin down Ultramarine Blue and Burnt Sienna and paint in a few birds in flight around the moon, using a long “M” shape.

FINAL DETAILS:

After the painting is dry, you may want to re-instate some of the highlights where the moonlight is striking, such as the cottage, grasses and the foreground tree trunk. EXPLANATIONS FOR IMAGES “Full Moon Cottage”©

0017 - Starting the sky, use long horizontal strokes 0018 - Painting the rest of the sky area 0019 - Starting the moon, use a circular motion 0020 - Base in grasses, use short, downward strokes 0021 - Tapping in the highlight for grasses 0022 - Base in bushes 0023 - Highlighted bushes, push upward, then release the brush downward 0024 - Base in pathway, use horizontal strokes 0025 - Highlighted pathway, use horizontal strokes 0026 - Base in foreground tree trunk 0027 - Highlight tree trunk using short, downward, choppy strokes 0028 - Tapping in the branches over tree trunk 0029 - Tapping in the highlight over the branches

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Enlarge or reduce the size to the surface of your choice.

Note to reproduction companies/stores: The bearer of the original color magazine has full rights to have this drawing reproduced and enlarged one time for personal use. This notice has been printed in red ink for verification of authenticity.

Combining clay and paint is one of my favorite things to do! I love creating whimsical figures from air dry clay and using my painting skills to bring the characters to life. The upcoming presidential election inspired me to create a pull toy with a patriotic theme.

Uncle Sam the Rocket Man

By Linda Hollander

SUPPLIES

• Rocket Pull Toy Kit from www.jbwood.com

Item #2198 • Polyform Model Air Porcelain Clay • Polyform Sculpey 11 pc. Essential Tool Kit or substitutions for clay roller, needle tool, rubber tip shaper, and super slicer blade. • Styrofoam ball: 1” • Wood bead 3/4” • Cork ¾” • Star Stencil (optional) from www.StencilEase. com Item # SCR0057 • String or cord (natural color or off white) • Silver tinsel chenille stems (optional)

PAINTS: DecoArt® Americana:

• Bleached Sand DA257 • Blush Pink DA355 • Graphite DA161 • Grey Sky DA111 • Prussian Blue DA138 • Snow (Titanium) White DA01 • Sugared Peach DA354 • Tuscan Red DA265 • Uniform Blue DA086

DecoArt® Dazzling Metallics:

• Shimmering Silver DA070-1

Mediums:

• DecoArt®: Multi-Purpose Sealer • DecoArt® Americana Sealer/Finisher DAS13

Matte • DecoArt® DecoMagic Brush and Stencil

Cleaner (optional) I have been painting, drawing, and crafting since a child but my art supplies had been collecting some dust while I was busy raising my 3 active boys. It wasn’t until 1999 that I discovered the world of decorative painting while flipping through some magazines on the newsstand. Back then we had so many publications to choose from. I bought them all and poured over them daily with renewed excitement! I used the instructions to teach myself most of the techniques until I could get to seminars and conventions. I chose vintage furniture as my substrate…go big or go home is my mantra! Collecting vintage pieces such as silver-plated tea sets and wooden bowls is half the fun of painting. Garage sales and flea markets are hard to pass as my 3 boys will attest to. I heard many groans from the back seat as I pulled over to take a quick look at another sale. I am not above picking up curbside treasures on trash day. The things people throw away simply amazes me! Painters are fortunate to have all the wonderful new mediums and paint formulas that we have today. There is virtually nothing that can’t be painted…as long as it doesn’t move too fast!

Brushes:

• Royal Aqualon® • Round Series 2250- #1, 20/0 • Shader Series R2150 - #2, 6, 12 • Glaze/Wash Series R2700-1” • Royal mop • Series 4999-#4

MISCELLANEOUS SUPPLIES:

• Graphite paper • Stylus • Fine grit sandpaper