Techniques
Simple brush stroke- four-sided mark
More variety stroke - lay down, roll brush, flip up
the more complex the stroke, the harder to tell how it was made.
Exercise; see how many different strokes I can make
Ask: does this stroke tell me about the subject I'm painting or is it defining the size and
shape of the brush I used?
Aim for a variety of strokes and don't be stingy with the paint
Edge definition - edge of brush can create a hard edge defining the shape of the object
Edge is a combination of positive and negative shapes (bowl example)
Represent the idea of looking through space with hard and soft edges
Soft edge - transition of one color to the next.
Ways to soften an edge:
Blend an edge by stroking on top of it over and over
Use a soft application
Scrape with a palette knife
Lay color over the edge creating a "bridge" color
Scumble
Simple brush stroke- four-sided mark
More variety stroke - lay down, roll brush, flip up
the more complex the stroke, the harder to tell how it was made.
Exercise; see how many different strokes I can make
Ask: does this stroke tell me about the subject I'm painting or is it defining the size and
shape of the brush I used?
Aim for a variety of strokes and don't be stingy with the paint
Edge definition - edge of brush can create a hard edge defining the shape of the object
Edge is a combination of positive and negative shapes (bowl example)
Represent the idea of looking through space with hard and soft edges
Soft edge - transition of one color to the next.
Ways to soften an edge:
Blend an edge by stroking on top of it over and over
Use a soft application
Scrape with a palette knife
Lay color over the edge creating a "bridge" color
Scumble
I'm in charge of the viewer's focus by what I keep in focus or soften to move him through the painting.
*Tip* Introduce the colors on the palette before I introduce them on the canvas.
Loading the brush with multiple colors and applying creatively.
Mix three colors to value.
Load the brush from all piles, twisting the brush to comingle the colors on the bristles
Double loading- two colors
Triple loading - three colors
Multi-loading- more colors
Apply the paint to the canvas, twisting and changing directions; shapes follow the direction
I'm pulling the brush
Remember to keep reloading the brush so I don't blend when I want the tangled effect
Re-make piles of pint to keep the colors clean
*Tip* Introduce the colors on the palette before I introduce them on the canvas.
Loading the brush with multiple colors and applying creatively.
Mix three colors to value.
Load the brush from all piles, twisting the brush to comingle the colors on the bristles
Double loading- two colors
Triple loading - three colors
Multi-loading- more colors
Apply the paint to the canvas, twisting and changing directions; shapes follow the direction
I'm pulling the brush
Remember to keep reloading the brush so I don't blend when I want the tangled effect
Re-make piles of pint to keep the colors clean
Think about "staging" my brushwork - make the brushwork a part of defining the object. It creates the harmony with more than one value. It makes your painting more about the paint and less about the object - Impressionism.
Experiment! Use a large brush. Make a large color wheel. Use a palette knife.
All is useful to describe something or let it go out of focus.
Transition - "how do I get from here to there?" - from an object to the background...travel a passage in a shadow...etc.
Experiment! Use a large brush. Make a large color wheel. Use a palette knife.
All is useful to describe something or let it go out of focus.
Transition - "how do I get from here to there?" - from an object to the background...travel a passage in a shadow...etc.
Exercise: google "plein air painting" and search for examples of bad and good brush strokes.
Paintings where the backgrounds were painted first then the object placed on top.
Mushiness- too many soft edges; you do need some hard edges to pull the viewer in
Better brushwork shows what the artist is doing and intending
The shape of the stroke should NOT be the shape of the object; instead
Make it the shape of the values
Use a complexity of strokes to convey the object
Not all strokes should show the tip of the brush you used
Important principles of brush strokes
Create edges - definite or soft (Suggestion: use areas of higher contrast to make your sharper edges)
Discovered edge - the first time you find it! The discovered edge is the most beautiful one.
Offer variety
Don't make the shape of the stroke the same as the object
Made of both positive and negative shapes
Accuracy
An artist's signature brushwork first shows up in his under-painting. It is where he is first most free to express himself. Watch to see where the mature brushwork of the under-painting gets covered up by the immature strokes of the over-painting as a result of too much thinking and calculating - being self-conscious. Strive for the comfort level of painting when you "don't think anyone is looking." Paint without being self-conscious. EXPERIMENT HAVE FUN!
Paintings where the backgrounds were painted first then the object placed on top.
Mushiness- too many soft edges; you do need some hard edges to pull the viewer in
Better brushwork shows what the artist is doing and intending
The shape of the stroke should NOT be the shape of the object; instead
Make it the shape of the values
Use a complexity of strokes to convey the object
Not all strokes should show the tip of the brush you used
Important principles of brush strokes
Create edges - definite or soft (Suggestion: use areas of higher contrast to make your sharper edges)
Discovered edge - the first time you find it! The discovered edge is the most beautiful one.
Offer variety
Don't make the shape of the stroke the same as the object
Made of both positive and negative shapes
Accuracy
An artist's signature brushwork first shows up in his under-painting. It is where he is first most free to express himself. Watch to see where the mature brushwork of the under-painting gets covered up by the immature strokes of the over-painting as a result of too much thinking and calculating - being self-conscious. Strive for the comfort level of painting when you "don't think anyone is looking." Paint without being self-conscious. EXPERIMENT HAVE FUN!
