Which Paint Brush Do I Use for _______?

Today’s Image

All My Paint Brushes

OK, there’s the art school and the textbook way, and then there is the other way (or the way I do it).

I’m speaking of which paint brushes to use.

If you read enough art books or online sites about painting, and painting supplies, you’re bound to have noticed that many ‘authorities’ tell you which paint brush you must use for which application. I guess the information is supposed to be taken as a suggestion, but the way it reads, you’d think there is only one way—their way.

I hate to disappoint, but in art, there is never just one way.

You would think there must be a whole scientific research community who studies nothing but paint brushes and their technical specifications and applications.

First, it’s how the size of brushes are categorized—in numerical order from no. 1 up to…I’m-not sure-how-high-it-goes. (My largest brush is a no. 16, and the bristles are about an inch wide.) The numbering system is the easy part. At least there is a progressive order to the sizes that even a child can understand.

It’s the classification of the type of brushes that’s confusing, or maybe it’s only confusing to me. Whatever.

There’s the round. There’s the flat. There’s the filbert (which always reminds me of the nut).

Here’s my understanding of brush usage: you use the round for almost everything except for when you need to make an edge, and then you use the flat until, of course, you need to make a curve, and then it’s the filbert. What?

At least the names of the following paint brushes give you a clue as to what you could/should be doing with them, and that helps me out a lot: the spotter, the detail, the shader, the angular shader, the wash, the glaze-wash, the stipple, the liner, the hockey. I could go on.

One of my favorites is the scrubber. This little work-horse of a brush is the one I use to ‘edit’ my painting as I’m nearing completion. That’s a nice way of saying you use it to cover up all your mistakes. Scrub them out.

If you aren't confused by any of this yet, wait, there’s more. Brushes can also be classified by the type of bristle.

It’s either natural or synthetic. If it’s synthetic, it comes in white or brown, and the only reason for this that I can tell is that you are able to see if your brushes are really clean.

If it’s natural, then it can be goat-, camel-, or horse-hair. My favorite is the sable. Really—sable-- as in mink?

Of course, all of the above come in different types to be used for oil, acrylic, and/or watercolor. It’s an art supplier’s dream scene—a brush for every occasion.

And don’t forget foam brushes either, about which I previously blogged.

Please. Just do what I do. Try out a few and see which one(s) you like the best. You’ll use these most of the time, and all those other ones you bought will just stand there like mine as shown in Today’s Image. Of course, on that rare occasion you’ll be glad you have that angular-shader/glaze-washer.

Cheers!

Become a Great Artist - Create Something NEW (and Different)

Today’s Image

Sun-Baked

Pastel on Paper

Copyright 2008

I read a news release online about the recent opening of a Georgia O’Keeffe exhibit. If you have been a follower of this blog for a while, then you know that I respect her artwork and her unique style. I’m sure you’ve seen her mesmerizing paintings of flowers and canyonlands in books. Maybe you’ve seen them in person, either at a visiting exhibit or if you’re lucky enough to have visited the O’Keeffe museum in Santa Fe, New Mexico, USA.

Anyway, after reading the article and being reminded of her artwork again, I wanted to write a blog on the subject of creating art that is new. Today's Image is a drawing of mine that is an example of what NOT to do.

That is, every work of art should be new (and different), and that’s what I’m talking about—creating art that is completely NEW.

Why is that important? Well, you may not care about this at all, but if you really want to become a 'known' artist and ‘make a statement’ in the art world, then your art has to be new (and different). If that’s not your goal, and it’s not for many artists, then you can stop reading.

You have to bring something new to the canvas or paper or whatever the medium. I’m not sure they teach that in fine art schools; maybe they do, but that’s not the point.

The point is that your art will only rise to the level of its uniqueness (if that’s a word). By that I mean, if you are trying to create art that already looks like some other artist’s work, then you are already on the wrong path if your goal is to stand out and become known.

Many, if not most, artists study, paint, and practice their art by trying to create work that looks like other artist’s. I am not talking about copying, but I am saying that one of the conventional ways to learn art is to try and paint like other artists whose work is well known.

I do it, you probably have done it. I’m saying it’s fine as way to learn your craft, so to speak, but it’s not OK if your goal is to give the world completely new art.

If you practice painting ‘pretty’ pictures of landscapes or seascapes or even people, I wish you much success. The same goes for those who paint like Chagall or Pollock or whomever. Just remember though, it’s not new, and it’s not unique.

Every era has an artist or a movement that ushers in ‘the new.’ Think Caravaggio; think the Impressionists; think Picasso; think Expressionism; think Hirst. Important note: I said think like them, not paint like them.

Today’s blog is about thinking about where you are going with your art career and being comfortable with it. If you are not comfortable—that’s great. You're on your way!

Think O’Keeffe.

Cheers!

A Book About Frida Kahlo and Her Art

Today’s Image

A Painting Symbolic of Kahlo's Mexican Heritage

Acrylic on Canvas

Copyright 2008

I enjoy reading about artists as I’ve mentioned occasionally. I just finished reading the book, Frida Kahlo and Diego Rivera by Isabel Alcantara and Sandra Egnolff; the publisher is Prestel, and an icon on the cover says Pegasus Library. It was a gift along with a biography on Diego Rivera, both of which I received last year. I read the Diego Rivera book first and blogged about it late last year, so I wanted to follow up with a blog on the Kahlo book.

Although the title of the book is Frida Kahlo and Diego Rivera, it seemed to me to be primarily about Kahlo and her life and artwork. Rivera was, of course, a large part of her life, and some of his work and murals are included. Had Kahlo not married Rivera, her life story would still make for an interesting read.

The book is relatively concise and well written with smooth transitions. I like the descriptive subtitles that lead you seamlessly along the timeline of her life. Although Kahlo’s life was full of challenges and emotion, the book remains objectively matter-of-fact so the reader is left to draw his or her own conclusions (thank you).

What’s even better is that the authors included colorful images of her paintings, which I assume are also the most notable and well-known ones. Her art was such an expression of what was happening in her life that, without them, her story would not be nearly as powerful. The inclusion of personal photographs of Kahlo and family and friends was also a bonus.

If you don’t know much, or anything, about Kahlo and/or Rivera, you should read more about them because they are one of art’s most interesting couples. To put it mildly, they were not your typical next doors-y type neighbors.

Kahlo was an individual from her early school days, and, I would say, remained so throughout her life. The first and biggest challenge that affected the rest of her life was a bus accident in 1926 in which she nearly died. Remaining painful problems with her feet, legs, and spine caused her to undergo surgeries the rest of her life and probably contributed to her early death at age 47; that, and Rivera’s numerous and infamous extra-marital infidelities. Without going into more detail, Kahlo, herself, had an affair with Leon Trotsky, the famous Communist, no less.

But to focus on her art, the book reports that Kahlo described it as painting what she felt. Many, many of the paintings are self-portraits with herself as the main character interacting with various themes and circumstances. For example, her miscarriages are portrayed in several unique paintings.

Kahlo did not describe her style as Surrealism, although, to me, it comes the closest if you had to pinpoint one.

Most interesting is how I describe Frida Kahlo and her artwork. You are free to draw your own conclusions.

Cheers!

One Way to Put Harmony in Your Paintings

Today’s Image

The Color Wheel

We all want harmony in our lives, right? Too bad saying it doesn’t make it so. We can’t control the inevitable bumps and sometimes even collisions of daily life.

But in your artist’s studio, on your very own canvas or paper, you can create all the harmony you want. Just what is this harmony of which I speak? I blogged about this subject almost a year ago, so I wanted to follow up on the subject.

The Free Dictionary online says, and I paraphrase: accord, a pleasing combination of elements in a whole. That’s a great definition.

Harmony in a painting is one of those things that, when you see it, you know what it is, but if there’s little to no harmony, then you know something is wrong, but you just can’t figure out what it is. I hope that makes sense to you.

Harmony in a painting is like a smooth melody in music—it just sounds good and makes you want to snap your fingers to the beat. In a painting, it just looks good, it’s pleasing to the eye, it’s beautiful. Instead of snapping your fingers, you may want to step up for a closer look, then step back to take it all in.

Okay. Now that we know or think we know what it is, how do we get some? As a bare-bones methodology, all you need to do is keep a color wheel on hand to refer to as you begin to paint. I won’t take time here to go into color or color-wheel theory or how to use one. (Google color theory for more details.)

Just start with the three primary colors: blue, red, and yellow (or cyan, magenta, and yellow). Draw a triangle with each color at a point. That's the little secret. In the simplest of terms, you have achieved harmony. Congratulations!

So, for any one of the thousands of colors you want to use, just triangulate its other two primary “mates” and you will have harmony. Wasn’t that easy? (Sure it was.). In theory it is, in practice, well, that’s something else.

Every time I begin a painting, I know I want harmony in it. I understand what I just explained to you and which seems so achievable. But somehow it’s difficult.

If I paint from a reference photo or en plein air, I should be able to paint exactly what I see in nature or see in the light anyway. I just need to pick out that dominant color, then triangulate it. Simple.

However, the problem is when I go from the see-ing to the paint-ing, even when I have the color wheel in my other hand. This is one of those abilities in art, I think, which separates the great from the merely pretty-good.

I would like to become a great artist, but I’m still on the journey. I like to say that I’m “aspiring and inspired” to become a great artist.

Remember—all it takes is "a pleasing combination of elements in a whole.”

Cheers!

Art Dreaming - An Important Part of the Artistic Process

Today’s Image

Pennsylvania Avenue

Watercolor on Paper

Copyright 2010

Does your mind wander while you’re painting. Mine does. It’s not that I’m not paying attention to what I’m doing, I am, most of the time anyway. I think day dreaming is a form of multi-tasking while creating art.

Although some would describe artists as merely daydreamers, I’m sure we aren’t the only ones who do daydream. Those people probably don’t put much stock in artists or their artwork either. Whatever.

I believe daydreaming is an important part of the artistic (and creative) process. Let that sink in for a minute.

This is how it happens. You’re concentrating. You’re drawing, or mixing colors meticulously, or applying paint carefully, or you’re standing way back from the easel to assess your work.

Simultaneously your creative brain goes off to another place and time. You are conscious, of course, but at the same time, not fully "there." It’s during these moments, I believe, that our minds and creative spirits conjure up the notions that will become our work of art. Or, at least, these notions will supplement our consciousness and add to our ability to create something new.

I will see something in my work--a color, a shape, a texture, or a shadow--that had not previously caught my eye. This triggers a memory or a thought.

For example, recently I worked on a watercolor that had a city street scene as its motif. As the painting progressed I saw in my mind’s eye soft colors in paintings I had admired while visiting a prominent art gallery. As if on a carousel, paintings appeared before me for an instant before moving on. This "daydream" helped me to create the colors and values I was looking for although at the time I didn't know I was looking for them.

Instead of daydreaming, perhaps it should be called art dreaming. That describes it more accurately, at least, I think it did in my case. It allowed me to see things in a different way, from a different perspective, with a different approach and to use what I saw.

Is this what makes artists, artists? There’s no definitive answer to this, of course, but it makes sense to me that day- or art dreaming is part of it. The next time someone asks you why you’re goofing off or wasting time or not paying attention to your work, tell them you are not doing any of those things.

You’re art dreaming. It’s important.

Cheers!

What Kind of Artist Are You?

Today’s Image

Symbolic of Life's Highway

Photo Copyright 2007

As I’ve mentioned in several of my previous blogs, I enjoy reading biographies of well known artists and how they lived and progressed in their careers. Of course, there is no such thing as a “typical” artist anymore than there is a “typical” engineer, farmer, or President.

It’s the differences that make life's highway all the more interesting, don’t you think?

So that brings me to the question posed in the title of today’s blog: What Kind of Artist Are You?

You understand, of course, the blog is purely subjective on my part, so I’m going to go out on a limb here and give you a few types of artists who inhabit the art world. I’m sure there is not universal agreement, and if you don’t agree, then you may leave a comment or have the urge to write your own blog :-).

In absolutely no intended order:

The Pragmatist is the artist who came to the art world via another career path. Their previous work may or may not have had anything to do with art, but somewhere back in time, this person had the instincts that showed promise as an artist. Maybe they took an art class or two in school. Maybe they doodled or drew cartoon images. They may even have worked in the graphic arts or an allied field that let them feel artistic. The point is that the Pragmatist is a realist who wants the security of a paycheck. There’s nothing wrong with that; even the most famous and/or misunderstood artists had to eat. It’s just that the Pragmatist has limits, and for him or her, the true artistic lifestyle may be just beyond those limits.

The Lovely Artist is one who likes pretty artwork and whose world is a pretty place. Pretty artwork includes flowers and landscapes and still lifes that are full of light and pastel colors. Art is supposed to be uplifting. This artist looks for lovely motifs that can and will enhance the interior of a home or art gallery. They may also become the Romantic Artist if their work includes pretty people portrayed as being happy. There is nothing in their artwork that is narrative or prescriptive or objectionable. Life and art are a happy place. Pretty is as pretty does.

The Classical Artist lives in another time and place most of the time, and their artwork portrays this. This artist likes classical artwork that shows life as it was lived back somewhere in time. That time may be a long time ago, such as the Renaissance, or it may be as current as a 20th Century artist, O'Keeffe, for example. They may emulate, or is that imitate, someone like Carrivaggio or Courbet or Matisse. They yearn for an artistic life that would allow them to be transported to Café Guerbois, Paris, circa 1876.

The Shocker doesn’t need much explanation. Their artwork and art world has never been in the mainstream no matter in what era they created their art. Of course, as time progressed, what was considered shocking in one era became the norm in another—think Impressionism. But I’m not talking about that. I’m not even talking about Van Gogh, even though some Shockers probably have a lot in common with him if you know what I mean. Shockers want to do what their name implies: shock the viewer. Why? That is the question.

Consider this rhetorical, but what kind of artist are you?

Cheers!

Paint In the Sunshine (& Shadows)!

Today’s Image

Sunshine

As I sit here on a gloomy, overcast day, I'm writing today's blog on one of the most important things in painting or other media, such as pastel or even pencil--painting sunshine and shadows. I’m blogging about it because my next painting, which I have just started on, is full of sunlight and shadows on a tabletop.

As I said, I think the contrast between light and dark is the most important thing in your work you can do to give it life and attract a viewer’s eye.

Of course, not all motifs lend themselves to sunlight and shadow. I’m aware of that, but for those that do, it can make your painting sing, pop, or any other word you would like to insert here.

One quote that usually makes the list of notables is from Edward Hopper, who just wanted “to paint the sunlight on the side of a house.” It’s one of my most favorite art quotes, and I remember it every time I start a new work.

Sunlight and shadow give vitality and interest to a painting. As in the ying and yang of life, their dueling personalities provide the tension and flow to keep your eye moving around in a painting, among others techniques.

In another blog I wrote about the difficulty in painting (the color of) shadows, so I won’t go into all that again. I will say it will improve your work if you become somewhat proficient in the skill of painting these two intangible but very real objects.

Another thing Edward Hopper said as he was working on a painting was something like, ”OK, now I’m going to paint in the sunshine.” What!? He was actually talking about painting in the shadows around his subjects.

This is important--the moment you add a shadow, you add sunlight. You have “painted in the sunshine” on your work.

What’s more, the darker the shadow, the brighter the sunlight appears to be. If you don’t believe me, just look out the window on a sunny or partly cloudy day, and you’ll see what I mean. Better yet, practice painting different levels of the sun’s brightness by progressively making a shadow darker and darker.

I didn’t say it was easy. Some shadows are easier to render than others. I think the shadow on a building as well as the shadow a building casts is easier (OK, somewhat easier) to capture than a shadow on natural objects such as a tree. In fact, painting the shadows of tree leaves can get downright difficult. But once you understand and learn how to do it, your trees will look more real.

It seems as if there are as many kinds of shadows as there are things to paint in the natural world. So it’s pretty amazing, to me anyway, to be able to paint nature’s reality.

If you want to paint in the style of realism, or representational art as it’s also called, there’s no better way to achieve that look than to paint (or draw) realistic looking shadows and sunlight.

Cheers!

Prep Work for Watercolor

Today’s Image

"Prep" Work

I hope you’re having a good art day or that you will soon begin your art day.

Some days I have a little trouble getting started. I don’t know why. I thoroughly enjoy my artwork and painting, and I look forward to it (almost) every day.

I suppose it’s that initial push to move you from inertia to action that I need—especially on a Monday morning. Whatever.

I’m at that point right now. I’m writing this on the laptop in my studio, and my current project sits right next me. I can look over and see my painting, or what will eventually be my painting, waiting patiently for me to get back to work on it.

I will just as soon as I finish today’s blog.

The plan for today’s work is to finish masking off all the areas with the whitest-whites on my painting with frisket. I’m almost finished with this masking, and I should actually be able to start painting.

This is the part of the preparatory work in painting that should be called drudge work. This is after you have selected your motif and you’ve envisioned the masterpiece it will become. Only you can’t start on it yet because you have to “prepare.” I don’t consider the prep work as part of the creative process.

For a watercolor, this preparatory drudge work can include:

-paper stretching; I don’t do it, but some people stretch their watercolor paper before they begin to paint to keep the paper from curling up; I just wait until the painting is finished, then I flatten it.

-measuring off the dimensions of your painting and applying tape around the edge of the image area so that you will have a border around it; this can be tricky when you’re trying to peel off 30 inches of tape at one time; (hint: use tear-by-hand tape).

-transferring you motif, or your vision of a motif, onto your paper or canvas as the case may be; this can be done by sketching or tracing; (this assumes you are not free-handing an abstract work that will somehow paint itself :-)

-as I mentioned, masking off the areas in which you don’t want any paint to touch; this part is mind-numbing, for me anyway.

Finally! After doing most or all of that, I can actually begin to mix and apply some paint. I can hardly wait.

Now I just need to finish this blog--that’s easy…

Cheers!

Are You A Habitual Artist, a Creature of Art Habits?

Today’s Image

The Same Old Road

Today's blog is about art habits. I'm sure you have them.

Habits are like being on the same old road, similar to Today's Image--you don't have to think about where you're going or look for anything new.

Have you heard, or heard of, the song, ‘The Way You Do The Things You Do’? Maybe you can remember that classic from the Temptations. How do you do the art things you do?

Like when you begin your art day. Does it begin the minute you awake, or does it carry over from the previous day? Do you jump right in, or do you slowly ease into it from the day or night before?

Like where and how you physically do you art. Except for plein air painters, many artists have a location where they always draw or paint or sculpt. Do you have a certain stance or a certain way you hold your head, arm, or hand?

Like how you arrange the colors on your palette or the type, size, and shape of your palette. Do you ever change it up, or would that throw you off completely?

Like how you arrange your art studio. Are you meticulous with every pencil, every brush, every color in its proper place? Or do you toss things over your shoulder, metaphorically speaking, after you’ve used them?

Like, a favorite brush, or brushes, you always use depending on the brushstroke needed.

Like the medium in which you always, always render your art, no matter what, because you just can’t bring yourself to make a change.

A final point. There’s nothing wrong with habits unless and until they inhibit or hinder you from creating the art you’re capable of creating. Do not be a creature of art habits so much so that you limit yourself or your art.

New roads can lead to interesting destinations.

Cheers!

Stippling - A Simple Way to Improve Your Paintings

Today’s Image

My Stippled Sky

Today's blog is to remind you of how you can use one of the most effective, efficient, and easy techniques to improve or enhance your paintings.

It’s stippling.

It’s a funny word, one of those that seems to make the sound of what you’re describing. I think those are called onomatopoeias, or whatever. Who says blogging is not educational?

Wikipedia—the authority on everything, right :-)—says it’s creating a pattern that looks like varying degrees of solidity or shading by using small dots. It also says it’s similar but distinct from pointillism, which is for optically mixing colors, and stippling is not.

Say the word “stipple” out loud. Can’t you almost hear the soft swoosh of your paintbrush dotting your canvas or paper? Sure you can.

Stippling is one of the easiest ways to add texture to any area of you artwork. You can also add depth and dimension to your work depending on the pattern you make and how light or dark your dots are.

I would like to thank whomever invented stippling because it is so useful. It’s great for:

- blurring any areas in which you don't want to show detail

- creating the illusion of distance on a horizon or actually anywhere in your painting

- making objects, such as walls, buildings, trees—almost anything—appear more real by giving the illusion of texture and shadow, especially from a distance.

But, I think stippling is most useful to artists like me when you want to COVER UP a mistake or series of mistakes in your painting. There’s just nothing else like it.

Have a smudge or color that just won’t lift or be covered up—stipple it!

Want to de-emphasize a faulty perspective—stipple it!

Don’t want to spend time on painting every last detail on objects, such as leaves, rocks, or sea-spray—stipple it!

There are all kinds of stippling brushes available from which to choose to create all kinds of effects. If you haven’t used stippling in a while, give it a try.

I recently used it to cover up a thumb print on a watercolor that just wouldn’t go away no matter what I tried--until I stippled it. Then it disappeared as if by magic. See Today's Image and just try to find my thumb print.

As the old house-paint saying goes, “a can of paint can cover a multitude of sins.”

Well, so can stippling!

Cheers!