What Is A Squirrel Mop?

My "Squirrel Mop"

One thing I try to do in writing the Orbisplanis art blog is to provide useful, if not interesting, information for artists and painters. I attempt to find answers to art questions and topics that are not clear to me for one reason or another.

Recently I have been trying out different types and sizes of paintbrushes, primarily No. 12s and larger.

In looking in books and online sites, such as art blogs and art supply store websites, I kept running across the term “squirrel mop” to describe what I took from the context to be a rather large brush used for whatever you use a large brush for.

I didn’t think much about it at first, other than that it was a funny name for a paintbrush. But as I explored with larger brushes, it seemed to me that this might be the exact brush I was looking for in order to paint larger and looser and more impressionistically.

I looked at my local art supply store, but even with two aisles completely filled with paintbrushes, I didn’t see any called a squirrel mop or similar. There were lots of synthetics, some goat and horse hair, even sables, but no squirrel.

Was I really looking for a brush made from the hair of a squirrel? Time for a Google search.

When I put in the search term, “What is a squirrel mop brush,” I got 544,000 hits. Fortunately Google lists the most relevant ones first. Primarily there were links to online art supply retailers, such as Jerry’s Artarama, Blick, Cheap Joe’s, and Daniel Smith. Also, there were links to a few brush manufacturers, such as Winsor & Newton and Loew Cornell.

These sites talked about the brushes they had in stock and something about Kazan squirrel hair as being the softest and finest. One site called it a quill mop.

There was also a discussion, somewhat humorous, but mostly positive, about squirrel mop brushes on Wet Canvas.

However I still couldn’t find a real definition, at least not in the first 10 pages of hits. So I decided to look in the seemingly ubiquitous online encyclopedia, Wikipedia. Under Watercolor Painting>Brushes>Shapes, it said:

 Mops (natural hair only). A round brush, usually of squirrel hair and, decoratively, with a feather quill ferrule that is wrapped with copper wire; these have very high capacity for their size, especially good for wet in wet or wash painting; when moist they can wick up large quantities of paint.

OK, I guess I was expecting more information about the origin and history and uses of a squirrel mop, but at least I did find out they are made of squirrel hair, at least some of them.

I ended up getting a Creative Mark Harmony Quill No. 12. I’m still learning to use it, but I think once I get the hang of it, it will be perfect for what I’m trying to do.

By the way, it supposedly is made of the hair of a blue squirrel. Who knew?

Keep On Painting

Versatile Violet

I Used Violet in My Painting
to Make the
Foreground Appear Closer
to the Viewer

Color and color theory are things most painters have had to learn whether they wanted to or not.  If you didn’t or haven't taken time to learn something about how colors mix, then you probably have wondered why your paintings appear as they do: muddy and with little or no harmony.

On that cheery note, let me add that it’s never too late to learn something new about painting.

One thing I have learned about color—violet is one of the most versatile colors on the color wheel, with cobalt blue being the other (in my opinion).

What it is about violet? Well, as you know it’s a secondary color, the combination of red and blue. I think that’s a more useful combination than, say, yellow and green. You know that very bright yellow-green I'm talking about? That is used primarily for certain types of foliage at certain times of the year, in landscapes anyway, and for not much else.

Violet, however, can be used almost anywhere on your motif at any time. It can be used in the foreground since red tends to bring objects closer to the viewer.

It can be used in shadows. It seems when painters don’t know or can’t tell what color to paint a shadow, they opt for violet, and it’s usually a very good choice.

Don’t forget about violet used in skies for beautiful  sunsets as well as for reflections in clouds.

What's more, there are all those different combinations of reds and blues to make many different violets.  There’s the cool, blu-ey ultramarine violet to the really purple mineral violet to the warm, reddish Mars violet. I think Mars violet is one of the best colors to use in landscape paintings.

Next time you’re stumped over what color to use in your foreground or shadow or sky, try a versatile violet. You will have a friend on your palette.

Keep On Painting

We Are What We Paint

You probably have heard the expression, “We are what we eat.” That may be a little simplistic, but probably more true than not.

For painters as a group, I maintain, “We are what we paint.”

Not that I nor anyone could or ever should lump painters, or any group really, into one category. That's stereotyping and narrow minded.

By their nature all painters paint differently and are different.

Sure, we admire and we study and we try to capture or mimic a style or technique of a favorite painter.

I do all of the above. I’m currently trying to paint looser and allow my paintings to look like (or more like) some contemporary award-winning watercolorists whom I admire.

Try as we may otherwise, we can only paint what we see, what we feel, and what we’re able to paint. Because our sight and emotions and natural abilities are our own, are we destined (or doomed?) to keep painting the same way no matter what?

That doesn't mean we can't improve, but, yes, I believe it does.

I’m currently reading a book with paintings and letters of Vincent Van Gogh. Because his style was and is so distinct and unique, I doubt that he could have made his paintings look or feel any different than they do even if he wanted to. But I think you'll agree, in his case that's not a bad thing. 

So, I maintain when all is said and done, a painter simply paints the way he or she innately paints. No matter what.

Times change but painters and their human nature do not.

Keep On Painting.

To Draw or Trace, That Is the Question

You don’t read or hear much about this in art books or on artist’s websites. Maybe that’s because artists and painters don’t want to discuss it.

What I’m talking about is how painters draw their subject or motif before they begin to paint. Almost always a drawing or sketch is rendered on canvas or paper before any brushstroke is applied. Of course there are some loose painters in watercolor who tell you not to begin with a drawing or sketch. They say to begin your painting just use your eyeballs and the paintbrush to draw the subject as you paint, but they seem to be in the minority.

Almost every text or website on painting says you first begin with a drawing. But I’ve noticed there is very little discussion on how you should render this. Often it seems the artist simply says something like, “First I drew my subject, then I applied the first wash,” or “Begin by transferring your drawing to the paper (or canvas).” OK. But how?

Some painters are good sketchers, some are not. I’m sure most painters would like to be experts at both drawing and painting. In a perfect world of artists that would be so.

Even for those en plein air painters, a simple sketch of what is before your eyes seems to be required, so for those painting out-of-studio I suppose being able to draw well is somewhat of a must.

However, drawing and painting are two allied skills, I think. Ideally one would be good at both, but they are not dependent upon each other. That is, you can be a good painter and a rather poor sketcher or a good sketcher and a poor painter. They have overlapping as well as exclusive properties; picture a Venn diagram.

This is where the “T” word comes in. “T” stands for Trace. It’s anathema to purists, but I bet it’s more common than you may think.

There are lots of ways to trace. You can enlarge a photo and trace your subject on tissue paper; then apply graphite on the back, turn it right-side up and re-trace the lines on your paper or canvas. You can use Saral paper like carbon paper under an enlarged photo to trace the motif. Or you can use an opaque projector to enlarge and cast an image of your subject on paper or canvas.

All legitimate except in the eyes of purists. My guess is that many painters trace their subjects. They’d much prefer to spend their time painting rather than fiddling with a sketch. I can draw free-hand pretty well, but I still have trouble with perspective and the proper proportion of objects in the foreground versus the mid- or background, so I will trace when I need to.

I will say that almost every painting instructor tells you your drawing must be “correct” or you’re in big trouble from the start.

As to my point on why tracing isn’t discussed much, I suppose it’s pride along with a pinch of prejudice.

Keep On Painting    

A Painter's Questions

As a painter do you ever question exactly what it is you are pursuing, art-wise, that is?

Every so often I question my aspirations, and there are several questions to pose.

What are my strengths as a painter, and what are my weaknesses? Do these strengths and weaknesses matter to me and, if so, how much?

Do I have a style and would I recognize it as such? How important is my style to me?

What do I want my body of work to look like?  Is there individuality in my paintings?

How do I feel when I'm painting? What about painting makes me happy/unhappy?

Is there a “groove” for painters, and, if so, I how do I get into it?

Do I like the way my paintings look? 

What is the nature of being a painter?

What will improvement look like? Can I improve or will my work just evolve?

Do I have to be passionate about painting?

Am I satisfied? Am I complacent?

(Keep On Painting)

Learning to Paint from a DVD?

Recently I viewed several artists’ DVDs. These are painting demonstrations on DVD that feature a particular painter. Up until now I had not really taken the time to watch any artists on DVDs, which are available to purchase online or in art supply stores.

I didn’t really believe they would be able to “teach” me much in a 1 to 1 1/2–hour DVD format. Nor did I think I would be able to learn that much either. 

I have watched trailers, which are short previews, of many artists’ DVDs on YouTube. These are generally three-minutes or so with snippets of artists painting on location or in their studios. They show just enough to give you an idea of what's on the DVD so you'll buy it.

The DVDs usually cost around $39.95US, but that is much less than most in-person workshops. I have been somewhat skeptical of any painter who would produce one or more of these DVDs just to enhance his or her income. Yes, I know that’s naive. Artists have to make a living.

A couple of months ago I decided to order the DVD of a painter whose book I had previously read, and the DVD had the same name as the book. It was interesting to see the painter “live” and actually using the techniques described in the book. The production quality was pretty good, and the artist was actually quite entertaining. And I learned something about  painting loosely.

Then an artist friend lent me a DVD of another painter several weeks ago, and I watched it. This painter’s style was quite different from the previous one. Where on the previous DVD the paintings were done both en plein air and in the studio, on this DVD a painting was done entirely in studio from start to finish. This was more of a workshop demonstration for those who learn better in that environment. This painter was equally entertaining, and by that I mean she interjected personal painting anecdotes, which helped convey what she was saying. And I learned something.

Finally, I just recently ordered the DVD of a painter whose work I admire. In this DVD the painter is painting entirely en plein air. It’s not step-by-step, but you are looking over his shoulder as he paints. He doesn’t go into detail about paper or paint, although he does give his palette colors. However, he does explain how he goes about deciding how to paint the picture. You listen to the explanation and watch him paint, and the paintings develop before your eyes. I definitely learned something.

Although the DVDs are edited so that you can’t always tell how much time has elapsed between scenes, to allow paint to dry, for example, that doesn’t really matter.

So I have changed my mind. I believe painters can learn by watching DVDs as long as they practice, practice, practice what they learn. There is no substitute to learn to paint other than actually painting.

FYI--the painters I learned from in order were Ron Ranson, Judi Betts, and Joseph Zbukvic.

Keep On Painting.

A Finished Painting...

My Finished Painting

Well, I finished my painting. So, following up on my previous blog, A Painting in Progress…, here are my thoughts about a finished painting.

A finished painting is:

-Like taking a Summer vacation

-Like walking in clover

-Satisfaction

-An old friendship

-A feeling of calm

-Self-esteem

-Like driving out of a long tunnel

-An urge to do a happy-dance

-A beautiful thing

-A prideful experience

-Like winning the lottery (or at least a scratch-off)

-Stick-to-it-ive-ness

-Like hitting a jack-pot in Las Vegas or Monte Carlo

-Like finding the pot of gold at the end of a rainbow

-Something to shout about

-A leisurely stroll in the park

-A new member of your family of paintings

-Confidence in a job well done

-A wonderful thing

-Finished

-Definitely a painter’s reason for getting up in the morning

Keep On Painting

A Painting in Progress...

My Painting in Progress

A painting in progress is:

-Like waiting for Spring

-Like walking in the fog

-Nerve-wracking

-A love/hate relationship

-A test of patience

-Character-building

-Like driving through a tunnel

-An uncontrollable urge

-An ugly duckling

-A humbling experience

-Like hoping you’ll win the lottery

-A test of faith

-The lure of Las Vegas or Monte Carlo

-Like looking for thepot of gold at the end of a rainbow

-Something to fret over

-A roller-coaster ride

-A step-child

-Like walking on a tight-rope without a net

-Not an easy thing

-Unfinished

-A painter’s reason for getting up in the morning

Keep On Painting

Which Watercolor Paper Is Best For Me?

I am convinced more than ever about the type of watercolor paper and the role it plays in your paintings. I started to use the word “quality” rather than “type” in the previous sentence, but thought better of it. One painter’s quality, expensive paper may be the bane of another painter who swears by an inexpensive brand and vice versa.

I do think that painters should, no must, try out a variety of different types and brands of watercolor paper if they want to find out which one suits their style of painting best.

Previously I have painted on 300-lb. (640gsm), cold-press watercolor paper from a highly regarded manufacturer. I painted on this paper exclusively for about two years, so I didn’t really have anything to compare it to.

Then I inadvertently bought several sheets of hot-press paper. I was immediately unhappy. Since hot-press paper is relatively smooth compared to cold-press, I was not used to the paint moving around so freely.

I have more control with cold-press paper (considering the medium), and I like it that way. Although I may be doing myself a disservice by not using hot-press, it did make me appreciate the natural attributes of cold-press.

I recently painted on a couple of well-known brands of mass marketed watercolor papers that are sold in hobby and craft stores as well as most all art supply stores in the U.S. Both were 140-lb. (300gsm). Admittedly, I was curious to know if a less expensive paper would make a difference.

It did. Since each came in a pad, one with 12 and the other 15 sheets, I felt compelled to use all of it. Since it was relatively cheaper, I experimented freely with different amounts and ratios of paint to water. I did not like the finish of either brand, and, more importantly, I found both to be too absorbent.

For me that meant the water was absorbed into the paper so quickly that by the time I applied paint, it more or less stayed in one spot and did not disperse as much as I would like. I found this annoying. I then had to use more water than I'm comfortable with, and using too much water has its own consequences. 

I don’t think the size or color of paper makes a whole lot of difference except to the painter who may prefer a larger or smaller sheet depending on his or her taste and ability to paint large and/or small.  I think color affects one’s ability to judge values as you paint, not the actual act of painting.

I am currently waiting for an online order for a pad of 140-lb. (300gsm) rough paper  to arrive. It is from the same manufacturer as the 300-lb. paper that I have used before. I have never before used rough paper, but I am looking forward to trying it out.

Maybe I will find it to be “the one” that will take my paintings to the place I want them to be. We’ll see.

 Keep on Painting

A Few Tips & Tricks for Painters

Just A Favorite Painting of Mine

I’m passing along a few things I use that have become part of the way I paint. I use these for my watercolor and acrylic painting sessions, although they may be adaptable for oil, too, who knows?

These didn’t come about all at once; that is, one day I didn’t suddenly try out a bunch of new ways to make things easier. It takes time to discover better ways of doing things or new tricks or tools.

Anyway here are a few of them:

 Butcher Tray as your paint palette – A wonderful re-purposing of a kitchen utensil; the flat tray is enameled and allows you to squeeze as much or little paint as you need and mix it easily on different parts of the tray; and it’s easy to clean in the sink with water and paper towels.

Tear-By-Hand tape for your border – I’ve mentioned this one before, but tear-by-hand tape is the greatest; if you’re one of those painters who use tape to frame your paper before you paint you will love it; with just your fingers, you can easily tear off the length you need—no scissors needed.

Shopping Bags as your artist portfolio – I’m talking about those very, very large plastic bags you get when you buy full sheets of watercolor paper; if you don’t mind the art supply store advertisement on them, they are the perfect size, remarkably tough, and they have a handle; use them to carry your paintings to class or the art gallery.

Artist’s and Painting magazines as your inspiration – I use my favorite articles on painters and paintings while I paint; I open up the magazine so that I’m looking at a favorite painting while I paint; it’s a constant reminder of the type of painting I’m trying to paint; you can also use old hanging calendars with famous painter’s paintings, such as Impressionist paintings, for the same thing, too.   

Plastic Containers for your brush-water -  I’m sure everyone already does this, but thought I’d mention it anyway; you can choose the size you need (like a large yogurt container) and when the interior gets stained with paint, just re-cycle it; I’m currently using the plastic containers that hold disinfectant wipes —tall and sturdy, they hold a lot of water and tall brushes so you don’t splash much (of course, for plein air, you’ll need to find a container with a handle to hang it).

Call these tips or whatever, feel free to borrow, try out, and use them (or not).

Keep on Painting