When you gain more experience with your painting, you will find that you can obtain different looks to your work by using your brushes with different techniques. This can give you positive effects and it can be quite rewarding.
Even with one brush you can do so many things. You can make delicate lines, through to filling in fairly large spaces of your work in fact. This therefore can create wonderful patterns and marks plus different textures which then in turn fire your imagination.
The brushes themselves come in such a wide range in shops and art supply companies today. So you may, in fact, find it daunting to make a choice. Some really are pretty cheap. This may also reflect in the result you actually get. As you may find, you have loose pieces of the brush itself, or handle.
We all face this problem from time to time. These brushes are good for practicing with. However, different brushes are designed with a certain type of particular stroke in mind. As an example, to produce lines that gradually peter out, a brush with a fine point is ideal. Good too, for filling in parts with very fine detailing.
Brushes that have a great many bristles will fill up with plenty of paint. Therefore you do not spend so much time putting the paint on your brush. So in this way it is different to one of the fine brushes or what is known as a flat brush. A flat brush can be used to cover large areas of your work. It usually has many bristles and in fact looks square and gives a flat finish.
Your art kit is of vital importance to you personally and you find your own favourite items. Now with the fantastic selection of brushes available, there are so many effects that can be obtained.
Experiment, experiment, experiment and see what you can do with these brushes. You will find it is so easy to get carried away and the time flies by without you realising.
New effects are what you want, different styles for your work maybe? You develop your own personal style naturally enough, but often we do find we do need change. Try using the brush in other ways, on it's side for instance, not always the point. Then apply more or less accordingly.
I find that I often use what I would term swirly lines, as you can do this with oils and acrylics, easily using the paint straight from the tube. These are very good for water scenes, but they also adapt well to making lovely patterns. (Good with a thick brush).
A dry brush is another thing you could try where the white background peeps through. I happened to come across this method one day. If you have a flat, flexible brush, you could try doing a painting completely made up from dots. These, I find, are all interesting methods.
Sometimes it works to advantage not to cover the whole canvas with paint. This will often complement your work, letting the white be on show. Fascinating too, I find, are paintings created by the brush used with a stabbing effect.
Whether you use a dry brush, flat brush, side of the brush, do dabs, spots, dashes alternately, swirls, or dots, you can leave all sorts of impressions. Colours play a big part in the paleness or vibrancy of tone. The pressure applied on the brush also has to be taken into account.
If for example you are painting lines thick to thin, you need more pressure for the thick lines, a lighter stroke for the thin. It is all trial and error. So give it a go!
Even with one brush you can do so many things. You can make delicate lines, through to filling in fairly large spaces of your work in fact. This therefore can create wonderful patterns and marks plus different textures which then in turn fire your imagination.
The brushes themselves come in such a wide range in shops and art supply companies today. So you may, in fact, find it daunting to make a choice. Some really are pretty cheap. This may also reflect in the result you actually get. As you may find, you have loose pieces of the brush itself, or handle.
We all face this problem from time to time. These brushes are good for practicing with. However, different brushes are designed with a certain type of particular stroke in mind. As an example, to produce lines that gradually peter out, a brush with a fine point is ideal. Good too, for filling in parts with very fine detailing.
Brushes that have a great many bristles will fill up with plenty of paint. Therefore you do not spend so much time putting the paint on your brush. So in this way it is different to one of the fine brushes or what is known as a flat brush. A flat brush can be used to cover large areas of your work. It usually has many bristles and in fact looks square and gives a flat finish.
Your art kit is of vital importance to you personally and you find your own favourite items. Now with the fantastic selection of brushes available, there are so many effects that can be obtained.
Experiment, experiment, experiment and see what you can do with these brushes. You will find it is so easy to get carried away and the time flies by without you realising.
New effects are what you want, different styles for your work maybe? You develop your own personal style naturally enough, but often we do find we do need change. Try using the brush in other ways, on it's side for instance, not always the point. Then apply more or less accordingly.
I find that I often use what I would term swirly lines, as you can do this with oils and acrylics, easily using the paint straight from the tube. These are very good for water scenes, but they also adapt well to making lovely patterns. (Good with a thick brush).
A dry brush is another thing you could try where the white background peeps through. I happened to come across this method one day. If you have a flat, flexible brush, you could try doing a painting completely made up from dots. These, I find, are all interesting methods.
Sometimes it works to advantage not to cover the whole canvas with paint. This will often complement your work, letting the white be on show. Fascinating too, I find, are paintings created by the brush used with a stabbing effect.
Whether you use a dry brush, flat brush, side of the brush, do dabs, spots, dashes alternately, swirls, or dots, you can leave all sorts of impressions. Colours play a big part in the paleness or vibrancy of tone. The pressure applied on the brush also has to be taken into account.
If for example you are painting lines thick to thin, you need more pressure for the thick lines, a lighter stroke for the thin. It is all trial and error. So give it a go!
About the Author:
The article about brush strokes was written by contemporary artist Anna Meenaghan. As an established, contemporary painter, Anna writes articles about art to help newcomers improve their technique. She also operates an online art community where artists and art lovers alike can meet and exchange thoughts. Comment by Michael Bruckner.
No comments:
Post a Comment