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Brushes

Brushes are of great importance. Cheap ones on the whole are of doubtful value. As one needs but few brushes, he should buy the best. Those of red sable hair are generally so considered. The round, sharply pointed type is probably the most popular, but flat square ones can also be useful at times. A rectangular space such as a door or window shutter, for instance, can often be painted using a stroke of a flat, sable brush about three-fourths of an inch wide.

One generally needs about three round red sable brushes - small, medium and large. For any given piece of work, it is best to use the largest size brush practical. Small brushes require too frequent dipping and can lead one into finicky ways. For bold sketching (such as outdoor work) and for laying large washes (as on skies and backgrounds), so big a brush is needed that one sometimes feels forced to use a cheaper substitute for sable, such as imitation sable, camel hair or squirrel.

The Number 17 camel hair “dabber,” for instance, costs a fraction of the price of a red sable brush the same size. However, since camel hairbrushes lack spring and seldom hold their points well, they are not recommended except in the large sizes for bold work.

For certain types of work, particularly for scrubbing out high lights, stiff bristle brushes are sometimes used.

Care of Brushes

With proper care, good brushes will give years of service. Rinse them frequently, as you use them, and wash them thoroughly when you put them away. Don’t leave them standing for long periods in paint or water - and don’t allow them to dry in cramped positions.

Watercolor Paper

The most desirable papers for watercolor painting are usually handmade and imported, the best known perhaps being Whatman from England, Arches from France, and Fabriano from Italy. These papers are handmade of the very best rag stock, following traditional methods handed down through the years from father to son (not at all practical here in the United States); their properties are toughness, long life, surface texture, which cannot be matched by the very best machine-made papers, whether American or imported. A good handmade paper will withstand a considerable amount of soaking, scrubbing and erasing and will age with little deterioration.

The weight (thickness) of watercolor paper is important. Thin papers should generally be avoided, especially for large work, since they buckle when wet and are inclined to split if stretched. Weights vary from a light “72 lb.” to the extremely heavy “300 lb.” and, occasionally, even “400 lb.”

Some papers are smooth; these are identified by the phrase, “hot pressed,” or “HP.” The more popular surfaces, however, have a grain or “tooth.” “Cold pressed” or “CP” indicates a slight grain; “rough” or “R,” a heavier tooth. These last two have an indescribably sympathetic texture, excellent to work on and pleasing to look at.

Watercolor papers come in several sizes, but the most popular is the “imperial,” approximately 22″ x 30″. This is a convenient size for the averagee painting and it can be halved or quartered for sketches. Papers are also available in spiral-bound pads and in blocks that are convenient for sketching.

Now when you have purchased the paints you need, you have everything required for your painting. Good luck!

http://www.paintcolorchart.net/

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Click here to view Modern Paintings by Murray Hubick

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In portrait painting there is the matter of representing the human features: notably the eye, ear, nose and mouth. Of these, the easiest to do are usually the ear and the nose.

The ear is a complicated thing in appearance to be sure, but excepting for its size and general set and shape there is nothing very individual about it; normally we pay little attention to the ears of even our closest friends unless there is something radically distinctive about them.

For that matter, the ear is often wholly or partially hidden by the hair, or viewed in shadow or in a greatly foreshortened position. So the usual rule is to suppress the ear’s complexity of parts, merging them in the simplest possible indication so that the spectator’s eye will scarcely be aware that the sitter even has an ear.

While the nose is a more distinctive and distinguishing feature, prominently located as it is at the front center of the face, it is relatively easy to do, for, though capable of some movement, it is quite immobile when compared with the ever-shifting eyes or the changeable and highly expressive mouth.

An important point in doing the nose is to avoid the all-too-common effect (in work of the beginner) that it is plastered on to the face and has little relationship to it. Make it look like part of the head, for it is.

Some, however, point out that although the eyeball itself has a quality of mobility and animation which the painter should strive to catch, the individuality and expressiveness of the eye come less from the eyeball - for eyeballs look much alike - than from the flexible muscles of the forehead and eyebrows, the type and position of the lid, and the surrounding network of wrinkles, in particular those at the outer eye corner and across the bridge of the nose.

Artists differ in their feeling toward the eye. Many - perhaps a majority - speak of it as the most expressive of all the features.

 But don’t overdo these details - one can paint a perfect likeness with the eyes almost lost in the general tone of the eye socket.

It is the mouth which is the truly sensitive thing. It is seldom twice alike, for under normal conditions it records instantly every change of inward thought or feeling. There are times when the shifting of the lines of the mouth by scarcely more than a hairbreadth will alter one’s entire appearance. Therefore, the painter must observe his sitter’s mouth keenly, recording with fidelity what he thinks to be its most significant expression.

But it is pointless to write much of such features. The main thing is to paint them all with restraint, remembering that they are but parts of a whole. Yet they are not separate parts, each complete in itself, but they form, together with the cheeks, the chin - the whole head, in fact - a homogeneous mass which must be painted as a unit. Only in this way can all the features be of consistent shape, size, light and shade and coloring.

The best way to get these features right is by practice, so begin now!

http://www.paintingtip.net/

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Art Marketing Course For Artists & Craftspeople At All Levels. This Is A 13 1/2 Hour Multimedia Downloadable Course.

Paint Or Draw Any Subject With Ease. Learn Unique Principles From A True Art Master!

Use Mixed Media, Papercrafts, Textiles, Polymer Clay, Jewelry Making And More As A Transformative Tool For Self-development And Creative Expression. Written By Arts Industry Experts. Available By Individual Issue And By Annual Subscription

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