Tag Archives: experimentation

Brush Work

I’ve been doing more studying about art than actually making art. One thing I learned is that most of my brushes aren’t meant for oil painting. Since I’m transitioning into oils from acrylics, I thought I ought to transition to the appropriate brushes too. Everybody seemed to be telling me that there are important differences between oil painting brushes and water media brushes. Water media includes acrylics, which was my primary media until recently.

One of my Youtube mentors instructed that sable brushes (real or synthetic) are no good for oil paints because the abrasiveness of the paint will grind away the soft hairs. (Poor, sad brushes). He said, “A brush with no hair is a stick, and you can’t paint with a stick.” He also said that I shouldn’t be using short handled brushes, because those are for watercolorists who work close to their work at a table. For oil painting at an easel, he said I should be using long-handled brushes. He recommended buying the expensive brushes and the cheapest paint. His rationale was that all paint is basically the same, but that the quality of your tools affects the quality of your work.

Then I watched another artist’s video and she used short-handled brushes of all types for both oils and acrylics. She recommended buying the cheapest brushes (though not so cheap that the bristles fall out), and the best quality paint. Her rationale was that the brushes are going to wear out regardless of how well you care for them (faster if you aren’t fastidious with cleaning) and they’ll get tossed and replaced frequently, but the paint becomes a part of the art you create, so you want it to be the best you can buy.

Both sounded like reasonable conclusions. Before I came to any conclusions of my own, I wanted to try out the boar bristle brushes that the arts & crafts stores sell as “oil painting brushes,” because I had little personal experience with those. The experience I did have with them was generally bad. Taking a look at the brushes for sale at a local shop, I determined that my issue with boar bristle brushes was because I had only ever used extremely cheap ones that are about the poorest quality you can get.

Looking at the photo above, a difference in the quality of these brushes — both new — is obvious. The brush on the right is the type I had tried in the past, and I only own it because it came in a large set of miscellaneous brushes. I probably paid around $5 for more than a dozen brushes in that package. The one on the left was a mid-range quality that sells for about $15 per brush, but I got it on clearance for around $4. The nicer looking brush is also more flexible, yet stiff enough to move the paint where it needs to go. The straighter, more even bristles allow it to hold paint and let it flow onto the canvas evenly. There is no way I could control the application of paint with that splayed mess of bristles on the cheap brush.

Now that I’ve tried the better quality boar bristle brushes, I’ve formed some opinions of my own:

  • Price matters much more with boar bristle brushes meant for oils than with soft hair brushes meant for water media.
  • Boar bristles are definitely the better way to go for oil paints, which are much thicker and stickier. Trying to paint with with oils using a soft synthetic sable brush is like trying to push a paperweight around with a peacock feather — it ain’t goin’ nowhere.
  • Oil paint is much, much easier to wash out of brushes — whatever the quality of the brush. Score one for oils over acrylics. (Watercolors are still the easiest to wash out though.)
  • Short handles work fine for me, even when I’m working at a canvas on an easel, because I have to stand pretty close to it anyway. Darn progressive lenses!
  • Walking around the room looking for your glasses while holding a loaded brush in one’s teeth is a very bad idea.

Instructed and Inspired by My Medium

No1 and No2 - both in progress

Still plodding along with the still life.  When I used the wrong mixture for glazing and had to set aside the oil version (on the right) back in August, I expected that it wouldn’t be dry enough to paint the next layer until Christmas.  But it surprised me, and it appears that only a couple months was necessary.  In the meantime, I started on the acrylic version of the same still life (on the left) and it has been going well… mostly.  I’ve experienced some frustrations with the paint drying too fast on the canvas.  (That’s situational irony, right?  My 9th grade English teacher really tried, but I’ve always been a little unclear on that.)

So it wasn’t the subject matter that drove me to give up temporarily on the first canvas, it was the medium.  And while working on the second canvas, the medium is making me itch to go back to work on the first canvas.  I’m learning a lot, and relearning some too, about my mediums.  (Or media, if you prefer–both plurals are correct in an art context; I checked.)  That was pretty much the goal of this project–to learn the properties and possibilities of my materials.

So, even though I’m not finished with either version, I’m already thinking about Still Life with Hydrangea No. 3. I’ve got a whole room full of art supplies.  I could do watercolor next.  Or gouache.  Or ink.  Or watercolor over ink.  Or pastels.  Or charcoal.  Or colored pencil.  Maybe Crayola crayons will suit my mood?

OH, HOLD THE PHONE!  I just recalled that single sheet of art paper that I bought on clearance this summer.  (Only 15¢–I’ll never get out of an art supply store that cheaply again.)  That paper is a rich muted red and that would be the perfect support for a pastel painting of that still life!  I think it maybe the time is approaching to try out that box of pastels.