I tend to use one or two brushes for 70 to 100% of each paintings passages. I know that many painters like to change up their bushes during a session but I tend to start with a big brush, say up in the sky and I'll do the whole sky with it.
For the sizes I work these days I favor #8 to #2 Flats and I will spend the extra dosh for good quality brushes. I've been using Robert Simmons Signet Bristle Brushes because they're good and I can get them out here in New Zealand. I really like Silver Brush Grand Prix Super Brushes also. Try those out if you're in the states they are top notch.
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| Homeward Bound (12x18) by M Francis McCarthy |
The cheapies are more trouble than you save from the cost difference from just getting good brushes. Cheapies shed hairs in your painting, have uneven sides and edges, don't last and basically make painting a drag because the brush will not respond to your hand very well.
I'll stick with that first flat for an entire passage unless I've a great reason to grab another brush. I'll get deeper into my process as the blog progresses but for now: I use that brush's edges and corner to get the paint down in varied ways.
I do wipe my brush off occasionally with a paper towel and if necessary I'll use some lavender oil to temporarily clean the brush.
For cleaning at the end of a session I now use kerosene. Kerosene leaves a nice oil on the brushes that conditions them. In my experience it keeps the brushes fresher for longer.
Be careful the brush is dry though before using it to paint again, kerosene that gets into your painting will keep the painting from drying!
Turpentine can give me a headache as does "odorless" mineral spirits. I've found some great alternatives like lavender oil. More on Lavender oil later.
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| Homeward Bound (5x7) by M Francis McCarthy |
When I move out of the sky I often will lay in my dark's with a #2, #3 or #4 flat depending on the shapes involved and the size of the passage. I like to get back into a #4 or #6 for the rest of the medium color areas for the same reasons that I use the #8 in the sky. Namely:
Bigger strokes just look better and the bigger the brush, the bigger the strokes. I find that being forced to use a corner of the brush for accents keeps the painting fresher. In my earlier days as a painter I liked getting the small sable rounds out and going to town on the details. I now feel this locks up the image and that's contrary to my artistic agenda of creating a loose relaxing space for the viewer to enjoy and contemplate.
Another good reason to mostly work with one brush for a passage is that it keeps a bit of the tone from each element mixed in each color. I like my color defined but definitely harmonic. Note: the main brush switch up that I do is when I go in with the dark's Having lot's of muck in your brush isn't a great plan for dark's but like I said can be an asset in your middle tones and lighter passages.
Obviously, brushes, brush technique and technology is a vast topic so we'll talk more about it down the road.
Cheers.
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