The first section of the course asks us to explore the range of marks and shapes that can be made by brushes of different sizes and shapes. I completed a few pages using ultramarine oil paint, thinned with a turps. I also used different strengths of paint to see how this would affect the mark-making:
On the above sheet, the marks on the left were made with a Flat 6, and those on the right with a cheap round bristle brush I already had in. I found the flat brush very good for making regular marks – both lines using the tip and sides, and squares/rectangles – and textural marks, especially by splaying the brush slightly to give a stripy effect.
The marks made by the cheaper brush were more irregular but the dabs and marks made by rolling the brush on the paper were more textural than those made by more expensive brushes.
The sheet below uses a Flat 12 (left side) and the Fan 4 (right side). Although probably by accident, the fan brush has picked up different strengths of paint across the width, and this has made some really interesting marks on the paper, combined with the paint that is more dilute. This could really be exploited for creating very three-dimensional marks with a single brush stroke.
The Flat brush can make very uniform rectangles, thick and thin lines but also makes interesting broad sweeps and, when splayed slightly, gives very textural qualities.
This sheet has a Filbert 12 (left side) and short flat 2 on the right. I have never used a filbert before and can see how it would be very useful for texture and for trees/shrubs in landscape paintings.
This sheet is a round 8 (left hand) and a fine, round 1 (right side) for detail work.
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