A Brush With Art.pdf

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useUsing a No. 6 sable brushF This is the same brush stroke as A, except that it ispainted with a No. 6 brush. It is a general purposebrush stroke and therefore both versions are veryimportant. (Use your No. 6 brush to practise brushstroke B as well.) It is also important to learn how toI This random dry brush effect is similar to brushstroke D, except that the brush is moved from right toleft and left to right.Push down the ferrule end of thehairs and let them splay out as you move your brushbackwards and forwardsvary the pressure of your brush as it is moving acrossthe paper. Try this stroke again, but this time startJUse this stroke for filling in larger areas. First paintwith more pressure and, as the stroke progresses,gradually lift the brush off the paperfour distinctly separate strokes to give you a rectangle.Then fill in the area quickly with paint. And remember,your first brush strokes must remain wet while you'reG This takes stroke F a step further. Load the brushand paint a continuous line, while at the same timevarying the pressure of the brush. Remember to havedoing it, or you will end up with a darker line aroundthe edge of the rectangle where your first brushstrokes have dried outenough paint on your brush to take you through thewhole stroke!H These thick and thin vertical strokes will helpyou use your brush effectively for small work. Followthe arrows and when you have done this exercise(moving only your fingers), repeat all the strokes butmake them longer (this time moving your arm)K This last stroke is really an extension of brush strokeJ. It may look like a doodle, but it's one of the mostimportant strokes of all. Iit for filling in irregularareas and moving on to other areas, filling them all inwith colour. When you have mastered this technique,you will feel very much more at home with your brush.Mix plenty of paint first - the secret is to keep it watery!28
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Page 6 and 7: jit%'^^^m
Page 8 and 9: First published in U.S.A. in 1993 b
Page 11 and 12: When somebody told me that there we
Page 13 and 14: IntroductionThere are many people w
Page 15 and 16: my advice and keep your materials s
Page 17 and 18: Whatman 200 lb Not (2B pencil)«.^^
Page 19 and 20: The 12 ProgrammesA course of easy-t
Page 21 and 22: T—//Bockingford 200 lb, 21 x 29 c
Page 23 and 24: Always observe reflections. Study t
Page 25 and 26: Three PrimariesSome colours that ca
Page 28 and 29: Painting Hay TorIdrew in Hay Tor wi
Page 30 and 31: useHound TorBrush strokesFor this p
Page 34 and 35: Painting Hound TorThe most importan
Page 36 and 37: '^m DaWLISHWarrenBeachComparing pap
Page 38 and 39: Second Painting: on Rough PaperWhen
Page 40 and 41: .-^X-î1AQuick sketchesThe beach is
Page 42 and 43: HiHarpfordChoosing alocationHarpfor
Page 44 and 45: Drawing with pencilYour pencil is,
Page 46 and 47: Design and CompositionIhave called
Page 48 and 49: Drawing HarpfordWith a reasonably c
Page 50 and 51: Shaldon BeachTonal valuesIf viewers
Page 52: Drawing BoatsStudents who don't lik
Page 55: Doodle to get used to the penUse ve
Page 58 and 59: Details from the painting/ didn't d
Page 60 and 61: 3 StudioPainting from photographsAf
Page 62 and 63: 4t«w
Page 64 and 65: Details from the paintingThe blue c
Page 66 and 67: Exeter QuayPainting treesExeter Qua
Page 68 and 69: Painting Exeter QuayWhen Ifirst saw
Page 70: Paignton Zoowhat better place than
Page 73 and 74: SS^-'^^^^r^^c'*»i4rh/s particular
Page 75 and 76: was only concerned aboutthe head an
Page 77 and 78: ' -.i_ ,S*' t.itf^l^lltnr^^Ûse sim
Page 79 and 80: 1*:-¥, A dry brushtechnique (seepa
Page 81 and 82: This area was builtup using simplew
Page 83 and 84:
.i>i\ I# w^"t^/ai.-j49»S^ 4I40>ÎP
Page 85 and 86:
secret'. If I counted my steps firs
Page 87 and 88:
Even in summer, the weather in Brit
Page 89 and 90:
Exeter. I must admit that I wasn't
Page 91 and 92:
Gallery•"SP'sSC^*.M^^^!^:...
Page 93 and 94:
Above: East Dart River, Devon.Cartr
Page 95 and 96:
1Red Sails,Sidmouth.Whatman 200 lb
Page 97 and 98:
HdHAutumn Sunshine.Whatman 200 lb R
Page 100:
-XTi- %On the Beach.Bockingford 200
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