Friday, February 19, 2010

Using Different Brush Types and Color Creations with Andy Braitman

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At different stages of the paintings I tend use different brushes. We're just still at the beginning stages.

Most of my brushes are large and most of them are old brushes because I tend to ruin them. I scrub a lot with them which is a push stroke rather than a pull stroke.

So I'm pushing with that brush a lot instead of pulling. I tent to abuse the edge of those brushes considerably.

Most of my painting is done in the first two or three stages with these large flats or a really large filbert or a knife.

I cannot use any of these other brushes until the third or fourth stages of the painting. The brush stroke is kind of like the punctuation in your sentence. I don't want to use monosyllabic words all the time because people will get bored.

I try to vary that size so at the beginning stage of the painting Ill use the biggest stokes I make. Those will give me the most ridges and the most ability to react to things.

So right now I've got mostly these large flats and I actually get them from Richeson, I think they're in California.

They are really good brushes because they hold this tip really nicely. They have a nice thin edge. A real thin edge helps me to make little marks or make a large stroke with the same brush; it lets me have that variety.

The filberts are used mostly as a scrub, if I want a random application I'll tend to leave a mark with that large filbert and I hold it rather aggressively. The flats I tend to whole very gingerly because they are fragile.

We'll talk about the palate I use and whether I use specific colors or not. I tend to make those choices when I lay my palate out.

Rather than having so many color choices available, I'll have one or two yellows, usually two blues, and usually a purple and an orange instead of a red. I play more with color combination rather than specific colors.

At the beginning stage of the painting I tend to use pure color or grayed color to help get my sense of distance. So I use that mixed black considerably.

When I pull a color into that black I'm thinking more about whether I want a cool green or a warm green. A green with more blue in it or a green with more yellow in it rather than a specific color.

There is one time when I do think of a specific color and that a permanent green light and for that I usually take my cad yellow and my fallow blue and mix up a permanent green light as a reference.

This is the only green I'll purposely mix and put on the canvas so I have a middle gauge and I want everything to be warmer or cooler than that and thats the only green I'll use.

Rather than a sap green or an emerald green or a viridian, unless there's a specific painting that needs those.

I'll mix up this permanent green light which is a mixture of cad yellow medium or cad lemon and fallow blue and I put that in as a middle gauge and that about the only green I'll use in the whole painting.

Everything else is mixed off that mixed black. Cooler ones being the mixed black which is burnt sienna and ultra marine blue.

Kevin Macpherson uses rose and emerald I think to mix his black. And I'll play with that occasionally, too.

Then I'll use that mixed black and one of the blues and yellows to make my green or the mixed black and one of the yellows only to mix the green.