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Most painting effects can be rendered quiet effectively
using the ordinary brushes and canvas found in most studios.
However, certain tools or painting aids can facilitate the job and help
to produce even finer results.
In a general sense one would not want the substrate
surface to interfere with the illusion or effect one is trying to achieve.
For example, if you are painting a vase of flawless porcelain, a
rough-textured canvas painting surface could work against the illusion.
On the other hand, of course, if you are painting tree bark, a textured
surface could be used with great efficacy.
The point here is: choose your painting surface for the
subject matter at hand. Many of
the new synthetic “polyflax” canvases now available are so smooth and
even-textured, they will serve well for even the most detailed painting.
Should you require an even slicker surface, then try hardboard such as
Masonite.
These boards come in several thicknesses.
Choose the thickness that is appropriate for the size painting you are
doing. For large paintings, say
24” x 30” or larger, the board should probably be cradled.
That is, a wood support system is attached to the back of the board in
order to lend support and maintain a flat painting surface.
You may purchase hardboards at your local lumberyard in
large sheets and then cut these sheets to your specifications.
Or you may purchase pre-cut panels at most any art supply outlet,
catalog or on-line. Regardless,
you will need to “finish” your panels before you begin to paint.
That is, the surface of the panel must be primed with a
material such as gesso. By
carefully sanding the gesso between coats, you can control the nature of the
finished surface. If this all
appears to be a bothersome process, look for hardboard panels that are both
pre-cut and pre-finished.
Brushes are your next area of concern.
Again, choose your brushes to suit the specific painting on which you
are working. For small, delicate
work watercolor brushes seem quiet suitable even for working in oils.
Round sable watercolor brushes are perfect for detail work.
Price is usually a good indication of quality. Try a variety and pick the brand and type that best suits you
and your needs.
For covering larger areas, sable or nylon oil brushes
should work well. To avoid
leaving an “edge” or ridge of paint as you pull the brush along, use a
filbert style of brush. This
brush is flat but has a rounded or half-moon tip.
They can also be turned on edge for painting fine lines and sharp
definition.
Mediums should be used “thin” to “rich”.
Start covering your surface with a thin mixing medium such as
turpentine. If paint build up
becomes a problem, let the surface dry completely then sand lightly.
For each additional layer of paint, you may increase the richness of
your medium. Combining 1/3 turp, 1/3 damar and 1/3 linseed oil will give a
good, all-purpose medium. For
final detail work, try 1/3 damar and 2/3 linseed oil. There are also many premixed mediums available and I would
encourage you to experiment.
In my next article, we will discuss the various
painting processes that can be used to achieve special effects.
I will cover the use of photography, opaque projectors and, most
importantly, simply learning to “see” in place of just looking.
In the bye, I’ll leave you with my three favorite words:
Practice! Practice!
Practice!
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