| The most widely accepted methods of | | | | little extra paint on the tip. Start the |
| teaching brush strokes involve the use | | | | stroke at the head by applying pressure |
| of a flag on your brush handle and an | | | | and pausing slightly to allow the brush |
| imaginary clock to indicate direction or | | | | hairs to fan out some. Begin pulling |
| brush position. | | | | toward you, gradually releasing pressure |
| First, flag your brushes. Cut out | | | | as you reach the tail. Avoid sharp |
| several triangles of cardstock or other | | | | decreases in pressure and strive for a |
| stiff paper and scotch tape them to the | | | | nice, smooth curve in the belly. |
| tops of your brush handles. Which | | | | Now try a comma stroke in the opposite |
| direction your flags point on your round | | | | direction. |
| brushes isn't important, but when | | | | The S-stroke is another common stroke |
| flagging flat brushes the flag must be | | | | and, again, variations can be achieved |
| in line with the width of the brush. If | | | | by the type of brush you use, the size |
| the black bar in the clock to the right | | | | brush you use, and by altering the |
| represents the bristles of your flat | | | | pressure or the length of the stroke. |
| brush when held perpendicular to the | | | | Again, S-strokes can be done with either |
| clock surface, your flag should be | | | | a liner, a round or a flat brush, |
| pointing to 12 o'clock. | | | | although a flat brush is best if you're |
| Next, find a comfortable position. Your | | | | just learning. This example was done |
| painting surface should be about lap | | | | using a flat brush. |
| height when you are seated. That great | | | | Start the S-stroke by placing your brush |
| painting table you bought last year is | | | | so that your flag is pointed at 1 |
| likely too high and will restrict your | | | | o'clock. Slide on the chisel edge |
| movement when doing stroke work. The | | | | slightly toward 7 o'clock, gradually |
| keys to good brush strokes are that you | | | | applying more pressure. While continuing |
| be comfortable and relaxed with no | | | | to apply more pressure, gradually change |
| strain on your neck or shoulder muscles. | | | | directions to 5 o'clock. Then head |
| Working at lap height will allow for | | | | toward 7 o'clock again, gradually |
| freer and more fluid movement of your | | | | releasing pressure. Stop on the chisel |
| hand, arm and shoulder. Your mileage, | | | | edge of your brush. Your flag should |
| however, may vary and you should | | | | remain pointed at the 1 o'clock position |
| experiment with different positions to | | | | throughout the stroke. Aim for smooth |
| find the one that's most comfortable for | | | | transitions in the stroke and avoid |
| you. | | | | sharp angles. |
| Your brush should be held perpendicular | | | | Now try an s-stroke going in the |
| to the surface you're painting on, | | | | opposite direction, starting at 11 |
| straight up and down, and should NOT be | | | | o'clock and heading towards 5 o'clock. |
| held at a slant like a pencil. Brush | | | | The crescent or c-stroke is commonly |
| stroke movement should come from the | | | | used in decorative painting for flower |
| shoulder and your entire arm should move | | | | petals and decorative borders and is |
| through the stroke. Many artists | | | | well worth the effort to learn. The |
| recommend using your little finger to | | | | c-stroke can be done with any size |
| balance on, moving your little finger | | | | liner, round or flat brush. The first |
| along with your arm through the stroke. | | | | example was done with a flat brush. |
| Others recommend having no hand contact | | | | Start the c-stroke with your flag |
| with the surface at all. Try it both | | | | pointing to 11 o'clock, slide on the |
| ways and use whatever works best for | | | | chisel edge, increase pressure as you |
| you. | | | | near the top of the stroke, decrease |
| And, of course, always use quality | | | | pressure and slide on the chisel edge, |
| brushes in excellent condition. Using | | | | coming to a stop with your flag pointing |
| brushes in poor condition, such as a | | | | toward 1 o'clock. Your flag will rotate |
| round pointed brush whose point is no | | | | somewhat as you go over the top curve of |
| longer well defined, can be very | | | | the stroke. |
| discouraging and may cause you to give | | | | The more you practice your brush |
| up on learning stroke work when, in | | | | strokes, the more rewarding your results |
| fact, the brush is actually the problem. | | | | will be. Keep a brush, a bottle of paint |
| The comma stroke in all its variations | | | | and practice paper handy and practice as |
| is one of the most useful strokes to | | | | often as you can, even if only for a few |
| learn. You can use a liner brush, a | | | | minutes at a time. Keep your supplies by |
| round brush or even a flat brush to make | | | | the phone and practice while you talk. |
| comma strokes and you can vary their | | | | If you're like me and cannot possibly do |
| appearance by using different sized | | | | only one thing at a time, practice while |
| brushes, by shortening or lengthening | | | | you watch TV. Date your practice pages |
| the "tail," applying more or less | | | | so you can refer back to them and chart |
| pressure, or by straightening or putting | | | | your progress. And remember, your |
| more "curve" in the belly. This example | | | | strokes don't have to be perfect. Minor |
| was done using a round brush. | | | | variations give them character and make |
| Load your brush and then pick up a | | | | your painting unique :-) |