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