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