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