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Brush Strokes - Making Marks

SummerSummer -
edited May 21 in Painting
  • Folks, time and time again I revisit this issue about brush strokes, looking for something unique I may have overlooked.
  • Using filberts, mostly, sometimes on a wet background, Kevin on YouTube's KevinOilPainting believes that Tapping is the first most important brush stroke.

  • He thinks Over-Lapping X Strokes are the second most important painting strokes.

  • He goes on to say that Stabbing or Slamming is the third most important brush stroke.

  • Finally, fourth and final is Scrubbing, with or without paint on brush.

  • Mark Carder paints like a conductor waving a baton back and forth slowly to a melodic piece of music mostly, then his paints level out.  I'm using this method for the current painting.

  • Some DMP members like to use their fingers to smudge and blend.

  • I like to wipe away paint with a cloth to let the stain show through sometimes.  Or, press the canvas with a highly textured piece of fabric to get an effect.  Maybe in the end, the painting tells us what technique is best.



KaustavBOB73

Comments

  • Summer

    Outside the conventional methods of mark making, a wide range of choice:

    Spray, splatter, brush flick, spatula, credit card, tissue dabbing, comb, rough cardboard edge, palette knife, stipple with stencil brush, scumbled layers of contrasting values, sgraffito techniques, pointillist application, dry brush textures, textured surfaces, washes, impasto, granular additives, stamping with color, frottage, sponge, rollers, squeegee, masking techniques ....

    Denis

  • I have come to know you on DMP as my better half and you have just proved it--again.  What would I do without you.  Thank you so much.  This one goes in the files.  :)
  • @dencal, Frottage? can't you get arrested for that? Once I gain some experience with DMP and oils I might again employ some of my old tricks. Not so much strokes as choice of brushes and tools. I love using a fan brush which I think some call a fader. I also like shaving brushes (boar bristle) and junk brushes that I cut down almost to the metal and use for stippling and making a fast way to get pointillistic.
  • @Summer, if depends as well if you are thinking of painting onto dry areas of canvas/board (or previous paint) or working wet into wet when I would use different brush strokes :)
  • I was at an exhibition recently (not realism) and I loved the brush texture in her work...subtle crackling was my favorite...but I like that in sculpture as well...he work was very sculptural
  • Thank you all.  This was really worth bringing up.  I will update my files.  Summer   :)  
  • Summer

    One of the most realistic, and easily produced texture I saw demonstrated was the creation of a rough bark texture on a tree trunk using crushed paper as a brush, dabbing on several dark and light values.

    I’ll try to find the video.

    Denis
  • @Dencal, I saw Mark Boedges do a similar thing to paint a rock.  He painted on a couple of gray values with a brush, then pressed on a paper towed that was scrunched up, and it removed paint in a pattern that contained some straight lines.  Very effective.
  • Actually what do people think about using such techniques as opposed to the DMP style way of painting each section? :)
  • Judith

    This one’s for you



    Denis

  • PaulBPaulB -
    edited May 21
    Good question.  We've all seen Mark paint, and start doing odd rolling maneuvers with his brush.  He says repeatedly, that if we want texture, we just create something that doesn't have a pattern, and our brain fills in the rest.  This is Mark adding randomness.

    I can sort of jiggle the brush around and achieve randomness without patterns.  Noise, but pink noise.

    Randomness is hard.  Whatever it takes...
  • edited May 21
    I'll bet that crunched up tin foil would work well too. But Mark is great as above, randomness without pattern is hard, but practise, practise, practise, and I've come to trust the process.
  • SummerSummer -
    edited May 21
    More updates to my file on "making marks".  Thank you everyone. You've given me more to think about.  It is a constant struggle for me between being a technique junkie or a house painter--too much experimenting or none at all, blah and boring.  Commissions and DMP Challenges keep me from going off the deep end in either of those directions.  Just saying.  Summer   :)  
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