Tag: adam kenney

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Choose the Right Paintbrush for Oil Painting

close up photo of brown and silver paint brushes

Aren’t All Paintbrushes the Same?

While it might seem like a paintbrush is a paintbrush and will work for any old painting, that’s unfortunately not the case. Just like most projects, you need the right tools for the job. That’s because paint mediums are very different from each other in how you apply them. Watercolor paint really loves brushes that can soak up a lot of water. Acrylic paint usually needs a brush that can apply paint smoothly, since it dries so fast. Oil painting is its own challenge (learn the basics!). So, what do oil painters need for the best results? How do you choose the right paintbrush for oil painting?

Choose the Right Stiffness of Bristle

When you shop for oil brushes, you’ll find that they actually come in some different varieties of stiffness. They range from very stiff hog-hair brushes to springy mongoose, or even to soft sable brushes, among others. And then there are synthetic brushes that simulate all of these varieties. How do these differentiate from each other, practically?

The differences in stiffness allow for vastly different application of paint. A hog-hair brush picks up a good deal of paint and is great for creating textures. Springy brushes are nice for a bit more subtlety and detail. For the finest details and softest touch, go with something like a sable brush, especially if you are employing a glaze technique. Even a handful of painting sessions with each gives a good feel for the differences and you can begin to determine quickly which stiffness is right for your style.

As a note of help, be aware that oil paint is much thicker in consistency than acrylic and watercolor paint. This means that hog-hair or similar brushes are your best bet when doing the majority of your work, especially if you work with medium-to-big canvases. The heftier the brush, the better. Dialing down that heaviness by introducing more oil can open the door for softer brushes. If you choose the right paintbrush for your consistency, your workflow will feel so much more peaceful and things will come together more easily.

closeup photo of person holding paintbrush

 

Photo by Werlley Meira on Pexels.com

Length of the Handle

You might notice that different brushes have different lengths of handle and that it doesn’t necessarily correspond to the size of the brush. Brushes made for oil and acrylic painting have longer handles and watercolor brushes have shorter handles. This has everything to do with the distance from which an oil painter stands from their easel. A longer brush makes it easier to get a grasp on the scene you are painting and quickens comparisons between the painting and the subject.

This is mostly based on tradition and is not a hard-and-fast rule of painting. There are plenty of reasons an oil painter might use a smaller handled brush, primarily having to do with their style and level of detail. I would suggest that if you are painting from life, you try to hold a longer brush, just to get the feel for it. You may find yourself enjoying it!

In fact, you should always challenge yourself with new approaches. That way you can make more educated decisions about what you like. Try choking up on the handle for a while and then try holding it towards the end. You will get a better grasp (literally and figuratively) on the tool you are using. Some of your best work might be the result of intentional grip on the brush.

Paintbrush Shapes and How They Affect Your Painting

Let’s do a quick rundown of the different shapes of brushes you will find. Knowing each brush’s purpose empowers you to make educated decisions while painting so you can choose the right paintbrush for what you are trying to do.

Flat – This is a great brush for holding a good amount of paint and filling in large areas. You might use a flat when laying in your first layers, especially if you need the benefit of right angles.

Round – Similar to a flat in its purpose, the round allows you to adjust the width of your lines based on the pressure you exert on it. A great all-around brush.

Bright – Similar to a flat in shape, but with shorter bristles. These brushes don’t spread paint as easily, but they are great for moving and placing paint.

Filbert – A combination of a flat and a round, this brush lays in paint with a lot of flexibility. Not great for right angles, but perfect for organic shapes.

Fan – Often used for blending softly, fan brushes also add intricate texture with little effort.

There are other types of brushes out there to try, but these are your basics. Try them out and you might find your favorite combinations. I personally like to limit my brush selection to flats, rounds, filberts, and brights, with some variation in size. This just helps me maintain the style I like.

choose the right paintbrush

 

Photo by Steve Johnson on Pexels.com

Does Size Matter?

When I first started painting, I went with small brushes. Being used to drawing, I figured having a brush that could mimic a pencil or pen would be the best way to handle the paint. That method is like using colored pencils to color in a coloring book. It’s the method of paint-by-numbers – find the right color for the spot and color it in.

With time I began to study more art and learned that the painters I really responded to were the ones that used their brushes to emulate form, not fill it in. The brush stroke and its varied width and arc are used to sculpt the shapes of the subject. This was a method I was excited about (and still am!).

When it comes to brush sizes, be aware of your aim. What is your goal? Many artists love a very delicate and finely detailed painting. Others use large brushes to describe their shapes. One of my favorite artists, John Singer Sargent, recommended using a brush larger than you think you’ll need. If you look at his work, you can see from his style that he emphasized his strokes, letting them sit in plain sight. So, look at what artists appeal to you and try out some of their techniques. You’ll really learn a lot!

In Conclusion

Who knew there was so much to learn about paintbrushes? Now you know! I’ve said it before, but I’ll say it again: one of the things I really love about oil painting is how flexible it is. I think this guide proves that! Now you know how to choose the right paintbrush for oil painting.

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Oil Painting for Beginners (A Primer [pun?])

shallow focus photography of paintbrush

“Isn’t Oil Paint Hard to Work With?”

Maybe you’ve been at an art store and wondered about all of the different kinds of paints on display. Which one is the easiest to use? Which one makes the best paintings? What’s the difference between oil paint and acrylic paint? How would I even start oil painting?

It’s a lot to take in for somebody new to painting! And it can feel so intimidating. What do you choose and would you even be able to figure it out? You’ve heard of oil paint and its long tradition in the studios of famous artists, so would you have any chance at doing anything good with it? Maybe you’ve tried it and found it to be difficult to work with. Bob Ross makes it seem so easy!


It’s true that oil paint has a long and storied tradition in the world of painting, but much of that is because many artists over the past millennia have found it to be a flexible medium to work with. It doesn’t dry as fast as tempera (eggs) or acrylic paint, it has a mix of opacity and transparency, and, with the right approach, it can last for a very long time. I personally enjoy the feel of oil paint on my brush, the freedom in blending that it produces, and the incredible amount of versatility it offers.

First, Some Basic Knowledge

The first thing to understand about oil paint is that it is like any other paint, in that it is made up of pigments that are bound together by a binding agent. These pigments are what we see as the color of the paint. Many of the pigments come from minerals or metals that are ground up into a powder. For example, the earliest Ultramarine Blue pigments came from Lapis Lazuli, a semi-precious stone that is rare and required Italian traders to sail to Afghanistan to acquire (hence the name ultramarine). These days there are synthetic ways to produce a wide variety of beautiful colors.

The binding agent in oil paint is, you guessed it, oil. Often this is a form of linseed oil, specially crafted for painting purposes. It may also be safflower or walnut oil, among others. Some oils have a tendency to turn yellow over time, especially noticeable when mixed with white pigments. There are many studies about this that turn up complex results, so I won’t go into any of that here. Just be aware that it can happen and has been a problem for hundreds of years!

A word about the surface you paint on – it needs to be primed. This is not usually an issue, as you will probably start painting with a pre-stretched canvas from the store. These come with at least one layer of “gesso”, an all-purpose primer that creates a perfect ground for your oils. If you were to paint directly on canvas, without gesso, the oil would be difficult to work with and the canvas would eventually rot. So don’t do it!

“Oil takes a long time to dry!”

In fact, oil doesn’t exactly “dry”, but it oxidizes and sets into a semi-solid state. It often takes days to set-to-the-touch and months to fully set, becoming ready for varnishing. This is important because it gives us artists a big insight into the medium that we are using. It also explains some of the reasons why we paint differently with oil than we do with other mediums.

Oil paint’s reluctance to set quickly opens it up to easier blending and mixing of paint colors. For those familiar with acrylic, this might be a tough shift at first. Give it some time, though, and you may appreciate the added flexibility. You will also now have an opportunity to blend colors on your canvas itself, something tricky or impossible to do with other mediums.

Because the binding agent is oil, most experienced painters will employ solvents and additional oils depending on their needs. Solvents, like turpentine or odorless mineral spirits, break down the oil and leave the pigments less bound together, thinning the paint. This is often used sparingly or with great intention (and in very well-ventilated spaces! The fumes can be extremely harmful.). Additional oil mediums can do a number of things, including speeding drying time, helping the paint flow better, or adding heft to the paint for impasto textures. There are many ways to customize your oil painting experience.

The Key to Oil Painting? Fat Over Lean.

If you’ve ever seen an old oil painting, you may have noticed little cracks all throughout the surface. This can happen when the oil sets up in a way that is too brittle. The flexible canvas underneath may shrink and stretch over time and is susceptible to vibration. In many ways, cracking is difficult to prevent, but there are methods that will make your experience with oils much easier and less prone to cracking.

The best method is called painting fat-over-lean. Each successive layer of paint should have more oil introduced, making for a top-level surface that is more flexible and less pigment-heavy than lower layers. There are other reasons to add oil to your paint, like aiding pigments that are more oil-absorbent, but that is a bit advanced for this introduction. Just try to incorporate a fat-over-lean approach as you get more comfortable with the paint.

A really nice by-product of painting fat-over-lean is control over your composition and colors. Starting your painting with a thin and sketchy monochromatic (one color) first layer is referred to as doing an underpainting. This can help guide the rest of your painting, acting as a framework. As you add more detail, you can use more paint and different colors, being careful to avoid or incorporate blending as you go.

But Now I’m Having a Problem…

It is helpful to keep in mind that different paints serve different purposes. While you may be able to take some of your acrylic or watercolor skills over to oils, you will have to learn some new things. Note that even very advanced oil painters run into issues and challenges. It is only through more experience that we improve and get the results we want!

One tendency for beginners is to use way too much paint too fast. This is usually because they are used to acrylic paint. Using less paint at first and slowly building is a much better approach. It will keep you from making messes and muddying up your colors. In conjunction, you should work dark to light or start with your mid-tones before moving up or down in value. Don’t be afraid to have lot of paint on hand, just don’t go crazy with it too quickly!

Another thing I see a lot of beginners do is having way too many colors on a palette. This is a recipe for disaster as these colors will not harmonize easily. Keep it simple! Use a limited palette. Limit yourself to only using white, one red, one yellow, and one blue. See how many colors you create with just those. You will surprise yourself! If you need a place to start, go with Titanium White, Alizarin Crimson, Lemon Yellow, and Ultramarine Blue. These will combine to make so many beautiful and saturated colors. Then start experimenting with different combinations, trading out Alizarin Crimson for Burnt Sienna, Lemon Yellow for Yellow Ochre, and Ultramarine Blue for Phthalo Blue or Payne’s Gray (or even Ivory Black). Color is relative and what matters most is harmony!

Now You are Set!

There really is nothing stopping you from learning how to paint with oils now. Go pick up some small tubes of paint (go with a large tube of white) and a few brushes of different sizes and shapes. Experiment with what looks fun! To be more frugal, skip the pre-stretched canvases for now and get a pad of canvas paper. I like to use them for studies. Tape a sheet to a drawing board and you’re set!

If you’re feeling old-fashioned (like me), get a wooden palette. They are really nice for weighing your values and they hold up really well to repeat uses (as long as you clean them). Go the less expensive route with a pad of palette paper, a waxy kind of paper that works really nicely, too. I personally have used them many times and prefer them far more than plastic palettes.

And, with that, you should be very ready to begin oil painting (after you read the little bit of safety advice I have below). I hope you enjoy getting to know how to paint with oils. It really is a fantastic way to improve your abilities, your understanding of art, and your patience. Just know that nobody is born with a complete mastery of painting. You grow equal to the amount of time you put into it. Have fun!

One last word of advice: know how to clean up your paint in a healthy way.

  • Be aware that you cannot pour solvent down a drain or into the ground (very illegal and bad for the earth). Best to use it sparingly and let the small amount you use evaporate over time (in a well-ventilated area!), leaving whatever solids behind that you can then dispose of safely. Again, only use solvent in a well-ventilated area (I cannot say that enough!).
  • Oil is very flammable. A normal painting experience shouldn’t end up with any excessively oily rags or paper towels, but if you do, do not wad them up or pile them together. It should be easy to either let the paint dry enough to dispose of later or prevent yourself from ending up with a whole bunch of excess paint.
  • Clean your brushes with soap and warm water immediately after you are done using them. If you do not want to get too much oil paint on your hands, use gloves while painting or cleaning. Paper towels are enough for cleaning them while painting.
  • If you have any other safety concerns, make sure to do your research before you begin, so you can have peace of mind and enjoy the experience.
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The Inspiration Held by Spring

Spring Tree

As I look out my window I can see small birds flitting through the branches of the tree outside and hear them singing their short little songs. My wife just received a bouquet of blooming pink tulips that graces our dinner table (where I’m working right now) and it brings a beautiful splash of color to everything. Spring is just over a week away and I’m already beginning to feel the inspiration it brings. 

 

The sun is out and the ideas are percolating. Old plans are being swept up and pieced into new plans. Several new projects are underway, steadily developing and bringing me fresh excitement. There is a feeling of refreshment in the air that trumps any temporary January motivations regarding new year’s resolutions and words of the year. This is when things really start to take shape.

 

Am I alone? I can’t be the only person who finds this season to be so renewing. While the year can hold so many surprises, there is something about Spring that gives me the feeling that I hold potential in my hands. There is a certainty to it. 

 

Does Spring hold that sway over you? Do you feel invigorated? Are you working on anything that makes you feel alive right now?

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Making a New List for a Good Life

young life malibu mountains

Filling Our Days Up

A New List

For me, a new list would include the things that help me provide for my family. That includes work and chores. Second, I would be greatly aided by paying attention to my mental, physical, and spiritual health. For example, I can make time to read meaningful things, exercise my body, and practice stillness. These things can be overlooked because the results are not immediate – they happen over time. But what are if not our minds, bodies, and souls?

Eliminating the fat for our new list can have a tremendous effect on our well-being. For instance, cutting Facebook can lead to less mindless anger, frustration, and jealousy. You don’t have to live your life comparing yourself to everybody else. You have that kind of control!

Everything else can fall in place. The work can get done with more emphasis on quality, not desperation. Social life can begin to flourish again, no longer taking a backseat to selfish ambition. After all, it’s not good to isolate oneself. Taking a little time to make a new list will not only challenge your perspective, but also give your accomplishments more weight.

So, yeah, I’m turning 38. I’m inclined to say that it came quick, but I think it’s just surprising to consider my age. It’s not that time goes really fast, it’s that time goes at all. It’s a reminder of that. And hopefully it can encourage me to take stock of my life and express my gratitude for the many blessings I have.

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“Created to Create” an Interview with Jonathan Shaw (Yehonatan-art.com)

The Heart of the ArtistOne of the friends I’ve met on my art journey is an artist whose work is both instantly recognizable and endearing. Working with textures, colors, shapes, line, and smart design, Jonathan Shaw demonstrates a careful and loving approach to his artwork. Paintings are imbued with his unique vision, delving fearlessly into matters of faith, biblical history, and the person of Christ. These subjects are not new to art, having a rich history through the commissions of the church. However, in our modern world it takes a good amount of courage to embrace so fully the subject of religion, especially with the earnestness that Jonathan displays.

Besides the realm of glory, Jonathan’s art goes into wonderfully realized areas of whimsical design, with charming compositions and playful shapes and colors. His is an art that embraces imagination and creativity, being both conceptual and representative. It is always very clear that he has fun with his work, developing a visual language that easily and cheerfully communicates that fun to his audience. All of this is to say that I dig it. That’s probably clear by now.

Soft-spoken and friendly, Jonathan gives off a spark of lively spirit, being quick to smile and engage. His demeanor is often indicating his readiness to listen and enjoy others’ personalities. I was excited to learn a bit more about his process and history with his art.

Adam Kenney: Please introduce yourself.

Jonathan Shaw: My name is Jonathan Shaw and I am a freelance artist. My family had roots in the Colorado Rockies near Aspen but I was predominately raised in the Milwaukee area where I now reside with my wife, Kelsey, and our two young boys. I received my BA in Studio Art with a minor in Art History from Seattle Pacific University in 2010. I enjoy time spent with my wonderful family, mountain biking, grooving to good music, swimming in the beautiful Lake Michigan, being in the great outdoors, exploring the city, gathering with friends, and chatting about scripture. 

AK: What are your primary ways of making art?

JS: I am a multidisciplinary artist who works with paint, collage, illustration and a wee bit of design work. The majority of my subject matter involves Biblical narratives and Judeo-Christian themes portrayed playfully with paint and other media. 

When I was growing up, my father often traveled to a variety of foreign countries as a documentary filmmaker. I distinctly remember the time he returned from India with intricate woven rugs and blankets, carved wood jewelry boxes, and tiny painted stone animals. I was drawn to the beauty of the patterns, the aromas, and the exotic aesthetic. Experiences like this one from childhood have significantly influenced my stylized approach. Much of my work could be defined as whimsical folk art. I love incorporating patterns and symbols that poetically imbue the artwork with a meaningful message.

AK: How long have you been working with art?

JS: It’s certainly been a good long journey. I’ve been drawing ever since I can remember. My mum jokes that I drew before I spoke. I actually took speech classes with a tutor in Kindergarten and 1st grade because of my delayed verbal communication. I have always been a very meditative and visual processor which has definitely served me well as an artist. Throughout my elementary years, I faithfully drew with colored pencils in a couple of sketchbooks and as the years went on I got a taste for other media such as printmaking, collage, ceramics, jewelry, sculpture, and painting.

Shortly after graduating college in Seattle in 2010, I moved back home to my family’s farm in Wisconsin and focused my time on my art practice. Honestly there wasn’t much to do other than farm work, exploring our 160 acres of fields and forests and creating artwork. Although this season only lasted a year before jumping back into the “work force,” the time has been foundational to both my faith and my creativity. 

As a freelance artist, I’ve had the privilege to make my own personal body of work along with a variety of commissions from clients which has included published book illustrations, large scale murals, logo designs, websites, portraits, and collaborative projects. In summation, I’ve been selling artwork and have taken on commissions since 2010 while holding other jobs, but it wasn’t until the beginning of 2021 that I’ve done it full time.

AK: Why did you decide to make art a focus of your life?

JS: I hold a strong conviction that I was created to create. Nothing else grounds me in the present and helps me process life quite like creating art does; it’s very therapeutic for me. So after several years, I finally was able to become a full-time freelance artist. I know that if I looked back on my life and hadn’t used my creative gift to its fullest potential, I would really regret it. So here I am, pursuing my passion one step at a time.

AK: In what ways have you been changed by art?

JS: Art has taught me many valuable lessons and cultivated several beneficial practices in my life. Creating art has taught me patience, critical thinking, how to listen and observe well, and that life is a continual work in progress. Art has also allowed me to learn more about my subject matter whether that be nature, culture, or aspects of scripture.

AK: What is your primary focus when creating art?

JS: My primary focus when creating art involves a process of discovery. I tend to focus a lot on learning more about my subject matter; investigating and meditating on it. Similar to the adrenaline rush that comes from a good descent on the ski slope, creating art has an exhilarating effect for me; both in the discovery aspect and the mystery behind it. This dynamic keeps me coming back for more.

AK: What artists do you look up to or find inspiration in?

JS: I often resonate with the work of several 19th & 20th century painters such as Marc Chagall, Henri Matisse, Pablo Picasso, Vincent van Gogh, and Paul Cezanne, as well as self-taught folk artists. My favorite among this group is Marc Chagall. I’m fascinated by his whimsical and colorful depictions of Biblical narratives, childhood memories, Jewish practices, and dream-like scenes. I find his work to be so poetic, imaginative and graceful.

AK: How do you stay motivated?

JS: Over the years I’ve come to learn that creating art requires balance and that art is not the end-all-be-all. I’ve discovered that when I am flourishing socially, mentally, physically, and spiritually; creativity flows more effortlessly. Just as important as a well-rounded life, restoking the creative fire through being immersed in others’ artwork is very significant for my motivation as an artist.

Likewise, morning bike rides in the warm months have been very beneficial for me. It allows me to loosen my grip on the day and release any fears that I may be harboring. Reading books on creativity is also very helpful. I’m currently working my way through “Real Artists Don’t Starve” by Jeff Goins. Throughout the year I read Julia Cameron’s daily artist devotional called “The Artist’s Way.” I highly recommend both of those reads. 

A big motivation for me lately is being involved at a local gallery where I exhibit my work. It’s been so encouraging to meet other artists and to spur each other on. I am preparing for a solo-exhibition later this year which also keeps me excited and motivated. It’s encouraging to know that my artwork has and will touch people’s lives and that keeps me going.

AK: Do you have any regular rituals that help you keep your focus?

JS: A few things come to mind. Music has always played a significant role in my creative process. I find that tunes help me gain momentum and usher me into a good rhythm. Living a simple, down to earth lifestyle and being “close to the land.” This may look like taking walks with my family, tending to our garden or kayaking down the river.  Every once in a while I find it helpful to look at other artists’ work; both contemporary and from the past. This endeavor provides several benefits from feeling a part of a larger community to discovering “resonating voices” that harmonize with my own work. One of my favorite ways to do this is by going to Barnes & Noble and paging through art magazines or better yet, going to a local used-book store and finding old books of artists I like. 

AK: In the last year what has made the largest impact on your practice?

JS: I’d say the decision to resign as a mail carrier from the Post Office and taking steps to cultivate my art career full time. Leaving behind my postal job was a big leap of faith for me but it really allowed me to take myself and my artistic calling seriously.

Community has also played an important role for me in this season. Specifically joining an online art mentor group has done wonders; learning new skills, ways of thinking, and professional advice. Along with this online community, being involved at a local gallery and studio has made a large impact (and I mean local; the space is only three blocks north of us). It has been so encouraging to exhibit my work there and to speak with others at its open receptions. I am also currently taking steps to be an artist-in-residence at this studio gallery.  

AK: Do you think there is something missing in the “art world”?

JS: Great question. I honestly haven’t thought much on this subject so my thoughts may be a tad undeveloped but I’d say maybe opportunities for up-and-coming artists to find outlets for their young careers to take flight. This could look like galleries exclusively tailored towards emerging artists, more opportunities to learn from veteran professional artists, and various apprenticeships. 

AK: What would you like to see more artists do?

JS: Pursuing a creative career can definitely be difficult especially when doing it alone. I’d love to see more artists coming together to encourage and inspire one another. I’m casting a vision in my local area to gather artists to view and discuss works in progress and exhibit artwork together. 

AK: Any last keys to your art practice?

JS: I would say, having a renewed mind in Christ is one of the biggest keys for me. This allows me to create out of a place of affirmation, anchoring me in the Father’s love even when discouragement and disappointments come. One way that I remind myself of this is signing my work with the Hebrew translation of my name, Yehonatan, meaning “Yahweh has given.” I consider the ability to create a wonderful gift as well as a collaborative process with my Maker. My hope is that my artwork blesses and inspires others. 

AK: Where can people find you?

JS: Folks can find me on my website www.yehonatan-art.com, 

on my Facebook page www.facebook.com/yehonatan.art, 

or on my Instagram www.instagram.com/yehonatan.art. 

1. “The Heart of the Artist”
Watercolor, gouache, crayon, colored pencil on paper, 11×14” – 2021

2. “The Alabaster Jar (Tears, Hair, Kisses, Oil)”
Graphite, ink, colored pencil on paper, 9×12” -2021

3. “Open Table”
Acrylic paint on canvas, 30×40” – 2020