The Tools Of The Trade

IN THE FINAL PART OF HER SERIES, PAINTING TUTOR ANN WITHERIDGE EXPLORES HOW A KNOWLEDGE OF MATERIALS CAN ENHANCE YOUR WORK

- Ann Witheridge

While the most important skill is our own hand using the tools, the correct equipment can greatly facilitate our vision. A first-hand knowledge of art materials – properties and compounds of paints, priming and stretching canvases, brushes and so on – is an integral part of any artist’s education.

BRUSHES 

These come in many shapes, sizes and varieties: flats, filberts, rounds, fans and brights (short flats). The types of hairs are equal to the variety of shapes, from bristle and synthetic to sable and mongoose. A bristle is usually used for the block-ins and alla prima work, whereas a sable is suited for glazing. The most traditional is a hog filbert. A long handle helps you stand at a distance from your canvas. Joaquín Sorolla used brushes up to three feet long. Rosemary & Co has a 24-inch handle, which is ideal for perspective and standing at a distance.

Before the invention of brushes, artists used bamboo sticks, feathers and quills. Nowadays we have an extensive range of brushes from which to choose. At London Fine Art Studios, where I teach, we use Rosemary & Co Artists Brushes. They are handmade in Yorkshire using the best materials, and are the most durable. For beginners, I recommend Series 47. These are quality hog brushes, but also inexpensive. As you grade up, I would suggest you move on to the ivory long filberts. These hold a lot of paint, as well as being sturdy and long lasting. For a treat, buy a few Masters’ Choice mongoose brushes, but only once you have learned to care for brushes. Many artists like using flats, both short and long. I like rounds. The shape of your brush helps define your calligraphy but it is best to start with filberts, which are the most classic shape, before moving on to a brush that might dictate style.

THE PALETTE