Brushes should never be held as one would a pen or a pencil. This only makes for tightness of work and brings the painter up too close to the canvas. It is best to hold the brush lightly between the finger tips, an inch or so below the ferrule. Balanced this way, the handle of the brush rests against the heel of the palm.
The idea is to treat the brush as though it were an instrument (which it is, but which a lot of people seem to forget) responsive to the most sensitive of impulses from the painter. There must be freedom in the stroking of the paint. When the motion comes from the shoulder it eliminates the possibility of niggling work.
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