Brushwork Edges 1 PDF

Brushwork
& Edges
by Phil Starke
www.PhilStarkeStudio.com
copyright 2015
Brushwork is the icing on the cake, the decoration of the painting.
What makes the brushstrokes work though, is the thinking and
planning and "seeing" correctly early in the painting.
Simplicity
The whole idea of painting is to simplify, to reduce what we see to
what's necessary to the painting. We want to suggest instead of
copy. The most important thing to learn is to simplify shapes and
values. That's what leads to better brushwork. We don't want our
brushwork to ruin the vision of bigger, simpler shapes and values.
This is a painting in the Tetons and I've started the block-in with
big brushstrokes. A painting only gets tighter the more we work
on it,
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©2015 Phil Starke www.philstarkestudio.com
they never get looser, so I want to start out with big, simple
brushstrokes that show the pattern in the painting, never the
detail. If you start with detail in the drawing and block-in, your
painting will become detail oriented and fall apart.
This is another simplified block-in, painted in the Wind River
country. I carried this block-in a little further, but still very little
detail, some broken color in the foreground, but I was trying to
keep the pattern of dark and light shapes, making it the most
important aspect of the painting. If I can see things as simple
patterns, then the brushwork will be big and simple, but if I see
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things in terms of detail, the brushstrokes get smaller and I'll
lose my composition.
Direction of
Brushstrokes
After simplifying my brushstrokes I want to consider the
direction of the strokes. I want the brushstrokes to follow and
suggest the form of the objects in the painting. Vertical object
will have more of a vertical brush stroke and slanted objects will
have slanted brushstrokes and so on. If water in a stream is
moving then I want the strokes to follow the movement.
Also planes and objects are more horizontal in the background.
Flatter brush strokes will recede more and stay in the distance.
So I might have short, choppy vertical brush strokes for the
grass in the foreground but it will become flatter and more
horizontal in the background.
3
In this painting, near Sheridan, Wyoming, I use the brush
strokes to follow and suggest the form of the trees, mountains,
grass and water. I want the strokes to emphasize the form of
the trees by having the lighter brush strokes follow the rounded
form of the tops of the trees that are catching the light. The
dark brush strokes on the trees are more vertical to suggest
tthe upright feel of the trees, detail doesn't play a part in it. You
can see the short, choppy strokes in the foreground and they
become flatter in the background fields to suggest depth. The
strokes in the mountains are more slanted and more horizontal
in the water. So I'm
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using the strokes to suggest form and depth, not detail. That's
why you have to be careful with detail, too much of it destroys
the sense of form and simple pattern in your painting.
This is a night scene on a ranch in Tubac, AZ. This
painting does have more detail, I've carried it beyond the
block-in, where the values work well together and the color
suggests the light. As I use smaller strokes in this painting
my goal is still to retain the large, simple patterns and not
destroy them with detail.
5
I want the smaller strokes to still suggest the form by following
the shape and use the smaller strokes to break up the color,
not always to break up the value, which is what detail is. So I
can have smaller strokes that are the same value in a shape
but different color.
Edges
At this point I'm also considering edges. When you're working
wet into wet, you will get softer edges, but be thinking of where
you want to harden or sharpen some of the edges. I will
usually have sharper edges between the shadows and light
areas or when an object, like a tree branch is coming towards
the viewer.
6
I want to make sure the edges are softer in the background
compared to the foreground and all the edges in the shadow
are softer where there is a dark shape next to another dark
shape. In the painting on the previous page, the different
shapes or forms that are in the foreground shadow will have
soft edges between them. Also, in the shadow in the
background there are softer edges between the trees and
the hill because they are both in the shadow. The harder
edges are in between the sunlit yellow and orange trees and
the shadowed hill, because of the contrast of dark and light
or sunlight and shadow.
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This is a detail of a larger painting and I wanted to show the use
of edges on the horse to suggest form and contrast. I first
softened the edges on the backside of the horse to make it go
around as well as go recede into the background. I softened
the edges of the legs so that they disappear into the grass and
hardened the edges between the highlights and darks on the
horse as well as between the light areas on the horse and the
darker background.
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Making Definite
Decisions
If I'm going to keep my shapes simple in the painting and have
my brushstrokes follow the form then I have to make sure that I
make definite brush strokes, I can't be indecisive or hesitant. Put
the brush strokes down with purpose and decision. If they're
wrong, then scrape them off and try again. What we're trying to
stay away from is dabbing or going over the stroke too many
times. Your brush strokes will lose their correct value and the
color will get muddy.
9
The painting on the previous page is from Tubac, AZ. In this
painting I'm wanting to suggest a lot of contrast in the dappled
lighting on the wall and on the gound so the brushwork has to be
direct and decisive with enough paint that the stroke makes a
definite value and color statement. For the light and shadow on
the white building in the background I have to have a definite
plan for the shadow shape and the light shape, then apply it thick
enough with as few strokes as possible to keep the colors clean
and bright. The same holds true for the flowers in the
foreground, I have to use definite strokes with thick paint to
suggest the contrast of light and dark. Also using the
background color and value to cut into the shapes allows me to
paint smaller objects more accurately.
Dry Brush and

Wet Into Wet
When we apply paint, we are either painting into wet paint or
into dry paint. Painting into dry paint allows me to harden
edges easier or make a color lighter or brighter. Painting into
wet paint allows me to blend colors and values when I need to,
and helps create more color harmony.
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Above is a detail of a painting showing both dry brush and wet
into wet technique. The small white trunks are very light against
the darker background so painting it into dry paint allows me to
make the trunk stand out more as well as keep the color cleaner.
Also in this detail I used wet into wet to create the softer edges
between the different trees in the shadow.
In learning brushwork there is no short cuts. You will make a lot
of mistakes learning to paint wet into wet and controlling a dry
brush techniques but it does pay off if you stick with the idea of
larger brushstrokes, focusing on shape and value and not detail.
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The problem is we get frustrated and resort back to copying a
photo and focusing on detail which is unsatisfying and boring. So
set a routine to practice brushwork and keep things simple. You
can also learn a lot by looking at other artists work to see how
they simplify shapes and use less brushstrokes.
About the Author

Phil Starke is an accomplished artist.
He also enjoys teaching and
sharing his knowledge of painting.
You can see more of his work at
his gallery website: www.philstarke.com.
- LEARN MORE -
You can find more learning opportunities at Phil's teaching
website: www.PhilStarkeStudio.com
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Brushwork

What makes the brushstrokes work though, is the thinking and

planning and "seeing" correctly early in the painting.

what's necessary to the painting. We want to suggest instead of

copy. The most important thing to learn is to simplify shapes and

values. That's what leads to better brushwork. We don't want our

brushwork to ruin the vision of bigger, simpler shapes and values.

big brushstrokes. A painting only gets tighter the more we work

brushstrokes that show the pattern in the painting, never the

painting will become detail oriented and fall apart.

This is another simplified block-in, painted in the Wind River

detail, some broken color in the foreground, but I was trying to

important aspect of the painting. If I can see things as simple

direction of the strokes. I want the brushstrokes to follow and

suggest the form of the objects in the painting. Vertical object

have slanted brushstrokes and so on. If water in a stream is

moving then I want the strokes to follow the movement.

Also planes and objects are more horizontal in the background.

So I might have short, choppy vertical brush strokes for the

grass in the foreground but it will become flatter and more

horizontal in the background.

strokes to follow and suggest the form of the trees, mountains,

grass and water. I want the strokes to emphasize the form of

dark brush strokes on the trees are more vertical to suggest

become flatter in the background fields to suggest depth. The

strokes in the mountains are more slanted and more horizontal

in the water. So I'm

why you have to be careful with detail, too much of it destroys

the sense of form and simple pattern in your painting.

This is a night scene on a ranch in Tubac, AZ. This

painting does have more detail, I've carried it beyond the

suggests the light. As I use smaller strokes in this painting

my goal is still to retain the large, simple patterns and not

destroy them with detail.

not always to break up the value, which is what detail is. So I

but different color.

you want to harden or sharpen some of the edges. I will

usually have sharper edges between the shadows and light

areas or when an object, like a tree branch is coming towards

compared to the foreground and all the edges in the shadow

are softer where there is a dark shape next to another dark

shape. In the painting on the previous page, the different

shapes or forms that are in the foreground shadow will have

soft edges between them. Also, in the shadow in the

background there are softer edges between the trees and

the shadowed hill, because of the contrast of dark and light

or sunlight and shadow.

of edges on the horse to suggest form and contrast. I first

softened the edges on the backside of the horse to make it go

around as well as go recede into the background. I softened

hardened the edges between the highlights and darks on the

my brushstrokes follow the form then I have to make sure that I

make definite brush strokes, I can't be indecisive or hesitant. Put

the brush strokes down with purpose and decision. If they're

color will get muddy.

painting I'm wanting to suggest a lot of contrast in the dappled

lighting on the wall and on the gound so the brushwork has to be

the white building in the background I have to have a definite

enough with as few strokes as possible to keep the colors clean