As some of you will recall I have often endorsed Mary Whyte size 8 Kolinsky sable brushes on this site. Well, Mary is preparing for an important exhibition and currently her brushes are not available. She needs brushes to complete her paintings for this exhibition.
Like most of us she is accustomed to her own brush design and heft. Personally I prefer the brush as well. Preparing for such an important event is stress enough without abruptly finding that you can’t get your preferred supplies.
Here’s what has happened:
The Fish and Game folks have shut down the importation of Kolinsky sable brushes. I am aware of some web-sites that are saying otherwise but I have had conversations this afternoon with two major suppliers. Apparently this has something to do with a UN treaty. I do not have all of the particulars but according to suppliers their brushes have been detained. That is, shipments are not being delivered. When will it end? I don’t know.
Will you help?
If you are a generous soul who happens to have a new or fairly new Mary Whyte brush would you please consider giving it to Mary? If so, please contact Tracy at firstname.lastname@example.org
What else can you do?
Contact your Senators and Congressmen and ask them to contact Fish and Game officials. The implications of this issue is very serious to those of us who paint professionally. While I am aware of the existence of synthetic blended brushes they DO NOT match the response of Kolinsky sable. Once again, we are faced with a major challenge for artists in the United States of America.
From time to time we all need to go back to the basics. This is especially true of watercolor. Aside from paper and pigments the brushes we use are of utmost importance. Even more importantly is the manner in which we use our brushes. All brushes speak their own language. You and I just need to learn to observe and/or listen. The best way to do this is via practice. I have photographed a series of brush exercises that I often use with beginning watercolor students. These exercises help me to explain and they help students to see the result.
Basically I will be working with two brushes one is the flat brush. In my photos the brush I used is a 1″ (one inch) flat brush. The round is a size 8 Mary Whyte red sable watercolor brush. Two distinct shapes. MANY different results.
In my paint gear I have a number of rounds of differing size as well as a number of square edged or flat brushes from 1/2″ up to 3 1/2″ wide. Regardless of size the marks or tracks they make are similar.
RULE 1: Often a novice will attempt to make a brush perform a task for which it is ill suited. That is very counter productive and can prove to be most frustrating. Start out playing with your brushes. What kind of marks will each kind of brush make?
RULE 2: Thoughtful play will reveal a number of brush secrets.
Here are some examples:
Sheet 1 shows a few examples of just getting acquainted with the brush.
Now let’s get specific. Look at your flat edged brush. Do you know its potential? It can make large passages of wash as well as fine lines. Very versatile. Look at the palm tree for an example.
2. The palm fronds are developed with a quick movement with the flat or broad edge of the brush. Very simple, yet effective.
3. Broad leaf trees can be developed by using the side of the brush. This gets a little more tricky but with a little practice it will become easy. The secret is to reduce the moisture in the brush and allow the ferrule of the brush to rest or tap onto the paper. The idea is to create a not so perfect shape of the tree you want to emulate. With practice you will be able to create very delicate trees or robust ones. 4. You can use the sweep of the brush to create sparkling effects like sunlight on water or to create larger passages of wash.
…or try creating grass and other textures via dry brush. (Dry brush is a bit of a misnomer, in fact the brush is damp. However, the ratio of water to pigment is different. The brush has more pigment than moisture.)
Round Sable Brushes:
This is probably the best known of all watercolor brushes. It is probably the most abused. I often see students fearfully using a small round brush in an attempt to paint large expanses of wash on paper. That is sort of like trying to dig a ditch with a teaspoon! Not entirely impossible but very nearly so. In the following examples I am going to attempt to break down a typical use of a round brush. Do keep in mind that rounds can be used for dry brushing as well.
FIRST: The finished exercise and then the segments. To many of you the results will be self explanatory.
A simple approach to a simple, yet lovely, subject. The green’s are a mixture of Hooker’s Green and Holbein Leaf Green. Some of the color variation is due to reloading the brush with fresh wash. Remember the round brush is extremely sensitive yet very versatile. This often makes it more frustrating in the beginning.
Let’s Look at the Sequence:
1. First Stroke. Better stated the end of the first stroke. Take a look at the next step to get a better understanding of the sequence.
2. In the beginning the loaded brush is pressed down to begin the broader portion of the leaf. As the brush progresses the pressure on the brush is relaxed and the point of the leaf begins to appear. With very long leaves or grasses and fine limbs it is often a good idea to SLOWLY twirl the handle of the brush between the thumb and the forefinger to get a very fine line. Practice! Practice!
4. Study nature and try to emulate the basic shapes. The examples I have used are very basic with little detail. However, the effects are profound. Oriental Masters have understood the power of the simple brushstroke for centuries. If this concept is new to you pick up a book on Oriental calligraphy. Take note of numbered exercises or brush sequences used in making basic Chinese and Japanese characters. Sumi-e technique will also help open doors for you that will empower your method of expression.
Take time to master these simple techniques. It will be a small investment of your time that will pay huge rewards in your painting results.
Want to know more about watercolor painting techniques? For more examples check out Mastering Glazing Techniques in Watercolor, Volume I at