Artists & Illustrators — June 2017

74 Artists & Illustrators

1

USE A BIGGER BRUSH

Are you using a brush that is too small? It’s easy to feel you have

more control when using a smaller brush, pencil or pastel but,

more often than not, the smaller the size, the fiddlier your work will

become and you will lose boldness. Try using a larger brush for as

much of your painting as possible. Only towards the end of the work’s

progress should you get out your smaller brushes for the finishing

details. A good rule to follow is if the brush feels a bit too big for the

job, it’s probably the right one.

PAINTING TUTOR PETER KEEGAN REVEALS

HIS TRIED-AND-TESTED TECHNIQUES FOR

BANISHING TIGHTNESS FROM YOUR ART

O

ne of the things I hear most often from students is

“I want to loosen up,” “I’d love to be able to paint more

freely,” or “Look at those brushstrokes. I’d never dare.”

The art of painting in a more loose and free manner seems, on

the surface, an easy thing. Whether it’s big, colourful washes of

watercolour, slick, confident brushstrokes in oil or fluid, bold mark

making in charcoal, they all share an effortless and, in some cases,

‘accidental’ look. In reality, many artists struggle to achieve this

fresh and free-flowing way of working and, instead, get stuck with

fiddly details, uncertain mark-making and a timid approach.

There is, of course, one sure way to overcome this uncertainty

• and that’s practise. Most artists spend years mastering their
  medium and pushing it to the fullest potential, making their works
  look effortless and unforced. However, I have found six simple
  techniques that you can introduce to your practice which can help
  you leave those fussy artworks behind and move towards a more
  loose and free way of working.
  http://www.peterkeegan.co.uk

2

HOLD THE BRUSH

AT LENGTH

Are you holding your

brush correctly? The metal

part of a paintbrush is not for

your fingers. It is called a

ferrule and its job is to hold

the bristles together on the

wooden handle. By holding the

brush this close to the bristles,

you limit the movements you

are able to make. By holding

the brush further down the

handle, you allow yourself the

opportunity to make larger

sweeping marks across the

picture and, at the same time,

keep yourself from making

unnecessary smaller marks.

The same effect can be

achieved by holding your

charcoal, pencil or pastel at

the end with your fingertips.

6

SIMPLE

WAYS TO

LOOSEN UP

PROJECT

74 Peter Keegan.indd 74 10/04/2017 12:17