![]() ![]() First, the limited range of control forces simplicity. ![]() Its use in watercolor can serve several purposes. I've used this grip in acrylic paintings and oil paintings. It's an awkward way to hold a brush at first, especially for painting watercolors. ![]() If you feel up to exploring a little impressionism, this brush grip would be one to keep in mind. You have more control that the Pinch grip. Most of the fine control in this grip in in your fingertips and wrist. (Good luck) Rolling your brush between your thumb and fingers as you paint makes for interesting textural effects. Try to paint some detailed or linear stokes with this grip. Alter your brush position and the angle of your wrist as you try different strokes. Rest your knuckles on your paper and using wrist motion scrape the edge of your brush against the paper. ![]() Held loosely, the brush gives you more control in getting your intent on paper. Your ring finger and pinkie will wrap loosely and sort of serve as rudders. This is a looser grip than the Pinch with pressure from your thumb holding the body of the brush against your index and middle finger. Hold your brush like you are passing someone a pencil or the non-business end of a pair of scissors as in "here ya go." But keep the brush in your hand, you'll need it. Note that the arc of your horizontal strokes is controlled almost entirely by your arm. This same lack of pressure gives a unique texture when you move the brush side to side across your paper. The wash of the stroke may be broken because you cannot apply the same pressure to the brush as you can with other grips. Vertical strokes are easiest to pull but erratic to control in width. Most of the control is in your arm, wrist, and fingertips. Notice the brush's resistance to upward, pushed strokes and the ease of pulling strokes toward you, or downward. You won't have much control, but in some artistic situations that may be exactly what you need. Position your brush parallel with your paper, loosen your wrist and start seeing what strokes you can make as you hover over the paper. Pre-mix some puddles of colors on your palette and prepare to play. You can use 2 to 4 fingertips to hold your brush. As you run through this exercise you can loosen the grip to allow the brush some travel, but only use your fingertips to hold the brush when painting. We'll call this grip the Pinch because you are using a pinching action to pick up your brush. Hold your brush like you are picking up a pencil from a table, pinching it between your thumb and fingers. Pointillism, the dot by dot laying in of color or texture can be easily done holding your brush this way. Crosshatching, creating value with thin overlapping strokes, is best handled using the fine control this grip offers. With the control of the brush tip at hand (ha), try drawing a simple picture or two like the old masters' ink cartoons. Your control for the Classic grip starts from the simple actions of the arms and wrist to the fine control of the fingers. Mix up some colors, start doodling and see how the brush works as you push and pull it on your paper. The Classic grip gives you linear control, making it ideal for flowing lines and drawing with paint. It may take a bit of practice to find one that suits you so take your time. Practice signing your name in a way that you can use to sign your paintings. Since you are holding your brush as a writing instrument go ahead and use it for that. Remember writing? Weigh the brush in your hand, roll it with your fingers, find the balance of the brush in your grip. Pick up your brush and grip the thickest part of the handle above the ferrulle-the body of the brush-and hold it like you are getting ready to write a letter. The only difference being that you (for the most part) are gripping the brush further from the business end of things. The Classic grip for holding a watercolor brush is much like the way you hold a pen or pencil for writing. ![]()
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