"Tight" or "Loose" Why Not Both?!

In portraits, I use small brushes for fine details, larger hog bristle filberts and flats for texture, and a palette knife for smoothing and adding marks. Loose painting, an impressionistic style with fewer brush strokes, is challenging and respected. Mastering it requires skill in painting, drawing, and speed, often taking a lifetime of practice.

When painting loosely, it's crucial to maintain a tight drawing and avoid errors. Ensure shoulders and hips remain in their sockets, as this is a common mistake. Keep your strokes thick, fast, and loose, but pay attention to your drawing!

I begin with a small brush for the initial drawing, then switch to a larger brush, like a hog bristle #6 filbert, for texture on an 8 x 10 panel. I use a synthetic flat #4 for most of the face to maintain simplicity. A palette knife smooths and flattens areas, adding interest. Finally, I do minimal touch-ups with a tiny brush on the face, avoiding overworking.

If you're new to painting, start with a limited palette: Napthol Red, Hansa Yellow, and Ultramarine Blue. Adding Pthalo Blue and Alizerin Crimson (or Quinacridone Red) allows you to create almost any color. I've used these for years and found it to be the best learning experience. The first three colors cover most needs, but Pthalo Blue and Napthol Red mixed with Hansa Yellow create a chromatic black you'll love. These five colors are versatile and effective. The Zorn palette is beautiful but less flexible; try it for comparison.

In this painting, my palette includes all the above, with raw umber, yellow ochre, and burnt sienna for flesh tones, possibly ivory black for its blue hue—if it was good enough for Rembrandt...

SHOP