By Betty Padden

Selecting paintbrushes can be a daunting task given the array of choices, but knowing the basics can make a world of difference! I’m here to break down the different types, shapes and sizes, and their uses. I’ll also cover brush cleaning and storage. As you use them, your brushes will become like old friends—much like your chisels and gouges; you’ll start to know how they will perform in a given situation. Care for these tools correctly and you’ll be able to use them for years! After learning all about brush care, try out your skills on these cute and cuddly cat shelf sitters.

Bristles Naturally, the bristles are the most important part of the brush. They are made either with synthetic fibers (these are very “springy” and smooth in texture), natural fibers (hair of various animals—kolinsky sable, pony, hog, etc.) or a combination of the two fibers. Natural bristles have barbs or scales, which make them thicker, stiffer, and a little harder to clean. Due to their stiffness, natural bristle brushes are mainly used for canvas painting with thicker paint. Typically, they are more expensive than synthetic brushes; however, some can be less expensive than the synthetic options. Synthetic brushes, which are smoother and springier than their natural counterparts, go with a variety of paints and are typically easier to clean. I use mainly synthetic brushes for applying paint, but I reserve some natural bristle brushes for blending. Pricing depends on the size; I spend $3-$5 on smaller brushes and $10-$15 on larger ones. However, buying a set is usually cheaper.

Bristle Shapes

Washing Your Brushes When using acrylics, have a container of water ready to wash your brushes instantly because the paint dries so quickly. Note: It is safe to wash acrylic paint off in your work or household sink. Use warm—not hot—water; hot water can cause the glue used to secure the bristles to fail. Clean your oil paint brushes in a paint thinner before washing with water. Note: You can leave your paint thinner in a sealed jar, let the pigment settle, and reuse at a later time. Be sure to collect oil paint sludge and dispose of it at your local hazardous waste site. Do your best to remove all the paint, especially from the ferrule; paint left to dry here will cause the bristles to splay out and separate.  After you wash your brushes in paint thinner and squeeze them with a cloth, give them a final wash with a brush cleaner; I like The Master’s Brush Cleaner (use as directed). A good brush cleaner will even restore a brush with hardened paint on it to some degree. Shape the bristles while they are wet and let them air dry.

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By Deborah Pompano

Full moon nights have a watchful, meditative quality to them. For me, this feeling is amplified in winter, when fallen snow muffles the small sounds typical of the forest. I’ve kept the burned lines and dark areas fairly minimal in order to help convey the brightness of a moonlit night. Add interest with a little watercolor paint as desired; the beauty of this piece lies in its muted tones.

Burning and Painting

Place the pattern on the blank, and carefully follow the pattern lines using graphite paper and a pencil. Outline the deer, rocks, stream, and larger foreground trees with a small writing nib on the medium heat setting. Reduce the heat setting and add the interior tree lines, deer’s fur texture and facial details, and smaller background trees with the same nib. Note: Do not burn the moon; that will be painted later. Then use a shading nib to add shadow areas to the hollows of trees, the deer’s face and haunches, and the distant foliage along the forest line. Sign your work with a writing nib of your choice. Add paint. Keep the watercolor paints somewhat diluted so your woodburned lines show through. Blot the paint with a clean paper towel anywhere the color is too thick. Once dry, spray on light coats of a clear satin lacquer. Display as desired.

[button link=”https://woodcarving.zeeframes.com/wp-content/uploads/2020/07/WEB-PYRO-Midnight-Frolic-Pattern.pdf” bg_color=”#ff0000″]Click here to download the pattern[/button]

Materials & Tools

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Welcome to the sixth issue of Strop Talk!

We are dedicated to bringing you new, fun, and informative content in each of our Strop Talk e-newsletters. Combined with our magazine, website, and online forum, Strop Talk is another way to help keep the creativity flowing and the carving knives sharp all year long.

Daffodil Lovespoon Carve a lovespoon rich with symbols of love, luck, and spring.

Simple Spring Bunny Pin Use this easy relief bunny carving as a pin, pendant, or magnet.

Paint Tote Case Simple but sturdy paint tote lets you store and carry your color collection.

Lights, Camera, Action! Puzzle playsets are quick, easy, and fun to make. Each one is a puzzle, a toy, and a creative decoration all in one. Watch our video overview and learn how to use simple woodworking to make your own puzzle playsets.

All About Noah’s Ark! Carving & Painting Noah’s Ark, by Betty Padden, is available now! Pair Betty’s simple layered technique with some easy relief carving to make an easy heirloom ark and plenty of animals (perfect for play or display).

Carving Hair If you carve people, you need to know how to carve hair. Expert carver Harold Enlow shares his best tips for carving both basic hair and a curled lock.

2017 Woodcarving and Wildlife Art Festival Despite a late season snowstorm, the Lancaster County Wood Carvers welcomed nearly 900 guests to its 44th annual Woodcarving and Wildlife Art Festival in March.

Charlotte Woodcarvers Club Dave Stetson taught the Charlotte (N.C.) Woodcarvers how to make funny faces.

The post Strop Talk – Issue Six appeared first on Woodcarving Illustrated.

By Carolea Hower

My son, Kevin, has liked dragons from the time the television movie The Hobbit was produced. With several other puzzle designs completed, I decided to design a dragon puzzle for his birthday. Since I also carve and wanted to make the puzzle special, I carved each of the dragon-shaped puzzle pieces. Then, I carved the puzzle box into a castle scene.

Read the full step-by-step instructions in Woodcarving Illustrated Spring 2013 (Issue 62).

Download the paint chart as well as color photos of each dragon from every side to guide you in finishing the project below:

Paint Chart

The post Painting the Dragons in a Box appeared first on Woodcarving Illustrated.

Brush Care

• Do not reuse the plastic tube used on new brushes; this may bend the bristles beyond repair.
• Never use a brush to mix large amounts of color.
• If the bristles fray, dip them in a cup of hot water for 30 seconds, reshape them, and allow them to dry.
• Protect the brushes when you are traveling by rolling them up in a towel or using a brush carrier.

The post Cleaning Your Brushes appeared first on Woodcarving Illustrated.

Essential knowledge for a professional finish

You’ve spent months getting each carved detail just right. Now it’s time to finish the piece and bring it to life with color.

Many carvers find themselves hesitant to take the next step. To develop a suitable comfort level, you need to spend equal time learning and practicing both carving and finishing techniques.

In the last issue we covered paintbrush basics. Future articles in the series will cover setting up your palette and specific painting techniques, but before we move forward, it is important to understand the actual medium we’ll be working with. There are a multitude of types and brands of paint available. The product you choose should be safe, durable, lightfast, and flexible. You also want to pay attention to the product’s drying properties.

Paint Composition

Paint consists of the pigment and the binder, or glue, that holds it together. The binder used determines whether the product is oil, alkyd, or acrylic paint. The binders and pigments determine the effect and performance properties of the paint.

Artist Colors

Select paint that is artists’ quality. The initial price may be higher than craft paints of the same color, but the coverage and quality make it worth it. Think of your paint just like you do your wood or tools–purchase the best you can afford. Check the label to make sure the colors have been tested for lightfastness. The American Society for Testing and Materials (ASTM) seal guarantees the color will not fade over time. Inferior paint may begin to fade within weeks of application.

Brand Selection

Many brands have samplers of small tubes as an introduction to their products. Additional colors may be added as needed. Check out the availability and versatility of different brands. Choosing a brand of paint is often a personal preference, similar to choosing a brand of tools. Using a limited palette and products is a good way to minimize cost and space. This will also help you to quickly learn the characteristics of using and mixing colors.

Understanding the Label

Colors may have the same name, but they can vary greatly from brand to brand. There is a universal key for pigment names that is standard across the industry. Artists’ quality paints list these notations on the package. An example is shown from the label of Jo Sonja’s Artists’ Colors tube. The color name is Orange as listed on the label. The pigment used is PO.73 which is Pigment Orange 73. That means a single pigment is used to make that color. Another color, Skin Tone Base lists PW.6, PY.42, and PBr.7. In this color, three pigments are combined to create the color; Pigment White 6, Pigment Yellow 42, and Pigment Brown 7. Understanding how to read the labels will allow you to make comparable color choices across brands. A reference chart comparing various brands is available here:

Color comparisons across brands

Paint Coverage

Paint’s opacity refers to the coverage. Opaque colors cover best, transparent colors allow the background to show through, and semi-transparent colors are in between. For solid coverage, choose opaque colors. For stains or glazes, transparent or semi-transparent colors are the best choice. The opacity can be altered by diluting the paint with a medium.

Mediums

Each of the brands include a range of mediums to complement the paint performance. Make certain the paint you choose has a range of mediums to suit your needs. The technique you prefer will determine the medium you select for your project. Always test products and techniques on a sample before applying them to your carving. Use care when mixing different brands; they may not be compatible.

Use and equivalents of mediums

CLICK HERE to download the Color Conversion Chart.

Read more great articles from Woodcarving Illustrated Summer 2008 (Issue 43) here. 

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By Lora S. Irish

I use stain, oil paint, and acrylic paint to enhance projects without obscuring the wood grain. To demonstrate these techniques I chose this fun wood spirit, whom I call Woodie, that is carved from basswood. While basswood is great for carving, it can be a bit bland visually. After completing your carving, prepare for the finish by removing any remaining chips, fibers, or dust with a stiff brush and a lint-free cloth.

Apply a Base Coat

Create a colorful base coating on the wood spirit using acrylic paints. On your palette, mix approximately three parts titanium white with one part raw sienna. You want a mixture close to the original basswood color. Add a couple of drops of water to thin the mixture slightly so it easily fills the deep grooves and tight joint lines.

Using a large ox-hair brush, scrub one coat of the mixture onto the entire work. Allow it to dry for one-half hour.

When the first coat is dry, apply a second coat of the base mix. I turn the work upside down to get color into areas the first coat may have missed. Allow the second coat to dry well.

Add an equal part of raw sienna to the remaining base-coat mixture. Load your large ox-hair brush with the new mixture and blot off any excess color. Working vertically, pull several random streaks of color across the carving.

Repeat the streaking step, using unmixed raw sienna. Mix a small amount of burnt umber to the raw sienna and add a few more streaks. For final streaking, use titanium white.

Allow the streak coating to dry well. Your carving should be colorful at this point, with changing streaks of color throughout the work.

Applying the Oil Stain

When the base coats of acrylic are dry, apply several light coats of polyurethane spray sealer to the entire work. Let each coat dry well before applying the next. Follow the directions on the spray can.

In a small pan, mix one part burnt umber oil paint with one-half part linseed oil to create a stain. The mixture should be thin, but not too runny.

Using a large soft staining brush, apply one coat of the mixture over your work. Work the oil stain into the deep crevices.

After covering the work with oil stain, wipe the piece using a lint-free cloth. As you wipe, the stain will saturate your cloth. Refold the cloth so you are using a clean area to remove the excess oil stain. Your work should have a light- to medium-brown look on the high areas with heavy staining in the deep crevices.

Slightly moisten a clean cloth with turpentine. Wrap the cloth around one finger for support and lightly rub it over the high areas of the carving to pick up the burnt umber oil stain from just the highest ridges. Allow the oil stain to dry overnight.

Your carving should have a wood-grain look with changing color tones that range from the base color of the wood on the highest parts to dark umber tones in the deepest crevices.

Dry Brushing and Roughing

When the oil stain is dry, apply several light coats of polyurethane spray sealer to the entire work. Let each coat dry well before applying the next coat. Follow the directions on the spray can.

For the face coloring, place a small amount of raw sienna oil paint on a palette. Add a drop or two of linseed oil until the paint is thin, but not runny. Wrap a clean lint-free cloth around your finger and pat the cloth into the mixture. Pat most of the color off the cloth on a paper towel. Using a circular motion, rub the cloth over the skin area of your carving. A very fine coating of raw sienna will adhere to the work. You can apply several coats. Two or three coats will create a nice medium skin color.

Mix a small amount of cadmium yellow medium and cadmium red oil paints to create an orange tone. Pick some color up on a cloth-wrapped finger, blot, and then apply the color to the cheek areas and the tip of the nose. One coat may be enough, but add a second coat for a stronger blush.

Rubbing thin layers of oil paint over a stained work is called roughing. This is a great technique to use for color buildup because the color sits on top of the stain, not under it, keeping the color bright. If you need more than a few layers of color, add a layer of polyurethane spray between coats.

The hair is highlighted by dry brushing the textured surface with acrylic paints. Place a small amount of titanium white on your palette. Moisten a small soft shading brush with water and then blot the brush on a paper towel.

Pick up a small amount of titanium white on the tip of the brush. On a clean area of the palette, work the white into the brush by pulling it back and forth across the palette several times. Pull the brush across the hair area. A small amount of white will be left on the high ridges of the texture, but no white will reach the deep brown crevices. Apply one light coat of drybrushed white to all of the hair sections.

Pick a few sections of hair that you want brighter than the rest. Dry-brush a second coat of white just to these areas. I chose the mustache, eyebrows, temple hair, and his bangs. Add a third coat to just a few places and along the edges of the hair clumps. My third coat went on the eyebrows, bangs, temple hair, and on the edges of his mustache.

Painting the Eyes

The eye area will be darkly colored from the oil stain. Apply one thin coat of titanium white on the round areas of the eyes. Add a small amount of burnt umber to the titanium white to create a medium-brown tone. Load a soft square shade brush with the mixture and blot most of the color from the brush on a paper towel. Use the lightly loaded brush to pull a shadow on the round area of the eye under the upper eyelid. This shades the eye, giving it a more natural look.

Let the paint dry thoroughly. Give your work a final coating of polyurethane.


Materials:
• Basswood: 1″ x 6″ x 10 ½” (25mm x 15.2cm x 25.4cm)
• Acrylic artist paints: titanium white, raw sienna, burnt umber
• Oil artist paints: burnt umber, raw sienna, cadmium yellow medium, cadmium red
• Polyurethane spray sealer
• Linseed oil
• Turpentine
• Paper towels

Tools:
• Band saw or scroll saw
• Straight chisel
• Round gouge
• V-tool
• Skew chisel
• Bench knife or chip carving knife
• Assorted paintbrushes of choice
• Soft lint-free cloths
• Water pans, mixing pans
• Paint palette

CLICK HERE to download the Wood Spirit Pattern.

Relief Carving Wood Spirits is Lora S. Irish’s definitive guide for learning relief carving. This book covers everything from transferring patterns to preparing wood and making cuts. Every element of the carving process is illustrated and clearly explained. The book is available from www.foxchapelpublishing.com for $19.99 plus S&H.

Read more great articles from Woodcarving Illustrated Spring 2009 (Issue 46) here.

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