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.

Rounds

Workhorse of the set; used for applying paint and washes.

Flats

Used for painting large areas and adding textures, such as house or roof details.

Angled flats

Used like regular flats, but tip can reach into smaller areas.

Filberts

Good for blending or painting a soft edge.

Used for fine lines and detail

Blenders

Used to blur the border between two colors to form a gradation of color.

Fan brushes

Used to paint textured areas like clouds, trees, or leaves.

“Spoiled” brushes

Great for blending and adding texture (It may be the Yankee in me, but I have a hard time throwing a brush out!).

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.

Storing Your Brushes

Store your brushes upright in a container so the bristles don’t bend. I use a simple jar for organized storage and easy access. You can get carriers of all sizes at any art supply store if you need to transport your brushes and other painting supplies.

Making the Paint Rack

Cut the pieces as noted in the Materials List. I used a table saw. Use the drawings to mark the screw locations. Drill 1/16″ (2mm)-diameter pilot holes for the screws to keep the plywood from splitting. Countersink the holes in the acrylic so the screws sit flush with the surface. Sand all of the pieces so there are no sharp edges. Then, screw the pieces together.

Materials

• Plywood, 3/4″ (1.9cm) thick: sides,
2 each 7″ x 18 3/4″ (17.8cm x 47.6cm)

• Plywood, 3/4″ (1.9cm) thick: shelf 1, 1 1/2″ x 28 1/2″ (3.8cm x 72.4cm)

• Plywood, 3/4″ (1.9cm) thick: shelf 2, 3 1/8″ x 28 1/2″ (7.9cm x 72.4cm)

• Plywood, 3/4″ (1.9cm) thick: shelf 3, 4 3/4″ x 28 1/2″ (12.1cm x 72.4cm)

• Plywood, 3/4″ (1.9cm) thick: shelf 4 , 6 3/8″ x 28 1/2″ (16.2cm x 72.4cm)

• Tempered hardboard or plywood, 1/4″ (6mm) thick: back 18 3/4″ x 28 1/2″ (47.6cm x 72.4cm)

• Drywall screws, #8: 3/4″ (1.9cm) long;
1 5/8″ (4.1cm) long

• Clear acrylic plastic, such as Plexiglas,
1/8″ (3mm) thick: top shelves, 4″ x 28 1/2″ (10.2cm x 72.4cm); bottom shelf, 2 1/4″ x 28 1/2″ (5.7cm x 72.4cm)

Tools

• Table saw

• Drill with bits: 1/16″ (2mm), countersink

• Screwdriver

Steve Russell is from Independence, Iowa. He took up carving about eight years ago. Steve has won numerous awards at both the local and national levels. He has held classes and workshops at his studio and with the Northeast Iowa Woodcarvers Club. Contact Steve at sjr1953@hotmail.com.

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Applying the Rule of Three to a Carved Figure

The rule of three works for carvings of all sizes, from miniatures to life-size figures. It is easier to remember and apply the rule of three than the traditional guideline of a figure being eight head-lengths tall. By keeping the rule of three in mind, you can design any human figure and adapt it according to the clothing, age, race, and occupation of the figure. The rule of three works for any figure, from clowns and hobos, to Indians, pirates, and Santas.

Body Proportions

• Divide the body, below the head, into three equal sections: the shoulders to the waist, the waist to mid-knee, and mid-knee to the bottom of the feet.

• Use the width of the head to determine the correct width of the body. At the shoulders, the body is three heads wide. 

Head Proportions

• Divide the head into three equal sections: the hairline to the eyebrows, the eyebrows to the bottom of the nose, and the bottom of the nose to the bottom of the chin. 

• Position the ears in the center section. The ears sit on the back half of head and are the same length as the center section—from the eyebrows to the bottom of the nose.

• The bottom section, between the nose and the chin is further divided into three equal sections: the nose to the upper lip, the upper lip to the indention between the bottom lip and the chin, and the indention to the bottom of the chin.

Use the rule of three to block out the elements on the figure’s head. Note the head fits up into the cap; the cap does not sit on top of the head. Envision the top of the head inside the cap to produce the proper proportions.

Add details to the carving only after you have blocked out all of the elements. Continue using the rule of three to ensure the figure maintains good proportions.

Carving Tips from the Wood Bee Carver

Don Mertz, better known as the Wood Bee Carver, suggests would-be carvers would be carvers if they would carve wood. In addition to his rule of three for figure proportions, Don shares the following tips with would-be carvers.

• While designing your carving and carving your design, think of the number 3 like the letter S, with curving lines that add flow and movement to the carving. Design and carve curving lines rather than straight lines.

• Even though the blade is much longer, detail carving uses less than 1/4″ of the tip of any blade. 

• Hard lines carved into small carvings create light and shadows, making the carving appear to have sharp and precise details. Hard lines are created with angled under cutting along a stop cut.

• Slice with the cutting edge of the tool as often as possible. A slicing cut separates the wood fibers and burnishes as it passes through the wood. A wedge cut, forced into the wood, breaks fibers ahead of the cutting action and creates fuzzies and ragged edges. Slice and do not pry.

• Shape your knife to produce the results you desire. On my knives, the cutting edge curves up to meet the back edge of the knife blade. This allows me to make clean slicing cuts. 

• Sharp can be sharper. Make sure your tools are sharpened as much a possible and strop often. A sharp tool using a slicing cut creates a slick surface that makes the carving dance and the paint or finish sparkle.

• Soak thin cross-grained areas with cyanoacrylate (CA) glue, such as Super Glue, to strengthen these areas, which are prone to breakage.

• While a good carving relies on correct proportions, it’s important to add the details that transform a good carving to a great carving. Details such as seams, tears, patches, and worn out shoes help your carving tell a story.

• Woodcarving is the journey more than the destination. There are no mistakes, only learning experiences. Relax and enjoy the journey.

Paint Notes

• Base coat and skin: raw sienna
• Cap: burnt sienna
• Hair, beard stubble, eyeballs, and shirt: white
• Jacket: burnt umber
• Vest and patch on knee: cadmium red
• Trousers: sap green mixed with burnt umber
• Buttons, cigar, and shoes: black

• Basswood, 2 1/2″ (6.4cm) square:  5″ (12.7cm) long                   (adjust pattern for blank)

• Artist oil paints mixed with boiled linseed oil to a stain            consistency: black, burnt sienna, burnt umber,                         cadmium red, raw sienna, sap green, white

• Finish, such as Deft® brush-on lacquer

• Carving knife or tools of choice

Donald K. Mertz, a.k.a The Wood Bee Carver, has been carving seriously since the early 1970s. Don has written articles for Chip Chats, and taught at War Eagle Seminars and in Southwest Ohio for local clubs and Woodcraft stores. Don was elected into the Caricature Carvers of America in 2009 and shares his unique style of carving using only a knife through his educational web blog at woodbeecarver.com. Don is a retired Disciples of Christ pastor living in Wilmington, Ohio, with his wife, Frances.

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