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Tips for gripping a painting brush
Buying new art supplies is not the only way to get a fresh approach to painting.
Artists may also want to try simply holding a paintbrush in different positions.
Three Ways to Hold an Oil Painting Brush
The painter’s sensitive hand streaks across the painting and oil paint flows from the paintbrush. The bristles swipe the canvas in strokes, dots, fills, and blends. The paintbrush can make a variety of marks, but, even so, painting is not like writing. A paintbrush can move in any direction over the canvas. Thus an artist that holds a brush as if holding a pencil or pen limits the range of those marks or strokes.
- On point
- On the side
- Conductor.
On Point
On Side
Conductor
Holding the Brush On Point
This position uses the tip of the brush. The hand holds the brush in the same way as holding a pencil for writing. In painting, however, the artist may hold the brush several inches away from the tip. Holding the brush about midway up the handle allows for a more sensitive stroke. That means more variety in the kind of marks made on the canvas.
For fine details, the artist may hold the brush on the metal ferrule, close to the bristles. This gives great control and enables precise details. Placing the pinky on the surface while painting adds stability. Some artists use a maulstick that allows the hand to rest just above the surface of the painting.
Holding the Brush On the Side
For broad strokes or spreading paint quickly and evenly over the surface, the side of the brush is used rather than the point. The bristles ride over the surface filling in areas with color. An overhand grip with the thumb along the side allows the artist to fully press the bristles of the brush to the canvas.
The artist holds this position further out from the ferrule, about midway up the brush. Often the forefinger is extended along the top for precise control. The wrist is usually held firm. The arm does most of the motion.
Holding the Brush Like a Conductor
This hold also uses the side of the brush, but the grip is like holding a conductors baton. It’s a firm grip where the thumb rides on the top of the brush handle. With the palm open, the brush handle across the hand, the fingers close around the handle with the thumb on top.
This position can be along the middle of the brush, or, better yet, closer to the end of the handle. Flexing the wrist in smooth rounded motions creates a variety of marks. Dabs and dots excel in this method. Also, holding the brush closer to the end encourages using the whole arm.
Tips for gripping a painting brush
I would experiment, use what works for you. People’s hands are different sizes and fingers different lengths. Some Paralytic artists and amputees along others with Handicaps have even painted beautiful artwork with their teeth and feet. I would experiment here, there are only generalities not one size fits all rule.
June 10, 2010 at 9:57 pm #1140987
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Thanks for all your good advice and it was interesting to review the thread about holding the brush and applying the paint evenly. The “wand” grip is what I’ve been trying to use, but never thought about whether I was applying the paint evenly (if that is my goal). There is so much to learn about this medium (sigh), but I guess the challenge of learning it is what makes it so interesting (if that makes any sense) . Thanks, Susan
“Success is the ability to go from failure to failure without losing your enthusiasm.”. – Sir Winston Churchill
June 11, 2010 at 10:31 pm #1140985
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Artists without hands hold their brushes in their mouth or toes.
Ron
www.RonaldFrancis.com
June 11, 2010 at 11:06 pm #1140981
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Years ago my drawing instructor said to only use the pencil grip for little detail and use the underhand grip for bigger lines and shading. Use the arm instead of the wrist.
June 13, 2010 at 5:20 am #1140979
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Susan,
David Leffel talks about holding of the brush also the sound of the brush as well. I guess it more or less about laying down the stroke of paint. Larry Seilor talks about ” it stays where it lays.” If you hear the stroke, I guess the equivalent is much like painting a wall in a house, even though you have delivered many strokes to do the wall, you want the wall to look uniform. Leffel says no sound should be heard (which means minimal pressure on the brush). Strokes of paint translates to the varying transitions (light, movement, etc.) of a painting. Peg
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