How to paint Architecture.

First I would like to post a retraction for my last post. Well, at least a partial one. Since that post I have been receiving some nasty hate mail- well, more than usual. In that post I complained about the artwork of chimps, but then refused to help them. That's just not right.These painting zoo animals are doing terrible work, but it is not their fault.
My class starts tomorrow and as of right now there are two spots open. I want to offer my class to any apes, monkeys, and even elephants that would like to study the impressionist method of painting. I am very sorry for being such a speciesist. It will not happen again.

As a follow up to a  previous post  on using the right size brush for the job I thought I would post some photos demonstrating the correct (Classical) way to paint your garage. Keep in mind this was a hot summer, so I reluctantly decided to work without a tie. A gentleman would have been wearing a hat, but as I said, it was very hot and humid. So, forgive my appearance.
"While painting any part of the garage, you must paint that part as it relates to the whole!"

A question I so often get asked in landscape painting classes is, "How do I mix brown?"

It is no secret that for this job, I had Sherwin Williams mix it for me, though  I did decide on the formula myself.

In my class you will learn how to mix your own brownish colors.

The above silliness helps demonstrate a point, that you need to have the right sized brush for the job. To paint a garage with a number #6 oil painting brush would be outrageous- though it looks very cool to do so.

To start in on a canvas using a #2 sable brush would be equally silly. 

My fall class is starting now. I am thinking of having some of the more advanced students invest in larger brushes (12's, 10's. and 7's). I just read a book by Emile Guppe', called Brushwork. While I must admit, I  am not a huge fan of his paintings, much of the advice in the book is quite good. For one thing, he suggests using bigger brushes and a good sized canvas (around 16"x20"). Then you just have to paint with authority. What I mean by authority is mixing the right color, the right value, and placing it on the canvas. 

"But what if it's wrong?" 

Well, then you do again, only righter. Students think that if they keep stroking the paint it will get more correct than when they put it down. So if you can use a good size brush, and put down with minimal strokes, it will force you to paint smarter. As a result you will build a powerful impression that has the sparkle of life.

Smaller brushes cause the painter to "lick" at the canvas with the brush. Do Not Lick Your Painting!

One quote I always liked was that "the painter should decide what brush would be best for the job, and then grab a brush two sizes bigger".  I don't remember who said it. Sounds like something Sargent would say. If anyone out there remembers, post a comment below.

I tend toward filbert brushes, which I think are a good all around brush. They have qualities of both a flat and a round. If turned and used correctly you can get a big flat stroke, or a fine line. 

Hope all of you animals out there enjoyed this post. 

 Please note,  when I painted the garage, I ended up switching to a 4" natural bristle angled brush. Some of the best work I did all summer.

Brushwork: a Guide to Expressive Brushwork for Oil Painting