It's easy for artists to fall into the trap of carelessness when encouraging freedom in brushwork.
It was this past week that I realized I had fallen into that very reckless approach, and I decided I needed to implement something into my creative routine to fix it.
That's where I came across the idea of 50 brushstroke exercise—or simply limiting your brushstrokes to a specific number to paint a picture.
The parameters are that simple. The best exercises often are.
What is not as simple is the execution and practice. You have to be intentional about your color mixing and laying. You can choose to use a brushstroke to test laying down color, but the further you get into your exercise, you'll realize that those extra brushstrokes can be valuable in pulling everything together in the final details.
Day One humbled me quickly. I was impatient with my color mixing and spent many brushstrokes trying to course-correct. Ironically, I still went 12 brushstrokes over my limit, and it wasn't boding well. I was nervous but determined for my Day Two.
Which, ironically, turned out to be my favorite thus far.
I was far more careful with my color mixing and laying, and as a result, I managed to keep my number of brushstrokes within the 50 limit.
I think it helped tremendously to have a reference with largely the same colors across the entire scene, but I'm still pleased with my execution—it feels loose and intentional. Something I've yet to return to.
My Day Three ended in 57 brushstrokes. Not awful, but it was also flatter than I would've liked. I am a fan of how my shadows and background turned out, despite it all; there is a beautiful mix of colors, but the focus of the scene is lackluster... I think this is because I struggled to demonstrate both transparency and reflection in the grapefruit's flesh.
Now I will admit, for Day Four, I know I cheated some brushstrokes—particularly at the end with the tiny glints of light in the white of the egg yolk.
But I tried to keep things consistent and fair, and I am largely pleased with how this piece turned out. The main critique I have is that my brushwork feels strained, and I think that even reflects in my color mixing. I did not use this exercise every day last week, so I went several days in between my Day Four and Day Three, and I think even those few days out of practice show in my work.
All things considered, I will definitely keep this exercise in my routine, and look forward to sharing more of them and seeing how I progress over time.
That's all for this week!
— M.E.