Anne Blair Brown\u2019s paintings evoke the quiet moments when, for a brief spell, the world pauses its hustle and bustle. A cat snoozing by a crock of flowers, cows in a field with an old shed, sun-drenched Adirondack chairs flanking a small table\u2014each scene is depicted with loose, painterly strokes and restful color harmony. Fittingly, Brown describes herself as a contemporary impressionist. \u201cMy work is a modern version of impressionist painting,\u201d she says. \u201cMy goal is to give less information with more impact, as was the case for French and Russian Impressionists.\u201d<\/p>\n\n\n\n
Tools of the Trade<\/h2>\n\n\n\n\n\nAnne prefers synthetic or hog bristle Richeson Grey Matters brushes. To help avoid detail, she uses the biggest brushes possible, often starting with a 1- or 2-inch gesso brush to block in the initial tone. Because artist’s brushes can be pricey, she discovered a less expensive option: a 99\u00a2 chip brush from Home Depot. \u201cThe chip brushes are nice because they\u2019re kind of frayed, and they make unique marks.\u201d She uses the chip brush for all the big shapes and continues with it until it’s time to start refining the painting. Then she selects from an array of flats, filberts, rounds and egberts, preferring sizes #8, #10 or #12, using the bigger ones for larger canvases.<\/p>\n\n\n\n
For her painting support, Anne uses stretched canvas in the studio and rigid panels outdoors, preferring Centurion universally-primed products for both. When making quick studies en plein air, she stays on the small side (8×10 to 12×12) but in the studio enjoys a larger size (16×16 to 30×30) and particularly a square format.<\/p>\n<\/div>\n\n\n\n
\n![\"Anne](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2022\/08\/Anne-Blair-Brown_Popsicles.jpg\")
In Popsicles (studio work; acrylic on canvas, 20×20) the woman, child and stroller replaced an A-frame sign in a study, also painted in the studio.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\nWhen painting in acrylic, she prefers the Utrecht paints because they are buttery. Her color choices are the same as for her oil palette: Phthalo green, Prussian blue, ultramarine blue, permanent rose, cadmium red light, burnt sienna or burnt umber, cadmium lemon or light yellow, cadmium deep yellow or Indian yellow, yellow ochre, and titanium white.<\/p>\n\n\n\n
\n\n\n\nLearn to Paint Faster with these Painting Exercises!<\/h2>\n\n\n\n
These two exercises will help you loosen up and paint more decisively, particularly with oils. Note that \u201cone stroke\u201d doesn\u2019t mean one quick mark. The paint you apply before lifting the brush counts as one stroke, which can last several seconds and fill quite a bit of space. Once you lift your brush, make a dot of that color somewhere to help keep count of your strokes.<\/p>\n\n\n\n
40-Brush Stroke Painting: Learn to Paint Faster<\/h3>\n\n\n\n
This exercise will help you paint faster so your work will become more painterly. You\u2019ll see shapes more clearly, make faster decisions and use directional brushstrokes to get varied effects. Do this exercise from direct observation. TIP: A still life will be easiest.<\/p>\n\n\n\n
1. Draw several thumbnail boxes (the more the better) and make contour drawings inside them. You can change your compositions or refine an idea. Think only in terms of outlines and shapes, and never lift your pencil from the paper.<\/p>\n\n\n\n
2. Observe the values. Use grayscale markers to find four values and then draw notans (black-and-white sketches).<\/p>\n\n\n\n
3. Pick your best sketch and use that composition in a tonal underpainting. The color of the tone for the underpainting is up to you. Stain and wipe to get a four-value range. Try not to spend more than 10 to 15 minutes on this. TIP: Don\u2019t use too much thinner.<\/p>\n\n\n\n
4 Pre-mix the colors on your palette. For example, if you\u2019re painting an apple, mix the color of the fruit in a light value, then pull some paint from that pool and darken it to make the shadow. Repeat this process with other colors in your composition.<\/p>\n\n\n\n
5. Have a painting medium ready, grab some big brushes, and go! TIP: Fill in the largest areas first.<\/p>\n\n\n\n
6. Stop after 40 strokes. TIP: Using all sides of your brush will get more paint onto your canvas and create a variety of marks.<\/p>\n\n\n\n
7. Giggle hysterically at how much fun that was.<\/p>\n\n\n\n![\"\"](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2022\/08\/Anne-Blair-Brown_A-Still-Life.jpg\")
A Still Life (studio work; water-soluble oil on linen, 20×20)<\/figcaption><\/figure>\n\n\n\n20-10-5 Stroke Exercise: Learn to Paint More Expressively<\/h3>\n\n\n\n
With this exercise you\u2019ll experience firsthand what it feels like to paint expressively. It will help you understand the hierarchy of what\u2019s important, as you\u2019ll be forced to eliminate detail, train yourself to be decisive and learn not to overwork a painting.<\/p>\n\n\n\n
1. Take a 16×20 panel and divide it evenly into quadrants with tape.<\/p>\n\n\n\n
2. In the first space, paint a small, timed study to loosen up and familiarize yourself with your subject. Don\u2019t work for more than 30 minutes.<\/p>\n\n\n\n
3. In the next space, paint the same subject using only 20 brushstrokes.<\/p>\n\n\n\n
4. Paint the same subject in the last two quadrants, using 10 strokes and then 5 strokes.<\/p>\n\n\n\n
It doesn\u2019t matter if you end up with a \u201cmess.\u201d Just note how differently your hand and wrist move.<\/p>\n\n\n\n
Anne prefers synthetic or hog bristle Richeson Grey Matters brushes. To help avoid detail, she uses the biggest brushes possible, often starting with a 1- or 2-inch gesso brush to block in the initial tone. Because artist’s brushes can be pricey, she discovered a less expensive option: a 99\u00a2 chip brush from Home Depot. \u201cThe chip brushes are nice because they\u2019re kind of frayed, and they make unique marks.\u201d She uses the chip brush for all the big shapes and continues with it until it’s time to start refining the painting. Then she selects from an array of flats, filberts, rounds and egberts, preferring sizes #8, #10 or #12, using the bigger ones for larger canvases.<\/p>\n\n\n\n
For her painting support, Anne uses stretched canvas in the studio and rigid panels outdoors, preferring Centurion universally-primed products for both. When making quick studies en plein air, she stays on the small side (8×10 to 12×12) but in the studio enjoys a larger size (16×16 to 30×30) and particularly a square format.<\/p>\n<\/div>\n\n\n\n
When painting in acrylic, she prefers the Utrecht paints because they are buttery. Her color choices are the same as for her oil palette: Phthalo green, Prussian blue, ultramarine blue, permanent rose, cadmium red light, burnt sienna or burnt umber, cadmium lemon or light yellow, cadmium deep yellow or Indian yellow, yellow ochre, and titanium white.<\/p>\n\n\n\n
\n\n\n\n
Learn to Paint Faster with these Painting Exercises!<\/h2>\n\n\n\n
These two exercises will help you loosen up and paint more decisively, particularly with oils. Note that \u201cone stroke\u201d doesn\u2019t mean one quick mark. The paint you apply before lifting the brush counts as one stroke, which can last several seconds and fill quite a bit of space. Once you lift your brush, make a dot of that color somewhere to help keep count of your strokes.<\/p>\n\n\n\n
40-Brush Stroke Painting: Learn to Paint Faster<\/h3>\n\n\n\n
This exercise will help you paint faster so your work will become more painterly. You\u2019ll see shapes more clearly, make faster decisions and use directional brushstrokes to get varied effects. Do this exercise from direct observation. TIP: A still life will be easiest.<\/p>\n\n\n\n
1. Draw several thumbnail boxes (the more the better) and make contour drawings inside them. You can change your compositions or refine an idea. Think only in terms of outlines and shapes, and never lift your pencil from the paper.<\/p>\n\n\n\n
2. Observe the values. Use grayscale markers to find four values and then draw notans (black-and-white sketches).<\/p>\n\n\n\n
3. Pick your best sketch and use that composition in a tonal underpainting. The color of the tone for the underpainting is up to you. Stain and wipe to get a four-value range. Try not to spend more than 10 to 15 minutes on this. TIP: Don\u2019t use too much thinner.<\/p>\n\n\n\n
4 Pre-mix the colors on your palette. For example, if you\u2019re painting an apple, mix the color of the fruit in a light value, then pull some paint from that pool and darken it to make the shadow. Repeat this process with other colors in your composition.<\/p>\n\n\n\n
5. Have a painting medium ready, grab some big brushes, and go! TIP: Fill in the largest areas first.<\/p>\n\n\n\n
6. Stop after 40 strokes. TIP: Using all sides of your brush will get more paint onto your canvas and create a variety of marks.<\/p>\n\n\n\n
7. Giggle hysterically at how much fun that was.<\/p>\n\n\n\n With this exercise you\u2019ll experience firsthand what it feels like to paint expressively. It will help you understand the hierarchy of what\u2019s important, as you\u2019ll be forced to eliminate detail, train yourself to be decisive and learn not to overwork a painting.<\/p>\n\n\n\n 1. Take a 16×20 panel and divide it evenly into quadrants with tape.<\/p>\n\n\n\n 2. In the first space, paint a small, timed study to loosen up and familiarize yourself with your subject. Don\u2019t work for more than 30 minutes.<\/p>\n\n\n\n 3. In the next space, paint the same subject using only 20 brushstrokes.<\/p>\n\n\n\n 4. Paint the same subject in the last two quadrants, using 10 strokes and then 5 strokes.<\/p>\n\n\n\n It doesn\u2019t matter if you end up with a \u201cmess.\u201d Just note how differently your hand and wrist move.<\/p>\n\n\n\n20-10-5 Stroke Exercise: Learn to Paint More Expressively<\/h3>\n\n\n\n
![\"\"](\"https:\/\/www.artistsnetwork.com\/wp-content\/uploads\/2022\/08\/Anne-Blair-Brown-Headshot.jpg\")
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