junex

You may want to give polypropylene sheet a try, like a plastic folder or even a ziploc bag. Recently I've been using a piece of transparency film. I can usually wipe the dried paint off with a wet blister foam.

After about 8 months Final picture entry I guess. Handle finally cracked from being wet so long plus the ferrule is now loose on the handle. BUT, the hairs are still secure on the ferrule.

You might also want to consider the Dremel 2050 which is going to be released next month in the US I think. I recently picked one up on a trip to Japan. I find that I prefer it to my 8050 unless I really need a cordless one.

My current go to brushes are a Holbein Series SD-Short #1 (or in a pinch a Jackson's series 1205 #4) and, if I need better control, a W&N Series 7 Miniature #4. When space is tight I'd grab my Jackson's 1205 #2 or S7 standard #1.

Not to worry. It's a retired Series 7 #1. I've worn out the tip so it's shorter than a new one but still forms a fine point.

That's why I prefer the OptiSight over the OptiVisor. I have tried reading glasses and although it allowed me to focus on objects closer to me it provided no magnification that I noticed. Using the OptiSight, looking through the lens gives me a magnified view of the fixed focal point but looking over, under and around the lens is normal view. The downside for you would be that it is still a headband type but I have modified mine to be a tad more comfortable.

Winsor & Newton actually recommends to dry your brushes bristles up: Winsor & Newton: Care and cleaning of brushes "With water colour and acrylic brushes, it is important to remove excess water, dry ferrules and handles, reshape brush heads and rest them with the bristles facing upwards to dry off."

Month 2

What this experiment has thought me was that storing them or letting them dry tip down or horizontally may be unnecessary but does not harm the brush either. So in the end whatever works for everyone is fine I guess. Just like cleaning of the brushes. I paint almost everyday for about 2-3 hours. Most of the time a final rinse in my water cup is all I need before storing my brush. I wash my brushes with brush soap maybe once every 2-3 months or after I use metallic paints.

Of course the other option was to ask Winsor & Newton:

You're probably right. Looking at my old brushes which doesn't have as sharp a tip anymore through my magnifier I can notice the hairs with the broken tips. However, with this experiment I am trying to show that neither storing nor letting your brushes dry tip up would ruin them. Will come back to report on the 6th month's test (if I don't forget) unless something happens sooner.

Test after a month.

+1 on the capillary action. I think manufacturers are recommending storing them tip up because this is the safest way to store them without damaging the hairs even without a cap while taking up as little space a possible.

I've read recommendations to store them tip them specially when drying. I guess this experiment is so I can see if they have a point. Exactly what I wanted to find out. Painter who made the video was wondering if anyone did a long term experiment. I said I have the materials and would give it a shot. I'd like to document the progress weekly but I'll probably post result here monthly...if it survives that long. 1) Yeah. I'd like to believe the big name brands would know not to use water soluble glue specially for brushes made for watercolors. 2) I've only been painting for around 9 years but not only have I stored them tip up but I let them dry tip up. I also only clean my brushes with brush soap about every few months or after I use metallics. In the 2nd picture, two brushes to the right of the brush participating in this experiment is my current Series 7 #1. I've been using it for at least a year now, maybe around 50 hours of use. Almost all of the brushes I've retired were because the tips weren't as sharp as I wanted anymore. This reminds me, I'd like to test this too. Also cut the ferrule lengthwise to see what's inside. The title of this thread should have been Brush torture test...

I recently saw a brush care video which mentioned a couple of things I don't agree with: 1. if water gets in the ferrule it can degrade the glue holding the hairs 2. brushes should not be stored bristles up I have an old Series 7 #1 and one those floral water tubes. I've thought of doing this before so here goes. Day 1

Here's a technique that works for me. I hold the figure under a light source and wet the surface with just water. I take note or better yet a photo of the location of the specular highlights are.

I'm 50, been near sighted for 30+ of those. I have the same lens prescription for the past 20+ years. I've been using a head-mounted magnifier of one brand or another for about 7 years. I put it on the moment I start working on a mini, even just the prep stage. Had a check up with my ophthalmologist a while back, still the same prescription. I believe the warning shouldn't specifically be on the extended use of magnifiers but with any close up work for extended periods of time, be it reading or looking at computer screens. Personally I prefer something like Donegan's Optisight or MagEyes. I can look anywhere around the lens and I have normal vision (reading glasses doesn't give enough magnification for me) which is why I think I can get away with wearing them all the time I'm working on a mini.

Another option is to paint on the chipped effect and battle damage plus some well placed highlights. You can either paint them on with a brush (like I did in the shield below) or stipple them on using a torn off piece of foam, the ones which usually come with the minis. The battle damage were painted lines with the bottom portion highlighted.

Here are a few tips on how I got a better understanding of: Placement of highlights: - Hold the mini under a bright lamp, the position of the lamp should be the same as the simulated light source of the mini. Take note of where the bright areas are or better yet take a photo. - Find photos online of the same mini as painted by different painters to see where they placed the highlights. Amount and placement of edge/extreme highlight: - With the area of the mini basecoated or even with initial highlight, brush on water on the area while holding it under a bright lamp. Again take note of where the reflection of the lamp is on the surface. - Find an artist whose style you like and try to emulate how they applied the extreme highlights.

I have experienced the same thing with several brands of matte mediums I've tried, new bottle or old. I believe I've mixed the bottles thoroughly since I can see the agitators I've added moving on the bottom of the bottle. When I used Liquitex matte medium in my previous gunk mixes the agitator would be embedded in the particle that settles on the bottom. I've emailed Liquitex about this before and here's their response: "Thank you for your interest in Liquitex. Matte Medium dries with a fairly high sheen because it is a medium. Mediums are meant to be mixed with acrylic paint. They will keep paints at their level of sheen or if they are a glossy paint, they will make them more matte. We make an Ultra Matte Medium to make paints even more satin/matte. The matting agents in the medium are different from Matte Varnish. Matte Varnish dries matte and without any sheen."

Great video. I appreciate your thought processes (maybe because it's about the same as mine). I'd like to see more of your techniques though. Subscribed and waiting for the next one.

I'm with Doug, I think capillary action's a bigger factor than gravity. I've always let my brushes dry standing upright and I've never had any problems. I rinse my brush every time before I load with paint again. With this system my brushes usually just needs a final rinse in water at the end of a painting session. I clean my brushes maybe once a month with shampoo then conditioner.

I have a pot of Coat D' Arms Flesh Wash whose components separates really bad. Usually takes around 15 seconds on my mixer before it's thoroughly mixed. I've always had a problem with that flesh wash drying glossy before. Not anymore since I got a vortex mixer. So I've been using 15s for all my other paints, Reaper & Scale75.

I've always just used the spine of my X-Acto blade.

The holder itself was turned on a lathe. The metal part is actually gauge 10 copper wire. It's soft enough not to be too difficult to be manipulated but still tough enough. I mean, if I want to I can still bend the finished product as I am using it but it holds up to normal usage. I'd like to take credit for the concept but my employee actually came up with that one after I pointed out that I'd easily loose the skull plug and locking ring of the original. Tools he used were a pair of pliers whose jaws are wrapped with masking tape and various pieces of metal to mold the shapes on. He started with a piece of wire that's about 2 inches longer than the finished piece (we already established how long was needed after doing a couple). Starting at the middle of the wire he first forms the finger rest portion. The "neck" part was fairly easy. The tricky part was the portion that fit in the groove. Using an old precision gauge as a mold, he first forms the first half of the loop and trims it to roughly the the opposite side of where he started. He then forms the 2nd half and trims and fits it to match the first half. He then takes a few more minutes to make small adjustments so both halves meet as close as possible when closed. He then uses a gauge 18 or 20 copper wire to make the locking ring. We're particularly proud of the design because it functions practically the same but now the locking ring is captured within the whole finger rest device. I hope this made sense.