The stippler is a soft, natural haired brush, which looks similar to a stencilling brush, but is much softer

The stippler is ideal for creating texture. It is a round natural-haired brush, which is angled to make stippling more tactile.

For the exercises below, I used the colour, bluebell.

Smooth wash Wash the brush from side to side to achieve a smooth wash.

Light texture Gently tap the brush onto the paper to create an open texture; allow some of the background to remain dry.

Denser texture Continue to tap onto the paper, allowing the colours to merge and achieve a mottled effect. Tapping in another colour will add to the textural effect.

Flicked texture Flick the brush upward to create a spiked texture




1 Using bluebell and a touch of permanent wild rose, flick the stippler upward. Allow to dry then add another layer on top.
2 Paint the stalks using the pyramid and country olive.





1 Use the stippler and bluebell to suggest the shape of the flowers. Add a little permanent wild rose before the initial wash has dried.
2 Once dry, introduce a final layer to create the texture.
3 Paint the leaves using the pyramid. Make an extended brushstroke with midnight green and sunlit green.




Wild flowers

1 All sorts of wild flowers can be suggested using this technique.
2 The butterfly was achieved using the pyramid brush in the same way.





1 Use the stippler and bluebell to suggest the shape of the flowers; add a little permanent wild rose.
2 Once the initial wash is dry, add texture by gently stippling on top.
3 Paint the background by scribbling with the tip of the pyramid onto a damp surface.
4 Add the big leaves with sunlit green and a little country olive, using the pyramid and an extended brushstroke.

In Fiona's complete article, which can be found in the May 2012 issue of Leisure Painter, she also shows a variety of techniques for painting flowers using a pyramid brush.

With a little practice, combining the simple techniques using the two brushes, all kinds of flowers can be achieved, such as the rose below.





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This article was originally published in the May 2012 issue of Leisure Painter