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A class act

Max Hale says Jackson’s Black Hog brushes are well made and exceeded his expectations in all respects

TEST REPORT

My first sight of this range was a year ago when I reviewed the whole stable of Jackson’s oil and acrylic brushes for The Artist June 2016 issue. I’ve been working with the test brushes in one form or another since my initial review.

In general hog brushes are tough little chaps, perhaps slightly primitive. They exude resilience and are totally able to carry paint, no matter how viscous. They stand up to rough treatment but eventually lose some of their shape and become a different beast to the one you originally bought. Experienced painters expect this metamorphosis and cope with it by using worn brushes for other strokes or marks.

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About The Artist

Welcome to an inspiration-packed issue with great demonstrations to follow in all media to help practise and develop your skills, from Paul Riley's focus on how to depict glass and reflections in watercolour, Chris Forsey's mixed-media demonstration of a light-filled Australian coastal scene to Rob Wareing's feature on painting skin tones and portraits in oils. With an insight into up-and-coming Richard Burger's approach to portraiture and Richard Pikesley's use of studio objects as tabletop still lifes, we also step into the shoes of professional artists to see what motivates them and how they approach their work. Young artist Marie Antoniou urges you to express yourself in acrylics with just one brush, Robert Dutton explains the rules of perspective while Paul Talbot-Greaves shows how to achieve depth in landscape compositions, Barry Herniman paints boats and harbours, and Liz Seward suggests the perfect antidote to painter's block by turning to collage. For help with colour mixing, Julie Collins turns our attention to the variety of whites available, and Catherine Strong tells us how to keep our greens clean and vibrant. Enjoy the issue and email your feedback and comments to us at theartistletters@tapc.co.uk We love to hear from you!