Going away from a painting feels a bit like leaving your cat at home for a couple days with a heaping bowl of food and plenty of water. You know the cat will be okay, but you also feel the guilt of the neglectful caretaker. While you're away, you won't be loving it enough. There will be no one to rub it behind the ears! A painting can't purr, but it does suffer from being unconsidered. Paintings, after all, thrive on attention. But I'm back now, and trying to make up for lost time.
Like any neglected relationship, my affair with my painting needed a little spark, which came in the form of a new brush that defies adequate description. Try as I might, I can't articulate a metaphor potent enough to contain all the wonders of the Daniel Smith Faux Mongoose #14 Flat, which I will hereafter refer to only as "the Goose". (Okay, I know I just lost about 75% of my readership, and for that I apologize. I only hope you'll visit this site again; I promise I'll try not to bore you to tears.) The Goose was a big surprise to me, as I usually don't use synthetic brushes. I'm a purist. Sable, bristle, even fitch. But I found myself, one day, cruising the DS website in search of something new. What the heck, I thought, I'll give it a try.
Well. Like I said, the Goose defies description except to say that it is one luscious brush. It's got bounce. Loaded up with color, it goes for miles and miles. I can build up thick strokes; I can layer wet on wet; I can scrub, dab, and glaze. And it all feels effortless, like I'm painting with Devonshire cream.