Анализ сайта trekell.com
Основное Готовность: 60%
Домен
trekell.com
Состояние доменного имени
?
Проверяем корректность доменного имени и наличие технических проблем на уровне домена.
Домен второго уровня идеален для продвижения.
Отличный запоминающийся домен.
Ответ сервера
200 Успешный ответ
HTTP-код ответа и цепочка редиректов
?
Код 200 — страница доступна. Коды 3xx — редиректы (цепочки замедляют загрузку и размывают ссылочный вес). Коды 4xx/5xx — ошибки, поисковик не сможет проиндексировать страницу.
Кол-во редиректов 3 слишком большое! Проверьте настройки сайта и веб-сервера!
Цепочка редиректов:
http://trekell.com
301 MovedPermanently
https://trekell.com/
301 MovedPermanently
https://www.trekell.com/
200 OK
Безопасность
Сайт безопасен
Использование HTTPS и SSL-сертификат
?
HTTPS — обязательный стандарт. Google и Яндекс отдают предпочтение защищённым сайтам. Отсутствие SSL или просроченный сертификат ведут к предупреждениям в браузере и снижению позиций.
На сайте работает защищенный протокол ssl и сайт открывается по https.
Ssl-сертификат действителен до 09.01.2027 2:59:59.
Сервер поддерживает HTTP/3 (QUIC) — новейший протокол.
Включён HSTS (Strict-Transport-Security) — защита от подмены на http.
HTTP автоматически перенаправляется на HTTPS.
Поздравляем! Сайт не содержится в реестре РКН.
Кодировка
utf-8
Кодировка символов страницы
?
Стандарт — UTF-8. Неправильная кодировка вызывает нечитаемые символы и мешает поисковику корректно распознать текст страницы.
Указана кодировка на странице utf-8.
Язык
en
Атрибут lang в HTML-теге
?
Атрибут lang (<html lang="ru">) сообщает поисковикам и браузерам, на каком языке написана страница. Помогает при ранжировании в региональном поиске.
Язык документа указан явно: en.
Скорость загрузки
~1,20сек
Время отклика сервера (TTFB)
?
Time To First Byte — время до получения первого байта от сервера. Норма до 200 мс. Медленный отклик ухудшает пользовательский опыт и ранжирование: Яндекс и Google учитывают скорость страниц.
Скорость загрузки сайта 1,20сек превышает 1 секунду. Желательно улучшить работу сайта!
Объем документа
1440Кб
Размер HTML-кода страницы
?
Слишком большой HTML замедляет парсинг браузером и сканирование поисковым роботом. Рекомендуется не более 200 Кб.
Объем html-документа 1440Кб оптимален.
Структура html-документа корректна.
Ресурсы
Ресурсы: 103
Внешние ресурсы страницы (CSS, JS, изображения)
?
Количество и тип подключённых ресурсов влияют на скорость загрузки. Большое число запросов увеличивает время рендеринга страницы.
Кол-во файлов ресурсов 103 много для одной страницы. Приемлемо до 10. Проведите оптимизацию файлов ресурсов!
Показать полный список ресурсов
| Тип | Название | Значение |
|---|---|---|
| stylesheet | https://www.trekell.com/cdn/shopifycloud/portable-wallets/latest/accelerated-checkout-backwards-compat.css | |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/theme.css?v=59148525362252575351772102390 |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-predictive-search.css?v=85913294783299393391748886946 | |
| stylesheet | https://de454z9efqcli.cloudfront.net/safe-icons/css/wishlisthero-icons.css | |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/boost-pfs-custom.css?v=146295763803382522901748886946 |
| stylesheet | https://unpkg.com/aos@2.3.1/dist/aos.css | |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/home-style.css?v=75943752346772912021759487845 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/storelocator-custom.css?v=109936605387292032561748886946 |
| stylesheet | https://cdn.shopify.com/extensions/019cb7cf-531e-72c6-bad9-659dd9aef617/4.2/assets/styles.css | |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/section-main-product.css?v=111324511150143405551783573950 |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-mega-menu.css?v=74754175945220591321748886946 | |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-list-menu.css?v=151968516119678728991748886946 | |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-search.css?v=184225813856820874251748886946 | |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-menu-drawer.css?v=155703069458932128121748886946 | |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-cart-notification.css?v=137625604348931474661748886946 | |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-cart-items.css?v=23917223812499722491748886946 | |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-price.css?v=65402837579211014041748886946 | |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-loading-overlay.css?v=167310470843593579841748886946 | |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-cart-drawer.css?v=35930391193938886121748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-cart.css?v=61086454150987525971748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-totals.css?v=86168756436424464851748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-price.css?v=65402837579211014041748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-discounts.css?v=152760482443307489271748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-loading-overlay.css?v=167310470843593579841748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-list-menu.css?v=151968516119678728991748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-search.css?v=184225813856820874251748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-menu-drawer.css?v=155703069458932128121748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-cart-notification.css?v=137625604348931474661748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-cart-items.css?v=23917223812499722491748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/section-image-banner.css?v=112064451111918273881777878094 |
| stylesheet | https://cdnjs.cloudflare.com/ajax/libs/slick-carousel/1.9.0/slick-theme.min.css | |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/section-image-banner.css?v=112064451111918273881777878094 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-image-with-text.css?v=137828147691215233621748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-rte.css?v=73443491922477598101748886946 |
| stylesheet | https://cdnjs.cloudflare.com/ajax/libs/slick-carousel/1.9.0/slick-theme.min.css | |
| stylesheet | https://cdnjs.cloudflare.com/ajax/libs/slick-carousel/1.9.0/slick-theme.min.css | |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/section-footer.css?v=99602776661942949451786344054 |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-newsletter.css?v=103472482056003053551748886946 | |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-list-menu.css?v=151968516119678728991748886946 | |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-list-payment.css?v=69253961410771838501748886946 | |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-list-social.css?v=52211663153726659061748886946 | |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/component-rte.css?v=73443491922477598101748886946 | |
| stylesheet | //www.trekell.com/cdn/shop/t/160/assets/disclosure.css?v=646595190999601341748886946 | |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-newsletter.css?v=103472482056003053551748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-list-menu.css?v=151968516119678728991748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-list-payment.css?v=69253961410771838501748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-list-social.css?v=52211663153726659061748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/component-rte.css?v=73443491922477598101748886946 |
| stylesheet | text/css | //www.trekell.com/cdn/shop/t/160/assets/disclosure.css?v=646595190999601341748886946 |
| js | //www.trekell.com/cdn/shop/files/pandectes-rules.js?v=11556413691369555488 | |
| js | text/javascript | //t.marketingcloudfx.com/phone/js/31429 |
| js | //www.trekell.com/cdn/shop/t/160/assets/constants.js?v=165488195745554878101748886946&enable_js_minification=1 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/pubsub.js?v=2921868252632587581748886946&enable_js_minification=1 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/global.js?v=167922402931854266601779862322&enable_js_minification=1 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/style.js?v=93809931686805281851748886946&enable_js_minification=1 | |
| js | /checkouts/internal/preloads.js?locale=en-US&default_configuration_id=23101628 | |
| js | https://shop.app/checkouts/internal/preloads.js?locale=en-US&default_configuration_id=23101628&shop_id=25220218973 | |
| js | module | //www.trekell.com/cdn/shopifycloud/shop-js/modules/v2/loader.init-shop-cart-sync.en.esm.js |
| js | //www.trekell.com/cdn/shopifycloud/storefront/assets/storefront/load_feature-1bd60354.js | |
| js | //www.trekell.com/cdn/shopifycloud/storefront/assets/shopify_pay/storefront-bf1cdb70.js?v=20250812 | |
| js | //cdn.shopify.com/shopifycloud/storefront/assets/storefront/origin_trials-5059b83f.js | |
| js | //www.trekell.com/cdn/shop/t/160/compiled_assets/scripts.js?v=82519944509819407471748886946 | |
| js | text/javascript | https://cdn.shopify.com/extensions/019cb7cf-531e-72c6-bad9-659dd9aef617/4.2/assets/bundle.js |
| js | module | https://cdn.shopify.com/storefront/web-components/chat.js |
| js | https://static.klaviyo.com/onsite/js/NUFmrr/klaviyo.js?company_id=NUFmrr | |
| js | https://cdn.shopify.com/extensions/01a02206-fb50-75f8-a196-4d07ba7fddef/powerful-form-builder-346/assets/globo.formbuilder.index.js | |
| js | text/javascript | https://cdn.shopify.com/extensions/01a025b8-d3cc-72e9-a8d0-08ebaddd9621/2026-08-21-19-06-19-UTC--a7c520b/assets/smile-loader.js |
| js | text/javascript | https://cdn.shopify.com/extensions/01a02768-4b58-794f-8b0b-bdefb3907fd4/avada-upsell-247/assets/avada-free-gift.js |
| js | text/javascript | https://cdn.shopify.com/extensions/019f6a57-48af-7a7c-bd4b-1106ec4003e0/affliate-by-secomapp-121/assets/core.min.js |
| js | text/javascript | https://cdn.shopify.com/extensions/019ffac7-3585-7e62-be32-722ffc3ad952/aov-cart-drawer-79/assets/aov-cart-drawer.js |
| js | text/javascript | https://cdn.shopify.com/extensions/1f805629-c1d3-44c5-afa0-f2ef641295ef/booster-page-speed-optimizer-1/assets/speed-embed.js |
| js | https://www.trekell.com/cdn/shopifycloud/perf-kit/shopify-perf-kit-3.8.4.min.js | |
| js | //www.trekell.com/cdn/shop/t/160/assets/cart.js?v=152621234464311990471748886946 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/details-disclosure.js?v=178273075931233141411748886946 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/details-modal.js?v=4511761896672669691748886946 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/cart-notification.js?v=160453272920806432391748886946 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/search-form.js?v=113639710312857635801748886946 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/cart-drawer.js?v=44260131999403604181748886946 | |
| js | https://cdnjs.cloudflare.com/ajax/libs/jquery/3.7.1/jquery.min.js | |
| js | https://cdnjs.cloudflare.com/ajax/libs/slick-carousel/1.9.0/slick.min.js | |
| js | https://cdnjs.cloudflare.com/ajax/libs/jquery/3.7.1/jquery.min.js | |
| js | https://cdnjs.cloudflare.com/ajax/libs/slick-carousel/1.9.0/slick.min.js | |
| js | https://cdnjs.cloudflare.com/ajax/libs/jquery/3.7.1/jquery.min.js | |
| js | https://cdnjs.cloudflare.com/ajax/libs/slick-carousel/1.9.0/slick.min.js | |
| js | //www.trekell.com/cdn/shop/t/160/assets/predictive-search.js?v=16985596534672189881748886946&enable_js_minification=1 | |
| js | text/javascript | https://static.klaviyo.com/onsite/js/klaviyo.js?company_id=NUFmrr |
| js | https://a.klaviyo.com/media/js/onsite/onsite.js | |
| js | text/javascript | https://cdn1.stamped.io/files/widget.min.js |
| js | //www.trekell.com/cdn/shop/t/160/assets/boost-pfs-core-instant-search.js?v=43681220795900372291750774418 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/boost-pfs-instant-search.js?v=48585880632234017741748886946 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/boost-pfs-init.js?v=8317161029896936481748886946 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/boost-pfs-analytics-custom.js?v=161314685702743820801748886946 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/jquery.waypoints.min.js?v=146206085549558234711748886946&enable_js_minification=1 | |
| js | //www.trekell.com/cdn/shop/t/160/assets/slick.min.js?v=71779134894361685811748886946&enable_js_minification=1 | |
| js | https://code.jquery.com/jquery-3.7.1.min.js | |
| js | //www.trekell.com/cdn/shop/t/160/assets/custom.js?v=112741717389568339591748886946&enable_js_minification=1 | |
| js | https://cdnjs.cloudflare.com/ajax/libs/aos/2.3.4/aos.js | |
| js | https://cdnjs.cloudflare.com/ajax/libs/OwlCarousel2/2.3.4/owl.carousel.min.js | |
| js | https://cdn.shopify.com/extensions/01a023b5-7717-7adb-9bd4-bb7c512df103/smart-menu-106/assets/smartmenu-v2.js | |
| js | text/javascript | https://cdn.shopify.com/extensions/01a01e96-e120-7f6e-97ca-54247e84a682/grouptify-combined-listings-442/assets/swatch-scripts.js |
| js | text/javascript | https://cdn.shopify.com/extensions/01a01e96-e120-7f6e-97ca-54247e84a682/grouptify-combined-listings-442/assets/mtm-tracker.js |
| js | text/javascript | https://cdn.shopify.com/extensions/01a01e96-e120-7f6e-97ca-54247e84a682/grouptify-combined-listings-442/assets/flying-pages.js |
| js | module | https://cdn.shopify.com/storefront/standard-actions.js |
Серверные заголовки
Кол-во: 25
HTTP-заголовки ответа сервера
?
Заголовки сервера передают браузеру и поисковику служебную информацию: кеширование, безопасность (CSP, HSTS), сжатие (gzip). Правильная настройка ускоряет загрузку и повышает защищённость.
Найдены серверные заголовки 25шт. Подробнее про серверные заголовки.
Показать полный список серверных заголовков
| Ключ | Значение |
|---|---|
| Date | Sat, 22 Aug 2026 05:31:18 GMT |
| x-download-options | noopen |
| Set-Cookie | localization=US; path=/; expires=Sun, 22 Aug 2027 05:31:18 GMT; SameSite=Lax |
| Link | <https://cdn.shopify.com>; rel="preconnect", <https://cdn.shopify.com>; rel="preconnect"; crossorigin, <https://storefront-agent-server.shopify.ai>; rel="preconnect", <https://de454z9efqcli.cloudfront.net>; rel="preconnect", <https://unpkg.com>; rel="preconnect", <//www.trekell.com/cdn/shop/files/pandectes-rules.js?v=11556413691369555488>; as="script"; rel="preload", <//www.trekell.com/cdn/shop/t/160/assets/theme.css?v=59148525362252575351772102390>; as="style"; rel="preload", <https://de454z9efqcli.cloudfront.net/safe-icons/css/wishlisthero-icons.css>; as="style"; rel="preload", <//www.trekell.com/cdn/shop/t/160/assets/boost-pfs-custom.css?v=146295763803382522901748886946>; as="style"; rel="preload", <https://unpkg.com/aos@2.3.1/dist/aos.css>; as="style"; rel="preload", <//www.trekell.com/cdn/shop/t/160/assets/home-style.css?v=75943752346772912021759487845>; as="style"; rel="preload", <//www.trekell.com/cdn/shop/t/160/assets/storelocator-custom.css?v=109936605387292032561748886946>; as="style"; rel="preload", <https://cdn.shopify.com/extensions/019cb7cf-531e-72c6-bad9-659dd9aef617/4.2/assets/styles.css>; as="style"; rel="preload", <https://www.trekell.com/cdn/shopifycloud/portable-wallets/latest/accelerated-checkout-backwards-compat.css>; as="style"; rel="preload"; crossorigin |
| speculation-rules | "/cdn/shopifycloud/storefront/assets/storefront/storefronts.moderate.specrules-eb468f32.json" |
| X-Request-ID | 20601c11-3c56-4787-bfac-444e1b73929a-1787376678 |
| x-permitted-cross-domain-policies | none |
| nel | {"report_to":"cf-nel","success_fraction":0.01,"max_age":604800} |
| shopify-complexity-score | 0 |
| shopify-complexity-score-v2 | 394 |
| X-Frame-Options | DENY |
| Content-Security-Policy | block-all-mixed-content; frame-ancestors 'none'; upgrade-insecure-requests; |
| Strict-Transport-Security | max-age=7889238 |
| Vary | accept-encoding |
| Alt-Svc | h3=":443" |
| powered-by | Shopify |
| Server-Timing | processing;dur=400;desc="gc:21", db;dur=83, render;dur=173, asn;desc="200044", edge;desc="HEL", country;desc="RU", theme;desc="181246591344", pageType;desc="index", servedBy;desc="phn2", requestID;desc="20601c11-3c56-4787-bfac-444e1b73929a-1787376678", _y;desc="aaf22f8f-b8a7-428d-91f6-861c4403b69a", _s;desc="dc640f81-5ba9-415d-bac7-9e8ed4deb586", _cmp;desc="3.AMPS_RU_f_f_02mQ2RSMQTmEwfWWMPOEcw", compressionLevel;desc="5", compressionTime;dur=42.392 |
| x-dc | gcp-europe-west4,gcp-europe-west1,gcp-europe-west1 |
| X-XSS-Protection | 1; mode=block |
| cf-cache-status | DYNAMIC |
| Server | cloudflare |
| report-to | {"group":"cf-nel","max_age":604800,"endpoints":[{"url":"https://a.nel.cloudflare.com/report/v4?s=4Lznpw4tFTJt3H%2FPkXLrKwRxdaUlR9WlOz0GgqiENNU3ORr9FMW%2FjMIiE%2F%2Byhb7fPrgXIbwybTb3Zp1LYlvaSAdJXH7lNZiA%2FlnTTBzX6kQUvrNtoobOmXuDX9950jSGLA%3D%3D"}]} |
| X-Content-Type-Options | nosniff |
| ETag | W/"page_cache:25220218973:IndexController:f1a6e0520a1600d23dc90c59855cd363:40c828b5395811248f33f016de3b963a" |
| cf-ray | a2ef7d8dbc9c5325-HEL |
CMS
Shopify
Система управления сайтом (движок)
?
CMS — это движок, на котором работает сайт (WordPress, 1C-Bitrix, Tilda и др.). Знание CMS помогает понять возможности SEO-оптимизации и подобрать подходящие инструменты. «Не определена» — вероятно, самописный сайт или нестандартная сборка.
Сайт работает на CMS Shopify.
Веб-сервер
Cloudflare
Программное обеспечение сервера
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Веб-сервер — это ПО, которое отдаёт страницы посетителям (nginx, Apache, IIS, LiteSpeed и др.). Определяется по серверным заголовкам ответа (Server, X-Powered-By и т.п.). «Не определён» — сервер намеренно скрывает эти заголовки, это нормальная практика безопасности.
Сайт работает на веб-сервере Cloudflare.
Мета-теги Готовность: 48%
Title
Premium Art Supplies & Materials | Shop Trekell.com Now
Заголовок страницы в браузере и поисковой выдаче
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Title — главный SEO-заголовок страницы. Влияет на CTR в поиске и ранжирование. Оптимальная длина: 50–70 символов. Ключевые слова — ближе к началу.
Необходимо уменьшить число символов в title (текущее значение: 67, оптимально: от 40 до 45)
Дублей словоформ в title не найдено.
Description
Find premium art supplies and materials at Trekell.com. Shop our wide selection of brushes, canvases, and more to elevate your art to the next level. Enjoy expert advice, excellent customer service, and fast shipping. Order now and amplify your creativity with Trekell.
Описание страницы в поисковой выдаче (сниппет)
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Meta Description — текст под заголовком в выдаче. Напрямую на позиции не влияет, но влияет на CTR. Оптимальная длина: 120–160 символов.
Необходимо уменьшить число символов в description (текущее значение: 269, оптимально: от 120 до 130)
Keywords
Список ключевых слов страницы (устаревший тег)
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Meta Keywords не учитывается Яндексом и Google для ранжирования с 2009–2012 годов. Заполнение не обязательно, но не вредит. Конкурент может использовать содержимое для анализа.
Установите мета-тег keywords!
Канонический Url
https://www.trekell.com/
Указывает поисковику основную версию страницы
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Canonical (rel=canonical) предотвращает проблему дублей страниц. Должен точно совпадать с URL проверяемой страницы. Неправильный canonical может передать ссылочный вес на другую страницу.
Канонический Url прописан корректно.
Robots
Ошибок нет
Директивы для поисковых роботов на уровне страницы
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Meta Robots управляет индексацией конкретной страницы: index/noindex — индексировать ли, follow/nofollow — следовать ли по ссылкам. Noindex полностью исключает страницу из поиска.
Meta-тег robots не указан. Страница свободна для индексации.
Адаптивность
width=device-width,initial-scale=1
Настройка масштабирования на мобильных устройствах
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Тег viewport (<meta name="viewport">) сообщает браузеру, как масштабировать страницу на мобильных. Стандарт: width=device-width, initial-scale=1. Отсутствие — признак отсутствия мобильной версии.
Meta-тег viewport со значением-константой width=device-width задаёт ширину страницы в соответствии с размером экрана.
Meta-тег viewport со значением initial-scale=1.0 определяет масштаб 1:1, т.е. «не масштабировать».
Разметка OpenGraph
Кол-во: 5
Мета-теги для красивых превью в соцсетях
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OpenGraph (og:title, og:description, og:image) управляет тем, как страница выглядит при репосте в социальных сетях и мессенджерах. Отсутствие OG-тегов — невзрачный превью при шеринге.
Разметка OpenGraph задана. Страница оптимизирована под социальные сети.
Показать полный список og мета-тегов
| Тип | Значение |
|---|---|
| og:site_name | Trekell Art Supplies |
| og:url | https://www.trekell.com/ |
| og:title | Premium Art Supplies & Materials | Shop Trekell.com Now |
| og:type | website |
| og:description | Find premium art supplies and materials at Trekell.com. Shop our wide selection of brushes, canvases, and more to elevate your art to the next level. Enjoy expert advice, excellent customer service, and fast shipping. Order now and amplify your creativity with Trekell. |
Все мета-теги
Кол-во: 21
Полный список мета-тегов страницы
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Таблица всех meta-тегов, включая нестандартные. Позволяет найти опечатки, дубли и лишние теги.
Найдены мета-теги 21шт. Мета-теги не видимы для человека и предназначены для обмена информацией между веб-страницей и поисковыми системами, браузерами и другими веб-службами. С ними роботы 🤖 и устройства ведут себя более ожидаемо.
Показать полный список мета-тегов
| Тип | Название | Значение |
|---|---|---|
| name | p:domain_verify | c17275d606bdd642b6a4b30cb281f82b |
| name | viewport | width=device-width,initial-scale=1 |
| name | theme-color | |
| name | google-site-verification | pookl6MgDyG8DAwG4Vb57mG1wDazBSumki7yUjK_CWg |
| name | google-site-verification | P5_RXlJQ7_8jZ-MAJQPLzo0W5k3wpuVCa2DcPFxUkjU |
| name | google-site-verification | axK5pNqTzjOVCA3YYBlnXT8L4sRNcMFFXTcdoQnb0TE |
| name | description | Find premium art supplies and materials at Trekell.com. Shop our wide selection of brushes, canvases, and more to elevate your art to the next level. Enjoy expert advice, excellent customer service, and fast shipping. Order now and amplify your creativity with Trekell. |
| name | twitter:card | summary_large_image |
| name | twitter:title | Premium Art Supplies & Materials | Shop Trekell.com Now |
| name | twitter:description | Find premium art supplies and materials at Trekell.com. Shop our wide selection of brushes, canvases, and more to elevate your art to the next level. Enjoy expert advice, excellent customer service, and fast shipping. Order now and amplify your creativity with Trekell. |
| name | google-site-verification | CA9y6m-2gfVl5RPSA8wiB0JYOcR9szZNBGeOoaAtabk |
| name | shopify-digital-wallet | /25220218973/digital_wallets/dialog |
| name | shopify-checkout-api-token | 8b10f9bb69efe9baed3342b6307d97fe |
| name | shopify-y | aaf22f8f-b8a7-428d-91f6-861c4403b69a |
| name | shopify-s | dc640f81-5ba9-415d-bac7-9e8ed4deb586 |
| name | new-cookie-storage-activated | f |
| property | og:site_name | Trekell Art Supplies |
| property | og:url | https://www.trekell.com/ |
| property | og:title | Premium Art Supplies & Materials | Shop Trekell.com Now |
| property | og:type | website |
| property | og:description | Find premium art supplies and materials at Trekell.com. Shop our wide selection of brushes, canvases, and more to elevate your art to the next level. Enjoy expert advice, excellent customer service, and fast shipping. Order now and amplify your creativity with Trekell. |
Оптимизация Готовность: 82%
Структура
Ошибок нет
Семантические HTML-элементы страницы
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Проверяет наличие основных структурных элементов: nav, header, footer, main. Корректная семантическая структура помогает поисковику понять архитектуру страницы.
Структура документа корректна (теги <html> и <body> присутствуют в одном экземпляре).
Контент
Ошибок нет
Объём и качество текстового содержимого
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Анализирует объём полезного текста на странице. Слишком мало — страница может считаться малополезной. Слишком много — ухудшается читаемость и восприятие.
Слова из title 5 встречаются в тексте достаточно.
Абзацев с текстом 68 достаточно.
Среднее число слов в абзаце 680 достаточно.
Кол-во знаков контента 299706 на странице оптимально.
Кол-во слов 48875 на странице оптимально.
Заголовки
Ошибок нет
Иерархия заголовков H1–H6
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H1 должен быть один и содержать ключевой запрос. H2–H6 описывают подразделы. Пропуск уровней (H1 → H3) и несколько H1 — типичные ошибки, снижающие понятность страницы для поисковика.
На странице присутствуют заголовки <h1> 1. Это прекрасно.
На странице присутствуют заголовки <h2> 76. Это хорошо.
На странице присутствуют заголовки <h3> 5.
Тошнота
19,31
Насколько одно слово доминирует в тексте
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Классическая тошнота = √(частота самого повторяющегося слова). Норма до 7–8: текст воспринимается естественно. Выше — поисковик может счесть страницу переспамленной.
Тошнота превышает норму 5. Измените текст страницы!
Академич. тошнота
54,08%
Насколько текст перенасыщен ключевыми словами
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Академическая тошнота = (частота слова / общее количество слов) × 100%. Показывает долю конкретного слова в тексте. Норма 5–15%.
Академическая тошнота превышает норму 5-15%. Измените текст страницы!
Семантическое ядро
20
Наиболее часто встречающиеся слова на странице
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Топ слов по частоте использования. Показывает, какие слова доминируют в тексте с точки зрения поисковика.
Контент страницы содержит осмысленный текст и слова.
Показать список слов
| Слово | Кол-во | Частота |
|---|---|---|
| brushes | 373 | 0,76% |
| trekell | 305 | 0,62% |
| painting | 205 | 0,42% |
| panels | 170 | 0,35% |
| artists | 153 | 0,31% |
| acrylic | 151 | 0,31% |
| surface | 141 | 0,29% |
| watercolor | 132 | 0,27% |
| create | 131 | 0,27% |
| smooth | 111 | 0,23% |
| artist | 105 | 0,21% |
| strokes | 101 | 0,21% |
| medium | 100 | 0,20% |
| without | 80 | 0,16% |
| details | 79 | 0,16% |
| bristles | 77 | 0,16% |
| filbert | 75 | 0,15% |
| synthetic | 74 | 0,15% |
| ground | 73 | 0,15% |
| perfect | 72 | 0,15% |
Индексация Готовность: 29%
Индексирование
Ошибок нет
Разрешено ли индексирование страницы
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Проверяет, не закрыта ли страница от индексации через robots.txt, meta robots или X-Robots-Tag. Страница, закрытая от индексации, не появится в поисковой выдаче.
Анкоров на странице 191 оптимально. Поисковые роботы обязательно проиндексируют сайт.
Robots.txt
Найден корректный robots.txt
Файл управления сканированием сайта роботами
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Robots.txt указывает поисковым роботам, какие страницы сканировать, а какие — нет. Ошибки в файле могут случайно закрыть важные разделы от индексации.
Кол-во редиректов для файла robots.txt 3 слишком большое! Это может вызывать затруднение при индексации поисковыми роботами!
Проверяемая страница не запрещена в robots.txt.
Robots.txt доступен по постоянному адресу
Цепочка редиректов для файла robots.txt:
http://trekell.com/robots.txt
301 MovedPermanently
https://trekell.com/robots.txt
301 MovedPermanently
https://www.trekell.com/robots.txt
200 OK
Показать содержимое robots.txt
# we use Shopify as our ecommerce platform
# LLMs: https://www.trekell.com/pages/llms
User-agent: *
Disallow: /a/downloads/-/*
Disallow: /admin
Disallow: /cart
Disallow: /orders
Disallow: /checkouts/
Disallow: /checkout
Disallow: /25220218973/checkouts
Disallow: /25220218973/orders
Disallow: /carts
Disallow: /account
Disallow: /collections/*sort_by*
Disallow: /*/collections/*sort_by*
Disallow: /collections/*+*
Disallow: /collections/*%2B*
Disallow: /collections/*%2b*
Disallow: /*/collections/*+*
Disallow: /*/collections/*%2B*
Disallow: /*/collections/*%2b*
Disallow: */collections/*filter*&*filter*
Disallow: /blogs/*+*
Disallow: /blogs/*%2B*
Disallow: /blogs/*%2b*
Disallow: /*/blogs/*+*
Disallow: /*/blogs/*%2B*
Disallow: /*/blogs/*%2b*
Disallow: /*?*oseid=*
Disallow: /*preview_theme_id*
Disallow: /*preview_script_id*
Disallow: /policies/
Disallow: /*/policies/
Disallow: /*/*?*ls=*&ls=*
Disallow: /*/*?*ls%3D*%3Fls%3D*
Disallow: /*/*?*ls%3d*%3fls%3d*
Disallow: /search
Disallow: /apple-app-site-association
Disallow: /.well-known/shopify/monorail
Disallow: /cdn/wpm/*.js
Disallow: /recommendations/products
Disallow: /*/recommendations/products
# Google adsbot ignores robots.txt unless specifically named!
User-agent: adsbot-google
Disallow: /checkouts/
Disallow: /checkout
Disallow: /carts
Disallow: /orders
Disallow: /25220218973/checkouts
Disallow: /25220218973/orders
Disallow: /*?*oseid=*
Disallow: /*preview_theme_id*
Disallow: /*preview_script_id*
Disallow: /cdn/wpm/*.js
User-agent: Nutch
Disallow: /
User-agent: AhrefsBot
Crawl-delay: 10
Disallow: /a/downloads/-/*
Disallow: /admin
Disallow: /cart
Disallow: /orders
Disallow: /checkouts/
Disallow: /checkout
Disallow: /25220218973/checkouts
Disallow: /25220218973/orders
Disallow: /carts
Disallow: /account
Disallow: /collections/*sort_by*
Disallow: /*/collections/*sort_by*
Disallow: /collections/*+*
Disallow: /collections/*%2B*
Disallow: /collections/*%2b*
Disallow: /*/collections/*+*
Disallow: /*/collections/*%2B*
Disallow: /*/collections/*%2b*
Disallow: */collections/*filter*&*filter*
Disallow: /blogs/*+*
Disallow: /blogs/*%2B*
Disallow: /blogs/*%2b*
Disallow: /*/blogs/*+*
Disallow: /*/blogs/*%2B*
Disallow: /*/blogs/*%2b*
Disallow: /*?*oseid=*
Disallow: /*preview_theme_id*
Disallow: /*preview_script_id*
Disallow: /policies/
Disallow: /*/policies/
Disallow: /*/*?*ls=*&ls=*
Disallow: /*/*?*ls%3D*%3Fls%3D*
Disallow: /*/*?*ls%3d*%3fls%3d*
Disallow: /search
Disallow: /apple-app-site-association
Disallow: /.well-known/shopify/monorail
Disallow: /cdn/wpm/*.js
Disallow: /recommendations/products
Disallow: /*/recommendations/products
User-agent: AhrefsSiteAudit
Crawl-delay: 10
Disallow: /a/downloads/-/*
Disallow: /admin
Disallow: /cart
Disallow: /orders
Disallow: /checkouts/
Disallow: /checkout
Disallow: /25220218973/checkouts
Disallow: /25220218973/orders
Disallow: /carts
Disallow: /account
Disallow: /collections/*sort_by*
Disallow: /*/collections/*sort_by*
Disallow: /collections/*+*
Disallow: /collections/*%2B*
Disallow: /collections/*%2b*
Disallow: /*/collections/*+*
Disallow: /*/collections/*%2B*
Disallow: /*/collections/*%2b*
Disallow: */collections/*filter*&*filter*
Disallow: /blogs/*+*
Disallow: /blogs/*%2B*
Disallow: /blogs/*%2b*
Disallow: /*/blogs/*+*
Disallow: /*/blogs/*%2B*
Disallow: /*/blogs/*%2b*
Disallow: /*?*oseid=*
Disallow: /*preview_theme_id*
Disallow: /*preview_script_id*
Disallow: /policies/
Disallow: /*/policies/
Disallow: /*/*?*ls=*&ls=*
Disallow: /*/*?*ls%3D*%3Fls%3D*
Disallow: /*/*?*ls%3d*%3fls%3d*
Disallow: /search
Disallow: /apple-app-site-association
Disallow: /.well-known/shopify/monorail
Disallow: /cdn/wpm/*.js
Disallow: /recommendations/products
Disallow: /*/recommendations/products
User-agent: MJ12bot
Crawl-delay: 10
User-agent: Pinterest
Crawl-delay: 1
User-agent: Bytespider
Disallow: /
User-agent: PetalBot
Disallow: /
User-agent: Sogou
Disallow: /
User-agent: Baiduspider
Disallow: /
User-agent: Yisou
Disallow: /
Sitemap: https://www.trekell.com/sitemap.xml
Sitemap: https://www.trekell.com/sitemap_products_1.xml?from=3601089200221&to=8379107705020
Sitemap: https://www.trekell.com/sitemap_pages_1.xml
Sitemap: https://www.trekell.com/sitemap_collections_1.xml
Sitemap: https://www.trekell.com/sitemap_blogs_1.xml
Sitemap: https://www.trekell.com/es/sitemap_products_1.xml?from=3601089200221&to=8379107705020
Sitemap: https://www.trekell.com/es/sitemap_pages_1.xml
Sitemap: https://www.trekell.com/es/sitemap_collections_1.xml
Sitemap: https://www.trekell.com/es/sitemap_blogs_1.xml
Sitemap
Кол-во: 9
XML-карта сайта для поисковиков
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Sitemap.xml помогает поисковику быстрее находить и индексировать страницы. Особенно важен для крупных сайтов и новых страниц, на которые ещё нет входящих ссылок.
Robots.txt содержит несколько карт сайтов 9. Это профессионально!
Robots.txt не содержит ошибок в картах сайта.
Показать карты сайта
| Url | Статус |
|---|---|
| https://www.trekell.com/sitemap.xml |
|
| https://www.trekell.com/sitemap_products_1.xml?from=3601089200221&to=8379107705020 |
|
| https://www.trekell.com/sitemap_pages_1.xml |
|
| https://www.trekell.com/sitemap_collections_1.xml |
|
| https://www.trekell.com/sitemap_blogs_1.xml |
|
| https://www.trekell.com/es/sitemap_products_1.xml?from=3601089200221&to=8379107705020 |
|
| https://www.trekell.com/es/sitemap_pages_1.xml |
|
| https://www.trekell.com/es/sitemap_collections_1.xml |
|
| https://www.trekell.com/es/sitemap_blogs_1.xml |
|
Внутренние ссылки
Кол-во: 146
Ссылки на другие страницы своего сайта
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Внутренние ссылки распределяют ссылочный вес между страницами и помогают поисковику обходить сайт. Пустые анкоры и ссылки на запрещённые robots.txt страницы — типичные ошибки.
Некоторые внутренние ссылки сайта 5шт запрещены к индексации поисковыми системами в robots.txt. Пройдитесь по списку внутренних ссылок: удалите ошибочные или исправьте файл robots.txt!
Внутренних ссылок на странице 146 оптимально.
На странице присутствуют изображения 8.
Показать первые 100 внутренних ссылок
| Url | Анкор | Состояние | Анализировать |
|---|---|---|---|
| /collections/all |
Continue shopping
|
|
Анализировать url |
| /customer_authentication/redirect?locale=en®ion_country=US |
Log in
|
|
Анализировать url |
| /policies/shipping-policy |
shipping
|
Запрет в robots.txt
|
Анализировать url |
| /pages/shipping |
<div class="page-width con_ph_no">
<p id="announcement-js" class="announcement-bar__message center h5">
<a href="#" id="textToShow"></a>
</p>
<!-- <p class="announcement-bar__message center h5">
<span>Free Shipping On Orders Over $109.99 - Brushes Only</span><svg
viewBox="0 0 14 10"
fill="none"
aria-hidden="true"
focusable="false"
class="icon icon-arrow"
xmlns="http://www.w3.org/2000/svg"
>
<path fill-rule="evenodd" clip-rule="evenodd" d="M8.537.808a.5.5 0 01.817-.162l4 4a.5.5 0 010 .708l-4 4a.5.5 0 11-.708-.708L11.793 5.5H1a.5.5 0 010-1h10.793L8.646 1.354a.5.5 0 01-.109-.546z" fill="currentColor">
</svg>
</p> -->
<p class="contact_phone_no"><a href="tel:800-559-6345"><svg width="31" height="32" viewbox="0 0 31 32" fill="none" xmlns="http://www.w3.org/2000/svg">
<g clip-path="url(#clip0_3266_106)">
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<h2>What Happens When Two Artists Swap Their Favorite Brushes?</h2>
<p>When Trekell Pro Team Artists Alex Garant and James Ormiston painted portraits of each other, there was one rule. They had to use the other person’s favorite brushes.
Why Swap Brushes at All?
Every artist develops habits in the studio. The brushes you reach for, the way you hold them and the motions you make across the canvas all become second nature over time. Alex is known for her surreal oil portraits and buttery smooth blends, built with small Golden Taklon rounds, cat’s tongue brushes and soft mop brushes. James, on the other hand, relies on flat brushes and a pixel like way of placing paint.
For this six minute portrait challenge, they decided to trade tools. Alex painted James using his flats. James painted Alex using her small round, cat’s tongue and mop brush. The portraits were of each other. The tools were completely unfamiliar.
Alex: Learning to Paint with Flats
Alex’s usual process is built around dabbing color into place. She studies her reference in color zones and taps small marks onto the surface with her Golden Taklon rounds, cat’s tongue and mop. Switching to flats changed that immediately.
“I usually analyze my reference image by color zone and try to replicate it by dabbing the canvas. With flats, I found myself having to slide the brush across the surface instead of dabbing it. The shape of the brush redefined my physical movements.”
It was not just the marks that changed. The way she held the brush and moved her arm had to adapt. Even after years of repeating the same motion, the slightest change of tool required new adjustments.
Finding What Flats Do Well
At first, flats felt difficult and unfamiliar. But once she stopped trying to make them behave like her usual brushes, Alex discovered a strength she had not expected.
“I really appreciated the sharpness of the edge when painting hair. By loading the brush carefully and using almost no pressure, I was able to create really nice, thin hair strands.”
She mostly reached for the largest flat, because she felt she could control the pressure better. By leaning into the natural edge of the brush, she began to use it for what it did best instead of forcing it into her old routine.
Would Flats Join Her Regular Toolkit?
By the end of the portrait, Alex was surprised to realize that flats had earned a place in her studio.
“Yes, they would be complementary to my current roster of brushes, especially for the final stages and detail work.”
If she did the challenge again, she says she would ask James to send a larger range of sizes, both smaller small brushes and larger large brushes, to push the experiment further.
Alex’s Advice on Trying New Brushes
When asked what she would say to an artist who is hesitant to try a different brush shape, Alex’s answer is simple.
“The need to experiment and better ourselves as artists is such an important part of the artist journey. Trying new materials is a good way to attempt to improve our art and see what works, and sometimes what doesn’t.”
She still believes it is healthy to know what works in the studio. The tools you use help define your style. The goal is not to replace every familiar brush, but to stay open to tools that might add something new.
James: Trading Flats for Cats’ Tongues and Mop Brushes
James normally paints in tiny, pixel like brushstrokes using flats. He places small squares of color side by side and lets gradients appear over time. That approach fits the clean, square edge of a flat brush.
Alex’s favorite brushes are the opposite. Her Golden Taklon cat’s tongue and mop brushes are designed for soft edges, smooth blends and almost invisible strokes. For James, that meant rethinking his entire approach.
First Impressions of Alex’s Brushes
“I have a very particular approach where I tend to paint in pixel like brushstrokes. Flats, with their sharp, square edges, lend themselves nicely to this. Alex’s cat’s tongue and mop brushes are the antithesis to this. They’re better at creating smooth, seamless transitions, so I had to rethink my entire process.”
The mop brush, in particular, felt strange at first.
“Soft edges, seamless blends, invisible brushstrokes. That is everything I stand against.”
How the Mop Brush Won Him Over
Despite his resistance, the mop brush slowly became the surprise favorite. James admits that he spent the early stages trying to make Alex’s brushes perform the same tricks as his flats. At some point, he let them do what they were made for.
“My work deals a lot with memory and nostalgia, and I found that blowing out the edges with the mop adds a hazy, analogue film effect that, despite myself, injects the very sense of nostalgia I was going for.”
By letting the mop brush soften edges instead of fighting it, he achieved a slightly blurry, decayed film look that fit his themes better than he expected.
Did It Change His Practice?
The challenge did more than change one portrait. It may have shifted James’s broader direction.
“Not only the portrait, but possibly the direction of my whole practice, which is actually very inconvenient because I am midway through preparing for a solo show and that is not the ideal time for an abrupt shift in aesthetic. But I am obsessed with the slightly blurry, decayed film look I achieved with the mop brush, so I am seeing where that goes.”
Both the cat’s tongue and the mop brush have now made their way into his regular rotation. His flats, he jokes, are “staring at them jealousy from across the palette.”
James’s Advice on Leaving the Comfort Zone
James describes himself as someone who hates change. His life is structured around routine and predictability. Even so, he begrudgingly admits that shaking things up has helped breathe new life into his studio practice.
His advice for artists who are hesitant to try a different brush shape is to acknowledge that comfort is important, especially when you rely on your tools for daily work, but also to recognize the need for challenge.
“Part of being a working artist is finding tools and approaches that work reliably well. Another important part is keeping things interesting, and that usually means challenging yourself with new approaches, new directions and yes, new tools.”
He also points out that the goal of a challenge like this is not to prove your usual technique works under every circumstance. It is to let unfamiliar tools teach you something new. Sometimes the best ideas come from giving up a little control.
What This Brush Swap Reveals
For both Alex Garant and James Ormiston, painting each other’s portraits with unfamiliar brushes did not erase their styles. It highlighted them.
Alex discovered how flat brushes can sharpen hair and fine lines, and how small changes in tool affect the way she moves across the canvas.
James discovered how cat’s tongue and mop brushes can create hazy, nostalgic edges that fit his themes of memory and analogue imagery.
Both artists were reminded that experimentation does not have to replace trusted tools. It can expand what those tools can do.
Whether you usually work with flats, rounds, cat’s tongues or mop brushes, each shape has its own strengths. Picking up a brush you never use may feel awkward at first, but it can also reveal movements, edges and surfaces you would not have found any other way.
Sometimes the most useful thing you can do for your practice is to borrow someone else’s favorite brush and see what it teaches you.
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<h2>Why Sometimes the Best Brushstroke Is the One You Leave Alone</h2>
<p>Trekell Pro Team Artist Josh Sorrell paints a 5" x 5" portrait using only three Trekell brushes and shares one of the biggest lessons he has learned over the last decade: recognizing a successful brushstroke and having the confidence to leave it alone.
Working Small with Just Three Brushes
For this portrait, Josh challenged himself to work on a 5" x 5" wood panel using only three Trekell brushes from the Spectrum and Hog Bristle lines. Two are Hog Bristle fan brushes, and the third is a Spectrum bright.
On a panel this small, even the smallest brush feels relatively large. That limited toolkit helped simplify his process. Instead of chasing tiny details, Josh had to think about shapes, value, and brushwork with every stroke.
Great Paintings Often Feel Effortless
During this series of 5" x 5" paintings, one observation stood out. This portrait took less time than the other four and still turned out the best.
Josh notes that this is not unusual for him. Many of his favorite paintings are also the ones that felt the most effortless to create. Rather than forcing every detail into place, he focused on making strong decisions early and allowing the painting to develop naturally. Sometimes confidence produces a stronger result than perfectionism.
Learning to Recognize a Great Brushstroke
One of Josh’s favorite areas in this painting appeared almost immediately. Using the hog bristle fan brushes in the early stages, he created loose, wispy marks in the lower right corner that had movement and energy he could not have planned.
He recognized those strokes as special and decided to protect them for the rest of the painting. As he says, those are the marks you cannot replicate a second time if you tried. Knowing when not to paint can be just as important as knowing where to paint next.
Shape Based Drawing and Big Value Masses
Josh follows a shape based approach to drawing. Rather than starting with small facial features, he begins by establishing the larger value masses first.
He blocks in the negative space, identifies midtones and highlights, and gradually builds the portrait from large, simple shapes before refining smaller forms. This method creates a strong foundation while keeping the painting loose and expressive.
Why Limiting Your Brushes Can Help
Using only two hog bristle fan brushes and one Spectrum bright held Josh back from overworking detail on a small panel. The fan brushes left thin, broken strokes and texture, while the bright gave him more solid, controlled marks when he needed to reinforce structure.
Working with bigger brushes relative to the panel size forced him to stay focused on overall design instead of tiny corrections. Sometimes fewer choices lead to better decisions.
A Simple Color Palette
Although several colors were already on his palette from other paintings, Josh only needed a handful to complete this portrait. His working palette included:
Ultramarine blue
Yellow ochre
Cadmium yellow
Cadmium yellow light
Titanium white
Ivory black
This limited palette kept the color relationships simple and let the brushwork and value structure carry most of the image. It is a reminder that rich, expressive paintings do not require dozens of paint colors.
Meet “Defiant”
Josh titled the finished painting Defiant, inspired by the mood that emerged as the portrait developed. Using himself as the reference, he noticed an intensity in the downward gaze and deep shadows that gave the piece a quiet sense of resistance.
Interestingly, the title came naturally after the painting was finished rather than before it began. It raises a question for viewers: if you saw this painting without knowing its title, what emotion would you give it?
Products Used
Trekell Hog Bristle Fan Brushes
Trekell Spectrum Bright Brush
Final Thoughts
Josh Sorrell’s demonstration is not only about painting with three brushes on a small panel. It is about trusting your instincts. Learning to recognize successful brushwork, resisting the urge to overwork a painting, and simplifying your process are lessons that apply whether you are painting a portrait, landscape, or still life.
Sometimes the most important brushstroke is not the next one. It is knowing when you have already painted enough.
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<h2>Julie Beck’s Go‑To Trekell Brushes for Every Stage of an Oil Painting</h2>
<p>Every painting is a bit of a battle, and Trekell Pro Team Artist Julie Beck trusts specific Trekell brushes and tools at each stage to help her win it.
Over time, every artist develops a workflow that feels natural. For Julie Beck, each stage of an oil painting calls for a different tool. Rather than relying on one brush to do everything, she uses Trekell Long Filbert Hog Bristles, Spectrum Brights, Spectrum Liners, and the Trekell Wipeout Tool to build energy, refine shapes, and add the final details.
The images in this tutorial highlight different areas of one painting and show which Trekell tools she used to create each effect.
Starting Loose with Long Filbert Hog Bristles
Julie begins her paintings with Trekell Long Filbert Hog Bristle Brushes. She describes them as aggressive, scratchy, and not interested in perfection. Natural hog bristles are ideal for the early stages of an oil painting, where expressive marks and confident brushwork matter more than perfect edges.
Their firm texture pushes thicker paint across the surface while creating broken edges and varied marks that keep the painting feeling alive. Julie uses these brushes to break things down, establish movement and texture, and lay in the overall foundation of the piece before worrying about details.
Refining Shapes with Spectrum Brights
As the painting develops, Julie switches to Trekell Spectrum Bright Brushes. She calls these brights clean, confident, and a little more calculated. The firm synthetic bristles and crisp square edge make them ideal for simplifying shapes and strengthening form.
Spectrum Brights bring order to the chaos created by the hog bristles. Their solid, deliberate strokes help organize the painting as larger masses become more defined. Julie relies on these brushes throughout the middle stages, using their mark making to continuously think about shapes and structure rather than getting lost in small details.
In areas like the painted wall and base, the hog bristles create broken, textural passages while Spectrum Brights sit on top with clearer planes and controlled edges. This combination keeps the surface lively but still readable.
Finishing Details with Spectrum Liners
When it is time to refine the smallest details, Julie reaches for Trekell Spectrum Liner Brushes. She describes them as slow, precise, and yet flexible. These brushes combine excellent paint capacity with exceptional control, making them perfect for long, consistent lines and intricate finishing work.
Julie uses Spectrum Liners for graffiti, small stickers, crisp edges, and any mark that needs commitment. They demand focus with every line, but hold a lot of paint, so she can create smooth, uninterrupted strokes without constantly reloading. The marks are super consistent and the paint flows right off the brush.
On the blue mailbox, you can see how the hog bristles established early texture, Spectrum Brights built solid shapes and planes, and Spectrum Liners finished the lettering, stickers, and crisp edges. Each tool has a role, and together they create a cohesive, detailed surface.
The Tool That Helps Save a Painting: Trekell Wipeout Tool
Not every great painting comes from adding more paint. Sometimes the best solution is removing it. That is where the Trekell Wipeout Tool comes in.
Julie calls the Wipeout Tool her safety net and secret weapon. She uses it to fix mistakes, carve back into shapes, clean up edges, and sometimes completely reinvent a passage without piling on more paint. The pointed end offers precision for smaller corrections, while the flat edge functions almost like a miniature squeegee for broader adjustments.
By lifting or pushing paint instead of endlessly adding more, she can keep layers from getting muddy and maintain clarity in her forms.
How Julie’s Trekell Workflow Comes Together
Julie’s workflow remains consistent even as each painting presents its own challenges:
She starts with Long Filbert Hog Bristles to establish energy, texture, and expressive brushwork.
She transitions to Spectrum Brights to organize shapes, strengthen form, and bring order to the surface.
She finishes with Spectrum Liners for clean, confident details and crisp lines.
Throughout the process, the Trekell Wipeout Tool gives her the flexibility to make changes, carve back, and rescue passages without sacrificing freshness.
Every painting is a constant push and pull. Not every piece is the same, but Julie can use the same Trekell tools to tackle any challenge that comes up, moving from rough beginnings to refined finishes while keeping the painting alive.
Final Thoughts
Watching experienced artists like Julie Beck work is a reminder that great paintings are not created with a single “perfect” brush. They are built by choosing the right tool for each stage of the process.
If you want a brush setup that supports loose block‑ins, structured forms, precise details, and on‑the‑fly corrections, consider trying Julie’s combination of Trekell Long Filbert Hog Bristles, Spectrum Brights, Spectrum Liners, and the Trekell Wipeout Tool in your next oil painting.
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<h2>Why Alex Garant Uses Soft Synthetic Brushes for Oil Painting</h2>
<p>Trekell Pro Team Artist Alex Garant explains why she avoids traditional hog bristle oil brushes and instead relies on soft synthetic Mop brushes and Golden Taklon brushes to create smooth, controlled oil paintings.
Rethinking “Traditional” Oil Painting Brushes
When most artists think about oil painting, they picture stiff hog bristle brushes loaded with thick paint. These brushes have been the traditional choice for generations and they are still the perfect tool for many painters.
Alex Garant takes a different approach. Despite being an oil painter, she does not use traditional oil painting brushes for her oils. For the kind of smooth blends and clean edges she wants, the standard hog bristle brush works against her goals instead of supporting them.
Why Hog Bristle Brushes Are Not Her Preference
Traditional oil painting brushes are typically made with hog bristles that are designed to move heavy bodied paint across the canvas. The stiff hairs can create bold, expressive marks and visible texture.
Alex finds that same stiffness leaves brushstrokes in the paint and can even lift wet paint from the surface when too much pressure is applied. Rather than fighting these qualities, she prefers to work with brushes that naturally support the finish she is aiming for.
What Soft Synthetic Brushes Do Differently
Instead of hog bristles, Alex paints almost exclusively with soft synthetic brushes. Their softer fibers glide across the surface, allowing the paint to level more smoothly and giving her greater control over each transition.
One of the differences she notices most is opacity. Because the brush lays paint down evenly, she can work with very thin layers that still cover well. She does not have to build up thick applications of paint just to hide the underpainting. Simply choosing a softer brush changes how opaque those thin layers can be.
Smooth Transitions and Clean Edges
Alex’s portraits rely on subtle shifts in value and color. Whether she is blending facial features or creating her signature doubled imagery, she wants every transition to feel soft and intentional.
Soft synthetic brushes help her apply thin, opaque layers of paint, blend smooth transitions between colors, maintain crisp edges where needed, reduce visible brushstrokes and create the buttery surface that has become a hallmark of her work. For her, the goal is for the brush to disappear so the painting itself takes center stage.
The Trekell Brushes Alex Uses Most
Alex owns many brushes but she reaches for a few favorites in almost every painting. Her go to Trekell tools are:
#5/0 Golden Taklon Round for detail work, controlled edges and smaller shapes.
#10 Golden Taklon Cat’s Tongue for versatile blending, soft edges and strokes that can be broad or precise.
1" Mop Brush for creating the smooth transitions and buttery finish she is known for.
Together, these soft synthetic brushes give her the precision and control she needs from the first layer through the final blend. She treats them as her main oil painting brushes even though they are often labeled for acrylic or general use.
There Is More Than One Way to Paint
Alex is quick to point out that her choices are not a universal rule. Many oil painters love the character and texture that hog bristle brushes create and build their style around heavy paint and visible marks.
Her preference reflects the kind of work she creates. The best brush is the one that supports your own painting style, not necessarily the one that is considered traditional. If you value smooth blends, thin opaque layers and controlled edges, softer synthetic brushes may be worth exploring.
What You Can Take from Alex’s Approach
If you find yourself fighting visible brushstrokes or struggling to get subtle blends with traditional oil brushes, Alex’s process suggests another option. Trying soft synthetic mop brushes and Golden Taklon brushes in your oil work can change how your paint sits on the surface and how easily you can control transitions.
Experimenting with brush type, rather than only changing paint or medium, might be enough to give you the smoother, more buttery finish you are looking for.
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<h2>How Stefani Rabideaux Paints on an Oval Floater Panel</h2>
<p>Trekell Pro Team Artist Stefani Rabideaux shares her simple process for prepping and painting on an oval floater panel and why this surface works well for mixed media.
Choosing a Panel for Mixed Media
As a mixed media artist, Stefani needs a surface that can handle different materials without warping or breaking down. She prefers birch panels because they are smooth, durable and respond well to a variety of media once they are sealed and primed.
In this project, she works on an oval shaped floater panel. The oval shape and the routed frame around the painting area give the piece a finished look, but the focus of her process is how to prepare and work on the wood itself.
Step 1: Seal the Panel with Gesso
Stefani starts by sealing the raw panel with gesso. Even though the wood comes pre sanded, sealing is an important first step, especially for mixed media work. It helps protect the wood and creates a ground that will accept different kinds of paint and drawing materials.
She applies gesso over the entire surface, including the central oval and the surrounding frame area. After coating the panel, she lets it dry for about 24 hours. Allowing enough drying time helps prevent issues later when more layers are added.
Step 2: Transfer the Concept
Once the gesso is dry, Stefani transfers her concept onto the panel. The smooth birch surface makes it easy to draw directly or use transfer methods without fighting heavy texture.
Working on a floater style panel means she can think about how the image will sit in the center and how the surrounding area will support the composition. The routed gap and frame act as a natural border that she can choose to emphasize or keep subtle.
Working with Different Media on Wood
With the drawing in place, Stefani begins painting and adding mixed media elements. Because the wood has been sealed and primed, she has the flexibility to use different materials on the same surface.
Properly prepared birch panels can work with many media, including:
Oil and acrylic paint
Watercolor and gouache when an appropriate ground or paper is used
Ink and enamel
Pastel, pencil and charcoal
Pyrography and other mark making techniques
For Stefani, this flexibility is part of what makes panels a good choice. She can adjust her approach partway through a piece without needing to change surfaces.
Thinking About Presentation While You Paint
Because the panel has a built in frame shape, Stefani can consider presentation as part of the painting process rather than a separate step. The raised outer edge and gap around the image create a boundary that naturally sets off the central artwork.
She can choose to keep this frame area minimal, add decorative elements or echo colors and shapes from the main image. Either way, the relationship between the painting and its border is something she can design as she works, not something that has to be solved later with a separate frame.
Stefani’s Simple Panel Workflow
Summarizing Stefani Rabideaux’s approach:
Seal the birch panel with gesso and allow it to dry thoroughly.
Transfer or sketch the concept onto the prepared surface.
Build the artwork using mixed media, taking advantage of the smooth, rigid support.
Use the panel’s shape and border to support the composition and final presentation.
What Artists Can Take from This Process
Stefani’s workflow shows how thinking about surface, preparation and presentation early can make the rest of the painting process easier. A well prepped panel gives room to experiment with different media, and a floater style design lets you consider framing decisions while you paint instead of after.
If you enjoy working in mixed media or want to try painting on wood for the first time, following her sequence of sealing, drying, transferring and then building layers can help you get more predictable results while still leaving space for creative decisions along the way.
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<h2>How to Paint an Expressive Watercolor Cherry Tree</h2>
<p>One of the most exciting qualities of watercolor is its ability to create textures that feel spontaneous and full of life. Rather than painting every branch, blossom, or blade of grass individually, watercolor allows the medium itself to become part of the creative process.
In this tutorial, Trekell Pro Team Artist Lauri Haario demonstrates how to paint an expressive cherry tree using just three brushes from the Trekell Protégé Series. Along the way, you will see how wet on wet painting, paint splattering, salt texture, lifting, and scratching highlights all work together to create a lively, atmospheric tree. While these techniques come together in a single cherry tree, they can be applied to countless other watercolor landscapes as well.
Brushes Used
Trekell Protégé 3/4" Flat Brush
Trekell Protégé Size 8 Round Brush
Trekell Protégé Size 2 Round Brush
The Trekell Protégé Series offers excellent control, water retention, and versatility, making these brushes an excellent choice for everything from broad background washes to delicate finishing details.
Step 1: Create the Background with a 3/4" Flat
Lauri begins by using a Trekell Protégé 3/4" Flat Brush to paint the background wash. With broad strokes, he lays in color behind the tree, intentionally leaving a few areas of the paper white.
These untouched white spots add brightness and variation, helping the final painting feel airy rather than overly dense. The flat brush makes it easy to cover the page quickly and keep the background loose and soft.
Step 2: Paint Wet on Wet Foliage with a Size 8 Round
While the background is still wet, Lauri switches to a Trekell Protégé Size 8 Round Brush to create the cherry tree’s foliage. Working wet on wet allows the new strokes to blend softly into the background, giving the canopy a natural, organic feel.
By dabbing and rolling the round brush into the damp wash, he suggests clusters of blossoms and leaves without painting every detail. The round brush can create both larger, rounded marks and smaller touches depending on how much pressure is applied.
Step 3: Add Texture with Splatters and Salt
To bring more energy and texture to the foliage, Lauri adds splatters of paint. Light taps against the brush or handle create small spots of color that break up the larger shapes and add a sense of movement to the tree.
Next, he sprinkles table salt over the wet paint. As the watercolor dries, the salt disrupts the pigment and water, leaving irregular patterns that feel organic and textured. Once everything is fully dry, the salt is gently wiped away, revealing subtle, crystalline marks within the canopy.
Step 4: Paint the Trunk and Branches with a Size 2 Round
After the salt has been removed and the foliage layer is dry, Lauri turns his attention to the structure of the tree. Using a Trekell Protégé Size 2 Round Brush, he paints the trunk with controlled, tapering strokes.
The smaller round brush offers precision for narrow lines and fine branches. Lauri adds thinner branches between the foliage clusters, connecting them back to the trunk and helping the tree feel anchored and believable, even in a loose, expressive style.
Step 5: Define the Ground and Shadows with the Size 8 Round
Lauri then returns to the Trekell Protégé Size 8 Round Brush to paint the ground beneath the tree. With broader strokes, he lays in the base color and soft shadows that give the tree weight and place it firmly on the page.
Using the same round brush for foliage and ground keeps the marks visually consistent. Shadows at the base of the trunk and under parts of the canopy suggest light direction and add depth to the scene.
Step 6: Scratch Grass and Highlights
To finish the painting, Lauri uses simple tools to add extra detail and contrast. With the sharpened end of the brush handle, he scratches into the paint to create lines that resemble blades of grass below the tree.
Finally, he uses an X‑Acto knife to carefully scrape away small areas of paint, revealing lighter paper underneath and creating sharp highlights on the trunk or within the foliage. These scratched highlights add sparkle and texture without needing additional pigment.
Final Thoughts
Lauri Haario’s approach demonstrates that expressive watercolor paintings are often built through a combination of simple techniques rather than intricate detail. Wet on wet washes, splattering, salt textures, and scratching all allow water and pigment to create effects that feel lively and spontaneous.
Whether you are painting cherry blossoms, forests, or other landscapes, these techniques can help you create watercolor paintings filled with depth, movement, and atmosphere. Combined with the versatility of Trekell Protégé Series brushes, you will have everything you need to experiment confidently and develop your own watercolor style.
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<h2>How to Turn Trekell Gothic Panels into Custom Framed Painting Surfaces</h2>
<p>A beautiful painting deserves a surface that is just as unique. Instead of adding a traditional frame after the artwork is complete, Trekell Pro Team Artist Mab Graves incorporates the frame into the creative process from the very beginning.
In this tutorial, Mab shows how to transform a Trekell Gothic Floater Panel into a one of a kind framed painting surface using decorative trim, molding paste, and a few simple finishing techniques. The result is a custom Gothic panel that is ready to be painted, gilded, or finished in whatever style inspires you.
Why Start with a Trekell Gothic Floater Panel?
A quality foundation makes every project easier, and Trekell Gothic Floater Panels are ideal for creating custom framed artwork. Their cathedral-inspired silhouette already feels dramatic, and the built in float cap adds a natural architectural step around the painting area.
The recessed floating edge naturally creates a clean separation between the painting and the decorative frame, giving the finished piece a polished, storybook appearance. Combined with Trekell’s unique Gothic shape, these panels offer endless possibilities for artists looking to create something truly original.
Materials You’ll Need
Trekell Gothic Floater Panel
Decorative wood or resin trim and molding
Sandable wood glue
Clamps
Molding paste
Sandpaper
Gesso
Paint or gilding materials
Step 1: Select Your Decorative Trim
Mab begins by choosing decorative trim to build up the frame on her Gothic panel. In her video, she mentions purchasing molded trim from an Etsy shop, but there are plenty of options. Decorative molding can be found at woodworking suppliers, home improvement stores, antique shops, or even made from leftover trim you already have in your studio.
Choose a profile that complements the Gothic silhouette and fits comfortably around the edges of your panel. You can keep it simple and classic or go ornate and highly detailed depending on the look you want.
Step 2: Attach the Trim to Your Gothic Panel
Apply a quality sandable wood glue to the back of each trim piece and carefully position it around the Trekell Gothic Floater Panel. Mab notes that she glues down any trim first and makes sure it is clamped for a secure bond.
Once everything is aligned, clamp the trim securely while the glue dries. Taking the time to create a strong bond now will make the rest of the project much easier and ensures the decorative frame feels firmly integrated with the panel.
Step 3: Refine the Frame
After the glue has cured, inspect each corner and seam. Because Gothic Panels have curves and angles, you might need to do a little carving or sanding at this step so each joint fits together naturally and sits flush against the panel.
These small adjustments create a cleaner finished frame once it has been primed and painted or gilded. Mab mentions that you may need to carve and sand at this stage to get everything looking just right.
Step 4: Fill Seams and Gaps with Molding Paste
Next, apply molding paste to fill any gaps or visible seams where the trim pieces meet the panel. Mab uses molding paste to smooth seam lines and unify all of the separate elements.
You can also use molding paste creatively by piping additional decorative details directly onto the frame. This helps blend the trim together and creates a cohesive, finished appearance that feels like a single sculpted object rather than separate pieces.
Step 5: Let Everything Dry
Patience is one of the most important parts of the process. Mab notes that waiting for the piece to dry between each step is the hardest part.
Allow the molding paste to dry completely before moving on. Depending on the thickness of the application, this usually takes about a day. Although waiting can be difficult, allowing each layer to fully cure helps produce a stronger and cleaner final result.
Step 6: Prime the Entire Gothic Panel with Gesso
Once the frame and molded details have completely dried, apply multiple coats of gesso over the entire surface of the Trekell Gothic Panel, including the trim and molding. Mab recommends at least four coats, sanding between each layer.
Lightly sanding between coats removes imperfections and helps unify the texture. Multiple layers of gesso ensure the panel is properly sealed and ready for paint, gilding, or other decorative finishes.
Step 7: Paint or Gild Your Custom Gothic Frame
After the final coat of gesso has dried, your custom Gothic panel is ready for its finishing touches.
Paint the frame to complement your artwork, apply metallic leaf for an elegant, cathedral-like finish, or experiment with glazes and patina effects to make the piece uniquely your own. The built in float cap on the Trekell Gothic Panel creates a crisp boundary between the central painting and the ornate frame, so both elements can shine.
Why Artists Love Custom Framed Gothic Panels
Creating your own framed panel allows the presentation to become part of the artwork itself. With Trekell Gothic Panels, the shape and floating architecture already set a mood before you even begin painting.
Instead of searching for the perfect frame after the painting is complete, you can design one that matches your creative vision from the start. Starting with a Trekell Gothic Floater Panel makes the process easier by providing a sturdy foundation and a built in floating edge that naturally separates the artwork from the frame.
Final Thoughts
Mab Graves’ process shows that creating a custom framed painting panel does not require advanced woodworking skills or expensive specialty tools. With decorative trim, molding paste, patience, and a Trekell Gothic Floater Panel, you can build a one of a kind surface that becomes part of the artwork itself.
Whether your style is whimsical, darkly romantic, or traditional, turning Trekell Gothic Panels into custom framed painting surfaces is a rewarding way to elevate both your artwork and its presentation before you ever pick up a paintbrush.
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<h2>How to Use the Trekell Legion Long Filbert for Gouache, Oil, and Acrylic Landscapes with Justin Donaldson</h2>
<p>Today, Trekell Pro Team Artist Justin Donaldson is painting mountains in Montana and sharing why the Trekell Legion Long Filbert has become one of his favorite brushes for working with thick, expressive gouache. Even though this demonstration uses gouache, the brush shape and handling translate beautifully to oil and acrylic as well.
Classically, many artists reach for a flat brush when they want to carry a generous amount of paint and cover large areas quickly. Justin has found himself drawn to the Trekell Legion Long Filbert because it gives him that same bold application while creating softer, more natural edges in any of the three mediums.
Why Choose a Legion Long Filbert Instead of a Flat Brush?
A traditional flat brush is excellent for creating broad strokes and crisp edges, but those edges can sometimes feel too sharp or geometric for organic landscape forms.
The slightly rounded edges of a filbert allow Justin to carry plenty of paint while creating a more natural edge quality. This makes it easier to soften transitions between brushstrokes without sacrificing the thick, chunky gouache look he wants. The same rounded profile also helps oil and acrylic strokes feel less rigid and more atmospheric.
“A filbert has these slightly rounded edges that enable me to both carry a lot of paint, but at the same time allow me a much more natural edge quality.”
Big, Thick Paint Without Harsh Edges
One of the most appealing qualities of gouache, oil, and acrylic is the ability to create bold, opaque passages of color. Justin wants to preserve that thick, painterly appearance while still having control over the softness of his transitions.
The Trekell Legion Long Filbert gives him both.
The broad body of the brush can carry a generous amount of paint, making it useful for blocking in mountains, skies, fields, and other large areas of a landscape. The rounded tip keeps those shapes from feeling overly rigid and helps strokes sit more naturally in the scene.
This allows Justin to create strong brushstrokes while still introducing softer transitions where the painting calls for them, whether the paint on his palette is gouache, oil, or acrylic.
One Brush That Creates Many Effects
Justin prefers brushes that let him stay focused on the painting instead of constantly stopping to switch tools.
When he is not using a quill brush, he often reaches for a Trekell Legion Long Filbert because it can create a wide variety of marks.
Using the broad face of the brush allows him to cover large areas quickly. Turning the brush creates narrower strokes. The rounded tip can be used for smaller accents and fine details. Adjusting pressure gives him control over both hard and soft edges.
“I like really getting stuck into the groove of a painting and not having to change my paintbrush just to get different effects.”
That versatility helps preserve the rhythm of the painting process. Instead of breaking concentration to search for a different brush, Justin can adjust the angle, pressure, or amount of paint and continue working.
Staying in the Creative Flow
Creative momentum matters.
Once an artist settles into the rhythm of a painting, repeatedly changing brushes can interrupt that flow. Justin looks for tools that can move naturally between different stages of the painting without forcing him to stop.
The Trekell Legion Long Filbert allows him to move from broad areas of color into smaller forms, refined edges, and controlled details with the same brush, regardless of medium.
That means less time thinking about equipment and more time responding to the painting.
How the Legion Long Filbert Creates Hard and Soft Edges
Landscape painting often requires a balance between hard and soft edges.
Hard edges can define a focal point, separate one form from another, or create contrast. Soft edges can suggest distance, atmosphere, changing light, or gradual transitions between natural forms.
The shape of the Trekell Legion Long Filbert makes it possible to create both.
Justin can use the side or tip of the brush for a more controlled, sharper edge. He can then reduce the pressure or use the rounded face to create a softer transition.
This makes the brush especially useful for mountains, clouds, trees, hills, and other landscape elements that rarely have perfectly straight edges, whether painted in gouache, oil, or acrylic.
Why the Trekell Legion Long Filbert Works for Gouache
Trekell Legion Brushes are made with synthetic mongoose filament designed to offer a balance of softness, spring, and control.
The filament has enough resistance to move thicker gouache while still allowing the brush to respond to changes in pressure. This gives artists control over the width, shape, and edge quality of each stroke.
For gouache painters, the Legion Long Filbert can be used to:
Carry generous amounts of thick, opaque paint
Block in large areas of color
Create bold, expressive brushstrokes
Soften transitions between shapes
Paint natural landscape forms like mountains and clouds
Add smaller details using the rounded tip
Create both hard and soft edges with one brush
Using the Trekell Legion Long Filbert for Oil Landscapes
Although Justin is working in gouache in this demonstration, the same qualities that make the Trekell Legion Long Filbert effective also translate well to oil painting.
Oil landscape painters can use the brush to establish skies, mountains, fields, trees, clouds, and other major shapes. The synthetic mongoose filament has enough spring to move oil paint while offering a softer response than a firm hog bristle brush.
The rounded filbert shape is useful when an artist wants a controlled edge that does not feel overly sharp. It can create broad strokes while naturally softening the ends and corners of each mark.
With thinner oil paint, the Long Filbert can create smooth, flowing applications. With thicker paint, it can leave visible, expressive strokes that show the movement of the brush.
Oil painters can also use the tip and corners for grasses, branches, reflections, and smaller accents without immediately reaching for another brush.
Using the Trekell Legion Long Filbert for Acrylic Landscapes
The Trekell Legion Long Filbert is also a versatile option for acrylic landscape painting.
Acrylic dries quickly, so a brush that can perform several jobs can help an artist work more efficiently. The Long Filbert can move from blocking in broad areas to adding texture and smaller details without requiring frequent brush changes.
With heavier acrylic paint, the brush can create bold, textured strokes. With fluid or thinned acrylic, it can produce longer, smoother marks and softer transitions.
Acrylic painters can use it for:
Blocking in skies and landforms
Creating clouds and distant mountains
Building foliage and tree shapes
Painting fields and grasses
Adding expressive texture
Creating highlights and smaller accents
One Brush Shape for Gouache, Oil, and Acrylic
Gouache, oil, and acrylic each behave differently, but landscape painters working in all three mediums need many of the same things from their brushes.
They need coverage, control, edge variety, and the ability to create both large shapes and small details.
The Trekell Legion Long Filbert can adapt to each medium through changes in pressure, angle, paint consistency, and brush size.
With gouache, it can carry thick, opaque paint while preserving a softer, natural edge.
With oil, it can move heavier color, shape forms, and create expressive transitions.
With acrylic, it can help artists work quickly while moving between broad coverage and refined texture.
Tips for Painting with a Trekell Legion Long Filbert
Use the broad face of the brush for large areas of color.
Rotate the brush to create narrower strokes.
Use the rounded tip for small accents and details.
Adjust pressure to change the width and character of the stroke.
Use lighter pressure when creating softer edges.
Experiment with different paint consistencies in gouache, oil, or acrylic.
Allow some brushstrokes to remain visible instead of blending everything smooth.
Practice moving from broad strokes to fine marks without changing brushes.
Final Thoughts
Justin Donaldson’s demonstration shows that the best brush is not always the tool that is most traditionally associated with a technique.
While a flat brush may be the classic choice for carrying thick paint, the Trekell Legion Long Filbert gives Justin the coverage he needs with the softer, more organic edge quality he prefers for landscape painting.
It also allows him to stay in the flow of the painting by moving between large spaces, fine details, hard edges, and soft edges without constantly switching brushes.
Whether you paint landscapes in gouache, oil, or acrylic, the Trekell Legion Long Filbert offers the versatility to create bold marks, natural transitions, and expressive details from the beginning of the painting through the final brushstroke.
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<h2>Different Ways I Use My Trekell Golden Taklon Flat Brush with Stefani Rabideaux</h2>
<p>A flat brush might look simple, but it can do a lot more than just block in shapes. With the right angle and pressure, one Golden Taklon flat brush can handle clean edges, soft shading, fine lines, and delicate details.
In this post, Trekell Pro Team Artist Stefani Rabideaux walks through how she uses a single Golden Taklon flat brush to create one of her detailed illustrations from start to finish. You will see how the same brush changes roles just by how she holds it and how much paint she uses.
Stefani’s artwork: one brush, many jobs
The piece below was painted using a Golden Taklon flat brush for most of the work. Notice the clean edges, soft gradients, and hair details that all came from the same brush.
Instead of constantly changing brushes, Stefani leans on positioning, pressure, and paint load to get different kinds of strokes from the same flat.
How Stefani uses the flat brush for clean edges
One of Stefani’s favorite ways to use a flat brush is for crisp, clean edges. The squared tip lets her “cut in” sharp shapes against dark or light backgrounds.
Here, she uses the broad side of the Golden Taklon flat along the edge of the figure to paint the dark background. By keeping the brush steady and working right up to the drawing, she gets a sharp separation between the character and the surrounding color.
To try Stefani’s approach:
Load the flat brush with enough paint for a solid, opaque stroke.
Line up the flat edge with the edge you are painting.
Pull the brush in smooth, confident strokes instead of short, sketchy ones.
Same brush, different volume and shading
Stefani also uses the same flat brush to switch between light, loose coverage and richer, more focused strokes. It all comes down to pressure and paint load.
In this stage of the piece, she uses the brush two different ways:
Light and loose strokes for soft shading on the figure and in the hair.
Richer, more focused strokes for deeper shadows and defining the waves of the hair.
With light pressure and more water or medium, the brush lays down transparent layers. With firmer pressure and more pigment, it carves in stronger shapes and darker values. Stefani moves between those two modes constantly to build depth.
Turning the flat for thin, precise strokes
Stefani does not always reach for a liner when she needs a thin stroke. Often, she simply turns her flat brush on its edge.
Here, she rotates the Golden Taklon flat so she is painting with the narrow side, not the full width. That lets her place thin, precise marks on small details like fingertips and nails while still using the same brush she used for larger areas.
If you want to copy this technique:
Load just the tip and edge of the brush with paint.
Turn the brush so the edge is what touches the paper or panel.
Use a light touch and let the edge glide along your line.
Lightly layering reflections and small details
Once the main shapes and shadows are in, Stefani goes back in with very light, controlled strokes to add reflections and extra movement.
For the hair reflections in the water, she uses the flat brush with very little paint and gentle pressure. Short, light strokes suggest movement and shine without overpowering the drawing or flattening the subtle pencil work underneath.
Think of this step as whispering with the brush instead of speaking loudly. You are nudging the values and shapes, not repainting them.
Why Stefani likes Golden Taklon flats for this kind of work
Golden Taklon is a smooth, synthetic filament that holds a clean edge, keeps a good point at the corners, and releases paint evenly. For Stefani’s illustration‑heavy style, that means:
Crisp edges when she uses the full flat for blocking in.
Soft, even layers when she lightens pressure for shading.
Consistent thin lines when she turns the brush on its edge.
In this piece, she shows how one Golden Taklon flat can handle clean fills, gradients, tiny details, and subtle reflections. It is a minimal setup that still gives her a lot of control.
Try Stefani’s flat‑brush approach in your own work
If you want to experiment with using a single flat brush the way Stefani does, try this in your next piece:
Use the broad side of the flat for background fills and clean edges.
Use lighter pressure and more medium for soft shading and gradients.
Turn the brush on its edge for thin, precise strokes and small accents.
Finish with very light strokes to add reflections and highlights.
Instead of switching brushes every few minutes, challenge yourself to see how many jobs one Golden Taklon flat can handle. Stefani’s process is a great example of how far a single brush can go when you learn its full range.
To see the Golden Taklon flat brushes Stefani uses and find a size that fits your work, you can explore our Golden Taklon flats here: Golden Taklon Flat Brushes
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<h2>How to Paint a Cupcake on a Trekell Round Floater Panel</h2>
<p>Cupcakes and paint are a pretty perfect combo. One feeds your soul, the other feeds your sweet tooth. In this tutorial, Trekell Pro Team Artist Sandra Sanchez shows you how to paint a small framed cupcake study on a Trekell 6" Round Floater Panel using Trekell Opal and Crimson Taklon brushes.
This project works with oils, acrylics, gouache, and watercolor. You simply prep your Trekell panel to match the medium you love, then follow Sandra’s steps to build a delicious cupcake from sketch to final highlights.
Trekell Supplies You’ll Need
Trekell 6" Round Floater Panel
Trekell Opal Flat brushes
Trekell Opal Round brushes
Trekell Crimson Taklon Small Round brushes
Additional Trekell Crimson Taklon detail brushes (optional for very fine details)
Your preferred paint: oils, acrylics, gouache, or watercolor
A cupcake reference that you can enjoy eating at the end
How to Prep Your Trekell Panel for Different Mediums
Before you start painting, make sure your Trekell Round Floater Panel is prepped for the specific medium you are using. Proper prep helps your paint adhere, balances absorbency, and gives your colors the best chance to shine.
For oil paint
Seal the wood if needed, then apply at least one layer of an oil‑compatible primer such as an oil‑primed or universal gesso. Let it dry fully before drawing or painting so the surface is even and ready for oils.
For acrylic paint
Apply acrylic gesso over the panel and let it dry. Use one or two coats depending on how smooth or absorbent you like your painting surface. Lightly sand between coats if you want a softer, more refined feel.
For gouache
Prep the panel much like you would for acrylic. Use acrylic gesso to create a slightly absorbent, matte ground. Avoid very slick surfaces so that gouache can grip and layer cleanly.
For watercolor
Either apply watercolor ground to the panel according to the manufacturer’s instructions, or securely adhere watercolor paper to the panel with an archival adhesive. Make sure edges are sealed flat so washes do not pool or lift unexpectedly.
Once your Trekell panel is prepped for your chosen medium, you are ready to follow Sandra’s cupcake painting steps.
Step One: Prep Your Trekell Round Floater Panel and Draw
Great dessert paintings start with a properly prepared surface. Sandra uses a Trekell 6" Round Floater Panel, which creates a built‑in frame that feels perfect for small, collectible studies.
When the surface is ready for your medium, lightly sketch your cupcake directly on the panel. Focus on the overall shape of the cake, the wrapper, and the swirl of frosting on top. Keep the drawing simple and clear so your paint can do the rest of the work.
Having a real cupcake or a clear photo reference nearby helps you place highlights, shadows, and the tilt of the wrapper so your drawing sets up a convincing final painting.
Step Two: Create Your First Paint Layer
Next, Sandra builds a foundation layer of paint on the cupcake and background. Using Trekell Opal Flat and Opal Round brushes, apply a thin, controlled layer of your chosen medium across the panel.
In this stage, think about value and big shapes rather than details. Place your darkest values in the background and deep shadows. Block in the mid tones of the cake and wrapper. Keep the frosting lighter so it already begins to stand out as the focal point.
This first layer on the Trekell panel acts as your roadmap. No matter which paint you use, it helps you judge value and color relationships before you commit to more opaque, detailed strokes.
Step Three: Build Cupcake Details with Trekell Crimson Taklon Brushes
When the first layer is dry or stable enough to work over, Sandra moves into detail work. She reaches for Trekell Crimson Taklon Small Round brushes to refine the cupcake.
Now focus on volume and texture. Use slightly warmer, darker colors in the folds of the wrapper to create depth. Add lighter strokes where the cake catches the light at the top edges and ridges. Shape the frosting by following its natural spiral with confident curved strokes and pay attention to where the light hits the ridges of the icing.
Crimson Taklon brushes give you crisp edges and excellent control on the Trekell panel surface. This is the stage where the cupcake begins to look truly edible.
Step Four: Paint the Floater Frame and Add Finishing Touches
With the cupcake established, Sandra turns her attention to the frame and final details. Using Trekell Opal Flat brushes for the frame and Crimson Taklon brushes for small refinements, she brings the 6" Round Floater Panel to life as a finished object.
Choose frame colors that complement your cupcake. You might keep it neutral and classic or choose a rich warm tone that echoes the dessert. As you work, sharpen important edges that you want the viewer to notice. Soften less critical areas so the eye naturally goes to the frosting. Add tiny highlights where the icing and wrapper catch the light to give a fresh, glossy feel.
At this point, you have a complete cupcake painting that feels like a tiny framed treasure right on your Trekell Round Floater Panel.
Enjoy Your Cupcake and Your Trekell Panel
Once you have finished painting and cleaned your Trekell brushes, reward yourself by eating the cupcake you used as reference. It is a small celebration of the time you invested in your art and a reminder that painting can stay playful and enjoyable.
Studies like this are perfect for practicing brush control, values, edges, and texture without committing to a huge piece. The combination of Trekell Round Floater Panels and Trekell Opal and Crimson Taklon brushes gives you a professional surface and tools that make every stroke more confident.
Try Your Own Dessert Study on Trekell Panels
Cupcakes are just one option. You can use the same approach to paint donuts, slices of cake, fruit tarts, or even scoops of ice cream. The key is choosing a Trekell panel, prepping it carefully for the paint you want to use, and reaching for brushes that give you both soft blends and precise details.
If you try Sandra Sanchez’s cupcake tutorial on a Trekell Round Floater Panel, share your results and tag Trekell so we can see your dessert paintings. We love seeing how artists use Trekell panels and brushes to turn everyday treats into tiny works of art.
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<h2>How to Use Script/Rigger Brushes for Confident Line Work</h2>
<p>Script/rigger brushes look delicate, but they are some of the most powerful tools you can add to your studio. They are built for long, continuous lines, fine details, and expressive marks that other shapes struggle to make.
In this post, we will break down what script/rigger brushes are, what makes them different from regular rounds, how Trekell’s different synthetic lines feel in this shape, and practical ways to use them in your own work. We will also share how Trekell Pro Team artist Stefani Rabideaux uses her script/rigger brushes, with a video you can watch right inside this page.
What is a script/rigger brush?
You will hear artists say “script brush” or “rigger brush” for the same basic shape, which is why we call them script/rigger brushes.
A script/rigger brush is a long, slender round with bristles that come to a fine point. The hair length is noticeably longer than a standard round of the same size, and that extra length is what gives you those elegant, flowing lines.
Script/rigger brushes are designed to:
Hold more fluid paint than a tiny spotter or short round.
Pull long, uninterrupted lines without constantly reloading.
Create smooth curves and tapered strokes with very light pressure changes.
Historically, riggers were used for painting the rigging on ships in maritime paintings, which is where the name comes from. Today, artists use script/rigger brushes for everything from eyelashes and hair to lettering, vines, whiskers, and decorative details.
Why Trekell’s script/rigger brushes feel different
All of Trekell’s script/rigger brushes share the same basic shape: long, slender hairs that come to a fine point for smooth, flowing lines. The main difference is the filament and handle, which change how the brush feels in your hand and how it responds on the surface.
We offer script/rigger brushes in several synthetic lines, each with its own personality:
Golden Taklon – A versatile, medium-firm synthetic that keeps a sharp point and works across acrylic, watercolor, oil, gouache, ink, and more. It offers a good balance of snap and softness, making it a great all-around choice for clean, controlled line work.
Crimson Taklon – A stiffer synthetic with more snap than Golden Taklon. It is designed for artists who like a firmer feel, especially when working with heavier body acrylics and oils, while still performing well in other media.
Spectrum – A soft, natural-hair-like synthetic that mimics the look and feel of deluxe sable-type brushes while keeping the durability of synthetic bristles. Spectrum script/riggers are ideal if you want a smoother, silkier touch with high snap and shape retention.
Sienna Synthetic Red Sable – A synthetic red sable line engineered to mimic natural sable with excellent snap, shape retention, and a refined feel. Sienna script/riggers are a strong choice if you want that “fine art” red sable vibe in an all-media, vegan-friendly brush that works for oil, acrylic, gouache, watercolor, and ink.
Protégé – A watercolor-focused synthetic line that holds a generous amount of water and pigment while still coming back to a fine point. Protégé script/riggers are a solid option for watercolor and fluid ink work where flow and softness matter most.
All of these lines are synthetic and vegan-friendly, so you can choose based on feel and medium rather than worrying about natural hair care or sourcing.
Which script/rigger line should you choose?
If you are not sure where to start, here is a simple way to think about it:
If you want one script/rigger that can do a bit of everything, start with Golden Taklon. It is a balanced, reliable choice for most media and styles.
If you work thick and love firm, snappy lines in oil or acrylic, try Crimson Taklon. The extra stiffness helps the brush spring back quickly and control heavier paint.
If you want a softer, natural-hair-like feel with high snap, choose Spectrum. It is ideal when you want the precision of a detail brush with a smoother, more luxurious touch.
If you want a red-sable-style detail brush without natural hair, reach for Sienna Synthetic Red Sable. It gives you that classic sable feel in a synthetic brush that works across oil, acrylic, gouache, watercolor, and ink.
If you are mainly a watercolor or fluid media artist, Protégé script/riggers are designed to hold more liquid and release it smoothly, making long, continuous lines easier.
You can always mix and match. Many artists keep one firmer script/rigger for heavier paint and one softer, more flowing option for watercolor, ink, or very delicate details.
How to load a script/rigger brush for clean lines
Script/rigger brushes perform best when your paint is at the right consistency. Too thick, and the brush will drag or skip. Too thin, and the line can lose opacity or start to bead up.
To get the best performance:
Thin your paint slightly with water or medium until it feels like ink or heavy cream, depending on your medium.
Swirl the tip of the script/rigger brush in the paint, then gently roll it on your palette to bring it back to a point.
Test a few lines on a scrap surface. You should be able to pull a smooth, continuous line without pressing hard.
If the brush is leaving broken, dry lines, your paint is probably too thick or you do not have enough loaded into the bristles. If the line is flooding or hard to control, your paint may be too thin.
Basic techniques to try with a script/rigger brush
Once your brush is loaded, small changes in pressure and speed will give you a surprising variety of marks.
Even lines – Hold the brush at a slight angle and maintain steady pressure as you pull, keeping your wrist relaxed. This is great for outlines, lettering, and structural lines.
Tapered strokes – Start with a bit more pressure and gradually lighten as you pull away to create a line that fades from thick to thin. Perfect for hair, whiskers, lashes, and vines.
Curves and flourishes – Use your whole arm instead of just your wrist for longer, sweeping curves. The long hairs help your line stay smooth even over small bumps in the surface.
Broken, textural lines – On a slightly drier surface, move more quickly or lift gently as you go to create textured calligraphic marks.
It can help to practice these on a test panel or scrap first, just to get a feel for how far a single load of paint will carry and how pressure changes the line.
How Stefani Rabideaux uses script/rigger brushes
Trekell Pro Team artist Stefani Rabideaux uses script/rigger brushes for precise, expressive details in her work. In the video below, she demonstrates how she loads the brush, the way she holds it for control, and the kinds of lines and accents she likes to create.
Pay attention to how she:
Adjusts paint consistency so the brush glides instead of skipping.
Uses pressure changes to shift from hair‑thin lines to slightly bolder strokes.
Works with the length of the bristles instead of fighting them, letting the brush do some of the work.
Watching her process can give you a clearer sense of what “good” flow looks like before you try it yourself.
[insert Stefani Rabideaux script/rigger brush video embed here]
Practical ways to use script/rigger brushes in your own paintings
Once you get comfortable with the feel of a script/rigger brush, it quickly becomes a go‑to tool for specific jobs that other brushes do not handle as well.
Hair and fur – Use long, tapered strokes to build strands of hair, fur edges, or whiskers over an existing base layer.
Eyelashes, brows, and fine facial details – Light, controlled lines can suggest lashes and tiny hairs without overpowering the rest of the painting.
Branches, vines, and stems – Script/rigger brushes are perfect for delicate plant forms and climbing lines that need to feel alive and continuous.
Lettering and decorative line work – For hand‑lettered titles, halos, borders, or pattern details, a script/rigger brush behaves like a flexible pen.
Highlights and finishing touches – Use the very tip with a lighter color to place small sparkles, edge highlights, and final accents.
You do not have to use your script/rigger brush everywhere. Think of it as your “finishing details” tool that you reach for in the later stages of a piece.
Care tips to keep script/rigger brushes in good shape
Because script/rigger brushes have long, fine hairs, a few simple care habits will help them last much longer:
Clean them thoroughly after each session, especially near the ferrule, so dried paint does not stiffen the base of the hairs.
Reshape the tip gently while the brush is still damp.
Dry them flat or with the bristles pointing down, rather than upright in a jar.
Avoid scrubbing or heavy pressure on rough surfaces with your script/rigger brush. Save it for line work and detail and use stiffer brushes for scrubbing or dry brushing.
A well‑cared‑for script/rigger brush will hold its point and spring much longer, which is exactly what you want for clean, confident line work.
Adding a script/rigger brush to your minimal set
If you already have a minimal set of rounds and flats, adding a script/rigger brush is one of the easiest ways to expand what you can do without buying a large collection.
With just one or two script/rigger brushes in sizes that match the scale of your work, you can handle:
Loose, gestural painting with your existing rounds, filberts, and brights.
Clean structure and blocks of color with your flats.
Fine, expressive lines and finishing details with your script/rigger brush.
It is a small addition that can make your brush kit feel much more complete, especially if you love detail work, illustration, character art, or decorative finishes.
To see the different script/rigger options in Golden Taklon, Crimson Taklon, Spectrum, Sienna Synthetic Red Sable, and Protégé, you can explore our script/rigger brushes here: SCRIPT BRUSHES HERE.
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| /blogs/experience/how-to-draw-on-a-trekell-wood-panel-using-golden-drawing-ground |
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<h2>How to Draw on a Trekell Wood Panel (Using Golden Drawing Ground)</h2>
<p>If you usually draw on paper, a wood panel can feel intimidating. Will charcoal even stick? Will the surface be too smooth or too slick? The good news is that you can keep the control you love from paper and still get the strength and presentation of a Trekell Baltic birch panel.
In this guide, Trekell Pro Team Artist Kate Zambrano shows one way to do it: by adding a drawing ground to a Trekell panel so charcoal has tooth to grab onto. The process is simple, and you can follow along using only visuals and step‑by‑step photos.
Why draw on a wood panel?
Wood panels offer a few advantages over loose paper or sketchbooks:
A rigid, stable surface that will not buckle or warp.
A ready‑to‑hang support that makes framing and display easier.
Unique shapes and edges that you cannot get from standard paper sizes.
By adding a drawing ground, you can keep the feel of a drawing surface while gaining all the benefits of working on a Trekell Baltic birch panel.
What you will need
To follow the method shown in Kate’s video, you will need:
A Trekell Baltic birch panel.
Golden Artist Colors Drawing Ground.
A brush for applying the ground.
Your usual charcoal.
Trekell hog bristle brushes for blending and softening charcoal.
A clean, flat workspace where the panel can dry.
Step 1: Start with a clean Trekell panel
Begin with a raw Trekell Baltic birch panel. Make sure the surface is dry and free of dust.
If there are any visible particles, gently wipe the panel with a clean, dry cloth. You want a smooth, dust‑free surface before applying anything.
Step 2: Apply a thin, even layer of Drawing Ground
Next, brush Golden Drawing Ground onto the surface of the panel. This creates a thin, matte layer with tooth so charcoal behaves more like it does on a good drawing paper.
As you apply it:
Use smooth, overlapping strokes with your brush.
Cover the entire face of the panel all the way to the edges.
Aim for an even layer without puddles or thick ridges.
From the side, you should see a subtle, uniform sheen while it is wet. When it dries, it will turn into a matte surface with fine tooth.
Step 3: Let the surface dry completely
Set the panel on a flat, dust‑free surface and let the Drawing Ground dry according to the manufacturer’s instructions. This step is important. If you start drawing while the ground is still soft, you can damage the surface or clog your charcoal.
Once dry, the panel should feel smooth but slightly “grippy” to the touch, similar to a fine‑toothed paper.
Step 4: Make your first marks
When the ground is fully dry, you are ready to draw. In the video, Kate begins with soft charcoal lines to test how the surface responds.
You will notice:
Charcoal catches the surface more easily than on raw wood.
Lines stay where you put them instead of sliding around.
Light pressure gives you faint, controllable marks you can build on.
This is where drawing on a panel starts to feel familiar if you come from paper.
Step 5: Build up shading and detail
From there, work as you normally would on paper. Kate gradually builds up her pet portrait using layers of charcoal, blending, and refining shapes.
On the grounded panel, you can:
Lay in light midtones and dark values without the charcoal sliding.
Blend and adjust while still keeping control.
Erase or lift gently to adjust shapes, just as you would on a good drawing sheet.
For blending, Kate reaches for her Trekell hog bristle brushes. The stiffer bristles let her push and soften the charcoal without over‑smoothing the texture of the drawing ground, so she can keep subtle transitions while still seeing her marks.
She uses them with a light touch, almost like a dry brush, to soften edges, unify tones, and create smoother gradients where needed.
Step 6: Finish and admire the result
Once the drawing is complete, you have a finished charcoal piece on a Trekell panel, ready for sealing (if you choose to fix it) and display.
The drawing ground gives the surface a paper‑like behavior, while the panel gives it weight, presence, and durability.
Why this method is great if you usually draw on paper
If you have always worked on paper and are curious about wood, this approach is a gentle way to transition:
You keep the feel of a drawing surface made for charcoal.
You gain the stability and presentation of a Trekell Baltic birch panel.
You can experiment with new panel shapes and sizes without changing your drawing tools.
You do not need to change your entire process. One extra step—adding Drawing Ground—turns your panel into something your charcoal already understands, and blending with hog bristle brushes helps you refine it just the way you like.
Try drawing on Trekell panels with your own style
To try this yourself, start with:
A Trekell Baltic birch panel.
Golden Artist Colors Drawing Ground.
Your favorite charcoal.
Trekell hog bristle brushes for blending.
Apply a thin, even layer of Drawing Ground, let it dry, and then draw the way you normally do. Use Kate Zambrano’s example as inspiration, but let your own style take over once the surface is ready.
When you are ready to explore, you can find Trekell Baltic birch panels in a range of sizes and shapes here: Trekell Panels!, Golden Drawing Ground here: Drawing Ground!, and Trekell hog bristle brushes here: Hog Bristle!.
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<h2>How to Mount Watercolor Paper on a Trekell Baltic Birch Panel</h2>
<p>If you love working on watercolor paper but also love the look and stability of Trekell’s Baltic birch panels, you do not have to choose between them. You can combine both by mounting your favorite paper onto a panel and turning it into a ready‑to‑hang, frame‑friendly surface.
Trekell Pro Team Artist Mallory Hart uses this approach to get the best of both worlds: the familiar feel of watercolor paper and the strength and cool shapes of Trekell panels. Here is how you can do the same thing step by step.
Why mount watercolor paper to a panel?
Watercolor and drawing papers are beautiful to work on, but they can buckle, wrinkle, or feel fragile, especially at larger sizes. Mounting paper onto a panel solves several problems at once.
You get a rigid, stable surface that will not warp or buckle when wet.
Your finished piece is already on a panel, ready for framing or hanging.
You can use unique panel shapes (like shields and icons) while still painting on the paper you trust.
If you already like Trekell’s Baltic birch panels for acrylics and oils, this method lets you bring watercolor, ink, colored pencil, and mixed media into the mix without giving up that solid support.
What you will need
Here is the basic setup Mallory uses when mounting watercolor paper to a Trekell panel:
A Trekell Baltic birch panel in your chosen size and shape.
Your watercolor paper of choice, cut slightly larger than the panel (you can trim flush after mounting).
Golden Gel Matte Medium as the adhesive.
A brush for spreading the gel medium.
Clean pencils or similar smooth round objects to help roll out bubbles and press the paper down.
Something to add weight (books, extra panels, or a flat board with weights) while the piece dries.
A sharp razor knife or craft knife and a straight edge for trimming excess paper once everything is dry.
Before you begin, make sure your hands, tools, and work surface are clean to avoid transferring dust or oils onto the paper or panel.
Step 1: Prepare the panel and paper
Start with a clean, dry Trekell Baltic birch panel. If the surface has dust or loose fibers, lightly wipe it with a clean, dry cloth. If needed, you can very lightly sand and wipe off the dust, but avoid leaving any residue on the surface.
Cut your watercolor paper so it is slightly larger than the panel on all sides. This gives you a bit of extra margin in case the paper shifts during mounting. You can trim it flush with the panel once everything is fully dry.
Lay both the panel and the paper flat in front of you so you can move quickly once the gel medium is applied.
Step 2: Apply Golden Gel Matte Medium
Using your brush, apply an even layer of Golden Gel Matte Medium onto the face of the panel. You want full coverage all the way to the edges, but not so thick that it pools or leaves ridges.
Work the gel medium across the entire surface in smooth strokes.
Make sure there are no dry spots or obvious thick blobs.
Pay extra attention to the corners and edges so the paper will adhere well there.
You want a consistent, wet layer that will stay workable long enough to position your paper, but not so heavy that it soaks through or creates lumps.
Step 3: Lay down the watercolor paper
With the gel still wet, carefully place your watercolor paper onto the panel. You can:
Start by aligning one edge or corner and then gently roll the rest of the paper down.
Or, hover the paper over the panel, line up your position, and lower it from the center outward.
Take your time to avoid trapping large air pockets. Once the paper is down, do not pull it up and reset, as this can stretch or damage it. Instead, work from the center out to adjust and smooth.
Step 4: Smooth out bubbles and secure the bond
Using your hands first, gently press from the center of the paper outward toward the edges to start pushing out any trapped air and excess medium.
Then, take your pencils (or other smooth round tools) and use them as a gentle roller:
Place a pencil on the paper and roll it lightly from the center toward the edges.
Repeat in different directions, overlapping your passes so you cover the entire surface.
Be careful not to press so hard that you crease or scratch the paper.
This step helps ensure even contact between the paper and the panel, reduces bubbles, and spreads the gel into a uniform layer underneath.
Step 5: Add weight and let it dry
Once the paper is smoothed and you are happy with the placement, it is time to let the adhesive do its work.
Lay a clean sheet of paper or plastic over your watercolor paper to protect it.
Place a flat board, additional panels, or books on top to add even weight.
Make sure the weight covers the entire mounted area so the paper dries flat.
Leave the panel under weight for the full drying time recommended for Golden Gel Matte Medium. This usually means overnight or longer, depending on your environment. Patience here pays off with a smooth, secure bond.
Step 6: Trim and finish the edges
When everything is completely dry, carefully remove the weights and protective sheet.
Use your razor knife or craft knife and a straight edge to trim the excess watercolor paper flush with the edges of the panel. Work slowly and make several light passes rather than trying to cut through in one go. Support the panel as you work so you do not tear the paper or chip the edges.
At this point, you have a clean, mounted watercolor surface on a Trekell Baltic birch panel, ready for painting, drawing, or further prep if you like.
Now you can use Trekell panels for your paper work
If you usually work only on loose watercolor paper or drawing pads, this method opens up a lot of new options.
You can turn your favorite paper into a rigid, gallery-ready piece.
You can take advantage of Trekell’s unique panel shapes while still working on paper.
You can make framing and hanging easier, since the piece already has a solid backing.
Whether you are painting in watercolor, working in ink, or drawing in colored pencil and mixed media, mounting your paper onto a Trekell panel lets you combine the surface you love with the structure you trust.
To try this process yourself, you can grab:
Your favorite Trekell Baltic birch panel in any shape you like.
Golden Gel Matte Medium.
Your preferred watercolor or drawing paper.
A sharp razor knife or craft knife for clean trimming.
Then follow Mallory’s steps above and turn your paper pieces into finished, ready‑to‑hang artworks that sit proudly on a Trekell panel.
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<h2>Brush Care Habits That Actually Make a Difference</h2>
<p>You can buy the best brushes in the world and still ruin them fast if your habits are working against you. The good news is that a few small changes in how you use and clean your brushes can dramatically extend their life.
This guide focuses on real, everyday habits that matter the most for all Trekell brushes, from synthetics to natural hair. Think of it as the practical side of brush care that most people are never taught.
Habit 1: Do a real end of session clean, not a quick rinse
Most damage starts when brushes are put away with paint still hiding in the bristles. A quick swirl in water or solvent and a dab on a rag is not enough, especially near the ferrule where paint loves to collect.
At the end of a painting session, take an extra couple of minutes to properly clean your brushes based on the medium you used and the Trekell cleaner made for it.
For oils: use Trekell Linseed Oil Soap
Wipe off as much paint as possible with a rag or paper towel.
Clean the brush with Trekell Linseed Oil Soap, which is formulated to cleanse oil paint without harsh chemicals and extend brush life.
Work the soap into the bristles, especially near the ferrule, then rinse and repeat until the lather runs clear.
Reshape the tip and lay the brush flat or with the bristles pointing down to dry.
For acrylics, gouache, watercolor, and other water based paints: use Trekell Coconut Oil Soap
Rinse out most of the paint in clean water right away.
Clean the brush with Trekell Coconut Oil Soap for Water Based Media, which uses gentle, natural coconut ingredients instead of harsh cleaners.
Work the soap through the hairs, paying extra attention to the area near the ferrule, then rinse until the water runs clear.
Reshape and let the brush dry flat or bristles down.
The key is consistency. A small but thorough cleaning with the right Trekell soap after every painting session is much kinder to your brushes than an occasional intense scrub after paint has had time to dry inside them.
Habit 2: Get the paint out of the ferrule
The ferrule is where the bristles are crimped to the handle, and it is the number one place people accidentally destroy their brushes.
If paint dries inside the ferrule, it forces the hairs apart and locks them into a splayed shape. Once that happens, there is usually no way to fully bring the brush back. You might be able to turn it into a texture brush, but it will not behave like it did when it was new.
To prevent this, make it a habit to focus on the ferrule area every time you clean your brushes, while the paint is still wet.
A ferrule cleaning maneuver from William Whitaker
Artist William Whitaker shared a simple technique that helps pull wet paint out of the ferrule, and it works on both natural hair and synthetic brushes.
Wet the brush and work in your Trekell brush soap so the lather reaches up toward the ferrule.
With your non dominant hand, gently hold and support the bristles near the ferrule.
With your other hand, hold the handle and move it back and forth from side to side, as if you are gently wagging the brush.
This motion helps work the wet paint and soap mixture out from inside the ferrule and down toward the tip of the bristles, where you can rinse it away. You are essentially massaging the paint out instead of just hoping a quick swirl in water will reach it.
Use this maneuver regularly with all of your brushes and you will greatly reduce the chance of paint drying up inside the ferrule and causing permanent splaying.
Habit 3: Do not dry brush with soft synthetics
Synthetic brushes are fantastic for smooth, controlled strokes, but they do not like being used completely dry on rough or semi rough surfaces.
When you drag a soft synthetic across a surface without enough paint or medium acting as a lubricant, you create a lot of friction at the tips of the fibers. Over time, that friction and heat at the very ends of the filaments can cause them to curl, hook, or bend out of alignment, even if you never touch harsh solvents.
Strong solvents can also damage synthetic fibers by softening or melting the plastic, but constant dry brushing with a soft synthetic will wear out the tips all on its own.
If you want to dry brush or scumble, switch to a stiffer, more durable brush, such as a hog bristle or a brush you have already retired from precise work. Save your softer synthetic brushes for strokes that have at least a little paint or medium in them so there is always some lubrication between the bristles and the surface.
A simple rule of thumb:
Use stiffer brushes for dry brushing, scrubbing, and heavy texture.
Use softer synthetic brushes when there is enough paint or medium on the brush to let it glide instead of scrape.
Just changing this habit can dramatically cut down on curling and hooked tips in synthetic brushes.
Habit 4: Use heat in a controlled way, not by accident
Heat can be a tool or a problem, depending on how you use it.
Very hot environments, like leaving brushes in a hot car or putting them in near boiling water without guidance, can soften synthetic fibers in a way that deforms them. That kind of uncontrolled heat is hard on brushes.
However, controlled heat, such as a gentle simmering method specifically designed for synthetic restoration, can help synthetic bristles relax back toward their original shape when they start to flare or hook. The difference is temperature, depth, and time.
When you are cleaning and restoring Trekell synthetic brushes:
Follow a clear, step by step guide for the simmering process, including recommended temperature and how deep to submerge the bristles.
Keep the ferrule and handle out of the hot water so you do not soften glue or damage the handle.
Combine controlled heat with Trekell Brush Restorer when appropriate, so the fibers are encouraged to set back into a better shape as they cool.
Think of heat as something to use intentionally, not accidentally. A controlled, brief simmer can help. Prolonged exposure to very hot conditions usually hurts.
Habit 5: Watch how long brushes sit loaded
Leaving a brush loaded with paint for “just a few minutes” often turns into much longer, especially with fast drying mediums like acrylic.
For acrylics and gouache, if paint starts to dry in the bristles, it becomes harder to remove completely, especially near the ferrule. For oils, leaving thick paint packed near the ferrule between sessions encourages buildup that eventually causes splaying.
Try to build this habit into your painting routine:
If you are stepping away for more than a couple of minutes, either rinse the brush and set it aside clean, or fully load it and wrap the bristles in plastic or keep them in a stay wet environment.
Do not leave brushes sitting upright in a water or solvent jar for long periods. That bends bristles, encourages paint and pigment to settle in the ferrule, and can swell or crack wooden handles over time.
Short breaks are fine. Long breaks with loaded brushes are where the hidden damage happens.
Habit 6: Park your brushes the right way while you work
What you do with a brush while you are painting, not just when you are cleaning, also matters.
Instead of leaving brushes standing in a rinse jar or tossed on the table:
Keep a small towel or rag handy and lay brushes flat when they are not in your hand.
If you use a brush holder, make sure the bristles are supported and not pressed into a hard edge.
When you rinse, swish gently. Avoid grinding the tip into the bottom of the jar, which can bend or flare the hairs.
These small physical habits keep the bristles in better alignment and prevent unnecessary bending or chipping of the tips.
Habit 7: Use Trekell Brush Restorer on a schedule, not only in emergencies
Trekell Brush Restorer is great for saving a brush that already looks rough, but it can also be used more lightly and regularly to keep brushes from reaching that point.
Instead of waiting until a brush is completely flared or rock hard, try this:
Choose a realistic interval, such as every few weeks or after a particularly heavy painting project.
Give your most used brushes a gentle Restorer treatment according to the product directions, then rinse and reshape.
Combine this with your normal cleaning using Trekell Linseed Oil Soap or Coconut Oil Soap so you are clearing out residue before it becomes permanent buildup.
This is helpful for both synthetic and natural hair brushes that you reach for constantly. A light, regular reset keeps them behaving closer to how they did when they were new.
Habit 8: Know when to retire a brush
No brush lasts forever. Even with perfect habits, every tool has a lifespan.
At some point, you will have brushes that:
Will not hold a point, even after careful cleaning and reshaping.
Have permanent splaying from dried paint in the ferrule.
Have fibers that are worn, curled, or broken from years of honest use.
Instead of fighting those brushes for precision work, give them a new job. Retire them into a “texture only” jar for scumbling, splattering, rough edges, or experimental marks. Then, bring new brushes into your main rotation so you always have tools that can do what you are asking of them.
A few small changes, a big difference
Brush care is not about perfection. It is about a handful of small, repeatable habits that work with your tools instead of against them.
If you clean your brushes properly at the end of each session with Trekell Linseed Oil Soap or Coconut Oil Soap, clear paint out of the ferrule, avoid dry brushing with soft synthetics, use heat in a controlled way, and retire brushes at the right time, you will get much more life out of all of your Trekell brushes.
For detailed step by step cleaning instructions, long term lifespan tips, and a full synthetic restoration guide, you can explore our other brush care blogs here:
How to Clean and Care for Paint Brushes
Why Do My Brushes Not Last a Lifetime?
The Ultimate Guide to Extending the Lifespan of Your Trekell Brushes
Reviving Your Trekell Synthetic Brushes: A Step by Step Guide
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<h2>How to Prep Baltic Birch Panels for Different Painting Mediums</h2>
<p>Baltic birch panels give you a strong, stable foundation for your artwork. To make the most of that wood and support your paintings over time, every panel needs one thing first, no matter what you plan to paint with.
It needs to be sealed.
Once the panel is sealed, you can customize the surface for oil, acrylic, gouache, watercolor, and mixed media with the right ground or primer. This guide walks you through that process step by step.
Step 1: Seal the Baltic birch panel
Raw wood is naturally absorbent and acidic. If you paint straight onto unsealed wood, it can pull oil and binder out of your paint, cause uneven absorption, and create long term stability issues.
Sealing the panel creates a barrier that:
Helps block acids and tannins from the wood.
Controls how much paint and medium soak in.
Provides a better base for whatever primer or ground you use next.
At Trekell, we seal our Baltic birch panels with Golden GAC 100. It is a versatile acrylic polymer used to block support induced discoloration and to create a more stable, less absorbent surface underneath your primer or ground.
There are many good sealing options on the market. If you already have a favorite clear sealer or isolation coat that is compatible with your medium and primer, you can use what works best for your process. The important thing is that the wood is sealed before you start priming.
How to seal your panel
Always follow the instructions for the specific sealer you choose. As a general guideline, you can treat Golden GAC 100 or a similar sealer this way:
Lightly sand the panel surface and edges to remove any dust or raised fibers.
Wipe away sanding dust with a clean, dry cloth.
Apply a thin, even coat of sealer with a brush or suitable applicator, working it into the surface.
Allow it to dry fully according to the product directions.
If the grain has raised or the surface feels rough, lightly sand and wipe clean.
Apply a second thin coat if you want extra insurance against absorption and discoloration.
One coat of sealer is often enough for smaller works or when you plan to build up several layers of primer or ground on top. A second coat can be helpful if you want more control over absorbency, are working on larger panels, or simply prefer extra protection.
Once the panel is sealed and dry, you have a more controlled, stable surface to build on. From here, the steps change depending on your painting medium.
After sealing: choose your path by medium
With a sealed Baltic birch panel, you are ready to decide how you want the surface to feel and how absorbent you want it to be. The next steps will be different for each medium and can be tailored using the primers and grounds we carry. Oil Ground pictured below:
For Oil Painting
Oil paint needs a ground that is compatible, protective, and not overly absorbent. After sealing your panel, you can choose from several options we offer for oil painters:
Gamblin Oil Painting Ground for a traditional, bright white oil ground that lets your paint sit beautifully on the surface.
Michael Harding Non-Absorbent Acrylic Primer for an acrylic primer that does not leech oil from your paints and keeps colors looking rich.
Golden Gesso for an acrylic gesso ground that is suitable for oil painting when applied over a properly sealed panel.
General application approach:
Apply your chosen oil ground or primer in thin, even coats according to the manufacturer’s directions.
Let each coat dry completely before adding the next.
Lightly sand between coats if you want a smoother surface.
Allow the final layer to cure fully before painting.
The choice comes down to how absorbent or slick you like your oil painting surface to be. An oil ground will feel a bit different from a non-absorbent acrylic primer, even though both are designed with oil painters in mind.
For Acrylic Painting
Acrylics are more flexible and can tolerate a range of surfaces, but you still want a consistent, sealed panel and a reliable acrylic ground. After sealing, you can use:
Golden Gesso for an opaque white, toothy ground that feels familiar to most acrylic painters.
Golden Matte Medium as a translucent or clear gesso to let the wood or underlying layers show through while still providing tooth for acrylic paint.
General application approach:
Apply Golden Gesso or Golden Matte Medium in thin layers with a brush or roller.
Let each layer dry completely before adding another.
Sand between coats if you prefer a smoother, less textured surface.
Use Golden Gesso when you want a more traditional, opaque ground. Use Golden Matte Medium when you want to keep the look of the wood, line work, or underpainting visible under your acrylic layers.
For Gouache and Mixed Media
Gouache and mixed media often do well on a slightly more absorbent, matte surface that still has the sealed wood underneath.
After sealing the panel, many artists will:
Use an acrylic gesso, such as Golden Gesso, to create a matte, toothy surface that accepts gouache and other water-based media.
Keep the ground relatively thin so the surface does not become too slick for gouache’s rewettability.
Because gouache can be used in many ways and every artist has different preferences, it is a good idea to test your favorite combination of sealer and ground on a small panel first to see how it feels for your particular approach.
Golden’s pastel and drawing grounds are designed for dry media and drawing applications, but they can also play a role in mixed media work. They are best used when you want a textured, toothy surface for pastel, charcoal, pencil, or similar media over your sealed panel. If you are primarily painting with gouache, you will usually reach for gesso or a similar paint-focused ground first, and bring pastel or drawing grounds in where you specifically want that extra texture for dry marks.
For Watercolor
Watercolor is traditionally used on paper, but sealed Baltic birch panels can become a great base when you add the right layer on top.
After sealing the panel, you have two main options:
Daniel Smith Watercolor Ground to turn the sealed panel into a watercolor-friendly surface. It creates a texture similar to cold-press watercolor paper so you can paint directly on the panel.
Mount your favorite watercolor paper onto the sealed panel using an appropriate adhesive, then paint on the paper as you normally would.
As always, it is worth doing a small test first to see how your specific paints behave on Daniel Smith Watercolor Ground or on mounted paper over a sealed panel.
Step 3: Test your surface before you commit
Before you start a finished piece, it is worth doing a quick test on the prepared panel.
Make a few strokes and washes with your chosen medium.
Check how quickly paint is absorbed.
See how easy it is to lift or adjust areas if your medium allows it.
Notice whether edges stay crisp or soften more than you like.
If the surface feels too absorbent, you can add another coat of ground or gesso. If it feels too slick, a light sanding or a different ground can increase tooth and control.
A flexible system built on one foundation
Every Trekell panel starts with the same Baltic birch foundation, but your prep choices are what make it perfect for oil, acrylic, gouache, watercolor, or mixed media.
The simple formula is:
Seal the wood.
Choose the right ground or primer for your medium.
Adjust texture and absorbency with multiple coats and sanding.
Test the surface before you start a major piece.
Once you have a sealing and priming routine you like, you will have panels that feel familiar and reliable every time you paint, no matter which medium you reach for.
If you are ready to explore different shapes and sizes, you can see all of our Baltic birch panels here: Baltic Birch Panels, and you can find the grounds and primers mentioned above in our Grounds and Primers.
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<h2>How to Choose the Right Brush for What You Actually Paint</h2>
<p>Choosing brushes can feel overwhelming. You do not need a giant set to make great work, you just need a few well chosen tools that match your medium and your style.
This guide walks you through what actually matters so you can stop guessing and start painting.
Start with your medium
Before you think about shapes and sizes, match your brush to the kind of paint you use most. The same paint can behave very differently depending on how thick or thin you use it, and that affects which bristles feel best in your hand.
Oils
Oil paint out of the tube is usually thicker and slower drying, which is why many artists like brushes with enough spring to move and sculpt that paint. When you are working with heavier paint, a slightly firmer brush helps you push color around without the hairs folding over on you. Try Trekell's Opal or Hog Bristle brushes for this.
However, if you use a medium to thin your oils and you are chasing very smooth, almost brushless strokes, a softer brush can actually be the better choice. Softer synthetics glide over the surface and leave a more even mark, especially for glazing, blending, or finer work on top of dried layers. Trekell's Spectrum or Sienna brushes are great for this.
The key is to match bristle feel to how you personally like to handle oil paint, not just to the label on the tube.
Acrylics
Acrylics dry fast and can be used in many ways, from thin layers to thick, textured passages. Versatile synthetic brushes shine here, because they can handle those shifts in consistency over a single painting session.
If you love crisp edges and graphic shapes, you might prefer synthetics with a bit more spring, like Crimson Taklon. If you are working with thinner acrylic layers, a slightly softer synthetic can feel smoother and less scratchy on the surface, like Golden Taklon.
Watercolor and inks
Water media brushes need to hold a lot of liquid and release it smoothly. You are looking for a belly that can carry water and pigment, plus a point that snaps back when you lift pressure.
A good watercolor round should be able to make a fine point, a mid size stroke, and a wider stroke with nothing more than a change in pressure. That is what makes it so versatile for lines, washes, and details. Check our our Protege brush line that offers everything you need.
If you move between mediums, it is worth having separate main brushes for each so you are not fighting dried acrylic in a watercolor brush or scrubbing oil color with a delicate wash brush.
Brush shapes explained simply
Once your medium is clear, shape is what really changes the way your strokes look and feel. Here is the plain language version of the most useful shapes, including some specialty options Trekell artists love.
Round
A round brush tapers to a point with a full belly in the middle. It is great for drawing like lines, details, curves, and small shapes. Press harder for wider marks and lighten up for very fine lines.
This is the shape most people cannot live without, no matter what they paint.
Flat
A flat has bristles cut straight across with a wide, flat profile. It is ideal for bold strokes, blocking in shapes, and filling larger areas. Turn it on its edge and it can still make sharp, narrow lines.
If you like strong graphic shapes, a flat tends to feel natural very quickly.
Bright
A bright is similar to a flat, but with shorter bristles. Shorter hair means more control and less wobble when you are working with thicker paint.
Many oil and acrylic painters like brights for punchy, square strokes and for layering paint on top of paint without losing control.
Filbert
A filbert is a flat with a rounded tip. It softens edges and is excellent for organic shapes like faces, petals, and clouds.
Think of it as a middle ground between a flat and a round. You get the coverage of a flat with the softer edge of a round.
Angle
An angle brush has bristles cut at a slant. This shape excels at cutting in edges, reaching tight corners, and painting along curves.
It is especially helpful for painting around shapes, working into corners of panels, and creating tapered strokes in one motion.
Script / rigger
A script or rigger brush is a long, very slender round with bristles that come to a fine point. It is designed for long, continuous lines.
This shape is ideal for fine line work like branches, whiskers, eyelashes, lettering, and fluid, calligraphic strokes. Because the hairs are longer, it holds more paint than a tiny spotter, which helps you pull a line without stopping every inch.
Liner
A liner brush is similar to a script but usually a bit shorter in hair length. It still offers precision lines, but with slightly more control and less flex than a full length rigger.
Use a liner when you want clean outlines, small decorative details, and tiny highlights. It is a key shape for detailed work in both fluid acrylics and inks.
Cat’s tongue
A cat’s tongue brush is a hybrid shape with a pointed tip and a broader base, often somewhere between a round and a filbert.
This shape is very versatile. You can:
Use the point for fine lines and detail
Lay the belly down for broader strokes and fills
Shift pressure to move smoothly from thin to thick in one stroke
Many artists like cat’s tongue brushes for expressive, calligraphic marks, petals, leaves, and anywhere they want both control and flow in the same tool.
Fan
A fan has bristles spread out in a fan shape. Artists often use it for blending, softening edges, or creating effects like foliage, hair, or texture.
This is more of a specialty effect brush than a first purchase, but it becomes useful once you know what kind of marks you love.
You do not need every shape on day one. For most people, a mix of a round, a flat or bright, one softer edge brush like a filbert or cat’s tongue, and a liner or script for fine lines covers almost everything.
How many brushes do you really need?
Seeing huge brush racks can make it feel like you are under equipped, but a small, intentional set goes a long way.
Trekell three piece minimal set
If you want pure simplicity, you can start with a three piece minimal set and still get a lot done. Trekell offers a three piece minimal set that is built around this idea. You can view it here: 3 Pcs Brush Set.
A simple three brush structure looks like this:
One medium round or cat’s tongue for drawing, details, and general use
One medium flat or bright for blocking in and edges
One small liner or script for fine lines and signatures
With just these three, you can sketch your composition, block in your major shapes, and add details and highlights at the end.
Trekell five piece minimal set
Once you know what you like, a few extras unlock more options. Trekell also offers a five piece minimal set that gives you added flexibility without overwhelming you with choices. You can view it here: 5pc Brush set.
A five brush structure might look like this:
Round, small, for fine details
Round, medium, for general work
Flat or bright, medium, for blocking in and edges
Filbert or cat’s tongue, medium, for softer shapes and transitions
Liner or script, small, for long lines and accents
This gives you coverage, detail, and special strokes without needing a large number of brushes.
An all media minimal set with Golden Taklon
If you want one simple set that can handle oils, acrylics, and water based mediums, a short handle Golden Taklon line is a strong place to start. Golden Taklon is a soft synthetic that plays nicely across mediums and feels smooth on panels and paper.
Even for oils, if you are using medium to thin your paint and aiming for smooth, controlled strokes, these softer synthetics work very well. They are not the stiff, bristle style brush that people associate with heavy impasto, but for many artists that softer feel is actually easier to handle.
An all media minimal Golden Taklon set might include:
Round, small
Round, medium
Flat, medium
Filbert or cat’s tongue, medium
Liner or script, small
That handful of brushes can carry a painter through studies, finished pieces, and experiments in oil, acrylic, gouache, and watercolor, as long as they clean them properly between uses.
You can adjust sizes to match your most common panel sizes. If most of your customers use smaller panels, lean a bit smaller in brush sizes so they do not feel clumsy or oversized.
Match your brushes to how you like to paint
Technique and personality matter just as much as medium. Two people can use the same paint and want completely different things from their brushes.
If you like loose, expressive strokes
Try slightly larger brushes than feels comfortable at first. They prevent you from overworking a painting with tiny marks. Flats, filberts, cat’s tongue shapes, and larger rounds with a bit of spring can help you cover areas quickly while still feeling responsive.
If you like tight, detailed work
Choose smaller rounds, liners, and script brushes that keep a sharp point. A good detail brush should feel a bit like a pen. A short handle Golden Taklon round or liner with a fine tip is often enough to handle most detail work when you are starting out.
If you love soft blends and smooth transitions
Softer synthetics and filberts, along with cat’s tongue shapes, will be your best friends here. On panels, a Golden Taklon filbert or cat’s tongue can help you achieve very smooth strokes without visible scratch marks. For oil, pairing thinned paint with a soft synthetic makes glazing and subtle blends much easier.
If you want visible brush marks and texture
Once you are ready to lean into texture, you can add some firmer brushes that leave more pronounced strokes. Brights and flats with more stiffness will help your marks stand out on the surface. You can keep your Golden Taklon set for smoother work and bring in a few firmer options just for those textured passages.
Pay attention to what frustrates you.
If your edges are always fuzzy, you may need a brush with more snap or a sharper point. If your strokes feel scratchy, you may be using a brush that is too firm for your surface or for how thin you like your paint.
A simple next step
If you want an easy starting point, explore Trekell’s three and five piece minimal sets and then build around them with a short handle Golden Taklon brush or two that fits your main medium and style.
From there, you can add, remove, or swap shapes as you notice which brushes you reach for constantly and which ones stay clean in the jar. That way, every new brush you buy has a clear job in your painting process.
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<h2>Meet the Filbert: The Most Versatile Brush in Your Toolkit</h2>
<p>When it comes to brushes that can do it all, the filbert quietly earns its place as a studio staple. With a shape that balances precision and softness, it’s the go-to for many artists who want smooth edges, graceful curves, and ultimate control. But what exactly makes this brush so special? Let’s dive into the story, structure, and strengths of the filbert brush.
What Is a Filbert Brush?
The filbert brush features a flat ferrule and bristles that taper into a rounded, oval shape at the tip. It’s essentially a hybrid between a flat and a round brush, offering the best of both worlds: broad strokes with a soft edge and the ability to work in tight spaces without harsh lines.
Its unique shape allows for both fluid blending and detailed work, depending on how it’s held. Use it flat for broader coverage or turn it on its edge for finer lines and more control.
Why Is It Called a "Filbert"?
The filbert brush gets its name from the filbert nut—more commonly known as the hazelnut. The rounded tip of the brush resembles the shape of the nut, and the name has roots in European tradition. Some sources trace it to Saint Philibert, whose feast day coincided with the ripening of hazelnuts, giving rise to the term "filbert nut." Over time, the name stuck, and artists have been calling this rounded brush a filbert ever since.
What Makes the Filbert So Useful?
Blending Power: Its soft, rounded edge creates seamless transitions between colors, especially useful in portrait work and backgrounds.
Organic Shapes: Ideal for painting petals, leaves, and natural forms, the filbert mimics the curves found in nature.
Dynamic Strokes: With a simple twist of the wrist, you can shift from thin lines to broader strokes, making it a favorite for expressive techniques.
Edge Control: Unlike square-edged brushes, the filbert leaves no harsh lines, making it easier to soften edges without losing definition.
Big vs. Small: Why Size Matters
Small Filberts (Sizes 0–4): Best for detail work and great for facial features, fine lines, and tight spaces.
Medium Filberts (Sizes 6–10): A solid middle ground. Ideal for most general-purpose painting needs.
Large Filberts (Sizes 12 and up): Perfect for covering large areas, blending backgrounds, and creating bold, sweeping strokes.
Many artists keep a few different sizes on hand, allowing them to transition fluidly from broad strokes to detail work without switching brush types.
Choosing the Right Filbert for Your Medium
Oil and Acrylic Artists: The filbert shines in both mediums thanks to its ability to blend without streaks. Synthetic and natural options both perform well, and Trekell offers both to match your preferences.
Watercolorists: While not as common in watercolor, filberts can offer soft, petal-like shapes that are perfect for florals or textured washes.
Trekell Filberts by Brush Line
Golden Taklon: A vegan-friendly synthetic line that offers smooth, consistent strokes. Great for oil, acrylic, and watercolor. The filbert shape in this line is a versatile option for beginners and professionals alike.
Hog Bristle: Made from natural bristles, this line is perfect for oil painters looking for stiffness and texture. The filbert in this line excels at bold, textured strokes and heavy paint application.
Legion: This synthetic line is designed to mimic the feel of natural mongoose hair, offering durability, precision, and responsiveness. Excellent for acrylic and oil painters who like a firm yet flexible brush with great control.
Opal: A synthetic line that replicates the characteristics of hog bristle. It offers a balance of stiffness and blendability, ideal for artists who want the traditional feel of hog hair with the benefits of synthetic. The filbert here is great for bold yet controlled brushwork.
Crimson Taklon: A synthetic brush line that is slightly stiffer than Golden Taklon but just as smooth. Great for artists who want a bit more firmness while maintaining soft blending in acrylic and watercolor.
Spectrum: Trekell’s smoothest synthetic brush line. Known for its ability to lay down paint without leaving visible brushstrokes, it’s perfect for artists who prioritize flawless finishes. The filbert in the Spectrum line is especially suited for soft blending and refined surfaces.
MIDZ: Youthful and fun, MIDZ brushes are made with quality synthetic bristles and are ideal for emerging artists or those wanting a pop of color in their toolkit. The filbert shape here is approachable and easy to use.
Onyx: A sleek, professional synthetic line designed to mimic natural squirrel hair. It’s soft with excellent fluid retention, perfect for delicate blending and smooth transitions. The filbert in this line gives great control over both detail and soft washes.
Sienna: A refined synthetic line created to mimic red sable. It offers beautiful color-carrying capacity and a smooth stroke, making it ideal for both fine detail and soft transitions. The filbert in this line is perfect for artists who want sable-like performance in a vegan-friendly brush.
Pro Tip from the Studio
“I love using filberts to block in paintings. They make soft yet organic marks and have the width I need without the hard angles of a flat brush. They're perfect for laying in large areas of flesh tones or building up natural backgrounds in landscapes.” – Natalia Fabia
Why Every Artist Needs a Filbert
Whether you’re a seasoned painter or just getting started, the filbert deserves a spot in your brush roll. It adapts to your style, medium, and technique, bringing both control and softness in a single stroke.
Trekell’s line of handcrafted filberts comes in a variety of sizes and bristle types, made for artists who know the power of the right tool.
Ready to see what the filbert can do? Discover your next favorite brush in the Trekell collection.
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<h2>How to Master Layering Techniques in Acrylic, Oil, and Watercolor</h2>
<p>For many artists, their works are expressions of the deepest layers of emotion. Each piece tells a story, sometimes multiple stories. Each story is filled with complexity and development. Poetically layering is one of the most powerful ways to add depth, texture, and emotion to artwork.
Together, let's explore different approaches to layering in acrylic, oil, and watercolor. Each medium has its own rhythm, rules, and possibilities that allow artists to convey their unique point of view. But to achieve the results you're after, you need to understand how to build your painting one layer at a time. This approach can transform your work from flat to luminous and layered. As well as best showing off your artistic technique and understanding of the development of your media.
ACRYLIC: FAST, FLEXIBLE, AND FULL OF ENERGY
In today's world, we're conditioned to complete tasks as quickly as possible. But the pace at which we work, both in daily life and in our creative practice, presents its own challenges, especially when you're trying to maintain clarity between each layer.
Acrylics dry quickly, making them ideal for artists who love to work rapidly in bold, expressive layers. But this short drying time comes with its own unique set of layering rules. An acrylic painting can go from marvelous to muddy if we fail to let each layer dry and tell its part of the story. Let's discuss how to layer effectively when working with acrylic paints.
Acrylic Layering Tips:
1. Start with a Toned Ground
A warm or neutral ground sets the tone and helps unify your piece from the first stroke. You may have seen viral videos showing artists underpainting their entire canvas in shades of orange or red. This establishes a foundation for the painting and enhances contrast, value, and warmth, regardless of the final color palette.
Trekell Suggests: Use Trekell wood panels as a durable, warp-free surface for layered acrylic work.
2. Thin to Thick
Build from watery washes to thicker, textured strokes to maintain structure and avoid cracking. Although acrylic is flexible, it still needs time to cure properly. Creating a gradual transition from thin to thick helps maintain structural integrity between layers.
3. Let Each Layer Dry Fully
If you haven't caught on yet, sometimes you need to sit and watch paint dry. Sure, with fast-drying acrylics, you can build layers quickly, but don't rush. A semi-wet layer can cause color lifting or muddy transitions.
4. Use Mediums for Control
The addition of a matte or gloss medium can control texture, transparency, and sheen between layers.
5. Don’t Forget the Detail
Often, the finer points of a story arise from the tiniest details, which together have a significant impact. Save crisp lines and highlights for the top layers. Trekell’s Golden Taklon series is a favorite for acrylic painters who want smooth, precise application.
OIL: DISTINGUISHED, SLOW-DRYING, AND LAYER-FRIENDLY
Oils are a beloved medium for many creators for their rich color and long open time. This makes them ideal for careful layering and blending; however, they also require more patience and planning—emphasis on the patience part.
Key Oil Layering Tips:
1. Fat Over Lean
Each new layer should contain more oil than the previous layer to prevent cracking. Start with lean (less oil, more solvent) underpaintings, and finish with oil-rich top layers. Your oil painting is on a high-fat diet, so embrace it.
2. Embrace Glazing
Thin, transparent glazes can alter the temperature or value of a layer without obscuring it. Perfect for glowing skin tones, moody skies, or shadowy depths.
Trekell Suggests: Try Sienna or Hog Bristle brushes, ideal for either smooth glazes or textured scumbles.
3. Give It Time
With oil painting, you are playing the long game. This medium requires longer drying times, so be mindful of when you can safely add the next layer. Think of the time spent letting your medium dry as a part of a meditation or self-reflection practice. A period of time that will benefit both your work and your mind.
4. Blend and Push
Oils allow subtle blending across layers. Use dry brushing or feathering for smooth transitions and texture.
5. Finish with Bold Accents
Add crisp highlights, edges, or palette knife strokes to bring your piece to life.
WATERCOLOR: LIGHT, LUXURIOUS, AND INTENTIONALLY TRANSPARENT
The act of watercolor layering is often referred to as glazing. This is the gentle process of building color without burying light. Unlike acrylic or oil, watercolor is less forgiving of opaque mistakes. This behavior of the medium makes planning and working patiently essential. Watercolor's transparency is both its greatest strength and its biggest challenge. Each layer you add doesn't cover what's beneath; instead, it interacts with it.
Key Watercolor Layering Tips:
1. Start Light and Work Dark
You can't go back to white in watercolor, so preserve your lightest areas from the beginning, either with masking fluid or intentional blank space. The white of your paper becomes your brightest value, which means you're essentially painting in reverse, preserving highlights rather than adding them later.
When thin, transparent washes are layered one over another, light penetrates each layer, reflects off the white paper beneath, and travels back through those veils of color. This creates a glow that simply can't be achieved by mixing colors directly on your palette. It's the difference between looking at a stained glass window and looking at a painted wall.
2. Let Each Layer Dry Completely
Even a slightly damp base layer can lead to blooms, muddying, or canvas pilling or degeneration. If you can't wait, you can always use a hairdryer on low to speed up the drying process, but patience often yields the best results.
3. Glaze with Transparency
Use thin, transparent washes to build value and create subtle color shifts. This is how you achieve depth and atmosphere without losing luminosity.
Trekell Suggests: Our Onyx and Protege Plus watercolor brushes offer soft, consistent strokes with just the right amount of spring, perfect for controlled layering.
4. Avoid Overworking
Too many layers can dull vibrancy and muddy your colors. Use glazing with restraint to maintain freshness. Sometimes, the most powerful watercolor paintings are those in which the artist knows when to stop.
5. Combine Wet-on-Wet and Wet-on-Dry
Use wet-on-wet for soft backgrounds or atmospheric shadows, then layer sharper details over dry sections for clarity and definition.
No matter what medium you choose, layering is a language that helps you tell your story while also telling its own. Whether you're glazing subtle tones in watercolor, building bold acrylic strokes, or weaving deep textures in oil, every layer is a chance to reveal more of your vision.
Explore the full range of Trekell brushes and surfaces designed to support you—layer by layer—on your creative journey.
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<h2>How to Travel with Art Supplies Without Damaging Them</h2>
<p>Whether you’re heading to a workshop, a convention, or simply want to paint while on vacation, traveling with art supplies can feel like packing for a high-stakes mission. Brushes bend, panels dent, paints leak, and suddenly half your kit is compromised before you even arrive. But with a little preparation and the right tools, you can keep your supplies safe and ready for wherever inspiration strikes.
Protecting Your Brushes
Brushes are some of the easiest tools to damage in transit. Toss them in a bag, and you’ll arrive with bent bristles and broken handles. To keep them safe:
Use a brush case or roll: A rigid case is best for flights, while a brush roll works well for short trips. Trekell’s brush wraps keep bristles flat and organized.
Clean before you pack: Residual paint hardens during travel, making bristles brittle. Wash with brush soap first.
Optional pro tip: If you don’t have a case, slide straws over brush heads to protect the bristles.
Panels, Canvases, and Paper
Rigid supports are ideal for travel because they resist bending, but they can still scratch or dent.
Floater Panels travel well: They double as a built-in frame, which adds durability and makes them easier to pack than traditional stretched canvas.
Stack and wrap: Place a sheet of glassine or parchment between panels to avoid scuffing. Stack face-to-face and secure with painter’s tape.
Paper: Use a hard-backed sketchbook or travel-sized watercolor block to prevent creasing.
Paints and Mediums
The last thing you want is paint leaking in your luggage.
Acrylics and oils: Tape around the lid seam or transfer into travel-size containers.
Watercolors: Half-pan or travel palettes are lightweight and mess-free.
Liquids and solvents: Follow TSA rules — 3.4 oz max for carry-on. Seal bottles in resealable plastic bags for extra protection.
Tools and Accessories
Palettes: Disposable paper palettes are perfect for travel; no cleanup required.
Easels: Compact or collapsible easels are designed with plein-air painters in mind.
Miscellaneous: Don’t forget tape, clips, or travel-size jars for water or medium.
Final Tips
Plan for the destination: If you’re flying internationally, research whether certain mediums or solvents are allowed.
Pack smart: Place fragile supplies in the middle of your bag, cushioned by clothing.
Ship ahead: For longer trips, consider shipping panels or bulkier items directly to your destination.
Traveling with art supplies doesn’t have to be stressful. With the right preparation, you’ll arrive ready to create — without the heartbreak of damaged brushes or dented panels.
👉 Ready to stock up on travel-friendly supplies? Explore Trekell panels, brushes, and brush cases!
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<h2>2025 Pet Portrait Winners!</h2>
<p>Introducing our 2025 Pet Portrait Winners!
Kids, Beginner, Intermediate, and Advanced categories judged by Alai Ganuza! Our heartfelt thanks go out to everyone who participated!
"Who can decide what is “good” or “bad” in art? Judging this contest has been an honor and a true challenge at the same time. So many beautiful entries, faces and amazing techniques that inspired me but just a few that win the prize. I have chosen these winners based on originality, uniqueness and potential. I hope you love them as much as I did and I hope they also inspire you to creating and celebrate creativity." - Alai Ganuza
Advanced Winners:
1st - $1,000 Cash
Alexandra Leonetti - Oil
Why: Loose, fresh but real! This painting talked to me in so many ways. The texture in the background, the simplicity on the shapes but delicacy on the details. It says a lot with so little and that’s why I loved it. Plus, hearts!
2nd - $750 Cash
Ginko Bergel - Watercolor
Why: This painting made me smile as soon as I saw it. I love the technique, the details, each one of the faces (not just one pet but four!) and I loved the smart usage of the canvas shape!
3rd - $500 Cash
Leah Patel - Oil
Why: Subtle but powerful, that glow was perfectly captured. I love the light on this painting contrasting with the bold dark background. And I loved the subtle gradient from fire to purple that we see in the perfectly brushed fur.
Intermediate Winners:
1st - $500 Cash
Sean Gilbert - Oil
Why: It is not easy to explain volume with that short range of values and this painting makes it perfect. It is a powerful image with a striking pose that I would never imagine with this color range and I loved it.
2nd - $250 Cash
Joanna Comstock - Acrylic
Why: This one surprised me with the beautiful style that fills up perfectly the panel shape making it a complete and unique piece. Each little hair block has its own smooth gradient that captures the depth so well. And the palette is also perfect for the subject.
3rd - $150 Cash
Clara Flynn - Acrylic
Why: The brush marks (almost like pencil marks), the shape and combined background with the leaves greens popping out and the complementary but pastel color palette made this painting an easy choice!
Beginner Winners:
1st - $250 Cash
Maya Dong - Oil
Why: It is quite difficult to paint back light and it is even more difficult to do that in skin and earthy tones. However, I think this painting describes the scene greatly. It has depth, the lights are on point, and it has a bird!
2nd - $150 Cash
Zenobia Shariff - Acrylic
Why: When I saw this painting i just smiled. I wouldn’t imagine combining The Starry Night with a pup but here it is and the result is so cute! Those yellows on the head, ears and nose, make the painting complete while the pink adds some spice!
3rd - $100 Cash
Jen Ramirez - Acrylic
Why: This painting gets the most out of the limited palette and materials. I loved how it captures the cute face and expression with just a few colors right on the place. Changing the mark direction it also achieves volume and depth sensation and the background is busy enough to fit the subject but subtle enough not to draw attention from it! Plus the name’s Oreo!
Kids Winners:
1st - Mystery Prize Pack
Maddie Mullen
Why: When I saw this painting I could imagine the little artist doing it. It is so joyful for the colors but the expression is so…nostalgic. It’s staring at my soul! But not in a bad way? I don’t know… just loved it.
2nd - Mystery Prize Pack
Frankie Farrar
Why: This one I loved the palette, the details and texture achieved with the marks and the cozy scene captured. But one detail stood out: they’re doing transparent white layering on top of the top pattern, they’re glazing?! Deserved to win!
3rd - Mystery Prize Pack
Sophia Hodek
Why: I was so hesitant to select this one because some others “captured the likeness more” or were more “academically correct”. However when I saw this I thought: potential. This shows a lot of work on those clouds. Not blending and keeping the texture to capture the fluffiness. The shape is also framed and with that dotted line showed attention to detail. In general this painting made me so happy and I can’t wait to see what this little artist creates in the future!
FAVORITE DOG $100 Trekell Gift Certificate
Kelly Foss - Oil
chosen by Trekell Pro Team Artist Sean Cheetham
FAVORITE CAT$100 Trekell Gift Certificate
Jocelyn Long - Oil
chosen by Trekell Pro Team Artist Nick Eisele
FAVORITE "OTHER ANIMAL"$100 Trekell Gift Certificate
Lydia Broc
chosen by Trekell Pro Team Artist Eric Johnson
PRO TEAM PICKSCurated Brush Set
Meaghan Bonzer - Acrylic
chosen by Trekell Pro Team Artist Allison Bamcat
Stephanie Taylor - Oil
chosen by Trekell Pro Team artist Todd Casey
Elizabeth Moreland Kern - Other Media
chosen by Trekell Pro Team artist Kai Lun Qu
Trekell Staff Picks$25 Trekell Gift Certificate
Courtney - Trekell Owner
Veronika Gorchkova - Mixed Media
Nathan Loda - Oil
Mia Rivera - Acrylic
Trekell Staff Picks$25 Trekell Gift Certificate
Nikki - Woodshop
Liz Gupta - Oil
Mary Wells - Acrylic
Jaci Tormala - Acrylic
Trekell Staff Picks$25 Trekell Gift Certificate
Andrew - Marketing
Misty Wyant - Oil
Kaylin Schafer - Mixed Media
Alysia Harris - Acrylic
Trekell Staff Picks$25 Trekell Gift Certificate
Maria - Production Coordinator
Danni Williams - Acrylic
Haley Swedowski - Acrylic
Katt Franich - Oil
Trekell Staff Picks$25 Trekell Gift Certificate
Katrina - Shipping Dept.
Rafael Guerra - Oil
Nita Tan - Oil
Alex Tabet - Oil
Trekell Staff Picks$25 Trekell Gift Certificate
Myca - Customer Service
Leah Thomason - Oil
Liz Staley - Acrylic
Teri Cadman - Acrylic
Congratulations to all the winners! And thank you to everyone who participated. We had such a great time watching all the entries come in and viewing all the amazing artwork. We look forward to doing it again in 2026!
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<h2>Why Quality Artist Brushes Cost What They Do</h2>
<p>If you’ve ever stood in an art supply aisle wondering why one brush costs a few dollars while another is ten times that price, you’re not alone. To the untrained eye, they might look the same — a handle, some bristles, a metal ferrule holding it all together. But to an artist, a brush isn’t just a tool. It’s an extension of the hand, and the difference in quality shows up every time bristles meet the surface.
So what makes one brush more expensive than another? Let’s take a closer look.
The Anatomy of a Brush
A well-made brush is more than just hair on a stick. Every part matters:
Handle: Quality brushes often use hardwood that’s been properly dried and sealed, which helps prevent warping when exposed to water or solvents. The lacquer finish isn’t just about looks — it protects the wood and provides balance in the hand.
Ferrule: This small metal sleeve is more important than it seems. Seamless nickel or brass ferrules are durable and resist corrosion, while cheaper, crimped versions can loosen and split over time.
Hair or Filament: This is where costs can rise significantly. Natural options like kolinsky sable or hog bristle are rare and require careful processing, while high-end synthetics are engineered to mimic those natural properties — snap, spring, absorbency — without the ethical or sourcing challenges.
Each element adds to the overall feel, longevity, and performance of the brush.
Handmade vs. Mass-Produced
Many inexpensive brushes are cut by machine. That means the tips of the hairs are blunt, which can make them feel scratchy and unpredictable on the surface. Higher-quality brushes are shaped by hand so that the natural taper of the hairs is preserved, giving the brush a smoother stroke and more precise control.
That shaping process takes time, skill, and care — and it’s part of why professional-grade brushes carry a higher price tag.
The Cost of Materials
High-grade natural hairs are increasingly rare. Kolinsky sable, for example, has long been considered the gold standard for watercolor because of its water retention and spring. But it’s also one of the most expensive materials in the art world.
On the synthetic side, companies (including Trekell) invest heavily in developing fibers that behave like natural hair. The result is filaments that snap back like kolinsky, hold paint well, and last longer — but that kind of innovation doesn’t come cheap.
Longevity = Value
A cheap brush might save money at checkout, but it often frays, sheds, or loses its shape after just a few sessions. A well-made brush, on the other hand, can last years with proper care. Over time, investing in better brushes actually saves money — and it saves frustration in the studio.
The Trekell Standard
At Trekell, we take brushmaking seriously. Every brush is tested for balance, snap, and durability, whether it’s a classic Golden Taklon or an innovative Protege Plus. We know artists are putting their trust in us when they pick up a Trekell brush, and we don’t take that lightly.
The next time you find yourself weighing the price difference between brushes, remember: you’re not just buying wood and bristles. You’re investing in control, consistency, and longevity — the things that let your creativity shine without distraction.
👉 Ready to feel the difference for yourself? Explore Trekell’s full line of brushes [here].
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<h2>Fan, Filbert, or Dagger? How to Choose the Right Brush Shape for Your Art</h2>
<p>If you’ve ever stood in front of your collection of brushes and felt overwhelmed, you’re not alone. Even the great artists like Monet, Van Gogh, and O’Keeffe likely stood before their brushes. They obsessed over choosing the right tool for their creative visions. Selecting a brush isn’t about rules; it’s about the kind of mark you want to leave, and we at Trekell are ready to assist you. Think of this as your personal guide to artist brush shapes!Brush shape isn’t cosmetic, and it doesn’t dictate style—but it can free it. When choosing a brush shape, the options are endless. With some creativity, one shape can achieve different results. Let’s explore which shapes work best for specific outcomes.
The Classics
Round: The Swiss Army Knife of BrushesBest for: fine detail, outlines, and controlled washes.Artists who love it: Watercolorists like J.M.W. Turner utilized round brushes for their ability to produce fluid details.
Flat: The BlockbusterBest for: bold, clean, strong, architectural-like strokes.Artists who love it: Abstract painter Mark Rothko relied on flat brushes to achieve those famous floating color fields.Trekell Tip: Use flats in acrylic for clean-edged blocking.
Bright: The Punchy and Precise PowerhouseBest for: shorter and more textured markings.Historical note: Favored in oil painting for scumbling techniques since the Baroque era.
The Shape-Shifters—Brushes That Adapt to Every Stroke
Filbert: The Secret WeaponBest for: blending skin tones, petals, and natural edges. Think of it as the love child of a flat + round brush.Artists who love it: O’Keeffe used filberts to capture the soft gradations in her iconicflowers.**Historical Note:** Filbert brushes gained popularity during the Impressionist period. Artists liked them for softening edges and making natural transitions in foliage and skies.
Fan: The Texture MasterBest for: adding texture and drama**Historical Note:** Early 20th-century landscape painters used fans to create atmosphere. They focused on foliage, fur, texture, and blended clouds.
For When You Need a Trick Up Your Sleeve
Liner / Script: For the Finer ThingsBest for: whiskers, branches, lettering. **Historical note:** Calligraphers adapted liners for sign painting in the 19th century.Trekell Tip: Use fluid paint, not stiff pigments, to prevent dragging.
Dagger: One Stroke, Infinite PossibilitiesBest for: petals, long, flowing curves, and expressive strokes. Why artists love it: It can go from hairline thin to bold sweep without changing brushes. Botanical illustrators love daggers. They use them to capture organic line variation in one stroke.
Angle: The Sharp Edge of PrecisionBest for: corners, sharp edges, controlled blends.Trekell Tip: Excellent for acrylic underpaintings or filling tight geometric spaces.
The Ultimate Cheat Sheet for Every Shape
Round = detail and versatilityFilbert = soft edges and portraitsFlat = bold strokes and blocking inBright = texture and layeringFan = blending and texturesLiner = fine detail and flowDagger = expressive curvesAngle = corners and precisionMatch the Brush to the Muse.
Portraits → Filbert, Round, AngleLandscapes → Fan, Dagger, RoundAbstracts → Flat, Bright, Fan
As an artist, you know that the brush is an extension of the hand. With Trekell, it is about finding the brushes that match your movements. Explore our complete line of brushes crafted for precision, texture, and experimentation. We can’t wait to see what you create!
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<h2>How To Prime A Wood Panel For Watercolor</h2>
<p>Early on, many artists are taught that watercolor is to be done on paper. Butthat’s not the only place where watercolor is bound to. With preparation, you can turn a wood panel into a stable surface for watercolor. Dating back to 15th-century Italy, painters would use poplar and oak panels. Even then, artists valued panels for their stability and fine details. These are still qualities that watercolor artists can enjoy today.
Select the Right Panel
Watercolorist Charles Reid saw the surface of art as an active part of the finalpiece, not a passive one. When shopping for panels, consider the smoothness and grain of the wood, as well as its grading quality. Avoid surfaces with knots or outward imperfections on the painting face. We offer artists a collection of high-quality panels. You can choose from classic rectangles and squares, plus unique limited-edition shapes.
Many Renaissance artists, like Leonardo da Vinci, were fond of well-prepared wood panels. This is a result of the strong desire for precision. If that doesn’t convince you, think about da Vinci’s panel paintings. Many of them have lasted over 500 years. This shows the durability of the surface when it is prepared correctly.
Seal the Wood
While wood provides a dependable foundation for your work, it is also porous. This porosity can lead to unwanted staining, uneven absorption, or warping if left unsealed. Sealing creates a barrier that protects your ground and paint from unwanted interaction with the wood fibers. Did you know that early icon painters in Byzantium sealed panels with layers of animal glue to prevent the wood from reacting to humidity? This is a method that preserved colors and details for centuries.
To seal the wood in modern times, follow these steps:● Apply a thin coat of Golden GAC100 or a similar transparent acrylic polymer with a broad, soft brush.● Once this application is complete, allow at least 24 hours for the sealant to completely dry.An optional step, though recommended, is to sand the surface gently with fine-grit sandpaper once dry to achieve a smoother finish.
Applying Watercolor Ground
Watercolor ground is a modern innovation. This is a medium that became commercially available in the early 2000s. Now, watercolorists can use it on various surfaces, like metal, canvas, and ceramics. The oldest known watercolor painting is from ancient Egypt. Back then, artists painted on papyrus and stone, which provided long-lasting results. When you prep a panel well, your artwork gains stability and can last for decades on gallery walls.
So, how do you apply watercolor ground? Follow these steps:● After sealing, spread Daniel Smith Watercolor Ground with a brush or paletteknife until the surface is smooth and uniform.● Allow it to dry for 24–72 hours, based on your desired absorbency.● Also, sand between coats for a smoother, paper-like feel, like watercolor paper.
Mounting Watercolor Paper
Mounting paper to rigid supports has been popular since the 19th century. Botanical illustrators usually attach delicate papers to cardboard or wood for support. Then, they create detailed ink and watercolor designs.To mount watercolor paper, you must:● Seal the panel with GAC100 and sand it lightly.● Apply a pH-neutral, archival adhesive (BEVA film, Lineco Neutral pH, or archival PVA) to both the panel and the paper.● Smooth with a brayer or press, and dry under weight for 24 hours.● Trim or sand the paper edges to make them flush with the panel.
Check out Trekell's complete collection of panels, watercolor grounds, and panel prep materials. See how far your watercolor creations can thrive on a stable foundation!
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<h2>5 Mistakes Artists Make When Prepping a Wood Panel (and How to Avoid Them)</h2>
<p>While painting on wood panels that have been properly prepped, you can expect a surface that offers structure, durability, and a beautifully smooth surface. But, without this preparation, you run the risk of uneven absorption, cracking, warping, or discoloration. Yikes! Today, we’re going to highlight five common mistakes and how you can avoid them!
Don’t Skip the Sealant Step
Imagine you’re working through your sketchbook when suddenly inspiration for your next piece hits. You may be tempted to begin applying gesso directly to the raw wood of your panel. But by skipping the sealing process entirely, wood can absorb moisture, oils, or pigments from your ground and paints. Because of wood's naturally porous nature, if you don't seal your surface, you may have a finished project with dulled colors and an unstable foundation that can deteriorate over time.
Renaissance painter Giovanni Bellini was one of the first to make an effort to seal wood panels before applying his medium. The result? His works have lasted centuries with minimal degradation and well-preserved pigments. You want your work to have the same opportunity to be preserved for future generations, and that is precisely why it is essential not to skip the sealant step. Sealing wood panels could mean the difference between being forgotten and being remembered in art history!
How to Build a Solid Foundation
When starting a new project or layering your masterpiece, the importance of the “foundation” is often emphasized. In both scenarios, you want to make the most reliable choice. The same goes for creating the foundation of your artwork. For instance, you can utilize a clear, flexible sealant like Golden’s GAC100 (a favorite of Trekell customers). With the application of one to two thin coats with a soft brush or foam applicator, and time to dry before priming, you will be on your way to creating your next masterpiece.
Take the guesswork out of gesso, and keep in mind that not all Gesso (or Ground) is created equally. Using the wrong ground could result in poor adhesion and bubbles on your surface. Media such as watercolor, encaustic, or charcoal practically require a specific type of ground. While acrylic gesso is a go-to for acrylic and oil, it’s unsuitable for absorbent media like watercolor or encaustic without the right base. Check out the links below to discover the perfect primer, gesso, and sealant for your desired medium.
● Acrylic
● Oil
● Watercolor
For predictable results, make sure to test your ground on a scrap panel before committing. This will provide you with an idea of the expected texture, absorption, and compatibility!
Don’t Rush Past the Refinement
When working on a wooden panel, skipping the sanding process between coats of sealant or gesso leads to uneven surfaces, unwanted texture, and inconsistent paint flow. Not only that, but a gritty base can soak up paint unpredictably, dulling your colors and causing cracks over time. Thankfully, there is an easy solution, and by using fine-grit sandpaper (220–320) between each layer of sealant and ground, you will be able to create a smooth and professional surface. Did you know? Artist John Singer Sargent was known for sanding down layers of gesso and oil to achieve a refined, glassy surface, ideal for his fluid brushwork.
Using the Wrong Adhesive for Paper or Linen
When mounting paper or linen to a panel, leave the school glue to the kids, and stick to archival, pH-neutral adhesives. Classic, school glue, and other non-archival adhesives are intentionally low quality. This lack in quality can cause a plethora of issues, such as wrinkling, yellowing, or peeling. Additionally, these mediocre adhesives will not stand a chance when it comes to wet media. We recommend options like Lineco Neutral pH Adhesive or archival PVA glues.
Don’t Ignore Storage and Environmental Conditions
Without proper storage, sealed panels can swell or warp. This puts your finished work at risk of significant damage. Sure, it may be convenient to store your panels in garages, basements, or attics, but all of these places are often subjected to constantly changing temperatures. To keep your panels pristine, store them flat or upright with airflow, avoid high humidity, direct sunlight, or damp conditions.
Trekell Pro Tip: Our panels are made from high-quality Baltic birch and CNC-cut for consistency. Their thicker builds help resist warping in varied climates.
Don’t let your foundation fail your art. A reliable surface starts long before the first brushstroke. As a dedicated artist, you want the best panels for painting and to know how to prepare them well. This preparation is not a tedious chore; it prevents mistakes and ensures a surface your creativity deserves. Panel prep may feel like a tedious and time-consuming activity, but when you remember that by doing this prep work, you are giving your art a chance to survive for generations. Sealing to sanding, each step gives your work the solid, archival foundation it deserves, and when done right, a well-prepped wood panel enhances your skills and finished product.
Need supplies? Explore Trekell’s range of panels, gessos, grounds, and professional brushes to create with confidence!
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<h2>Why Baltic Birch Panels Might Be Your New Favorite Surface</h2>
<p>Rethink Raw: Why Baltic Birch Panels Might Be Your New Favorite Surface
Wood panels are often pigeonholed as “just for oil painters.” But the truth? With the right prep, Trekell’s raw Baltic Birch panels can be transformed into the perfect canvas for almost any medium—even ones that usually live on paper. Let’s break that boundary.
What Makes Trekell’s Baltic Birch Special?
B/BB-grade Baltic Birch — flawless on the front side
Light in tone and grain — a clean, neutral base
Classic and custom shapes — round, ovals, gothic arches, and limited-edition drops
Warp-resistant thickness — especially our ½" panels
They're smooth, sturdy, and strong enough to carry your vision—whatever that looks like.
Before You Begin: Always Seal It
No matter your medium, sealing is step one. We recommend Golden’s GAC100, but other artist-grade sealants work too. This clear barrier:
Prevents oil, ground, or moisture from seeping into the wood
Enhances longevity
Creates a stable surface for priming
Sealing the sides is optional—some artists love a clean, polished look; others let the edge stay raw.
Prep for Anything: A Medium-by-Medium Breakdown
🎨 Oil Painting
After sealing:
Apply oil ground (like Gamblin’s) or acrylic gesso
Or adhere linen with your preferred archival adhesive
🖌️ Acrylic Painting
After sealing:
Prime with white, black, clear, or tinted gesso
Or adhere gesso-primed linen for a fabric texture with your preferred archival adhesive
💧 Watercolor
After sealing:
Apply Daniel Smith Watercolor Ground
Or rough-sand the surface and adhere your favorite watercolor paper with a pH-neutral adhesive
✏️ Drawing (Pencil, Graphite, etc.)
After sealing:
Sand lightly for a smooth surface
Apply Golden Drawing Ground, then sand again if desired
Or adhere drawing paper directly to the panel
🌸 Pastel
After sealing:
Apply a Golden Pastel Ground
Or adhere pastel paper with a pH-neutral adhesive
🔥 Pyrography
No sealing needed. The raw Baltic Birch surface is clean and smooth—perfect for burning detailed designs with precision.
🕯️ Encaustic
After sealing:
Lightly sand the surface to add tooth
Apply a dedicated encaustic gesso (like R&F)
Note: Do not use standard acrylic gesso. It’s not porous enough for proper wax adhesion.
Storage Tips for Long-Term Use
Store panels flat or upright with good airflow
Avoid environments with extreme heat or moisture
Sealing helps—but our ½" thick panels are extra sturdy
Final Thoughts: It’s Time to Get Experimental
Your surface shouldn’t limit your creativity—it should support it. Trekell’s Baltic Birch panels are built to adapt. Whether you’re layering translucent watercolor, burning designs, or building up thick encaustic textures, these boards give you the strength and flexibility to create with confidence.
👉 Shop Trekell Panels and find your new favorite surface today.
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<h2>How to Break a Creative Block with The One Brush Challenge</h2>
<p>One Brush, a blank surface, and an opportunity for creative discovery
It happens to all of us at least once: the moment when it feels like your creativity has hit a wall. Ideas feel uninspired and lack momentum, sketching feels like a chore, and motivation seems nonexistent. In the past, you may have felt tempted to take a trip to your local art store, hoping that you would find your muse in a new tool, medium, or canvas as you explored the aisles. Instead of adding to your collection, we at Trekell have a challenge proposition for you. The One Brush Challenge is about sparking a new way of thinking with a ‘less is more’ approach. By using one, yes one, singular brush of your choice, you become less focused on perfection, but instead on the movement and fluidity of creating something with what is right in front of you. This isn’t about limiting yourself or creating a masterpiece. It is a challenge focused on removing yourself from a creative rut, loosening up, and finding your rhythm again. Like Picasso said, “Inspiration exists, but it has to find you working.”
First, you need to pick your brush. If you want to challenge yourself, choose a brush that is one of the least used in your collection. Because you are only selecting one brush, the shape you choose will dictate your entire experience, so be mindful of the personality of your choice. Did You Know? Monet was known to often paint with worn-down flat brushes. The fraying let him create unexpected textures and markings. Perhaps you will consider using one of your seemingly retired brushes?
What would we pick? Well, there are no wrong answers to this question. Part of the beauty of this challenge is the countless options you could uncover. But here are some of our initial thoughts.
● A Filbert Brush for its ability to beautifully render figurative works, or a Long Filbert for more spontaneity and looseness in creation.
● With its unique knife-like shape, the Dagger Brush renders precise lines ideal for detailed shapes and forms. It is undoubtedly a brush choice that may not get as much attention as it deserves.
● Last but certainly not least, the Round Brush. Fine lines, detail work, curves, fluidity, and pressure influence outcomes. This is an excellent brush option to experiment with for this one-brush challenge.
The second tool you will need for this challenge is a timer. Setting a timer for 30 to 60 minutes will enable you to stay loose as the time ticks by, you will be less distracted with worrying about potential outcomes, and instead paint by using your intuitive artistic instincts.
(Artist: Greg Simkins)
Our tip for this leg of the challenge? Start small on a sketchbook page, scrap paper, panel, or a small canvas. The objective here is no pressure, just pure expression and play.
If you require more of a plan or structure when participating in a challenge, consider painting something new every day of the week. You could use the same brush daily or swap it out for a different one in your collection for each session. Try as many techniques, positions, angles, or apply more or less pressure on your brush to unlock its full potential.
● Day 1: Abstract marks and shapes
● Day 2: Still life (something from your desk or kitchen)
● Day 3: A quick landscape
● Day 4: An animal form (real or imagined)
● Day 5: A self-portrait or human figure
● Day 6–7: Free choice or redo your favorite
(Artist: Eric Johnson)
Want to add another bonus level to this challenge? Try limiting your color palette. Keep your color selections tight or within a theme. Working within a focused palette puts you into a mindset that is focused more on composition, value, and brushwork, not just color choice. A restricted color palette in art history that you may recall is Picasso’s Blue Period. During this time, his nearly monochrome works captured raw emotion using the few materials he had.
Color pallets you may consider are:
● One color plus black or white for shading.
● A triad (3 harmonizing colors)
● Grayscale
After participating in this challenge, take a step back and observe (without criticism). What has your subconscious been trying to tell you during the progression of this challenge?
● What surprised you?
● What felt good to paint?
● Did a new idea or technique show up when you weren’t trying?
Sometimes, the best way to get through a creative block is not by adding more options but limiting them. One brush, palette, a block of time, and space away from overthinking. Remember that our artwork isn't about control but rediscovery. Let the brush do what it was made to do, let the work be raw and emotional, and let yourself be surprised.
Start with one brush. Start with Trekell.
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<h2>How to Choose the Right Brush for Your Medium -and Why It Matters.</h2>
<p>Every brushstroke tells a story, so choosing the right brush for your medium is crucial. Vincent van Gogh's oil paint brushwork is that of a swirling storm with emotion sculpted in paint. David Hockney's acrylic brushstrokes are flat and graphic. In contrast, J.M.W. Turner's watercolors feature gentle, cloud-like sweeps across the canvas. The right paintbrush isn't about size, but also about control, texture, and getting the most out of your medium of choice. Your brush is your top tool. It helps you turn your ideas into reality. You can use it with thick oils, fast-drying acrylics, or flowing watercolors.
Let’s take a closer look at the best brushes for each medium.
For Oil Painting: Go Bold, Go Durable
Rembrandt created texture and depth within the shadows of his oil paintings. This type of brushwork requires brushes capable of handling thick paint and maintaining their shape. Treckell offers brushes with natural and synthetic options. These are perfect for handling the weight of your medium, with softer, springier options for detail work and glazing.
Ideal Brush Types:
● Filbert – Our Filbert and Long Filbert brushes provide the control desired when blending edges with smooth curves. These may be the preferred brushes for figurative rendering.
● Flat—If you are looking for a strong brush that can handle the weight of oil and produce confident blocks of color, try our Flat or Long Flat brushes. Your typical length brushes are great for up-close work, while long brushes are best for working at a distance.
● Round—For detailed work and drawing-like control, try our Round Brush. Create stunning fine lines and curved strokes. Apply various levels of pressure to help you create different effects.
Trekell Tip: Oils are slow-drying, so use durable brushes to push and sculpt paint.
For Acrylic Painting: Versatility Is Key
People know Bridget Riley for her precise acrylics. They move like hypnotic waves. The clean, sharp edges seem anti-brushstroke. Even invisible marks can leave a strong impression. Amy Sherald's portraits have a matte finish. They feature smooth, even layers of acrylic paint. You can hardly see any brushstrokes. Her restraint makes the color do the talking, with calm and deliberate visual power. You may consider the following to achieve this effect while using acrylic paints. Stiff synthetic bristles can handle acrylic’s fast-drying nature without becoming misshapen, and nylon or taklon are smooth, resilient, and easy to clean.
Ideal Brush Types:
● Angle—If you want to create clean lines, Angle Brushes are the best tool for the job. Trekell offers a variety of brush sizes that are perfect for edges and those hard-to-reach, tight corners.
● Bright—The efficiency of the flat ferrule and short bristles makes the Bright Brush excellent for your creative endeavors in creating bold, textured marks. The ability to precisely apply paint is beneficial when a medium such as acrylic allows quick, controlled strokes.
● Fan—The perks of using a Fan Brush come from its ability to create delicate textures, soft blend styles, and add dimensions to your work. Trekell's selection of various Fan Brush ferrule sizes creates endless opportunities for your artwork's potential.
Trekell Tip: Acrylics dry fast, so look for brushes that won’t fray or clog with paint. Make sure to exclusively use our line of brushes created explicitly for acrylic painting.
For Watercolor Painting: Soft Touch, Smooth Flow
John Singer Sargent's watercolor brushwork is bold and exhibits an effortless quality. His mastery lies in making complex subjects appear simple at first glance. Meanwhile, Georgia O'Keeffe's watercolors have soft edges where brushstrokes feel composed. Watercolor and gouache are great choices because they are fluid and forgiving. Using the right brushes makes a big difference when working with these media.
Ideal Brush Types:
● Round—The Round Brush is the watercolor MVP for washes and fine detail. The round tip holds water and pigment, ideal for maximum coverage on the page. This allows you to build up the layers of your medium as you see fit.
● Oval– The rounded bristles and flat ferrules combine to produce a stunning soft edge. These features of the Oval Brush can be handy for laying in pigment or water and absorbing excess media.
● Rigger – The tiny tip of the Rigger Brush is crucial for creating long, continuous lines and calligraphic details. When used to enhance finishing details, the results produced by this brush add a new level of sophistication to your work.
Trekell Tip: Watercolor requires fluid motion and pigment control. Look for brushes that hold their shape when wet. Try our collection of watercolor brushes for beginner-to-pro-level results.
Clean your brushes with attention to detail, regardless of the medium. Oil brushes need solvent or oil-based cleaners, while acrylic and watercolor brushes only need water and mild soap. Store your brushes upright to prevent the bristles from bending and to maintain their shape. Also, organize your brushes by medium to avoid mixing, which can cause residue and harm your paint or surface. Invest in your brush collection and allow your brush to reflect your vision. Your art deserves the right tools. Use Trekell's brushes to layer glazes in oils, create texture with acrylics, or apply washes in watercolor—mix and match Trekell’s brushes to complement your medium and style best.
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<h2>The 7th Annual 2025 Pet Portrait Juried Competition</h2>
<p>
Want to win a $1,000 CASH? Join us for our 7th Annual Trekell Juried Pet Portrait Competition!
Our furry, feathery, and scaly friends are always there to lend a paw, nuzzle, or cuddle when we need it. Now, it’s their turn to shine in the spotlight they deserve during our 7th Annual Trekell Juried Pet Portrait Competition! Join this paw-some event to celebrate your cherished pet through art. Your muse could be a tail-wagging pup, a purring kitty, or even a reptilian rockstar!
Share your pet's unique personality with the world through your art. From their soulful eyes to their silly and playful poses, we want to see portraits of your most loyal companions. Let your brush tell their story—one that makes tails wag and hearts melt. This is more than a competition—it’s a chance to immortalize the unsung heroes who’ve brought light into our lives. Show us your pet-tential and create a masterpiece worthy of your four-legged (or no-legged) muse.
Submissions are open now—don’t paws for too long!
How to Enter:
● Purchase one of our official 2025 Pet Portrait Panels to create your entry!
● All traditional mediums are welcome.
● Entries must be submitted by August 31st, 2025
● Multiple entries are allowed.
Meet This Year's Judge: Alai Ganuza
We’re thrilled to welcome Alai Ganuza as the judge for our 7th Annual Art Competition! A rising force in contemporary oil painting, Alai’s work celebrates color, emotion, and everyday beauty. Alai moved beyond photorealism and found a unique style. Her art features bold brushwork and celebrates everyday life. Working primarily with oil on wood, paper, and canvas, their expressive pieces convey joy, warmth, and authenticity.
Alai has over 630,000 followers on social media and in the art community. They use this platform to educate, inspire, and uplift other creatives. Their artistic journey is a testament to persistence, experimentation, and the power of showing up, even through life’s challenges. “I think there's no 'only one possible or right way' to do this. The important thing is to paint. Experiment, test things. But always be kind to the community because Art is not a one-person thing!”- Alai Ganuza.
Prizes by Category
(Artist: Yuki Pan, 2023 Advanced category winner)
Advanced: This category is for artists with 5+ years of experience mastering medium, design, and technique.
First Place: $1,000
Second Place: $750
Third Place: $500
(Artist: Kaitlin Daly, 2024 Intermediate category winner)
Intermediate: For artists with 2–4 years of painting experience and solid control of value and form.
First Place: $500
Second Place: $250
Third Place: $150
(Artist: Jessa Clements, Beginner category winner)
Beginner: For artists who have been painting for 2 years or less, exploring foundational skills.
First Place: $250
Second Place: $150
Third Place: $100
(Artist: Keira Mumford, Kids category winner)
Kids (12 & Under):
Celebrate and encourage young creativity!
First, second, and third place winners receive mystery prizes full of fun surprises.
(Artist: David Vegt, Top Animal category winner)
Top Animal Category:
Pro Team artists will choose their favorite dog, cat, and other pet portraits. Each winner receives a $100 Trekell Gift Card.
(Artist: Jamie Morris, 2023 Pro Team pick winner)
Pro Team Picks:
Selected by Trekell Pro Team members, these winners receive an exclusive brush set curated by the artist who picked them.
(Artist: Marina Zellers, 2024 Trekell Staff picks)
Trekell Staff Picks:
Eighteen standout entries selected by the Trekell team will each receive a $25 Gift Certificate.
Rules and Guidelines:
Eligibility and Winning Limitation:
● Each individual can win only once in the competition.
● No limit on the number of panels that can be purchased and entered.
Nature of the Competition:
● A juried competition, with prizes awarded based on skill and creativity.
● It is not a random lottery; winners are chosen based on merit.
Entry Requirement:
● Your entry is confirmed upon purchasing an official 2025 Trekell Pet Portrait Panel.
● Entries must be created on the official 2025 panel to be eligible.
● Submissions must be JPEG. Please keep submissions under 2 megabytes in size.
Submission Deadline:
● All entries must be received by August 31st, 2025, 11:59 PM PST.
● Late entries will not be considered.
Please review the rules and guidelines to ensure compliance and maintain the competition's integrity and fairness. Join us at Trekell, let your creativity shine, and become part of an inspiring tradition. Grab your 2025 Pet Portrait Competition Panel today and embark on a creative adventure!
Click here to see last year's winners!
Click Here to Purchase Your 2025 Competition Panel!
Click Here To Submit Your 2025 Entry!
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