Much of the material in this article was provided by Loew-Cornell and is reprinted by permission.

• Introduction
• Media
• Bristle/Hair Characteristics
• Handle Length
• Surface
• Style/Shape of Brushes
• Determining Overall Quality in a Brush
• Quick Guide to Loew-Cornell Brush Lines

Introduction  

There is no right or wrong brush. If it "works" for you, that is all that matters. However the different qualities of various brush hairs will make each suited to different types of media and surfaces, and the shape of the brush can be used to make certain techniques and effects easier and faster. Selecting brushes based on these principles can make your painting easier and your brushes last longer.

Media  

Thick, heavy paint will require a stiffer brush to manipulate it. Softer and more absorbant brushes will hold lighter liquids better. The media at the top of the list are the thickest while those at the bottom of the list are the thinnest.

• Oils

• Tube Acrylics

• Bottled Acrylics

• Watercolors/Dyes

Bristle/Hair Characteristics  

Choosing a brush is largely a matter of personal preference, but each type of hair or bristle has its own unique characteristics. Some of the more popular types of hair used in artists brushes include:

• Natural Soft Hair:

  • Kolinsky — Finest red sable. Finely-pointed hair with superb spring, strength, and absorbency. Ideal for watercolor.

  • Red Sable — Any red hair from the weasel family. Many different grades are available on the market. Ideally they hold a fine point with good spring and absorbency. Well suited to smooth strokes and blending in oils, and for watercolor.

  • Ox — Lacks the fine tip of red sable, but is a stong, silken hair often used in moderately-priced brushes.

  • Goat — A relatively inexpensive hair. Possesses good absorbency with a soft, wiry feel.

  • Squirrel — Highly absorbent, finely-pointed hairs, but lacks the spring of red sable.

  • Camel — An all-encompassing term for brushes made from a variety of hairs, none of which are camel. They may include ox, goat, squirrel, or pony hair.

• Bristle — Coarse, strong hair that ideally has a natural curve and flagged tips. Well suited to work with heavier media like oils, acrylics, and tempera. White bristle comes in many grades. Black bristle is a stiffer, economically-priced hair.

• Synthetic Hair — Manufactured fibers of various thicknesses, each tapering to a fine point. They are available white or dyed (Taklon). The performance characteristics of synthetic brushes can vary widely. They are suitable for all media and ideal for acrylics.

• Synthetic Bristel — Stiff, coarse, tapered fibers lacking the flags and curve of natural bristle, but suitable for work on rough surfaces, and excellent for use in stencil and fabric painting brushes.

Handle Length  

Short-handle brushes are the choice for most craft and hobby applications when working at a table or other flat surface. A short handle is also the preferred length for watercolors. Long-handle brushes are designed for easel work so that painters may distance themselves from their work.

Surface  

• Watercolor paper is absorbent, easiest to work with brushes which will hold enough liquid for flowing strokes.

• Certain hairs will be more durable on thick or rough textures. The synthetic bristle used in fabric dye brushes is sturdy enough to get into the weave of heavy fabric. White nylon is more durable and economical for the "coloring book" style painting usually done on plastercraft and resin figures.

Style/Shape of Brushes  

The shape or style of a brush can affect the finished painting:

• Do you want texture in your paint?

• Do you want brush marks to show?

• Do you want a softer brush that can be maneuvered in a variety of ways?

• Do you tend to use too much or too little water inyour brush? The right brush can help you compensate.

• Specialty shapes can be used to make certain techniques and effects easier and faster:

  • The Rake and Filbert Rake are used for grass, hair, and fur.

  • The Ultra Round is used for line work. It is "The Ultimate Watercolor Brush."

  • The Dagger Striper is used for fast ribbons, leaves and fine line striping.

Here are some drawings and descriptions to help you choose the shapes you want.

Round		Use on point, or apply pressure to make thick-to-thin strokes.
Spotter		For fine detail.
Liner		Continuous curved or straight lines. Vary thickness with pressure changes.
Ultra Round		Use as a liner on point. Full belly provides a reservoir for paint.
Jackie's Liner		Mid-length liner.
Script Liner/ Long Liner		Scroll work, flowing thick-to-thin lines. Length of hair holds more paint than a regular liner.
Shader/Flat		Blocking in color, shading, blending, highlighting, and stroke work.
Bright/Chisel Blender		Short, flat strokes and blending, especially useful with heavy media.
Angle Flat/ Angle Shader		Tight shading, curved strokes. Popular rose petal brush.
Wash/Glaze		Washes, basecoating and applying finishes.
Stroke/One Stroke		Long, flat lettering brush.
Filbert/Oval		Strokes with soft edges. Blending, A natural flower petal shape.
Deerfoot Stippler		Texturizing brush. Use a dry brush and light pouncing technique for fur, shrubbery, and soft backgrounds.
Fan		Use dry or with tips loaded to create texture or smooth other brush strokes.
Rake®		Flat, texturizing brush with a naturally-fingered shape. Use for hair, grass, wood grain, feathers, and fur. Filbert Rake® creates the same effect with softer edges.
Dagger Striper		Long chisel edge for easy, fine lines. Vary pressure for thick-to-thin ribbon effect.
Miracle Wedge®		Can be easily loaded with 3 different colors for a variety of stroke effects.
Stencil		Use a dry brush with very little paint and circular or stippling technique.
Mop		Blending and softening washes.
Fabric/Scrubber		Flats and tapered rounds. These brushes are sturdy enough to withstand a scrubbing or stenciling technique on fabric and other surfaces.

Determining Overall Quality in a Brush  

Once a painter has decided on a hair type and brush shape based on their paint medium, surface, and technique, a review of the following telltale signs can help you quidckly recognize quality.

• Even overall shape.

• Suitable fullness.

• Spring and control

• Hand-crafted

• Seamless, quality metal ferrule

• Bristles:

  • Brush should measure true to size and generally appear full.

  • Tips or flags are natural ends. The brush has been hand-shaped and not cut. With bristles, also look for interlocked construction.

• Ferrule:

  • Seamless nickel-plated ferrule. A ncikel-plated ferrule will usually appear shinier, with darker tone than aluminum.

  • Double crimping assures the ferrule is securely attached to the handle with no wobbles.

• Handle:

  • Hardwood handle tapers to a comfortable, well-balanced shape with several coats of enamel or laquer finish.

  • Imprinted on the handle are size, series number, and brand. Other information may include hair type, shape, and country of origin. Size must appear by law. Country of origin must also be visible on the brush if it is not made in the USA.

  • End of the handle has been nicely rounded. The end can be used to make dots andother decorative marks.

Quick Guide to Loew-Cornell Brush Lines  

Brush Line	Hair Type
American Painter® 4000-Series	Synthetic - Taklon	*						*
Bristle Supreme-Arttec®	Select Chungking Bristle	*	*				*
Chinese Bristle	White Bristle	*	*				*	*
Classic Bristle	Chungking Bristle	*	*				*
FABric Dye	Synthetic Bristle	*		*		*
JOS-Stencillers	Synthetic Bristle	*		*		*
Impresario®	Fine Taklon/Squirrel	*			*				*
Kolinsky	Pure Kolinsky Sable								*
La Corneille®	Synthetic Golden Taklon	*	*		*		*		*
Mixtique®	Golden Taklon, Squirrel, Goat						*		*
Red Sable-Arttec®	Pure 1st-Quality Red Sable				*		*		*
White Nylon-Arttec®	Synthetic-White Nylon	*	*				*
White Nylon	Synthetic-White Nylon	*		*				*

Loew-Cornell also offers a variety of popular specialty series brushes including fitches, Oriental brushes, cutters, stipplers, scumblers, and more.