Quality of natural hair brushes are determined by the shape of each individual hair, as in how much of a point does it come to and how tapered the point is. It is also important how tightly the hairs stick together when wet. Spring and strength of the hair determine durability. Natural fibers hold water in the structure of the fiber and release liquids in a more controlled manner than synthetic fibers.

Red Sable brushes are said to be the best quality and are the standard that all brushes are held to. Red Sable brushes come from any red colored weasel, the males produce longer hairs than the female, and each hair comes to fine point. The collection of hairs will hold tightly together when wet, making them excellent for applying media like watercolor and thinned oil and acrylic paints to smooth surfaces like paper or ceramics in even strokes. Other animal hairs like fitch, mongoose, and badgers are used to make brushes of comparable quality at a lesser price. Sabeline brushes use ox hair that has been bleached and dyed to look like red sable.

Camel hair brushes are not made from camel hair, but and number of animals including pony, squirrel, goat, or ox. These brushes are of a lower quality than sable and are good for lettering or mop brushes to blend oil paints. School-grade brushes are often made from pony hairs taken from the mane because the long hairs can produce several brushes. Cutting the hairs removes the natural tip of the hair. “Camel hair” can be blended with synthetic fibers to increase absorbency and performance without a great increase in price.

Bristle brushes come from the stiff hairs of pigs, boars, or hogs. The stiffness is ideal for applying thick media like oil and acrylic paints to slightly textured surfaces like canvas. The natural tips are “flagged” or split acting as little brushes. If the ends are blunt, that indicates the hairs have been cut and it is not a quality brush. A quality bristle brush will also have an interlocked construction, meaning the natural curve of the hairs all point to the center of the brush, leading to superior shape retention.

Weights may be expressed in grams per square meter, gsm, or pounds per ream, lb. Thicker paper weighs more, so when looking for a thick paper for watercolor or other art project choose one with a higher weight.

There are a few different sorts of projects where paper weight will be important. If you are creating a book, the cover needs to be thick enough that it is as durable as you need. The inner pages, if they are just text need to be just heavy enough that the ink won’t soak through when printed on both sides. Anytime the paper will be saturated, it should be of appropriate weight. Paper construction projects need to be mindful of weight in regards to durability and type of fastener (i.e. glue) to be used. Origami or other folding projects will generally want thin paper. When making cards or envelops, too heavy of paper will cause strange, lumpy folds so test out a few weights before you purchase in bulk.

If you are indeed planning on painting your paper, it may first need to be stretched to prevent buckling. When paper absorbs water, it may dry in a way that you do not desire. If you want your paper to dry flat and smooth and it is less than 356 gsm or 260 lb, it may need to be stretched. You can experiment with a small bit of paper by painting it as you normally would and see how it dries. If it buckles, you should stretch it. Stretching paper is not terribly difficult, but it is tricky. Basically you soak the whole sheet of paper, smooth it against a flat board, use gummed tape to fasten the edges to the board, and allow the paper to dry evenly. The next time the paper is wet, it will not buckle or warp. The advantage of user paper over 356 gsm or 260 lb is that you never have to stretch it, it can withstand several applications of paint and glaze, and it will be more durable.

Brushes serve the purpose of applying a medium to a surface.

• The first aspect of brush selection takes into account the viscosity, composition, and cleaning solvent required. Some brushes are prone to damage with certain solvents, so it is important to understand the chemistry of the materials you are using.
• Next, you will choose a brush based on the texture of the surface to be painted.
• Finally, you ideal brush will depend on the desired outcome of your painting. Painting a realistic scene or mural on a highly textured wall will require very different tools than a detailed painting on a smooth surface.

One of the most important aspects of your brush is the type of hair. You can choose from natural soft animal hair, bristle, or synthetic fibers.

Synthetic fibers are generally less expensive and less prone to damage and breakage than natural fibers. However, the non-porous quality of the fibers that make synthetic brushes easy to clean, may affect how well the medium flows from the brush to the surface. Synthetic blend brushes combine the durability of a synthetic brush with the ease of use of a natural brush.

The shape and length of the brush is very important in the desired outcome, and your frustration getting there. If you want nice long strokes on a canvas, you will need a relatively thin medium and long, tapered brush. For blending or adding shadows you may want a flat brush with paint only applied to one corner. For a highly textured end piece, you will need a thicker medium applied with shorter brushes, maybe even a knife.

If you are new to painting, you should feel free to experiment. Buy a few different brushes with a similar shape and different fibers. Apply your medium with the same technique with the different brushes and notice how each feels. Thin out the medium and try it again. Try a few techniques and styles and you will find what works best for you. Remember that in art, everyone is different. Several people could get a similar end result with totally different styles, techniques, tools, and media. Painting is a personal feeling, so use what feels best and works for you.