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Let's talk a bit about brushes. What you need and why.

Watercolor brushes must have spring. They must be able to bounce merrily across your paper, and not go limp like an old rag. Camel hair and it's ilk are too soft, too limp. You want sable, it has more spring.

Kolinsky sable is by far the best, although a bit pricy. Red sable is next best, and in the larger sizes all that mortals can afford. The synthetic sables are close behind. There is a wide range of quality in the synthetics. Grumbacher™ makes some pretty good synthetics as does Robert Simmons, Creative Mark, Windsor & Newton and Richelson™. The "golden" synthetic hair reminds me of fishing line. The real sable brushes seem to hold more paint and water than any of the synthetics. One important point, never leave your brush sit in the water bowl for any length of time. The bristles will bend and probably won't ever straighten out completely. This is a great way to ruin even the best sable brush.

Testing a brush:  All good water color brushes must point properly. If it points well and is springy, it's a good brush, no matter what it's made out of. To test for pointing, swirl the brush in fresh water until it's thoroughly wet and full of water. Whap the brush smartly across your hand or the water jug. It should come INSTANTLY to a nice sharp point. Kolinsky always does. If the bristles don't come to a sharp point but remain in a fuzzy mess, then it will never give the control and joy of use that a good brush will. By the way, that nice sharp point is what allows you to use a larger brush for finer detail and to cut down on your total brush expenditures.

What do you need:  A one inch flat, a number 6 or 8 round That's it. Want more? Add an old bristle brush you can mash around with and use for dry brush techniques. Next, a good toothbrush, which is real useful for splatter techniques. Just rub it in wet paint, and flick the bristles where you will. It's also good for using opaque white to make snowflakes. Lastly, a long thin rigger brush for caligraphic strokes and delicate tree branches. You need nothing else.

What should it cost:  A Windsor & Newton #8 series 7 Kolinsky retails for close to $90. A good Robert Simmons #8 retails for about $8 and in most cases is almost as good. There is a LARGE mark-up on brushes. NEVER, NEVER pay retail! Actually you should never pay more than 50% of retail - shop around, or think Internet. The only problem there is that reputable art stores will give you some water so you can test for pointing before you buy a quality brush. After all, not all kolinsky grows on the same animal, and brush makers can have bad days! When I had my art store some salesman was always giving us special deals, so look for them. I remember the time I bought $70 retail brushes for $21. Remember , of course, that the distributor made his cut and the manufacturer made his profit, so what did that $70 top quality brush really cost? Moral is - look for deals.

Just tried a new brush called Steve Quiller, Richeson Professional, made in England. They are a synthetic blend and are quite good and inexpensive. My #12 round was $18 and looks like it will last a lifetime.

Care of Brushes:  Always store brushes straight up, handles down. Wash them occasionally with Ivory or similar soap, and keep them pointed when you put them up to dry. Never throw them in a box. If you work in the field, there are special brush boxes with springs in them that hold the brushes apart and prevent them from rolling around. Failing that, carry them in you shirt pocket with your pencil protector (well, we are using computers).

Really want a good deal? Look at the ads in the various watercolor and art magazines. Someone is always having a promotional offer of some kind. Good way to try brushes and pigments at low cost.

Most important, don't let your kids use your brushes for their artwork, or for touching up the car. Hide them when not in use, if necessary. I know from personal experience that brushes used for car touch-up are never quite the same afterwards.

Windspinner - Until next time!
©1997 John Beckwith