Introduction to Brushes
Brushes are a key part of every painter’s toolkit. They were found to have been used as early as the Paleolithic era – around 2.5 million years ago – to apply pigment. The early Egyptians used animal hair brushes to create tomb paintings, while the ancient Chinese used fine-tipped long-haired brushes, which can be traced back at least 6,000 years.
Whether you work in oil, acrylic, or watercolour, the brush – an extension of your arm and fingertips – is your connection to the paint and the surface. The right brush can help you make expressive marks, delicate lines, smooth colour blends, or bold textures.
Our brush range has grown from years of experience working with the world’s best brushmakers. We offer brushes that meet the highest standards in shape, spring, and durability. In this guide, we’ll help you understand what brushes are made of, how to choose the right ones for your medium and style, and how to care for them so they last for years.
Understanding Brush Anatomy
An artist's brush is made of three parts: the handle, the ferrule, and the hair (sometimes called ‘fibre’).
Handle
Because the handle is the part of the brush that you hold, its length, material, and design can influence how you paint. Brush handles come in different lengths depending on the medium and the artist’s approach.
Long-handled brushes are most often used for oil and acrylic painting. They let you work at arm’s length, helping you maintain perspective and see the whole composition as you paint. They're ideal for larger canvases and more gestural mark-making.
Short-handled brushes are commonly used for fine detail work. They allow you to work closer to the surface, offering greater control. This makes them great for smaller scales and delicate techniques. They’re ideal for detailed work in watercolour and gouache.
Brush handles are most often made from wood, which is sealed and lacquered to prevent water damage and improve grip. Some are made from plastic or acrylic, which may be more resistant to swelling or cracking over time. Some brush ranges also have ergonomic grips or rubberised coatings for added comfort during long sessions.
Most handles are printed with information such as:
- The brush series or range
- The size (usually a number)
- The brand name
This makes it easier to find replacements or reorder favourites. It also helps you keep track of what each brush is intended for as your collection grows.
Sustainability is becoming more important in brush design. Handles made from renewable or recycled materials are a popular eco-friendly alternative to wood. Some brushmakers now use recycled brass or aluminium for ferrules. This helps to reduce waste and conserve resources. These sustainable options perform just as well as traditional materials while reducing environmental impact.
Ferrule
The ferrule is the metal band that connects the brush hair to the handle. While both string and glue can be used to attach the hairs to the ferrule, glue is more commonly used in most modern brush types, whereas string is typical in traditional brushmaking techniques. The ferrule plays a crucial role in keeping the hair secure and maintaining the brush’s shape over time. A well-made ferrule ensures that the hair does not shed, shift, or become loose with repeated use.
The crimp is the part where the ferrule is pressed into the handle. This is what secures the ferrule to the brush. A strong double or triple crimp ensures the ferrule fits tightly and that the brush head remains stable during use.
Most ferrules are made from nickel-plated brass or aluminium. These are chosen for their resistance to rust and corrosion.
Seamless ferrules are made from a single piece of metal. These are more durable and are less likely to split or weaken over time compared to seamed ferrules, which are formed by bending a flat piece of metal and soldering the edges. Nearly all modern artist brushes are seamless, only large flats are not.
Quill brushes are a traditional alternative to the standard metal ferrule. These brushes use a natural feather or synthetic quill to bind the brush hair to the handle. These are typically tied with wire or string rather than crimped like metal ferrules. A natural quill brush needs special handling. It must never be left sitting in water as the quill ferrule will quickly become mouldy and deteriorate.
Because plastic is both more durable and easier to source, modern quill brushes usually use a transparent plastic ferrule tightened with wire instead of a natural bird quill. Quill brushes are usually large pointed round brushes made with soft natural hair that are often used for watercolour painting.
Hair (or Bristles)
The hair, often called the tuft, bristles, or fibres, is the part that holds and applies paint. This may be natural hair, synthetic, or a blend. The shape and material of the hair determine how the brush performs.
Usually, it is the type of hair that is the most significant determining factor in the price of a brush. For example, a starter brush for acrylic made with synthetic hair will be a fraction of the price of a professional watercolour mop brush made with the finest Kolinsky sable hair.
The softness of the brush hair directly affects how it interacts with different paint viscosities. Soft natural hairs like sable or squirrel are best with thin, fluid paints such as watercolour paints and inks. This is because they can hold large amounts of liquid paint and release it smoothly. These delicate hairs would struggle with thick, heavy body paints, which require firmer bristles to move and manipulate the paint effectively. Stiffer hairs like hog or firm synthetic fibres are designed to handle viscous paints, pushing through thick mediums and maintaining their shape under pressure. The key is matching the hair's flexibility and strength to the paint's consistency.
Brush Sizes
Brush sizes can be confusing, as there is no universal standard across brushmakers.
A brush's size is printed on the handle. Most ranges go from tiny detail sizes like 5/0 (also written 00000), through 0, 1, 2, and upwards in whole numbers to 20 or larger. However, since there is no universal standard of sizes across brushmakers, this number may not give you the actual dimensions. A size 10 in one brand can be twice the size of a size 10 in another brand. It is always best to check the actual measurements when shopping online.
Some flat brushes are numbered with their actual size – as 1/4 inch, 1/2 inch, or 50 mm, 100 mm, etc. This measurement is taken across the width of the hairs where they meet the ferrule.
To help demystify the system and choose the right brush for your needs, we recommend reading our full guide: ‘Understanding Brush Sizes’. This article looks at the differences between the most common sizing systems, and why it's best to check the actual measurements when shopping online.
Types of Hair in Artist Brushes
Brush hairs come in many types. The oldest brushes ever found were made of animal hair. However, synthetic alternatives have emerged as a popular alternative.
Synthetic Fibre
Man-made fibres designed to mimic the qualities of natural hair. Durable and consistent.
Sable Hair
Known for softness, spring, and great colour-holding capacity. Offers excellent point and control.
Squirrel Hair
Very soft and highly absorbent. Lacks spring; flows gently with hand movement. Great for washes and delicate blending.
Hog Hair
Coarse and strong with natural split tips. Holds thick paint well. Perfect for oils and heavy-body acrylics.
Goat Hair
Soft, absorbent, and gentle. More body than squirrel hair but with less spring than sable hair. Great for large washes, blending, and calligraphy. Used in hake and mop brushes.
Mixed Hair
Combines different types of natural or synthetic hair. Can be tailored for specific techniques or budget-friendly versatility.
Synthetic Fibre
Synthetic fibre was first developed in the early 20th century. The breakthrough came in 1938 when nylon was invented by Wallace Carothers at DuPont. This marked the beginning of truly commercial synthetic fibres. This was followed by the development of polyester in the 1940s, acrylic in the 1950s, and many other synthetic materials that revolutionised the textile industry.
In artists' brushes, these man-made fibres are designed to imitate the popular features of natural hair. For example, they create tiny micro-craters on the surface of the fibres. These replicate those found in natural hairs, which are valued for their better colour and water-holding ability.
Synthetic brushes are durable, consistent, and often cheaper than natural hair brushes. Many synthetic ranges mimic sable or hog with excellent results and can even improve on the natural fibres, for example by making a hog bristle substitute that isn't negatively affected by water. Read ‘The Development of Synthetic Brushes’ to learn more.
We have also explored the specific properties of synthetic fibres, taking a close-up look at how they’re engineered to mimic natural hair. We looked at how they can be tailored to different painting styles. Read ‘What Makes Jackson’s Synthetic Brush Fibres Special?’ to learn more.
Sable Hair
Sable is considered one of the finest hairs for artist brushes. It is worth noting that what brushmakers call 'sable' is really hair from a species of Siberian weasel. It combines softness, spring, and absorbency. This makes it ideal for controlled, expressive strokes and delicate washes in watercolour.
The highest quality sable brushes use hair from the Kolinsky, a species of weasel found in the cold climates of Siberia. The hair is taken from the tail during the winter season when it is at its thickest and most resilient. These brushes hold an excellent point and have just the right amount of spring to return to shape with every stroke.
Another highly regarded hair is Taymyr sable (also spelled Taimyr or Tajmyr), from the Taymyr Peninsula in northern Siberia. The harsh cold where these Siberian weasels live requires thick, resilient fur. Many artists prefer Taymyr over standard Kolinsky sable as it possesses excellent spring and water-holding capacity.
Red Sable is a more affordable sable hair. It has high absorbency, but less spring and resilience than Kolinsky hair.
Black Sable brushes are often made with ox hair or fitch hair. These brushes cost less than real sable and work well for oils and acrylics. They may be mixed-hair brushes rather than a single hair type.
Because sable hair is a natural material, each brush can vary in colour and feel. However, when properly sourced and hand-shaped by an expert brushmaker, a sable brush will give you consistent and exceptional performance across time. They are a long-term investment that will last you for many years, especially when cared for properly.
Squirrel Hair
Squirrel hair is known for its softness and absorbency. This makes it one of the best brushes for applying flowing washes with watercolour. The hairs are very fine and naturally taper to a delicate point, which allows for both broad strokes and precision when needed.
Unlike sable, squirrel hair has very little spring or snap; it doesn’t bounce back into shape quickly. Instead, it flows with the motion of your hand, creating fluid, expressive marks. This makes it ideal for techniques like wet-on-wet, soft blending, and graduated washes.
Squirrel hair is most often used in mop, quill, and wash brushes, where its generous water-holding capacity is most valuable. The best squirrel hair is sourced from species such as Kazan or Blue Squirrel (never Grey or Red Squirrels). These brushes are traditionally handmade and tied with wire in a quill, rather than a metal ferrule.
Squirrel hair is delicate and should be treated with care. While it doesn’t have the resilience of sable or synthetic, its ability to hold large volumes of water and pigment with such lightness makes it an essential brush for many watercolourists.
Hog Hair
Hog hair comes from a pig and is a coarse, strong, and responsive bristle traditionally used for oil painting. It is also good for use with heavy body acrylic paints.
The natural stiffness and split ends – known as flagging – allow hog hair to carry thick, heavy-bodied paint and deliver bold strokes. The hairs are 'dressed' so that the natural curl points inward toward the brush tip. While designed for vigorous techniques like impasto, scumbling, and dry brushing, individual hairs can break with heavy use or rough handling. However, a worn hog brush can take on character and unlike most other brush fibres, a worn bristle brush is still useful to many oil painters. Not for detailed work, but for gestural marks and blending work. Hog brushes become softer after repeated use.
Hog hair is often bleached and processed to soften it or shape it into flats, filberts, brights, and rounds. The quality of hog brushes can vary significantly. The best hog bristles are unbleached and unboiled, making them stiffer and more durable, with plenty of natural flags that help hold more paint. If the hair is too soft, it won’t maintain its shape well during use.
While mainly associated with oil paints, many artists use hog brushes for acrylics as well. They are popular when working on textured or large-scale surfaces. Hog brushes have less longevity when used with water-based media as the bristles absorb water, causing the hair to swell.
High quality hog brushes are made from Chunking or Chinese hog bristle, which is sourced for its strength and naturally split tips. Hog brushes are ideal for artists who want visible brushmarks and expressive textures.
Goat Hair
Goat hair is soft and absorbent. It is a great choice for those that need gentle handling and a high water-carrying capacity. It’s often used in mop brushes, wash brushes, and hake brushes, especially for watercolour, ink, and calligraphy.
Unlike squirrel hair, goat hair has more body and resilience. That being said, it still lacks the snap of sable or synthetic fibres. Goat brushes are ideal for broad washes, blending large areas, and softening edges without disturbing previous layers of paint.
Goat hair is naturally white or off-white and slightly coarser than squirrel. It is often used in multi-purpose brushes, such as those for background washes or surface preparation. In Japanese and Chinese brushmaking, goat hair is valued for Sumi-e and calligraphic work, where its softness supports flowing gestures and expressive marks.
Some brushes use a blend of goat hair and other fibres (like horse or synthetic) to balance absorbency with strength. Goat hair is also commonly used in children's brushes and starter sets due to its affordability and gentle handling properties.
Mixed and Other Hairs
Some brushes contain a blend of different types of fibre to get the best of both worlds. This allows the brushmaker to have complete control over softness, absorbency, and strength.
Pony hair is a soft, natural fibre taken from the mane or tail of a pony. It is cheaper than sable or squirrel and is often used in mixed-hair, general-purpose, or starter paintbrushes.
Despite the name, camel hair brushes are not made from camels. Instead, they are typically made from a blend of soft animal hairs, such as pony, squirrel, goat, or ox, and sometimes synthetic fibre. The term ‘camel hair’ is a generic label that refers more to the brush's use than its specific material. The name may come from the fact that, historically, camel hair was used for ancient Chinese ink brushes (and for camel hair cloth).
Camel hair brushes are cheap and versatile, often used in children's art supplies, school sets, or basic wash brushes. They are soft and absorbent, but generally lack the precision and spring needed for fine detail.
Brushes By Medium: Oil, Acrylic, Watercolour, Ink & More
Different mediums and techniques call for different brushes. Here’s what to look for based on your preferred painting medium:
Brushes for Oil Painting
Oil brushes usually have long handles and firm bristles. Hog hair is a favourite for its ability to push thick paint around the surface.
Some artists also use sable brushes for fine detail or glazing. Look for brushes with robust ferrules and bristles that keep their shape under pressure.
Some of the most popular oil brushmakers include Da Vinci, Pro Arte, Escoda, and Jackson’s. Learn more in our Guide to Oil Painting.
Brushes for Acrylic Painting
Acrylic paint dries fast and can be harsh on brushes. We recommend that you choose acrylic brushes with synthetic fibres that can stand up to regular cleaning.
Acrylic brushes can be soft or firm, depending on whether you’re working with thin glazes or thick impasto. Popular Catalyst tools from Princeton allow you to create a wide range of marks and can be wiped down after use. Learn more in our Guide to Acrylic Painting.
Brushes for Watercolour and Gouache Painting
The best watercolour brushes are soft, absorbent, and springy. They are designed to hold lots of water and pigment. Sable, squirrel, or top quality synthetics are the most popular. A short handle will give you control for detailed or delicate work. You can learn more in our complete Guide to Watercolour Brushes.
Gouache can be used much like watercolour, so soft, absorbent brushes are ideal. For more opaque or dry brush techniques, especially with acrylic gouache, a firmer brush like synthetic or soft hog can provide extra control and precision. Short brushes are most common for gouache, offering comfort and precision.
Brushes for Ink Painting
Ink brushes are made with soft, absorbent hairs such as squirrel, goat, or synthetic alternatives. They are designed to carry large amounts of fluid and release it gradually for smooth, expressive lines.
Traditional ink brushes used in calligraphy and Sumi-e have a fine point and a natural taper. This is ideal for both line work and washes. For more controlled or detailed ink drawing, smaller watercolour or rigger brushes also work well. Learn more in our Guide to Ink.
Brushes for Pastel Painting
While soft pastels are usually applied directly by hand, brushes can play an important role in blending, softening edges, and removing excess pigment. Look for soft-hair brushes, such as goat, pony, or synthetic mops, that can gently move pastel without disturbing the surface.
Fan brushes, stipplers, and foam applicators can also be used creatively to manipulate layers of pastel, especially when working with powdered pigment or mixed media techniques. Learn more in our Guide to Pastel Painting.
Brush Shapes and What They’re Used For
From Left to Right: Round, Filbert, Fan, Rigger, Flat, Round, Round, Angle Shader. (Princeton Velvetouch Brushes)
Brushes come in many shapes, each with its own purpose. Here are some of the most popular brush shapes:
Round
One of the most commonly used shapes. A round watercolour brush is designed with a full belly and a fine point. The belly holds lots of fluid paint so that you can make long continuous lines and the belly feeds the tip.
Flat
This straight-edged shape is ideal for bold strokes, blocking-in, and blending. This is one of the most versatile shapes. There are flats, long flats, and short flats. Short flats are also called brights. Great for filling in an area that needs to start with a straight edge. Can also be used turned on the edge to make a thin line.
Filbert
This is a flat brush with a rounded tip. Great for preventing hard edges at the beginning of a stroke. It is very versatile. There are filberts, long filberts and short filberts. An extra long filbert is called a cat's tongue. Great for soft edges and blending.
Bright
Brights have short, flat hairs that offer great control. For sharp, powerful strokes.
Fan
As the name suggests, this shape features spread-out hairs like a traditional fan. Used for blending, soft textures, or special effects.
Rigger (or Liner)
These small round brushes have extra-long bristles. They are perfect for fine lines, branches, and lettering.
Mop
A mop is a large, round, soft brush. Good for watercolour washes or softening edges.
Dagger or Sword Liners
These brushes have slanted tips for expressive, calligraphic strokes. They are popular with botanical artists and illustrators.
To learn more, read ‘Understanding Brush Shape Names, Hair, and Applications’ on Jackson’s Art Blog.
Specialist Brushes
Many brushes are designed for particular techniques or effects:
Brushes for Priming and Varnishing
Priming and varnishing brushes are wide and soft. They are designed to give smooth coverage without bubbles or streaks. They are available in a wide range of sizes to suit all surfaces.
Stencil Brushes
These are round, stiff, and flat-ended brushes. They are most often used for dry brushing through stencils in a stippling, stabbing manner.
Hake Brushes
Hake (pronounced 'ha-keh’) brushes are soft, wide brushes that are most often made of goat hair. They are a type of traditional Japanese brush used for ink painting, watercolour, and much more.
These brushes are known for their long, flat bristles and their ability to hold a large amount of liquid. This makes them ideal for creating smooth and even washes of colour.
Sumi-e Brushes
Sumi-e (pronounced 'soo-mee-eh') brushes are similar in style to some watercolour brushes. They have a thick wood or metal handle and broad, soft hair that, when wetted, should form a fine tip.
Gilder’s Tip
A Gilder’s Tip is used to lift and apply delicate sheets of metal leaf. The brush is lightweight with thin, soft hair, so as to be extremely gentle to the fragile leaf.
Choosing the Right Brush for You
The right brush depends on your medium, technique, and personal preference. Think about how much detail you like in your work, the type of mark you want to make, and how much paint you use.
A good starting point is to try a few different shapes and hair types in a brush set. Once you start to work out what works best for you, you can then invest in a few high quality brushes that will perform well and last. Over time, you’ll build a collection that suits your style and grows with your practice.
Brush Cleaning and Care
A well-cared-for brush can last a lifetime. While it may feel time-consuming, regular cleaning is the best way to prolong the lifespan of your brush.
The key is to clean your brushes properly after each use and store them with care.
Cleaning Steps
1. Remove excess paint:
Watercolour and gouache: remove excess paint with a cloth before rinsing in a jar of water.
Acrylic: remove excess paint from the brush with a rag or a paper towel, then rinse in water. A plastic brush washer is useful – the bottom of the pot has ridges that help shift stubborn paint.
Oil: remove excess paint from the brush with a rag or a paper towel, then rinse in solvent or citrus-based cleaner contained in a metal container or glass jar.
2. Use brush soap: Work into a lather to remove remaining paint using your fingers or a brush egg, especially near the ferrule.
3. Rinse thoroughly: Repeat until water runs clear.
4. Blot and reshape: Gently blot on a towel and reshape the brush tip with your fingers.
5. Dry properly: Dry flat or hang with the tip pointing down in a well-ventilated area.
It's beneficial to develop the habit of rinsing your brush and resting it on a table when not in use. Allowing it to sit in water or solvent can loosen the ferrule and cause the handle's lacquer to split and peel off.
Some solvents can melt or degrade plastic, so it's important to use a metal container or glass jar for holding solvent when rinsing brushes. Stainless steel solvent pots are a useful option, especially for painting en plein air, as they often come with secure lids and clips to prevent spills during transport.
If you are using watercolour, it is rarely necessary to use brush soap. If you do, ensure that you rinse the brush thoroughly, as soap residue can destroy watercolour paper sizing.
If you accidentally leave oil or acrylic paint on a brush and it hardens, you can use a specialised brush cleaner to remove the dried-on paint. This involves soaking the brush in the cleaner for a few hours or overnight before rinsing it thoroughly in water. The brush cleaner may discolour natural hair, but it will make the brush usable again.
Many brush soaps and cleaners contain ingredients like vegetable or olive oil which soften and condition brush fibres. Brush conditioners can help revive natural hog hair brushes which have lost their suppleness. Avoid using regular hair conditioners to treat your brushes, as they often contain silicones which can interfere with their paint-holding capacity.
You don’t need to throw away old brushes that have become splayed or misshapen. They make useful tools for expressive mark-making.
For specific tips for each medium, read ‘Brush Cleaning Tips For Painters’ on Jackson’s Art Blog:
Cleaning Oil Painting Brushes (traditional and water-mixable oils)
Cleaning Acrylic Painting Brushes (including acrylic inks and acrylic gouache)
Cleaning Watercolour Brushes (and those used with traditional gouache)
Cleaning Drawing Ink Brushes
Cleaning Alcohol Ink Brushes
Frequently Asked Questions
Brushes: Popular Questions from Artists
An explanation of the difference between synthetic and natural hair brushes
The use of animal hair in artist brushes has developed over many centuries. Over time, the industry has learnt what hairs are best for each specific application of colour. The use of synthetic brushes started during the 1970s and is now the most commonly used brush hair.
Read ’The Development of Synthetic Brushes’ on Jackson’s Art Blog to learn more.
Understanding the stiffness of artist brushes
Stiffness is an important consideration when choosing the brushes that are best for you. Stiff brushes, such as those made from hog hair, are much better at moving thick, buttery paints than soft brushes. It can also be an aesthetic choice, as stiff brushes will leave visible brushstrokes while softer ones will not.
Understanding brush handle length
Brush length affects control and comfort. Long-handled brushes are often used for easel painting, allowing the artist to step back from the canvas.
Short-handled brushes provide more control for detailed work and are commonly used for close-up techniques, such as watercolour or fine detail in acrylic painting.
How to use Jackson’s Marseille Soap
Read 'How to Clean Your Oil and Acrylic Brushes Using Jackson’s Marseille Soap' or 'Brush Cleaning Tips for Painters' on Jackson's Art Blog.
Cleaning oil paintbrushes without solvent
Cleaning oil brushes without solvent is simple. You can use safflower oil and a rag to squeeze the bristles until all the colour is gone. Then follow up with brush soap to remove the remaining oil. Learn more about halfway down in this article.
Reshaping your paintbrush
Steam from a kettle or the warmth from a hairdryer will usually work to reshape a natural hair artist brush. Place it in the steam for a moment and then carefully reshape the tip with your fingers. Repeat a few times. Then dip the brush in a gum arabic solution and let it dry to help with reshaping.
Dipping in very hot water and reshaping with your fingers can sometimes help with a synthetic brush, but they can't always be reshaped.
How to fix splayed hairs on a sable brush
First, clean/remove any paint that has dried at the base of the hairs near the ferrule with brush soap or cleaner. Next, rinse and then put the kettle on. Once the kettle starts to boil, place the brush head (no fingers) into the steam for a few seconds, then remove from the steam and – wearing gloves if necessary – start shaping the brush hairs back into shape. Repeat a few times if needed.
When to replace your brush
If your brush begins to fray, lose its shape, or no longer provides the same control as before, it may be time to replace it.
Brushes that shed bristles or fail to maintain their structure during use will not perform effectively, affecting the quality of your artwork.
Glossary
B
Bristle
Refers to the stiff, coarse fibres of a brush. Often used with heavy body paint. Bristles may be natural (such as hog hair) or synthetic. They are used for their durability and capacity to create visible brush strokes.
Brush Care
The maintenance routine for brushes. Includes regular cleaning, proper drying, and careful storage. Good care helps prolong the life and performance of a brush.
Brush Handle
The part of the brush you hold. Oil and acrylic brushes usually have longer handles for working at a distance. Watercolour brushes tend to have shorter handles for greater precision.
Brush Hair
The collection of fibres that hold the paint on a brush. These hairs can be natural, such as sable, hog, or squirrel hair, or they can be synthetic. The quality and type of brush hair affect the brush’s performance.
C
Camel Hair
A general term for cheap brushes made from a blend of animal hairs, such as pony or goat. Despite the name, they rarely contain camel hair. Used mostly in student or hobby brushes.
Cleaning Routine
A series of steps to clean brushes after use. Typically, this involves removing excess paint, lathering with brush soap, and rinsing with water or solvent. The brush hair is then blotted and left to air dry.
D
Dagger Brush
A specialist brush with an angled tip. Allows for expressive lines and varied stroke widths. Popular with botanical artists and illustrators.
F
Fan Brush
A brush shaped like a fan. Used for blending, creating soft textures, and special effects such as foliage or hair.
Ferrule
The metal band that secures the brush hair to the handle. It helps keep the fibres in place and maintains the brush’s structure.
Filament
An individual strand that makes up the brush hair. Each filament contributes to the brush’s ability to hold and apply paint.
Fibre
The material from which the brush hair is composed. Fibres can be natural - like those from sable or hog - or synthetic. The fibre will influence the brush’s flexibility and durability.
Flat Brush
A brush with straight, flat bristles. Ideal for bold strokes, blending, and covering large areas. Versatile across all mediums.
G
Goat Hair
Soft, absorbent hair. Often used in mop and wash brushes. Suitable for watercolour, calligraphy, and much more.
H
Hake Brush
A wide, flat brush with long, soft bristles. Traditionally made of goat hair. Used for washes, ink painting, and more.
Hog Hair
Coarse natural pig hair. This type of hair is most often used in oil and acrylic brushes. This is because it can handle thicker paints and creates strong brush marks.
I
Impasto
A technique where thick layers of paint are applied to the surface. This results in textured, three-dimensional artworks. Brushes with firm, coarse bristles are best suited for this style.
K
Kolinsky Sable
Premium sable hair sourced from the tail of the Kolinsky weasel. Prized for watercolour brushes due to its spring, absorbency, and sharp point.
M
Mop Brush
A large, rounded brush. Ideal for washes and softening edges. Typically made from squirrel or goat hair.
P
Pony Hair
A soft and inexpensive natural hair from pony manes or tails. Often used in student brushes for watercolour.
Q
Quill Brush
A brush bound with wire or thread rather than a metal ferrule. Often using a natural or synthetic quill. Common in traditional squirrel or goat mop brushes.
R
Rigger Brush
A brush with long, thin bristles. Ideal for fine lines, detailing, and lettering. Originally used for painting ship rigging.
S
Sable Hair
Fine, soft natural hair for watercolour brushes. Sable hair holds water well and maintains a sharp point.
Snap
The ability of a brush’s hair to quickly return to its original shape after being bent. This quality is valued for producing dynamic and expressive brush strokes.
Squirrel Hair
Very fine, absorbent hair that tapers to a fine point. It is often used in watercolour brushes. Great for wash and mop techniques.
Stencil Brush
A short, round brush with stiff bristles and a flat top. Used for dry brushing through stencils without bleeding under the edges.
Synthetic Hair
Man-made fibres. Designed to copy the performance of natural hair. Synthetic brushes offer a good snap and can last longer than natural hair. They can be used for most painting techniques.
T
Taper
The gradual narrowing of brush hair toward the tip. This allows for precision when painting.
W
Wash
Dilute paint that is applied to a surface. Creates a translucent layer of colour. It is often done in a generous, sweeping manner. Can also refer to brush care or cleaning.