What brushes should I use for watercolor painting?

Three characteristics are used to evaluate the performance of a watercolor brush: how much water/color does the brush hold; does the brush have and maintain a sharp point or edge; and does the brush snap back to its original shape. Traditionally, the best watercolor brushes are made with Kolinsky Sable. Kolinsky is regarded as the best grade of sable hair. Another option is squirrel, which holds more color than sable but has less snap. Camel hair (which is really pony or goat) is a more economical choice. Today, better quality synthetic-hair brushes and synthetic-sable combinations can be as good, if not better, than many natural-hair brushes. Synthetics are a more durable, and sometimes a more affordable, alternative to natural hair and still provide a high-quality performance.

How do I care for watercolor brushes?

To clean watercolor brushes, rinse them thoroughly in water, then wash them with a mild soap in warm water. Rinse under running water and lay them flat to dry. Once dry, store brushes bristle-end up. Always reshape your brushes before storing to prevent damage to the bristles.

How do I choose between Long Handle and Short Handle brushes?

Long handled brushes are recommended for easel style painting giving the artist additional length to stand back from the canvas. Short handled brushes are often used for table-top painting where the artwork is closer to the artist, and lies flat, such as with watercolor painting. Either type of handle that is most comfortable to the artist can be used.

What are the differences between brush shapes?

[Click here to review Brush Shape Differences.](https://www.dickblick.com/learning-resources/buying-guides/brush-shape-differences/)

What are the differences between brush fibers?

[Click to review brush fiber differences.](https://www.dickblick.com/learning-resources/buying-guides/brush-fiber-differences/)

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Silk Suncatchers

The natural translucent quality of silk paired with transparent paints rivals the glow of stained glass when held up to the sun. This is an easy way to teach introductory silk paintin.

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Torn Paper Portraits

In this lesson, students “paint” with torn paper using a limited number of values found in a grayscale image. Using torn paper instead of direct painting requires them to visually divide the gray areas into separate shapes and define each shape individually.

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Monotype Hoop-La

Functioning as both a painting and a print, a Monotype is unique and irreproducible. The “hoop-la” over Monotype can be experienced in your classroom with this simplified, safely water-based process using acrylic paint, printing foam and fabric. The technique builds the print a layer at a time and tools are used to remove or “subtract” color between layers. Stretch the finished print ona gold macramé ring for an instant frame.

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Watercolor Texture Casts

"Molding, casting, sculpting, painting and monoprinting — this simple project pulls all of these together into one low-relief sculpture that demonstrates the elements of texture and color. Texture is defined in clay by pressing objects in or sculpting with tools. Next, the clay is painted with watercolor and covered with papier mâché, which lifts the color as it dries, absorbing it directly into the casting."

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Bas Relief Paintings

Students will design and sculpt a dimensional piece of artwork, creating a variety of textures, lines and depths.

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Princeton Velvetouch Synthetic Brushes and Sets

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