Beyond the Brush: A Guide to Paint Brushes | Jason Kwidd | Skillshare

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Beyond the Brush: A Guide to Paint Brushes

teacher avatar Jason Kwidd, Just a guy making videos about Art!

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (57m)
    • 1. Introduction

      1:27
    • 2. Brush Anatomy

      3:46
    • 3. Brush Hairs

      2:17
    • 4. Brush Types

      6:02
    • 5. Brush Applications

      13:40
    • 6. Quality, Care and Cleaning

      7:58
    • 7. Project (part 1)

      9:23
    • 8. Project (part 2)

      11:57
    • 9. Closing

      0:53
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About This Class

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Have you ever looked at a paint brush and thought: "Why is this designed this way?" Than you're in the right place!

      Hi, my name is Jason Kwidd! I created this class because I realized that there isn't enough information in one place, explaining why paint brushes are the way they are. See a void, fill a void I suppose. I designed these lessons with beginners in mind, but the information in them is useful to artists of all levels. Taking inspiration form personal lack of knowledge in my early years, I crafted a lesson plan that will help all artist find the right tool for the right job. 

      Knowing how a brush works and what it can do, is so much more important than we understand. The aim is to bridge the gap between what a Brush can do, and what it was made to do. In today's class we'll go over:

Brush Anatomy: How a brush is designed

Brush Hairs: what type are used, and for what reason

Brush Types: What brushes are made for and why

Brush Applications: How to use each designated brush

Brush Care: How to understand quality and how to care for your brushes

Project: what to do with your brushes now that you understand them 

            At the end of this class, you'll have a full understanding of your brush, so you can create compelling art!

            In my previous class ( Learn to Paint Acrylic Landscapes ), I taught how to paint a landscape from start to finish, and if you couple it with this class, you'll be making master paintings in no time.  

Don't forget to LIKE, FOLLOW and SHARE. Also, follow me on Youtube and Instagram at JASON KWIDD, link is also in the profile

      

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Jason Kwidd

Just a guy making videos about Art!

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Transcripts

1. Introduction: no matter what medium you're working with. Salvia water color or acrylic oil, ink, pen, pencil, whatever that is. The brush is the constant among all of those. Hi, my name's Jason quit. I am an art teacher, acrylic painter and youtuber from Chicago, Illinois. So I have spent roughly the last 15 years learning the little nuances of art so you don't have to. My aim, I suppose, is to alleviate some of the financial burden that it takes on people while trying to find their own art style. Because spoiler alert art is expensive. Today were going to be talking about Rush is now. The brush is the essential tool for any artist understanding your brush. What it can do and how it works is paramount to creating compelling art. In today's class will be going over everything you need to know about brushes. We'll go over the anatomy of a brush. The most common types, the different applications of each quality care cleaning. The goal is to take away some of the guesswork behind what is the right tool for the right job. So with that being said, welcome to beyond the brush strap in and let's get started 2. Brush Anatomy: The earliest paintbrush dates back well over 12,000 years ago in its most primitive form. But the brush that we know today could be contributed to maintain from around 300 B. C. We can also send a huge shout out to a Tuscan painter named Cheney. Know Cheney say that three times fast with bringing thief form factor we know today to the western world. So an honorable mention to you. Good sir. Thank you for that. Now every paintbrush is made up of three different parts. We have the bristles, the feral and the handle, each of these consisting of their own subcategory. On the bristles, we see two parts. We have our tip or the toe and the belly. Those all have their own special function that will touch on a little later. In the course, the Farrell has the hell, the crimp and the glue from the inside. It's exactly how it sounds. The hair and the handle our allude into the feral and then crimped down for safe keeping. Now the handle is where we get into a little bit more depth. Not only does the handle have important design elements, it also holds a plethora of information that helps us understand what we're using. Let's, for example, take these two fan brushes from the crimp up to the toe there, seemingly the exact same brush, However, in that handle is where we begin to see the differences. So if we take a look here toward the top of the handle right next to the feral, you'll see that one is just a pinch, fatter than the other. There's an actual reason for that. So if we look at this one because they handled is short. If I take it in my hand, I can kind of hold it anywhere and get the same result. So why don't we take a look at this one? Why, then, is this handle so incredibly long and much fatter toward the pharaoh? Well, there is a natural design reason for that. When the Farrell is much fatter, it's actually designed ergonomically to be held closer to the pharaoh. However, you can hold it way, way down here, in case you need to create some distance between you and the canvas. You know, sometimes we're holding it way up here. Can't really see what we're doing. It kind of blocks our view. So if you hold this way back here, you're able to get in there. But by doing so, you lose the precision you get from holding it way up by the feral. Now, when we look at a brush with a shorter handle, we kind of wonder why even bother if this long one exists with so much design element? Well, for these, it's all about precision has nothing to do with distance. If you need a brush like this, you don't need to get far away from the canvas. So with this one, it's all about how exact you are with your brush strokes. So that is the difference in the handles in brushes. So from here up basically the same brush, but from here down, much different in their application. Now, full disclosure is any of that information I just gave you super important to creating compelling art? No, not really. But I do believe that to know something intimately, you must first understand where it came from and why it's made. I mean, technically, that's more of a life lesson. There's an art lesson, so you're welcome 3. Brush Hairs: next, let's look at the hairs of a brush. There are two main types there are synthetic and natural. Now, frankly, the amount of hairs that are available on a brush is pretty overwhelming. And because the aim of this class is to inform and not confuse, we're just going to stick to the most popular ones for now. For oils, you would commonly use vander or hog for water colors. He would use either sable or ox, and for acrylics, you can either use mongoose or head right back to hog. Badger is usually used for blending, while Hogg and Mang goes. Brushes are very good for applying medium toe hard body paint in a very smooth and even way . Now sables are an incredible all around brush. Because it's hair is strong, it has a good snap, and it retains its shape almost perfectly. While ox, on the other hand, is resilient but lacks of fine tip, so it's mainly used for washings. Now, if you're just starting off and you're looking for an all around decent brush to wet the palate, unintended synthetic is the way to go. Synthetic brushes are used for all paint mediums and are generally less expensive than its natural haired counterpart. They are a man made product produced from either nylon or polyester filament, typically referred to as tackle on. You may have seen that if you've ever been to an art store because of their nature since then, it brushes have a number of advantages. When you're new to painting, or even if you've been painting for a while, you're just trying some things out. They are less prone to damage from solvents, and they are less likely to break along the edge or the side so they can be used on most surfaces. They are much easier to clean as well. All of this makes them best suited for acrylic paint based on its chemical nature. But they can be used for any pain because with synthetic, it's less about the hair and more about the shape of the brush that you're using, which is an incredible Segway into our next topic. Brush types 4. Brush Types: Now, when we talk about the brush types that exist today, the amount is almost unlimited. It's like aggressive, and it's quite ridiculous if we are being honest with ourselves, wholly unnecessary. But luckily for us, a large number of those are specialty brushes, and they really only have one singular purpose. So we're not gonna focus on any of those today. What we will focus on are the eight most commonly used brushes for fall mediums. Those brushes Air angle, bright fan, Phil Burt's flat liner, mop and round. Now each one of those brushes is designed with a multitude of functions in mind, which we will touch on later. But first I want to go over how to identify them. I would love to say that you could just use the information on the handle to figure it out , but that would be a lie. The information on the brush isn't going to get you very far, because it really only matters to the manufacturer of the brush. Let's take these three flat brushes, For example, here is a Princeton brush, a number 12. We could see that the bristles are pretty long straight now. If we look at one from a place called the Art store. This is a number eight now. The bristles of this brush aren't is long, but they're basically about the same with now. If we take this one, these two here are almost the exact same bristles. But what's fun about this one is that this is a number eight, and this is a number 18. So even though this one is slightly bigger, the number difference between these two isn't that great. But if we take a look at these two brushes, which are seemingly the exact same, the number difference is incredibly far apart. So if we were to use the information on the brush who really couldn't pick a brush for size and the types of bristles it has, that information really isn't on there. Let's go over how to identify a brush based on its bristles, and since we have the flat brushes here, we'll just start there. So let's take a look at this flat brush here. The bristles air bit easier to see because it's a little bit darker now. Flat brushes are designed with long, straight bristles and have this bounce or spring to them. so that's a flat brush. Long, straight bristles. A little bit of a bounce will kind of go over a little bit later. Why, that's important. But let's next. Look at our angle brush now. Angle brushes are very easy to identify because it just looks like somebody took a flat brush. One cut a little angle in it. And really, that's basically all it is. The only difference between a flattened angle brush is that design element. The next one we should look at is our bright brush. So I'm gonna grab my flat over here, and then I'm gonna grab my bright over here. Now. If I put these brushes side by side, you'd be hard pressed to find much difference between the two. But when we look a little bit closer, you'll find that they're almost day and night. The first notable difference between the brights, bristles and the flats bristles is that they're much shorter than our flat. But that's really only the beginning. The bright has a much harder and dense belly to the brush than a flat does, and that's for a number of reasons. It helps round out the edges slightly, and it helps maintain a sharper tip throughout all strokes. Also, the more dense belly gives this brush more of a snap than a bounce. Kind of like this. All right, let's take these away. The next brush we're going to look at is a filbert brush. See, this one is fairly simple to identify. It simply looks like a flat brush that somebody rounded out the edges to another difference between this one. And let's say the flat or the bright is the belly is much thinner. It's thinned out a lot, so it gives it, Ah, huge range of motion in terms of how it can be bent and moved around while still retaining its shape. That's gonna be pretty important leader. So now that we have that, let's put it to the side and let's go over our fan brush, which is hands down the easiest brush to identify. I mean, basically the name says it all. It's in a fan shape. So for identifying purposes, we're not going to get to, uh, deep into what this precious supposed to look like. It's kind of hard to miss, so let's change it up slightly and look at our A round brush. This one has pretty long bristles that are tapered to a point. It also basically is all belly that is so it basically can maintain its cylinder shape no matter what direction you're so following. Close behind our round brush is it's more specialized, friend the liner brush. I wouldn't be shocked if you thought that this was just a round brush, but they are greatly different. But for now, until we get into what they can do, all you need to know is a liner. Brush looks like a very, very long round brush, and finally we have our mop brush. It typically looks like a fluffy animal tail right off the top of the handle, and it has a very, very thick belly tapered at the end with layered bristles throughout. So now that we can identify each brush, why don't we take a look at just exactly what they can do? 5. Brush Applications: so each brush has its own set of unique properties. And and although every brush can be tweaked to do stuff outside of its design, you must first know what it can do before you can kind of cheat. What? Can't. Okay, I'm gonna grab my book here, so I'm gonna show you what some of these brushes were designed for. Now. Although some of those techniques can be tweet, like we said, these are the main purposes for their design. So we'll start here with her flat brush. Now, remember, these bristles are long with a lot of bounce, so they're able to move back and forth. Flats are great for covering large areas based on their capacity for holding paint. So I'm gonna load up. I'm gonna load up a little bit of red here, and I'm gonna do it on both sides. Not too much to be important. Second now, Like I said, these are good for covering. Large areas will show you that. Now they keep a nice, smooth stroke as we work our way through and you see, gets pretty far on the paper before it begins to fade away. And that's because this paint starts to get pushed into the belly. And when we do that as we pushed down, it'll give us a nice full line. They also have an incredible maneuverability for sweeping strokes or fine lines. You could kind of go in between the two. So, for example, I'm gonna give you a fine line directly underneath this kind of like that. But if you notice it gets a little bit thicker and thinner, they're not exactly great for precise lines all the way around because of how they bend. Usually fatten out a little bit, but we'll show you brush that could do that a little bit more efficiently in a second. These air also great for side loading. So, for example, let's say I want a little bit of paint here. I'll grab a little bit of white here. I've got a little bit regrettable, more so you could see that. I've got a little bit of white and a little bit of red here, and that gives us this ability to create so nice. Grady INTs very simple, very easy. So it's clean this off here, and we're gonna put it to the side and we'll switch now to our break brush. Now with these synthetics, I always give it a little bit of water before not to drench the brush, but to sort of send it back to where it's supposed to begin with when it dry. Sometimes it can fan out a little bit because of the synthetic nature of these, so it's always good practice. Start with a little bit of water on Lee. Four Synthetics, though with natural bristles during the cleaning portion of this class, I'll show you kind of what I mean, but really only wet. The synthetic don't necessarily wet natural bristle, so brights are usually used for short controlled strokes with thicker paint. But for right now, we're just gonna grab some of this red, and I'm gonna load it the exact same way I loaded the flat brush just so I could show you the difference and what they can do now because of the nature of how the thickness works and they're basically the same thickness. But given that the brushes are the games are given that the bristles are shorter and the belly is thicker, we don't get the same amount of coverage before we start to see a bit of looseness in our stroke. See that. See the difference of a lot more coverage a lot more bold right here than it is here. That's difference between these. The belly keeps the brush pretty sturdy, so you don't get too much coverage, but you can create a small, broad, bold stroke with the brush. You can also get a nice, fine thin line with the's just like the flat, but it's just much more precise. See the difference there? The line here is much more accurate than the line here, and it's because of the belly again that these brushes don't bend as much as, say, our flat brushes do now. Because of that belly being so dense. We also have the ability to move this brush in certain ways so that one were creating these strokes. We maintain a consistent line all the way through, kind of like this. See how it just swoops through? It doesn't really bend, so we can maintain a more consistent line. We're gonna go over our angle brush, so with the angle brush. Like we said, it's basically like our flat brush, but this is designed for much more precision strokes and getting into areas that say the flat and the bright can't. So, for example, let's say we had a little bit off a corner we needed to get into. Maybe we start here, and if we take this and we needed to fill a corner in, we could take that just like it's very nice, for We can also get into areas. Like I said, that flats and brights can't so we can go from thin, too thick or lines and then back, making a very, very good brush for flowers. Finish this off here so you could see what I mean. Kind of like that. Get in here. Maybe if we grab even a little bit of white. Okay, so next let's look at our filbert brush. Now brush like this is great for blending. But where a filbert really shines is in creating full lines with soft edges for some excellent figurative work. So, for example, if I were to grab some of this like I did with flat brush and I took this brush, I moved it along. You can tell that, as I do that carries almost the same amount of pain. Is a flat does. But the edges are much, much softer, which gives us the ability to move that pressure around. Give us a nice soft edge like. But because we have a thinner belly here, it also gives us the ability to move this around and pretty much any way we want. So if I were to take this and I wanted to do a flower petal, I could very, very lightly pressed to get a nice, thin line. And as I go, I can bend it something like that. You could even go Thea other way with it. That's why they're mainly used for things like flower petals or softening up clouds. Things like that. All right, let's clean that off. That's basically the Filbert brush. Soft edges, fine lines, some nice blending work. All right, let's put that to the side, and we will now look at our round brush round brushes air, basically the ultimate detail brush because of its sharp tip and ability to go from thin to thick and then back again. It's the superior brush for fine detail and washes alike, which is why most watercolor artists will use a round brush as their main brush, so when we load this up, it's better to kind of turn it so you can maintain that tip throughout. But when we talk about thin to thick and detailed work, kind of looks like this right? You could still kind of just go give those little designs very great for that. You can also do kind of what the Filbert does. And if we wanted our stem like that, we can create those thick, too thin lines like that. You can even go from thin to thick. It's up to you something. Next. Why don't we take a look at our liner brush now because of its large color capacity based on the length of the bristles? These are the essential brush for things like lettering. But don't let this brush fool you. Its uses are endless when we talk about long, continuous strokes in a brush. So if we were to load it up like we said, it's great for lettering. But you can also get these lines to simply move across. It's a lot of space that we're covering, but you can also do some lettering. Okay, so now let's look at our more specialty brush is among the most common, which is our fan and our mop. So we're first going to start with our fan brush. Now again, this one is the easiest to identify, because basically, it looks like a fan. But to show you exactly what it can do, we need to have a little area covered in paint. So I am going to grab a little bit of blue here, and I'm going to create a line just so we have some surface area toe work with that there for just a second. So a fan brush is pretty amazing for little detailed texture, work and special effects. Kind of like this. So if I wanted to take this and just make some grass, I take the brush. Then really, any angle doesn't really matter, and I can lift get these nice grass like strokes with just a simple lift of the brush, even if I were to take a little bit more. Paint creates like a body of grass, but you can also create some nice details of these. Like, for example, let's say we wanted to stippled this a little bit of white here, and I can just kind of tap it along. It's like a little garden. Maybe there's like a cloud or something. I don't something like that. I don't like that. Create a little bit of land if you want to. Maybe there's some land that lives over here or something. I don't. Maybe there's a little tree here, brushes pretty big. We're gonna try it anyway. You know the uses air pretty much endless with this brush. And lastly, let's take a look at our mop brush now with a mop brush. These are great for blending, so let's give ourselves another area to work with. And using our flat brush is going to give us a great surface area to show you just exactly how it blends. So if we had a line that went like this, but we really need to softened up those edges, we would take a clean, dry mock brush and very slightly move it across the edge and you'll notice that it really pushes the paint around. Gives us a nice, smooth edge, but it's great for blending little surface areas like clouds and things like that. Okay, so we're gonna put that to the side for a minute. Now that we know what these brushes are capable of, we're going to start a project. But before we do that, we should talk a little bit about the quality of rushes and the care and the cleaning for them. So you know what to do after we get through the project? 6. Quality, Care and Cleaning: all right, so let's get this out of the way and talk a little bit about the quality of a brush. So when you're first starting off, the quality of a brush seems almost grossly unimportant. And in a way, I would say that's kind of correct. However, to understand why expensive brushes even exist, we need to understand and examine what differentiates them from the less expensive ones. Now I have a few brushes here that we're gonna use to explain the differences between expensive and cheap brushes. So let's take a look at the handle to begin with. Now, every brush handle is made of wood that is covered in a protected to keep it from warping. Because if I don't know if you know this, but would and liquids are really friends. So if we look at this one, for example, it looks like a wood that has almost a lacquer on it, which is a good quality handle. Now take this brush here, which is a little less expensive now, still made of wood. But you can see here that the protective covering on it has began to crack, and that's because this protective covering is very susceptible to water damage. So when the water gets on the protective covering, it sort of peels away. It's almost like cheap paint that exists around the brush just to keep it from warping. But they're not meant for longevity as opposed to a brush like this, which is also covered in some sort of protective layering. Unlike this one, which is just like a laminate, this brushes handle is more rubberized, which makes it a little bit more protected against water damage. But this brush is significantly more expensive than this brush. OK, so now that we have the handle of the way, let's talk a little bit about the bristles. So first, before we talk quality, let's talk about difference. So this here is this synthetic, and this is a natural natural bristle. This one specifically, is a hog bristle brush. I use this a lot for acrylics, so when we look at this brush, the bristles are much herder. They have a bit of a stiffness to them, as opposed to the synthetic brush has a bit of a bounce. It's much softer, more like a makeup brush. Now, when we talk about the differences in Mali. It's pretty easy to tell the difference between these three brushes in terms of how the handle is going, but it's a little less obvious when we talk about the bristles and how they're gonna hold up over time. Synthetics are always a bit cheaper when it comes to brush, because no matter what the synthetic, it's always much more difficult to break it down. So even if it's a slightly cheaper synthetic bristle, it still will hold up roughly around the same amount of time. The only difference is it starts to sort of fan out a little bit rather than keep it's shape. So the difference between a quality synthetic and I want to say cheap, moral and inexpensive synthetic is that the bristles will maintain their shape much longer . Now, when we look at our natural bristle, that is where the quality control really comes into play. So, for example, let's take a look at these two fans brushes roughly the same size fan birth but made by two separate companies, this one slightly more inexpensive than this one. But when we take a look and turn them on their you'll notice now, these two brushes have gotten roughly the same use. So it's it's very easy for me to tell which one is a little bit of a higher quality. If you look here, you'll notice that the phrase is much more aggressive in this brush that it is this one. This one has maintained its shape pretty much throughout all uses, and if you look here, you can kind of notice that they're spread out a little bit. This one has a little bit death inside of it, rather than this one being pretty dense and close together. That's a good sign of quality natural bristle brush, especially ah hog. When hog bristles are dense and they stay together, we don't lose a lot of them. That's a really good quality natural bristle brush, so we have the falling out. Let's talk a little bit about the cleaning process of now with synthetics. The cleaning process is pretty simple. You can use water basically to get the paint off, as long as you do it pretty quickly and efficiently directly after painting. Now, with a natural bristle brush, that's where it gets a little bit tricky. Using water on a natural bristle brush is fine, but only when you are finished with your painting. Once you start to put water into this thes natural bristles, really rain retaining, soak up that water so we want to make sure with these when we are cleaning, we're waiting until the very end. Do it also when you clean a natural bristle brush, whether you use simply just water, which isn't advised. The water doesn't necessarily pull out all of the pigment from pain, so we typically want to use some sort of brush cleanser because even though I clean all of my brushes with specific brush cleaner, they're not necessarily designed to hold their shape. So so good care practices are to make sure what you clean these not necessarily with ease, because they'll maintain their shape with natural bristle brushes. When you clean them, it's always good to shape him out. And even if you need to, you can wrap a paper towel around them just to maintain their shape after you clean. Now let's talk a little bit about what clean with. For the most part, when you clean a brush and you're using specific paints like gua sha watercolor acrylic paint comes out pretty easily. Pigment sort of spins out in the water itself, but oil is where it gets a bit tricky. It requires a lot of different additives to get the paint out of the brush. So here are just a few suggestions that I'll run across the screen for you for each individual cleaning product. So in the event that you may not have these at your house, these are the best cleaning products to care for your brushes. And Reese, the longevity to make sure that you're getting the most out of either your inexpensive for your expensive brushes. Okay, so we have just covered eight ton of information, which is all incredibly important, but sort of useless if we do not use it in practice. So that is what we're gonna do now. We're gonna work on a project. I am going to show you the different applications that all of these brushes can do within their techniques in real time. Now, if you don't have these rushes with you, that's perfectly fine. You can simply watch along and practice them at your own leisure. Whenever you acquire appropriate brushes. I have set up a piece of paper here so we can paint on. I'm gonna take this, and I'm gonna blow it on the ground just because why not? So with this piece of paper here will create a small painting. We're gonna do a number of things, and I'm gonna use, um, both natural and synthetic bristles. Just so you could kind of see the difference in how they work. And I'll go back and forth between the ones that we learned about today. But I'll show you very specific techniques for each individual one, but let's not waste any more time. 7. Project (part 1): I just remember throughout while we're doing this, this is less of a painting. Listen more of an examination of how these brushes work, but we are going to create a background than a foreground and maybe a treat. Let's do something like that. Well, maybe we'll put some leaves or something. I don't know. I'm winging it as we go. So again, if you're following along, there's no real structure here. We're just learning how to use these brushes. Let's start off by creating our background. Now, I'm gonna start here with a synthetic brush, and I'm going to cover a lot of areas. So this is my synthetic flats of very once and almost like a mega brushed 30 is what it's called. All right, so let's create a little bit of Grab some blue here and you'll see that as I grab this, going to put it on both sides and watch how much surface area this covers as I just running across my look at this huge surface area. Remember when we talked about in the flat brushes getting that radiant? This is a good example of what that looks like, So if I could have a little bit of white. It really pushes that paint into the brush, and I can hit right at the very bottom and create a nice It's like a little bit. And here for beautiful great. We can also take some of this. Pull it across like this. Little bit of water moves like this, right? But you see how it ends. Covers a lot of surface area. That's basically what that flat brush does that covers a decent, low surface area. Gives us a nice line for Grady INTs. You can even is it for smooth edges? Rescue. Cover that up. All right, let's clean this brush off now, like we said before with the cleaning process of these brushes. Now, because I don't have all of the cleaning products and all of the paints were unfortunately subject to whatever cleaning product instructions that the manufacturer provides. Let's take our filbert brush. I want to make some clouds in the background. Like we said before, This is a great brush for creative, nice soft edges. So if I take this brush and I put it on its side and I kind of tapping around like this, but it let's fan out a little bit and then pull back on the pressure. I can take that brush, make it go right from thick to thin. It seems like that's very simple. Okay, so let's put that to the side for a second. Remember, Clean that this is synthetic brush. Still, so I'm still using water. Put them to the side for a second. Now, we're gonna go back to our mop brush, and I'm gonna use the the edge of this mob rush just to soften up some of these cloud edges . Great. Now, if you want to put a little death back into these clouds by tapping back in with our fillets, right, we'll see Phil Burt's Tim. And if you look at your like Oh, no, I didn't want that much. Take that mop brush just kind of takes. So that's a synthetic brush. Let's take a look at what a natural bristle mop brush can do. So it basically does the same thing. But because of the bristles are a little bit more course. It gives a little bit more pull off the paint scrubbing. That's good. If we want soften up those areas a little bit harsher. It doesn't really retain a lot of paint, just kind of smooth it out. The world problem that mop brushes have is that they're not really glued and crimped into here securely. So a lot of these bristles will pull out over time. Washed little trick neither. Here are there in terms of what we're doing, but something that you should know. If you're let's look at our fan brush here for a second. You know what I want to do? I want to create a little bit of land that lives here just so I can show you exactly what this can do. Something a little bit of blue a little bit. Don't a bit of a green here. Like we said before, this has a number of abilities, a lot of textured movements and specific specialized techniques. So with this brush, if I want to create some land that kind of lives here, I would simply just tap it like this. And while you do that, you'll notice that it kind of looks like Chris your life. I actually got a bit of a stippled technique. You'll see that it goes from a little bit darker to a little bit lighter. That's a great, uh example of how it can be a detailer brush but also be a nice, soft blending brush. Let's just as an example show you what else it could do. Now this brush, if you've ever watched any painting channels, is an infamous brush for trees. It is the essential go to for any pine tree you are making, and it is because of how simple it is to do them. So, for example, let's say we want one that lives right here. I would draw that line, see how it maintains its shape, and then I would start on the corn and then begin to fan this rush out. No pun intended down. My painting here creates a nice angle. That's right here. No, up until this point, we have been using synthetic brushes with this. I am not going to clean this brush off the same way I clean synthetic brushes off with. The reason is because if I take this Russian, I debated water. I am now going to let that water hold itself in the bristles of this brush, and it will become almost useless for the rest of this painting. So for right now, I'm just going to take it. I'm gonna wipe some of that pant off just to get it out of that rush. It's okay if some of it lives in the natural bristle for now. Because when we get to a little bit deeper in something like this, that paint will drive. You look barely comes off my finger Almost like it not even existed. Down brush pulled a little bit of it all hit your finger less comes off the better It's basically how you All right? So let's put that one to the side for right now. 8. Project (part 2): Let's switch toe are bright brush. Okay, I had a little bit of water to this, but our now there's a little secret I know with this bright brush, and I'm not sure how many painters know this, but because of this fine line and the tightness of the belly, this is actually a really great brush for trees. So let's create a silhouette. Trees where in here So we can see sort of what this brush could do and how the tight belly can keep it from moving around to grab a little bit of black. Let's create. Maybe it kind of works its way. This way. There's a little bit of silhouette land. It's here. Maybe there's a tree kind of lives off this way, so we'll create a nice thin line like that on a tree trunk. Works between like this fades away off the top Now. When we talked about filling things in, we showed that you can do pretty much the same things with flat and a bright in terms of filling areas in. But the right doesn't carry as much paint, so when we fill it in, we can create this nice, bold stroke but we need to keep applying paint as opposed to when we did the background here with flat. Let's give this a few branches here. So one thing I love about Frank brushes is so when a flat, when you apply pressure to a flat brush, it sort of maintains that pressure. But when you apply a little bit of pressure to bright brush, it will snap back into place. That's the difference between a snap and spray. Spring bounces Snapple right back to where it began. And that's why I love these for trees because I can have a little bit of pressure as I worked my way out of the tree, creating a thicker area and then release the pressure as I go along, creating a nice let's do. Maybe, uh, then we can create disappear What? Okay, so that's basically how bright brush works now. One more thing that we didn't touch on, but I think is important is the angle of this rush can do a lot different things to make sharper edges instead of trying to, for example, draw a line, say like this, and then try to draw a line like this like we wanted to create a box. What I can do, pull it like this. That's always as a little trick. Doesn't really play into what it's designed to do. It's more of a okay. So now that we have that, what's a switch for a moment to angled brush? So I could show you a little about the techniques that it can do in terms of getting into some tighter spaces that writer flat can't. I'm gonna grab a little bit of light here, this brush, and if I want to create some reflection on this tree, I would take this. Now when a branch works is they grow all the way around a tree. So we want to give it a three dimensional look so I can take this. Pull it like that. So it's almost like this branch kind of lives on. There's a little bit here getting those nice tight spaces without having to worry too much about fresh. That's a really great design for these angle brushes, and that's really what they do. But it also can give you the ability to get into some tight spaces while fanning out into some thicker ones. For example, let's say there's some light that shines here and I want to pull this down, but I want fan it out. So come down this way that gives you that ability so that one lives right here. Maybe there's some sunshine in this way. Who knows Lights over here. So let's put some leaves on this tree. Now I'm gonna show you two different brushes. To do this. We're gonna do a round brush. There were to switch back to a flat brush, but we're going to use a natural person instead of synthetic, so I could show you a bit of what? Ah, hard Purcell versus a soft first. Let's switch back to our brush and let's make it red here. So let's put some leaves over here. There's one that lives here like this here. Maybe there's something what makes a good shape, but you can also use this brush. If you wanted to create some differing highlights to five, flatten this brush out that goes addicted then. So what kind of uses itself like angled brush or a Hilbert's brushing? I would say around is kind of a cross between a flat and a fill Burt's. It's got that nice surrounded edge, but also a pretty thick and long body just to be able to cover a large surface area runs are also good for soft detail work. So if I needed black here, if I needed a line to sort of come out. But be soft. Hirsch, take that treeless over here like this. So that is a great example of what a round brush do. All right, So after we go through a round brush, let's put a few more leaves here so I could show you the difference between what a natural bristle can do and what a synthetic bristle. So I'm gonna take this flat brush here, and I'm going to use it to create a few leaves that live are around my painting. Now, with this instead of trying to get a pretty nice sharp, what I'm going to do is put some paint really loaded up. I'm gonna tap it. And when I tap it like this, you'll notice that it kind of fans out like that. So if I take us really pushing in, what I can do is create nice stippled effects like a fan brush, but with a much broader stroke. So if I wanted to treat, I used to live here. Maybe there's something up here across. Natural bristle brushes are very good for stuff like this, but by doing so, you also blended really nicely. So they're break for oil lines. They're incredible lanes. Maybe something here. Remember, this is just to show you what it can do its not necessarily to show you how to paint more about what to do with these brushes. So when you make a painting, you're not just subject to what you think put a little weight. It was like a little Bonzai tree like that, Way like that. All right, so let's clean this brush off now will take all that paint it. So the last brush on that list is our liner brush. Now, your luck can do a number of things, but like we showed before, lettering is important and every painting should end with a signature. So what we're going to do here is just simply signed this painting. You see how you can get some nice thin lines. It was a nice thick ones. I didn't add any more pain to this brush. Just what I had uncovered that signature perfectly fine. And that's basically what this brush is used for now with a liner brush. I just want to show you this to your not only subject to lettering because of its nature because of the amount that it can hold. It's also great for tree branches of such right. So maybe there's one that kind of cuts its way, this way. Press really widely. Maybe it comes down this way, comes back up. I don't see something like that. Maybe there's another one that was in front here that did not sin, comes up. So there we have it. That is the extent of what these brushes are designed to do now, like we've said before. Does that mean that you can't use these brushes outside of their designated responsibility ? No, of course not. You can use them for a number, so let's make it a little fun. What I want you to do is choose three of any of the brush we went over today, whatever your favorites are, and take those three brushes and make something with the techniques that we learned from how those brushes are designed 9. Closing: so in closing, I just want to say thank you for spending a little of your day with me. It is always much appreciated, and I hope you learned something. It had a little fun in the process. I know I did remember. The project is to take three of those brushes and create something amazing using the techniques that you've learned. But that concludes the class for today. Thank you for stopping by. It is 100% my pleasure, and I'm always excited to get some of this knowledge out of this brain and into somebody else's hands. It's kind of jumbled around in there, and I need to get it out. So with that being said, I have a great day and we'll see in the next one.