Round or Flat. — It will make little difference whether you use round or flat brushes. The flat brush is most commonly preferred now, and most brushes are made that way. So you had better get that kind, unless you have some special reason for preferring the round ones.

Handles. — Whether the handles are nicely polished, [26] also, is of no importance. What you are to look to is the quality of the bristles and of the making; the best brushes are likely to be nicely finished all over. But if you do find a really good brush which is cheaper because of the plain handle, and you wish to save money, do it by buying the plain-handled one.

Sizes and Shapes. — You will need some quite large brushes and some smaller ones, some square ones and some pointed.

Here are three round brushes which, for all sorts of painting, will be of very general utility. For most of your brushes select the long and thin, rather than the short and thick ones. The stubby brush is a useless sort of thing for most work. There are men who use them and like them, but most painters prefer the more flexible and springy brush, if it is not weak. So, too, the brush should not be too thick. A thick brush [27] takes up too much paint into itself, and does not change its tint so readily. For rubbing over large surfaces where a good deal of the same color is thickly spread on the canvas, the thick, strong brush is a very proper tool. But where there is to be any delicacy of tone, it is too clumsy; you want a more delicate instrument. The same proportions hold with large and small brushes, so these remarks apply to all.

Flat Brushes. — This is particularly applicable to the flat brushes, and the more that most of your brushes will be flat.

You should have both broad-ended and pointed brushes among your flat ones. For broad surfaces, such as backgrounds and skies, the broad ends come in well; and for the small ones there are many square touches where they are useful. The most practical sizes are those shown on page 28. But you will often need much larger brushes than the largest of. these.

For the smaller brushes you will have to be very careful in your selections. For only the silkiest of bristle will do good work in a very small brush, and then the temptation is to use a sable, which should be resisted. Why you should avoid using the sable as a rule is that it will make the painting too “slick” and edgy. There is a looseness that is a quality to prize. All the hardness, flatness, and rigidity that are desirable you can get [28] with the bristle brush. When you work too much with sables, the overworking brings a waxy and woodeny surface, which is against all the qualitiesof atmosphere and luminosity, and of freshness and freedom of touch.

[on page 29]

Some of the most useful sizes of the more pointed brushes are shown on opposite page. [29] There are, of course, sizes between these, and many larger; but these are what you will find the best. It would be better to have more of each size than to have more sizes. You should try to work with fewer rather than more sizes, and, as a rule, work more with the larger than with the smaller brush, even for fine work. You will work with more force and tend less to pettiness, if you [30] learn to put in small touches with the largest brush that will do it. Breadth is not painting with a large brush; but the man who works always with a small brush instinctively looks for the things a small brush is adapted to, and will unconsciously drift into a little way of working.

The fan brush, such as here illustrated, is a useful brush, not to paint with, but to flick or drag across an outline or other part of a painting when it is getting too hard and liney. You may not want it once a month, but it is very useful when you do want it.

Care of Brushes. — The best of economy in brushes lies in your care of them. You should never let the paint dry on them nor go too long without careful washing. It is not necessary to wash them every day with soap and water, but they would be the better for such treatment. [31]

Quite often, once a week, say, you should wash your brushes carefully with soap and water. You may use warm water, but don't have it hot, as that may melt the glue which holds the bristles together in the ferrule. Use strong soap with plenty of lye in it — common bar soap, or better, the old-fashioned soft soap. Hold several brushes together in one hand so that the tips are all of a length, dip them together into or rub them onto the soap, and then rub them briskly in the palm of the other hand. When the paint is well worked into the lather, do the same with the other brushes, letting the first ones soak in the soap, but not in the water. Then rinse them, and carefully work them clean one by one, with the fingers. When you lay them aside to dry, see that the bristles are all straight and smooth, and they will be in perfect condition for next painting.

Cleaning. — But from day to day you need not take quite so much trouble as this. True, the brushes will keep in better condition if washed in soap and water every day, but it is not always convenient to do this. You may then use the brush-cleaner. This is a tin box with a false bottom of perforated tin or of wire netting about half-way down, which [32] allows the liquid to stand a half-inch or so above it; so that when you put your brush in and rub it around, the paint is rinsed from it, and settles through the perforations to the bottom, leaving the liquid clear again above it. If you use this carefully, cleaning one brush at a time, not rubbing it too hard, and pulling the hairs straight by wiping them on a clean rag, you may keep your brushes in good condition quite easily. But they will need a careful soap-and-water washing every little while, besides. The liquid best for use in this cleaner is the common kerosene or coal oil. Never use turpentine to rinse your brushes. It will make them brittle and harsh; but the kerosene will remove all the paint, and will not affect the brush. [33]

CHAPTER V

PAINTS

OF all your materials, it is on your paints that quality has the most vital effect. With bad paint your work is hopeless. You may get an effect that looks all right, but how long will it stand, and how much better may it not have been if your colors had been good? You can tell nothing about it. You may have luck, and your work hold; or you may not have luck, and in a month your picture is ruined. Don't trust to luck. Keep that element out as much as you can, always. But in the matter of paints, if you count on luck at all, remember that the chances are altogether against you. Don't let yourself be persuaded to indulge in experiments with colors which you have reason to think are of doubtful quality. Keep on the safe side, and use colors you are sure of, even if they do cost a little more — at first; for they are cheaper in the long-run. And even in the time of using of one tube, generally the good paint does enough more work to cover the difference of cost.