Brushes
The paintbrush is to a watercolorist what the bow is to a violinist. As with the violin bow, beauty is made where the hairs make contact. Therefore the quality of the brush matters.
I use two types of high-quality brushes: one for outdoor plein air painting and another for studio painting …
Plein Air Brushes
For painting on the go, I use “pocket” brushes (also called “travel” brushes). These brushes have a hollowed-out handle that screws off and fits over the brush hairs to protect them in transport.
I use two kinds: Da Vinci Pure Kolinsky Pocket Brush, Series 1503 (in various sizes) and the Leonard Pure Squirrel Hair Pocket Brush (in No. 3 size).
My Plein Air “Pocket” Brushes
The German-made Da Vinci pocket brushes have a thicker handle than other pocket-type brushes. Some people may not like the feel of these chunky handles, but the design has two advantages:
The wider handle allows for a larger brush head than can be found in other brands (the #12 size Da Vinci brush is much larger than the #12 size in other brands)
The threaded connection secures the brush head from flying off when you flick the brush
The French-made Leonard pocket brush is unique in that it is a mop-type brush with a pocket brush case. This is the largest pocket-type brush I’ve found anywhere — excellent for laying in large washes.
I purchase the Da Vinci brushes from my favorite online merchant. The Leonard brush is harder to find — at the time I write this, you can find it from this online merchant.
Note: There are many other types and brands of pocket brushes available today. Escoda makes several lines worth checking out. And if you find a new pocket-type brush out there, please let me know (you can reach me by clicking here).
Studio Brushes
The studio brushes I use are traditional watercolor brushes, made exclusively of Kolinsky sable.
The Kolinsky hairs swell up with water to spread broad washes of color, while retaining a firm shape for precise painting.
They are some of the most expensive brushes you will find, far pricier than oil brushes. This is due to the expense of the hairs used (sable hair as compared to hog hair used in bristle oil brushes) and the extensive time and workmanship that goes into crafting the sharp, crisp ends.
My brushes are made by Rosemary & Co. in Yorkshire, England. To honor the animals who provided the hair, and the craftspersons who put their heart and soul into making them, I care for the brushes so that they last for years.
My studio brushes
Like a carpenter’s toolbox, I keep a variety of brushes at the ready: flat brushes, polisher’s mop-shaped brushes, teardrop-shaped brushes (called “round” brushes) and fine rigger brushes. All of these brushes are a joy to paint with.
