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Every brush consists of three basic parts: a hair bunch, a metal holder and the wooden handle.

Metal clamp. Metal clamps of qualitative brushes are seamless, made of seamless copper or a brass and can be covered by chrome or nickel. The brush clamp should be densely filled with hairs and strongly cover the handle on a circle. The hair bunch is glued to the handle and gives to brush bigger durability, but the gluing structure should not reach the top end of a clamp. It leads to necessity to use longer hairs that the brush at work could be turned on desirable degree.

The handle. High quality handles can be made only of firm wood of deciduous trees, such, as a beech, an oak, and a birch. The handle and a metal clamp are pressed with each other for better durability.

Hair bunch. The hair bunch, actually working part of a brush, is natural or synthetic hair of different shape and size. It is impossible to find universal brush, each brush has own mission. Brushes of natural hair are good for work with liquid paints, as main criteria here - control over fluidity of paint, ability of a brush to form a thin tip and elasticity of a hair bunch. The soft structure of natural hair and its natural form as well as possible meet these requirements.

Kolinsky is the best hair for a brush; it has gold-brown coloring, with sharp, as a needle, tip. It holds paint very well; its soft structure, the conic form and return make its ideal for all liquid paints and a portrayal of details. Besides the bunch of kolinsky brushes consists of hairs of different length, which at contact of the filled brush with a surface, create a capillary stream - continuous, with an excellent consistence.

Least weasel is an alternative to kolinsky hair. Hairs of red-brown color, with the good sharp tip, of quite good filling, but not such long, as at a kolinsky hair.

Hair of the squirrel is very thin, of blue, black or brown color. The tip of a brush from the squirrel hair reminds a rapier edge, under the control over fluidity does not concede a kolinsky hair, but it is not so elastic by the nature.

Easy bull hair. Brushes from the bull hair also are good for liquid paints at the expense of softness and elasticity though haven?t such sharp conic form, as kolinsky or squirrel hair. Brushes for pastose paints are estimated only on one parameter: the denser is paint the hair should be firmer. Brushes from a bristle hair are considered as the most suitable. Slightly diluted paints require softer hair.

Badger hair has the conic form and a dense top part, closer to the hair end, but near hair root it is rather thin, therefore a brush is very fluffy. It is considered ideal at work with moderately diluted oil paints. The best badger brushes have a tip of white color and a dark strip in the middle.

Pig bristle - elastic and strong, from it can be made the best brushes for oil and acrylic. The major characteristic of a bristle is its split tip - it promotes good fullness of a brush and equal drawing of paint on a basis surface.

Synthetic brushes are not similar with each other and behave differently. Nylon brushes are not good for work with a watercolor, but are good for moderately diluted acrylic as possess the necessary durability and elasticity. Synthetic hair on the basis of polyesters possesses various degree of elasticity. It can be collected in bunches of various diameters for creation of capillary action between fibres, with what is reached the good control over fluidity.

Also you can meet brushes with the mixed structure of natural and synthetic hair. The brushes containing hairs of a red sable, it is possible to use for work with oil paints, acrylic and a watercolor. Others on the contrary have been made specially for liquid acrylic paints and are too soft for oil paints.

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