Your stroke.
Your expression.
Your brush.

The spotter has a short, finely tapered head. This shape is easy to control close to the painting surface: a small highlight in an eye, a bright edge on glass or an accent on a flower can be made with a short movement. The small, short head holds a limited amount of paint, so the Fleury video recommends it mainly for individual details. This is useful for isolated details, but longer lines require more frequent reloading. Use a little paint with a consistency that releases easily from the tip. Thick acrylic paint can make even a small brush leave a broad mark. Fleury lists acrylic and oil as suitable media; its watercolour use is explicitly limited, mainly to small accents. A fine tip still needs a steady hand: rest the heel of your hand on a dry area and keep finger movements small.

Especially useful for

• Highlights and small accents
• Miniatures and short outlines
• Targeted corrections on dry areas of a painting

The shape's limitations

• The short head is less suitable for long, continuous lines.
• The watercolour recommendation is limited to small, precise touches.
• Too much pressure can spread the fibres and widen the stroke.

How to guide the brush

• Load only the front part of the head.
• Dab with the tip without crushing it against the surface.

Current price and availability are checked when you choose a size.

Watch the related studio lesson.

The straight edge of a flat brush is a versatile tool for areas of colour and geometric shapes. Use the broad side for a wide stroke; the narrow edge produces a much finer line. Rotate the brush during the stroke to change its width. The Fleury video describes the head as a longer flat shape with good paint capacity. How far one load goes also depends on brush size, paint and surface. The shape works well with acrylic and oil. Fleury also lists watercolour as a suitable medium. Paint quantity, surface and consistency affect the result. An even area is built with overlapping strokes and a similarly loaded head each time. Many small corrections in paint that has started drying can leave visible joins. Choose a brush wide enough to cover the intended area with a few controlled movements.

Especially useful for

• Areas of colour and architectural shapes
• Crisp edges
• Alternating broad and narrow strokes

The shape's limitations

• The corners can leave visible marks in soft transitions.
• A short spotter is easier to control for tiny dots.

How to guide the brush

• Distribute the paint evenly through the head before covering an area.
• For a thin line, turn onto the edge and reduce the pressure.

Current price and availability are checked when you choose a size.

Watch the related studio lesson.

Series 4422 is a broad flat brush with a straight edge, listed by the manufacturer as Flat Wash. The previous Fleury page lists 1/2 inch at 13 mm and 1 inch at 25.5 mm wide. These measurements describe the head, not a guaranteed stroke width. The broad shape is intended for continuous areas of colour; the narrow edge can generally be used for finer work. Prepare enough paint for a test area and compare broad bands with a narrow edge stroke. How well a mixture flows depends on the paint medium and surface. The reviewed Fleury product information does not give a separate media recommendation for this series. The related flat brush lesson therefore explains the movement without transferring the product properties of the 4421 to the 4422. Choose a width that lets you comfortably reach the intended area while keeping small gaps clear.

Especially useful for

• Broad strokes of colour
• Continuous areas
• Comparing the broad side and narrow edge

The shape's limitations

• The amount of paint released can quickly be too much for small subjects.
• The width limits access to tight areas of a painting.

How to guide the brush

• Prepare the area before making the first stroke.
• Work the overlaps while the paint is still workable.

Current price and availability are checked when you choose a size.

The ½ inch (13 mm) size shown on the previous page is not currently linked to a purchasable shop product.

The lesson demonstrates flat brush technique with the 4421. It explains related movements and is not a separate demonstration of series 4422.

The filbert combines the width of a flat brush with a rounded tip. This allows strokes with rounded beginnings, without the two corners of a straight flat brush making equally strong marks. The shape is useful for petals, rounded objects and transitions in portraits. Use the broad side to spread paint; working sideways produces narrower marks. For blending, touch the transition area with a clean, lightly loaded head. Repeated blending can enlarge the transition and mix the two colours more thoroughly. Whether this produces a more muted colour depends on the colours being mixed. With acrylic, work within the paint's open time; oil usually gives you longer to work. Fleury lists watercolour alongside acrylic and oil. Shape alone does not make an edge soft: moisture, paint quantity, pressure and the condition of the surface all play a part.

Especially useful for

• Soft colour transitions
• Petals and rounded shapes
• Contours in portraits and still lifes

The shape's limitations

• A straight flat brush is usually easier to position in right-angled corners.
• Blending for too long can remove the intended separation between colours; vigorous rubbing can damage delicate painting surfaces.

How to guide the brush

• Remove excess paint on a cloth before blending.
• Work the transition with a few light movements.

Current price and availability are checked when you choose a size.

Watch the related studio lesson.

A round brush does not have to be small. Its tapered shape allows fine beginnings, while the loaded belly holds paint for longer strokes. If you start with the tip and gently increase the pressure, the contact area can grow. With the brush held consistently, this can change the stroke width; the effect also depends on paint and surface. This is useful for leaves, organic outlines, the beginnings of lettering and many watercolour shapes. Small sizes suit details, larger ones fluid strokes and continuous areas. The series can be used with acrylic, oil, watercolour and gouache; the mixture must suit the intended application. An overloaded head can release a drop at the start, while an underloaded head can leave a broken mark. Remove excess liquid carefully and test the first stroke. Judge a size by its actual width and the amount of paint you want it to hold, as well as by its number.

Especially useful for

• Organic lines and leaves
• Details with controlled pressure
• Fluid strokes and smaller areas

The shape's limitations

• Large rectangular areas require more strokes than with a flat brush.
• A full belly can release a great deal of liquid under heavy pressure.

How to guide the brush

• Begin a line with light pressure and finish just as lightly.
• After loading, shape the head into its natural point.

Current price and availability are checked when you choose a size.

Watch the related studio lesson.

The angled brush has a flat head cut on a diagonal. Depending on how you hold it, the longer corner can touch first; greater contact with the flat side produces a broader stroke. This combination helps with building edges, narrow gaps and precise boundaries. Start by placing the tip of the longer corner, then guide the rest of the edge along the intended line. The shape can also be used for decorative leaves or a stroke with changing width. Fleury lists acrylic and oil as suitable media. An angled head does not produce a straight line on its own, however. Turn the paper or canvas so that your hand can comfortably follow the edge. A sharp boundary also depends on the condition of the paint underneath: layers can mix when the underlying paint is still wet.

Especially useful for

• Edges of buildings and objects
• Corners and narrow gaps
• Decorative strokes with a narrow beginning

The shape's limitations

• The long corner can leave an extra mark under heavy pressure.
• Very long, fine lines are often easier with a liner.

How to guide the brush

• Use the long corner deliberately as your starting point.
• Make an edge with one steady stroke rather than many corrections.

Current price and availability are checked when you choose a size.

Watch the related studio lesson.

The liner has a long, narrow head. Its long fibres hold paint for continuous lines. The length you can achieve depends on brush size, loading, paint and surface. This makes it useful for twigs, fine grass lines, hair or lettering. The long tip responds sensitively to changes in direction and pressure. Prefer pulling the brush behind your hand to pushing the fibres ahead of you across the surface. A smooth paint mixture matters: paint that is too thick slows the head, while paint that is too thin may spread uncontrollably. The right thinning method depends on the medium. For acrylic, follow the paint manufacturer's thinning instructions; for watercolour, use water. Adjust conventional oil paint with a suitable painting medium if needed; water is unsuitable for this. A test stroke shows whether the line flows evenly. Plan its path before touching down so you do not have to slow abruptly during the stroke.

Especially useful for

• Long, thin lines
• Branches, grasses and strands of hair
• Flowing lettering and ornament

The shape's limitations

• The long tip gives less direct control for short, pinpoint corrections.
• Viscous paint can cause a long line to break off early.

How to guide the brush

• Load evenly and make a test stroke.
• For long lines, move your hand and forearm together.

Current price and availability are checked when you choose a size.

Watch the related studio lesson.

The oval wash brush is intended for generous, soft applications of colour. Its full head can hold plenty of liquid, making it useful for backgrounds, tinted base areas and soft colour transitions. With watercolour in particular, distinguish between dry and pre-dampened paper: edges usually remain clearer on dry paper, while colour spreads more on damp paper. The brush also suits thin acrylic applications and gentle blending. With oil, a thin layer is a more useful starting point than a very thick impasto application. Begin with less liquid than you think you need. A full head can quickly create puddles on a small painting. Keep a clean cloth ready and remove excess liquid carefully. The soft character supports light movements; vigorous scrubbing is neither necessary nor helpful for this task.

Especially useful for

• Backgrounds and tinted base areas
• Soft colour gradients
• Generous strokes with plenty of water

The shape's limitations

• The head offers less direct control for sharp details and small corners.
• Too much liquid can pool and create unwanted edges.

How to guide the brush

• Check the surface moisture before applying colour.
• If needed, lift liquid with a clean head from which excess moisture has been removed.

Current price and availability are checked when you choose a size.

Watch the related studio lesson.

The rake brush has fibres of different lengths. With light contact, the longer tips in particular can leave several separate marks. This effect is useful for fur, grass, hair and fibrous surfaces. It is a starting point for texture, not a finished natural pattern. If every stroke is the same length and points the same way, the result can quickly look like a comb. Vary direction, length, spacing and pressure. Acrylic and oil work well for this technique. Paint quantity and pressure act together: a heavy load or stronger contact can join the separate marks into a broader stroke. Less liquid and lighter contact are more likely to keep the divisions visible. Test the loaded brush on a spare piece. Follow the growth direction for fur, and make groups of different heights for grass. You can then add individual prominent hairs or blades with a round brush or liner.

Especially useful for

• Fur and hair textures
• Tufts of grass
• Broken parallel marks

The shape's limitations

• A large amount of fluid paint can join the separate marks.
• Regular repetition can quickly look artificial.

How to guide the brush

• Load a little paint and test the mark first.
• Build texture in groups and leave deliberate gaps.

Current price and availability are checked when you choose a size.

Watch the related studio lesson.

The dagger brush has a long, tapered, angled shape. Light contact with the tip can create a fine line; more contact can widen the mark. Easing the pressure as you continue can taper the stroke again. The Fleury video describes this principle through a leaf made with two strokes. First try straight strokes with gentle changes in pressure, then two curved strokes that form a leaf together. The orientation of the head also affects the mark, but this exercise does not require a prescribed twist of the handle. Fleury lists watercolour, acrylic and oil, particularly when applied with a fluid consistency. Adjust the paint to suit its binder and test it on the same surface as your subject. Too much pressure or a very stiff mixture makes a fine beginning harder. A short detail tip is often easier to control for repeated small dots.

Especially useful for

• Lines of changing width
• Leaf shapes made from two curved strokes
• Curved, visible brushmarks

The shape's limitations

• Very thick paint makes a fine start to a line harder.
• A short tip is usually easier to control for consistent tiny dots.

How to guide the brush

• Practise pressure changes first while keeping your brush position consistent.
• Check the paint load with a test stroke.

Current price and availability are checked when you choose a size.

Watch the related studio lesson.

The fan brush's fibres spread out in a broad, flat fan. With a little paint, the head can leave several loose marks at once. This is useful for grass, groups of leaves, tree textures and abstract effects. Moisture and paint can gather individual fibres into groups, changing the pattern. Try not only the full fan width but also one corner and a slightly rotated head. Acrylic and oil are typical uses. The Fleury video focuses on dabbed tree, grass and shrub textures. Work with light contact: a full, wet fan can easily paint a solid area instead of separate marks. Make a few marks, step back to look at the painting, then add more. This keeps the texture part of the subject rather than an effect repeated everywhere.

Especially useful for

• Grass and shrub textures
• Groups of deciduous and coniferous trees
• Broken marks through varying contact

The shape's limitations

• The broad fan shape is less suitable for precise individual lines.
• A heavy paint load can join the separate marks.
• Fleury mainly recommends acrylic and oil; the video describes only limited watercolour possibilities.

How to guide the brush

• Test with a little paint on a spare piece first.
• Alternate between the full width, a corner and a rotated head.

Current price and availability are checked when you choose a size.

Watch the related studio lesson.

The Chisel Blender resembles a flat brush but has shorter fibres. The Fleury video presents this short shape for controlled paint application, blending, fine lines and crisp edges with acrylic. Its straight edge can create narrow lines and angular shapes. For blending, use a little paint and light pressure. The name Blender does not mean that every movement automatically creates a soft gradient: the acrylic colours must still be workable for direct blending. On a fully dry acrylic layer, you are applying new paint. Available working time matters particularly with acrylic. Once the paint becomes tacky, further rubbing can make joins and uneven areas more pronounced. Clean the head in time and keep paint residue away from the ferrule. Dried paint at the base of the fibres restricts movement and can permanently affect the shape.

Especially useful for

• Small, controlled areas of colour
• Short, clean edges
• Targeted transitions and accents

The shape's limitations

• The short shape is intended for small, controlled strokes; no fixed coverage per load is specified.
• Vigorous rubbing can disturb acrylic layers that have already started drying.

How to guide the brush

• Load only as much paint as you need.
• For soft transitions, clean the brush, remove excess moisture and reduce the pressure noticeably.

Current price and availability are checked when you choose a size.

Watch the related studio lesson.

The manufacturer places wide flat brush 5624 in its Echo Synthetic range for acrylic. Fleury lists widths of 80 and 100 mm. The broad head suits large paintings, backgrounds and long, visible brushstrokes. Its synthetic fibres, natural-coloured wooden handle and matt gold aluminium ferrule distinguish it visually from the grey CoolCraft brushes. Before applying paint, plan how you will reach the area: a suitable palette, enough mixed paint and an unobstructed movement help more than many small corrections. Distribute the paint evenly through the head and remove any excess. For an even background, adjacent bands should still be workable together. On a small area, however, the broad shape can be awkward. Choose 80 or 100 mm according to painting size and the mark you want, not on the assumption that a larger brush is always better.

Especially useful for

• Large acrylic backgrounds
• Broad, deliberate brushmarks
• Quickly laying in continuous areas

The shape's limitations

• The head is too wide for details and small areas.
• A large area requires enough prepared paint and prompt work.

How to guide the brush

• Use a broad palette or suitable paint tray.
• Test a full stroke on a spare piece beforehand.

Current price and availability are checked when you choose a size.

The flat brush lesson explains the principle of the broad side and narrow edge. The previous Fleury page has no separate video for wide flat brush 5624.