 Morning class, I'm Will Kemp from Will Kemp Art School and today we're going to have a look at this picture to try and decide which brushes are going to be best to get the best results whilst working with acrylics. Here's an array of brushes but often when you go to the art store you see them all and you don't know which one to pick up or which one to start with. When you look at a brush for the first time and you feel it, it's often quite hard and it's because it's given a protective coating just to keep it in its shape. So what I often do is just use my thumb to break that and then I test the flickability of it, how much it springs back. This gives you a good idea of how it will handle when you're working with paint. Different paints behave differently and are different thicknesses. So an oil paint will be the thickest and then acrylics still thick but not as thick as oil paints and watercolours are the easiest to move around. So that basically means that you need stiffer hairs on your brush to move oil paints than you do watercolours. So traditionally with oils you'd use hog hair brushes. So this is a hog hair here and you'll see if you listen to that. That's often how I test a brush so I know what it is, it's the sound of it and the feel. So if you look at this one here, I might be able to play a tune out of these. So if we look at the difference here, this is a pure hog. This one is a mix between hog hair and a synthetic and this one is one which is mostly synthetic which has been designed to use for acrylics. So you'll see how the hog more used for oils has got that stiffness to it. This one which is also designed for oils has got a stiffness to it but a bit more of a softness if you look at the edge of it. And this one for acrylics is again softer still. One thing you'll notice that's the same between all of these is the curve at the top of the brush. This means it is called a filbert brush, this is the type of brush. This is very useful for painting. So if we were painting this cloud area with a filbert it means that you can paint onto the edge and you just use this edge here to feather it. You can just blend parts really really easily and you won't leave such a hard line that you would do if you use what's called a bright or a flat brush. You see how it's got this square edge to it? To try and blend with a flat is very hard because these edges cause the paint to push out to either side of the brush. And it will be harder for you to blend it. What the flats are very good for is if I was blocking in this area of the blue is that I can kind of scrub it very very hard and block it in very quickly. So what we'll do is we'll block this in with a flat then when we start to work on the cloud and blend more bits you can change it to the filbert. The one of the brush that you'll use is a round brush. It's quite a small one. This round is just a little round sable brush and you'll see there it's got a nice spring to it but it's very soft to the touch in comparison to say the hog hair brush. This means that when you're blending what you can do is just very subtly feather the edges and it won't make a brush mark and you can just get a very smooth transition. If you try to do that with the oil brush you know of course you do that and you get all the brush marks that show up. So for getting the fine details say this edge of the shape here or maybe some of these lines I'd use a round that you can just follow the shapes very easily and then swap to the filbert to block them in. We've seen how to mix colours, what brushes we're going to use. Now all we need to do is draw it out and start painting.