(2) Bright brush. This brush has hairs that are 1 1/2 times
longer than their width and flat with sharp corners. You would use this
type of brush for lettering show cards, posters, and small signs.
(3) Flat brush. This brush has hairs 2 1/2 times longer than
their width, square corners, and a flat ferrule. The long hairs of this
brush allow for smoother application of the paint when making curves and
long strokes. This brush also holds more paint than a bright brush;
therefore, you can create more letters without resupplying the brush
(4) Quill brush. Illustrators consider a quill brush a
specialized, flat lettering brush for signs. It has extralong natural
animal hairs, not stiff synthetic hairs, that hold large quantities of
paint. Because of the length of the hairs, you normally use a maul
stick for support and control when using this brush.
(5) Using the selected brush. To apply lettering with a brush,
choose a brush with hairs equal to the size of the lettering (width of
the stroke). After filling the brush with paint, use a scrap piece to
work the tip of the brush into a chisel point that is the same size as
the normal spread of the brush hairs. You then form each stroke of the
letter with the tip of the brush, maintaining equal pressure with each
stroke. Do not apply too much pressure to spread the hairs of the brush
past their normal width. Excessive pressure causes uneven strokes and
shortens the life of the brush.
(a) Brush grip choices. There are two different ways to grip
the brush for lettering: pencil and twofinger. The pencil grip is the
same grip used to hold a drawing pencil; use whichever grip you feel
most comfortable with. No matter which grip you use, you must position
the brush at a right angle (perpendicular) to the drawing surface so you
finish each stroke with a cleancut edge.
Most illustrators prefer the twofinger grip because it provides more
maneuverability of the brush on curved strokes. To use this grip, hold
the brush by its ferrule between your thumb and first finger. Keep the
brush at a right angle to the drawing surface, and rest your other two
fingers and the heel of your hand on the drawing surface. You make each
stroke with a coordinated arm, wrist, and finger action. For vertical
strokes, pull the brush toward you and make horizontal strokes from left
to right. To draw a curve of uniform width, you roll the brush with
your fingers in the direction of the stroke (figure 166).