very great: from the simpler
leaf forms, which seem to be almost a reflection or shadow of the moist
pointed brush itself, to the elaborate graphic drawing in line or light
and shade.

[Illustration (f042): Brush Forms.]

In forming the leaf shape one begins with a light pressure, if at the
point, and proceeds to increase it for the middle and broader end. On
the same principle of regulation of pressure any brush forms may be
built up. It is essential for freedom in working with the brush not to
starve or stint it in moisture or colour. For ornamental forms a full
brush should be used: otherwise they are apt to look dragged and meagre.
For a rich and flowing line also a full brush, however fine, is
necessary. It is quite possible, however, to use it with a different
aim, and to produce a sort of crumbling line when half dry, and also in
colour-work for what is called dragging, by which tone, texture, or
quality may be given to parts of a drawing. One should never lose
sight, in using the brush as a drawing tool, of its distinctive quality
and character, and impart it to all work done by its means.

[Illustration (f043): Direct Brush Expression of Animal Form.]

The direct touch with the full brush--to cultivate this is of enormous
advantage to all artists, whatever particular line of art they may
follow, since it may be said to be of no less value in design than it is
in painting pure and simple. We can all feel the charm of the broad
brush washes and emphatic brush touches of a master of water-colour
landscape such as De Wint. This is mastery of brush and colour in one
direction--tone and effect. A Japanese drawing of a bird or a fish may
show it equally in another--character and form. A bit of Oriental
porcelain or Persian tile may show the same dexterous charm and
full-brush feeling exercised in a strictly decorative direction.

[Illustration (f044): Japanese Drawing of a Bird. From "The Hundred
Birds of Bari."]

The empire of the brush, if we think of it in all its various forms and
directions, is very large; and it commands, in skilled hands, both
_line_ and _form_, in all their varieties, and leaves its impress in all
the departments of art, from the humble but dexterous craftsman who puts
the line of gold or colour round the edges of our cups and saucers, to
the highly skilled and specialized painter of easel pictures--say the
academician who writes cheques with his paint-brush!