Japanese brushes, ink and paper are to be preferred for exercises in line
drawing, tracing, notan massing and washes in grays. Long brushes are best
for long continuous lines, short brushes for sharp corners and broken
lines. For lettering, clip the point of a long line‐brush, (see p. 55)
[Japanese Brushes]
Japanese paper for artists’ use is made of the bark of the mulberry tree,
and is prepared with a sizing of glue and alum. Unprinted wall paper
(lining paper) is serviceable for practice work. “Bogus” paper and cover
papers can also be used for line or mass.
Japanese ink must be ground upon the ink‐stone, a slab of slate. Intense
blackness can be secured immediately by using only a few drops of water.
Dry the ink stick, and wrap in paper; never leave it soaking. Ink of good
quality, and a clean stone are essential. Tools perfected by ages of
practice in line drawing and brush work, afford the best training for hand
and eye. Painting with the Japanese brush leads directly to oil painting.
If Japanese materials are not to be obtained or are not desired, the
exercises can be carried on with pencil, charcoal, water colors, crayons,
and even oil paint.
[Japanese ink and ink‐stone.]
For line drawing the brush is held in a perpendicular position, that it
may move freely in all directions, much like the etcher’s needle. The
brush should be well charged with ink, then pressed firmly down upon the
paper till it spreads to the width desired for the line. Draw with the
whole hand and arm in one sweep, not with the fingers. Steady the hand if
necessary by resting the wrist or end of the little finger on the paper.
Draw very slowly. Expressive line is not made by mere momentum, but by
force of will controlling the hand. By drawing slowly the line can be
watched and guided as it grows under the brush point. Slight waverings are
not objectionable; in fact they often give character to the line.
[Manner of Holding the Brush.]