is a dry, hard process but one of great value in modern illustration owing
to the ease with which it may be reproduced. It need not be as inartistic
as it usually appears; observation of pen work will show that, aside from
faults in composition, failure in interest lies largely in the handling.
Perhaps one pen only is used, and all textures treated alike, whereas
every texture should have its own characteristic handling; cross hatching
or any uniform system of shading with the pen is deadly. Study the
rendering; suggest surface‐quality rather than imitate or elaborate; use a
variety of pens. Johnston has shown with what art the reed pen may be
employed in lettering and illuminating. In comparison with the Japanese
brush, the ordinary pen is a clumsy tool, but nevertheless it is capable
of much more than is usually gotten with [No 58. Three, Four, Five
values.]
[Compositions in more than three values. Pratt Institute, Brooklyn, New
York.]
[“The Pirate Ship”, Composition in four values, Teachers College, New
York. “Harry Mayne’s House”, from nature, five values, Ipswich Summer
School of Art]
[No. 60.]
it; and the reed pen closely approaches the brush as a line‐implement. The
brush may be used as a pen, values and massing being obtained by blots and
clustering of lines. Two examples are given below; see also pp. 7, 9, 19.
[Old house on Brook St. Ipswich. Harry Mayne ye Pyrate hys house
Ipswich.]