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.
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!
Charcoal and Pencil
Then we have the ordinary varieties of the firm point: charcoal, pencil, pen. Charcoal, being halfway between hard and soft—a sort of halfway house or bridge for one passing from the flexible brush to the firm and hard points of pencil and pen—is first favourite with painters when they take to drawing. Its softness and removability adapts it as a tool for preliminary and preparatory sketching in for all purposes, and both for designer and painter; but it lends itself to both line and tone drawing, or to a mixture of both. It is therefore a very good material for rapid studies (say from the life) and the seizing of any effect of light and shade rapidly, since the masses can be laid in readily, and greater richness and depth can be obtained in shorter time, perhaps, than by any other kind of pencil.
Charcoal is also very serviceable for large cartoon-work, since it is capable of both delicacy and force, and bears working up to any extent. A slight rubbing of the finger gives half tones when wanted, and is often serviceable in giving greater solidity and finish to the work.
Then there is the lead pencil—the point-of-all-work, as it might be called—more generally serviceable than any other, whether for rapid sketches and jottings in the note-book, or careful and detailed drawings, or sketching in for the smaller kinds of design-work. It is also, of course, used for drawings which are afterwards "inked in." I do not think, however, that pen-work done in this way is so free or characteristic as when done direct, or at any rate quite freely, upon a mere scaffolding of preliminary lines, used only to make the plans for the chief masses and forms.
Pencil drawing is capable of being carried to a greater pitch of delicacy and finish, and has a silvery quality all its own. It has not the force or range of charcoal, but in its own technical range it possesses many advantages. Its gray and soft line, however charming in itself, does not fit it for work where sharpness and precision of line and touch are required, as may be said to be the case with all work intended to be reproduced by some process of handicraft or manufacture, except some sorts of photo-engraving or lithography. We must therefore look to another implement to enable us to obtain these qualities, namely, the brush, the use and qualities of which I have already touched upon.