The Pen
There remains yet another point of the firm and decisive order, the pen, which enables us to get firmness and sharpness of line and precise definition, as well as considerable range of treatment and freedom of touch.
The pen seems to bear much the same relation to the brush as the lead pencil does to charcoal—not capable of such full and rich effects or such flowing freedom of line, but yet possessing its own beauty and characteristic kinds of expression. Its true province is in comparatively small scale work, and its natural association is with its sister-pen of literature in the domain of book-design and decoration, and black and white drawing for the press. Its varieties are endless, and the ingenuity of manufacturers continually places before us fresh choice of pen-points to work with; but though one occasionally meets with a good steel pen, I have found it too often fails one just when it is sufficiently worn to the right degree of flexibility. One returns to the quill, which can be cut to suit the particular requirements of one's work. For large bold drawing the reed-pen has advantages, and a pleasant rich quality of line.
But with whatever point we may work, the great object is to be perfectly at ease with it in drawing—to thoroughly master its use and capacities, so that in our search for that other command, of line and form, we may feel that we have in our hands a tool upon which we can rely, a trusty spear to bear down the many difficulties and discouragements that beset, like threatening dragons, the path of the art-student.
CHAPTER IV
Of the Choice of Form—Elementary Forms—Space-filling—Grouping—Analogies of Form—Typical Forms of Ornament—Ornamental Units—Equivalents in Form—Quantities in Design—Contrast—Value of Variations of Similar or Allied Forms—Use of the Human Figure and Animal Forms in Ornamental Design.
We were considering the choice and use of Line in the last chapter: its expressive characters and various methods. We now come to the no less important question to the designer and draughtsman—The Choice of Form.
If Line may be said to be the bone and sinew of design, Form is the substance and the flesh, and both are obviously essential to its free life and development.