The manipulation of the brush as applied to design : a course of brushwork for elementary and secondary schools

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THIS BGPKlSONE^ANUMBeR
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CDltEGE Q^ART BY HIS REL ATIVES

The Manipulation
of the Brush
as applied . .
to Design. . . .

A Course of Brushwork for
Higher Grade Elementary and Secondary Schools.

BY

STANLEY THOROGOOD, a r.c.a.,

Gold Medal Travelling Scholar, R.C.A. (London);
Director of Advanced Work, School of Art, Burslem ;
Art Director to the Burslem School Board.

SECOND EDITION.

LONDON: GEORGE PHILIP & SON, Limited,
32, FLEET STREET, E.C

LIVERPOOL: PHILIP, SON & NEPHEW, .

45-51, SOUTH CASTLE STREET ,

1902.

f17

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INDEX OF PLATES.

Plates.
I. and 11. ...

III. to VII

YIIL to X.

XI

XII to XVIII.

XIX. to XXXI.
XXXII. ...
XXXIII., XXXIV.
XXXV., XXXVI.

XXXVII. ...

XXXVIII. to XLVI.
XLVIL. XLVIII

Various Brush Strokes.

Blob Work applied to Pattern-making.

Simple Strokes applied to Patterns.

Principle of Radiation.

Types of Natural and Conventional Forms drawn
with the Brush.

Designs drawn with the Brush.

The Use of the Brush in suggesting ideas.

Decoration of Vase Forms.

Direct Freehand Drawing and Application.

Direct Designing on given Lines.

Historic Brushwork Examples.

Sketching direct from Plant Life.

PREFACE.

"CEELING the want of some useful Handbook on ihe use
of the Brush, as a means ol expressing form, and training
the hand and eye, I have compiled a few notes and illustrations
that may be a guide to Teachers introducing the subject in
Higher Grade Elementary and Secondary Schools, and Art
Classes. No attempt has been made to arrange the work in
progressive stages, as the drawings arc not intended to serve
as mere exercises or illustrations of design for scholars, but
rather as a text-book on the subject of Brush Draiving for
Teachers, showing different methods of interpretation, together
with Historic examples.

In many instances the drawings illustrated are mere
impressions sketched spontaneously with the brush as one
would with a pencil, and are purposely left in that state to
show how, in some cases, the brush should be used to sketch
out IDEAS only (see Plates XXXH.-XXXVH.) Accuracy
of drawing and detail must be the chief aim when working out
the finished drawing.

Such exercise with the brush will be found invaluable,
in order to apply it to practical use in designing and sketching
from Nature.

The work is based somewhat on the lines of the Alternative
Syllabus of the Science and Art Department for Instruction
in Drawing in Elementary Schools.

STANLEY THOROGOOD.

THE

MANIPULATION OF THE BRUSH
AS APPLIED TO DESIGN.

Mr. Ruskin, in his Oxford lecture on " Line," says:

" The fact is that, while we have always learned, or tried to learn, to
paint by drawing, the ancients learned to draw by painting. The brush was
put into their hands when they were children, and they were forced to draw
with that until, if they used the pen or crayon, they used them with the
lightness of a brush or the decision of a graver."

The use of the brush, hand-in-hand with the pencil, is
rapidly being recognised as an important medium for use in a
child's early artistic training, and is advocated by the leading
craftsmen and artists of the day.

It is only fair to the children in our public schools that
those showing ability should have every opportunity of
developing their powers, and that they should be taught
drawing in such a manner that it may form a stepping-stone
to higher work when passing on to local Schools of Art.
The importance of teaching children to use the wrist and
arm in drawing, to sit well back from their work, and to draw
in a free style, cannot be over-estimated for any good Art
work. Students doing advanced work in Schools of Art have
to accustom themselves to work from an easel, and it will be
seen how important it is that this principle should be insisted
on in the most elementary stages of work, whether drawing
with the brush or pencil.

The scheme for drawing in Elementary Schools, as
shown in the Alternative Syllabus of the Science and Art
Department, is an excellent one, and it would be well if its
principles were carried out in detail in every school.

It is necessary that cleanliness and good quality of line
should be observed ; but it is to be feared in the past that
Success has depended on the result of making the pencil do
the work of a pen, instead of insisting, first and foremost, on
good proportion and consideration of masses. From the very

first, children should be taught to see the value of this; and for
this purpose the introduction of brush and colour work is an
excellent one. The early application of drawing to pattern-
making, the tinting in of masses by means of coloured chalks
and water colour, together with the use of the brush, as
practised in a number of our large public schools, is a step in
the right direction, for this work should go hand-in-hand with
drawing. One can fully realize how such a subject as
brushwork must be looked upon by teachers and others who
have only regarded it in a superficial way; but those with a
knowledge of drawing, if they study the effect of the brush, will
soon see how by practice they can become somewhat dexterous
in the handling, and will, at the same time, learn what
results can be produced by the brush that the pencil could
not give.

By using the brush, greater freedom of hand is acquired,
while it is capable of developing powers of drawing beyond
any other means. It forms a direct means of expressing
mass and space, as well as line: it consequently assists the
student to more rapidly appreciate the value of quantities,
by directing his attention to spacing and to the solidity of the
forms used. It is invaluable for training scholars to use
the wrist and arm in drawing ; in fact, it is in this teaching of
handling and manipulation that the value lies in its use.
Good results are the outcome of practice. To wield a brush
with freedom requires a great amount of exercise and care.
It is such a flexible tool, that, by varying the pressure, forms
without number can be made ; and it will be found that by it
shapes can often be suggested that no other tool could
possibly give.

To study the manner in which the Ancients used the
brush as a means of decoration, one must visit our Museums,-
and notice the many examples of Ceramic Art, Persian tiles,
etc. The ingenious arrangements of brush forms on
Greek vases are purely the outcome of the play of the brush.
The Japanese acquire their ingenuity and skill in drawing by
being accustomed from their youth upwards to the use of the
brush as a writing and drawing implement. One could go on
enumerating the many advantages of its practical use, as it
bears directly on so many artistic industries ; and in a district

6

where the artistic craft of pottery manufacture is carried on,
one learns to appreciate its value.

In our prevailing methods of Art Instruction the various
subjects are taken together, such as modelling, light and
shade, elementary design, etc. This is as it should be ; and
to those who have had any artistic training, it is clearly manifest
that the whole range of Art subjects are linked together.
The study of one assists the other, and in many cases a
knowledge of two or three is absolutely necessary in order to do
any practical work. It is to be regretted that more attention
has not been given to the use of the brush and colour work.
I can speak from experience. I have found more than one
student, with no little powers of draughtsmanship, quite
ignorant of the handling of the brush (a tool he finds he
most needs), and with no knowledge of colour mixing, so
essential to the enrichment of any practical decorative work.

In studying any examples of brush play on vases, or
what not, it will be seen that the charm lies in the free
handling and artistic quality of the handwork. It is a mistake
to think one can accurately imitate lithographic reproductions,
machine-like in character ; for, in so doing, the student is
trying to copy something he will never succeed in representing.
The drawings in this book are reproduced in such a manner
as to show all the accidental efifects. It will be found
impossible, when using the brush with the freedom that is
necessary, to be mechanically accurate as to the symmetry of
patterns, because hand work is bound to assert itself and show
its individuality.

Many books have been published for Kindergarten work
in Infant Schools, and it is clear that the use of the brush, as
applied to this class of work, cannot go far beyond the making
of patterns by means of the shape of the brush, or by"
representing such types of Nature as most readily lend
themselves to this style of reproduction. In this sphere of work,
the brush is most useful in directly giving a variety of interesting
forms and representations of natural flowers and foliage, which
form excellent examples as oljject lessons in training the child
to observe. Experience teaches nie that using the brush in
Infant Schools in the manner known as blobbing {i.e., placing

the brush heavily on the paper until the ferrule touches), is
harmful to direct work, and, when children have been taught
such methods, it is difficult to teach them a direct stroke.

For these reasons, in making any stroke, I would advocate
a slight movement, so that the brush is not brought down
heavily on the paper. Suggesting simple plant forms and
drawing lines and curves with the brush, will be found most
useful in assisting infants to be free with their work, and, by
the combination of such strokes as seen in Plates III. to VII.,
most complicated patterns can be made. The manipulation
required to obtain them is invaluable in training the move-
ments of the wrist.

The squared paper, sometimes used for brushwork,

should only be used, in order to keep the various units, when
repeated for practice, in a somewhat orderly manner. When
large repeats are attempted, the leading shapes must be
roughly indicated with pencil.

The squares are also useful when doing all-over patterns
in squares or diagonal lines, but they should only be used for
that purpose, and nothing should hamper the freedom of
handling, or tend to the mechanical.

Excellent practice in the use of the brush will be found
by allowing scholars to outline some back freehand copies,
those with radiating lines for preference, as some lines can
form skeleton lines on which to work brush forms. In teaching
the lining round of a copy, care should be taken that the line
is even in thickness, and not necessarily thin and wiry ;
rather the other way, firm and bold.

Brushwork lessons should be demonstration lessons, the
teacher demonstrating on a large sheet of paper with a large
brush. As it is necessary to have the paper somewhat
upright, in order that the pupils may see, it will be found
rather difficult for the teacher to work with water colour, as
it tends to run down ; but this can be overcome with care by
having the colour a little thicker than the pupils', which
is also an advantage, as it is more clearly visible from a
distance. After a simple unit has been demonstrated, it
should be repeated again and again for practice, thus allowing
the teacher to give individual attention. Scholars, after

8

having lessons in the various movements, should be allowed
to make forms of their own (keeping them orderly), as it is
evident the variety of movements that can be obtained with
the brush are innumerable, and those given in this book should
not serve as mere copies, but form suggestions to go, still
further. The aim should be to train the inventive faculties.

During a brushwork lesson, senior scholars with a good
knowledge of drawing should be allowed to sketch various
units as suggested, such as leaves, flowers, etc., etc. ; then
rule out construction lines, based on the square lozenge shape,
circle, ogee, etc.; then sketch out simple suggestive masses,
to fill the spaces to form even all-over patterns ; this forming
an excellent lesson on the early application of drawing to
design. Scholars doing this class of work would have had a
very good groundwork on drawing with the pencil ; and in
using the brush would find it an excellent means of suggesting
ideas with a freedom which, by using the pencil, would not so
readily have been attained.

COLOURING.

Lessons on the use of colour mixing .should be given
during the tinting-in of the application of Freehand copies,
as seen in the many excellent sets of copies on the early
application of drawing to pattern-making, now being used
in most of our big Elementary Schools. Brushwork is apt
to be depreciated by some authorities on account of the time
said to be taken in giving out materials. It is a pity that this
should be considered a drawback, as by methodical arrange-
ments, and keeping colour already mixed in large bottles, it
can be served out in extra ink-wells for the purpose — a plan
which I find works very well. It must be remembered that
for a brushwork lesson it is not so much the colour as the
handiino that should be the object. Coloured inks are very
useful for brushwork lessons, and work much easier than
ordinary colour, at the same time being less expensive.

The illustrations in this book are printed in six of the
different coloured inks obtainable for the purpose.

If coloured inks are used, great care must be taken in
cleaning them after a lesson, and before using a different

colour. Excellent effects can be obtained by using Chinese
white on toned paper, thus giving light ornament upon a
dark ground.

In some large schools, however, senior scholars can
afford to buy a box of paints for their own use, which is an
advantage, as it is essential they should learn to mix colours.
Brushes should be kept very clean. A very good way to keep
them is standing upright in a jar on the handle end, to ensure
the points being kept straight.

COLOUR MIXING.

It is evident that there is no limit to the variety of hues
obtainable by mixing colours, and any attempt to produce
colour harmony by a dry formula is bound to fail. Some
general principles can be laid down to serve as a guide and as
starting-points on which to base experiments ; but "colour"
can only be learnt and appreciated by repeated practice, and
by observing Nature and the many beautiful Works of Art in
our Museums, such as pottery, glass, tiles, fabrics, etc. For
this reason it would be an admirable plan if the elder lads
in our Board Schools could be taught to see them, and
occasionally visit the local Museum.

Primary Colours : Blue, Red, Yellow.

Secondary „ Obtained by mixing any two of the Primaries.

Blue and Yellow make Green.
,, ,, Red „ Purple.

Yellow and Red „ Orange.

These six hues — viz., Red, Orange, Yellow, Green, Blue,

and Purple — form the six principal colours.

Tertiaries. Combining any two of the Secondary hues a third

order of Colours is produced.
Orange and Green give Citron.
,, „ Purple „ Russet.

Green „ ,, „ Slate.

The Tertiary hues, however, are nothing more than
Grey with an. extra tinge of one or other of the six leading
colours ; and Professor Church, in his " Elementary Manual,"
gives them as Red, Grey or Russet, Orange, Grey or Buff,
Yellow, Grey or Citrons, Green, Grey or Sage, Blue, Grey
or Slate, Purple, Grey or Plum.

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To these may be added Neutral Grey when the colours
perfectly neutralize each other, the extra tinge being absent.
A few characteristics of the Colours may be of use.

Prussian Blue. Strong, transparent Blue, with a tendency to Green. Works
well. \Vith Gamboge, gives Bright Greens.

Cobalt Blue. A Light Blue ; exceedingly useful ; not very easy tb work

with. Gives beautiful Greys, with Light Red.

Gamboge. Very clear transparent Yellow. Works well. ^Vith Sepia,

gives a very sober Green.

Rmv Sienna. Transparent Yellow.

Venetian Red. Liclines slightly to Orange. It works easily, and mixes well
with other colours.

Crimson Lake. Iticlines to Purple. Works extremely well.

Sepia. A strong Brown, sometimes cold. Works well for Mono-

chrome work.

Burnt Sienna. A beautiful Golden Brown, Transparent. Works very
easily.

Vandyke Brown. A fine deep Brown.

Chinese White. A dead White. Will be chiefly used to give body to other
colours.

Materials. ■ The Materials necessary for Water Colour Work are
Colours, Brushes, Palettes, Water Bottles, and a Pad
of Blotting Paper. Good Brushes are indispensable, and
should be of fair size. Siberian Hair Brushes, though
inferior to Sable, are better than Camel Hair for laying on
Colour. For ordinary class work, six Colours will be
found ample, and of these, perhaps, Prussian Blue,
Crimson Lake, Light Red or Venetian, Gamboge, Burnt
Sienna, and Sepia will be found the most useful.

LAYING IN A WASH OF COLOUR.

The Colour should be well mixed, and stirred up every
time a fresh brushful is taken.

It is advisable to damp the surface of the paper with
clean water before starting to colour.

Work quickly, and with plenty of colour in the brush.
Half the smudgy, patchy washes of colour are due to working
with too dry a brush.

When once a wash of colour has been laid on, never
touch it again until it is thoroughly dry. If it should be
patchy, leave it so, as any retouching while wet can only make
matters worse.

1 1

PRACTICE.

la the majority of movements the brush should be held
lightly, so that it can be at times revolved between the fingers,
in order to bring it to a point when finishing off a stroke.
It is most essential that scholars working with the brush (as
in the case of the pencil) should have slanting desks or boards,
and sit well back from their work. It is to be feared that the
majority of school desks are far from what they should be for
drawing purposes, the only remedy being to use drawing
boards, which can be tilted at any angle. To obtain direct
brush strokes, the brush should be held somewhat at right
angles to the paper, and the more horizontal the paper has to
be placed, on account of the desks, the more vertical the brush
must be held, as with holding the brush at too acute an angle
with the paper, such forms as shown in Fig. bb, Plate II., will
be the result. This is important for direct brush strokes; but
for rough sketching and suggesting, the brush can be held
at will.

It is difficult to divide the course of work into separate
standards, but it must be distinctly understood that advanced
work cannot be accomplished without thoroughly practising
simple strokes, in order to get into the manipulation of the
brush. In the lower standards the time should be spent in
repeating the variety of simple movements, combining them
as each form is mastered. It will be seen that a great variety of
patterns can be produced by such combination, as illustrated.

Radiation is an important principle to be observed in all
ornamental work, particularly so with brushwork. A very
good way in a first lesson is to draw with pencil varieties of
radiating lines, afterwards going over them with the brush.

Many patterns will, at first sight, appear to be somewhat
complicated and difficult, but when analyzed will be found to
be merely the repetition of simple units; and if taken step by
step by the teacher, will be easily grasped by the student.

The importance of repetition in design should be clearly
demonstrated to students, as the majority of patterns are the
outcome of the repetition of some unit. Children should be
taught to observe patterns as seen in many of the school class
rooms, such as dado stencil borders, tile patterns, etc., etc.,
thus illustrating this principle.

12

Plate I. X

Thoroughly practise these movernents, as it is by the
combination of these strokes that the most compHcated
patterns are made ; at the same time, the manipulation
required to obtain them is invaluable in training the move-
ments of the wrist and arm.

Fig. I. Showing a simple stioke of tlie brush, to be obtained by a very
sUght movement.

Fig. 2. Three movements combined ; the horizontal ones being made with
the handle end pointing to the left, and then to the right. For
Kindergarten work these various movements form excellent practice
for the use of the wrist, liy combining them, and taking them
step by step, very pretty, complicated, and interesting patterns can
be formed, interest being added by the use of different colours.
Fig. 3. The first movement of the brusii, by first pressing heavily, bringing
it up sharply and lightly to a point.

The opposite movement.

First press heavy, bringing it round from left to right. Hold the
brush somewliat at right angles to the papei^evoUing it slightly
between the fingers, in order to bring it ro a fine point in
finishing off.

The opposite movement.

Radiating from line to line, starling lightly, and finishing off lightly.

Radiating into a line, starting by pressing somewhat heavily, finishing
off lightly, revolving the brush a little between the fingers

Opposite movement.

A double twist with the brush.

Hold the brush vertical, press heavily, bringing it very sharply round
to a thin line.

Fig. 12. Make a large dot with the brush, working it round and round ;
finally bring it off sharply, as shown.

Plate If.

Scholars should be taught to draw bold forms in a free
manner, endeavouring to make the most of the flexibility of
the brush by varying the pressure, as shown in Figs, i, 2, 3,
4> and 5.

Before getting into the lightness of touch, scholars will
be found making such strokes as bb and ']b, instead of 6a and
'ja. Such will also be the result if the brush is not held at the
proper angle as explained. In first attempts of Fig. %a, if the
scholar is not taught the principle of radiation, Fig. ?>b will be
the result.

Figs. 9, 10, and 1 1 show the formation of serrations on
leaf forms, illustrating radiation. Fig. 1 i, they are drawn in
mass. See Plate XIII.

Figs. 12 and 13 illustrate two different treatments of the
same unit.

Fig.

4-

Fig.

5-

Fig.

6.

Fig.

7-

Fig.

8.

Fig.

9-

Fig.

10.

Fig.

II.

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Fig. I.

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Fig. a.

Fig- 3

Fig. 4-

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Fig. 5

fig. (3.

Fig. 7.

Fig. 8.

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Fig. lo.

Fig. 9.

p.. Fig. 12.

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Plate I.

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^ Fig. 2- '

Fig- 3-
Fig. 1.

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Fig. 7fl. Fig. ^b.

Fig, 8a.

Fig 8*.

Fig. la.

Plata II.

Fig. 13-

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Plate III.— Showing the class of work to be carried out in Infant Schools. These
forms should not be obtained by pressing the brush heavily on the paper, but by a slight
light movement, extending the stroke if necessary.

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Plate IV.— Showing the class of work to be carried out in Infant Schools. These
forms should not be obtained by pressing the brush heavily on the paper, but by a slight
light movement, extending the stroke if necessary.

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Piatd V. — Showing the class of work to be carried out in Infant Schools. These
forms should not be obtained by pressing the brush heavily on the paper, but by a slight
light movement, extending the stroke if necessary.

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Plate VI. — Showing the class of work to be carried out in Infant Schools. These
forms should not be obtained by pressing the brush heavily on the paper, but by a slight
light movement, extending the stroke if necessary.

Plate VII.— Showing theclass of work to be carried out in Infant Schools. These
forms should not be obtained by pressing the brush' heavily on the paper, but by a slight
light movement, extending the stroke if necessary.

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Plate VIII. — Illustrating the combination of the various strokes to form simple patterns
A number of lessons can be made up by the combination of these forms.

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Plate IX. — Illustrating the combination of the various strokes to form simple patterns
A number of lessons can be made up by the combination of these forms.

Plate X, — Illustrating the combination of the various strokes to form simple patterns. ^
A number of lessons can be made up by the Combination of thes? forms.

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Plate XI.— Showing various radiating brush strokes, which should be continually
practised. See Plates XXXVIII. to XL.

Plattt XII. — Showing various types of natural and conventional forms, drawn
direct with the brush, forming good examples for practice in manipulation, which can
also be repeated to form designs for filling various, shapes and all-over patterns.

Plato XIII. — Showing various types of natural and conventiorial forms, drawn
direct with the brush, forming good examples for practice in manipulation, which can
also be repeated to form designs for filling various shapes and all-over patterns.

Pia,te XIV. — Showing various types of natural and conventional forms, drawn
direct with the brush, forming good examples for practice in manipulation, which can
also be repeated to form designs for filling various shapes and all-over patterns.

Plate XV. — Showing various types of natural and conventional forms, drawn
direct with the brush, forming good examples for practice in manipulation, which can
also be repeated to form designs for filling various shapes and all-over patterns.

Plate XVI.— Showing various types of natural and conventional forms, drawn
direct with the brush, forming good examples for practice in manipulation, which can
also be repeated to form designs for filling various shapes and all-over patterns.

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Plate XVil. — Showing various types of natural and converrtional forms, drawn
direct with the brush, forming good examples for practice in manipulation, which can
also be repeated to form designs for filling various shapes and all-over patterns.

Plate XVIII. — Showing various types of natural and conventional forms, drawn
direct with the brush, forming good examples for practice in manipulation, which can
iiUo be rapeated tp form designs for filling various shapes and all-over patterns

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Plate XiX. — series oi designs drawn with the brush.

In the more difficult patterns, the position of important masses should be slightly
indicated with pencil, after which the whole should be drawn direct with ihe brush, aiming
rather at freedom than perfect symmetry.

Plate XX. — Series of designs drawn with the brush

In the more difficult patterns, the position of important masses should be slightly
indicated with pencil, after which the whole should be drawn direct with the brush, aiming
rather at freedom than perfect symmetry.

Plate XXI.— Series of designs drawn with the brush

In the more difficult patterns, the position of important masses should be slightly
Indicated with pencil, after which the whole should be drawn direct with the brush, aiming
rather at freedom than perfect symmetry.

Plate XXil. — Series of designs drawn with the brush.

In the more difficult patterns, the position of important masses should be slightly
indicated with pencil, after which the whole should be drawn direct with the brush, aiaving
rather at freedom than perfect symmetry.

Plate XXI", -Series of designs drawn with the brush.

In the moro diffi('u!t patterns, the position of important masses should be slightly
indicated with pencil, ader which the whole should he drawn direct with the brush, aiming
ra'iiir at freedom than perfec' synjinelry.

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Plate XXIV. — Series of designs drawn with the brush.

In the more difficult patterns, the position of important masses should be slightly
indicated with pencil, after which the whole should be drawn direct with the brush, aiming
rather at freedom than perfect symmetry.

Plate XXVa — Serifs of designs drawn with the brush.

In the riioie difficult patterns, the position of important masses sliould be slightly
indicated with pencil, after which the whole should be drawn direct with the brush, aiming
rather at freedom than perfect symmetry.

Plate XXVI.— rSeries <tf designs drawn.with the brush.

In the more difficult patterns, the position of important masses should be slightly
indicated with pencil, after which the whole should be drawn direct with the brush, aiming
rather at freedom than perfect symmetry.

Plate XXVII.— Series of designs drawn .with the brush.

In the more difficult patterns, the position of important masses should be slightly
indicated with pencil, after which the whole should be drawn direct with the brush, aiming
rather at freedom than perfect symmetry.

Plate XXVIII. — Series of designs drawn with the brush.

In ihe more difficult patterns, the position of important masses should be slightly
indicated with pencil, after which the whole should be drawn direct with the brush, aimrng
rather at freedom than perfect symmetry.

Plate XXIX.— Series of designs drawn with the brush.

In the more difficult patterns, tlie position of important masses should be slightly
indicated with pencil, after which the whole should be drawn direct with the brush, amimg
rather at freedom than perfect symmetry.

Plate XXX. — Series of designs drawn with tlie brush.

In the more difficult patterns, the position of important masses should \>e slightly
indicated with pencil, after which the whole should be drawn direct with the brush, aiining
rather at freedom than perfect symmetry.

Plate XXXI. — htrics ot designs drawn wuh the brush.

In the more difficuU patterns, the position of important masses should be slightly
indicated with pencH, after which the whole should be dra«n direct with t^ie brush, aiming
rather at freedotJUJjan perfect symmetry

Plate XXXII. — Showing the use of the brush in directly suggesting the position
of masses in design without using the pencil. The idea in this class of work is to express,
by means of colour, the position and quantity of ornament in relation to the ground.

The student should have some set plant for motive, and make several such suggestions,
afterwards using the ideas in working out the finished drawing. (S<:e Pre/ace.)

Plate XXXIII« — The decoration of vase forms by the repetition of a unit.
After indicating by means of the peacil the position of the important masses, the whole should be drawn with the brush.

Plate XXXIV.— The decoration of vase forms by the fepetition of a unit
After indicating by means of the pencil the position of the important masses, the whole
should be drawn with the brush.

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Plate XXXV. — Direct Freehand Drawing with the brush, typical floral and
ornamental forms, afterwards re-combining them and designing direct with the brush.

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Plate XXXVI.— Direct Freehand Drawing with the brush, typical floral and
ornamental forms, afterwards re-combining them and designing direct with the brush.

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Plate XXXVil. — Designing upon given construction lines, forming repealing
patterns suggested from simple given units.

Scholars shopld sketch out with the brush such simple units as illustrated, and then
draw out construction lines based on the square, lozenge, and ogee, etc., and roughly
suggest the position of units, and masses of dark on light ground alternating with light
ornament on dark ground. I'rom these quick impressions careful drawings can be afterwards
worked out {.See Preface.)

Plate XXXVill. — Illustrations of Greek brush forms taken from Greek and
Etruscan vases.

The Greek honeysuckle ornament is believed to havfe been suggested from the
honeysuckle, as the Greeks frequently went to Nature for motives ; but it is more likely
that this particular ornament generated from the direct use of the brush.

Plate XXXIX.— Illustrations of Greek brush forms taken from Greek and
Etruscan vases.

The ^reek honeysuckle ornament is believed to have been suggested from the
honeysuckle, as the Greeks frequently went to Nature for motives ; but it is more likely
that this particular ornament generated from the direct use of the brush.

Plate XL.— Illustrations of Greek brush forms taken from Greek and Etruscan

vases.

The (Jreek honeysuckfe ornament is believed to have been suggested from the
honeysuckle, as the Greeks frequently went to Nature for motives; but it is more likely
that this particular ornament generated from the direct use of the brush

Plate XLI.— Examples of ornament taken from Italian majolica, Hispano moresque,
and Persian pottery, showing specimens of direct brush drawing.

Plate XLII. — Examples of ornament taken from Italian majolica, Hispano moresque,
and Persian -gpttery^ showing specimens of direct brush drawing.

Plate X LI 1 1. —Examples of ornament taken from Italian majolica,, Hispano moresque,
andl*ersian pottery, showing specimens ofdirect brush drawing.

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Plate XLIV.— Taken from a Japanese book cover, "powdered" pattern, showing

the actual brush forms

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Plate XLV. — Taken from a Japanese stencil plate.

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Plat* XLVI,— Taken from a Japanese stencil plate.

Plate XLVII. — Examples of direct sketching from Nature with the brush.

Plate XLVIil. — Examples of direct sketching from Nature with the brush.

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