If you accustom yourself to the use of the brush you will soon find it an adaptable tool.
The artist holds the brush in the same way as he holds the pen or the pencil, and he shifts the position according to the demands of the subject.
For instance, if we are applying a broad wash of colour we should hold the brush with freedom, and fairly high on the shaft. One with a fair point, full and firm, will be necessary for drawing, A long hairy point will give a feeble line, and one too short and blunt no line at all.
A brush that is at its thickest the size of an ordinary lead pencil is a useful tool. A very small brush will prove inefficient, for in drawing with a brush a fairly bold drawing is aimed at.
If you have made a mistake cleanse the brush with fresh water, and while it is still full of this pass it over the mistake. Then complete the erasure by rubbing. Do not rub too hard or the surface of the paper will be destroyed and refuse to take colour other than a misty blur or blot.
Clean blotting-paper applied to a mistake—first lightly brushed with water—will sometimes erase it.
Sketch in light tints, not dark.
In order to get a fine point, fill your brush with colour, wipe it on a cloth, or roll the tip round on a piece of blotting-paper.
To run a good deal of colour on your paper, charge your brush with paint and put it on with rapid touches.
For the darkest shadows, wait till your paper is drying and use the water sparingly.
Drawing with Charcoal
Charcoal is by far the most fascinating, as it is the most difficult medium, therefore it will be wise to keep this for our most advanced studies.
But we must bear in mind that no medium takes the place of charcoal. If we shirk its use and adhere obstinately to the
