the same tension in the calligraphic mark.
Although a history of mark making is
evident in this brush work, the drawings
themselves appear to be expressive, and
have a sense of movement and natural
rhythm. They are dynamic drawings
governed by a strict tradition of mark
making. However, you should not be
restricted by the traditional approach. Hold
the brush in a way that is comfortable for
you and make the brush strokes without
any preconception of what might occur.
You will learn most by taking this approach.
In the following series of examples you
will see that there are different degrees of
freedom in the kinds of marks made.
1/In the first example, the mark is loose
and free-flowing mark with some control.
The marks that imply leaves or grass are
where the body of the brush is placed onto
the surface of paper and gradually pulled in
an arched direction whilst gradually lifting
the body of the brush away from the paper.
Other marks to create natural forms such as
grass can be made by putting the point of
the brush onto the paper and dragging it
across the surface for a short distance in a
series of slightly differing directions.
You can create a series of dots by
placing the end of the brush onto the
paper. Rows of vertical and horizontal
marks can imply texture, perhaps a weave
or a basket, or could be used to suggest
windows in a building.
2 & 3/Here the marks are made slightly
quicker and imply more rhythm and
freedom, although there is still an element
of control in them.
4 & 5(overleaf) The control of the brush in
these examples is very limited. The
accidental spillages add to the dynamics of
the calligraphic effect (the free and
rhythmi cal treatment of a drawing).2.3.Oriental brushes173