[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.

[Elementary Forms]

The _cube_ and th