or calligraphist’s, own personality adds other individual qualities to his work. Brush strokes reveal character and temperament just as handwriting reveals much to those expert in that study. It is desirable for the sumi artist, as well as the calligraphist, to be free from excessive timidity in his work. A painting may be delicate and sensitive without being weak or indecisive.
In order to attain the desired control of the brush stroke, continued practice is the most rewarding contributory factor. At the same time, brush control can be greatly nourished through a study of the endless varieties of line and form in nature. There can be little doubt that nature is the best teacher of line and form, as well as of color, and the best of art begins there. For this reason, whenever possible, it is well to paint directly from nature’s source—a flower, a branch, a tree, a fish, a mountain, or whatever one finds interesting. It is surprising how this direct study between eye and subject can impart life and vitality to the quality of a line. Looking at the twist of a leaf will indicate to the artist the stroke of the brush best suited to portray that leaf. The human mind cannot invent the infinite variety of line that nature spreads before us. By painting directly from nature we acquire a familiarity with these lines and forms which cannot help but incorporate itself into our work.
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