USING THE BRUSH AND THE INK
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Brush Holding
In many ways the brush grip is similar to the method of holding chop-sticks, so obviously a person whose eating habits are based on the handling of a knife and fork will not find it easy to acquire facility in the use of the brush. However, brush control is only achieved by the correct use of the traditional techniques, so it is necessary to persevere.
Always make a point of beginning each stroke or group of strokes with the brush held vertically. The grip is achieved by bending the first finger, allowing the brush to lean on the knuckle joint and holding the handle in place with the upright thumb. The second finger is then placed to the right of the brush and the third finger to the left. The fourth finger is not on the brush itself, but positioned under the third finger. In the vertical position the hand leans backwards from the wrist almost making a 900 angle between the arm and the hand. With the brush held in this position, a space is formed in the palm of the hand of sufficient size to hold an average egg.
The position of the fingers on the brush can be varied by moving the grip higher up the handle for large, free flowing strokes and lower down for small delicate strokes. In general, brush movement originates in the upper arm and shoulder, so it is essential that no part of the brush-holding hand or arm rests on the table during stroke production. Most of the traditional Chinese paintings are impressionistic in essence, so it is very important to achieve these free flowing brush movements. If the painter is working too close to himself, or even leaning too far away while holding the brush, this will also affect the strokes as the former impedes movement and the latter causes lack of control.

Brush Usage
When the brush is poised ready for use, the best form of practice is to paint lines of different thicknesses, leaning the brush handle in the direction of the stroke. Try both wet and dry strokes and vary the speed and pressure so that it is possible to see the different effects obtained from these basic variables. Dots and circles also provide interesting insights into the effects of brush on paper. Control of the brush requires continual practice as different pressures or changing angles produce varying strokes. The wet brush must be moved swiftly and lightly over the surface of the paper to prevent too much liquid soaking into the absorbent paper, so any brush stroke made is an unchangeable commitment.
Specific stroke construction for each different petal and leaf will be described individually later in the book.