Hold a brush correctly to get good calligraphic lines

Dear friends,

To achieve good calligraphic lines, it is important to hold the brush correctly. In learning to write, school children were usually taught to hold the brush between the thumb and fingers, with the index finger raised into the position "7", the goose- head position. The trouble with this method is that when the goose head is formed, the rest of fingers automatically squeeze tightly together and, thus, the whole hand closes into a fist. Once the small finger touches the center of the palm (see picture), the hold is too tight. In this position, the brush cannot move freely. Besides, a tight grip can be maintained for only a short time, so how can one work for an hour or more?

It must be recognized that in any kind of performance, such as swimming or playing tennis or piano, one cannot be tight. On the contrary, all muscles must be relaxed. The natural way is best. Therefore, instead of holding the brush tightly, limiting its movement, the correct way is to loosen all the muscles of the hand and the forearm and take a position (see picture) whereby the palm is so hollow that the brush may turn around in a circle of at least eight inches to 10 inches in diameter.

Since there is not a wide angle from between the hand and the forearm, one's arm does not get tired nor the fingers cramped. When one is taught to hold the brush tightly, as tightly as possible, to make strong lines, a person is likely to develop the bad habit of moving the brush stiffly; his lines are likely to be stereotyped. As in singing, if there is strain, the voice will not be right. When one feels tired holding the brush, this is a warning that the grip is wrong.

The brush should be held mainly by the thumb and the index and middle fingers. The ring finger may touch the right side of the brush, however, the little finger is not useful and the best thing to do is to let it join the ring finger naturally. Never should it touch the brush, otherwise it will break the coordination of the grip. Some writers stick this finger out, or try to use it as a support between the brush and the paper on the table. Both are incorrect because they impede free movement.

In the correct holding position, there should not be any "window" formed between the fingers holding the brush, usually a result of muscle tension. The picture shows a completely relaxed position but the fingers are joined together so as to ensure a firm and well-balanced hold. When the brush is held correctly, the hand, the arm, the entire body, are all relaxed.

There was a time when teachers would sneak up behind a student and try to snatch the brush from him, to test how tightly he was holding it, unaware that this was an improper kind of test. The tighter the hold, the more wooden the movement of the brush.

In painting and calligraphy, there is need for finger work, such as rolling, twisting and turning of the brush. This cannot be done effectively if the brush is being held tightly. A good line is the result not of a tight grip but of properly holding the brush, i.e., the coordination of pressure, speed and all the other factors involved.

Body Movement

Since painting and writing, like dancing, are a kind of physical performance, the body movement in wielding the brush is also significant. In walking, the left foot is balanced by the right arm and vice versa. This is known as contrary body movement. In ballroom dancing the opposite shoulder does the balancing of the foot. In wielding the brush, the principle of contrary body movement also prevails.

If one were to draw a line from left to right across the paper, one should not just move the hand that holds the brush; instead, the shoulder should start the movement by leading the arm and the arm should lead the hand.

When painting in a standing position, one should feel the gradual shifting of body weight from the left foot to the right leg. At the beginning of the line, the right shoulder should balance the brush at the left side; in the middle of the line, both brush and body are in equal balance; from the middle to the end of the line, the left shoulder should gradually serve as a brake and, at the same time, balance the brush on the right. The whole body is actually doing the painting, not just the fingers. Coordination of the whole body is necessary to ensure a good line, or, a good painting or calligraphy.

-- David Kwo