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Heron and crow are a curious painting theme in Japanese art. Representing seemingly opposite nature of Ying and Yang, they are a joy and a challenge to explore with ink. In this three days workshop you will have the opportunity to learn the basic brush strokes of the birds amongst their natural habitat. Each morning will commence with a calligraphy practice and will continue with learning exercises to paint the birds with Live demonstration by Talia and accompanied with worksheet for you to use and take home. We will also explore the meaning of herons and crows in Japanese art and view masterpieces by the Japanese ink masters of the 18th C. Time permitting we will enjoy painting within the Almond grove studio. Day 1 - Intro, calligraphy, herons Day 2 - Calligraphy willow, water and more herons Day 3 - calligraphy, crows and pine barks, summary time Based on simplicity and minimalism, this work is a form of active meditation, a training of discipline of hands and mind. It enhances self-confidence and flow with the brush, promoting new sets of drawing skills. You will learn about core features and ideas of Japanese ink painting, alongside key brush strokes, using traditional brushes, ink and fine paper. Fees include: • Study work-sheets to form your personal booklet. • All tools and materials for the course. • 1-2-1 with Talia, plenty of practice time and group discussion. • local fresh fruits, tea / coffee and light refreshments. • Professional painting sets made in Japan to include brushes and paper can be purchased direct from the studio during workshop time. • Spaces are limited up to 5 students. Fees: €360- / £315- Fee may be paid online or in-person. Dates: Friday 28th - Sunday 30th of October 10am-1:30pm Please add your whatsApp phone number to receive the studio pin-location after booking as it is rather rural amidst a hundred almond trees. You will need a car or taxi to get to the studio which is about 20 minutes from Palma. To be notified of future Japanese ink painting workshops, please sign up for our newsletter below. ** When booking go the Ocotober 28th on the calander and choose any hour to go to booking.

Taking a closer look at a drawing by Hokusai The whimsical drawing of a barefooted man dancing whilst papers and leaves scattered to the wind, took my breath away when I first saw it many years ago. It still is an unfolding mystery today. As a student of Japanese art history at the School of Oriental and Africa Studies in London, which was just behind the British Museum, I used to wonder into the museum to view original art as often as I could. I loved hanging out at the student room which was dedicated to students who wished to look at particular artworks. I wanted to get a feel of the brush strokes of the masters of ink, and this was the place to see just that. Amongst a selection of 18th century drawings by Japanese master artist Katsushika Hokusai, was a very similar drawing to this one here on the right. At first sight I couldn't quite figure out what was going on with this figure. Can you? The rather small drawing of 27x40 cm, was made with many fine lines, yet depict only few actual body details. The lines are not quite anatomically correct nor the posture is realistic at all, is it? Check it out for yourself. Can a figure hold its full weight on one bent leg in such posture? Can a head turn around in this odd angle to the sky ? And although this drawing make no sense as a reality, we believe it. It works. How come? We are also led to believe the wind is scattering papers from an open sac, whilst maples leaves flying away. And somehow, the figure is dancing carelessly and free, oblivious to anything around it, present at the moment full heartedly and happy. And we are with him. The man is holding his whole balance on the tiptoe of one leg in a rather extraordinary way, and the suggested parts that are painted, somehow, make up the contour of the body. And thanks to layers and layers of his robe, we are given a sense of him dancing in elated joy in the wind. By challenging the powers of gravity and balance he is able to be in the moment so much so that we can almost hear his laughter, and the swirling sounds of the wind. Whether the man has opened his bag and threw the papers to the wind, or perhaps the sac has fallen and he is trying to collect his poems back into his bag, is questionable. But it does not distract his free spirit dance. And although we cannot see nor read any writings on any paper, he does have, quite mysteriously, a bag full of them. The autumn season is noted with maples leaves scattered amongst the paper, and the character for wind - 風 at the bottom right, reminds us, if we are still not sure, that it is a strong autumn wind that is blowing away. Katsushika Hokusai (1760-1849) and the human figure Hokusai, amongst his great many talents as an artist, painter, calligrapher and printmaker, was a master in drawing the human figure. Be it saints, priests, warriors or servants, brick layers, martial artists, fine ladies or ghosts, he painted them all. He did not seems to care so much who they were, as much as what they were doing. Hokusai was investigating how people moved in their daily activities, the muscles of their bodies, the shifting lines of their garments folding, angles of their fingers, feet positions, facial expression and so much more. With an insightful curiosity, his drawings reveal a genuine sympathy for people, as well as a humility to his own artistic craft in his never ending will to perfect it. Hokusai inquisitive eye was observing in details the finest of body movement in action. His bold, determined brush would easily shift from sketching a samurai shooting a bow and arrow to dancers performing a folk dance. You name it, Hokusai and his brush were there. So much so, that we can learn much about 18th century Edo period of Japan and its culture thanks to his detailed sketches. The ways, style and mannerism of all sorts of people, from all walks of life, as they have been going on their daily lives, noted and drawn with his skilled brush. Many of his sketches were grouped in booklets, and have become to be known as 'Hokusai illustrated books' or manga. They were published over time, beginning in 1814 with over thirteen volumes being published during his lifetime, packed with many wonderful drawings. These drawings offer a detailed insight into anything Japanese. They demonstrate Hokusai discerning eye and determined hand in depicting anything and everything that was around him, and in capturing the movement and vitality of his subjects. Amongst these drawings, we can discover people in all seasons and in various weather conditions, giving us the storyline not only of the person, but of the time and atmosphere within which their story takes place. One of the most enigmatic and complex weather condition to paint is the wind, as it is unseen. So how did Hokusai draw the wind? How do you draw the wind ? The wind is about the only subject that to be able to paint, one needs to master drawing everything else in nature, as it in itself is unseen. And so, if you want to paint figures, animals or landscape in the wind, you must understand human anatomy, animal movement, and the way trees, branches, and objects, move and sway when blown away. Just like the spirit of life, the wind can be felt and seen by how it react with everything around it. Perhaps this is the magic and challenge that Hokusai was up to. More so, it looks like he was enjoying exploring this theme with much humour and originality. Be it a strong wind, a sudden wind, autumn wind.. his attention to the subject in his landscape paintings and prints is truly remarkable. We can examine his playful practice in the figure drawing below from his manga. We can see on the left a monk desperately clutching his rod against the wind as his hat covering his face, and another monk loosing charge of a paper scroll. At the bottom right, a servant is desperately trying to keep the weight of his tray, as he is covered blindly by a map that was meant to cover that tray, which holds an important letter in a customary black lacquer box. At top right, a lady struggling to keep up as she just lost her umbrella to the wind. And, bottom centre, a figure very much like the mad poet chasing papers lost to the wind. Just like in the mad poet drawing, we do not see much of the actual body parts or facial expression, apart from one monk, yet, we are compelled to believe in the movements of everything around them that suggest the wind is blowing all away. And much like in the mad poet drawing, the character for wind on the top left part of the print, blends with the maple leaves, as the wind swipe them all away. Mount Fuji and the wind Hokusai implementation drawing of humans and objects relations with the wind can be seen at its best within his famous series of 'The Thirty Six views of Mount Fuji'. Here in the 'Gust of wind in the rice field of Ejiri', we can see how sketches from the manga were integrated into this high quality woodblock print. A group of travellers are desperately trying to hang on to their hats as they walk against the wind. Whilst a flying hat, leaves, and paper are up in the air and the rice fields and trees suggest the direction fo the wind. There is a natural flow and movement to the whole scene, yet within the drama of it all, painted in a single line in the far background is Mount Fuji in its stillness. This contrast gives this print its power. So how do you draw the wind? The answer Hokusai must have known well is simple. You cannot draw the wind. You can only draw the wind by drawing everything else that interacts with it. More then one version of the same drawing ? My unfolding tale with this drawing continued, when I discovered few years ago, in a book by the art historian Jack Hillier, a similar drawing. In Hillier's book, the drawing was titled 'The Mad Poet' and is said to have come from the collection of Huguette Berès in Paris. It was almost similar to the previous drawing I have seen, similar and yet not. The drawing on the right was the first image I have seen many years ago at the BM, while the new image from the Berès collection, on the left, is a clear brush sketch of the figure in ink. It looks vibrant and free, with various width of brush strokes, while the BM copy looks like it was carefully painted with even lines. It lacks the free stroke feeling as it is cautiously following the lines in a softer, accurate way. The calligraphy character for wind on the bottom right gives it away as well, as it is finely written, not as calligraphic and fluent as the one on the left. Having realised that there is more then one copy of this image, I was wondering how come and why? To answer this question, we need to understand the process of Japanese woodblock print of the 18th C. When making woodblock prints, the master would paint an original drawing and a workshop practitioner would copy it for a woodblock print. There may have been more then one copies made for the same print. So You can see the drawing on the left, painted with free ink brush strokes, varying in thickness was probably the original, and the drawing on the right, probably was used for a wood block prints for one of the many manga books of Hokusai. The latter was most probably made by one of his students or apprentices working at the woodblock print studio, which was a major productive line at the time. It was also not uncommon for students of ink painting to copy originals of their teachers. So there are copies of Hokusai's drawings that can be found still around, making it not always straightforward to tell which is an original, and which is a copy. So a comparison like this can be useful for further research. In conclusion - Why I love this drawing The mad poet drawing tells us life's most valuable lesson in a rather plain, direct way. Standing strong within ones power, being present at the moment amidst great change, is a way of being. A skill that can be mastered. Whilst the very nature of the wind is change, the only stillness that can be found in its presence is within oneself. This position is both an inspiration and and an ongoing practice. When becoming a master of it, like the mad poet, it is effortless. Just like the way this drawing seems to have been created by the masterful brush of Hokusai, so effortlessly. Recommended Read Hokusai drawings / Jack Hillier/ The art of Hokusai in book illustration / Jack Hillier Hokusai sketch book / James Michener Hokusai and his age / John Carpenter Images credit copyrights 1. British Museum with permission at the student room 2000 2. National Museum of Ethnology, Leiden 3.4. Artist library collection 5. Metropolitan Museum of Arts NY 6. Huguette Berés collection- from Jack Hillier book - Hokusai drawings, published 1966 Learn More > For the full essay and more writings on Japanese ink paintings sign up to ArtBrush Library Sign up for a one-time payment of £55 > > For an in-depth foundation course on Japanese ink painting check it out here Sign up for a one-time payment of £220 > > For other individual painting tutorials please check the link HERE

A water-dropper, known in Japanese as suiteki - 水滴 , is a unique container made especially to hold water for usage in ink painting and calligraphy practice. This container design vary in size, shape and material, with the single intention to allow only one drop of water, at a time, to be poured out onto the ink or colour pigments palette. When you think about it, water is the main substance used with ink for painting and calligraphy. And so its container has a significant importance. It is the water that connects together the ink, the brush and the paper, known as the 'treasures'. The water is the plasma that allows for beautiful ink marks, and flow of calligraphy writing. Thus the water-dropper, even though it has not officially been included with the traditional ‘four treasures’ tools of painting and calligraphy, is of great value, and is known as an essential part of the calligrapher desk and the ink painter studio kit. How does it work? Although small and humble, water-droppers are highly sophisticated objects. The container has to have two holes in its design, one to allow drops of water out, whilst the other allow air to go in. In this way the pouring of water is controlled by the artist. The angle with which the water-dropper is held, determine the speed and how many drops will flow. The design of a water dropper Considering its function, the design of a water-dropper is quite challenging. To create a small container with two holes that can be held in the palm of the hand. It needs to be simple and practical to function. These small containers have become objects carrying symbology and meaning. They have evolved as miniature sculptures of complexity and a collectible highly valued items. The materials used for making these fine objects are multiples. From metal such as bronze, copper, silver or brass, to various types of stones such as jade and amber. Most popular are water-droppers made of ceramic with decoration and various motifs. The design of the pouring spout can be with a handle, or just a drop like hole. It can also be a more open shape with larger opening. The shapes of the container has many times a reference to the value of water. It may be from shapes of traditional water container designs, such as a gourd, a tea-pot or even a water droplet. Or a shape with references to plant or an animals living in or by water, such as a lotus flower, a water-frog, a dragonfly or a fish. Other designs carry a particular symbolic meaning relating to the nature of the year, such as the year of the hare or other zodiac animals. Or it may be a reminder of well known Zen teaching, like the boy and the ox motif, reflecting on a well known zen lesson about the nature of enlightenment. These unique containers can also be engraved and painted with fine landscape decoration, or a reference to a source of water, like reeds by the river, a waterfalls, a mystical landscape with water source. Even cracked ice as in the sample here. How to fill up a water-dropper ? The way to fill up a water-dropper is by dipping it in a larger container of clear water. Once you place your water-dropper inside, you will see air bubbles coming out. That means it is getting filled up. When no more bubbles coming up, it is full, ready to be used. Take it out of the larger container, wipe it dry on the outside surface and you are ready for your practice. Care for your water-dropper To care for you water-dropper, make sure you keep it clean and wrapped with a piece of cloth when you travel with it so it does not crack or break. Every so often you can place it in a bigger container with water and few drops of vinegar. This will clean any scaling that may have built up. You can leave it overnight and make sure to wash well and refill with clear water. Further research As you can see from this brief introduction, water-droppers hold a world within them, not just water. With quite an ingenious, simple and ancient technique, they have become a unique collectors items. You can further your study of water-droppers by visiting selected Asian art museums fine collections around the world, usually they can be found in the calligraphy or ceramic display section. Also, you may find them coming up from time to time at Asian art auction houses and galleries. So when you next see these kind of little sculptural objects with two holes in them, you will know what they are and what they are used for. Getting your own tool-set As an ink practitioner you may wish to have your own water dropper. In the three sets, curated by Talia for students, you will find water-droppers as part of the tool-kit. * STUDIO SETS - Quality Japanese MADE sets Traveller Set This set has a small blue and white rectangular water-drooper with flowers and water reeds elements painted on it. Celedon Set This set has a beautiful circular celadon water-dropper. Blue & White Set This set has a circular blue and white water-drooper painted with a mountain landscape surrounded by water and a boat. To read further comprehensive essays on the ink artist practitioner tools-set and more - check out ArtBrush Library Find out your favourite Japanese ink painting courses with ArtBrush Online HERE

Notes to self on the artistic journey Being an artist is not about some kind of a chaotic state, it is about an internal order that makes very clear sense. It is creating light from within by understanding the greatness that is possible. Being a student of the arts, means that we are interested in beauty, aesthetic, shades of light, proportion and glorious images that enhance and graces our being. And whilst practicing our skills, the big secret is, that we are learning this about the way WE are. About what moves and makes us who we are. By practicing art, we are exercising these very spaces in our being. Allowing our lives to glow a little more, with the feeling of beauty, finesse and powerful serenity. And so, even if for a short while, WE become part of it. And so it is not the art that is the journey, it is our own life that is the journey. When asked once, what is the difference between being a professional artist and an amateur one... well, I could say, it is to do with making a living out of ones art, or if you exhibit or show your art, or if it is a full time occupation. As much as all this is true, within the persona of what being an artist is, on a deeper level, any one who is touched by the creative mode, is an artist for that time. It can be in the way that we articulate and put our words together, which is the same way as blending ink on the palette. Or it can be in the way we look at another person and make it count, or not. The way we make a single brush stroke on paper count, or not. So really, when you are practicing art, you are the artist of your life, no less. It really is so, whatever shape and form you choose to do it with. The secret is, that it is within this glory of the moment that we are the power of what can happen, we harness our lives to make sense of it. To make it beautiful, to make it a useful struggle. To make it poetic, and romantic, and fantastic. To overcome the fear of non relevant, non important, or not good enough, or impressive enough. Once this bridge is crossed, over and over again, it is the art of living well that is celebrated in many moments of crossing, and finding new aesthetics to dwell in, to enjoy, to celebrate and to be part of. Find out More > You can find out more about Talia's art in the GALLERY or connect direct for interior design projects and commissions HERE. > The journey with ink paintings have allowed me the discipline and practice to journey the path of art. You are welcomed to explore highlights of this journey with ArtBrush Online tutorials and read more writings on ArtBrush Library > For Japanese ink painting foundation course 'The Four Noble Ones' Sign up for a one-time payment of £220 > > For other individual painting tutorials check ArtBrush Online HERE

Courses from ArtBrush View all of the ArtBrush courses, lessons, manuals, and memberships on this page. Japanese Ink Painting Beginners Course Step-by-step how to create beautiful Japanese ink paintings of wild orchids, bamboo, chrysanthemum, and plum blossom View Course Learn How to Paint Pine and Ikebana This unique course was filmed live at the London Flower School combining the two artistic forms of ink painting and Ikebana View Course Learn How to Paint Bamboo Step-by-step how to create beautiful Japanese ink paintings View Course Learn How to Paint Water Irises and Dragonflies Learn to paint step-by-step beautiful irises and magical dragonflies View Course Learn How to Paint Peonies Ants and Butterflies Learn to paint step-by-step summer peonies, ants and butterflies in ink and colour View Course Learn How to Paint Falcon and Pine Step-by-step how to paint the majestic falcon and evergreen pine View Course Learn How to Paint Summer Flowers and Insects Step-by-step how to create beautiful Japanese ink paintings of water irises, wild roses, hydrangea, grand peonies, dragonflies, bees, ants and butterflies View Course Learn How to Paint Crabs and Shrimps Step-by-step how to create beautiful Japanese ink paintings View Course Learn How to Paint Chrysanthemum Step-by-step how to create beautiful Japanese ink paintings View Course Learn How to Paint Roses and Bees Learn to paint step-by-step beautiful roses and bees in ink and colour View Course Japanese Ink Painting and Art History Library Selection of writings, essays and contemplations to guide you with your Japanese Ink painting studies View Course Learn How to Paint Tiger and Bamboo Step-by-step how to paint tiger and bamboo View Course Learn How to Paint Wistera Step-by-step how to create beautiful Japanese ink paintings View Course Learn How to Paint Wild Orchids Step-by-step how to create beautiful Japanese ink paintings View Course Learn How to Paint Plum Blossom Step-by-step how to create beautiful Japanese ink paintings View Course Learn How to Paint Hydrangeas and Butterflies Learn to paint step-by-step beautiful hydrangeas and butterflies in ink and colour View Course Japanese Ink Painting Membership Providing you lifetime access to all courses, lessons, manuals, and library View Course

ArtBrush Library Selection of writings, essays and contemplations to guide you with your Japanese Ink painting studies Enrol for £55 Course Description About this membership Welcome to ArtBrush Library, a hub for learning about the history of Japanese ink painting, created to assist in expanding your knowledge and appreciation of this traditional process. The library is a growing source of writings and essays, covering a range of subjects including tools, materials, ink masters, contemplative notes for the artist, viewing paintings and exploring ink painting within Japanese art history. Plus, there are a selection of Hebrew writings available. Please see included writings in the content section below. ArtBrush Library will continue to grow with new material, so be sure to visit often to harness this tool within your ink painting journey. All of the material on the library is downloadable, allowing you to print and create your own reference book at home. ''Study as if you never could get enough of it, as if you were afraid something might just get away from you'' - Confucius GALLERY Insight to ArtBrush Library content Access the ArtBrush Library Selection of writings, essays and contemplations to guide you with your Japanese Ink painting studies Enrol for £55 INSTRUCTOR Meet your teacher Talia Lehavi is an artist, a practitioner and a teacher of traditional Japanese ink painting. Following years of teaching, her love and passion for this artistic medium has now prompted her to create ArtBrush - online school for the studies of Japanese ink painting. The school is designed for students of all levels, from around the world, who are excited to learn, explore and discover the joy of ink painting and its many facets. TESTIMONIALS What our students say about their experience Talia’s ArtBrush online school guides its students onto a soulful journey into the realms of traditional Japanese ink painting. It is a unique combination between the disciplined perfection of the inner discourse of the hand, brush and ink, with an opportunity for new horizons as well as deep and spontaneous individual insights. — Tsipi W. Art Historian As a beginner in Japanese Ink Painting, Talia's approach to teaching made me feel completely comfortable. I have learnt so much about the history, processes and application of Ink Painting and cannot wait to continue pursuing my newfound skill set even further. I would recommend ArtBrush to everyone, no matter of capability, it's a truly unique school which allows for dedicated and encouraging learning. — Holly G . Artist Very detailed and informative course ! I have always been an admirer of Asian traditional painting and this course provided me of an insider's look of this magic world. With the help of Talia and the ARTBRUSH online courses, I have managed to learn, exercise and master special brushwork techniques otherwise unaccesible to me. I also got an overall understanding of the aesthetics around this beautiful world of ink painting. I totally recommend this! — Olympia T . Artist & Writer CONTENT Included in this membership ArtBrush library - Resources for the ink painter practitioner Welcome to the Library Welcome Learning Japanese Ink Painting - Introduction Mindful Notes for the Artist The Six Canons of Brush Painting Avoiding the Banal 4 Essential Japanese Ink Painting Tutorials What Makes a Painting Original ? How to Make a Line with Ink ? How to Make a Simple Line? Mastering the Power of Ink and Brush - Richard Weihe/ Shih-T'ao Learn From the Pine - Matsuo Bashō A Secret About Being an Artist Understand your Tools and Materials Ink 墨 'sumi' Ink Stone 硯 'suzuri' Paper 紙 'kami' Brush 筆 'fude' Water-Droppers 水滴 'suiteki' seal 判子 'hanko' Japanese Watercolours 水彩 'suisai' How to Care for Your Tools and Materials Mounting Your Ink Painting How to Mount Your Painting How to Look at a Japanese Ink Painting Haiga - Painted Poetry or Poetic Painting The great Dream - Looking at One Zen Ink Painting Footprints of Enlightenment - The ink Painting of Zen master Hakuin Nagasawa Rosetsu -18th C. Eccentric Master of Ink The Visual Language of Ink Dragons in Japanese Art of the Edo Period A Crab Woodblock Print Chrysanthemum by The Stream - From Jachuchū to Murakami The Mad Poet and the Wind - A drawing by Hokusai Japanese Aesthetic 1. Wabi-Sabi and the Practice of Ink Painting About Calligraphy Structure of the Writing System - Introduction Types of Script Outline Structure of Characters Pictures of Ink and Water 水 墨 画 'sui boku ga' - Calligraphy Practice Sample (with video) Notes for Your Calligraphy Practice Water 水 'sui' - Worksheet Ink 墨 'boku' - Worksheet Picture 画 'ga' - Worksheet Pictures of Ink and Water 水 墨 画 'sui boku ga' - How to do (0:57) Calligraphy Net for Practice - Print and use under your practice paper Recommended Resources 52 Books Recommended Japanese art history / Japanese ink painting /Masters of ink / Calligraphy / About art and aesthetic / Being an artist / Hebrew 22 Museum Collections of Japanese Art from Around the World 12 Soureces for Tools and Materials ספרית בית הספר ׳אמנות המכחול׳ ברוכים הבאים לספריה הכרות עם ציודי ציור דיו יפני ארבעת האוצרות של ציור דיו דיו יפני - סוּמי - הקדמה חותמות בציור דיו מסורתי - הקדמה ודוגמאות איך לתחזק את ׳ארבעת אוצרות הציור׳ הערות חשובות לאמן ציור הדיו לימוד ציור דיו - הקדמה שִשה העיקרים של ציור דיו המנעות מהבנאלי הקו הנוֹשם התמחות בעֹצמת דיו ומכחול לִמדי מהאוֹרן - מצוּאוֹ בַּאשוֹ מתיחת ציורים הנחיות למתיחת הציור שלך על קליגרפיה מבנה מערכת הכתב - הקדמה סוגי כתב מתווה המבנה הפנימי של סימניות ׳תמונות דיו ומים׳ - סוּאִי-בּוֹקוּ-גָה - אימון קליגרפיה יפנית - הערות לאימון ׳סוּאִי׳ - מים - דף עבודה ׳בּוֹקוּ׳ - דיו - דף עבודה ׳גָה׳ - תמונה - דף עבודה ׳סוּאִי-בּוֹקוּ-גָה׳ -תמונות דיו ומים - וידאו קליגרפיה (0:57) רשת רקע לאימון סימניות קלגרפיה - להדפיס ולהניח מאחורי דף האימון Access the ArtBrush Library Selection of writings, essays and contemplations to guide you with your Japanese Ink painting studies Enrol for £55 FAQs Frequently Asked Questions When does the membership start and finish? The membership starts now and never ends! ArtBrush library is open for you to use whenever you want. How long do I have access to the library? How does lifetime access sound? After enrolling and as long as ArtBrush is live online, you have unlimited access to the library across any devices you own for as long as you like. Will I be able to access all materials in the library? Yes! The library is growing every month, and your membership allows you full access to all materials. How do I enrol? To enrol in the ArtBrush Library Membership, click on any "Enrol" button on this page and complete your purchase. You will need to create an account with us to purchase and access the library. If you already have an account, log in to complete your purchase. Then, you'll have access to the library, and your purchase details will be emailed to you. What software do I need to access the course? Please simply ensure that you have updated your internet browser to the latest version. 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Workshops Talia is an experienced teacher, and over the years has hosted a large number of Japanese ink painting and calligraphy workshops. ​ Mallorca studio now offers 1-2-1 apprentice like retreat workshops with Talia, for individuals and small groups. For details check HERE ​ PREVIOUS Asian Art Museum Israel Burgh House & Hampstead Museum London London Flower School​ London Tel Aviv Museum of Art Tel Aviv Daylesford Organic Farm Gloucestershire Israeli Art Association Tel Aviv Tikotin Museum of Japanese Art Haifa Hampstead School of Art London Chelsea Physic Garden London Royal Horticultural Society London VIDEOS View promotional videos from past workshops Below are Japanese ink painting and ikebana courses taught at the London Flower School . TESTIMONIALS What our students say about their experience I discovered Talia's ink painting and calligraphy almost by error. I was at a point in my life when a re-think was necessary and this was an attempt to explore my own creativity instead of responding to a brief for a client. I loved the ambiance of our Saturday morning sessions - the quiet concentration, the classical music and the smell of the Japanese tea! The weight of the brushes, the feel of the fine, transparent paper and the energy that was created as we explored each line or shape we created. I learned to be much kinder to myself and to use the mistakes as an opportunity rather than a depressing disaster. I try to re-create in my own studio on the banks of the Thames, the atmosphere of those morning lessons with that energy, sense of calm and focus the moment. This course is not just about how to paint. It enables us to find our own voice and listen. — Judy H. Artist and graphic designer Tucked away beneath the Tramuntana mountain range lays Talia Lehavi’s home art studio. The setting for a meditative painting course could not be more ideal. I took a left turn onto a dirt road from the main highway. The gate slowly opens, revealing a grove of almond trees and a house perched in the middle. Getting out of the car I am greeted with a large black cat named Sumi-e. The studio is adorned with beautiful works by Talia, and a collection of ink brushes from around the world. I began studying with Talia when I first arrived to Mallorca last summer, and was looking for a creative outlet. My background in Mindfulness and interest in painting seemed like the perfect combination to dive into Japanese Ink Painting. There is so much beauty and elegance in this ancient art, and it continues to amaze me. The smell of essential oils in the natural ink, the delicate hairs on the brush, and the presence and breath each stroke demands. Talia is a true master at her craft, and you can sense a deep knowledge of the art not only through her technical understanding, as well as through her easeful ink strokes. She is a wealth of wisdom when it comes to the history of Japanese ink painting and her passion for the topic is ever present. Coming to class with Talia I have gained so much from hearing her personal experience and journey with ink painting. She has reverence for this art modality, and she shares the small gems ink painting continues to teach her about life. It is an honor to study with a teacher such as Talia who is an embodiment of her craft. She truly lives in congruence with nature, and it is so easy to see this through the beautiful art studio she has created. I highly recommend studying with Talia, whether you are looking for in depth knowledge of ink painting, or a creative outlet. Her ability to dance between the technical and the creative flow is a testament to ink painting itself. Learning how to find your voice within the structure of this ancient art. —Julia N. Meditation facilitator and writer Talia’s Japanese ink workshop was a wonderful experience, and I was able to learn a great deal about sumi-e painting in a short amount of time. Talia is extremely knowledgeable about her subject, and not only guided me through various techniques of sumi-e painting, building from one skill to another, but also provided in-depth explanations of the historical development of sumi-e, including the importation of calligraphy from China, the relationship of the art form to Buddhism, and discussion of Japanese masters of the art from. Talia’s studio is a clean and inviting space in a beautiful rural setting, surrounded by almond trees and a beautiful view of the stunning twin peaks the Puig d’Alaró and the Puig de s’Alcadena, part of the Tramuntana mountain range. Just a wonderful place to immerse oneself in painting. Talia provided all the needed supplies, as well as tasty snacks during our daily break. I am grateful to have had this opportunity. — Richard D. - Artist and head teacher of Art dept. N. Carolina A whole new world has opened up for me, one that I would not be without. Talia's classes are so engrossing and interesting - At every level the time is enjoyable. I've been coming for some time now and it has become an essential part of my week. Always something new, so much to learn. And the delightful company of other students. Wonderful! — Jenny A delightful painter's studio with the right vibe for practising the ancient art of Japanese brushstrokes: inspiring music, the aroma of green tea light coming in from the garden and bamboo leaves moving in the wind. I enjoyed the hours spent in the studio painting and sharing with Talia and the other participants our appreciation of Japanese art and philosophy. — Emanuela R. Artist Hi, I absolutely loved this class. I am a complete beginner but learned so much in one lesson thanks to a really talented and patient teacher. Thank you so much! — Sarah J. I have been learning Japanese Ink Painting (Suibokuga) and Calligraphy from Talia for a few years. She is a wonderful teacher, with a vast knowledge and understanding of the subject and its history. The art form itself is very relaxing and meditative. I find that the black ink used allows me to focus and reflect on the calligraphy or shape without worrying about colours. It has taught me to focus on the essential and discard anything unnecessary. This art form constantly challenges me and opens up my mind to new ways of thinking and perception. Practising ink painting always makes me feel connected with myself. I would highly recommend this for anyone who wishes to take a break from the daily stress and learn to create some magic with brush, paper and ink. — Raji , Business Analyst Talia's studio is a place of peace and tranquility, where I learn about how to use Japanese ink brush stroke and make my very own ink painting. I find the practice demand discipline and encourage self listening and focus. It is a step by step journey into one of the most ancient painting practice. Wonderful. — Sarah טליה מורה נהדרת, מקסימה! מתאימה בכל דרכה ומעשיה, לשאת בשליחותה המיוחדת, להביא את תרבותה של יפן, עיקריה ועולמה המיוחד. טליה אישה עדינה, מורה ואמנית מפוארת בפני עצמה, ומביאה זאת בהצלחה לתלמידיה חניכיה. יודעת גם לדרוש משמעת ומביאה איתה חומרים מגוונים, הנלווים לתרבות היפנית. יחד עם הציור, חשוב ונהדר שטליה גם מלמדת את הקליגרפיה היפנית. כך טליה שומרת ונותנת לנו, רמה גבוהה ותחושות תענוג וגאווה, להתבגר ולהיות בין תלמידותיה ותלמידיה! תודה ענקית לך טליה! — שולה ודני זמיר (אמנית ומורה) Thank you Talia for a wonderful introduction to Japanese ink painting for our home education group. It was enjoyed by all and gave us a great appreciation of the skill involved in creating your artworks. Lots of the participants are intending to continue to practice. — Hannah Douglass Home Education Group I’ve had a love for Japanese culture all my life, and after practising the sword related arts for over 40 years I promised myself I would learn to paint in the traditional Japanese style. Talia has studied in Japan and is teaching us the physical and mental concepts of the painting art. Exactly what I was looking for. I fully recommend the courses if you want more than just a superficial explanation of the art. — Paul G. It was an absolute pleasure for me to join Talia's class. I would definitely recommend it to anyone who wants to learn new Art & culture because it helps provide understanding of Japanese Ink Painting principles. Also, perfect for someone looking for a break to relax and unwind, it is really good atmosphere in the class. — Mary The king Fisher and lotus,was a lovely subject to study.Very well broken down and explained in simplistic steps to help you acheive a lovely picture. A wonderful art form, which is both creative and calming. A great day. — Jackie C. Art teacher I really enjoyed the amazing Japanese Ink Panting course. Talia has a wealth of knowledge on the subject. Classes where run expertly, by a fantastic teacher. I feel I have learned a lot, and looking forward in the future, to moving forward in this subject. And look forward to attending more workshops. It is a beautiful art form, that is timeless. It is the nearest from of art to nature. It's mediation in motion, with stunning results. — Jackie C. A thoroughly enjoyable workshop spent not only practising calligraphy and brush painting in a very pleasant and calming environment but also sharing with Talia and the other student our appreciation of Japanese art and philosophy. — Emanuela R. Artist The best present I could give me self. Thanks to Talia I have found a new passion. I loved her classes and can't wait until the next time she will come to teach. I came to learn the technique and to use it on ceramic pieces which I make. I am very happy with the results. Thank You, Talia for your knowledge, patience and very informative, relaxed and quiet classes. I will be back. — Laurie S. Ceramist Talia ran a fabulous course, which I very much enjoyed and thought of as a real discovery. The course was well structured and paced, giving space for exploration of what had been demonstrated and learned. The atmosphere was very friendly and encouraging. I would recommend the course strongly to anybody who wishes to link peace of mind with the movement of mark making. An extra benefit is the painting emerging at the end of the lesson, paying visible testimony to what is an extraordinary process and journey. — Cornelia E. I have always admired the simplicity and elegance of Japanese ink painting but after taking a course on the subject with Talia LeHavi, my appreciation of the artform and my respect for the artists who produce it has grown immeasurably. Over a period of four weeks in March 2018, Talia taught us the fundamental techniques of calligraphy and painting the bamboo, wild orchids, chrysanthemum and plum blossom. The step-by-step approach of demonstrating the brushstrokes first, then letting us practice with Talia’s guidance, worked admirably well. We were given plenty of feedback and encouragement by the ever-patient Talia. At the end of each class, we each produced a finished painting to take home. The course was both enjoyable and a great learning experience. Thank you, Talia! — Sibel RW. טליה יקרה תודה על הידע הרב והקורס השופע ומלא עניין — איילת אדיב The course content was Landscapes, but my primary aim was to improve the range of my brush strokes using a wider variety of subjects. Talia has such mastery of the brush and explains the techniques with patience and encouragement. Complementing the varied landscapes, rocks, trees, water and waterfalls, we also practised the bold strokes of the subject calligraphy. Mission accomplished. — Paul G. I had been looking for a course to learn Japanese ink and watercolour so Talia's course looked exactly right. Having just finished the course, I'm extremely pleased that I took it as it delivered exactly what I was looking for. Talia created a perfect environment for learning and her teaching method was great. As a result I made significant progress in only one course! I'm very grateful! Thank you Talia for helping me discover a new love! :) :) — Millie V. FAQs Frequently Asked Questions Do I need previous knowledge? I am a complete beginner No previous experience in art or ink painting is required. This workshop is designed for mixed-level abilities, and Talia will offer 1-2-1 time for each student to progress in their own rhythm. Is there an age limit? 16 and up What is the size of the class? 7 -14 students I am a professional artist, is this for me? Yes, many professional artists and designers have been studying with Talia and benefit from the aesthetic of Japanese art and practice. The course will offer new ways of observation and understanding composition and space in Japanese ink painting, as well as an in-depth understanding of tools and materials and sampled traditional exercises. What about tools and materials? If you have your own kit, do bring it along. Otherwise, the teacher will provide all that you need for the day. It is recommended to bring an apron, notepad and pencils and an A3 folder for your practices and finished paintings to carry home. Where can I buy my own tools and materials? During the course, at break time, you will be able to purchase your very own set of high-quality tools and materials. To include a selection of brushes, brush hangers, brush rests, water-droppers, ink stones, ink sticks, liquid ink, weights and paper. What about cancellation? Cancellation refund is according to the college/ school/museum policy. In the case of teacher's cancellation, a full refund will be offered.

A selection of writings, essays and contemplations to guide you with your Japanese Ink painting studies. Welcome to ArtBrush Library, a hub for learning about the history of Japanese ink painting, created to assist in expanding your knowledge and appreciation of this traditional process. The library is a growing source of writings and essays, covering a range of subjects including - tools, materials, ink masters, contemplative notes for the artist, viewing paintings and exploring ink painting within Japanese art history. ArtBrush Library will continue to grow with new material, so be sure to visit often to harness this tool within your ink painting journey. All of the material on the library is downloadable, allowing you to print and create your own reference book at home.

4 Essential Japanese Ink Painting Tutorials Of the many wonderful Japanese ink painting themes, there are few that have come to be considered essentials for the artist practitioner. And so, if you would need to condense the whole teaching of ink painting into four lessons only, then you would probably want to learn to paint wild orchid, bamboo, chrysanthemum and plum blossom. While every ink painting theme has its own unique value, why, and how, have these four become to be known as the foundation lessons for the practitioner artist? 'The Four Noble Ones' Known as 'The Four Noble Ones' or 'The Four Gentlemen' - wild orchid, bamboo, chrysanthemum and wild plum hold within them together, like a pearl, the essential brush strokes practice for ink paintings. Each lesson, highlight different usage of line work and ink marks, offers an understanding as to the usage of ink and water to create shades of ink, and teaches core ideas of composition as well as careful observation of the ink masters paintings of the past. 'The Four Noble Ones' carry the perception of time flow and the elements, as well as main qualities and notions for the discipline of ink painting practice. Origin of 'The Four Noble Ones' The origin of these four plants as the 'Noble Ones', is somewhat of a mystery. Their tale goes back to Chinese literati ink painters of the Song dynasty (960–1279), hence their title also as 'The Four Gentlemen'. Ink painting and calligraphy together with music, used to be practiced by Chinese scholars as a mean of improving oneself and cultivating ones character. Chosen not only because of their beauty, wild orchid, bamboo, chrysanthemum and wild plum also have come to be considered as representing essential qualities for the scholar-painter character. The qualities of humility, purity, resilience and forbearance. These various literati painting subjects were collated as compilation of knowledge over the generations, to include, instructions and details ranging from how to make ink and colour, to understanding composition, appreciation the artist observation skills, and samples of the masters. Thanks to the development of woodblock prints around the the 17th C. these compilation were turned into printed painting manual instructions for the discipline of ink painting. One of the early well known manual was the Chinese manual titled 'The Mustard Seed Garden Manual of Painting'. It was divided into various books and devoted a book for each of The Noble Ones' plants. As the manual became available and more popular, various copies were printed reaching other countries including Japan. It is recorded that the Japanese Tokugawa shogun exchange in 1724 his copy of the manual with a 1679 edition which belonged to an artist in his employ. The manuals made ink painting more accessible and must have inspired Japanese artists to create their own painting manuals as well. Today there are various version and editions to these kind of painting manuals. (see link below) And so, 'The Four Noble Ones' have become the foundation and essential practice themes for the ink painting practitioner. Unfolding seasons of 'The Four Noble Ones' Each subject represents the arrival of one of the four seasons and convey different feelings and emotions. The orchids suggest early spring time and the bamboo of summer time. The chrysanthemum tells of autumn into winter, and the plum blossom of winter into spring. Each plants display, in different way, its hidden beauty in spite of the hard weather and condition it grows in. Thus the study of these four will unfold the hidden beauty in ones painting. Wild orchids The spring blossom, blooming up high in the faraway mountains tops creaks and rocks, is this wild orchid way. It is as if the plant touches the sky. Access to it, is almost impossible. Because of this, it has become a symbol for hidden beauty. With its fine blossom, rare and graceful, it has also become a symbol of humility, elegance. Bamboo Bamboo is one of the most loved subject of ink painting. It is the beauty of the line that comes through with the painting. It represents the season of summer and the quality of resilience. As it is the fastest growing woody plant in the world and an ever-green plant, it gets its power from adaptability rather then strength. And so it came to represent flexibility and inner power. Chrysanthemum The royal chrysanthemum suggests the end of autumn and the coming of Winter. Fields of yellow chrysanthemum were considered as precious as gold. Its golden beauty represents purity and a determination. The power of anchoring in truth even in the face of the withstanding changes of season. Plum blossom The end of winter is snowy and very cold. The bare trees are well covered with snow, and it is the plum blossom that succeed in-spite of the cold weather to bloom and cover the tree with beautiful pink, red and white blossom with fine fragrance and delight. This power overcomes the cold and bleak weather, represents inner beauty and humble display of courage and bravery, in the face of difficulties and hardship, and this is plum blossom painting. In conclusion The wild orchid, bamboo, chrysanthemum and plum blossom have become an essential themes for the beginner apprentice of ink painting, as well as of deep value to professional artists. Each lesson trains ones hand and heart with specific brush movements, allowing the student to learn, practice and remember these and connect with the profound flow that comes when executed well. Just like playing scales on the piano, or warming up for a dance, practicing these with harmony, can immensely enhance the artists skills and quality of line. Learn More For an in-depth painting course 'The Four Noble Ones' you are invited to join ArtBrush Foundation course Sign up for a one-time payment of £220 > For individual painting tutorials please check the link HERE For the contemporary Mustard Seed Garden Manual of Painting, translated by Mai mai Sze you can get your copy on this affiliate link > Purchase on Amazon HERE *Images in this article are taken from the mustard seed garden manual of painting