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Welcome to ArtBrush library This library is designed to support and enhance your learning journey with ink. It has an extensive writing about tools and materials you would use, and a detailed essay about how to mount your final piece in the traditional way. It includes a selection of writing about the mindset of the ink artist practitioner to inspire and deepen your practice. Ink painting, is the most ancient form of drawing known to exist, and is well rooted in the history of China and Japan. And so, included in the library a section dedicated to the history of this art-form, with fundamental notions and ways of how to consider viewing it. Finally there is an introductory section to calligraphy, which is an essential practice for the ink artist. Feel free to download, print and bind it in booklet format, so you can use it along your studio practice. I hope you will enjoy the library content, that it brings more depth and wonder to your journey with ink. Talia Content ✥ Understanding your tools and materials Ink Ink stone Paper Brush Water-dropper Seal Japanese watercolours How to care for your tools and materials ✥ Mounting your painting ✥ Mindful Notes for the Ink painting artist Learning Japanese ink painting - introduction The six canons of brush painting Avoiding the banal What makes a painting original? How to make a simple line? Mastering the power of ink and brush Learn from the pine ✥ How to look at Japanese ink painting - essays 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 Rosetsu - 18th C eccentric master of ink The visual language of ink dragons in Japanese art of the Edo period ✥ About Calligraphy Structure of the writing system - introduction Types of scripts Outline structure of characters Calligraphy sample - pictures of ink and water Notes for your calligraphy practice Water - Ink - Picture - worksheets Pictures of ink and water - How to do Calligraphy net for practice ✥ Hebrew section

Pictures of ink and water 水 墨 画 'sui boku ga' - Calligraphy practice sample

Learning Japanese ink painting — an introduction Overview The study of Asian ink painting is a practice of being with the heart’s rhythm. Exercising discipline and steadiness of hand and mind to develop a creative process over a substantial period of time. This is an active meditation process in encouraging new ways of observation and self listening as part of healing and inspiration. Being an ancient practice form in China and Japan, its validity is true today as in its glorious past, especially us eful for those who wish to encourage creative mode of life in themselves. The appeal of Japanese ink painting is in the flow of the brush. The seemingly 'effortless' minimalistic stroke that suggest a bamboo in the wind or a flying sparrow, is magical. It is an art form of economy, using one brush to reflect upon nature's harmonies. Results can be achieved on first practice, but to achieve mastership flawless of the brush, long term practice is necessary. Study emphasise solid brush strokes, and so practice of calligraphy offers a good platform with variety of strokes possible to be made with a single brush. The play between ink and water on various absorbent paper, stimulate the visual impact between the subject matter and the space around it, to give feeling of depth, light and richness of composition and colour, even though 'only' black ink is mostly used. Japanese ink painting was traditionally divided into two main schools of practice, the first was 'line work,' depicting subject with line drawing of the outside form. And the second, 'ink marks', that which depict subject as ink marks with no outside line. Upon this basic practice, combination and variety of techniques developed, including usage of Japanese watercolour, made from natural pigments. ‘The Four Treasures of Ink Painting’ The four main tools and materials used in this practice are — brush, paper, ink stick and ink stone. Known as the 'four treasures' of ink, these carry a long tradition of craftsmanship in their own right, as their quality differ from simple student's kit, to highly prized, collectible, hand made sets. The paper, made of various percentage of kozo fibre (from the bark of mulberry bush), can vary in thickn ess, shade and size. The brush is made of natural animal hair, vary in hardness, size and shape. The ink stick, sumi, is made out of soot or coal dust, traditionally mixed with essence oils and natural glue to form a solid stick. This black solid ink has a range of shades of black and a variety of translucency. The ink-stone, suzuri, is made usually out of slate and is used as a rough surface upon which the ink is grind. ‘The Four Princes of Ink Painting’ Beginners are best to start with four traditional themes, known as 'the four princes of ink' — they are — bamboo, plum-blossom, wild orchid and the yellow empress, known as chrysanthemum. These four subjects hold within them the basic brush-strokes necessary to accomplish success. This study goes along with an early introduction to calligraphy characters (kanji). More advance study, for those with some knowledge of the field, includes themes such as — song birds & flowers, sea-life, animals, landscape & figures. At this level, students should look for an in-depth study of composition and usage of space. A helpful way is to observe and study the great masters of the brush from the history of Japanese art. At this level it is well advised to accompany the study with calligraphy practice of kana script as well as more complex kanji.

The six canons of brush painting Circulation of chi (breath, spirit, vital force of heaven) produces movement of life The purpose of the painting is to express the life force of the artist & object, therefore train to work freely and in one sitting Brush creates structure The combination of light & dark, wet & dry, thick & thin, smooth & rough strokes, According to the object, draw its form Draw as you see, not s you think. Understand the object by careful observation, train your hand to contemplate. According to the nature of the object, apply colour Black is colour and its shading are used as a palette of many tones. Organise composition with the elements in their proper places Space is as important as the painting, the relation of objects to space create the balance. Know where the heaven are, where the earth is and make the composition accordingly. In copying, seek to pass on the essence of the master’s brush and method. Copying the masters is as essential as drawing skills, it is part of learning and developing the skills from which originality can grow. *All but the first canon can be learned and practiced to the point of true accomplishment. Freely adapted from ‘the Mustard seed garden manual of painting’ 1679 with notes by Talia.

Avoiding the banal In painting, it is better to be inexperienced (young in chi) than stupid. It is better to be audacious than commonplace. If the brush hesitant, it cannot be lively; if commonplace, it most likely will produce only banalities. If one aims to avoid the banal, there is no other way but to study more assiduously both books and scrolls and so to encourage the spirit (chi) to rise, for when the vulgar and the commonplace dominate, the chi subsides. The beginners should be hopeful and careful to encourage the chi to rise. Freely adapted from ‘the Mustard seed garden manual of painting’ 1679

You are invited to download and/or printout for ease of use. Enjoy the read. Get your own Japanese ink painting tools and materials - Choose from three sets carefully curated by Talia

You are invited to download and/or printout for ease of use. Enjoy the read. Get your own Japanese ink painting tools and materials - Choose from three sets carefully curated by Talia