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THE LONDON CHINESE BRUSH PAINTERS’ GROUP Newsletter www.londonchinesebrushpaintersgroup.co.uk
The Group Seal read “Share One’s Treasures” 13th February 2016 Jane Evans – Three Kinds of Roses. Anush introduced Jane Evans. She said that Jane was an important teacher of Chinese brush painting, and had written wonderful books on the subject, in fact, we do have copies of these in our library. Jane is one of the Honorary Presidents of the CBPS. Jane said she would be showing us three ways of painting roses – she laid out her colours, carmine, gamboge, indigo, dark brown, mineral green and white. She loaded a mixed hair brush with white leaving the heel free for water, and then she tipped the brush into carmine. Using Xuan paper, although you can also use texture hemp for good effect, Jane started to build up the rose from the centre of the flower where the petals are smaller but more dense, the tip of the brush points outwards from the middle of the flower and push the brush into the paper so that you are utilising the water in the heel, make sure that you fix each petal to the centre of the flower.
Visualise the structure of the rose in your mind to get an accurate picture of it then study the photo-copy and notice that the petal is darker towards the tip.
Using a fairly light tone of dark brown load the brush, put tip into a darker brown, draw the calyx and leave to dry a bit before you fill in with carmine. Paint a more open bud again notice the direction of the brush tip, this is the darkest area of the stroke. Fill the space in the calyx, do not be over careful with this stroke or it will look too solid.
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Add the stems and branches to the flowers.
Place the stems for the leaves, place the first leaf over the end of the stem, then add two leaves to the bottom and fill in the space between these two parts with two more leaves. You do not have to have five leaves on each stem, it will depend on space, but remember not to have the leaves too distant or too regular. Add the veins using a dark ink and vary the patterns, these determine the direction the leaf is facing. Again study Jane’s placing on the photocopy. The younger leaves are loaded with yellow and indigo and tipped with carmine. Notice how Jane’s central vein is not placed in the middle of the leaf, which gives a more natural feel and roundness to the leaf. Add a few very light leaves, these are also painted with the yellow and indigo, but the yellow is intensified and is tipped in carmine. Finally a splash of mineral green is added.
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Jane gave us some time to practise this rose and to study the structure then, before lunch she demonstrated a rose using different tones of ink. For this Jane said it was no use using ink from the bottle as it would not give the right effect. She ground her ink using a stone and ink stick. She explained that if you use bottled ink, it can run badly and ruin your painting when you come to mount it. Then using two brushes, one was loaded with a fairly dark ink and the other with a light ink wash. With the dark ink Jane drew a rose in linear form, then using the brush with the light wash, she went over the dark lines while they were wet, this softened the line.
The second rose was drawn using the same method. Now add the bud in the same way as the first rose, add the stems and branches and fill with a light wash
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Add the leaves and stems – not to carefully to give them life. Draw the stems of the leaves and using the same formula as the first rose, place the top leaf using the stem and the central vein, add the two bottom leaves and add the two middle leaves, draw the rest of the veins in a dark ink tone. When you have finished the painting to your satisfaction, splatter some light toned ink over, but be careful not to have it too regular.
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After lunch, Jane showed us another way of painting the rose. She said it was important to use a large brush which was long enough to hold water in the heel. She loaded two thirds of the brush with carmine, leaving the remaining third with clear water. Then pointing the tip of the brush to the centre form a large blob. Use a “jiggle” brush stroke to break up the outside edge, so it is not too regular.
Using xuan, load your brush with white using a mix of Chinese titanium white and a gouache white, Jane said if you have Teppachi white that would be alright, but gouache is thicker so would be better
Start at the centre of the flower and paint the petals on the red wash, making sure that the strokes are not too regular, again visualise a real rose. This method is good for painting such flowers as hydrangea and peony. The leaves, buds and stems are painted in exactly the same as the previous flower.
Jane finished by demonstrating yet another way to paint roses. These involves triple loading of your brush. Start by loading your brush with white, then yellow and tip the brush into carmine. Keeping the petals close together and not leaving any space between them form the petals working from the inside out. When you are satisfied with the shape and composition use white to highlight the edges of the petals, use a very free brush stroke or the rose will look too heavy.
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Add the leaves, buds and stems as before
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2016 WORKSHOPS start promptly at 10.30 and finish at 4.30
March 12, 2016 Maggie Cross – Only 10 spaces left on this workshop, so book early April 9, 2016 Angela Reich , Free Style** May 14, 2016 Kaili Fu June 11, 2016 Dr. Xuzhuang Li – Calligraphy***
PLEASE NOTE – Mary is our workshop books Officer and needs to be contacted about booking, she keeps the waiting list up to date so it is important that you let her know as early as possible if you are unable to make it so that she can offer the place to someone else even at the last minute. Please send cheques to her as early as you can to book your next workshop place. As we cannot refund the money if you do not attend it is best not to book too many workshops in advance. We will, of course, be more flexible if you have a last minute emergency. If you want to book during the last 5 days before a workshop, please email Mary first to check if a place is still available. Mary Wiggins, 162 Sherwood Avenue, Streatham, London SW16 5EG, 07805255916 [email protected] hope you are all enjoying the wonderful programme on Chinese History presented by Michael Wood. Anush watched and was inspired by the poet Li Bai and asked me to insert this poem she found in one of her books.
. Thoughts in the Silent Night — Li Bai 李白《静夜思》 床前明月光, 疑是地上霜。 举头望明月, 低头思故乡。 Thoughts in the Silent Night By Li Bai Translated by Yang Xianyi& Dai Naidie Beside my bed a pool of light— Is it hoarfrost on the ground? I lift my eyes and see the moon, I bend my head and think of home. Thoughts in the Silent Night is one of the most well-known Chinese poems written by Li Bai. This short poem uses only a few words and is quite concise in wordage, but it is endowed with the passion that stimulates the bottom of one’s heart and arouses an intense feeling of nostalgia very naturally.
If you go back to the June 2014 Newsletter (available on our website) you will see that Dr Li discussed this poem during his calligraphy workshop. I am pleased to tell you that we have a very large library of Chinese painting books which is kept in the cupboard in the hall. These are a gift from one of our founder members, Jean Smith. Jean has been painting for a long time, but now finds travelling very hard, so is unable to attend the workshops, but she still likes to read the Newsletter and hear news of members and what we are up to. If you are borrowing a book from the library please remember to sign it out with the date you take it out, your name and the date you bring it back. I would also ask you to take great care of these books and make sure you bring them back as other members may be waiting to borrow them.
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Please remember you can enter your paintings on the website, you can either send a photograph of your work to Carry Gorney or if you arrange with her she will photograph your work at a workshop. Carry’s email is [email protected] Don’t forget to check on the website to view your work. I hope you all take advantage of our website. All the Newsletters are downloaded to this site www.londonchinesebrushpaintersgroup.co.uk this part of the website is for the use of members only, if others are interested please encourage them to get in touch with Hakima (Membership Secretary and Events organiser) [email protected]. and she will send out information regarding the Group and how to join. Please remember that if you have tea or coffee a donation of at least 50p for our charities should be put in the box provided. Many thanks to those of you who already do.
Starlight brightens the lives of seriously and terminally ill children to distract them from the fear and isolation, they can often feel as a result of their illnesses
Animal Asia work to free the lovely Moon Bears kept in barbaric conditions in ‘Bile Farms’ in China and South East Asia. They also provide sanctuaries for these beautiful animals
If you have any articles, dates for exhibitions or courses etc. for the newsletter please send them to Judy at [email protected] 020 7603 9588 The images in this newsletter are the copyright and property of the artists and should not be copied without the permission of the artists The committee members are; Anush Sarkissian (Tutor Liaison) [email protected] Stella Steveni (Treasurer)[email protected] Anne King (Committee member) [email protected] Hakima Fosdike (Membership Secretary and Events organiser) [email protected] Judy Wright (Chairman and Newsletter editor) [email protected] Mary Wiggins (Workshop Booking officer) [email protected] Bianca Deegan (Newsletter editor)
