Of Workshops & Brushstrokes: Finale

And so we came to the end of the 4-week workshop on Saturday.
The harder the subjects got, the more difficult it was for me to concentrate- wanting to take photos, some drumming practice across the street in the park, fighting off the 'negative' self doubt, etc etc.
I discovered it was "letting go" that was most rewarding and not the 'final' product on paper. I won't lie though- it was great when something did turn out to be decent looking!

Left: A beautifully carved paper weight

We began with trees, bare and then full of leaves.

Of Workshops & Brushtrokes III

Three out of four workshops completed, and it has truly been a gratifying and fulfilling experience all throughout.
Of course, the level of difficulty only increasing- more use of colours and further use of shading.

And so we began with the lotus flower!
I, personally, wasn't familiar with the lotus flower. I thought they were water lilies. Which they are, a type of, but it is different in its own right. Unlike water lilies, the lotus flower leaves' shoot upwards, out of the water, suspended in the air by their lean stem.

Just see for yourselves:

Of Workshops & Brushstrokes II

Just as I expected, the second Oriental Painting workshop did not get any easier.

On our second session we moved on to painting the chrysanthemum and plum.
Together with last weeks' subjects (the orchid and the bamboo), they are known as "The Four Gentlemen". Click here to read a little bit more about it.

"Obtaining the shades depends on the pressure and the slope of the brush."

The Four Gentlemen are the first learned in Oriental Painting as each subject requires the control of a specific brush technique. For example, in a "perfect" plum painting you must have thick and thin brush strokes, as well as dry and wet ones. The orchid is good for practising free-arm movements*; remember, the brush and the tip of the brush hitting the paper is merely an extension of your arm, of your vision.

We also incorporated the use of colour. Solidified rattan sap and regular gouache paint can be used for yellow colouring, for the Chrysanthemum.

On the right: rattan sap. Used directly by adding a small amount of water. 

Personally, it was a much harder class technically, but also because I let my mood get the better of me. I'd been grumpy because I was running late all day (French exam in the morning, lunch, traffic, etc etc). Lesson learned: You should never let your feelings get the better of you.

After a storm comes a calm. And rainbows!

See the two rainbows on my paper?

I edited a small video my mom took of Gi-ok Jeon, so everyone could see how easy she makes it look. That was yesterday, and I supposedly exported it to youtube but I'm beginning to think it'll never make it. If I figure out another way to get it online, I'll be sure to post it up immediately!

In the meantime, make sure to check out:

1.  My Flickr album if you care to see more pictures.**
2. And if you missed my post on my first workshop session, you can find it here.

Next up: Flowers and Fruits

* All information from a workshop handout.

** I will keep updating after every workshop.

Of Workshops and Brush Strokes

Before I begin, let me just say this: I wish you could all see the way Gi-ok Jeon (artist and workshop leader) handles the brush. The 'grip', the way she smoothly slides the brush on the rice paper (ironically made from bamboo pulp, I learned).

It's like I'm living 'Zen in the Art of Archery', minus the archery, of course, and a little less Zen...

I thought I understood the concept of 'being one with your instrument' but today I actually lived it. I mean, just the concept itself became alive in me. To actually truly live it, it takes years. Practice. Patience. 

Other than art classes in middle/high school, I've never actually done any real painting.  I've given it a go in my spare time, but rarely in depth and I always end up frustrated... 

This workshop, in its first session, has already taught me about patience. About control. Maybe it's to do with having the teacher around as a sort of safety net- encouraging you, guiding you, that makes it all better- but I felt good about my mistakes, about how difficult it all actually was.

The teacher makes everything look SO easy. That, my friend, is skill (and years of practice).

The materials used today: Paper. Brush. (Chinese) Ink.

[Freakin' amazing what these three combined can do]

There are 3 types of brush strokes: 

line stroke
wipe stroke
dot stroke

Add to that the different lines: dark, light, thick, thin, dry, fast, slow, etc...

Oh, the possibilities!

Right: The stem on the far right was done by Gi-ok; the others were stroke practices by yours truly.

We first learned about the aforementioned brush strokes, tried them out and attempted to paint grass/leaves. Easy, right? Not so much. There's a correct way of holding the brush- it's not all in the flick of the wrist, like cracking an egg (Sabrina, anyone?). The movement of a brush stroke is done with your whole arm- the brush is an extension of limb, as I see it.

Then, we moved on to something a little  more challenging: the Chinese Orchid.  

Gi-ok says she spends a full month of practicing/learning with her students when it comes to the Chinese Orchid, just to give you an idea.

Next came the bamboo. 

I don't think I need to tell you it's not as easy as it looks either. Especially the leaves! 

All photos taken by me using a Nikon D3000

I can't even begin to imagine how those big & thick brushes are to work with...

Instagram of a couple pieces I did

Have a look at this to really get a feel of it.

&

Check out Galerie N's website to read more about Gi-ok Jeon. Here's a glimpse at her amazing work.

From her collection, Dwelling in a Space (using mixed media)

So if you're in Bangkok and fancy a fun thing to do on a Saturday, you should sign up for a session or two!