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Here are two of my studies of a goldfinch painted about 4 years apart. There are parts of both which I like but I prefer the more recent one. Different times, different styles. I shall describe the steps for painting the second study.

1. Always with a finch, any finch, begin with the beak.Use very dry black ink. It is a stubby beak for cracking seeds with a downward facing hook at the end.
2. Then paint in the position of the eye. Do not worry if this disappears as the stage 3 is painted. With this dry black ink paint the lines of the wings and tail.
3. With a slightly wetter black ink paint in the plumage around the beak, at the back of the head and on the wings.
4. Add the bright red plumage on the head and the bright yellow flash on the lower wing.
5. Add the brown plumage on the back and body with as few strokes as possible. Add a few light grey strokes to suggest body shape.
6. Finally, add legs and feet and the eye. If you want, add the background of a teasel for context.

Claire

I was having a further look back through the archive and discovered a study of a tree that I had painted back in 2010. This was from the window of the cottage we were staying in at a farm near Aberdyfi, Wales and is fairly accurate of the tree. The rest of the elements are impressions from the time and place.

Part of wanting to finish this was the good memories the picture brought back but also the challenge of turning it into a full composition from just this one image. Looking back at the photos from that half-term holiday showed up some wonderful country side and lots of birds in the valley, especially Kites, which we saw a lot of. I did not adjust the tree in any way, just added all the other elements…

I was able to pin the image down to the 15th of February 2010 so this is what I dated it as, literally 2010 year, 2nd month, 15th day.

To learn more about dating paintings please see our Calligraphy pages:

Paul

Since last weekend when I would have taken a Landscape workshop I have continued looking back through my Landscape portfolio. I have also been thinking about Yuan Dynasty landscapes and carried out a bit more research on this fascinating subject.

I discovered what I think was a demonstration piece for a workshop on Misty Landscapes back in the 2000’s.

As with last weekend’s work I thought it would be useful to complete the painting. See below:

In the workshop I demonstrated the three trees and foliage together with outlines for the rocks. Despite the colouring this is all shades of ink. I have, therefore, added the following to the above painting:

1. more detail and contrast to the trees. In particular to make the main tree three dimensional
2. some extra foliage of varying shades
3. much more contrast into the tree roots
4. detail on the rocks and contrasting ink strokes to make the rocks look three dimensional
5. brought out the foreground and the detail of the river bank
6. more detail on the far river banks
7. more detail to the misty details across the trees
8. added a distant rock and the village with the tower
9. added all the cloud details
10. signed and sealed the painting. Yes, I haven’t dated it as foolishly I don’t know when I started it which is a note to self!

This is painted on very thin single xuan paper which allows for better misty effects.

Please note: some of the crinkling is because of the thin paper. This will be removed once I back the painting!

Should this inspire you, please let me know how you get on with your Landscapes as I would love to hear what you are up to…

Paul

This is my version of a Japanese Koi Carp. A fish which is regarded as lucky in China and Japan as a symbol of abundance. The key to painting this is the bold black first stroke down its back.

1. With very dry, very black ink and a big brush paint the curved line down the spine. Start at the mouth with a point , bring the brush gradually down onto its belly whilst continuing in a thick line, curving it back towards the tail. With luck and a little judgement you may tail (!) off into flying white.
2. Paint the line of the belly in the same manner making sure you break the line to finish the line of the underside of the tail.
3. A similarly thick line should be painted for the mouth.
4. Add the eye, the fins and the flowing tail in dry black and dark grey.
5. Than add the scales, try not to be too regular.
6. Add wet shades of grey and orange to the body in an irregular pattern. Use these same colours for the fins and tail.
7. Finally paint the water weeds. Add calligraphy and seal.

Claire

Today, Saturday 4 April 2020 I was due to lead a Landscape workshop for the LCBP group in the University of Leicester Botanic Gardens.

Looking back through my Landscape portfolio this week I discovered a demonstration piece I had done for a workshop back in October 2012. This was for the Trees & Temples workshop which took place at Oadby Beauchamp College.

It, therefore, seemed apposite to complete the piece and post it up here for the benefit of those to took part in the workshop so that they can dig out their old painting while those who joined us after 2012 can give it a go.

The original painting that this was based on was of the Shaolin Temple by the 3 Zhengs. Having found my demo piece I thought I would post it here so you can see the ink work before the colour went on…

For those who are happy with their original composition you may want to have a bit of fun with the below photo of the Shaolin Temple gate which is the original inspiration. Please do post up your inspirations as I would love to see them.

If you notice the board above the gate, it literally says in gold writing, sì lín shao (temple lin shao) i.e. Shaolin Temple

Happy painting

Paul

I know that amongst gardeners there is a debate about these flowers being plants or weeds. All I know is last year they produced a glorious display in many gardens. Hence I tried to capture the beautiful blue colour which gets paler towards the top of each flower.

1. Load a medium brush with a bright blue and tip with indigo. Lay the brush tip downwards, on the paper starting with the bottom layer of each flower, working towards the top. The shade of the paint should naturally become paler as you work upwards.
2. Paint further florets going into the distance getting paler and more indistinct. Remember avoid four of anything and odd numbers are favoured apart from eight which is very lucky.
3. Mix a dark blue/green colour tipped with dark red for the stems. Paint from the flower downwards.
4. Use a bright spring green and paint a very narrow orchid-leaf stroke for the leaves.
5. Add a tiny coronet of white dots on the flowers at the bottom of each stroke to give the impression of the bell-like structures(optional).
6. Add the detailed butterfly.

Claire

Now, if you are anything like my Knuston students you will not like painting figures. This example contains so much chi it is exciting to paint. Energy flows through the folds of clothing to the end of the fingers and toes. . . and beyond.

1. Before you start, mix at least 3 shades of dark, medium and light grey. With dry black ink and a fine-pointed wolf brush paint in the details of the face and hair.
2. With a very dark and wet grey, enjoy the strokes of the clothes showing the pose of the painter.
3. Use a medium/light grey to paint in outlines of arm and hands.
4. Paint large sweeps of light grey ink to depict the flows of energy.
5. Add skin colour, paintbrush, inkstones and other details.
6. Finish painting with calligraphy and seal.

Claire

My version of this painting is slightly more restrained than Qi Baishi’s but it will still make you smile!

Start this painting with very wet dark grey leaves and leave them to dry a little while you paint the yellow and orange berries in one stroke leaving a space for the spot of light. Remember the contrast of dense/sparse when painting the clusters of berries.

Paint the veins on the leaves before they dry.

Then paint in the branches to the leaves in dry black ink and the small stalks in the clusters in dark brown.

Finish the painting with four small black dots on each berry.

Claire

Paint the orchid shoots first in bright spring greens.

Then paint in the basket and handle in very dry black ink, leaving spaces for the branches and plum blossoms.

The branches should be painted in a very wet dark grey leaving space for the plum blossoms to be painted in black ink outline style.

Textures and nodes can be added to the branches as they dry.

Add shades of light/dark red (crimson) to blossoms.

Complete painting with your calligraphy and seal.

Claire

Start with very dry, very dark ink to paint the branches at the top and the basic outlines of the leaves.

Whilst you are waiting for these lines to dry, load a large brush with very wet gamboge and tip with indigo.

Fill the outlines of the leaves with this wet combination. Allow to dry slightly and in the meantime mix a very bright red to paint in the lychees.

Go back over the main central veins of the leaves with wet, black ink.

With a split brush paint the hairs on the lychees in a dark red colour.

Finish your painting with calligraphy, your name and date and a seal.

Claire

Enjoying a great day painting Spring Hares in the University of Leicester Botanic Gardens with the LCBP Group. See below for some excellent student paintings…

Thanks to Reg and Sue for adding their hares above. If you were there and wish to include your hare, please get in touch.

It seems only right to add my finished demonstration piece below so you can complete your hare study, if you have not already. I have added a few extra layers as you can see:

Should you wish to add the Chinese Calligraphy for Spring to your painting please take a look at our Seasons page.

You may wish to include the Calligraphy for Hare (tù) in your painting. This can be found on our Zodiac Animals Calligraphy page.

However, I thought it worth adding the different versions so that you can see the difference. See here for the traditional version on the left and the simplified version on the right:

Well done everyone.

Paul

The writer, artist and self-styled ‘silent traveller’ is one of the few ethnic minority figures to be recognised by English Heritage.

The Guardian published an article on Chiang Yee, the ‘silent traveller’, whose books have been an inspiration to us, we being the ‘not-so-silent travellers’, as is the Western way…

Read the full article here: https://www.theguardian.com/culture/2019/jun/29/chiang-yee-blue-plaque-china-greatest-cultural-ambassador

When Chiang Yee arrived in Britain in 1933, he was determined to study for a master’s degree at the London School of Economics and then return to China, where he had left his wife and four children under the care of his brother. He was 30 years old and knew just a handful of English words.

Yet Yee went on to become a popular artist, bestselling author, poet, designer, academic and hugely influential cultural ambassador of China to the west.

Now, 40 years after his death, his contribution to British and Chinese life has been honoured with a blue plaque unveiled yesterday in Oxford. Organised by author Paul French, a specialist in modern Chinese history, and Anne Witchard from the University of Westminster, Yee’s plaque comes in response to a campaign launched by English Heritage in 2016, calling for a more representative celebration of history.