In my Carpet Pages series of shows you’ll see some old friends, some new friends… sometimes old friends, sometimes new friends and sometimes old friends again; it’s nice to have a constantly evolving variety of art and artists while re-exposing some that have shown before. It’s a dance.
In the meantime, here are some pictures from last year’s show.
Just as with rendering miniature paintings in the pardaxt-style (dry brush technique) with my Rocks brush, I continue to dry the brush for the tapai-style rendering for this fore edge painting with my Water brush – most of the paint ends up wiped off and doesn’t end up on the painting
Wise to check at times if the book still springs back into its original closed book form, and the painting remains hidden until the fore edge is held open on purpose (this is the surprise).
Also checking that the painting remains invisible when held to the light – you can see the gold gilt fore edge glinting, so as long as the layers are kept as dry and as thin as possible, it will remain invisible until revealed
口 kou and 嘴巴zui ba mouth 👄 with lipstick and then kisses
口kou is one of the easiest Chinese characters and the one I’d also teach first to adults as it seems less boring than the standard 一 , yi, one. (He managed the former all by himself and I helped with the latter of course, naming the strokes to aid memory)
The idea is that if there is an art way we can make the characters then we do that first…lipstick 💄 is an art material (bit like oil pastels actually) plus this one dried up after years of non-use…because those days are over 😂
The key is to keep painting in very thin, very dry layers. As a miniature painter I am used to this; however I have to keep bearing in mind the ‘watercolour’ aspect of it as it is painted light to dark like watercolours, not like miniatures. So it is like a mix between miniature and watercolours. I’m glad I’ve got brushes to cover all of these needs!