Basic techniques and strokes in Chinese painting by Olga | Olga Sumarokova | Skillshare

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Basic techniques and strokes in Chinese painting by Olga

teacher avatar Olga Sumarokova, Chinese painting

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

3 Lessons (14m)
    • 1. Welcome

      0:30
    • 2. Materials for Chinese painting

      4:47
    • 3. Basic strokes

      8:40
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About This Class

This is a class for theĀ  beginners taught by Olga Sumarokova. In the first part of this class you will learn much about main types of brushes, paints and paper that we are going to use in all our Chinese painting courses.

Get aquainted with the material and you will know how to chose brushes, ink and paper. Watch the video with the examples of the materials and you will achieve better result on your picture.

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Meet Your Teacher

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Olga Sumarokova

Chinese painting

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Transcripts

1. Welcome: Ah, hi. My name was Olga, and I am professional artist. Glad to see you on. Welcome to my classes. Chinese painting gives us a lot of way to express your feelings. It helped open your mind to make fast drawing in a very sensi away. I hope you get a lot off knowledge and fund growing with me. 2. Materials for Chinese painting: So I want to tell you about the materials that we will need unless it's about primroses. Primroses, a small pictures we will draw so we will not need a large sheets of paper, either. Here I want to demonstrate the Japanese only paper gold Plomb, which is very comfortable for such small works. This is the former. The former off only paper is different. It can take a larger format, but this particular piece of paper it's free detail, density and overall properties would be very suitable for this class. But in addition to Japanese paper, it can search simply. Take Chinese paper. Chinese paper should have similar features, and it can be narrow for months, large for months. But it's important that the paper is made inflow. It doesn't flow very much, but at the same time, it have to be not. Hard still has absorbency, and it's slow to. The second thing we need is Spain. The color should be mineral for Baha, not water collar. No. Gosh here I'm demonstrating Mary Spain's This is not expensive. Convenient option. Both dollars should be enough for you. If you want to make the like collar something special, you can buy the paint extra here. It can be sold in assorted with one caller brain, but you could do with a standard box. You can take pains from another company. For example. Maybe the spades are also wonderful, and 12 colors off maybe will be completely seamer to a pack off marries, although they will differ by number. You need Chinese ing, not synthetic, not both in an artist store, but special Chinese ink. Even the seam post wants sweet sauce. You don't need to buy some absolutely unique ing to take your first steps in and go home. And now the brushes. These course is for small works. So I don't suggest you to take a very large brush for some things you might need in work. These good brush, for example, to drove us. But in general, your rushes should be smaller. Otherwise your job will be to big, and we will go from the formative sketches from postcard size. The large and serious work a brush off the size, I would say, in the biggest size that can be needed in our work. The brushes can be either brown or mixed. Mixed brushes have the convenient properties off red pile like elasticity, and the white gold it takes absorbs much water. So who likes a harder and elastic brush? Take brown versions off the brush. Those who like elastic but also soft taking a lot of water may take a mix brush or goat, but the good must be very very. Lest this is important for this class, here are some types and sizes of brushes that you can work with like this. It is better to have two brushes so that one is for color so that the colors always bright clean because even slightly washed in from the brush can give a door to shade off paint. The other is for ink, and this brush doesn't need to be very carefully washed and the small brush to draw the outlines and details. One brush can be enough. It can be longer or shorter, but it should be Athena a brush, then it will give you the opportunity to easily draw a thin line, so you need three brushes for this less one for the outline and to such as three for drawing flowers and lease. Here is a set of three brushes, which is enough. All here is a set of brushes, which may also be enough. Here, you can see what type of brushes you're comfortable working with. Now. Arm two with materials would start drawing primroses. 3. Basic strokes: Hello. I'm going to show you an introductory lesson in Chinese painting. As you have already know, this type of painting requires very special materials, special paper, special brushes. And now my task is to show you a little bit the properties off paper, the properties of brushes and a couple of training exercises for any off the initial lessons that you should do before you start painting, I take a plate in classical painting. It isn't ink stone, but the large one small in stone for calligraphy isn't suitable for painting. Oppose summing to the edge of my plate, I put to the very edge in order to be able to make different shades Off Inc Different shades of think on other parts off the blade. So here I take the brush completely soaked in water. This way, two fingers hold the thumb fixes the little finger and the middle finger are behind the brush. These position allows me to hold the brush vertical, which is absolutely necessary internees painting here a very important first exercise with slightly deep the completely wet brush in the ink and start on the edge of the plate to water down the great color or think I get this great car by sweeping the brush along the pile. The Chinese brush should have a very thin perfect. This is fundamentally important for painting when or if there is too much water on your brush, you may always remove it. A napkin napkins should have a very good absorbency. So I take the ink. Why the teeth or the brush? And I'm sure that the cheapest, perfectly sharp so exists, says one. I hold the brush vertical in, place it on the paper and draw a line. It would seem a simple exercise, but first you will see what I needs to put the brush virtually on the paper. And secondly, you will see what is the absorbency of your sheet. You're kind of paper. Different types off paper have different absorbency, and you have to adapt to each type of paper. Some absorbs more water, some less. This will a great you with the paper you have chosen to fix of the exercise. Put the brush vertically and draw another line. The more water on the brush, the faster would draw the line. The less water this low, the less should be straight here in the first exercise. The second exercise is similar to the first, but a little more complicated in process with drawing the line with Stop but Least know that you shouldn't press here, but just stop here in the since the paper has redid, the longer your brush stays in place, the more they Inc floats away and forms a note like this, I complicate the exercise by simply drawing a second line. And I complicated because the first thing you need to get rid off in C painting in the repetition off the same things that is, I will try to put this note points without replicating the previous line. In other words, the task is not to make the same distances between stops and not to make the same stops that are similar to the previous life. They mustn't be equal to each other here. The second exercise, the third exercise you again take in color brush and we will study how to change press on the brush. The brush is always in motion. It never stops for a second, but somewhere repress somewhere we let go press let go press let go breast led to go we get this kind off regular life and repeat the same exercise. Considering everything that we learned in the second exercise, the praises and releases shouldn't be the same in shouldn't concede with the previous line like this here, the third exercise the fourth exercise we will do with the entire body of the brush. As for the previous three exercise, we need Onley One position off the brush. Strictly vertical Then Now I will tell you how to work not only in the lower part of the brush, but also with the entire body. We will start it hard to take in on the rush and avenue Wait before I showed you how to take great color on the brush now would take a great car on the rush from the beginning to the end to the very base of the brush. And then you should remove excess water from the teeth so that the water capacity or the brush papers again and take on the very tip. Some very dark, dark ink is from the leg drop. In fact, you should get a stretch credit. Now I put the broad sideways on its entire length and check whether the grade and has turned out despite and the result. If distant out or not, reject again, Take great ink on the entire body Off the brush again. Remove the excess ink on a napkin and again take a bride back in. You should again get a perfect gradient on the paper. This is the fourth exercise, the fifth exercise in the first stroke. This will be the struck off rocket you take the on the brush. It doesn't matter what you use. Water should be neither more nor less. And do the pressure and release once again. Put the brush vertical and brought out a thin T breast. Bring out the thing T each can event breast. Bring out the thing teeth each can't event. This is here a few dusk.