Simple Chinese Flower Painting Lesson Ling-nan Inspired Day Lily on Pre-Mounted Semi-Sized Paper

Hello, this is Ling Qi from Oriental Art Supply, brush painting for beginners. Today we're going to do a subject on Ling Lan's style, day lily, semi-sized pre-mounted paper. This is a very convenient, a quick use of this to do this subject because we don't need felt or anything. It gives good color. And then the book I'm using as a template is Ling Lan's style one, theory, flower and vegetables. And then the painting I'm going to do is actually on the cover. And the brush I'm using is two interesting new brushes we have. One is a small breeze brush which will do most of the shape that for this particular thing. And then this is a flying crane. And this is a very interesting brush we don't come across very often. It's long with dark hair and then very sharp tip. So if you don't have that collection of this kind of brush, you might consider this one. So the color I'm using is I'm using the Kurosaki set, the 12 color set. The reason I choose this instead of traditional chip color is to match this particular subject that I don't have to mix anything with it. So for the beginner, that's one of the headaches. People have to match things. So in this particular one, this palette, you don't need anything to match. And then we have bath bottle ink here. So that's all I need. And I got a mixing dish. So very simple ink, the color right from the dish. And then the two brushes. So without too much delay, then we're going to do the flower right now. So wet the tip of the brush, stroke it dry, wet the body, and then still make the tip wet. So at the beginning, I'm going to use the yellow, load about one third, and then soften the tip. And then the vermilion in this particular palette. So this set, this composition really suited for this paper because it's elongated. So all right. And then I'm going to use the tip, some yellow ochre mixed with the yellow and little green for the tip. So like this green is pretty sharp. So I'm using a little vermilion to soften it up. So this semi-size, so it's kind of friendly. You can layer the color on the top of it. All right. And then I'm going to, the book, the color is very interesting, has some quite a bit brown and vermilion to it. So for this particular stem to hold the flower right here, I'm going to use ochre with a little yellow and tip with the vermilion and add a little bit warm brown here. So this is the center of the flower. So I'm having the holder coming this way. And then on the composition has a bud. So then from this flower center, I have a stem also with yellow ochre. It's a little warm brown. And I'm connecting this flower. And then this is the second strand come with the second bud. So with this one, we're going to start from here and then go here and then here. So this is our connection of the branch. And then a little bit darker. So then I have a branch coming out of here. And then from here, I have another one branch here. And then I have, I'm using this new brush, fine cream for the darker. So from here, I have the ink coming down. Then on this side, I have a short one. And then on this side, I have another one. All right. And then I'm going back to my little breeze brush. This time, I'm going to do a tiny little butterfly over on the top. So this time, I'm having this bright cerulean blue in this palette. Then I'm going to going back on this fine cream brush with the body of the. So that's all I'm going to do with this butterfly. Three strokes. All right. And then you can see that the ink is going to run on here. So I have one that I did before. I'm going to do the center of this flower here. So I have one, two stroke. Then this is longer. This is longer and then it's shorter. And then. So this is completely dry now. So this is the center of the flower. The reason I like to use this palette is because it has a stone going in there. So we're going to do a center with the stone. So so that break the monopoly of the center of the flower. If I do that right now to this one, it's going to run. So wait until it's dry. So, yeah, it won't it won't work like even I do. I can do that with the stone green because it's opaque. And then let me try to do the ink. You can see what what can be done. If I just do one little one to see if it runs badly, you can see that it's going to run. So it won't be able for me to do the line with that without terrible. So wait until it's completely dry. Otherwise, it's just going to get muddy. So this is the true difference.