Chinese Flower Painting Lesson White / Gold Camellia on "Shade" Colored Xuan Paper with Ning Yeh

We are using a special brush called Unicorn. It is a powerful brush that can do big shapes. And I will try to use a special paper. This is a dark green colored sham paper. And I use white, pelican white, and some lead-proof white, Dr. Martens, and some gold, and with ink. So a simple composition of a white flower, Camellia. And I will first prepare the brush. The big brush tends to get a lot of water. So I will soak the brush, but dry it, getting rid of the paper, getting rid of the moisture completely to form a tip. Then, just the tip area, I will touch the water several times. And this way the body will not have too much water. Tip, water, and I'm loading, as you can see, a rather creamy, thick white. And the very tip touching thicker, then the tip area, I will have it dip into the bleed-proof white. So hopefully, by blending, when I blend, I can feel if the white is too thick, it kind of drags the brush, so I want to smooth it out. But the tip area, I will load enough concentrated color. As you can see, the body of the brush is still watery, and there is a gradual transition between the white and water. So I will start using the side of the brush. Reverse the brush. Look at the transition of the concentrated white to transparent white. Very nice. There are five petals, so I'm using three to form a U-shape. Do you see the U in the middle? And then I'm working one smaller and one bigger petal on top. The bigger petal, I use three strokes. The rest of the petal, I use two strokes. And I keep the center area open. And I will use our OAS Flow Brush, adding the white, concentrated tip, some bleed-proof white, and working the stamens in this open area. I work the center ones first. As I extend to the outside, I'll try to have it bowing to the middle. And I'll work some second layer to give this bucket feel. And maybe a couple unruly ones on the side, reaching out. And then I will keep the white, but having the tip now working the gold. Again, this is pretty much undiluted, concentrated color. And I'll land the pollen dots for the stamens. It's the stamens. Let's get it straight. It's not a... All right. And then when you do happy dots, your head would nod with the stroke to bring the joy. How nice. To see this area of shadow that naturally kept open. So this way, it adds the depth to the center. And still using this Flow Brush, I now have the tip rinsed off and loading some ink. And the tip, again, loading some gold. So ink with gold at the tip. I blend a little bit and reload the gold at the tip. And then I'll work the calyx. Camellia has this wonderful story of devotion. The calyx, they are like knights of shining armor. They protect the flower when the flower is budding. And then when the flower opens, they just kind of hang around, giving support. And now back to the wonderful bossy unicorn. I will clean the brush. May not completely, but rinse the tip with water. And still loading the same ink and the tip touching gold. This time the gold goes in deeper. I blend the brush. And then working with the side. Oh, look at that. With the side of the brush, decisive blades of leaf. Oh, yes. Maybe a profile leaf, a little crossy. And then the residue of the color I will use to run a stalk. I'll come back with the flow brush and have some stem to bring the leaves home. So this is a simple demonstration to show the power of this unicorn brush. And meanwhile, how to use white and gold.