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This workshop is inspired by this year of the dragon. You will learn to paint dragons, clouds, mountains and pine landscape and will be guided into the realm of Japanese ink painting and explore your creative artist way and its evolvement. The workshop will take place and Talia’s studio in Mallorca and you can enjoy the peace and beauty of the island. Studio opens at 9am and workshop begins at 9:30. We will work till 1:30pm. All basic tools and materials will be supplied for the duration of practice. You are invited to bring your own kit, and you will have the opportunity to purchase various tools and materials at the studio. Each day will begin with calligraphy and other brush practice. Learning how to paint and creating your own compositions. Work on various types of paper and learn to mount your own work in the traditional Japanese way. Worksheets to form your notebook for the workshop will be offered. Light refreshment will be served throughout the day. Day 1 Intro to the workshop / Dragon calligraphy / One line dragon / How to paint a dragon Day 2 Cloud calligraphy / Clouds / Dragon amongst clouds painting Day 3 Mountain calligraphy / On rocks and mountains / Ink landscape Day 4 Mount your paintings Day 5 Tree calligraphy / Pine dragon / Pine dragons landscape / Outro of workshop *This is a general plan and may change slightly according to need and time. What to look for : Introduction to Japanese brush, ink, paper, colours and the artist tool set. Preparing the artist workspace, and making your own ink. Learning how to hold the brush, body posture and mindset. Guidance on brush strokes, lines and marks to understand the way of ink, brush and paper. Learning various painting techniques such as line work, free style (mokutse), dry brush and washes. Practicing active meditation with your painting journey as part of empowering your artistic creative self. Observing skills and sketching practice, finding inspiration in the almond grove outside the studio. Viewing and learning about ink paintings by various Japanese ink masters, from the rich history of Japanese art and Talia's research and library. Understanding in depth themes on composition, mounting, signing and sealing your artwork. Create your own original one to five completed ink paintings. Learn how to mount your artwork in the traditional Japanese way.

Carving a personal seal was always considered one of the artist's / calligrapher's skills. The seal completes a painting and is an important part of it. Artists used to make their own seals as part of the creative expression and expertise. Having more than one seal to symbolise different periods in artistic progress was common. Brief historical background Seal carving has a fine history of over a thousand years in Japan. The tradition originated in China and is over two thousand years old. The ancient seal script, known as tensho in Japanese or zhuan-shu in Chinese, is still used in most seal carving today. In 221 BC the first emperor of China united the many states of the continent, and had a Jade seal made to represent sole heavenly authority over the land. This seal was passed on from one emperor to another as part of the ritual of power and control. During the 10th century upheavals, this legendary seal was lost, and from then on other seals were used throughout history by the rulers. The seal represents authority and authenticity of the author and writing. Used by emperors early on in history, it later became a tool for government officials and institutes, schools, teachers and scholars, as well as artists and collectors. With the development of paper, seals have become more important to confirm the writer and writing authenticity, be it official papers, poetry or painting. Materials and design Ancient seals were made of hard materials such as Jade, bronze, gold, silver and agate. Other less successful materials, in terms of longevity, were used, such as bones, amber, wax, clay, bamboo and wood. During the 14th C., soft stones became popular and an easy material to carve seals from. New styles and designs developed, and the craft of seal carving became an art form of its own. Poets, calligraphers and artists specialised in making seals and developing both design and technique. High quality seals have become sought after. They showed knowledge of scholarship and high aesthetics. Sourcing the right stone was important. The place where the stone came from connected the owner with that place. Therefore, ancient temples, well-known calligraphy centres, sacred mountains, and the like, were places from which seals stones were highly praised. The stone quality, like a small sculpture, would be selected according to its colour, texture, shine, and transparency. Seals would be cut into various sizes and the carved areas could be square, round, oval or a unique irregular shape. A high quality seal will have a good, precise and balanced contrast between the engraved white area of the seal and the red parts. The script could be engraved or a relief. Left: Engraving - ‘where there is a will there is a way’ Right: Relief carving - 'the years fly like an arrow - how alarming’ Content and aesthetic As the first purpose of the seal was to identify the owner, seals most commonly would have the name of the owner, their initial, chosen name, artist's name or birthdate. The birth year animal zodiac symbol was also popular. Artists seals were more sophisticated and, in particular, represented a personal philosophical idea, riddle, personal statement or sentiments. The seal and signature were considered part of the whole composition, and an integral part of the painting. Unique graphic script designs were developed, making the seal a ‘stone calligraphy’ work of art. Here are a few examples: Top left: ‘Fence’ script - ‘Who realises that books are immortals’ Top right: ‘Cloud’ script - ‘Long life of ten thousand years’ Bottom left: ‘Crooked’ script - ‘Prayer for longevity‘ Bottom right: ‘Crooked’ script - ‘To keep wealth and health always‘ Seal paste The red paste against the black ink creates a contrasting element which completes the artistic aesthetic. Traditionally, various colours have been used as seal’s paste. However, red paste has become the most popular. This paste was made of Cinnabar (mercury sulphide) mixed with seed oils and the moxa plant. Emperor seal’s paste, would have, particularly expensive mixed powdered materials, such as corals, pearls and rubies. How to use your seal Place the finished painting on a ‘semi’ soft surface, like felt. Carefully choose the area where you wish to seal the artwork, and place the seal evenly on the surface. Make sure to put even pressure on all parts of the seal. Keep pressing until you feel the seal is evenly marked on the paper. When you lift the seal, do so with an upward, firm movement to prevent smudging the paste on the paper. Allow the red paste to dry on the painting, or place a soft cloth to pick up any residues. Care for your seal After sealing the painting, make sure to clean the red paste away from the seal with a clean cloth or paper towel and keep it in a safe box. Get your own seal Get your own Japanese hand carved seal and high quality red paste on our store - HERE

5 values for ink painting - an artist contemplative take What happens when we paint using only black ink? What happens when we put asides the rich palette of many colours and focus our attention with the one medium and colour? Its not that we don't love colour, we do. Colours are the bountiful beauty of this earth, governed by the rainbow. So there is the wonder, what is beyond the rainbow? What is the 'pot of gold' over the rainbow and how do we experience it? Well, looking out from here, it seems like there is a vast universe out there, with limitless creative possibilities. If we dare eliminating colour, even just for a short while, by taking up the ink stick as our medium of expression, it may just act as a unique connective tool. Bringing together endless painting potentialities, images both from out there in the universe, as well as inside us, as our consciousness, our heart-mind, naturally is a part of the great creation. And somehow, just like that, by being humble and subtracting the non-essentials, we may discover new rhythm and form and shape of our own being. The Essence of Earth Japanese ink, known as sumi , is made of ancient pine trees coal, or ashes and soot collected from oil lamps. It comes off the earth and goes through a metamorphosis of substance. This process makes it a rich matter with beautiful variety of deep black colours, ranging from black-red hues to dark black-blue ones. This black is not really a colour as such. It is made of the essence of the Earth. The elements of earth and fire, of water, air and of wood, coming together in an alchemical way to create a magical material, a conduit, an agent with unique characters that allow us, the artists, to use it in such a way, so as to give meaning and expression to our living experience. And the viewer, can be immersed and enjoy themesleves dwelling in this very same experience. Minimialism and Abundance Using black ink allows the artist to find their focus on the essential. Discovering what works in a composition and how to give meanings with visuals that are not disturbed by much noise and fluff. It looks like minimalistic art, and it is, as it holds in it the very plentiful of the core artistic notion , by getting rid of the non-essential. It is a journey of sorting out, eliminating, and reducing what is not of the very essence of the visual story. It is an art of subtraction, holding the abundance of resolved raw beauty. Flow When working with monochrome ink we are not distracted by colour. Our attention is tuned to the energy flow of the painting, be it an experimental, abstract image, or a planned composition of a determined theme. The very action of using ink and water on paper, facilitates a natural movement, which may well bring forth a radiant richness of shades and mixing combinations. This process picks up our own movement. And being within movement is finding a flow. We may choose a rhythm according to a theme, or, how we are feeling at a particular time. Maintaining this flow offers strength, well being and quality brush strokes. Dream world Do you dream in colour? Do you remember the past or have visions of the future in colour? And when you imagine something, a place, a person, an experience, how does that appear in your heart-mind? Memories, dreams, visions, our world of imagination, these, do not seem to have colour in them. Perhaps they arrive from a multi-dimensional place deep in ourselves, beyond time and space as we know it. Beyond colour as we see it. It is not by chance that ink painting is probably the most ancient painting practice within the story of humanity. Somehow, the value it holds is still current, providing a most connective self empowerment practice, then and now. W hen you are practicing ink painting you are connecting to an ancient Way. A way of the masters of painting and their streams of wisdom and heart felt perception. Sharing their unique views of the complexity of nature and its divine aspects and patterns. Thus it is ancient, yet raw and of the moment. Beyond time and place. When we paint with black ink we are invited to connect with a dream world that is beyond colour, that may be ancient, yet potent. In this our consciousness is eternal, part of the dream world of creation. Beyond the rainbow Black is not a colour, yet it is all colours. It allows us to observe, connect and give presence to shapes, forms and moods of us, as creator. Black ink painting does not rely on shades of beautiful reds or greens or blues, it goes beyond the framework of earth, the rainbow colours range, into a deep realm within creation. In this realm, time and space may have different expressions, or may not even exist, as it is limitless. Whether you make an abstract ink marks and lines, or depict a flower or landscape, your own expression of it may be timeless, as it will have colour, in a strange way, by its absence. What if the rainbow was binding us to this place and time. What if its palette of colours is limiting our vision and creative expression. And what if beyond the rainbow there is a vast range of colours we have never seen. Clusters of hues and light our eyes have never experienced. Be it the harsh light we live in, overly usage of computer's visuals, or just our habits and conditional views, we don't know enough about the light and glow which is out there. Those night time deep dark shades, which can be seen on a starry night, so rich, so diverse, we can only glimpse at when in nature. Or when witnessing the breathtaking iridescent Northern Lights coming in and out of Earth. Even though we may not experience these often, they have never gone, they are awaiting us. Take a break from painting in colour, and take up the ink and brush. Just for a moment, raise the veil and see what happens when you train afresh your heart-mind vision away from the rainbow and be washed by starlight, transcending time and space in the very realm of your heart. 'Stand firm in the sea of ink, seek life in the movement of the brush-tip; create a new surface and texture on the foot-long material, and give forth light from the unformed darkness. Then, even if the brush and ink and the drawings are all wrong, the 'me', the 'self', remains there. For one controls the ink and is not controlled by it, handles the brush and is not handled by it. One gives form to the embryo, the embryo does not assume its own form. From one, it divides into ten of thousands, and from the ten thousand shapes of things, one attends to the One, transforming the One into the primeval cloudy forms - this is the height of artistic ability.' Quotes on painting / Shih T'ao (1642-1707) Learn More > Live workshop - learn to paint Japanese ink painting with Talia at Mallorca studio - September 2024 Details and booking > > For an in-depth Foundation Course on Japanese ink painting check it out here Sign up for a one-time payment of £220 > > 'Tendril' - Ink Artwork Series by Talia check online gallery HERE Images credit copyrights 1. Haboku Landscape / Sesshū Tōyō (1420-1506) / ink on paper / 11.5 × 75.8 cm / Myōshin-ji temple, Kyoto, Japan 2. Six Persimmons / Mu Ch'i (13th) / ink on paper / 36.2 × 38.1 cm / Daitoku-ji Kyoto, Japan 3. Vine / Itō Jakuchū (1716-1800) / Price Collection L.A. U.S.A 4. Mountain hut under the winter moon / Nagaswa Rosetsu (1754-1799) / Ink on silk / Kōsetsu Museum, Japan Images from public domain sources. All efforts were made to respect copyrights owner where possible.

Taking a closer look at an ink painting by Japan famous warrior Miyamoto Musashi This ink painting of a small bird holding onto a long barren branch, looks like a most serene traditional nature theme, but is it? Lets observe a little deeper. This simplified artwork was painted with few minimal brush strokes and yet attention is given to each single one. Every stroke carries a flow as well as clear discipline of its place within the whole. Nothing missing, nothing added. The balance is just exact. The stem is painted with a single determined movement crossing the space from top to bottom. With only few mid-tone ink marks, foliage is hinted of at the lower section of the painting. Light-wash of horizontal brush lines at the painting lower part, suggest a nearness to a source of water, perhaps a stream or a lake, giving a feeling of depth to the composition. Placing the shrike at the top of the stem creates a sense of hight and long distance view. And suddenly, the flat scroll become alive with depth and hight, creating a three dimensional effect. Only few details, like the eye of the bird and the moss on the main branch, are dotted in dark black ink with a precise manner, giving focus and power to the whole artwork. More so, let us not be fooled, this is not a mere decorative kind of painting. What gives power to this composition is the inside story. There is a life drama going on! The shrike is on full alert, focused, and quietly waiting. Can you detect what it is waiting for? Yes, the answer is in the middle of the stem. A  small black worm is climbing up, marked by a fine black line for its body and a single dot for the head. And now, our perception changes, to become a story, that of a hunter and its prey. We are witnessing the moment before the bird attack, seconds of preparation and alert. The suspense is in the air, who is going to make it? the hunter or the hunted. The shrike is a small hunting bird that is known by its dark, masked-like eyes area. It uses its beak to nail its prey onto branches and by doing so able to dissect it in small pieces. In its practice the shrike fly high up to observe its prey from treetops, and then fly right back down to capture it. This moment, before attack, must have been of interest to the artist of this painting. And the theme does offer a clue as to who this artist is. Definitely no mere painter. Considered the greatest Japanese samurai of all, a fierce warrior who has claimed to have never lost a battle in his life, this is an ink painting by Miyamoto Musashi. Miyamoto Musashi (1584- 1645) Born in Miyamoto village into the ilit warrior (' samurai' ) class of Japan 16th century, Musashi's father, who was a master swordsman, died when he was only seven. The boy was adopted by his uncle and began practicing the warrior martial arts. From a young age he challenged himself to become the best swordsman in the land. He claimed to have won his first battle at the age of thirteen, and by the time he was twenty-six won over sixty contests. In his adult life, Musashi became a ' ronin ', a masterless warrior,  specializing in the two swords technique. He offered his service to different masters, living mostly like a hermit. Never having a bath or cutting his hair, he would wonder the land in all weathers on his perilous adventures. His life story is rich with tales of heroic battles, of which, off course, he always won. He has become a legendary warrior. Musashi devoted his time to the perfection of the 'Way of the sword' known as kendo . Pursuing the ideal of the warrior through the path of kendo was not only practicing the sword but abiding with the code of the warrior life. Its moral code stem deep from both Confucian philosophy and Zen practice. These practices also included calligraphy and ink painting of which Musashi mastered. Two years before his death, Musashi retired to a life of seclusion in a cave, where he practice calligraphy, painted and culminated his life philosophy into a single book. The 'Book of five rings' ( go rin no sho) as it was named, is a summary of his warrior skills, life experience and wisdom. He described it as 'a book for men who want to learn strategy' . Divided into five segments, titled - Ground, Water, Fire, wind and Void, each part presents a different aspect of the 'Way of strategy' as he called it. The book of five rings has become one of the most well known martial arts instructions manual through the generations, and still today. Although being a thin book, somehow, the more one reads it, the more truth and wisdom unfold from it. It is a book for the spirited warrior. The Spirited Warrior 'In strategy your spiritual bearing must not be any different from normal. Both in fighting and in everyday life you should be determined though calm. Meet the situation without tenseness yet not recklessly, your spirit settled yet unbiased. Even when your spirit is calm do not let your body relax, and when your body is relaxed do not let your spirit slacken.' (-'Water book') Musashi's teaches that one needs to ' become acquainted with every art' and 'know the Ways of all professions'. He himself was talented with many skills. Amongst them, he was a metalsmith, a painter, a poet, a philosopher and an author. The following instructions about timing in strategy, could well be applied not only in martial art training, but as a set of life skills in general, and within the artistic creative process in particular. Here is Musashi : 'Do not think dishonestly The Way is the training Become acquainted with every art Know the Ways of all professions Distinguish between gain and loss in worldly matters Develop intuitive judgment and understanding for everything Perceive those things which cannot be seen Pay attention even to trifles Do nothing which is of no use' (-'Ground book') The Way of Brush and Sword 'The worrior's is the twofold Way of brush and sword, and he should have a taste for both Ways'.       (- 'Ground book' ) Musashi considered the way of the warrior in similar to the way of the artist. He was a master of ink painting and calligraphy, and although only few of his artwork survived today, the precision and mastership of his brush can be clearly seen and felt. Each ink mark demonstrate his warrior spirit at play. In this ink painting on the right, Hotei, the famous god of good luck and fortune, is carrying his bag of abundant gifts on his back, while observing intensely at a pair of roosters fight. This kind of observation, which Musashi called 'the gaze', is a vital part of his teaching. He gives firm training instructions as to how to develop superb observation skills, and use one's vision to increase perception of the world, inside and out.* We can see his 'gazing strategy' reflected in his ink paintings. Just like in 'Shrike on barren stem' painting, where the watchful eye of the bird creates the tension of the storyline, so is in this ink painting, we have Hotei intense watch of the fight. His head rests on both his hands, which are nested on his rod. Attention is given to his quiet watchfulness, empowering the scene. And then there are the two roosters watching each other in a moment of pause. Perhaps not such a quiet one, but the tension is there. The contrasted shouts of the birds verses the intense stillness of Hotei is a wonder. What goes on in his mind? How can Hotei keep still? Obviously he cannot offer his gifts to the roosters as they are not paying attention. Yet, he is not taking sides in this fight either. He is patiently waiting a resolve. Perhaps there is a lesson to be learned here. A lesson that suggests that even when in struggle, one can allow luck to play a part. Not just any luck, but the kind of good fortune represented by Hotei, that of natural flow of the connective universe, with its abundance of gifts, that can guide anyone out of conflict, if only one pays attention. And perhaps like the god of good fortune in this painting, finding in oneself a neutral position in times of struggle is the best action. A place that rely solely on the magic rod of balance. The warrior heart, our soul, no matter what we claim to carry in our bag. *For more about the gaze strategy and Musashi practical teaching see full article on ArtBrush library Ink Composition 'The way of strategy is the way of nature. When you appreciate the power of nature, knowing the rhythm of any situation, you will be able to hit the enemy naturally and strike naturally'. (-'Ground book') Back to 'Shrike on a barren branch'. This artwork is a wonderful example of Japanese ink painting at its best. It carries essentials core elements of what makes an excellent ink painting. Lets look at them - Usage of space - What is not painted here is as important as what is painted. The usage of space is essential in conveying this. There are minimal brush strokes that divide the empty space to create a landscape in a most brilliant way. Less then a third of the scroll is actually painted, while more than two thirds are empty. But this space is not 'empty' as such. It is a conductive space, an essential part of the composition. It is the dream world of storytelling. Connecting the gaze of the shrike, the movement of the worm, the foliage and the water together to tell us, the viewers, the tale of the shrike on a barren tree. Composition balance - Much like in Japanese flower arrangement, known as ikebana , where a good arrangement would have a neat balance of three main parts, so does division of subjects 'weight' in a good ink painting, is into three. Creating a rhythm of movement, the first most essential weight, the secondary weight and the third. This can be easily identified by becoming aware of the way your eyes move on the artwork. Do not think about it, just witness the flow as your eyes travel the painting and you will find this rhythm. And so we have the shrike at the top branch as the first essential part of this painting. Then our eyes flow with the branch to the bottom left corner of the base of the tree and water as a second weight. And thirdly we move to view the central part of the branch, to discover the black mark that is the worm. Coloured ink - The masterful usage of ink shades in this scroll reflects the talent of its maker and its deep understanding of the flow of ink. The light ink is used boldly and confidently. The darker marks added, are accurate and use the ink in a well preserved manner. Flow - This kind of flow in an ink painting is to do with its 'chi' - the energy movement of the artwork. First, there is the movement of the artist brushwork itself to consider. The confident versatile range of brush strokes reflect a masterful brush. The brush move on the paper with freedom and flow and yet it has the discipline and experience of usage. There is no hesitation nor unnecessary pauses. Secondly, we have the theme itself to consider. There is a strange and wonderful range of movement in this painting, created by what is seemingly not moving. The one or two wide brush stroke that suggest still reflection of water, yet we know water are in constant flow. The same goes for the shrike, we know the bird can fly, but it is depicted waiting, quietly. The branch, with its strong solid brush stroke, may be barren in solitude, yet must be moving with the weight of the bird on it, or perhaps with the flowing wind. The one clear movement that we do see is the worm. It is climbing up, seemingly oblivion to the danger above and below. So here we are, experiencing different time lines, different rhythms and movement in the one scene. And the scene itself is in actual a suspense of what is yet to happen. It is about the moment before action. True to the warrior way of Musashi - being always at the ready. In Conclusion - On Bravery and Courage 'I take up my brush to explain the true spirit'       (Introduction 'The book of five rings' ) Every artist is a warrior. Fear is one of the most common buffers to creativity, perhaps it acts like a filter, which requires the inner warrior to take oneself through this filter to arrive safe on the other side. A person who picks up the brush, like a magic wand, become for that time the artist, the warrior, the pathfinder of their way. It is a unique individual journey and no two are the same. As Musashi demonstrates in his writing and painting, his brave and courageous attitude is an inspiration not only to the warrior martial artist but also to the creative exploring artist. The artistic creative process has many dimensional facets to it. Sometimes it is an active and full-on mode. at other times, it is a sparkling solitude of precious silence. The artist, like the warrior, is brave in embracing the journey as it unfolds. Each to their rhythm, pace and timing. Like the painted branch of this scroll, one brush stroke with intention can hold a world of wisdom. Recommended Read The book of five rings / Myamoto Musashi/ Translated by Victor Harris *Victor Harris was a curator of Japanese art at the British Museum and specialised in swords and armors. His introduction and translation of the book are highly recommended. Images credit copyrights 1. Shrike on a barren tree 125.6x54.3cm / singed Niten /Kuboso memorial museum of arts, Izumi 2. Portrait of Miyamoto Musashi From a series of woodblock prints titled 'Fidelity in Revenge' by Utagawa Kuniyshi c.1848 3. Hotei watching a roosters fight size 70.3x31.3cm / signed Niten / Matsunaga memorial museum, Kanagwa Images are from public domain sources. All efforts were made to respect copyrights owner where possible. Learn More > For the full essay and more writings on Japanese ink paintings sign up to ArtBrush Library Sign up for a one-time payment of £75 > > For an in-depth foundation course on Japanese ink painting check it out here Sign up for a one-time payment of £220 > > For other individual painting tutorials please check the link HERE

Learn Japanese Ink Painting Online courses and workshops that teach students how to master Japanese ink painting, step by step. Start my journey Welcome to ArtBrush Online School for Japanese Ink Painting ArtBrush will assist you in developing your skills in Japanese Ink Painting while giving you a deeper appreciation for this tradition within Japanese art history. Our online school's step-by-step courses are designed to allow you to practice brush exercises, guiding you in creating your own ink paintings while experiencing the meditative nature of the process. Watch the video to learn more. TESTIMONIALS Hear from students that took our courses Read what our students said about their experience taking our ArtBrush online courses. Very detailed and informative course! I have always been an admirer of Asian traditional painting and this course provided me of an insider's look of this magic world. With the help of Talia and the ArtBrush online courses, I have managed to learn, exercise and master special brushwork techniques otherwise inaccessible to me. I also got an overall understanding of the aesthetics around this beautiful world of ink painting. I totally recommend this! — Olympia T. Artist & Writer INSTRUCTOR Meet your teacher ArtBrush founder, Talia Lehavi, is an artist, practitioner and teacher of traditional Japanese ink painting. Following years of teaching, her love and passion for this artistic medium has now prompted her to create ArtBrush, the online school for Japanese ink painting. "My own extensive journey in Japanese ink painting, studying with mentors for seven years and completing an MA at the School of Oriental and Africa Studies in London, has provided me with a wealth of knowledge that I want to share with you. My experience has allowed me to teach Japanese ink painting Worldwide, and I’ve created ArtBrush to allow past and new students to learn alongside me and progress in their creative journey, wherever you are in the World." COURSES ArtBrush courses The Foundation Course covers the four traditional themes for the beginner ink painter student. These are bamboo, plum-blossom, wild orchid and the yellow empress, known as the chrysanthemum. Summer flowers and insects course is a more advanced course to guide you how to paint water irises, wild roses, beautiful hydrangeas, and grand peonies. You will also learn to paint dragonflies, butterflies, ants and bees and discover how to add these insects to your composition in such a way that they will enhance your painting. Wild flowers and grasses course offers an easy step-by-step tutorials in how to paint seven wild flowers and grasses. Create your own beautiful Japanese ink paintings of poppies, grasses, gentian, fennel, cyclamen, dandelion and thistles. Each course also includes a tools and materials check-list, pdf worksheets to make for your practice work-book, a soul meditation, and bonus compositions for you to practice in your own time. Courses Foundation Course Step-by-step how to create beautiful Japanese ink paintings of wild orchids, bamboo, chrysanthemum, and plum blossom View Course Wild Flowers and Grasses Step-by-step how to create beautiful Japanese ink paintings of poppies, grasses, gentian, fennel, cyclamen, dandelion and thistles. View Course Summer Flowers and Insects Step-by-step how to create beautiful Japanese ink paintings of water irises, wild roses, hydrangea, grand peonies, dragonflies, bees, ants and butterflies View Course LESSONS ArtBrush lessons Lessons are single, focused courses on one specific subject. Each lesson also includes a tools and materials check-list, pdf worksheets, and additional compositions for you to practice in your own time. Please note: some lessons are included in the ArtBrush Courses. Wisteria Step-by-step how to create beautiful Japanese ink paintings View Lesson Wild Orchids Step-by-step how to create beautiful Japanese ink paintings View Lesson Plum Blossom Step-by-step how to create beautiful Japanese ink paintings View Lesson Hydrangeas and Butterflies Learn to paint step-by-step beautiful hydrangeas and butterflies in ink and colour View Lesson Pine and Ikebana This unique course was filmed live at the London Flower School combining the two artistic forms of ink painting and Ikebana View Lesson Bamboo Step-by-step how to create beautiful Japanese ink paintings View Lesson Water Irises and Dragonflies Learn to paint step-by-step beautiful irises and magical dragonflies View Lesson Peonies, Ants and Butterflies Learn to paint step-by-step summer peonies, ants and butterflies in ink and colour View Lesson Shallow Water - Crabs and Shrimps Step-by-step how to create beautiful Japanese ink paintings View Lesson Chrysanthemum Step-by-step how to create beautiful Japanese ink paintings View Lesson Roses and Bees Learn to paint step-by-step beautiful roses and bees in ink and colour View Lesson Poppies Learn to paint step-by-step wild poppies in ink and colour View Lesson MANUALS Manuals: Text-based learning Manuals are written guides to assist you in your Japanese ink painting experience. Falcon and Pine Step-by-step how to paint the majestic falcon and evergreen pine View Manual Tiger and Bamboo Step-by-step how to paint tiger and bamboo View Manual LIBRARY ArtBrush Library ArtBrush library provides you with a selection of short articles, videos and essays on the history of Japanese ink painting and its aesthetics, how to view Japanese art, and contemplative notes on the artistic journey. ArtBrush Library Selection of writings, videos and contemplations to guide you with your Japanese Ink painting studies View Membership TOOLS The tools and materials needed for ink painting The four main tools and materials used in this practice are brush, paper, ink stick and ink stone. Known as 'the four treasures ' , these carry a long tradition of craftsmanship in their own right and their quality varies from a simple student's kit to a highly-prized, collectible, hand-made sets. Paper is made of various percentages of kozo fiber (made from the bark of mulberry bush). It can vary in thickness, shade and size. The brush, made of natural animal hair, varies in hardness, size and shape. The ink stick, known as sumi, is made out of soot or coal dust, traditionally mixed with essential oils and natural glue to form a solid stick. This black solid ink has a range of shades of black and a variety of translucency. The ink-stone, known as suzuri, is traditionally made out of slate, which has a rough surface upon which to grind the ink. View all Tools and Materials blue & white set View Set celadon set View Set traveller set View Set STUDENTS View work from our students Judy H. Raji N. Richard D. Dr. Tamar S. Judy H. Raji N. Leoni C. FOLLOW US Follow ArtBrush on Social Media Follow ArtBrush on Instagram and Pinterest to stay updated with upcoming courses

About Talia My work invites meditation upon nature and its relationship with colour, light and movement. As I draw or paint, I gradually unravel the underlying qualities of balance and harmony within my subject matter. What interests me most is observing the formation of line and pattern: from the blades of grasses to a bird’s feather; from the shifting of clouds to the beat of my heart; from the maps of stars in heaven to the trunk of an old oak tree. I continuously strive to reveal beauty and elegance within the natural rhythm of life and look to my art as a place of well-being, empowerment and inner peace. The materials I love to use are water-based pigments, powders, and Japanese black ink. These are natural and organic and are deeply connected to earth and nature. They afford a rich palette of hues and allow for both extreme precision and flow of movement. I am captivated by the way they blend together and create a whole that is more than its' individual parts. Occasionally, I also add hints of gold and silver, as these reflect light differently at each hour of the day, changing the glow of the work from within. My work is an attempt to find and enjoy a moment in time. The materials I use embrace that moment, echoing their mark on the paper or canvas, and becoming eternal for a short while. I am keen to explore images that can stand the test of time, that would still be of fascination in years to come, and yet are potent in the here in now. I hope that others understand my work with their hearts and emotions; that they are touched and moved by it, and that it evokes a sense of balance, hope, and joy. EXHIBITIONS Work on display Exhibiting both in the UK and internationally, Talia is known for her cross-disciplinary paintings, prints and ceramic tiles. Her work can be found in public collections, as well as many private collections around the world. All Things Ink London Gallery@OXO London Affordable Art Fair London, Bristol Sway Gallery London 54 The Gallery Mayfair, London Glasgow Art Fair Scotland Japan-UK London Edinburgh Art Fair Scotland Windsor Art Fair Windsor COMMISSION Commission a Painting Talia will work with you carefully to get the right artwork to fit your space. Commissioning art is a highly personal process, and you will be able to discuss with Talia details from colour scheme, size and format to lighting and hanging options. Commission a piece CHARITIES Supporting charities The following animal charities are supported by the sales of all artwork and ArtBrush courses. Starting Over Animal Rehabilitation Sanctuary As a non-profit animal sanctuary, they rescue and rehabilitate animals from all over Israel in situations of neglect, abuse and abandonment and are given the opportunity to live a life of freedom, love and peace. The sanctuary promotes the public education of animal protection and works with youth at-risk and disadvantaged populations by integrating them in the animal care and support. Learn more Kindred Spirit Elephant Sanctuary They work to bring elephants back to their natural habitat, and educate the public on the treatment of elephants while combatting illegal trade. They also work with the surrounding village by providing an income for the locals by renting land, creating jobs and teaching English within the community. Learn more INSTAGRAM Follow on Instagram Follow Talia Lehavi on Instagram to stay updated with new artwork and upcoming courses.

Gallery View the latest work from Talia. If you’re interested in a piece, wish to see more collections from the portfolio, or arrange a studio viewing please contact Talia . Nothing but Love Wrinkled Angelic Canopy Irises Notes on Pine Hundred Million Blossoms Ink Dragons Buddha Realm Tendril Journey Time Bubbles Diamond Clouds Fired Ceramic Limited Edition Prints FEATURED COLLECTIONS

Step-by-step how to create beautiful Japanese ink paintings. Some living creatures, like shrimps and crabs, may not look as sophisticated, or as beautiful as other animals. Our challenge in these lessons is to find and bring out the beauty and quality that is within them. In this course, you will learn to translate the shapes and form of these creatures into brush strokes to create a finished painting. The first section of this ink painting course focuses on step-by-step learning of how to paint shrimps and crabs in their natural surroundings, creating your first composition in black ink. While the second section of the course provides opportunity to experiment with using colour to paint dragon shrimps and larger crabs. You will also learn to paint water plants, water pebbles and clam shells to accompany your shrimps and crabs. As part of the bonus material you will find additional compositions for you to enjoy working from and a short essay on the meaning of a crab in an 18th C. woodblock print.