Jiu Jing Mo Shui Hua humils you like nothing. A single stroke of the brush can be soothing and another can resemble a cat that has strolled over the paper. It is that tension that is part of the charm. Ink painting teaches control, patience and silent admiration of the materials that do your half of the talking. Continue your art journey and read on for class benefits.

Conventional ink is available in the form of a solid stick. It looks plain. Almost boring. Then water enters the scene. One or two drips, grindingly, in soft circles. It smells very earthy and a bit smoky. Excess of water and the ink becomes soft. Excessively less and it becomes recalcitrant. It is like baking without a recipe. You learn by messing it up.

Paper is more important than beginners suppose. slender paper consumes as it were iink as a parched plant. Viscous paper opposes and rebels. There were some sheets which spread the ink in soft clouds. Some maintain lines neat and clean. When the first time, ink drips more than intended, it may be impolite. That same bleed of yours is your favorite effect later.

Brushes carry personality. Some are springy and playful. Others are so heavy and serious. An effective brush may speak quietly or scream. The tip matters. So does the belly. Press a little and you have hair-thin lines. Stroke more and the stroke expands like a rain-opened river. Ten pens can be displaced by a single brush, provided that your hand hearkens.

Ink stone does not get its due credit much. It is there like a silent teacher. Grinding ink slows you down. The moment of silence alters mentality. You stop rushing. You start seeing. Most artists vow the painting is started immediately before the brush touches the paper.

The real trickster is the water control. Too dry and strokes scratch. Too wet and shapes dissolve. Novices usually pursue perfection. Ink laughs at that idea. It rewards confidence rather. Unsteady line appears worse than the bold error. Ink remembers hesitation.