Sunday morning messing around with a single brush and sumi ink on watercolour paper. Taped off six windows, then painted fast without overthinking it. Some strokes ran into the edges and stopped dead, and I kind of like that.

Calligraphic

This cligraphic sumi ink painting of eucalyptus leaves has been sold.

Just Van Dyke Brown and Raw Umber for this study of the bush. I enjoyed seeing how much atmosphere and depth can come from such a limited palette. Still working on saying more with less.

A quiet study of eucalyptus, exploring simple brushwork, muted colour and the space between the leaves. I’m enjoying the influence of Chinese brush painting and the freedom of letting some forms almost disappear.

I’ve been exploring how little I can say with a brush. Inspired by Tōkō Shinoda, I’m experimenting with calligraphic branches, suggested leaves and the quiet space between them. I’m trying to paint less of the eucalyptus itself and more of its movement and presence.

Saturday morning calligraphic leaves in watercolour - indigo and Van Dyke Brown - from Kalimna bush.

Thanks Ellen. Good to see you here again.

Thanks Sara. It’s sumi-e Japanese ink.

Two studies exploring the eucalyptus leaf through calligraphic brushwork: gesture, rhythm, restraint and ma (negative space) between the marks. Rather than describing every leaf, I’m interested in what a few deliberate strokes can suggest. Ink, water and paper.

A wattle painting sold as a gift for Father’s Day. I think I painted the flower heads about four times with a 10/0 script brush to get the darkness to work.