The Chinese round brush continued

I've alluded to how and why the Chinese round brush is more than a mark making instrument.  Like almost all utility tools, it sometimes attracts the perversions of fame over function.  I am ashamed to admit that I have fallen victim to the pursuit of the "best" brush; brushes that are handcrafted in limited quantities by supposedly "famous" artisans.  The lure is to manufacture a want.  Wanting a rare product, a unique way of packaging the brush hair, a brush that looks and writes like no others.  I am reminded of automobiles.  Some cars cost over a million dollars.  Yes they are certainly fine pieces of machinery and they go fast but for the average driver they are just symbols of conspicuous consumption.  I am not convinced that owners of such cars are necessarily better drivers.  Do they even use the million dollar car as transportation or as a trophy in their garage.  Thus I am an average painter and I fail to appreciate the virtue of these fine rare brushes.  I just thought rare brushes could buy me status.  What was I thinking.

Anyways I am not here to vent, just because I paid an exorbitant price for a mediocre product.  I am trying to expand on how the brush is used in painting.

I've loaded just the tip of a wet brush with ink, holding it flat on the paper with the tip pointing towards me. Nudging the brush in small arcs I can depict floral petals

If more attention was paid to the voids and the separation between the petals, this flower head could be more wholesome.  But you get the gist of it.

Canada geese is a favorite subject of mine.  The white band just behind its eye on the neck is a distinct identifier.  It is a simple matter of writing the beak, the top of the head and the neck, leaving a gap at the top of the neck.

Holding the brush side tip, write the body of the bird.  I then use a clean wet brush to draw out the ink to the breast and tail area.

This one is done on inkjet photo paper, just for the heck of it.  ( INK-jet, does anyone get the correlation?)

I'll illustrate the different nuances between a center tip and side tip brushstroke.  The following is a crab leg done with side tip brush.  The tip of the brush is loaded with ink so one can see the trek of the brush tip.

In the next example, the image of the left is done with center tip brush.  The ink tone is even across the width of the leg.  The one on the right is done with side tip brush.  

The one on the left feels sturdy and proper whereas the one on the right is more playful, with varying widths and ink tones.

The following is an example of a person using the wrong edge of the brush in painting (writing) the crab legs.  I am drawing your attention to the two crabs on the upper left corner of the insert.  It's not like the person doesn't know how to use the brush, but due to whatever lapses he throws it out of the window. The result is wiry lines that resemble nothing of the exoskeleton of legs of a crab. 

Using side tip brush, writing a short arc

When a succession of such segments are put together, a shrimp is bone.

Starting with three simple lines, center tip, we have the basic construct of the leg of an insect.

Using a side tip brushstroke, write the wings and thorax and head of the insect

Write lines for body and whiskers etc. using center tip brushstroke,  we have a complete insect with just a few simple brushstrokes.

Three  simple side tip nudges become the body of a frog

Add limbs to complete the painting

Here is an example of a frog on a lily pad employing these simple brushstrokes

This writing is not meant as a tutorial for painting.  There are different ways to skin a cat.  The crux of the matter is how to use the Chinese round brush properly to get the results we want.  As the round brush does not come with an edge, only a tip.  The blog hopes to emphasize the importance of knowing the aesthetic difference between a center tip and side tip brushstroke, and allow them to be our allies.