關於 coffee art painting easy ，我們在網路上蒐集到這些相關的討論、資訊與評價

🕕下午6時來了，武漢肺炎開眼👀
*註：香港新防疫規定 - 食店每日下午六時至早上五時不准堂食... （邏輯是...病毒晚上才出來？😖大家時刻注意保持社交距離，防疫不分晝夜啊😷）
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(English below)🙏謝謝朋友善意提醒，說會否考慮免費IG直播只畫一些簡單點的作品，因為有導師會辦收費課程 💡其實這個問題我思考過，Shel又來碎碎唸唸分享些想法～
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1. Shel是老師嗎？會開班嗎？
每次直播開首也說了，我不是專業的導師，很多地方也需要繼續學習💪IG直播這個平台讓不同地方喜歡粉彩畫的朋友們一起交流，觀眾們高手雲集，也教曉我很多，甚是感恩🥰 避免誤會，重申一次我 *不是* 和諧粉彩正指導師，只是上年夏天偶然有機會接觸粉彩，輕鬆減壓一試便愛上❤️
至於開班，我最近有辦工作坊(⚠️但突然受疫情影響，7月工作坊延期/取消），如果大家看到我的作品覺得喜歡，不介意我沒有任何認證，那麼很期待與您們面對面在工作坊交流🇭🇰☺️
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2.免費直播會否只畫簡單的作品？
這個週五畫的這幅畫看似複雜，但我試畫的時候都是用很基本的技巧（😝歡迎來參加直播看看我有沒有說謊👀）。加上IG直播時無法個別指導，連大家手上的畫也看不到，與收費課程差別很大。大集合裡可能看到有些作品特別出色（Shel自問畫不到的水平😍佩服佩服），我絕對不敢居功，因為是參加者本身技巧高/有天賦/自己不斷練習，不是看看免費直播就能做到的🙏 我也常鼓勵各位新接觸粉彩的朋友，如果在Shel這裡體驗過畫畫的樂趣，想正式學和諧粉彩，不妨找專業導師認真學習，特別是日本和諧粉彩的教案我不能教授。
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3. 我也很想自由創作，應該怎樣開展？
靈感隨處都有，多觀察身邊的事物，留意顏色配搭，或者攝影師拍照構圖的比例等等📷慢慢嘗試，不滿意就再觀察，然後再繪畫🎨 像這幅粉彩畫的是我與閨蜜去過的日系cafe 梔子 Zi🌸☕️ 陶瓷杯子很美對不對？作品就是這樣慢慢形成，就算是同一主題，每人畫的角度、色彩都不一樣🌟
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謝謝新加坡的朋友提醒🇸🇬知道當地Teacher Gladys有latte 粉彩畫課程☕️ 她的作品很細膩，泡沫好仔細像是拍照一樣呢😍 特別推介大家去看看 PawPrint Art 👍👍
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Stay home, stay healthy, stay safe
See you on Friday 9pm
#ShelFridayArtLive
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Received kind reminders from friend, asking whether I will share only simple pastel artwork during free IG live broadcast as there are teachers who organise paid workshops / courses 💡 I did think about this before, hope to share my thoughts with you all~
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1. Is Shel a pastel nagomi art tutor? Do you run paid workshops?
It is mentioned at the beginning of each of my IG live that I am not a professional art teacher. There's still a lot to learn 💪 IG live simply created a platform for pastel-lovers from all over the world to gather and enjoy art. So much talent from the audience!!! I am grateful to learn from you all🥰 Just to avoid any misunderstanding: I am NOT a certified pastel nagomi art teacher. I came across pastel art last summer and fell in love with it❤️
As for paid workshops, I recently did some (⚠️but Jul workshops are on hold due to covid-19 situation in local community). If you like my artwork and don't mind that I don't have a certificate, then really look forward to seeing you in our workshop 🇭🇰☺️ (face-to-face workshops in HK only, sorry friends from overseas...)
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2. For free IG live, do easy art pieces only?
The one we will draw on Friday may seems difficult, but I only experimented with basic techniques (😝 welcome to see for yourself during our IG live👀). Moreover, it is impossible to tutor individually, I can't even see your artwork, so it's very different from paid courses. You may see some amazing drawings by "students" in Shel Friday Art Live artwork collection (so wonderful that I actually can't draw with such perfection😍 adore!!), but I have nothing to do with that. They are skilful / talented / practise a lot, and therefore are amazing even before viewing my IG live for sure🙏 I also encourage first-timers, if you guys get a taste of how relaxing and enjoyable pastel art is, please don't hesitate to learn from professional teachers, especially for JPHAA pastel nagomi art pieces, I can't teach those without a license.
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3. I wanna design my own art pieces too, where to start?
Inspiration is all around us! Observe beautiful things in your surrounding, pay attention to colours that match with each other, look for nice proportion in photography etc 📷 no pressure at all, just try to draw, if it doesn't work, observe and draw again 🎨 like here I prepared a drawing of a cup of hot chocolate (the colour does look like coffee I admit) from a Japanese-style cafe in HK🌸☕️ lovely ceramic cup isn't it? That's how art pieces are created. Even when drawing the same topic, everyone has a different perspective, different colour combinations🌟
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Special thanks to friend from Singapore🇸🇬 Teacher Gladys from SG has pastel courses with latte theme☕️ Her coffee drawings are soooo delicate, the bubbles in milk foam are very realistic😍 please check out PawPrint Art 👍👍
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#pastel #pastelart #pastelnagomiart #handmade #hkhandmade #diy #art #illustration #cafe #hkfoodie #foodie #sakura #cherryblossom #hkgirl #drawing #painting #粉彩 #和諧粉彩 #畫畫 #手繪 #教學 #工作坊 #直播 #手作 #咖啡 #櫻花 #日系 #插畫 #插圖

Nobody’s Fool　　( January 2011 )

Yoshitomo Nara

Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.

It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.

But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.

While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.

As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.

In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.

Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.

Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!

I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.

Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.

By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.

After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.

And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.

Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.

But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.

The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.

Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.

After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.

Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.

After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.

I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….

JayLee - How to paint with acrylic / Painting Techniques
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❖ Channel Membership :
Please become a member of my channel. You can buy me a cup of coffee, and push me to create more videos.
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Jay Lee is a painting youtuber. He paints beautiful world on the canvas, and share videos for you and everyone. Put Jay's painting in your space, and make world beautiful.
❖ Jay Lee Store :
https://teespring.com/stores/jayartpainting
❖ Patreon : https://www.patreon.com/jayartpainting
❖ PayPal Donation : paypal.me/jayartpainting
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Jay Lee는 한국인 그림 유튜버 입니다. 캔버스에 그림을 그리고 영상으로 만들어 사람들에게 공유합니다. 최근에 한국인분들 유입이 많아져서 기분이 좋네요. 감사합니다.
여러분의 공간에 Jay의 그림을 놓아 아름답게 만들어보세요.
(亚克力画)
Jay Lee 是住在台灣的韓國人，一位畫畫的YouTuber。在畫布上繪製美麗的世界，並用影片的方式分享給大家。把Jay的畫放在你的空間裡，讓世界更美麗。
❖ Jay Lee Store :
https://teespring.com/stores/jayartpainting
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❖ Music
Meditation Impromptu by Kevin MacLeod
https://creativecommons.org/licenses/by/4.0/
http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100161
http://incompetech.com/
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❖ Contacts
E-mail : tkstoryman@hotmail.com
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How to paint with watercolor / Painting Techniques - JayLee -
---------------------------------------------------
❖ Channel Membership :
Please become a member of my channel. You can buy me a cup of coffee, and push me to create more videos.
---------------------------------------------------
Jay Lee is a painting youtuber. He paints beautiful world on the canvas, and share videos for you and everyone. Put Jay's painting in your space, and make world beautiful.
❖ Jay Lee Store :
https://teespring.com/stores/jayartpainting
❖ Patreon : https://www.patreon.com/jayartpainting
❖ PayPal Donation : paypal.me/jayartpainting
---------------------------------------------------
Jay Lee는 한국인 그림 유튜버 입니다. 캔버스에 그림을 그리고 영상으로 만들어 사람들에게 공유합니다. 최근에 한국인분들 유입이 많아져서 기분이 좋네요. 감사합니다.
여러분의 공간에 Jay의 그림을 놓아 아름답게 만들어보세요.
Jay Lee 是住在台灣的韓國人，一位畫畫的YouTuber。在畫布上繪製美麗的世界，並用影片的方式分享給大家。把Jay的畫放在你的空間裡，讓世界更美麗。
❖ Jay Lee Store :
https://teespring.com/stores/jayartpainting
---------------------------------------------------
❖ Music
Love of All - Twin Musicom
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❖ Contacts
E-mail : tkstoryman@hotmail.com
........................................................

JayLee - How to paint with acrylic / Painting Techniques
---------------------------------------------------
❖ Channel Membership :
Please become a member of my channel. You can buy me a cup of coffee, and push me to create more videos.
---------------------------------------------------
Jay Lee is a painting youtuber. He paints beautiful world on the canvas, and share videos for you and everyone. Put Jay's painting in your space, and make world beautiful.
❖ Jay Lee Store :
https://teespring.com/stores/jayartpainting
❖ Patreon : https://www.patreon.com/jayartpainting
❖ PayPal Donation : paypal.me/jayartpainting
---------------------------------------------------
Jay Lee는 한국인 그림 유튜버 입니다. 캔버스에 그림을 그리고 영상으로 만들어 사람들에게 공유합니다. 최근에 한국인분들 유입이 많아져서 기분이 좋네요. 감사합니다.
여러분의 공간에 Jay의 그림을 놓아 아름답게 만들어보세요.
(亚克力画)
Jay Lee 是住在台灣的韓國人，一位畫畫的YouTuber。在畫布上繪製美麗的世界，並用影片的方式分享給大家。把Jay的畫放在你的空間裡，讓世界更美麗。
❖ Jay Lee Store :
https://teespring.com/stores/jayartpainting
---------------------------------------------------
❖ Music
Mesmerize - Kevin MacLeod
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❖ Contacts
E-mail : tkstoryman@hotmail.com
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