The 3 B Method -- What is it?

The 3B method of calligraphy has been developed in Ottawa by Tomoko Kodama with the help of her students, who come from diverse cultural backgrounds. It is a non-traditional method that promotes a relaxed approach to a centuries-old art. In concept, it is a method that can be quickly learned by Canadian students. The "breathing brush" has encouraged students to try a variety of Kanji and Kana scripts. These characters open the possibility of many different creative ideas and interpretations even for people who cannot read the characters or understand them.

The breathing method applies to all aspects of the brushwork from beginning to end. It begins with the preparation of the workspace, which is used as a time to calm one's body and mind.

The setting up of the paper, stone (suzuri -- 硯) and inkstick (sumi -- 墨); the arrangement of the water and brushes; and the rhythmic grinding of the inkstick with water in the preparation of the balck ink are all essential components of slowing the body's pace to begin the work. The basic stroke is probably the most critical part of the art. Whether it is a painting of bamboo leaves or a simple character written character, the brush strokes all have similar movement and rhythm. Tomoko believes that that to do either Japanese calligraphy (shodo --書道) or painting (sumi-e 墨絵), one must understand that the brush is actually part of the body and not just a tool being held by the hand.

The body should be relaxed enough to be fluid, but the wrist should be firm, allowing the brush to move only if the whole body moves with the breathing. All brush strokes have three components: a rise, a stroke and a finish; and all three components are related to a breath. Inhaling lifts the body and the head to introduce the rise of the stroke. Breathing out at your own speed from your diaphragm with a series of small, almost hesitant movements starts the downward stroke of the brush and bends the body. A finish of light breaths straightens the body back up and returns the brush into the air. Every stroke must be breathed this way, although the counts and strength of each will vary.

The process can be repeated continuously, as in normal breathing, and it will produce a natural rhythm. As with music, there are breaks in the flow of the strokes, but the rhythm is always continuous. The musical flow of the stroke continues while the brush is raised into the air and returns to the paper for the following stroke. This rhythm should be counted aloud as "ti-ti-ti-ti . . ." or "la-la-la-la . . ." and when properly understood, this will allow the stroke to have a wonderfully fluid expression.