Waves on Calm Waters

Waves on Calm Waters, a photo by Paul&Siu on Flickr.

Chinese landscape painting is referred to as "mountain-water" in Chinese.   Clearly water is an important element.   Water serves many functions.  A calm lake can expand the space, and calm the mind as in the current picture.  
Here,  the lake is calm, but not a still calm.  We can tell from the reflections.  As there are minor waves in the water,  the reflections of the shore objects are broken up, as in the boat's mast.  Near the shore, the water is rendered by a series of "dragging" strokes, pointy at both ends and wider in the middle.   A few of them together gives the idea of calm waves.
For the shore in the foreground, we use similar strokes to provide the water.  These are like reflections of the sky.  Reflections of the rocks themselves require a more definite form.  This is done by a sideways application of the brush. 
The composition leads the eye to the far shore overshadowed by high mountains.  A classic "mountain-water" idea. 

A Looser Style Painting

A Looser Style Painting, a photo by Paul&Siu on Flickr.

A complement to the traditional style would be the free style -- a spirited and loose approach to paint.   A good command of brush strokes is required,  so that lots of variations are incorporated in each stroke -- variety in shapes, ink tones, wet- versus dry-brush etc. 
In the current picture, those strokes build the landforms in the right side.  Then a loose and lively effect forms the left.  This was done with a crumpled lump of tissue paper in a type of dabbing action, resulting in a natural irregular pattern.  Then careful strokes render the temple, the trees, the boats and the distant landscape.   An application of color finishes the picture. 

Waterfall Picture in Traditional Style

Waterfall Picture in traditional style, a photo by Paul&Siu on Flickr.

Here's another picture in the traditional style.   To do the waterfall: it basically involves leaving a gap in the rock cliff face.   The flow is conveyed with just a single brush stroke.  It is important to make sure the stroke is crisp --use a dry brush.  The water must remain white and clean.   The mist from the cascading water is created with a wet wash, i. e. , layering a bluish tint (at the periphery of the mist) the damp/wet paper.

Final version of the Dai Jin painting

Final version of painting, a photo by Paul&Siu on Flickr.

Previously we performed two stages of a rendition of a Dai Jin painting.   We did the initial ink work, and added a first glazing of color (see previous blog).  The picture has taken shape.   The final stage would involve some "tweaking" --to clarify certain elements and to reinforce depth effects, we strengthen certain edges, darkening the lines, adding dots etc.  We added more texturing to the rocks, more blues to the shadows...
Then after the latest paints have dried, we wet the whole paper, blotting away excess water, to produce a uniformly damp substrate.   Then we do a "wet-wash", which provides a very soft and even coloring. This brings out the mist/fog by coloring its surroundings --otherwise the mist's white (the blank space) will not show.  We do the water.  Note the selective glazing of the water to bring out the sense of flow. We also darken the foreground some, and voilà!

Dai Jin painting: stage 2.

Dai Jin painting: stage 2., a photo by Paul&Siu on Flickr.

Stage 2 will comprise of selectively strengthening the edges between layers of scenery,  by darkening of lines, or new dark lines, and/or dots. Then when dry, add color.  When glazing on the color,  use a brush stroke consistent with the texture or lay of the object.  Thus, if the rock runs at some angle,  glaze in the same direction. 
Typical colors: For rocks, mix brown and blue.  The bright side of the rock,  use brownish tint.  For the shadow,  use bluish tint.   Tree leaves, use yellow mixed with black. 
Make sure the colors are well mixed and dispersed. They should be a dilute mix.  Intensity is built up by repeated layering of colors.   If you color too intensely in one go, it will look too stiff. 
As for the interface with the fog or clouds,  use a dry brush to provide an irregular edge.   For the edges of the waterfall, also use a dry brush, to ensure no bleeding into the waterfall,  which must be kept white! 
See my version of coloring is as a guide. 
Keep in mind there is still stage 3, which is a wet wash process,  to come.

Doing the Dai Jin painting

Doing the Dai Jin painting, a photo by Paul&Siu on Flickr.

A few blogs ago, we showed a section of a painting by Dai Jin.  Here we discuss how to proceed with creating a version of it.   To start,  it's best to begin with ink of light to medium intensity.   That way,  we can make modifications or augmentation later with darker ink. Start at the most prominent feature in the middle section of the painting.   It is the large boulder. The rest will build up from there, and will be scaled and positioned relative to it.  My rendition, the first stage is attached --as a guide to show the ink tones and the degree of development appropriate for the first stage. Again,  certain parts will be darkened, and details added in later stages.

Thanksgiving Greetings

Thanksgiving Greetings, a photo by Paul&Siu on Flickr.

We have been having a really fine October here at the Lower Mainland of BC.  Dry!  Bright foliage!   With all different colors, the trees are especially beautiful, each showing its unique shape and stance.   Wishing all a happy fall season.