Fall Painting Class 2

We worked on a peony-like flower.  Such a flower develops from a spherical bud, and we shoot for a mostly open blossom with some part of its center only slightly open.

We analyze its structure, which may be considered concentric layers/rings of petals, with their sizes progressively bigger in the outer rings.  The petals are roundish, like a soup spoon.  At various orientation, they will take on different shapes.  Another metaphor for the flower is a "cup & saucer" combination.  The opened petals form the saucer; the semi-open inner petals form the cup.  We use a combined two-strokes for each petal shape.  Take color mainly at the brush tip, but apply the full brush for the strokes.  As the belly of the brush has little color, the stroke should results in a smooth variation and gradation of color.  Also the flower needs to be contrasted by the leaves, which is an important part of the composition.  Even though they have a definite shape and pattern, when viewed together as a group, the leaves are basically irregular.  We do each again by two stroke combinations.   Their positioning, grouping and distribution must serve to set off the flower.

In terms of color, red is used for the flower.  Leaves can be done in ink tones, and then subsequently topped with yellow to yield an "ink-green" effect.  Gradation and shapes are key.

Once the overall brush strokes are done.  We can use additonal lines using a small brush to accentruate the petals.  Select some key petals; use heavy red to touch up the top/tip of the petal.  This will separate out the said petal from the rest.  Additional veins can also be added on the larger petals consistent with the lay of the petal.  (Poeny petals can have faint veins that are visible.)

The leaves similarly should be veined.  The veins helps to suggest the leaf's orientation. 

The above touch-up should be done when the brushwork is still damp (not immediately, when the stroke can be too wet).  This way the added lines can meld with the target stroke.  Control water in the brush, by blotting moisture away from its base/belly, so that the color in the brush tip is undisturbed.

Finally after the brushwork dries, we can add yellow to the flower's center.

A final light grey series of leaves can harmonize and add dimension to the picture.

In-class Demo:

Fall Painting Class #1

 

We worked on bamboos today.   Bamboo is good practice for brush control in a structured manner.  While few of us will make a career in bamboo paintings, it is a good exercise to create repeated patterns.  Here are some demos during class:

Leaf groupings of two, three and four, and clusters combinations.

For exercise, you can try doing some of these prototype picture:

Class #6, 7, 8

We worked through the stages of this landscape painting.

Initial ink work and color glazing.

Some more ink and color work...  Then the final wet wash process: distant fuzzy mountains and clouds between layers of landform are created.

This represents a pen-ultimate stage.  To reach the ultimate effects, we need to scrutinize the overall composition, and make some minor additions as needed.  Here, for example, the lower left corner can use more work (too empty).  The cloud pattern on the left also seem too repetitive.   

This will involve further ink and color work, followed by another layer of wet wash.  Optimally, we target a total of three washes to attain the final results.  The slow buildup of color adds depth, variations and richness.  Keep in mind that Chinese watercolors are mostly transparent, and the layers of color are additive. 

 

Brush Painting Class #5

Today we worked on trees and landform techniques.  

Trees: 

• Note the overall shape; trees have posture and gesture attributes.
• Note the branching structure, and use the main fork to anchor the form.
• Start at the middle of the tree-- the main fork; work progressively upwards and downwards, mindful of the natural variation of girth from bottom to top.
• Based on the overall shape, start dotting the leaves from the outside inwards,  to pin down the periphery.
• Add some branches in between the leaf clusters, to connect to the main tree.

Landform/Rocks:

• Line the upper/outside edge of forms of various shapes: round, square, skewed, sharp etc.
• Illusion of depth/3-D space: Each near-form partially blocks the far-form.
• Vary the forms, in terms of size, separation and alignment (do not line up in a line)
• Texture lower part of form (shade and shadows) according to the desired 3-D shape of the landform/rock.

Pictured involved today:

SIMPLE LANDSCAPE

 

Brush Painting Class #4

We practiced Canada Geese as the focus of an expansive lake scene.  Then we did willows in a loose style.

The second one was done during class, which is in an intermediate stage.

GEESE: Geese's long neck and white patch in the "chin" area are characteristic.  So, using dark ink, we do the head first, and then connect to the long neck, while leaving a blank area in the transition.   Then the body/back/wing area is done by some loose stroke, using medium/light ink.  The chest, belly and rear of the goose also are white.   Thus we use light ink to draw/line the chest, which remains white.  The rear white is set off by doing the tail with black dashes while leaving some blank spots.  Black ink dots help to show the feathers.  Then the goose is set in water which is shown by light ink strokes and horizontal lines for reflections etc.  See below.

Also shown are distant flying geese/ducks and birds.

The above also shows the vertical light-ink feathering strokes to depict the weeping willow.  This can be done in two ways.  One is by opening up the brush into a broad shape and using a light sweeping action.   A dry brush in a sideways scrub will also produce the effects. 

Brush Painting Class #3

 We did a generic bird yesterday.  The bird shape is a combination of an egg shape (body) and a sphere shape (head).  The approach is to first do the chest/belly with a light stroke, and then complete the egg shape using a series feathering strokes.  Then do the head using a dark ink tone with two strokes, one for the top and front of the head, the a small stroke for the lower head, leaving a gap for the beak and eye, by a dash and a dot.  The positions for these determine the orientation of the head.  Use dark ink strokes for the wing feathers.  Then a blunt stroke for the tail.  A few dashes indicate the feet below the belly.  Then a branch to anchor the bird.

We use the bird as an interest elements in a bigger picture.  We chose a waterfall background.

After the ink work, we added color; the color sets off the white.  Otherwise the white of the waterfall will not show.

In the next class, we shall demonstrate another wash on top of this, to produce the mists and atmosphere, and to integrate the composition.

Brush Painting Class #2

 Class 2.  Flowers on tree branches, such as Plum, Cherry, Forsythia etc.

A plum composition is composed of bright red round shapes interspersed in a network of black branches.  The branches are from a series of straight side strokes of various widths, lengths, angles, etc connected to yield the gnarled feel of an aged plum tree.

Here's is the prototype shown in class.

Note distributed in class.