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.