Multnomah Falls continued

After weeks of piling on more pigments on the rocks an adding "chuen" (texture), I grew more and more unhappy with my lower fall.

Unlike the upper fall, where I was able to reveal some of the spraying and pulsating energy of the water, I have painted in 2 parallel dark lines into the bottom fall.  What was I thinking.

I pulled out my cardboard framing borders and was trying to see where I should cut the Xuan paper so that I could pretend that the mistake never happened.  Then I thought about an old trick that I've described in my previous blogs..... using a transparency.

I fashioned a few trees using white titanium (for better contrast against the dark background) on this piece of transparency, such that I could move this about the painting and see the best placement to obscure the parallel lines. 


 Once I have the location finalized, I can now paint in the trees for real.  This transparency trick allows me to figure out the placement and size of add-ons without having to commit to it.

I've added 3 spectators to the bridge just to warm this painting up a little bit. 

I am not totally happy with the overall feel of this painting.  There isn't enough of a contrast between the front and the back.  I am afraid to make the front look too dark or I would lose the details on the rocks.  The other option is to darken the back, but that would regress my nice rock walls , which I thought is quite dramatic.  Besides, I thought my foreground is too dark for this set-up.   But wait, I have one more option.  Since I am going to be mounting this piece of Xuan on canvas (as in my Xuan-Boo technique), I can play with my canvas gesso colors to see if I can remedy my front to back contrasts.

What I do like is that I have at least tried to establish a yin an yang contrast.  I painted trees on alternate sides of the fall, to avoid a bilateral symmetry.  I've painted the left side lighter than the right and highlighted the trees such that illumination is from above.   I've tried to create contrasts within each sector of the painting.

I'll post my painting again after it is mounted and framed.

Like I said, come hell or high water, I've done it!

Multnomah Falls

Multnomah Falls is a hot spot in the scenic Columbia River Gorge.
I have wanted to paint this image for over 3 years now.  A night scene ?  A snow scene?  How about a perspective from the top?  My apprehension is that I don't think I can portray the Falls with my present stage of craftsmanship.  So I procrastinated.

Well 2011 is upon us.  I am not one to make any New Year's resolutions, but here is one.  I am going to paint the Falls, come hell or high water.

As in most of my work, I lay down the basic premise in medium tone ink.

I am trying for a perspective that is looking up to the top of the Fall.
I have contemplated in doing the scattered focal point perspective that is utilized in so many Chinese landscape paintings, but I must confess that I am having difficulty applying it here.  So here comes hell.

After the basic skeleton is constructed, I am working on "chuen" (adding texture) and shading, to give my work a more 3 dimensional feel.

More shading is done, and also an initial layer of vermilion is deposited.  This works to depict the high lighted areas of the rocks, and also blends well with the subsequent burnt sienna, ink and indigo that I'll be piling on the rocks.

The water itself is the blank space, brought to light by the dark contrasting margins.

Tradition, Tradition !

No I am not Tevye.  Isn't Fiddler On The Roof a wonderful piece of work!

In teaching my students about the basics of brush strokes, and Chinese Brush Painting in general, I cannot circumvent some fundamental painting techniques.  To make my case more poignant, I have to fall back on a favorite subject matter, the orchid.  Orchid is touted as one of the 4 "PALS" in Chinese painting, possessing the virtue of lady like elegance and arrogance.

There is a very hierarchical way of depicting orchid.  The insert is a page from my instructional material.

The lower half of the diagram dissects the composition of the orchid leaves.  It has to have a "master" leaf and a "slave" leaf and these two cast a general orientation of the plant.  The "master" and the "slave" leaves must form a "phoenix eye" at the base.  A third leaf ( No. 3 in the diagram) must break out from this "phoenix eye" to dictate the height of the plant.   In other words, if these 3 elements are not arranged in this prescribed fashion, then the painting is a failed one, or the artist has not done his/her homework.  In some ways, such paintings have absolutely nothing that remotely resemble a studio "still life" or an on location plein-air rendition of the plant, but more to do with the discipline of floral design and arrangement.  After all, the painting of orchid can be construed as an euphemistic expression of virtues and beauties.

Such conformity to "Tradition" in a way stifles the advancement of Chinese Brush Painting.  At the very least, it lends to create the impression that Chinese brush paintings seem to copy each other.  This is especially confusing with the influx of mass produced pieces of "art".  Yet if the artist was to be divorced from this tradition, then he/she could be inviting a brow beating and deemed being ignorant of the basics.

My intention here is to neither advocate, nor to destroy the adherence to "rules".  I am just trying to stir up discussion as to what is deemed "correct" or "incorrect", especially for the new enthusiasts in Chinese Brush Painting.  I encourage you to find your own orchids in the library, at your local galleries and research on the net and see for yourself.  Whether chop suey is Chinese food or not depends on your own sophistication.