Happy New Year!
My family zodiac painting still needs two more inhabitants to complete, two chickens. In Chinese zodiac, the translated word should have been the gender non-specific "chicken", and not "rooster" as what is popularly referred to. I suppose the "Year of the Rooster" sounds better than "Year of the Chicken" in the western society. In this particular case, there happens to be a male and female chicken in my family zodiac.
As in the case of the Rat, I've done a painting of the rooster for the Lunar Year of the Rooster, so I proceeded with not much planning or plotting. Perhaps it was more like uninspired; I had done this before. This was not my first rodeo, right?
I kept looking at this and I really didn't like it. There was something wrong with my painting but I couldn't put a finger on it. It was just a feeling.
Perplexing!
Today the fog finally lifts. My rooster looks frazzled.
The tail feathers just don't look right. The brushstrokes of the black feathers are nowhere near the quality of the lighter brown ones. They look thin, dry and malnourished, like the hair of someone afflicted with terminal illness. Definitely not befitting a proud rooster.
I'm trying to recall the way I painted those black feathers. I recall that I was really concerned about the silk that I was painting on; it didn't disperse nor allow bleeding like a normal piece of unsized Xuan paper would. I was also concerned about the backing paper might separate from the silk itself, since I had absolutely no prior experience with this craft "silk" and I didn't know how much abuse by wetness it could take. Thus I was using a brush that was perhaps too small and too dry for the required brushstrokes. The result was a bunch of overlapping black streaks, each brushstrokes attempting to hide and modify the previous one. They were very different from the blades as described by the brown ones. I was no longer "writing", but sketching! Compare the black brushstrokes with the brown ones, and my analysis should be quite evident.
I am hoping this can be ameliorated by using a bigger brush, and better ink. This requires some bold moves on my part. I am using the "blackest" ink in my inventory for this attempt. This is an ink that I normally shun, due to the "shine" it imparts. It gives the brushstroke a glossy finish. Maybe I can exploit this, as heathy feathers are shiny?
I am also pre-wetting the destined brushstroke with a clean wet brush first. I am hoping that the wet track would make the subsequent dark ink flow a bit, perhaps bleed a little, so that it is more in line with the Xieyi style of Chinese Brush.
Much better! That's more like a rooster. More forceful and calligraphic brushstrokes, and there are actually natural areas of voids or lighter ink within the brushstroke, thanks to the pre-wetting by the clean wet brush. The brushstrokes are now alive with nuances, and no longer just dead markings.
Onward with the Rooster's partner, the Hen. Having enjoyed some success with correcting the Rooster, my brushstrokes enjoy a moment of unrestrained zeal. They appear and feel much freer, with more aplomb.
I am so happy that the straight-on perspective turns out to be sufficiently convincing.
Here comes the Hen.
