Inadequacy is the mother of invention

I thought to use my collection of lotus photos as teaching material, as a means of applying traditional brush techniques to a composition that was not derived from rote.

And I found another photo that I liked, 

and I happened to have some scraps of cicada skin Xuan handy, so I just grabbed a piece and started to paint on it. The translucent paper exudes an entirely different persona.

.

Upon examining the initial photograph and subsequent painting, as well as my second attempt, I became dissatisfied with the visual clutter of the paper.  This clutter was not due to an excessive number of objects, but rather the uniformity of values among all the characters in the painting, resulting in a flat and prosaic appearance.

Perhaps I should have anticipated the inclusion of blurred backgrounds to enhance depth perception, akin to the concept of bokeh in photography.

Alternatively, I could have painted the leaves with a lighter hue, employing a more diffused technique to simulate distance.  Additionally, I should have distinguished my main character, or protagonist, by making them as clear and vivid as possible, while allowing the supporting cast to gradually fade into the background.

I could experiment with this theory on my current painting, the one depicted on the cicada skin Xuan. However, I was uncertain whether my sloppy techniques would be sufficient to achieve the desired effect.

In a moment of inspiration, I considered the possibility of superimposing the translucent Xuan onto the other layer of paper. This technique would result in the objects on the second layer being muted by the top layer.

It looked wicked.  I was all for it!

I went ahead and mounted my two pieces together.  When the papers were wet, they were almost transparent, allowing everything to show through from under the papers. 

Opacity was restored after the papers dried.

The painting on the bottom was now quite subdued, contrasting with the one on top.  Layers in Photoshop must have been invented this way!

But then I realized one of the petals was washed out in the mounting process.  I must have loaded too much undiluted color onto my brush while I was painting the blossom.

Worry not, a little clever cropping could save my project. 

It was all in the packaging.  Now my painting had a lot of objects in it but didn't feel too busy for me.

I was able to cheat.

Mission accomplished.  Inadequacy is the mother of invention. 

Water

I did something quite different with my "tedious project", and that was trying to paint with a Gongbi style workflow.  That involved drafting a copy of outlined objects and then filling in the blanks with color.  That tedious project had to do with reflections and ripples in a duck pond.  What made that particular project tedious and perhaps unique ( different from your typical everyday Gongbi style paintings of birds and flowers ) was that my painting had a mosaic appearance to it.  Quite impressionistic to say the least.

So I am going to visit that format again and try my luck.  With nothing but ripples this time as my subject matter.  I am hoping to digitize if you will, the analog experience of constantly shimmering ripples.  Forever morphing and yet appearing so orderly as to be cavalries swarming across the surface.

I am starting out by defining the bright areas of the water first.  Typically these are the fronts of the ripples.  Thus these areas might seem random but they actually remind me of U-shaped staples arranged in rows.

There are going to be tons of these bright spots and I really don't want to confuse myself by all these wriggly lines.  After 5 minutes of this I could no longer distinguish which areas are bright and which are dark.  To help my ailing cognitive brain I am cheating by filling in the dark areas as I go.

In a typical Chinese Gongbi style painting, the quality of the brushstroke for lines is of utmost importance.  They need to be evenly applied, like the gold rims around a fine china plate or cup.  My brushstrokes here really do not pass muster.  My excuses are that I am preoccupied with the expressiveness of the shimmering water, and I am eager and anxious to lay down the next piece of the mosaic before I lose my train of thought.

So there is order in my madness.  The red lines in the following photo show my perception and identification of the ripples as they dance on the water. 

This is more tedious than I have anticipated.  Time to pin this up on the wall, allow myself some distance from this mess of untidy lines and reassess this project.

The Verdict

I've submitted 3 of my black and white renditions to a juried event.

After I tendered my digital images of the works, I started to make frames for them; fully expecting acceptance of my labor of love.  If anybody wants to know what optimism means, go no further.

The work with the two Canada geese spending some quiet time amongst water reed is given the title "Encounter".  The painting was done with Chinese ink on Xuan, subsequently mounted on canvas.
I made a custom frame with poplar and painted it black.

The painting of the single white rose is named "Emote".  The painting was done on Xuan and mounted on a pane of clear plastic.  A custom poplar frame was made with a groove to accommodate the plastic pane.  I was looking for the "float" effect.

I had previously done two pieces of banyan roots and I chose the more complex one to be mounted
the traditional Xuan on Xuan fashion.  I bought a cheap poster frame and trimmed my own mat to display this work.  "Finding My Roots" is the title.

The results are in.

Only one piece is juried in.

"Emote" did not pass muster.

Nor did "Finding My Roots"

So much for optimism.