Yet another landscape

After my attempt at painting Chibi (the red cliffs) I want to try my luck on another landscape painting, with cliffs or stony features as my main player; again.  Whereas the Chibi painting was sort of dreamy and poetic, I intend for the current production to be more hard and staunch in character.  

For this attempt I am mixing my ink with alum solution to paint on traditional Xuan paper.  The slight bleeding from the brushstrokes allows the paper the stage to express soft strokes.  Alum working as a mordant tends to eliminate that quality by fixing the ink before it has a chance to escape into the microfibers of the paper.  I am looking for harsher brushstrokes to help depict the rocky texture of my intended landscape.

My model comes from the central part of Oregon where it is a little less lush with greenery but more abundant with rocky outcrops and mesas. The Deschutes River and the Crooked River are landmarks that inspire me, so I shall use them as my references and give the Columbia River Gorge a pass.

First item on the list is a rocky structure occupying the left side of the painting.  I suppose I've not found my rhythms yet and the brushstrokes feel very contrived.  Of course the remedy for my shortcoming is to immediately paint the background with diluted ink and loose brushstrokes without the alum as a conspirator, thus the markings are much more relaxed. 

Contrasting with the hard edges of the rocky structure are not only the diluted ink for the distant hills, but also the soft non-discrete foreground, as if the camera is out of focus and the viewer is using the bokeh to frame their image in the head. 

The center portion of my painting is taken up by the sharp, chiseled rocks of the landscape.

The alum/ink mixtures helps to cement the brushstrokes before they have a chance to bleed; offering a stern appearance.

One can see discrete and distinct white margins unmolested by ink due to the fixing property of the alum.  

Previous brushstrokes tainted with alum also function as a resist, and allow subsequent overpainting with other brushstrokes.  Typically this is an absolute no-no but in this application the juxtaposition makes interesting patterns.  We are talking about nuances of brush works on Xuan paper now, so this might not be evident to a casual observer.  I've experimented with painting with alum solution on the back of the paper first to achieve this effect, but that takes a lot of planning and is less spontaneous than mixing the alum with ink.  This is an experimentation anyways, so the jury is still out as far as I am concerned.  

The flat exposed rock face on the right of the painting is done with the folding ribbon chuen brushstroke.  Diluted ink is also applied at strategic locations to emulate vegetation from the crevices; to soften up the harsh edges of the composition.

An assortment of line chuen, akin to the hemp chuen is used to doll up and texturize the non-rocky parts of the landscape.  I mean, if Monet and Van Gogh can employ dots and lines to fashion their works, why can't I, right?  Actually the dot and line chuen technique has been in practice in Chinese brush techniques since antiquity, I am just making light of them.

The dry rubbing technique is a way to create shadows and change up light values.  When paired with a wash, the combined effects are often employed to describe mist or to dissolve and integrate a void space into the painting.

Just as a make-up artist using eye liners and shading to prop up the cheeks and shape the jaw,  I am using vegetation and reflections to depict a river, something that is fluid to contrast with the otherwise harsh features.  Hopefully a story line can emerge!

 

Reflection

The year of the Rat certainly is a strange one to say the least.  I honestly thought I was going to push at least a couple more pins to my world atlas on the cork board to remind myself where I had been, in case my gray matter continues to shrink.  I almost bought my fares for travelling, fortunately procrastination saved my bacon.

Obviously I have ample opportunity to reflect on places where I had left my footprints; especially poignant when I am not allowed to venture too far these days due to the pandemic.  I don't want to be embroiled in today's issues but being a septuagenarian I can't help but reflect on my experiences here and abroad, both good and bad; privileged and not so privileged.  I recall the early days of  becoming a pharmacist, as a member of the most trustworthy profession who happens to be of  a minority race here.  Oh, so dichotomous!  I remember asking my colleagues what gook meant, since some of the people I served addressed me by that name and I've not had the good fortune of learning that word when I was studying English in Hong Kong.

What I was reflecting on these past few weeks was actually something more tranquil, a waterfowl refuge.  I used to frequent this sanctuary quite often before I hung up my white smock for good since it was not too far from my place of employment.  I used to go there to relax and forget about filling prescriptions.

I shall attempt to put my thoughts on Xuan.

I wanted to portray a levy in this refuge, and the reflection of this levy in the water of course.  I wrestled with myself a little bit as where to locate the levy.  Ideally it would be right smack in the middle of the paper so I could devote the same amount of attention to the reflection in the water, but I remembered being told that this would be bad composition.  I decided on a compromise;  levy bisecting the paper, but with a little footbridge access on one side to break the line up.  

I folded my un-sized Xuan into halves, and I would paint my levy on the crease line.

I decided for a half submerged access to add a little interest to the otherwise straight horizontal line.

The color looks more saturated when wet but dries to a much lighter value.  This is especially true when painting with Xuan.

For the reflection in the water, I cheated by folding the paper over and sort of traced the trees from the other side since the paper is translucent. 

I used a rather dry, hairs split brush to paint my reflection.  My brushstrokes were all in the side-tip fashion, revealing texture and shape.   Keeping it loose was the mantra. 

Adding color values to my brushstrokes 

The white specks in the attached insert is actually blemishes of the Xuan.  When errant drops of alum solution landed onto this un-sized Xuan during the manufacturing process, they dried to form these color resistant spots.  This is how I was inspired to start painting with alum solution, to take advantage of its dual property both as a mordant and as a resist when painting on un-sized Xuan. 

Working in my reflection

And the corresponding hilly features above the water.

Mixing a little cinnabar with light ink I concocted an atmospheric wash.

When dried

Good place to stop.  This painting will be pinned on my wall and I would cast it occasional glances and I'll allow the painting to tell me what to do next.

Painting with alum solution

Those of you who followed my blog know that I've on many occasions used alum solution for my painting.  I've affectionately called alum solution as my Ancient Chinese Secret Solution.  I believe my first attempt was marked by my "Splash" painting.  I've also tried to experiment with egg whites and epsom salts but was disappointed by the results. 

The role of alum for me has been relegated to a supporting cast status.  I intend to give it a major role in the sense that my painting would be dictated by the artful utilization of alum.  I plan to use alum as my "color".  Alum solution is used to size Xuan, the paper we paint on.  My friends who does Gongbi style brush painting use alum as a mordant when they paint on sized Xuan or silk.

I like alum solution because it works as a masking solution for me.  I know watercolorists use a solution that dries to form a rubber mask to conceal void spaces.  I am referring to the Resist solution.  One can paint over such areas and then peel off the rubber mask to reveal the protected area.  The fragility of the Xuan absolutely prohibits such practice.  The rubber mask would destroy and tear the paper when attempting to lift it off the surface.  The fact that alum imparts some impermeability to subsequent coloring could be attributed to the fact that it acts as a fixer.  It fixes the ink or pigment that is mixed with it.  Because the ink or color is fixed before the brushstroke dries, and as the rest of the solution in the brushstroke continues to slowly migrate through the fibers in the paper, a clear margin forms around the imprint of the brushstroke.  This clear margin is exploited to give the effect of  back-lit subjects.

I started by exploring the nuances of painting with alum solution.   I scribbled various lines on my Xuan, employing alum solution along with various tonal colors of ink.

Notice the clear demarcation around the individual brushstrokes.  

Then I tried something with a little more drama.  I used a very wet brush loaded with alum solution with ink on the tip of my brush.

All those brushstrokes were meant to be contiguous, and yet there were clear margins around each brushstroke.  

The above is the backside of my doodling.  The photo itself does not tell the whole story.  I believe the smartphone has built in level adjustment, thus making the image more vivid than it truly is.  Nonetheless, I think the effect of the demarcation is even more pronounced than the front.

What I wanted to paint was a snow scene.  I would attempt to paint my snow with alum solution.  Instead of reserving a blank space for snow, I used alum solution, combined with various shades of ink, to paint the appearance of snow.

First I started with the element of interest in my painting.  Following the rule of thirds, I folded a line that is one-third the height of my painting and that's where I spotted my elk.

A close-up of my animal.  The presence of alum solution in my brush rendered each brushstroke distinctly.

My next task was to see how I could effectively portray snow covered trees.  I decided to model the trees after the firs and lodge pole pines that are so prevalent here.  I began my trial and error by using simple dots.  Dots of different shades of alum solution.  Note that I painted on the back of my paper.  The fact that the images on the back side looked better than top side gave me that direction.

I tried using two brushes.  One with alum solution and the other with ink,  I wanted to see if I could effect a more realistic representation of snow covered trees.  I painted the darker poles on the top side of the paper,  hoping the interplay of front and back side would add to the ambiguity and therefore the nondescript feel of snow covered trees.

So far I was dotting my "snow" and painting in the tall poles of fir.  The vertical lines of these fir trees should give my painting a structure.

The above was the back of the snow brushstrokes but the top side for painting the tree poles.  Confused?  That was my premise.  Exploiting the translucent Xuan by employing  both surfaces as my canvas.

For the other half of the painting, I changed my method of painting.  I painted individual trees and tried to assemble the additional members in a cohesive manner.

Close-up if my snow effect.  Notice the translucent dabs formed by footprint of my alum solution.

The same image on the reverse side of the paper.  Again, it seemed to present the feel of snow better.

So this is what I ended up with

I can't remember which side is the front or back now.

So is this a painting about a snow covered woods or about an elk?  I'm re-living my moments of painting my Korean Maidens.

Beyond The Horizon

Having laid down a few of the flight postures of the Canada Geese, it is time to mate them to different backgrounds.

The first concept I wanted to explore was the natural habitat of these migrants; the wetlands. 

I did not want to paint blades of reed grass, nor did I want to do reflections on water.  Especially the water, I thought it was passe and run of the mill.  Besides, it did not fit well with the soaring birds.

I decided on doing a bunch of nondescript vertical strokes as the vegetations in the wetlands.   I tried to avoid packing the strokes too tightly together.  I made sure that I had voids amongst my strokes for "breathing".   Alum solution was used to paint the initial few strokes.  This worked as a resist and altered the absorbency of the Xuan.  Subsequent overlays of colored strokes would reveal voids occupied by the initial alum brush strokes.

I also used a rather stiff horse hair brush to facilitate the texture.  I kept the color light and not saturated to contrast with the dark birds.  I wanted to really separate the geese from the background to give the illusion that they really are airborne.

What ended up was a  painting with a horizon dividing the Xuan into 2 equal parts.   I suppose my replay of the wetland horizon was so overwhelming that I committed the cardinal sin of  halving my Xuan.

My color scheme for the ground reference was on the light side, so the halving was not real obvious.  Unfortunately once I noticed it I could not take my eyes off of that.  Reminded me of the time a lady sat across from me on the subway with a big boil on her exposed neckline.  I knew I shouldn't be staring.  Yet the harder I tried to not look at it, the more I ended up looking at it.

So how could I remedy this?

It was suggested maybe I could paint a tree to breakup the horizon.  I didn't like it because it took away the sense of free flight.  Somehow the geese seemed to be tethered to the tree.

Another suggestion would be to perhaps add other points of focus/interest to breakup the symmetry.  In this case, bright colored dots sprinkled strategically on the ground reference could divert ones attention to the dividing line in the middle.  This is the same theory behind the application of "moss" dots commonly employed in the floral or landscape genres.

I tried to accentuate certain parts of the grassy foreground to add layers to the composition, and to allow the sloped contour of these layers to dilute the effects of the bisecting horizon.

(The correction is still wet, thus effects are exaggerated)

(Same painting after correction, when dried)

Of course the simplest way to deal with this problem is to crop the painting such that the horizon no longer occupies  the mid-line.