Mountain Lobes

I've been asked quite frequently as to how to paint mountain lobes.

As I explained in the "Ridge Top Explained" blog,  we treat them like slices of the whole mountain range.  Since mountains come in different shapes, we can paint them into any forms our imagination leads us.

The problem I see is not with the shape, or contour of our paintings, but rather with the interpretation of  the light values.

 contour lines depicted.

My advice is to look at our fingers for illustration.   Each finger represents a lobe or a slice of the mountain.  The outline of each finger is defined by the contour line.  We can see in this picture, the darkest part of the "lobe" is immediately on top of the contour line from the finger below.  The brightest part is right under the lobe's own contour line.  These light values help to define perspective and contribute to the three dimensional feel of the object.  There is no line separating the sliver of bright area from the dark area.

We do want to paint in the contour line ( in most cases ) to define the lobe ( or finger in this case ) but we do not want any lines in between the dark and bright.  The light value line is a concept, not an actual line.  This is the reason that "chuen" marks are preferred in the shaded areas of the lobe, and that the bottom edges of the "chuen" strokes should meet the contour line from below, thus avoid leaving misplaced "bright" areas.

A misplaced line can wreak havoc with our perception of the landscape.  We must not confuse the contour line with the imaginary light value line.

 ribbon "chuen"

 

 hemp "chuen"

 

 

Even complicated landscape masses like the 2 inserts above can be dealt with step by step, as long as one recognizes where the contour lines are, and do not paint a line to denote light values.  Strategically placed shading brings out the 3 dimensional feel.  Pay attention to these nuggets of information next time we look at rock formations.  Garnish the details, but address the entire mass to evoke that "feel".

When in doubt, look at our own fingers.

Snakes, just for Fun

This is what happens when I get restless.  I should be doing other things more useful but I find many excuses!  This is one of them...............  Happy Year of the Snake.

                                    

 

 

 

ah, the forbidden fruit?

 

                  Party !       

 

Beaverton Creek Cont'd

I've been looking at my attempt at Beaverton Creek for a week now.  Some of the lustre and vibrancy has gone, now that the Xuan has dried completely and the painting bestows a different ambiance.  My dilemma however remains the same;  should I continue to paint on the back side or the front side of the Xuan?

 

I love the hazy, filtered look of the back side, oh and the vivid specks caused by alum droplets.  What if I continue to work the back side to better define the overall contours and tree lines?  When viewed from the front, would they not present me with the hazy, misty look I was after, but with more detail?

defining tree lines etc

 

I wetted down the Xuan again and allowed it to be 70% dried.  I wanted to paint definite shapes without being too discrete and weighted, taking care to insert a few tree spikes.  I worked to intensify the banks/reflections and what have you.  The repeated brush strokes had taken a toll on the delicate Xuan and lints were everywhere.

 lint on surface of paper

As expected, the painting took on a different feel when viewed from the front now.  The additional wash/staining on the back of the paper caused the alum specks to be quite visible from the front now.  Somehow I was able to confuse the specks to think the front is the back and vice versa ( or was I being confused?).  Chalk this up as an unexpected bonus!

 visible specks in lower left corner

Now that I had attained the feel of the painting, I worked to define the landscape and the incidentals.  I didn't want to destroy the feeling of reve, so I decided to use the split hair technique to define my shapes with dots, which is what pixels do.  This is done with an old brush whose prime has gone and is ready for the waste basket.  The surviving beat up bristles are ideal for rendering these random fine dots.  Discriminate use of dabbing defined shapes, shades and texture.  I wanted to display certain ambiguities with this method; were those shadows or foggy mists?  The layering of these pixels of various saturation actually helped create an illusion of depth; allowing a description of spatial relationship and texture of the various features.

 old abused brush finds new life

 

  split hair (scattered dot) results

 

My attention now turned to the banks and reflections.  I preferred a more defined outline, since I am working with the supposed surface of a body of water.  I described that with a darker colored wash, onto the dry Xuan this time.  I wanted these brush strokes to leave a distinct mark.

Using a mixture of titanium white and Label No. 3 green I painted in some branches on the right hand side.  These would serve as my foreground incidentals.  Some of these features were done with alum initially, just as the specks of sparkle in the water.  My vision was to reveal these branches as negative space to contrast with the hazy landscape.  I chose to outline (Gou) a few selected branches and trees to make them stand out a little more.  The dark thin outline created a border around the brushstroke, achieving an effect similar to digitally sharpening an image.  When done right, the effect is subtle but palpable.  For me, it is a little Gonbi in Xieyi..............

 selective "gou"

 

 selective "sharpening" as a result of "gou"