Tree Grooming

I dug up an old, unfinished painting of 3 trees.  My last painting exercise made me do it.

The crown of the main tree is filled in to make it look fuller.  The main trunks are painted over with a really rich ink that I found.  Giving the tree added dimension and a cogent presence.   This added "blackness" contrasts very nicely with the lighter strokes, and plays up the thin white margins left by the alum solution.


The cluster on the right side of the painting was actually painted on the back of the paper.  Ink was allowed to bleed through, forming a somewhat blurry and washed out image.

I used my brush wash to selectively douse some branch clusters, forming shadows and adding to the three dimensional presentation.

Just realized that I started out the year with this tree.  I suppose it is fitting to end the year with it too.

 

 

Ho Hum

First it was 50 miles per hour wind coupled with freezing temperature.

Now it is 50 miles per hour wind with mild temperature but tons of rain.  A blistery day.

Swells are at 20 feet.  The images of waves slapping the jetties are awesome.  Too bad I am too chicken to brave the weather.  Staying home to paint instead.  I need to nurture my sanguine disposition.

The wind and rain had pretty much stripped the trees of their leaves.  The silhouette left by the branches is like looking at the sky through a well used loofah.

I'll be faithful to the cut out look.  Ink shall be my color.  I mixed alum solution with my ink, hoping to achieve the crystalline margin amongst the different brush strokes.

I laid out the main trunks and grew my tree from there.

The trees are more filled out now.

Using broad side tip strokes to depict what little is left on the branches. I slanted my brush strokes at an angle to create some movement.  I am sure the pithy rain gave me that idea.

I filled in the gaps using a combination of dots and short dabs to make the scene a little busier than it really is.

Finally I used a very light sepia color to selectively darken the left side and upper corner of the painting, contrasting that with the white space and the more sparse arrangement on the right, befitting my idea of harmony.

I did not get the anticipated white margins from using the alum solution.  I believe this is because I am using a semi-sized paper instead of the raw un-sized Xuan that had been my staple.

Putting scraps to good use

I have a nasty habit of not cleaning up my ink dish, and color dish for that matter.  Of course, remnants of Xuan belong to that category of clean up later.

Today I am going to re-purpose my scattered goodies.

Found a little frame that I picked up from a second hand store years ago and decided to do some doodling using my dried up ink and color on a piece of Xuan that rested against my stool.

I wish I had a smaller seal for small works like this one.

Finishing Touches

Now that we are happy with a piece of work and consider it done, we need to make it presentable.

I have prepared most of my works using the Xuan-Boo method that I devised, but allow me to show the more common wet mount method.

The finished painting is placed face down on a smooth surface like glass of acrylic, and starch is brushed on the back with a stiff brush.  The stiff brush helps to push out all the trapped air bubbles and brush out the creases in the Xuan.

On top of this is laid a piece of blank Xuan, which is a little larger around th  edges than the painting we are preparing.  Starch is applied along the edges of this piece of blank Xuan, and the entire piece is lifted to be hung on a new flat surface, like a wall or a door.

The process allows the wet starch to relax the fibres in the Xuan where we painted our work, and the new blank Xuan forms the backing, adding stiffness and provides a white reference background for our work (Xuan is translucent, thus the white background is critical in establishing the white balance, as in photography)  When the blank Xuan get hung ( with the painting attached on the other side), its edges are glued to the wall or door.  As the blank Xuan dries, it tauts the fiber in the paper, tightening up the entire surface of the painting. 

Now my work is free of wrinkles, and stiffened with backing, and looks richer because of the added white balance.  The painting is now "mounted" and is ready for framing.

For this piece of work  I chose a float frame i.e. the back plate is transparent also. I did this to take advantage of the translucent nature of Xuan.  When I place this framed painting against a window or light source, the painting takes on a different ambiance.  It reminds me of the double faced silk embroidery or a lit lantern.

 

 

The poetry on my painting came from a poet in the Ming Dynasty.  The loose translation is as follows:

 

One can't have song and dance with wine

 

Whatever poetry one writes is for nobody

 

Yes your desk is full of documents

 

Yet half of them are rubbish

(Song and dance with wine is the proper protocol in social settings.  If one is in the company of wine and can't amount to song and dance, one is doomed and castigated.  One can't be happy even when the occasion dictates it.   You think you know it all, but the truth says otherwise.  The author is lamenting that his Master has entrusted the wrong people)

Acting out

There came a time when I was just killing time, sitting at my desk.

I wished I had a drum set.  I did have one for a while, as a custodian of a drum set for a beginners orchestra.  Those were happy days.  I am sure my neighbors didn't think so !

So I ended up doodling.  I had taken some picture of this martial artist in a park and I've observed him for a long time.  His energy intrigued me.  Somehow I opened my album at his page.

I grabbed my brush and scratched on my ruled notebook.

 

 

then I got a little bolder and tried something beyond stick figures

 

 

I felt kind of sheepish and giggly, almost like a school kid;  doing something I wasn't supposed to be doing, and all the time being afraid to get caught.

 

I think this freshness motivated me.  This is a game now.

 

 

out comes the sketch pad and charcoal pencil.  I am filling in with more details now.

 

 

 

I really wasn't too concerned about whether the image has the correct proportions or not.   In my mind I could only feel his movements, his energy.  I was trying to picture that.

 

Then I tried my ink and brush on the sketch pad

 

 

 

 

Finally I had the urge to try that on Xuan with ink.

 

 

That was a fun way to spend an afternoon!

Courtyard from another angle

Rather than re-doing the last painting all over again, I decided to keep my interest fresh by painting the same courtyard, but viewed from a different angle.  Instead of framing the enclosure with posts and beams, I will do it with shrubbery this time.

 

 

I began my plot with the usual light ink sketching of the intended characters, and made some of them really obvious so that I would remember what I had intended to paint, in spite of my senility.

 

 

 

Again I picked out some points of interest and elaborated on them first.  I don't know if these were the most interesting or the easiest to paint, but I painted them a darker tone, to establish my black values I suppose.

 

 

I used different techniques to show layers and perspective.  The front and back branches of this little tree in the courtyard is differentiated by the obvious contrast in ink tone and gesture.  The front branch "a" is not only darker, but is a dryer brushstroke; thus harsher and conveys more texture.  The back branch "b" is lighter and unremarkable.  This tree is set up against a tree "c" from outside the courtyard.  That tree is represented by scattered fat dots and negative space branches.

 

The little tree is set in front of the breezeway.  That gesture is emphasized by the break in painting the lattice work ( circled in red).  That little void or gap helps to establish the spatial relationship of the two objects.  Paying attention to the perspective of the different focal points in a painting should be an organic process; pleasing to look at, and comes naturally.   One feels the presence of the breeze without having to wonder why or where it comes from.

 

 

 

 

Layers of light ink wash was applied judiciously to highlight the different structures.  Typical Chinese brush works do not cater to manipulating light values.  My personal belief is "why not".

It helps to bring into focus and add interest to the work.

 

There are a couple of "oops" that are apparent.  The first one being the "gou" lines were worked over too much, to the point that they obscured brushstrokes.  The lines on the stone in the courtyard illustrated my point.  The lines were smut and too dark.  It was like smudging lip stick way past the contours of the lips, hoping to change their shapes.

 

The other oops was the tree branches at the upper right hand corner seemed to be too detached.  There was no relationship between the branches and the rest of the painting.  I remedied that by painting in layers of leaves, some of which even covered the top of the breezeway.  I think this alteration made the painting more cohesive.

 

 

 

 

 

Appraising my courtyard

I've been looking at my last etude, my interpretation of a formal courtyard; casting those intense scrutinizing stares, amidst the occasional casual glances.   I found something.

I believe the vertical post on the right is too domineering.  It suffocates the painting. I should do the painting all over again, paying attention to what I deemed was wrong.  But I just can't motivate myself to do that.  I lack that discipline.  Rather than investing my energy in re-painting this piece of work, I thought I would cheat and do a digital correction and see if my assessment is correct.

before

 

so I photoshopped the lower portion of the post away and I really think that did the trick.  It helped to open up the painting.  It can breathe now.  I'll pursue my correction when I am in the mood again.

 

after