Framing My Monkey

With the Monkey painting done, I need to devise a way to showcase it.

I've already decided on using my Suliao Xuan Ban technique, despite the fact that the paper was more like a felt than semi-translucent.  I didn't want the paper to be rectangular.  I wanted a more casual feel.  I wanted a narrow border of gold color for the painting, promoting the regal festivity of celebrating the year of the monkey, in spirit at least.  I would build a wide border frame for it using 4 inch boards.

At first I was going to give my painting a round shape.  But then I  balked at the idea of a round shaped painting in a heavy square frame.  My compromise was to round off the corners of the square painting. 

I didn't want to use scissors to trim my painting in this instance.  I wanted a more organic feel of torn edges.

I wet the line where I wanted the paper to be trimmed with my brush and allow the water to soak in, such that the paper can be torn along that wet trail.

The result was amazing!  It had the feel of hand made paper!

I couldn't find any gold color sheets from the local craft stores, so I made my own.

I picked up some two and one-half inch wide gold glitter ribbon from X'mas fire sale and cut them into lengths.  My idea was to line them up side by side to form a sheet of golden glitter paper.

I used masking tape as an adhesive backing to secure my gold ribbon

here is the finished sheet of gold glitter paper made with ribbons

Then the trimmed painting was laid on top of the glitter paper to tailor for size

My original design was to trim the glitter backing a tad wider than the painting, thus forming a gold border.  I wanted to do that so when I employed the Suliao Xuan Ban mounting method, I would have a clear border around the sandwich, to make the painting appear like a float.

I finally decided against it.  Partly because I was lazy and didn't want to do the extra work, but also this set-up seemed too removed from tradition.  The set-up now involved placing the painting on top of the plastic and the glitter backing behind the plastic.  The thickness of the plastic gave the painting a hint of a float.  I was fighting my own ghosts from yesteryear again.

Instead I scraped off some glitter from the ribbon and sprinkled that on the painting.  That transformation was amazing.  Now the work looked orthodox and hip at the same time!  It just felt right.

I built my frame using poplar.  At first I was going to paint it Chinese Red but it might be too ostentatious for this painting.  I kept it naked and used clear satin urethane as a sealant.

I liked it a lot.

Monkey Business

Okay I've decided to pursue my monkeys in the drawing style, characterised by more lines than brush strokes. 

I did that for a couple of reasons, my inept brushstrokes not withstanding.  I felt more secure in doodling my monkey.  Secure in the sense that I could convey my monkeys more intimately and the process is more fluid.

I also came upon a new kind of paper recently.  This paper had a light brownish color and has visible fibers on the surface.  The paper felt like thin felt (no pun intended) and was intended for calligraphy.
It had excellent absorbency, and revealed richly the  black ink.  I especially liked the visible fibers.  They should blend in amicably with the hundreds of hair that I intended to paint on my monkeys.

Before I put both feet in, I thought I better paint a few samples.  Just to reassure myself, I fretted.

After my practice runs and no disasters were noted, I proceeded to do my monkey business for real.

I basically painted the shape of the head and body with the belly of the brush, with light ink. I did not intend to define them with outline per se, but with hair and shading, hence my notion of a fluid process.

I paid special attention to the direction at which the hair grew.  I thus laid down the main tracks of hair to guide me, such that I wouldn't get lost when I did the repetitious task of painting individual hairs.  It's easy to see the tree but miss the forest!

 

Once I had a few patches of hair the job got easier

As the brush went through different stages of wet and dry, I was able to not only paint the fur, but to perform the Ts'a  and Ren (rubbing and wash)  in a continuous loop, maximizing my brush strokes.

Eventually I had both of them done.

 

 

A little color was then added

My original composition was to paint a huge peach in front of the monkey on the right.  Not just any peach, but the Longevity Peach that is commonly found in Chinese paintings.  The peach, or Longevity Peach is a symbol of good omen and auspiciousness    Chinese often celebrate birthdays not with a birthday cake, but with buns made in the shape of a peach.  But then I said, that's too cliche!

Here is a picture of  the Longevity God clutching a peach in his left hand:

To fill the void space I summoned the help of my seals.  I decided to use the yin seals, where the background is red and the writing is clear.  I wanted the red stamps to add to the composition and to satisfy the need for showing the color red in auspicious matters.  I wanted to keep the painting low key but not subdued.   Thus I needed to place them strategically. 

I stamped my seals on small pieces of paper and moved them around to different locations of the painting to see what would work.

 

 

Framing Suliao Xuan Ban

I  mounted a few of my Ji Mo technique paintings using the Sulia Xuan Ban method that I devised ( see my blog dated September 20, 2015) so it's time to build frames for them.

The reason for employing the Sulia Xuan Ban method is to showcase the translucent Xuan by adopting a float like appearance.  I also want to take advantage of the clear plastic board such that I can display my Ji Mo paintings against a light.  I've done these paintings with that in mind.  I was very cognizant of the light sources in those paintings. 

I was looking for that stained-glass effect with my ink paintings.

I tried to keep things really simple.  I cut a groove with my dado blades in my 1x2 stock to accept the painting/plastic board/backing sandwich.  I tried to dry fit everything for a test run, to make sure my cuts were correct.

 

 

Satisfied that the pieces would fit, I glued them together.  I left one side of the frame open and secured with screws.  This is the door through which  the painting stack would be installed and changed out in the frame.

 

I decided to stain my frames with ink this time around.  This idea came about because my paintings were about Ji Mo ( accumulating ink technique), so why not use ink to the fullest.  Satin urethane was applied  to protect the ink stained frames.

 

There was something very satisfying by staining with ink.  The unpainted poplar stock took in ink like Xuan takes on ink.  I could pretend that I was doing calligraphy and marvelled at the brushstrokes.

 

 

 



 

 

I had some plywood remnants left so I cut them up to fashion some sort of a bracket/stand to prop up my paintings.  Dado blades were used to cut channels to accept the frame.  Ink was again used to stain these stands.

 

 

 

I was pretty elated when I put the finished product in front of a window.  The light that seeped through the plastic board and Xuan really helped to illuminate the light effect I was yearning to impart.

 

 



The clear border around the painting added to the flair when coupled with this back lit environment.
This is a float in the literal sense.

Time To Monkey Around

The year of the monkey is just around the corner.  It's time to do a little monkey business.

I dabbled in painting a rabbit when it was the year of the Rabbit.  When it was the year of the snake, I tried to paint snakes just for the heck of it, practicing my center tip technique (see Snakes, Just for Fun , Feb 23, 2013 blog).   I think the idea of me painting the animal of the year sort of took hold with the year of the horse.  It is a challenge now to try to keep this going.

I started out by researching photos on the net and tried to compose poses based on them and sketched them out to see the possibilities.

I tried to paint with more details to see what works

And tried to try some gazes

 

The facial expression was a difficult task.  I didn't want the painting to appear cartoonish, nor did I want it to be stoic and cold.  I forgot how many muscles are there to control our facial expressions, suffice to say regardless of the number I was not able to replicate any of them with my brush.  The things that I could try though were the relative positions of the eyes, the brow and the attitude of the head. 

 

 That's it.  Body language!

 

 

 

 

 At some point I thought the images were more like drawings than brush strokes, so I also tried my luck with more emphasis on brush strokes

 

 

 I was really having a difficult time.  I kept vacillating between the 2 different styles.  A major part of the indecision was due to my very limited experience of the subject matter and either way I would be treading in new waters.

 

I need to extricate myself from this for a little while and see if I could find a fresh approach.

 





All By Herself, wrapping it up

My attention then turned to the pier.

I added a stop to the far end of the pier and defined the edge too.    I did that by painting in shapes and lines suggesting of masts from freight barges and just junk. I also added in the main shadows from the setting sun, to create a more complete reference point for the next steps





I did not like the stern appearance of all the dark, narrow vertical lines of the support poles.  My remedy was to soften up those lines by fusing them with a blob of ink.

I wet down  a couple of strategic locations along the poles and applied concentrated ink to them and allowed the ink to bleed out.  This is sort of like the moss dots that are commonly deployed to jazz up or obscure flaws in a brush painting.

I continued to work on the different areas, all the while having the light source in my focus because I really wanted to showcase the setting sun with a good dose of elongated shadows.

I worked slowly and laboriously to make my tableware assume a more dramatic look, taking care to not over-paint it.  I darkened the flat areas on the table ever so slightly, using my brush wash, thus the unpainted areas looked brighter.  This helped to put a sparkle on the water glass. The water glass closest to the bottom would be a prime example of this effect.   Being hasty has always been my Achilles Heel so I was mindful.  I also took pains to not cover up the water marks, especially on my back lit person of interest.  I really wanted her to have that halo.

Finally joint lines were added to the cement surface on the pier.  That and  the various angled lines

in the painting helped to establish a perspective, a vanishing point for this painting.

I know everything that I have done so far is a far cry from the traditional Chinese Brush painting.  I just felt frisky and rebellious;  I was not going to be bound.

My final touch-up, for now anyways, was to add some texture to the cement surface.  This was done with the help of well worn brushes.  These brushes would no longer hold  a point because the hair had become broken and jagged, so they are ideal for loose splatter brush strokes.  The footprints they leave are fine random dots.

It was interesting how shapes and lighting prompted me to do the painting, but I tried to add the story of a lone lady to complement the scheme of things.  The conflict, or drama in this plot was the absence of a crowd at a place of multitude.  I used the setting sun and fading light to amplify the feeling of desolation.

For now, that is a wrap.

All By Herself, Cont'd

Now that I had a person of interest and a dark reference, I could begin to apply some elbow grease on this painting in earnest.

Before I rolled up my sleeves, again I sought comments from my friends.

"no emotional content"

"painting had no drama"

"where is everybody, you have all these tables and there should be more people congregating"

At this point I had to clarify my story.

Granted the painting was motivated by lines and circles; geometric forms.  This painting however was also inspired by the light, the back lit light to be precise.    Since the painting was far from being completed at this point, I asked for their indulgence for later versions.

As for lack of  a crowd despite all the tables I think I misled my friends somehow.  The people behind the tables were the workers setting up and not patrons.  The assumption that I was trying to portray a huge party because of all the tables were not correct.  In fact I deliberately painted the lady as the lone person on that pier. 

I wanted to contrast the solitary lady with the multitude of  tables.  I was trying to create an air of abandonment.  Not a celebratory event.   A single lady walking past all these empty tables and the pathos is amplified by the low setting sun, hinting moments are fleeing and time waits for no one.

I suppose I could paint in the crowd, having each person wearing a different posture to animate a happening open air restaurant, but that would be too much work.  But seriously, I subscribe to the notion that tragedy beats comedy any day, anytime.  Tearjerkers tear our hearts out and linger a lot longer than any joyous occasion. 

Perhaps this is just how my psyche works.  This is how my drama works.

I worked on the details of the utensils  on the tables.  Here we had inverted water glasses, bowls, chopsticks et cetera.  I was trying to find a way to demonstrate the transparency of the water glass, along with the refraction of light from the water glass wall and bottom.   I agree this part was more like drawing than Chinese brush, so it was especially challenging to try to do that with a brush.  Thank goodness for the semi-sized Xuan or I would not have the control that I needed. 

What I settled on was the lessons I learned from painting water and mist.  Allow the occupied areas to show the void spaces.  I made it a personal goal to be able to show whether a water glass was placed in front of a bowl, or behind it.   I know I was being frivolous perhaps by paying too much detail to the minute details but I just wanted to challenge myself.

I also wanted to paint the appearance of the plastic table tarps as being translucent.

I did all that at the risk, and the expense of making the painting too much like photography and not enough as a painting.  But I loved every minute of it. This exercise really spoke to the obsessive side of my personality.  I could also argue that this is what reading a painting meant.   There are stories to be told by each brushstroke, and no details are too minute.
.

All By Herself

A woman was  taking a stroll down a pier. 

This pier was at a bustling fishing village, with roadside bistros on one side and fishing boats and freight barges on the other.

Perhaps it was only late afternoon thus the night life hadn't struck up yet.  The outdoor restaurants were still getting ready for the night time onslaught of patrons, so the round tables with frayed plastic tarps and empty stools stood empty. 

For now.

That was the setting for my painting.

The fishing village had the quaintness of times gone-by, along with the contrasting hustle of being a tourist stop.  The open restaurants were nothing more than rows of round tables under a canvas top supported by bamboo pole rafters.  Cooking was by portable  propane tanks and obviously seafood was the only category on menu.  All the menu items were maintained in water pails; fish and shellfish galore.

Again I summoned the help of the translucent semi-sized Xuan, wanting to do the Ji Mo technique again.  The foci of my interest will be the interplay of the vertical pole lines with the round shape of table tops, plus the back lit effect of the late afternoon sun.

After situating the various elements of this panting, I started to establish a dark area, distal of the painting, mainly to help guide me as to how the work should progress.

Oops, I let my box of macadamia nut chocolate got into the frame.  That was my fuel!

Since the lady is the person of interest here, I decided to accord her the proper decorum, by working on her first.

What started out as a woman with a face soon evolved to a mere shadow with few details. Employing the Jimo technique style, I tried to create the impression that light was behind her;  rendering her features obscured.  I retained a hint of a bust on her;  just to entertain myself I suppose.

The watermarks left by each subsequent brushstroke added interest and structure to an otherwise bland patch of black ink.  This is this characteristic that I exploited to create my "silver lining" on the back lit silhouette in the finished painting.

I needed also to account for the time and place of my lady.  She was walking with her back against the setting sun and therefore needed to cast a long shadow to fit that scenario.  I cut out a paper silhouette of the lady and placed it onto my paper and shone a light behind her.  By moving the light around I could cast whatever shadow I needed.  Once I found the shadow I liked, I painted that in.  That was pretty ingenious, wasn't it?