The colors used plus the deep dark of the ink could have very easily gone overboard.
Eagerness and enthusiasm.
In the excitement of getting to paint, one often just “keeps on putting the paint and marks on.”
This image has kept a fine balance of light…. white of the paper being left and the tones of the paints and the black ink.
You could…. refer to Tony Smibert’s art works and/or Toko Shinoda. Google or Pinterest has plenty of images and examples that you can see how brilliantly they use the space in their canvases and papers.
not that I ever ‘do what I’m told, or supposed to do.’
But, I am in the process of “inking up.”
That’s the start of the process.
Materials for Inking Up
I can’t help but love all my gorgeous papers, inks and brushes and stones. They’re just so lovely!
The Feel of them, is fabulous.
Slate grey, the ink stone is cool and smooth to the touch.
My Masa papers are slightly velvety, not rough, but with a gentle raspy surface. Which is perfect for the ink. It will absorb, but not act like blotting paper. Nor will it run off, unabsorbed. I’ve been happy with this paper and its sensitive, versatility.
An old weathered stick gathered from the Pacific NW shores, is worn smooth with the point bluntly tapered. Its not as sharply pointed as my new, fresh skewer.
The first provides a wider, broader line and mark. Perhaps for larger items or things less important.
But the thin, super sharp tipped skewer… it is meant for details. To pull the eye to something important. A focal point.
The chinese brushes, my hakes, and the flat Davinci brush with its silky bristles … lie in wait.
I don’t know yet, what they will be needed for. I’m sure they will let me know, when the time comes.
Time. Experience. Practice. Mistakes.
With these, you develop that kind of sensitivity to your materials. And to your subjects.
The stunningly carved head and face of the dragon – lion, really inspires me all on its own.
Contemplation, inked up
Every aspect, is considered.
I do immerse myself in the process, in the way of the brush.
In the way of the inks. In the way of the materials.
In the Feeling of the subject and materials.
It is, a very non Western way.
It is so much more in tune with the Eastern way of art.
“There are many types of ink sticks that are produced. The artist or calligrapher may use a specific ink for a special purpose or to create special effects.
Oil soot ink: made using the soot of burnt tung or various other oils. There is more glue in this type of ink than the other kinds so does not spread as much. Gives a warm black colour. It is good as a general purpose painting and calligraphy ink.
Pine soot ink: made from the soot of pines. Has less glue so spreads more than oil soot inks. Gives a blueish-black colour. It is good for calligraphy and meticulous style painting.
Lacquer soot ink: made from the soot of dried raw lacquer. Has a shiny appearance and is most suitable for painting.
Charcoal ink: made using standard wood charcoal. It has the least amount of glue and so spreads on paper more than other inks. Mainly used for freestyle painting and calligraphy.
Blueish ink (青墨): oil or pine soot that has been mixed with other ingredients to produce a subtle blueish-black ink. Mainly used for calligraphy.
Coloured ink: oil soot ink that has been blended with pigments to create a solid ink of colour. Most popular is cinnabar ink which was reportedly used by emperors.
Medical ink: ink produced by mixing standard ink with herbal medicines which can be ground and taken internally.
Collectors ink: ink that is highly decorative and in odd shapes that are meant for collecting rather than actual use.
Custom ink: ink that has been commissioned by an artist who may want a specific type of ink to suit their needs.”
Chinese …’reading,’ a painting
I’ve mentioned previously, I have a leaning towards the Japanese/Chinese art styles. I’m ‘influenced’ by the Asian wabi sabi and minimalist flavor. Having a wander through The Met Department of Asian Art recently (online) I discovered Maxwell Hearn.
What I found at The Met written by Maxwell Hearn, resonates with me.
Hearn explains the Chinese way of appreciating a painting can be expressed by the words du hua, “to read a painting.”
The aim of the traditional Chinese painter: to Capture not only the exterior of the subject, but its inner essence as well – its energy, life force, spirit.
To achieve this goal, the painter often chooses to forego using color. As it is felt that color, can be a distraction from the goal.
Let The Ink …Fall
Let the broken twig, dipped in ink – flow
Flood and cascade down the page, like a Waterfall.
with bent and broken stick
permitting the twig to discover the boughs
within their hiding spaces
Black ink and Blue paint
I had no time. I was busy. busy. Had some meetings to attend.
I made some time.
No more than 5 minutes though.
60 seconds to grab an apple, vase and yucky fake flowers.
Whacked out the ink… india ink this time. Dipped a nylon flat brush in and got the basic structure down.
If you look. You can count, my ink strokes. There aren’t too many.