- Published on
I started this sumi-e painting of Lotus and Kingfisher on thin, raw xuan paper from HMay Art (HM 004). It’s a good paper, but like all papers, it takes getting used to (note: this paper comes in white and an off-white antique look. I used the white.).
Step 1: Black Ink Mixed with Water
For the leaves, I chose a large brush from HMay Art that holds a lot of ink and water. The paper was runnier than I expected and the black lotus leaves on the right lost their crisp edges as the ink spread. To prevent the flower petals from running, I used pure black, which was a bit harsh to my eye. Grey would have been better. I was tempted to throw the painting away and start again, but I decided to push it a bit further.
Step 2: Coloring the Flowers
For the flowers I used a combination of yellow, orange and red (Marie's Watercolors). Coloring the flowers shifted the attention from the leaves to the flowers, but those blurry leaf edges still annoyed me. You can watch me paint lotus flowers here.
Step 3: Adding Background Elements
To give depth to the composition, I added green grasses and splashes of color in the background. I painted them lightly so they wouldn't compete with the foreground leaves. Unfortunately, my delicate strokes were totally overpowered by the black leaves and merely looked wimpy.
Step 4: When in doubt, add Outline!
Adding veins and strong black to the edges of the lotus leaves gave them more focus – which of course made the grasses look even wimpier. A little grey outlining on the grasses, however, gave them more weight, while still keeping them in the background.
Step 5: Taking a Risk
At this point, I decided to throw all caution to the winds and add a bird, always scary when you hope it will be the crowning glory of the painting but could turn out awful and ruin the whole thing. The kingfisher's belly color combines with the flower tones and leads the eye upwards, giving more mass to this flower and emphasizing its importance compared to the second, smaller flower.
Step 6: Success! Risk Pays off!
Success! Adding the kingfisher firmly stole the focus of attention from the leaves, but the bird’s turning head draws the eye back to the leaves, keeping the viewer – I hope! – happily roaming round in the scene and discovering more details.
The painting measures 14"x27" (35 cm x 68 cm).
The moral of the story: Never give up! The worst that can happen is you end up throwing away a small piece of paper! In the meantime, you are training your eye and your critical faculties to see possibilities, and you are splashing in the ink, which is always fun! Good luck and happy painting on your lotus!
I welcome comments and questions, so don't be shy!
The painting measures 14"x27" (35 cm x 68 cm).
The moral of the story: Never give up! The worst that can happen is you end up throwing away a small piece of paper! In the meantime, you are training your eye and your critical faculties to see possibilities, and you are splashing in the ink, which is always fun! Good luck and happy painting on your lotus!
I welcome comments and questions, so don't be shy!
- Published on
Landscape by Tereza Mitry
After reading my blog post about the creation of my painting “Wolf Howls at Sundown”, Tereza Mitry was inspired to try her own version, using my composition as her model.
Wolf Howls at Sundown by Virginia Lloyd-Davies
Terry is new to Chinese brush painting and no teachers are available in Egypt where she lives, so she is intuiting her way into a new art technique with the help of the Facebook community and Youtube videos. I am very impressed at how good her eye is and how skilled she is already at handling the rice paper. This is her first big landscape and she is leaping hurdles that would make many students blanch. Her strokes are confident and her waterfall is excellent. Here are the tips I gave her when she asked me for my feedback: