A Collection of Chinese Sketches By Ancient Well-Known Artists (1997), was compiled by a family friend, Yu Tong Ho. He distributed photocopies to a handful of people when he was planning to teach a course in Chinese painting. The course never came to fruition, and sadly, he is no longer with us, but I kept the copy given to me, and I’d like to use it to develop a sense for how to compose in a similar style with particular attention on how to use the negative space.
I chose a sketch I could immediately appreciate.
Specifically, I could see four things: the individual gestures of each of the thicker leaves, the gestures of the thinner leaves, the direction or composition of the thicker leaves as it moves across the page and how the thinner leaves kind of support the composition of the thicker leaves. The thinner leaves offer another layer which gives a sense of depth, as well as lead you out into the distance, which contrasts with how the thicker leaves make your gaze want to focus on them and to stay in that general area.
Knowing how to appreciate the original helped me focus on what was and was not necessary in my own version.
I should note that I was informed by one other experience painting in this style. It was a course with a professional painter who was invited to teach a handful of people from the Chinese community, and it was while I was in high school. She taught us how to paint bamboo and leaves, and I vaguely remember her telling us that going from one end of a section of bamboo to another is one motion. The thickness varies only by how much pressure you apply, letting the hairs flay out more, then less and then more again.
I painted a handful of bamboo so my hands could remember and so I could become more familiar with how much paint/ink is suitable for the surface I was using, given the brush I was using. I don’t have a name for the ink (my apologies), as it was also given to me, but the brush I bought from amazon, and the paper is just newspaper print.
Below is my first attempt…
… and my second.