Wisteria Painting in Sumi-e

Down the street from us is a yard filled with wisteria that wanders along the fences.

Painting wisteria is delightful. The sweet smell of wisteria, the graceful fall of the leaves, the thick cascades of lavender flowers, the curl of the tendrils, the twists of the trunk.

Begin with the Flowers

The process of painting wisteria, in ink or in color, is the same. The wisteria is painted in medium tones in general, with dollops of lighter and darker flowers for contrast. I start at the top of the cluster, and use short side-brush strokes that are done quickly. First, press down with the brush, then quickly curve it and pull up. Do this twice, aiming at the center. The outer edge of the flower is thicker than the center. Continue doing this down to the end, decreasing the flowers in size. Place only a few flowers at the bottom – just a touch to suggest the petals. Let the flowers dry so that they are semi-damp.

Painting the Leaves

While the petals are drying, decide where you want to place the leaves. Wisteria leaves are long and slim, and are best painted with a graceful swooping motion. Begin with the narrow tip of the brush barely touching the paper, and then as you continue with the leaf, push down as you keep the brush perpendicular to the paper, and then raise the brush up. It is important to note that the leaves of the wisteria are paired opposite each other, evenly along the stem, and are not staggered. The last leaf is single, continuing off the stem.

Dotting the Flowers and Drawing the Leaf Veins

As the leaves dry, it is time to begin to dot the center of the wisteria flowers.  This should be done in dark ink.  Just little dots will do.  The flowers themselves should be damp-to-dry.  If they are too wet, the black ink will bleed into the flower.   After you have finished the flowers, return to the leaves, gently creating the center vein with ink slightly darker than the leaf itself.

Tendrils & Trunk

The trunk of the wisteria can be ancient, twisting and woody.  This provides a dynamic contrast with the graceful quality of the flowers and leaves.  Paint the trunk with a dry brush using dark ink.  Lay the brush on its side, and use a hard brush for even more dynamic results.  Follow this up with swirls of dark ink to create the tendrils.

Wisteria Painting in Sumi-e – The Video

Above is a colored painting of wisteria I did some time ago.  This video captures much of the process I described above.  I hope you enjoy it!

Turning into a Video Maven

Seeing how awful my videos look, and knowing that the Kodak Zi8 can produce some very nice videos using its HD capabilities, as well as its macro capabilities, I thought I would start exploring how to make videos more interesting, more effective, and certainly better lit.

If you are not familiar with the Flip or other small video cameras, these critters are about the size of an iPhone – very small, can be held in the hand, and have the potential to do some very nice things without a lot of bulk and hassle. What attracted me to the Zi8 was its potential for HD, as well as the fact it has a jack for a line-in microphone. Yesterday, when I was shooting my first video, I used the sound to have streaming music as a background for the non-verbal video. Sound was fine – music was fairly clear. So was the clicking of my clock! You can hear it in tomorrow’s video if you listen to it.

Kodak Zi8

The Zi8 made its debut to techies in late July 2009, as a direct descendant of the Zi6. From a review by Gizmodo, they write the following:

Kodak’s . . . product tease was indeed a new pocket cam, potentially their best yet. Launching with an MSRP of $180, it will overpower the Flip Ultra HD with 1080p recording, an electronic image stabilizer, SDHC card slot and other enhancements.

The list of improvements continues: The Zi8 has an external mic jack, and it’ll shoot 5-megapixel stills, track faces of subjects and, according to Kodak, “see more details and accurate colors in low light.” Now that’s something we’re looking forward to, especially since low light seems to be the biggest bane of these Flip-class cameras.

There are also a number of videos (what else?) showing some of the capabilities of the Zi8. This is one of my favorites – the colors are so brilliant. It was shot with the macro lens.

For $10.00 on the Kodak web page, a remote control can be bought for the Zi8. I probably will buy one – it was really inconvenient to reach up to turn things off, even though I was out of the camera’s eye when I did it.

Also, switching from regular viewing to macro, there is a very audible click when you make that shift – it’s a mechanical movement from one lens to the other. But, the results can be good.

If you are interested in a more detailed video, here is one with information about the controls.

For a small price, a fun toy. Of course, now I am researching information about how to make decent learning videos. Lighting, framing, sound (need to buy a mike), structure, and of course post-editing. Something else to distract me . . .

The Four Treasures: Ink, ii

This really is my home-made video debut.  For my birthday, I got a Kodak Zi8.  I’ve never shot a video in my life.  It’s been in the back of my mind for some time to try to create videos on various subjects, in particular those related to sumi ink painting.  I’ve long admired a number of ink artists, and have learned a lot from watching their videos.  So, I decided to make a video today, just to see what I can do.  Already, I know that what I have done is incredibly amateur, but for a first try, I decided to go ahead and post what I’ve done.  Just making the videos gave such a greater appreciation for the thought which goes into a good one, as well as having good editing software.  The Kodak Zi8 comes with MediaImpression for Kodak, by ArcSoft.  I’ve managed to add a title and an ending to the file, but nothing else.  What you see is really unedited footage!

The Art of Grinding an Ink Stick

Many authors of Japanese and Chinese ink-painting books will tell you that while you grind the ink on the stone, with gentle motions, it is a good time to collect oneself.  I agree.  I like to take my time, listen to calming music, and relax.  Focusing on breathing helps – in, out, in, out – slowing down.  Given the permanency of every ink stroke in sumi, it makes sense to calm down, to control one’s energy, and to take time to become centered.  Breathing helps.  I know that if I start out feeling stressed, my painting is stressed, tight and unhappy.  Grinding ink is a period of transition.

Making the Video

Well, making the video was a pain!  At first the camera was too low, and the field of vision too narrow.  I had to build up the height of the camera, and retrain its focus.  Looking at the video, certainly lighting needs to be improved, and the camera should be coming over my left shoulder, and lighting needs to be less yellow (maybe use the no-light setting!?!).  Shadows need to disappear.

Purpose of the Video

  1. Show the ink stone, with water
  2. Demonstrate the ink stick
  3. Demonstrate the upright position of the ink stick, and the motion on the top of the stone, as well as pulling the water up from the well of the stone, to continue the grinding process
  4. Show the creation of dark ink, show the creation of medium ink, and the creation of light ink
  5. Show through the time of the video that grinding ink for sumi does take time – it’s not something poured out of a bottle.

The Video

Let me know what you think!  Try it in HD and full screen, too.

Japanese Class: Hiragana

This morning before I popped off to my Japanese class at the Oxnard Buddhist Temple, I practiced writing hiragana, and thought about my own practice of mastering it. While there are a few characters which I am still struggling with, just because I am not yet clear on the rules of pronunciation, I feel pretty good at being able to see them and identify them fairly quickly. What I would really like is to do is sit down and read them in a story and be able to understand the language constructs. I have yet to learn katakana and kanji, but that will come later.

Online, there are numerous sites with hiragana fonts, flip-cards to enhance learning recognition, software downloads. A lot of applications are also available for the iPod or iPhone. However, while those are great resources, for me there is nothing better than sitting down and repetitively writing down the hiragana and saying each sound as I do so. In class, we learned a song to sing, like the ABC song we learn as children. I sing it to myself (when no one is around to hear me!) and visualize each hiragana as I say it. I stumble around with the “hya” and such, when I sing, but at least I am getting it.

Another area which is challenging is recognizing subtleties of the hiragana. Many look similar, but have subtle differences. I found it very helpful to isolate the hiragana nu, ne, no, me, re, and wa since they all look very much alike. Listening to Japanese and transcribing it into hiragana is also difficult, particularly when vowels are drawn out, and when sensei says “tsu” and “su.”

Practicing and memorizing the hiragana is only the first step. Because I enjoy painting, I’ve used sumi ink and calligraphy brushes. Another fun thing to do is to paint the different ones in different watercolors. I’ve also got a brush pen from Sailor – a Profit – that takes cartridges and a piston filler, so I can use colored fountain pen ink in it. And the final fun way to learn hiragana (and then katakana and kanji) is the inkless calligraphy paper – just dip your brush in water, paint it on, look at the strokes, watch them disappear – and do it over and over again on the same piece of paper.

Result? Mission Hiragana accomplished, with a heck of a lot of fun!

Yarn Stitch Markers for Lace Knitting

Whenever I knit lace, admittedly I look for pretty patterns that stay neatly between my stitch markers.  Even though the lace for Ishbel is simple, its set-up doesn’t allow for such structure.  Part of the pattern has a 3-stitch decrease, which gives the slant to the pattern.  However, this decrease also falls at the end of a pattern repeat, which means a pattern marker falls in the middle of the decrease. The marker needs to be removed to create the decrease, and then replaced.

To resolve this problem I did two things.  First, I moved the repeat over, so that the decrease began the pattern repeat.  Second, I decided to use strands of a contrasting yarn to weave in and out of the pattern.  This would allow me to not worry about markers falling off, or needing to be slid off needles with the potential for being dropped on the floor.  I chose to continue unraveling my poor Albatross Socks* and use its yarn.  The wine red of the yarn contrasts nicely with the turquoise of Ishbel, and its hard twist and fineness make it durable enough not to unravel while being used.  Also, it doesn’t stick to the turquoise yarn, or flake off little fluffs of color that will need to be picked out of Ishbel later on.

Yarn for Stitch Markers

It actually makes sense to use leftover yarn for stitch markers.  They probably did before the advent of modern knitting tools, such as plastic and metal rings to slide onto needles.  These markers could have been knotted into loops and strung individually between stitches, or as separate strands, woven back and forth as the knitting progressed.  I tried the former years ago, just because I didn’t have enough plastic ones.  They worked great – until I knitted them up into the pattern!  So, I came up with the idea of strands, which I pop back and forth as I work my pattern.  Not very easy to knit up a strand of yarn, and easy to move the strand from front to back, or back to front, using the hand not holding the yarn – for me, this is my left hand, as I am a right-handed knitter.

I have also found that a yarn has to be rather hard and un-fuzzy to work well.  Cotton yarn, if mercerized, is very nice because it is a firm thread.  Unmercerized cotton yarn is linty, and sheds onto the fabric being knit.  If you use cotton yarn for a stranded marker, be aware that it might want to unravel – cotton yarn doesn’t stick to itself like wool does.  Woolen sock yarn with a tight twist is one of my favorites to use for a pattern marker.

Making the Stranded Yarn Markers

To make yarn markers is very easy, and is just like making a pompom in the first steps. I use a book to wrap the yarn around. This book is about 5×8 inches. The yarn is wrapped around it, and then cut on one end only. Thus, the strand will be about 10 inches long.

Because the yarn was in a sock, it is all kinky, but this is actually a nice thing! As the yarn is used, it curls up, and stays out of the way of the turquoise. And, because it is wool, it actually lies close to the body Ishbel while I knit.

Setting Up Yarn Stitch Markers

Once the strands of yarn are cut, begin knitting the pattern as required. Wherever the stitch pattern begins and ends is where a strand is laid across the row below it, in between the last and first stitch of each lace pattern repeat. I usually drape the strand evenly, front and back, to lessen its chance of falling out, or being tugged out. As you progress in your knitting, the chances of the yarn being pulled out lessens.

Continue laying out the strands until the entire pattern area is marked.

Observe Your Knitting

As you can see from the above pictures, the strands are placed along the pattern repeats. This was done as the lace was established on the knit side. Returning along, purling, you can see what the strand will look like when you have knit passed its initial placement, turned your work, and are now purling.

This picture shows you what to do: simply bring one of the strand ends forward (or backward, your choice). You have now marked the next row.

This picture shows marking strands on either side of Ishbel’s fabric.

As your knitting progresses, you will begin to see the advantage of using stranded yarn to mark pattern repeats. I let the beginning of the strand dangle on the wrong side of the fabric; for Ishbel this is the purl side. The reason for doing this is that it does not leave a contrasting line dangling where it can distract me if I need to check my work. As the picture below shows, the strand weaves in and out as the knitting progresses.

On the front side, the yarn strands do not detract from observing if the lace pattern has any mistakes. If you look carefully, you can see the red yarn slants a bit here and there – that is because of the 3-stitch decreases creating diagonal stitches.

Finally, the strands will work their way through the entire pattern as Ishbel progresses. Even if there is not enough length for all the pattern repeats, a gentle tug will pull the stranding markers through the fabric. When Ishbel is finished, I will simply pull out all the yarn markers, and re-use them in another project.

Another Reason for Stranded Yarn Markers

In addition to using strands of yarn as markers for Ishbel, I have used them whenever a pattern calls for a regular marker movement.  Simply picking up a strand of yarn when the marker is ready to be moved is so easy compared to

  • slipping off a stitch,
  • manually removing the marker,
  • replacing the stitch on the left-hand needle,
  • putting the marker on the right-hand needle, and
  • continuing until all markers have been moved!

Anything to make lace knitting easier is worth doing, don’t your think?