japanese painting – Ink, Yarn & Beer

Chrysanthemums

Years ago I did Japanese ink painting, along with Chinese painting. Chrysanthemums are a traditional study. Here, I tried to work with the gouache in the same fashion – following the same formula – as in Oriental painting. Because the paper and pigment are different, it doesn’t work out the same, although the brushwork is applied similarly.

Using what I learned from the first painting, while I held to the constructs I had learned in Asian painting, I applied the principles of gouache here. I built on layers and worked over areas I wasn’t too thrilled with.

Being familiar with how different painting techniques are applied is very handy. This knowledge can be applied to another area (here, painting) and modified to fit the needs of the medium. Painting is like opening up a brand new world! It is quite an adventure.

Resources for Ink Painters & Sumi Artists

Over the past year or so I have gotten numerous requests about sumi, suzuri, brushes, paper, lessons, and where they may be bought. I would like to respond to people, but there are times when it requires a lot of work and time on my part to answer individual enquiries in depth. I have sent out a few lengthy emails in reply, but have received no acknowledgment back from the recipient. Other times, people have been quite demanding, asking me to do this, to do that, and while I generally do not mind helping people out, it can become a chore. So, given this, I hope that this posting will prove useful.

Let’s face it – there is a real challenge to finding high quality art supplies for traditional Asian art. Much of what art suppliers import is poor or student quality, simply because it is such a niche market. I would like to import items myself, but that takes time and energy I really do not have – there are too many other things I am interested in, as well as am obligated to do. That said, I am going to write up a bit about what I know.

Sumi Ink Sticks

Acorn Planet was a wonderful resource for good Chinese ink sticks, brushes, paper and stones. They no longer provide such items, but remain online with a wealth of information. Ink sticks from tourist shops are likely to be worthless. And, if you value your suzuri, you need to make sure you get fine quality ink. Thus, at this point, the only places I would recommend for sumi would be John Neal Books (JNB) for Japanese ink – I own many that they carry, so can vouch for the quality of the sumi by manufacturer. I have never ordered from them, but will when I want more ink! The other resource is Oriental Art Supply (OAS), which carries Chinese ink sticks, none of which I have used, but am inclined to think should be good given how great their other supplies are. Both are listed to the side as direct links.

Brushes

I think good ones are the most difficult to find. Cheap ones may be found everywhere. My preference is for Japanese brushes, but the high labor costs make them expensive. Still, as any art student is told, buy good supplies when you begin; this same adage holds here. Poor quality supplies can be very frustrating, and the fact is, the Asian brush can be an extremely difficult brush to master, especially the soft one. Western brushes are, in general, much stiffer in character, and are not as flexible as Asian ones, and do not hold on to water or paint as tenaciously.

For the beginner, mixed hair brushes are probably the best, as there is resilience from an inner core of harder hairs, which helps the Western painter, combined with an outer layer of softer hairs, which retain liquids. Because both hardness and softness are combined in this type of brush, a beginning student will be more comfortable with the brush, as well as learn about the challenges of the Asian brush.

OAS carries these in various sizes and prices. At this point, OAS is likely to be the only supplier from whom I would buy a brush sight unseen, partly because of their service, partly because I have been to their storefront, and partly because I have boughten a number of their harder brushes, and have been really pleased with them. This is not to disparage other vendors, this is simply based on personal experience.

If you are a beginner, buy a medium-sized mixed brush, but also get yourself a hard brush. These are incredible for texture and expression. Additionally, they do not retain water as much as the mixed brush, but can be so hard that you feel you are painting with a bunch of sticks! My favorite ones from OAS include the Happy Dot and Orchid Bamboo for smaller ones; and the Dragon Brush for a larger one, and the Mountain Horse for expressive lines. The Biff Brush is a kick to use and is unlike anything you will find elsewhere. Expressive calligraphy is nicely accomplished using the Cao brush, which is available in hard and soft.

Suzuri / Ink Stone

These remain the most elusive item. The last I checked, John Neal Books carried only one inkstone, the Shakyo-Ken, which I wrote about here. This stone is wonderful, and in a pinch would work well for painting, but it is quite small. Ebay is a good resource for stones; I have picked up some there which were worthwhile, and have been rooked on others. OAS has a few; I have one similar to their large round one, which I have enjoyed. Its round shape will hold a lot of ink, but lacks the flat surface and deep well a suzuri has.

Buying a stone on Ebay is risky. Some are “stones” which are really just a plaster mold, antiqued to look interesting. If you are going to buy a stone, don’t get anything too fancy, and get one with a slope and well. This is the best stone if you plan on grinding ink as you have the smooth area to grind on, and the well to collect the ink. Never buy a kit containing a stone, brushes, and inks, all prettily packaged – these are basically worthless. Sometimes the best ones to buy are used. You may need to clean them up a bit to remove old ink, and you may need to sand them down, but the quality may be had for a small price and a bit of elbow grease. If you want antique stones, check out various Asian antique sites, but beware as they may be very overpriced.

Paper

I love paper! Asian paper is quite different than Western art paper, in structure and manufacture. A major difference is the amount of sizing and thickness of the sheet.

My favorite Chinese paper I have used comes from OAS. It is their Premium Double Shuen. Expensive? Yes, compared to other papers, but I have found it has the best response to my way of painting. Chinese paper is “raw” if it is not sized, and extremely absorbent. It will make you crazy. Even the Premium Double Shuen is very absorbent, not quite as much as raw. Specialty papers for calligraphy may also be found at OAS.

Japanese paper is also different than Western paper. It may be sized, it may not be. It is also constructed with different materials. Handmade paper may be very expensive. An excellent resource for Asian papers is Hiromi Paper in Los Angeles. Their online store is quite good, and their brick-and-mortar store is a delight to wander through.

When it comes to buying paper, of course it is always best to go in and see and touch it. When you cannot physically try out a paper or touch it, if the company offers a sample packet, it can be worthwhile, as long as the papers are clearly labeled. When I buy sample packets, I usually use permanent ink to write the name on the paper – most places use pencil – but this lets me remember what it was, and if I would want it again. I consider this as “tasting” a paper – you can get really overwhelmed by too many at one time!

Color / Paints

Color pigments and paints must, of necessity, be waterproof in Asian painting. Western watercolors will not substitute as they are less intense and not manufactured to become waterproof when dry.

Tube paints are a Western invention of the 1800s (I think!). And, they are a major convenience! However, colors may also be had in the form of chips and sticks.

Colored “ink” sticks are very convenient, and can be a wonderful experience, but the drawback is grinding the pigment. You do not use your suzuri for this! Rather, a gaken (gakken?) is used. This is a ceramic dish, which may be had from JNB. I clean these after each use, so they are rather intensive to use. A separate one is best for each color. JNB carries the color pigment sticks.

Chips may be dissolved in baby food jars and stored. Chips may be purchased from OAS. Japanese companies also manufacture color chips, but I have never found them for sale in the U.S. Daniel Smith offers dry pigments, but I have no idea if they can be used for Asian painting.

Tube paints I have used for Chinese painting are manufactured by Marie’s and are very inexpensive, and can be found at many different retailers. (Just do a google search!) The tubes are sealed, and the paints have a rather awful smell, but are essential if you do Chinese painting. The palette is also limited, but good watercolorists do not tend to 50 different colors, either. The reason Marie’s are de rigueur is because, once dried on the paper, they are waterproof. The same may be said for the paint chips and sticks. Bone glue is used to bind the pigments, and it is this, from my understanding, that creates the final impermeable paint. Ink sticks are also bound with bone glue, which is why ink does not run after it has dried. Holbein manufactures the Irodori line of opaque watercolors, based on antique pigments. These colors are lovely, but I do not recall if they are waterproof or not once dried! (Think I should do some painting??)

Lessons

Unless you live in an area with an established Asian population, or artistic community, individual and group instruction may be difficult to come by. Here where I live, there is a wonderful group for Chinese painting. The instructor comes monthly. Harris Ha is very talented. OAS maintains a list of instructors you may search. Silver Dragon Studio has another list. These may be worthwhile checking out. Ning Yeh of OAS offers classes through a local community college, and sometimes through UCLA extension. In the links to the side, you will also find some artists I admire who may offer classes.

Truthfully, hands-on instruction can be the best experience, but the cost may be out of the range of your finances. Books, then, when coupled with good supplies, dedication, and time, are also very good ways to learn the art of ink painting. The internet provides us with many resources, from old books to videos. I’ve watched Kazu Shimura over and over! Making videos of my own painting has been fun, and re-watching them, educational and surprising.

Other Supplies

Asian painting must be done on a felt panel. Wool ones are the best, and can be found in varying sizes. In a pinch, flannel from the fabric store is fine to use.

A brush rest is useful as it holds the brush tip above the surface on which you are painting, keeping your work surface clean and organized.

Antique Brass Suiteki (Water Dropper) from Japan

A water source, from which small drops of water may be used to wet the ink stone, is another necessity. I use a “sucky cup” – a Rubbermaid cup with a straw that folds down – or a fancy antique suiteki, which is a water dropper. There are cheap ones available, and can be delightful additions to your studio. Water containers are also necessary, and it is best to have at least two to use – one to rinse out a brush, and a second for fresh water. This helps keep your paints bright, and your ink gradations unpolluted.

A palette is necessary for colors, and small white porcelain dishes are useful for ink gradations.

Paper towels for blotting wet paper are other useful utensils – I always keep a roll on my desk. Old, absorbent towels are also important, particularly for blotting excess water or ink from brushes before touching them to raw paper.

Some artists recommend using a blow dryer if your paper is too wet. This may be good for a beginner, but ultimately, it should not be used. The heat could change the chemicals of the pigments, I’ve been told, but the real reason for not using a blow dryer is that dependence on it is not a good thing. As an artist, mastery of your craft includes learning the quirks of the media.

Because Asian paper is very thin, paperweights are essential for holding the paper in place. Also, long sheets need to be moved along if they are on a table, rather than the floor, and paperweights help keep large sheets from blowing around in a breeze. Long ones are great for the top and bottom of a sheet, or along the length. Smaller ones are good for corners, and can range from the whimsical to elegant. Rocks are also useful as paperweights, and if you walk along the beach or river, some very lovely ones can be found. Do not disregard the value of paperweights – the first time your paper pulls up and sticks to your brush, ruining your stroke or painting, you will understand their importance!

Finally, brush holders are a necessity. There are some beautiful hangers for Asian brushes. These are excellent for use when drying your brushes after use because the water will not drip into the handle and dissolve glues holding the bristles in place, nor cause the wood or horn to rot, weaken or disintegrate. Personally, I do not have one, but rest my brushes on their sides after rinsing and drying with towelling. I have a piece of wood and screw-in cup hooks I keep meaning to put together for the same purpose. Storing dried brushes is easy enough – just put them in a jar, tip up.

Summary

I hope that this helps out all you inkophiles out there! If you have any resources which you would like to share, please let me know. I’m always looking for good, reliable resources.

Sumi-e / Ink Painting Books, ii

Motoi Oi, i

Today, I am going to begin a brief series on a rather lovely set of books, published by Motoi Oi (1910-2004) shortly after his arrival in the U.S. Initially paperback books, self-published and handbound by his wife using traditional Japanese binding, much of his work was consolidated into hardback by the Japan Publication Trading Co. in Tokyo.

The Sumi-e Society of America writes about itself and Mr. Oi:

The Society was created in New York in 1963 by Professor Motoi Oi to foster and encourage an appreciation of East Asian brush painting. For the initial fifteen years (1963-1978) its annual exhibitions were held in New York City. Over the years, the Society has grown and there are many chapters in the United States and a sister organization in Canada.When asked why he had started the Sumi-e Society, Mr. Oi answered, in part, “In the East, paintings reflect the great joy of culture. They are a reflection of an intense personal idiom. My idea was to provide a means through which the fresh, new spirit of American culture could be viewed in Sumi-e.”

Professor Oi was born in Japan and in 1958 he emigrated to the U.S.A. where he worked as a printmaker, painted, wrote books on Sumi-e painting and taught art at Queens College , New York City and the Brooklyn Institute of Art and Science.

In 1981, Mr. Oi was awarded the 6^th class of the Order of the Rising Sun for his work in US-Japan cultural relations.

Oi himself writes on the inside cover flap of this book:

What is sumi-e? Is is so simple an art form that a novice can literally pick up a brush and start painting right away. Yet, it intrigues even those whoc spend their lifetimes studying it. In this book, Mr. Oi introduces to the beginners the fundamental techniques of sumi-e and describes its spirit, which plays the most important part, in terms of … Zen Buddhism … a mystic religion of extreme self-discipline and concentration. The importance of its [sumi’e’s] spirit is, however, too often ignored, and the craze for this art is usually based on a complete misunderstanding, the result being a mere imitation of its superficial features.

Given this, I am not even going to approach the spirit behind Mr. Oi’s books; rather, that is up to the individual artist and reader to explore. Instead, I think it is interesting to read the book and consider what is said. For instance, in the above edition, concerning rough sketches, he writes, “in following a rough sketch, painting becomes a matter of technique and hence loses the fresh, spontaneous feeling. Therefore I do not recommend it.” What does this mean? To me, it says it is best to look at each subject as something totally new and unexperienced. It also says to consider the subject in advance – light, dark – and to consider the approach to the painting in terms of brush stroke, ink gradation, how the brush will be loaded. This, of course, comes through practice of lines, circles, and other techniques, such as illustrated below.

Mastery in any art or craft means mastery of its tools. Here, ink, brush, paper, water. It also means mastery of the self, in whatever way it means to you, the painter, the artist, the craftsman. I rather like these paragraphs from his “Notes on Sumi-e” found at the end of the book:

The ability to think is what produces a good Sumi-e. A dexterous hand may turn out a mechanically excellent picture but not a true Sumi-e in spirit.

Pick up a Fude with a deep sense of humility. Free your mind of arrogance and hostility. You are not out to conquer Sumi-e. Rather, you want to be one with it. There should be neither a victory nor a defeat. Complete union is the ultimate goal.

Sumi-e is a mirror to your mind. It, however, surpasses mere reflection by rendering an image free of frills and pretense. Only the bare truth is reproduced on a sheet of paper.

I wonder, myself, just how this might be judged by others. For me, I know when I have accomplished this, free of the monkey mind; I can look at my painting and know it is well done. But do others see it? I think we are all prejudiced by our moods, likes, dislikes, current preferences. Certainly what appears good today may seem like a horror the next. As we are not static, perhaps this undulation of appreciation – this seeming fickleness – is actually a very, very good thing.

Sumi-e / Ink Painting Books, i

Over the past year, I have gotten some requests about recommendations for sumi-e / ink painting books. In my own collection, I have a number which are still available on today’s market. Current books will be the focus for today’s posting; later I will move into other books in my library which may still be available as used, or in re-issued editions. Calligraphy books will be in their own postings.

These are technique books. Some are filled with little text and a lot of pictures, others have a lot of writing as well. There are times when I love to read, and there are times when I want a picture to copy and learn from it. My mood and subject interest will determine which book I choose.

By copying a picture, you have to analyze what is going on, and figure out how you will do it. This means looking at the brush strokes – even if there is a description in the text on how to load the brush, angle it, and move it. It never hurts to do these as practice because that is how we all master anything – through repetition, thought, doing.

Current Sumi-e / Ink Painting Books

Copying the Master and Stealing His Secrets, by Brenda Jordan and Victoria Weston

I am placing this book a the top of the list because it is important to understand a bit of the history of an artist’s training in traditional Japan, not just in modern times, but hundreds of years ago.

Copying the Master explores the handing down of painting traditions in Japan from one generation to the next. Students may vary in ability, but the skills taught allow the student to gain technical skills needed for successful painting. Japanese tradition in teaching is through observation, not explanation, at least in the arts, as I understand it. This book has some amusing stories behind the students’ learning, as well as give the reader an appreciation of what it meant to be an art student in an artist’s atelier. Whether or not the old masters of the Renaissance taught their students in the same way is an interesting thought – natural skill, observation, or was it more didactic, as we may find in today’s art schools?

For myself, this book is of considerable importance because understanding the traditions behind Asian art training really helps lessen my sense of guilt about copying someone else’s work! After all, plagiarism is seriously frowned upon; the same may be said for copying another’s artwork. Besides that element, this book broadens the reader and artist’s appreciation of the cultural and historical context of the training of artists, as well as acknowledging the whims of fashion and social attitudes about the roles of men and women in the art world.

The Mustard Seed Garden Manual of Painting, translated by Mai-Mai Sze

In and of itself, this is a really wonderful piece of work. The reason for this is because it has been in print for over three hundred years, in China and Japan – there is a traditional approach which may seem odd, but it does lay a foundation of appreciation for Chinese painting and its place in time. For the westerner, this book gives valuable understanding about the structure of plants and animals in brush stroke and in outlines (created using a brush). Because of the fact these images are derived from woodblocks, the nuances of the brushwork are lost, but if you copy the examples, you will create your own subtleties. In my own library, I have a ten-volume series of this book in Japanese from the early 1900s (I think).

The Way of the Brush: Painting Techniques of China and Japan, by Fritz van Briessen

This book combines a history of Chinese and Japanese ink painting along with examples of specific brush strokes, their forms and shapes, and how to do them. While this is not a book for the beginning painter who wants to dive in and just do, this book is, in my opinion, a necessity to begin to understand the aesthetic of ink painting.

Many beginning ink painters – myself included – are lead to believe that all is spontaneous scribbling and splattering. “Anyone can do that!” is a common approach. When you get into this book, which may be a bit of a challenge, you learn far more than you ever thought was possible about ink painting. There is work involved, planning, and thought in a picture, and even though it is only ink on paper (something the Western sense of art tends to devalue), any sumi painter knows that one wrong brush stroke can destroy a painting. When the appreciation of the mastery of brushwork is gained, a greater appreciation for Asian artwork is gained as well.

For myself, gaining mastery of a brush is essential to my appreciation of Chinese and Japanese art. As someone with a bit of experience in art media of America and Europe, I have to work very hard to forego my cultural definitions of art. This is not something I have been able to achieve overnight, but something that has come about through my own painting. Understanding aesthetics foreign to our own allows a greater appreciation and a deeper valuation of an art, whether in ink painting, pottery, or literature, to name a few.

Chinese Painting Techniques, by Alison Stilwell Cameron

This, like van Briessen’s book, is another book that is informative and practical. Cameron spent her childhood in China, and spoke Chinese as her first language. Her training in Chinese art began in her youth, following traditional subjects and training methods.

Cameron does not go into the historical details of Chinese painting, but she does go into the different styles of painting. She covers brush strokes and their structure; plants, animals, and people; spontaneous painting, and best of all, explores fine line painting. The scope of this book is broad and much of it is general, but the detail of writing takes the student / reader / artist into areas of ink painting which many books do not cover.

Japanese Ink Painting: The Art of Sumi-e, by Naomi Okamoto

I’ll admit to some prejudice in favoring this book, partly for the author’s name (!), but also because of the fact Okamoto is from Japan, and has been trained in both Japanese and European art traditions. As a result, she demonstrates sumi-e in both ways – the gentle, simple, clean aesthetic of sumi-e, as well as the illustrative use of ink in more Western traditions.

The medium of the ink stick is not one in which most westerners have been trained. In school, it might come along as part of a cultural awareness, but it is not taught in most school classes as an ongoing point of study, such as pencil drawing or watercolor. Higgins opaque India ink is what most people will think of when it comes to “ink” for artwork. I think many westerners approach ink painting as an experience so different that the artist really does not learn to appreciate its value as a medium. Without color, the ink only gives us black and white and shades of grey. The characteristics of the ink, and the type of paper used, also are odd to us – unsized paper?! That is usually cheap newsprint. If you look at Okamoto’s landscape and figure paintings, a different appreciation of ink-on-paper can be developed.

Finally, Okamoto approaches subjects in a less messy and splattery way than a number of western sumi-e painters. I enjoy her structured approach, which is not tight, but more graceful. I have learned a lot from this book that I have not found in others; if I were to put it into words, I would say that I understood the simplicity and elegance of an ink stroke most fully in following her instruction – a very subtle experience.

Japanese Ink Painting: A Beginner’s Guide to Sumi-e, by Susan Frame

Susan Frame combines watercolor techniques and sumi-e strokes in an uniquely personal way. There is spontaneity in her work which is expressed through a mastery of brushwork. Most sumi-e is black / white /grey, but Frame adds color intensively.

Brush strokes are demonstrated in this book, and while the author does not go into great detail, the information is clear and well presented. The student can learn from this book, as well as realize that ink painting does not need to be confined to one’s perception of ink and its role in artwork.

For me, this book is not just about brushwork, but also about having fun, not taking myself too seriously, and letting go. Frame’s work is splashy and expressive. My only criticism is that her work appears more Chinese in influence than Japanese, but that is simply my perspective.

The Sumi-e Book, by Yolanda Mayhall

Yolanda Mayhall’s first book, The Sumi-e Book, covers many of the basic strokes of sumi-e and ink painting. Because she does not introduce color, the beginning student can truly appreciate the nuances of gradation and the impact they have on paper. From basic brush strokes, demonstrations show how pictures may be created. Overall, this book covers enough for the beginning student to gain mastery if he or she has the correct supplies.

The Sumi-e Dream Book, by Yolanda Mayhall

I have mixed feelings about this book as far as some of the illustrations – the “dream” pictures make me a bit edgy – but the illustrations of brushwork, flowers, and landscapes are quite enjoyable. The subtle colors of many of the illustrations bring out the beauty of the brush strokes, but I find that in the very colorful paintings the brushwork is easily lost.

Artists need to explore medium in different ways, not limited ones; the creativity of Mayhall comes through quite clearly. I also enjoy the fact I can see the evolution of her work and the influence different art traditions play out. The biggest value of this book is that it takes sumi-e and utilizes it in a melding of both East and West.

Conclusions

Any student of sumi-e / ink painting should know of the traditions behind it, its cultural and artistic significance in Asia. I think that an appreciation of a traditional art form in its own context takes it beyond just something to look at, and brings it into a realm of personal understanding – I can appreciate a brush stroke far more than before because not only have I read about the training, I have done it, I do it, I struggle to master it. I know its continuum.

At the same time, I am also a product of western culture and its values and aesthetics. Being able to take ink painting into my own sense of aesthetic is important for my own expression. Some people may not approve of the works of Frame or Mayhall, as they break with tradition, but they have a significance because they demonstrate how cultures meld and art develops. Western art has also made its impact on the visual arts of Asia – there are some very fine oil / acrylic / watercolor painters who have learned our traditional media and mastered it, blending it with their own traditions, and creating wonderful pieces of art.

If you are a serious student of ink painting, I recommend all of these books, each for a different reason.

Iris, iv

Irises – in Color – in Ink

The iris – the butterfly flower – is just too much fun to paint! And quite a challenge as well. The videos make it look easy, but I assure you, it is not! The shape of the flower petals is far more difficult to do in a few squishy movements than it appears. Loading the brush, with ink and / or pigment, is also a challenge.

Of all the videos, I looked at Virginia Lloyd-Davies’ the most. The reason for this is that she has multiple irises in different positions. She also uses similar approaches for each iris, but varies the iris enough so that brush variations also occur. By watching her video repeatedly, it became possible to actually learn a great deal by imitating.

For these pictures, I used the same paper. The paper is double xuan, which is an absorbent paper which is heavier than student grade, and much nicer as a result.

Unfortunately, I did not take very good pictures, but at least they are clear. In the picture above, you can see some attempts are better than others. This picture represents my first attempts at painting irises in color. The ones on the left side were done with the paper turned around – what you see are upside down. The reddish-purple ones are my first ones, the blue ones later on. You can see there is some improvement. As always, my sense of value seems very off to me – not enough contrast between the light and the dark and middle tones. The yellow iris was just awful. The yellow paint has a decidedly greenish cast, and I could not find my white paint (I’m using Marie’s Chinese Paints) – or maybe I’m just out of it. Anyway, it held no appeal once the color was on the paper.

These two side-by-side paintings were my tries at creating the irises and attaching them to the stem. Not very good. The colors of the irises are not bad, but the shapes leave a lot to be desired. Leaves as well are unpleasant.

This painting with the reddish irises is better than the blue ones, as far as some of the shapes of the flowers. Those of you familiar with orchids in Asian painting will realize that these are orchid leaves, not iris leaves! Well, I guess I have some sort of hybrid here.

Once I got frustrated with color, I got out a Chinese ink stick and ground up some ink. I made three shades – light, medium, dark – and went to work. Again, contrast was an issue, but the flowers, stems, and leaves became a lot nicer. This one was the first attempt which pleased me.

The second sumi iris also shows a problem with light / dark, but the composition is pleasing to me.

And this one, the third one, pleases me the most. Still some problems with light / dark, but not so badly. The entire flower is looking a lot better, from top to bottom. Certainly some of the irises are rather blobby, and the buds don’t quite make it. Parts of the painting are too busy or crowded, but, over all, I think I am seeing some success. Certainly I plan to continue practicing, and I hope that I will be able to produce a creditable flower.

Leftover Ink

This is what I did to use up the rest of my sumi ink – I hate wasting it!

All these paintings were done on Memorial Day. A few others were done as well. As far as the photography, well, let’s just say it sucks and I need to work on it. The paper is a warm cream, and perhaps I should have used a flash. Ah, well, always something new to learn.