Introduction
Activities
General
China 2006
Art of Paul Hau
Thoughts
Flowers
Landscapes
Calligraphy
Landscape #1
This landscape started out with a big splash of ink across the
unsized paper (#1). This has a very freeing effect upon the artist.
Details are then brushed in and the painting is set aside to dry (#2).
After drying further details are added along with color washes. (#3)
The painting is then set aside to dry some more. Next the landscape has
dots representing small bushes and rocks added along with further ink
washes. (#4 and #5) After drying for a brief time, large white dots are
added over the bold blue ink in the center of the painting. (#6) These
are made by loading a brush with white ink, then squeezing it out over
the paper to form the dots.
Mr. Hau splashes the ink, step #1
The basic forms are created in monochrome, step #2
Colors are added, step #3
Further details #4
Further details #5
Adding the white dots, step #5
Landscape #2
This is a landscape started in a more deliberate fashion. The
paper is sized, it does not absorb the ink as rapidly as unsized paper
and colors and ink are more muted and subdued for a given dilution.
Sized paper allows the artist to go over the same area over and over,
layering new inks and details and it shows the subtle variations in the
ink.
Landscape, step #1
Landscape, step #2
Landscape, step #3
Landscape #3
Yet another landscape, notice with just a few strokes a
village is depicted in the upper center.
Landscape with village, step 1
Village detail
Tree details
After a week, we continue with this painting. Details are added to the
tree line and a black wash, sometimes wet, sometimes dry is applied to
portions of the painting. Some brown tree trunks are added, this same
brown is used for the house roofs and other details. The pine needles
are washed with indigo to bring out the pine. Next brown and black is
drybrushed over the central section, the mountains are outlined with
dry strokes of brown. Distant pale gray mountains are added with a
semi-wet brush to evoke an air of distance. Details are filled in the
middle ground, some carmine red for maple leaves as well as some red
dots. These colors help emphasis the seasonal setting of this painting.
Landscape with village, step #2
Pine details
The paint is set aside for another week, now splashes of indigo are
added to the lower right and left. Portions of the painting are also
drybrushed with indigo and the pine needles are gone over as well once
again. Dots are liberally added and the village is punched out with a
few key black lines. A small man is added with a red jacket, this same
red is painted over the slightly damp indigo, which should really be
dry for best effect.
Man and village
Final version
Landscape with lake and boat, it is started with dirty ink with a large
soft brush outlining the basic shapes. The side brush stroke is used
with very dry ink. These strokes start near the center and spiral
outward. Pines are added in with darker dry ink as well as other trees.
Broad leaf trees are added, the leaves are brushed on wet. Brown is
then added for the trunks and several layers of indigo are used for
pine needles. Brown is also added to the cliffs. Some people and boats
are added and the painting is brushed with some very wet ink. It's set
aside to dry before finishing.
Landscape with lake, step #1
Landscape #4
Working from top to bottom with a very long, thin raccoon
brush, the mountains are created in rough outline. Then using a small
brush, the small tree details are added as well as a small temple with
pagoda. Many of the trees are created with a pressing stroke. Color is
then added and some wet dots. The painting was set aside until the
following week. A reddish brown wash was added as well as additional
dots.
Landscape
temple detail
Landscape
set aside to dry until following class
Final
step
Landscape #5
This landscape is painted on cotton paper, on this paper the
tends to spread and run which is a very pretty effect for some
paintings. For these splash paintings, cotton paper is essential since
rice paper will have a tendency to flatten out the colors and limit the
spread of ink. This painting on rice paper would have no spirit. Much
of this painting is created by pouring or splashing the ink directly on
the paper and then guiding it around with a brush. This is a very wet
technique, two sheets of paper are used to help absorb the water.
Generally black was splashed on first and after a while white and green
ink were also added. The white used is actually a western watercolor,
Pelikan white, which is much brighter compared to China white. Details
are then added with a small dry brush. The second or bottom sheet is
save so that an additional painting can be created with it.
Landscape
#5
Landscape #6
Landscape #7
Landscape #8
Landscape #9
Landscape
#9 first week
Landscape
#9 second week
