Crinkle Technique for Chinese Landscape Painting on OAS Semi-sized Shuen Paper by Ning Yeh

The crinkle technique, I usually would use a felt. This way, when I put the paper together, it's easier to move the paper. So I will have in mind, say, a mountain peak right here. So I will work that mountain peak and then create some of the texture that goes fish looking for the food to that peak. And this is done with some idea of some bigger ones, some smaller ones, and joining at that. And then maybe a side shoulder peak that change direction a little bit. So even though it's spontaneous, it is still kind of a controlled spontaneity. So then maybe a guest element down below here. So one peak, two peak, three peak. So then I just try to get a bigger brush like OAS Phoenix Brush, and I will load some dark ink and I'll work with light brushing on top to get the texture naturally show itself. And because the tip area is darker, so the mountain top area will be more intense. And then the body will make the color fade as it comes down. In a landscaping Chinese way of thinking, sensory or the landscape is mountain meeting water. So the mountain will end into mist. So we like the base of the mountain fading. Ooh, that's nice. So, certain area I brush a little bit more, other area I brush a little less so that we have a little, a lot more element of variation. So that is the first idea, okay? So that you can see how natural those crevices turns out. And then if I wash it off, I can use some extra light touches to allow the root fade even more. So that's kind of the idea for creating the natural texture. The merit of this paper is it's not absorbent so that the quality of the texture is quite vivid and it shows that kind of dry look. It doesn't go through. And now I have an iron. I'm going to try to dry the paper, dry the ink. It need not to be totally flattened, but it smooths it out a little bit. If you notice, I did not wrinkle the rest of the area, only the mountain part, because I later would like to do some wash. And now I'm using the OAS large flow brush. I'm going to add some color. Usually I'll have some warm color, like ochre on the nose of the mountain, which is that part of the mountain that comes forward. Usually it's in the middle of the peak. And I would probably add some vermilion, some brown. You notice that I keep the tip pointing upward and lay the brush down. But as I load the color, I only load the color at the tip. So the body of the brush serve as a agent or a vehicle to make the color stay. So I have some of that warm color, and then I'm going to have some of the green. I have the lighter green with darker green and tip touching some more ink. And certain area, I might just keep it open so that it adds a little more dimension. At the very tip of the peak, I accent with some darker ink that will develop the contour and show the spirit of the peaks. So that would be the base of coloring. Because usually I would allow the color dry naturally, but because we want to show the program in a short time, so I again will iron dry what I have done. Piece of cake, isn't it? Just the top part of the peak. The lower part, I actually would like to let it stay moist so it can integrate with the mist element. So right now, I feel it, it feels dry. Could be mistaken as a laundromat. Yeah, could be a cooking show, cooking. I'm going to use a wash brush. Now, I'm going to try to re-wet the paper a little bit with a spray bottle with clear water. It's just dampened the paper, not having it soaking wet. And I'm having a large size wash brush, and I'm going to load some of the color I used, some warm color, ochre, vermilion. And then the green, the dark green, and some ink. The color is in stages. The first color goes in deeper, but nonetheless, it will never go beyond, say, one third or half of the brush. And then I blend to allow this different color integrate. And then I can reload the tip here, the root area stronger to show the contrast. Okay, we're going to have the brush flat so that the dark color goes at the base. And I overlap the stroke to develop the depth of the shadow. The mist is an illusion. It's really the space. But if the space without shadow, it's flat. It doesn't keep the range or the volume of the mist. So I do this to create the depth of the mist. And if I work the brush this way, it's wider. But if I turn the brush, then it tapers. Then it develops that fading as if the mist is into the void. So I work this at the base area of the mountain. And sometimes working a concentrated area. Other times, I let go because the nature of the mist is like sometimes it's dense. Other times, it fades into light. Mist, so I don't want to get a whole row of dark shadows. And since this paper is very forgiving, I can at any time feel the need to re-wet. I can spray any area along the way. It doesn't change anything. So that is the layer of cloud. And then I will have the brush loading some warmer color, vermilion, on the same side with some purple. And then I will have the top shaded. When we do this, it will make the white of the mist show up more. So I'm blocking with some horizontal stroke. When you do wash, you do need to wash every stroke of paper so that paper will not be picked up and disrupt the shape. And this purple can also apply onto the top of the shadow to add more depth. Look at that. A little dimple. And perhaps I can use the Phoenix brush with a little bit purple and adding a little distant silhouette fountain in the background. That's it. Voila. Complete all the elements. So we can have some three dots. And some can be big, some can be small, and some can be lighter. And we can do it wet on wet. The paper is very co-operating. And we can see the shade. Okay.