Chinese Painting Orchid and Bamboo in Same Composition with Ning Yeh

Very happy to introduce a couple new brushes from OAS. One is called the Big Twig. Big Twig. Okay. It is a brush I think very useful for pedals. But today, since the subject is on orchid bamboo, so I'm going to try to use it for the bamboo trunk. And the other brush is called the Gliding Egret. The Gliding Egret. That's short term, you understand. This is because we sold out the Dancing Crane. And so in addition, they sent us this wonderful brush. So I'm going to try to use it to do some bamboo and orchid leaves. Usually I would use the orchid bamboo brush or the mountain horse. Mountain horse. I just got pushed by my son to do this. So I'm a little out of it. But I'll try to bounce back. Okay. So we'll try to use this. I'm loading some diluted vermilion and then some light green. So loading onto the brush, inside the brush. Again, vermilion. This is very wet as you see. And then the light green. And I'll blend them and dilute it. And then I will open up the bristle and loading both sides, the darker green. I lay the brush down horizontally so it reaches deep into the brush. And then loading some dark brown. The dark brown is just the vermilion with ink. So then I blend the brush. I will tap a little bit moisture to soften the tip. And since the brush is very new, so I'm forcing it to open a little bit more. And now I'm going to work a bamboo trunk from the base up. Very nice. And gradually getting thinner. And then change to the dancing egret. Gliding egret. Confusing myself. No, no, no, no, no. You're trying to make me feel better. All right. Gliding egrets. Yeah. Okay. So we'll saturate the brush with light green, dark green, and tip some ink. I try to work some of the, assuming there's a branch coming out from this twig and then extending to about here. So I'll start working leaves drooping from that area. I'm using pair of scissors, crushing them. Develop. Oh, look at that. And some diluted ones to add some depth. All right. I use the same brush and using some of the residue of the mixture, basically is the green and browns. Try to extend the twigs. I usually aim at the tip of the big brush, a big leaf that I call host. So it's like fish looking for the food here. And just by doing that, then the whole composition is tied together. All right. And then while I do some happy dots, they call the eye of the dragon on the ring of the bamboo. Beautiful brush. I'll use the same combination of color of light green, dark green, tip ink, and work up an orchid. I do again, crossing leaves, host and guest, and some little ones on the side to bundle it up. Maybe allow one leaf to reach the bamboo. Now I'm using our OAS weapon, traditional best brushes, the happy dot. I'm loading the light green, dilute it, diluting the tip a little bit, and then loading the very tip with concentrated red, only at the tip. I will use the combination since the red is only at the tip. So I'm reinforcing it almost every stroke, but I'll keep the rhythm. And maybe a baby one. And using the residue on the brush, I will work the stem and the sheath, and then concentrated red happy dots to show the center. Little transparent brown. I will add some sheath if it's needed. So that would be a simple demonstration of our combination orchid bamboo. I'm going to put the signature here with a seal to form a perfect triangle or a check mark for the composition. Oh, I forgot to mention the paper I'm using is our double-strand AO. This is a very, very nice seasoned rice paper. We have kept the paper for great many years. And of course, the older the paper, the better. Like people. So I'm putting a signature here. That's ye means leave, and ning means tranquility. And my seal.