CBP Challenge 3: Lotus & Dragonfly

We recently completed our third Chinese Brush Painting challenge. The main subject of the challenge was Lotus. However, for most of our number that was not enough and (as is definitely becoming a habit) Dragonflies/ Damselflies were added. Of course, as usual, the idea of the challenge was to interpret that title in any way people saw fit.

There were some absolutely wonderful paintings of Lotus leaves and flowers produced and most people had completed more than one painting for the challenge.

I have been thinking about the artist Qi Baishi (1863 – 1957) a lot recently and especially because of this challenge. Qi Baishi is one of Claire’s favourite artists and we have been studying his work for many years now.

For some of Claire’s challenge inspirations please see our Double Happiness Studio MH Facebook page.

I was drawn to using something of his as the basis for my challenge piece. Qi Baishi’s detailed Dragonflies, and other insects, have fascinated me ever since I saw them and I believe I have wanted to paint one for over 20 years. Part of me thought it was not possible to paint them freehand and they must have been made with some kind of camera obscura but I will leave you to judge what you think from my piece which is freehand on single xuan paper…

I made a rough sketch to plan out the composition and then, very carefully started on the Dragonfly. The secret is to make sure that the brush is wetted to make a fine point and then dried out as much as possible. Most especially the heel of the brush. Once the detail was completed the Lotus seed pod, and especially its stem, had to be completed in dark wet ink in order to provide the contrast required:

If you would like to see the above painting in more detail, please visit my Portfolio.

There are 3 parts to the Calligraphy, one is the date, another my signature and the one at the top is literally saying ‘in the style of Baishi’ with an attempt at his later Calligraphic style. The seal is of our studio, Double Happiness.

We would love to include some of the other challenge work so if you have produced a painting for this one and would be happy to share do please let us know and we will post it up here…

I hope this inspires you to paint some wonderful pictures. If you feel so drawn, again, please let me know and I will post up images here. You can always comment in your own words below. Just click on Leave a comment.

Claire will be posting up a challenge painting very soon so please watch this space…

Happy painting,

Paul

Qi Baishi part 1

1863 – 1957

Taken from an original article by Wu Hsiao-ting

Qi Baishi painting - Photo
Qi Baishi painting – Photo

In 1863, a boy was born into a destitute peasant family in Xiangtan County, Hunan Province. Nobody could have known that this country boy would grow into such a great painter that even Pablo Picasso would one day say, “I dare not go to China, because there is a Qi Baishi there.”

Picasso lavished this praise on Qi when Zhang Daqian (1899-1983), visited him in Paris in 1956. Picasso also took a pile of Chinese ink paintings he had created in imitation of Qi’s artistic style.

What is the charm of Qi’s paintings that captured the imagination of the Western art master as well as many art lovers around the world? How did a poor farmer’s son, who started out as a carpenter, become a highly venerated maestro? Qi’s story is enlightening not only to aspiring artists, but also to all those who want to make something out of their lives.

Born into the wrong family

Qi was the first child of his family. He had six brothers and three sisters. His family owned only a small piece of land that produced far from enough to feed them, so his grandfather and father had to do odd jobs here and there to scrape out a living.

It would have been impossible for him to go to school were it not for his maternal grandfather, who ran a small private school not far from the boy’s home. Without having to pay any tuition, Qi happily went to school when he was eight.

His grandfather taught the students to write by copying Chinese characters in a copybook. Sometimes when Qi got tired of the monotonous copying work, he would begin to draw. His drawings of things he saw in his daily life – an old man fishing, flowers, frogs, or cows – fascinated his classmates, who came one after another to ask for his vivid creations. Not long afterwards, when his grandfather found out what he had been doing, he scolded the boy for wasting precious paper on meaningless doodling. After that, Qi could only draw secretly on rough wrapping paper.

The Autumn came. The poor harvest that year aggravated the already poor financial situation of the family. Qi had no choice but to quit school and stay at home to help chop firewood, plant vegetables, and graze cattle. Although his schooling ended prematurely, he did not put his books aside. He always carried a book with him to study whenever he went to the mountains to graze cattle. Afraid that he would pay too much attention to reading and neglect his duties, his grandmother reproached him, “Can you keep your stomach full with your pen and book? Our family needs food, not paintings… Alas! It’s a pity that you were born into the wrong family.”

Because Qi had been fragile since he was born, his family knew that it was out of the question for him to become a farmer. When he reached fifteen, his father apprenticed him to a carpenter, Chi Chang-ling, in the hope that he could at least learn “something useful” to help provide for the family. One day when Qi and his master were returning home from work, they met three men on the road carrying wooden boxes and sacks containing saws, drills and the like. Looking at the tools, Qi knew that these men must be carpenters too. To his surprise, his master smiled and greeted them with a high degree of respect, while the three men, haughty and arrogant, barely paid any attention to him. After they had walked away, Qi asked his master, “We are carpenters and they are carpenters too, so why did you behave so respectfully towards them?” The master answered with a serious tone, “What do you know? We make big furniture, which requires little skill, while they produce refined woodwork with intricate carving skills. Unless you are really smart, it is impossible to learn their artistry. Although we are all in the same line of work, we are much lower than they in terms of social rank. That’s why I show such reverence for them.” After hearing what his master said, Qi secretly made a resolution: “I don’t believe I can’t do what they can. One day I will become a woodcarver too.”

After learning carpentry for a year, Qi fulfilled his dream. Carpentry is a physically demanding job – young Qi often found it hard to carry heavy timber and erect large wooden frameworks. Worried that the strenuous work would worsen his delicate health, his family agreed to let him learn to become a woodcarver. Chou Chih-mei, a famous local woodcarver, accepted him as his pupil. Chou was a patient and enthusiastic teacher, and he taught Qi everything he knew. He soon found to his delight that his student was both diligent and talented. After a three year apprenticeship, Qi not only mastered the craft, but even surpassed his master in skill. In addition to the regular carving patterns and designs often seen at that time, he created many new designs which gained great popularity among his clients.

One day at the home of one of his clients, Qi came upon a book on painting which demonstrated how to complete a painting from beginning to end and contained a comprehensive series of flowers, rocks, figures and other motifs. Elated at finding this invaluable treasure, he industriously copied and recopied the whole series. The book initiated him into the world of Chinese ink painting and imbued in him a rudimentary knowledge of brush technique and composition. From then on, he diligently practiced painting in his spare time. His clients eventually found out that he could paint too, and they asked him to paint for them. That was how he began to create paintings, mostly of folk deities and portraits, for his clients. At that time, he only took painting as a means to supplement his meagre income as a woodcarver. Little did he know that he would one day be lauded as “the first great master of the Chinese art world in 300 years.”

Li Tieh-kuai - detail - Qi Baishi 1927 106x32cm
Li Tieh-kuai – detail – Qi Baishi 1927 106x32cm

More of Qi Baishi’s biography will be published in Part 2, coming soon…

Radicals and pigs

We are very lucky to have a wonderful painting by Jane Dwight of two pigs in our sitting room. It may seem a strange subject to have up on the wall but we both loved the painting when we first saw it and bought it without a second thought. I often sit and look at it – there is something powerful in the strokes and the composition that is sublime.

In contrast, I found a painting from 13 years ago which I had forgotten about:

Boar in the snow by Paul Maslowski 2007
Boar in the snow by Paul Maslowski 2007

I have also recently been asked twice about pigs so thought I would put some thoughts down in a blog post to try and answer some of the queries.

I wanted to start by looking at the Calligraphy for Boar. So why is the Calligraphy for Boar on our Zodiac Animals page so different from what Google or other translation engines throw up?

First of all, I think it is worth reminding ourselves that like all languages, Chinese is in the process of evolving. This means that there will always be many ways of writing words and phrases especially when slang terms are involved. However, some of these will become the accepted way of doing things…

The characters in the Zodiac are pretty much set so when looking at the Boar, this is represented by the character shǐ:

Chinese Calligraphy - Hog swine shi3
Chinese Calligraphy – Hog swine shi3

However, if you look up Boar or Pig on Google you will get zhū:

Chinese Calligraphy - Boar Pig Hog zhu1
Chinese Calligraphy – Boar Pig Hog zhu1

What you will notice is the left part of the character which is the radical for four-legged animal, which is a very big part of the Zodiac character…

It is worth noting that if you write either character on your painting it is perfectly acceptable but should you write the former character it links more closely to the Zodiac and provides a better link to Chinese culture.

Having said that, should you wish to write piglet there are many ways of writing this. The most literal would probably be little pig i.e. xiǎo zhū and this would be fine. However, if you wrote the following this would be more what parents may affectionately say to their children in China:

Chinese Calligraphy - Piglet zhu1 zhu1
Chinese Calligraphy – Piglet zhu1 zhu1

Literally pig pig this is piglet (zhū zhū).

Piglets by Claire Seaton 2019

Having said all the above, please don’t assume that the Chinese characters are set throughout the Chinese world. If in doubt, and you are able to ask a Chinese person, ask. What is there to lose?

The best thing to say is that should you not have access to Chinese speakers and writers please write something. It is always best to have a go and Chinese readers will appreciate the effort. Some of the best conversations I have had about paintings have been because my Calligraphy was either completely incorrect or almost there. If it is almost there people want to find out what was meant and are usually happy to offer solutions or say how much they enjoy the contrast…

Here’s hoping this inspires you to take another look at pigs, or other animals in the Chinese Zodiac. If you do have pigs you have painted either previously with us, or because of this post, please get in touch as we would love to see them.

Have fun with your painting and Calligraphy,

Paul

CBP Challenge 2: Pine trees & Hares/Rabbits

Some of us recently completed our second Chinese Brush Painting challenge. The main subject of the challenge was Pine trees. However, for most of our number that was not enough and (as appears to be becoming a habit) Hares/Rabbits were added. Of course, the idea of the challenge was to interpret that title in any way people saw fit.

Again, there were some absolutely fabulous paintings produced and most people had painted more than one in order to get closer to what they wanted.

Reminder: a previous blog post on this site dealt with a workshop we held looking at Spring Hares if you would like to see some in detail.

As some of you will already be aware from her daily facebook post, Claire painted a Hare with the moon as you will see below. Should you wish to write the Calligraphy for moon, or month, please see our Dating paintings page:

Hare and the Bright Moon - Claire Seaton 2020
Hare and the Bright Moon – Claire Seaton 2020

For more of Claire’s challenge inspirations please see our Double Happiness Studio MH Facebook page.

I have been thinking about the Yuan Dynasty (1271 – 1368) and decided that I wanted to use a Yuan Dynasty artist’s work as the inspiration for my piece. I have been studying the work of Zhao Mengfu (1254 – 1322) for some time now and was drawn to using something of his as the basis for my piece. I made a very rough sketch to plan out the composition and then, quite frankly, got stuck in to see if I could produce anything approaching the sublime nature of some of his tree and rock studies. My concentration had been on the pine – the idea being to show it growing around the main rock – but once I had managed to get that down I really wanted to bring it upto date by adding my Spring Hares, as you will see below:

Double Happiness - Hare Pine Mountain after Zhao Mengfu - Paul Maslowski 2020
Double Happiness – Hare Pine Mountain after Zhao Mengfu – Paul Maslowski 2020

If you would like to see the above painting in more detail, please visit my Landscape Portfolio.

We would love to include some of the other challenge work so if you have produced a painting for this one and would be happy to share please let us know and we will post it up here…

You may wish to include the Calligraphy for Pine (sōng) in your painting:

Chinese Calligraphy - Pine - song1
Chinese Calligraphy – Pine – song1

You may wish to include the Calligraphy for Hare (tù) in your painting. This can be found on our Zodiac Animals Calligraphy page.

I hope this inspires you to paint some wonderful pictures. If you feel so drawn, again, please let me know and I will post up images here. You can always comment in your own words below. Just click on Leave a comment.

Happy painting,

Paul

CBP Challenge 1: Pigeons (& Peonies)

Some of us recently completed our first Chinese Brush Painting challenge. The main subject of the challenge was Pigeons (or Doves). However, for some of our number that was not enough and Peonies were added. Although the idea of the challenge was to interpret that title in any way people saw fit.

There were some absolutely wonderful paintings produced and most people had painted more than one in order to get closer to what they wanted.

A reminder that a previous blog post on this site dealt with how to produce the Calligraphy for Bird and Pigeon, or dove (gē).

As some of you will already be aware from her daily facebook post, Claire painted a Pigeon from the garden:

Pigeon by Claire Seaton 2020
Pigeon by Claire Seaton 2020

For more of Claire’s challenge inspirations please see our Double Happiness Studio MH Facebook page.

I decided that I needed to carry out a number of pigeon studies so completed some very rough studies in order to get the arrangement of features. It was noted that Claire and I had different ways of producing the beak in order to create different characters.

My eventual painting has 10 pigeons in groups of 1, 2, 3 and 4:

Pigeons after Wu Zuoren by Paul Maslowski 2020
Pigeons after Wu Zuoren by Paul Maslowski 2020

If you would like to see the above painting in more detail, please visit my Birds Portfolio.

Now, I would like to include some of the other challenge work so if you have produced a painting for this one and would be happy to share please let me know and I will post it up here…

I hope this inspires you to paint some wonderful pictures. If you feel so drawn, again, please let me know and I will post up images here. You can always comment in your own words below. Just click on Leave a comment.

Happy painting,

Paul

Be bold

This week I thought it useful to remind us all to be bold when painting. In this time when we have not been able to meet up physically to paint there is a temptation over time to become tentative with our painting, especially in the execution of our brush strokes. Don’t give in to this – be bold!

I have, therefore, taken as my subject, figure painting. Especially as this is an area where we tend to get very worried about proportion and placing of features…

Back in the 10th century, Shi Ke produced these wonderful paintings, one of which I am concentrating on today. Hopefully you can see that the energy of key strokes is infectious and, of course, must be performed without doubt and with no room for titivation. There is real freedom in just letting the strokes fall where they do…

2 Chan Patriarchs harmonising their minds - detail - Shi Ke 10th C 35x64cm
2 Chan Patriarchs harmonising their minds – detail – Shi Ke 10th C 35 x 64cm

I took these paintings as the subject of a workshop back in 2014 after having seen them at the fabulous exhibition of Masterpieces of Chinese Painting from 700 – 1900 at the V&A in London.

There are many ways to start and I think, rather than thinking of a tiger, I started with looking at rocks and how to paint them…

Rope stroke mountain
Rope stroke mountain

I then added a figure to the rock. However, I thought it useful to consider that if you want to work freely you may wish to go for it with the figure and then add the rock, or another feature, to the picture afterward…

Man Mountain 1 by Paul Maslowski 2014
Man Mountain 1 by Paul Maslowski 2014

There now follow a couple of variations of the finished composition of the Man Mountain under the moon…

Man Mountain 2 by Paul Maslowski 2014
Man Mountain 2 by Paul Maslowski 2014
Man Mountain 3 by Paul Maslowski 2014
Man Mountain 3 by Paul Maslowski 2014

This reminder is just as much for me as anyone as I have been deliberating over one detail or another in a painting which has lead to a reduction in energy.

I know that we do not all have as much time for painting in the Summer but this is the ideal time for big, bold and loose paintings with lots of flow…

Happy painting

Paul

Calligraphy – Bird

I was practicing some Chinese Calligraphy, this weekend, for a picture, and it occurred to me that although I have spoken a lot about Traditional and Simplified characters I may not have given any example on this website, other than numbers when putting the date on your paintings.

I, therefore, thought I would post up the Calligraphy for bird (niǎo) and then use this radical to form a type of bird – a pigeon, or dove (gē).

The Calligraphy for bird (niǎo) is shown below in both Traditional on the left and Simplified regular Script (kǎi shū) on the right:

Chinese Calligraphy - Bird - niao3 traditional/simplified
Chinese Calligraphy – Bird – niao3 traditional/simplified

I have also spoken a lot about the importance of stroke order when writing in Chinese. One thing I may not have made clear is that sometimes the stroke order for Traditional characters is different to that when writing Simplified characters. Below is the stroke order for the character, bird (niǎo):

Chinese Calligraphy - Bird - niao3 traditional/simplified strokes
Chinese Calligraphy – Bird – niao3 traditional/simplified with stroke order

This character shows clearly the difference between Traditional and Simplified characters. The Traditional character is slower to write and is formed of 11 strokes. The Simplified character is much faster to write being formed of less than half that number.

The next step is to use this radical to write a specific bird. This character is called a radical because it forms part of the character of all birds.

Below is the character for pigeon or dove (gē). Note the difference again between Traditional and Simplified characters and the use of the bird (niǎo) radical:

Chinese Calligraphy - Pigeon/Dove - ge1 traditional/simplified
Chinese Calligraphy – Pigeon/Dove – ge1 traditional/simplified

However, please note that, as often happens, the part of the character which turns bird (niǎo) into pigeon/dove (gē) is identical in both Traditional and Simplified versions, it is merely the radical which is different.

For more information on choosing when to use Traditional or Simplified characters on your paintings please take a look at our Dating paintings page.

If you would like to see some of my Bird paintings, please visit my Birds Portfolio.

Happy practicing,

Paul

Ox and boy…

As I am sure some of you are aware I have been reviewing past activity. However, not all of my introspection has been about the past.

This weekend I thought it important that we look to the future especially in this confused time. Next year will be the Year of the Ox which will, no doubt, be a different year to this Rat one…

I started thinking about this picture when I taught Oxen a couple of years back. I started with something of an outline of an ox which I completed and added a boy to as per a Chinese contemporary artist’s work. I decided to take a photo of the piece so that you can see the first stage of this painting in case you wanted to have a go with an outline of the same subject or one of the elements:

Ox and boy 1 - outline - Paul Maslowski 2018
Ox and boy 1 – outline – Paul Maslowski 2018

What you are looking for in the outline, ideally, is as many calligraphic strokes as possible and with a variety of thicknesses as well as variation in wet and dry.

Having placed the outline of the image, I added levels of grey until the shading was as I wanted it for the painting.

Once this was completed I added various colours without ‘colouring in’. It is important that Chinese brush paintings include spontaneous strokes even when the outline is well defined. It is also important that the outline be disregarded on occasion as the energy of the painting asserts itself. In other words, do not worry if the wash spreads beyond the line. Again, ideally, we are actually looking for this to occur in a skillful way:

Ox and boy 2 - coloured in - Paul Maslowski 2018
Ox and boy 2 – coloured in – Paul Maslowski 2018

I will add the rest of the composition as it arises. However, right now I am going to stop here in order to let you have a go in preparation for next year.

Should you choose to take up the challenge please do let me know as I would love to see what you do next…

8th July 2020 update:

Janice of the East Midlands CBP group was inspired by this post and produced the painting below:

Ox and boy by Janice Biscoe 2020
Ox and boy by Janice Biscoe 2020

She then went further and produced this lovely work which has a real narrative to it. What do you think is being thought..?

Spring Ox and boy - Janice Biscoe 2020
Spring Ox and boy – Janice Biscoe 2020

You may wish to include the Calligraphy for Ox (niú) in your painting. This can be found on our Zodiac Animals Calligraphy page.

Happy painting

Paul

Meditation…

I should have been teaching a Chan (Zen) group today so as this cannot happen now I thought I would post up some Meditation inspired paintings to inspire you to think minimally, maybe…

The first is a very simple construction concentrating on space. The idea here is to produce the image with as few strokes as possible. For anyone who has tried to convey facial features with the minimum number of strokes you know how hard it can be to get it right. However, it is something worth persisting with so I would encourage you to play…

The best friend in the cold by Paul Maslowski 2011
The best friend in the cold by Paul Maslowski 2011

The second is an image I have painted over and over again to try and get closer to the feeling of simply sitting. This one is from about 15 years ago now and is an inspiration from a wonderful painting by Qi Baishi:

Dharma after Qi Baishi by Paul Maslowski
Dharma after Qi Baishi by Paul Maslowski

The third painting is one I came up with after regular bouts of sitting in Buddhist meditation halls in Taiwan during the early 2000’s and is a reminder of the tranquility of those wonderful spaces which were full of lanterns, pillars and peaceful people:

A still life by Paul Maslowski 2005
A still life by Paul Maslowski 2005

Do let me know if this reminds you of particular works or if you have been similarly inspired by sitting in meditation, practicing Qigong, Tai chi or any other oriental art for that matter.

Happy painting.

Paul

The Rooster turns…

It’s definitely been an interesting week in lockdown! I, therefore, thought I would post this Bank Holiday as I continue working my way through half-finished paintings.

This time I was looking at more work from 2014 and came across a Rooster which I had painted. I don’t think I painted this one for a demo but rather think I may have painted it in the afternoon of a workshop. I liked the painting but wanted to complete it. There was also something about the Rooster’s tail which needed work although I liked the original painting:

The Rooster starts to turn by Paul Maslowski 2014
The Rooster starts to turn by Paul Maslowski 2014

If you would like to see the above painting in more detail, please visit my Birds Portfolio.

Back in 2014 I had added 3 bamboo stalks which I now added leaves to. The main reason for adding the bamboo into the picture is to bring in the qualities of the noble gentleman which the Rooster should represent.

This Rooster wants to be a wise and upstanding member of the community and this is enhanced by adding strong bamboo. This means that among other things the strokes must be strong and performed without any doubt. Any wavering or trepidation will immediately show and reflect poorly on the leadership qualities of this Rooster.

The tail of the Rooster was not bad but it was short and I felt that this needed work as a strong leader needs a strong and colourful tail. Again, the strokes of the feathers must be painted in one swift stroke.

I also added the suggestion of pine for longevity as I’m sure we all want our Rooster’s to live long happy lives…

Once I’d put the ground in, the Calligraphy and seal finished it off.

You may wish to include the Calligraphy for Rooster (jī) in your painting. This can be found on our Zodiac Animals Calligraphy page.

I hope you approve of the finished picture. Any questions or comments will be gratefully received.

Keep well, keep safe and Happy Painting,

Paul

PS Mike Garbett has kindly replied with his Roosters post below. Thank you for sharing, Mike:

Kings of the rock by Mike Garbett
Kings of the rock by Mike Garbett

Group Peacocks

In looking back at work over the last 18 years, since I started teaching back in 2002, I have been reminded how many beautiful paintings have been produced. And, this is the ones that we know about!!!

It seems very clear that, at this time, we should celebrate all of the people and paintings that we have worked with over the years.

I am drawn, once again, to the Group work that we have done in many groups, and in particular today, the Peacocks…

Below is a wonderful piece completed by the LTCBP Group in Oadby on a fabulous Saturday workshop:

2014-10 LTCBP Group Peacock - Photo by Mike
2014-10 LTCBP Group Peacock – Photo by Mike

Now, this is not the only time that we have worked on Peacocks and I am also sure that Groups do not always get the chance to compare notes. It, therefore, is appropriate to show this Group Peacock completed on another lovely sunny day:

2015 East Midlands cbp Group Peacock
2015 East Midlands cbp Group Peacock

The inspiration for this painting came from a not-so-silent walk in the Peak District at Birchover near Winster:

Winster Peacock inspiration - photo by Paul
Birchover Peacock inspiration – photo by Paul

This is a small selection of Group work and I would like to put some more up on the blog in due course.

You must have fond memories of Group work that you have participated in over the years with us. Do please post up or drop us an email as we would love to recall great painting times with great painting groups.

We have posted previously about the Group Rat painted in the University of Leicester Botanic Gardens which you may enjoy if you haven’t seen before…

Thank you and happy painting,

Paul

Waiting for his master

I started this week by looking through my Animals portfolio. In this I found a demonstration piece that I think was done for a workshop in February 2018. This was nothing to do with animals as I have it down as a ‘back to basics with Trees’ workshop…

2 islands by Paul Maslowski 2018
2 islands by Paul Maslowski 2018

It was a quick demonstration of a couple of bare trees on two very small islands. From that start I have added shading to the trees and the islands as well as to the water. This is, therefore, a mix of traditional and contemporary:

Waiting for his master - detail - by Paul Maslowski 2018
Waiting for his master – detail – by Paul Maslowski 2018

I have also added a distant lake edge as well as the fisherman. Again, this was a challenge piece to take a demo and turn it into a composition. I could have stopped here, and although this tells us a certain tale, I wanted to expand a bit more of the story which led to a title change…

Waiting for his master by Paul Maslowski 2018
Waiting for his master by Paul Maslowski 2018

If you would like to see the above painting in more detail, please visit my Animals Portfolio.

I started by adding the dog in the bottom right hand corner which gave a diagonal composition.

It then seemed the right thing to add land so that the dog was waiting on the shore for his master. This seemed a bit bare so some darker details were added to key the front of the painting. It still seemed bare so as this is definitely a winter painting some dying water reeds were added in.

There was a lot of white in the whole picture so it became clear that I needed to do something about the sky as I did not want to add any detail to the far shore. I don’t think it is particularly clear in the photo but the sky was swiftly filled with a blue-grey wash.

Last to go in was the Calligraphy. First, the year, 2018 followed by my signature with a space for our studio seal…

You may wish to include the Calligraphy for Dog (gǒu) in your painting. This can be found on our Zodiac Animals Calligraphy page.

I appreciate you may have some totally different compositions from the tree island start which I would love to see. If you have stayed with a landscape it would be great to see what you have done…

Happy painting

Paul