An assortment of techniques are used in Chinese ink painting. Having a basic understanding of ink and brushstrokes provides a foundation for more advanced methods. Ink and brush manipulation, along with blotting and finger painting, make up some of the techniques that can be used to create various shades of black.
Ink Basics
Ink can be prepared with varying amounts of water, making for different consistencies. Thicker ink has a deep and glossy appearance, while thinner ink has a translucent look. Different ink consistencies, when used together, create a range of shades. Oil soot ink sticks provide a "warm black" color for general use. Other options for working in shades of black include charcoal sticks, pine soot sticks, and ready-made liquid ink.
Stroke Basics
Two basic strokes in Chinese ink painting are the thin and wide strokes. The thin stroke is made by holding the tip of the brush upright, and then carrying it out without the arm touching the table. The wide stroke requires the brush to be held at an angle so that more of the fibers contact the paper. Pressure and brush direction determine the form of basic strokes for flower petals, leaves, and stems, defined by a contrast between dark and light shades.
Blotting
Blotting can be used as a background, or to represent objects, like trees or rocks. The technique is achieved by applying ink to a rough surface and then placing absorbent paper on the ink, finally brushing the ink with the hand or a stiff brush. It is up to the artist to decide which additional brushstrokes to use with the blot, and to what degree the shades should vary. Line strokes may be added to define an object or landscape.
Finger Painting
While brushes are used in Chinese ink painting, techniques of applying ink directly with the fingers or thumbs can be incorporated. Different finger and thumb impressions may be used to represent smaller elements like petals or leaves, or they can make up entire subjects, such as birds and fish. The amount of ink and contact pressure used determines the boldness of the ink's shade. Artist Pauline Cherrett states that this technique should be combined with brushstrokes.
