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Joy of Brushwork Ng Woon Lam
笔趣 _ Joy of Brushwork
Ng Woon Lam Joy of Brushwork Photography : Ng Woon Lam Design : Trivia Goh English Translations : Tan Chee Lay English Editing & Proofreading : Trivia Goh Mandarin Editing & Proofreading : Ng Woon Lam © 2021 Ng Woon Lam ISBN : 978-981-18-0714-5 All rights reserved. No part of this publication may be reproduced, transmitted or published in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the copyright owner(s).
Joy of Brushwork : a compilation piece Ng Woon Lam
鸣谢 Acknowledgements My sincere and heartfelt thanks to: School of Art, Design and Media, Nanyang Technological University, Singapore, for its generous financial support. National Institute of Education, Nanyang Technological University, Singapore, for supporting this exhibition and providing the gallery space. Master Calligrapher Mr. Tan Kee Ser for sharing his knowledge of Chinese calligraphy and ink painting. Professor Seah Hock Soon, from Computer Engineering and Associate Professor Tan Chee Lay from the National Institute of Education for their support and interest in taking on this project. Ms. Trivia Goh, for her efforts in coming up with a brilliant design for my book and a lot of her precious time in proofreading the English content. Mr. Ang Qing Sheng for sharing his Maya knowledge and training our team members. All students working with me over the last 2 years to make this show possible.
感谢新加坡南洋理工大学 艺术,设计与 媒 体学院的资助。 感谢新加坡南洋理工大学国立教育学院资 助展场。 感谢书法与水墨画前辈画家曾纪策老师示 范及分享中华书道的宝贵知识。 感谢电脑工程系谢福顺教授及国立教育学 院陈志锐副教授的参与和各方面的 协助。
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鸣谢 _ Joy of Brushwork
感谢洪庆盛老师多次分享其宝贵的 Maya知识，并无私地指导我的组员们 Maya的各项功能。 感谢吴诗雅小姐精美的设计及为本书的 英文部分进行校对及修正。 感谢一群很有活力的学生们，愿意不断 地进行多方面的尝试。 要感谢的朋友实在太多太多，如有遗 漏， 敬请包涵！
Untitled (Work in progress) Oil on Linen 90cm x 60cm
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序文 Preface Joy of Brushwork The objective of this project was to experiment with the essence of Chinese calligraphical brushwork and showcase its advantages for animation. The Maya built-in functions and its programmable environment provided us the flexibility to simulate the concept of Chinese calligraphy in depicting various brush and ink movements. The write-up by our local master calligrapher, Mr. Tan Kee Ser, summarizes the fundamental concepts of Chinese ink painting and how it applies the essence and abstract design of Chinese calligraphy. Computer programming has enabled 3D animation to borrow the merits of the Chinese calligraphy language. The flexibility and sophistication of the Maya software and its programmable Python interface have opened up many new possibilities. Its near omnipotent textural functions enabled Chinese calligraphy to be presented in a 3D visual environment, allowing its simple and illusional quality to expand the scope of 3D movement presentation. It verified the idea discussed in the previous exhibition and upgraded Chinese calligraphy from a two-dimensional to a three-dimensional interface1, 2. In a 3D visual space, the programmed brushwork is reusable and different angles of the presentation can be chosen to achieve the best visual results. As a result, the charming characteristics and brushworks of chinese calligraphy can now be combined with three-dimensional animation to showcase its strength in abstraction. This book also presents traditional two-dimensional animation clips as a comparison.
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The process of 3D brushwork develpment started with exploration of various built-in functions within the Maya environment. Since every function was not built for this purpose, additional adjustments were required to overcome the limits of each function.This was done through the flexible Python programming interface within the Maya software platform. We were lucky to have Dr. Fredy Tantri working with us. He is fluent in Python and trained 2 of our student team members in Python programming. Dr. Tantri made multiple mathematical adjustments to overcome the limitation of various Maya built-in functions, which enabled certain simulations of calligraphic brushwork in the 3D space. Finally, this E-book combines both 2D and 3D presentations of Chinese calligraphic brushwork. A series of artworks and two sets of 3D animated figures were developed for this demonstration. We wish to bring out the illusory quality of the Chinese calligraphy with animation and present to the audience.
Ng, Woon Lam. “Comparison of Chinese Calligraphy and Ink Painting Brushes with Western Water-Media Painting Brushes.” In Proceedings of the 2nd International
Colloquium of Art and Design Education Research (i-CADER 2015), pp. 571-576. Springer, Singapore, 2016. 2
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Ng, Woon Lam, Don Low Chee Mun (2014). Perception and Delusion (K. Soh Ed. 1st ed.). Singapore: Ng, Woon Lam.
笔趣 _ Joy of Brushwork
笔趣 此项计划的目的是实验中国书法的精髓，展现其用于 动画制作的优势，三维应用软件Maya的内置功能及其 可编程环境为我们提供了许多灵活性，使我们可以模 拟中国书法概念去阐述及表现各种动作。我们也邀请 了书法家曾纪策先生以一篇简短的文章总结了中国书 法用于水墨创造的基本概念，它如何发挥了中国书法 的精髓和其抽象的视觉力量。 电脑编程把中华书法的优势带入了新的三维动画世 界，玛雅软件(Maya)三维界面的高度可塑性及其几乎 无所不能的各种质感功能，使中华书法能在三维的视 觉环境再度呈现其精简而有力的错觉效果。这一回验 证了上以次展览的想法 1,2，把中华书法从二维提升到 了三维界面，使其拥有更佳的重复使用性，且能从不 同的三维角度选择各种最佳的视觉效果。由此，中华 书法笔触和韵味能结合三维动画，再度展现其抽象的 艺术力量。此书也同时呈现传统的二维动画范例与之 作为比较。 三维笔触的开发过程始于对Maya环境下各种内置功能 的探索，由于Maya软件的每个功能都不是为此目的 而创建的，因此需要进行额外的调整，以克服每项功 能的限制。通过Maya软件平台中Python编程环境， 我们终于灵活地绕过各种局限。我很幸运能与 Fredy Tantri 博士合作，他拥有很强的Python偏码能 力，他也对两名学生队员进行了Python编码的培训。 为克服各种Maya内置函数的局限性， Tantri 博士进行 了多次数学性的调整。 最后，为示范成果，组员们制作了一系列作品和 两个三维动画人物，以示范中国书法笔触的二维和三 维动画应用，希望以此中国书法的简化效果来表现错 觉的力量。
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书画同源 中国最早的文字为象形文，所谓之象形者即是通过线 条画出对象简单的形象以表情达意，画即是字，字亦 是画，此为书画同源之滥觞。随着时间之推移，文字 之发展逐渐走向抽象化，于是产生篆、隶、行、楷、 草诸体，以至现在我们所用之中文。当文字从实用性 向艺术性时，成其造形结构之线条逐成为衡量其艺术 水平高低之标准，千变万化之线条逐渐产生，称书法 为顶尖之线条艺术，当之无愧。 中国画自古以来，主要特点亦是以线条来表达，笔墨 功夫之高低，往往是决定一幅中国画之优劣，而经过 高度提炼千变万化之书法上之线条正好可加强画面线 条之效果与笔墨情趣；故自古以来优秀之画家亦是善 书法，此中密切关系，即是书画同源之道也。 曾纪策 2021年
The Homologous Origins of Chinese Calligraphy and Ink Painting The earliest Chinese characters are pictographs. Pictographs use lines to construct images of objects in simplified forms to express meaning. Therefore, the connection between image and word is inseparable. The same can be said of the origin of calligraphy and Chinese ink painting. Over time, the development of writing has gradually moved towards abstraction. Various styles evolve progressively such as zhuan (篆) and li(隶) but they also include partial cursive (xing(行)) regular/formal (kai (楷)), cursive styles (cao (草)), and even the simplified Chinese words we use today. When the texts evolved further from their practicality to the artistic presentation, the lines that form their shape and structure gradually become the standard to measure its artistic level, and the variations of the line gradually emerge. It is truly well deserved to regard Chinese calligraphy as the pinnacle of line art. Since ancient times, the main characteristics of Chinese ink painting have been expressed with lines. The level of brushwork and ink skill often determines the quality of a Chinese painting. The highly refined and ever-changing lines of calligraphy further enhance the presentation of the images. The presentation is an interplay of brushwork and ink quality. Hence, Chinese calligraphy has formed the heart of Chinese ink painting. An excellent Chinese ink painter is no doubt also a good Chinese calligrapher and vice versa. Tan Kee Ser 2021
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Ink on Paper 68cm x 43cm
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笔趣 _ Joy of Brushwork
白朴词 天净沙 孤村落日残霞，枯藤（轻烟) 老树寒鸦，一点飞鸿影下。 青山绿水，白草红叶黄花。
Tian Jing Sha (Poem Style: Bai Pu Ci) The sunset in the lone village, the withered vine (light smoke), the old tree and the jackdaw. A shadow was cast by a distant large flying wild goose. The emerald hills, green waters, white grass, red leaves and yellow flowers.
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Left : Ink on Paper 68cm x 35cm Right : Ink on Paper 68cm x 35cm
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一系列传统水彩画、 油画、素描、二维动画及 三维书法笔法的探索及开 发过程。灵感来自于武侠 小说中的一系列人物。间 中，也要请了陈志锐副教 授创作了一系列诗词及书 法作品，以加强此系列武 侠作品的呈现。
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A series of traditional watercolors, oil paintings, sketches, 2D animations and the process of 3D calligraphic brushwork development showcase the journey of exploration through the use of Chinese martial art character, inspired by various renowned Chinese martial art novels. The artworks are complemented by poems and calligraphy of associate professor Tan Chee Lay.
Left : Untitled Ink on Paper 40cm x 54cm Right : Untitled (Details) Watercolor on Paper 38cm x 915cm
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Left : Snow Scene Oil on Linen 120cm x 160cm Right : Untitled Ink on Paper 38cm x 56cm
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武
Martial
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侠
Chivalrous man
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峰巅
The Peak
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Left : Untitled Oil on Linen 120cm x 160cm Right : Untitled Watercolor and Gouache on Paper 32cm x 48cm
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疾风 有疾风方知劲草， 得对手始成英雄。
The Gale In a gale the toughest grass will emerge. With equal opponent will there be a hero.
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绝顶光明 云过霁空齐登临， 千峰尽处有乾坤。
Extreme Brightness at the Peak Clouds passed by the recently cleared sky, and we arrived at the same time. There is a new world beyond the thousand peaks.
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Left : Swordman in Blue Ink Sketch Right : Swordman in Blue Ink and Watercolor on Paper 30cm x 100cm
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风雪夜归人
Homecoming on a Snowy Night
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儿女情长
The lasting affection of men and women
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往日崎岖还记否， 路长人困蹇驴嘶。
Do you still remember this rugged mountain path ? Endless roads, exhausted men, crippled braying donkeys.
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舞 醉里挑月如灯,一舞剑, 恩恩怨怨, 如叶落纷纷。
Dance Holding the moon like a lamp when drunk. Once the sword dance begin, kindness and resentment fall like leaves.
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Forest, Watercolor on Paper 30cm x 100cm
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Top : Lady in Green Oil on Linen 120cm x 160cm Bottom : Long Background with Figures Oil on Linen 3 pieces of 100cm x 100cm
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江山如画 古道万里， 英雄何觅呵， 晴翠春风里， 人事斜阳外。
The Picturesque Country Miles of ancient road. Where can one find the hero? In the spring breeze of a fine jade-green. And worldly affairs beyond the setting sun.
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古今中外我独行 潇潇风, 洒雨如滴泪, 自天涯至海角, 一人行。
I am trotting alone on a path, which could be ancient, modern, eastern or western. Whistling wind and raindrops like tears. From the edge of the skies to the end of the seas. One walks alone.
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绝尘 你有你之绝尘，我有我之归宿。 当战马老去，侠客退隐， 谁也不过一碗白酒二斤肉。
Traceless You have your tracelessness. I have my homecoming. When a war horse is old, when a knight retires, everyone is but a bowl of white wine and two jin of meat.
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圣 乃知兵者为凶器， 圣人不得已而用之。
Saint Wise men know winning a war, is no better than losing one.
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势 掌风如气气如川， 不动似石石似心。 恩怨川行， 唯心盘石。
Momentum The wind from the palm is like the air and the air is like a flowing river, immovable like a rock and a rock like a heart. Gratitude and resentment flows on like river, while the heart remains like rock.
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Top : Sketch Charcoal and Conte on Paper 32cm x 48cm Bottom : Companions (Work on progress) Oil on Linen 120cm x 160cm
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Top : Swordman II Ink and Watercolor on paper 30cm x 100cm Bottom : Lonely Swordman Ink and Watercolor on paper 30cm x 100cm
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两山对峙 排两足而分规。 擘波心而对峙。
Two Mountains’ Confrontation Divide the rules with two feet in a row. Divide the waters to confront each other.
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江湖风 江湖风起，赤髯如虬， 一阵寒即成江，成湖。
Winds on the rivers and lakes The winds blow on the rivers and lakes, the red beard is like a dragon. Once the cold spell arrives, it becomes a river or a lake.
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夜行 连刀剑也噤声， 马与马只有厮磨。 深夜的风雪， 是武士最冷的乡音。
Night Walk Even the sword and arrow are silent., the horses rub against each other. The wind and snow in the middle of the night, is the coldest native accent of the knight.
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Top : Swordsman III Ink and Watercolor on Paper 30cm x 100cm Bottom : Swordsman III Sketch Charcoal and Conte on Paper 32cm x 48cm
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风云一顾盼， 天地入沉吟。
Once the wind and the clouds look around, the skies and earth start to ponder.
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毕竟学书输学剑, 君看刘季斩蛇来。
After all, learning from books loses to learning to use swords. This is testified by Liu Ji cutting the snake. 60
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剑气光摇北斗寒， 多谢匠人斤斧赦。
The qi of sword and quivering lights freeze the Big Dipper, thanks to the craftsman for pardon. 笔趣 _ Joy of Brushwork
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Left : Dignity Watercolor on Paper 56cm x 38cm
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Untitled (Sketch) Charcoal and Conte on Paper 32cm x 48cm
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Untitled Digital Drawing on Charcoal and Conte on Paper
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Left : Narrow Escape Watercolor on Paper 76cm x 112cm Right : Warrior’s Night Watercolor on Paper 152cm x 76cm
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Top Left : Untitled Charcoal and Conte on Paper 32cm x 48cm Middle Left : Untitled Charcoal and Conte on Paper 32cm x 48cm Bottom Left : Untitled Charcoal and Conte on Paper 32cm x 48cm Right : Peace Talk Ink and Watercolor on Paper 112cm x 76cm
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School of Art, Design and Media
College of Humanities, Arts, and Social Sciences