Dawn broke as the sun rises to cast strong rays behind the mountain range. Which compelled the large clusters of grey thick clouds to float swiftly away for the deep blue sky to reveal. I climbed to the rooftop to take snapshots for record and preparing to paint, but the daylight was too weak to reveal details of the plantation on the on shore hill, which appeared in a piece of vague silhouette. It was not too long when sun successfully peeping through the thick clouds casting sunrays to brighten the day up as well as the scenery, which I planned to paint. And therefore I need to set up the clear plastic partition to avoid the direct radiant rays shine onto my painting station. Meanwhile I took out the unfinished picture to paint since the atmospheric tone of the scenery was similar to that of yesterday. And then I discovered the vibrancies of the watercolor reveal different tonal effect on the paper when the water consistence varied. It obviously added difficulties to examine the tonal contrast when applying fresh hues on the half painted picture, especially when the sun continued to cast ultra-violet rays filtering the hues and at the same time flattening the chromatic view. To avoid massing the complex range of greens, I turned my focus on the clouds, which has become thin and white floating leisurely upon the baby blue sky…




Strong sunrays at dawn tinted the clouds upon the pale blue sky vibrantly in orange. The beauty of the phenomenal natural attempted me to capture, so I immediately got out of bed and climb to the rooftop to paint. Stubbornly, I failed to race the transformation pace of nature without preparing to capture the phenomenon instantaneously. Missing the dramatic view disappointingly that I turned to set up my drawing kit to continue with the panoramic picture started a couple of days ago. I shifted my position to the right again trying to allocate the view, which bracketed to include the plantations on the hill on shore and the thick grey clouds breathlessly covering the sky. The objects of the view comparatively became much bigger than those on the previous segments in terms of scale and details also clear. After drawing some sketchy lines on the Waterford, I used a small brush to highlight each bunch of the bushes according to the tones of warm and cool. Meanwhile the sun rose to cast unbearable heat directly onto me below the canopy on my rooftop. And the intense daylight reflected to confuse my bond of observation, inevitably I decided to pause painting but leave the picture undone for the next morning.




I woke up at dawn before the alarm rings. Through the window of my bedroom I saw clusters of grey thick clouds traversing across the gloomy sky. And apart from that, at the rear beyond and above the mountaintops, I saw thin clouds tinted with pinkish and orange light radiating up to brighten the sky. Then I was certain to have another sunny day. I climbed up to the rooftop to paint after the back pain release exercise. The morning heat dried the floor while the sun has risen high up to the sky casting bright light behind the clouds. I sat on the stool located at the same place as yesterday so that I could shift the position of my body slightly to the right hand side. After obtaining a desirable painting result with Waterford yesterday, I seemed to gain confidence to start the first panoramic painting ever since I moved to live in Sai Kung. The projected scenery from my rooftop looked near but far when I pay attentive observation on the mountain range at sea, which stay motionlessly below the swiftly floating clouds. Static details of the plantations on the mountains become dynamic, and revealed on and off according to the clouds dispersing and transforming above. Meanwhile intense daylight filtered the rich color hues of the morning scene, which discontinued my painting trail to follow….




The sun hid behind the grey thick clouds casting radiant light on earth. I hurryingly got out of bed trying to capture the scene of sunrise before the vibrant hue fad to radiate. The floor at the rooftop was dry except sports of raindrops left at the rear side. The sun rose fast casting radiant heat when I arrive at the rooftop, so I moved the plastic partition board to shade the stool where I would stay to paint. I took out a sheet of Waterford to replace the Somerset paper envisaging a desirable result with the new box of l`Aquarelle Sennellier. After a brief sketch with color pencil, I used a small brush to shade washy paints along the faint lines. As the brush touched the paper, it responded to me that the Waterford was the right medium to work on with watercolor hues. I happily developed the tonal shades by the diluted washy hues. Meanwhile the dramatically change of the phenomenal nature swop the atmospheric tones of the scenery and at the time the intolerable heat of the sun ray urged to make a pause.




Since the alarm clock has broken that I linger on bed waiting for dawn. Through the window of my bedroom, I saw tints of pinkish and cantaloupe clouds traversing diagonally up meeting the big cluster of dark thick clouds suspending from the sky. By the time I climbed up to the rooftop, the sun hangs firmly high up the sky casting vital sunshine to the seascape. The morning was hot and dry and isolated showers keep falling from time to time leaving patches of water scattering on the floor, which did not cool the radiant heat down. Then I moved the stool backward near to the door of the hut so that the clear plastic partition boards could shade the direct rays for my eyes. Under the thick grey clouds the sea view was clear enough to reveal details on the mountains, which was selected to paint with no choice. Instead of splashing large brush strokes, I used a small brush to draw the plantation in various tones of green. Meanwhile the solar position of the sun shifted towards the left longitude of the earth, and inevitably cast rays to hit my eyesight. Unable to see the invisible sight, I painted the picture with memory rather than watching the view. A cruise stationed in the middle of the calm seawater began to set off and perhaps it was time to pack my work.




Thick clouds overlaid the smattering pinkish sky at dawn. It was a warm and gloomy morning while drizzle paused. I hurryingly climbed to the rooftop to paint after the brief exerciser in bed. The view I observed from the door of the hut had not change except the formation of the cloud clusters floating upon the sky. I eagerly worked on the Somerset paper confidently trying to achieve the effects of the floating clouds. But the brush I chose to use seem to be too small for me to splash large stokes when depicting the big clusters, which shapes transformed before I could change to use a bigger sized brush. The casting tones on the mountain range followed the traversing clouds, making me busy subsisting the hues from cold to warm, from intense to dilute. The sun broke though the clouds to shine radiantly to swap the atmospheric tones of the scenery, while eventually I found the picture result in  painted almost monochrome blue.




Daytime is long in the middle of the year. I woke before neither dawn nor the alarm. After almost a couple of weeks of rainy days since tropical cyclone Merbok left us, I felt less pain on my spine when I get out of bed in the dry morning. So instead of checking the water leaking areas in the house, I took my laundry with me to the rooftop. The roof floor was dry and bright, and therefore the first thing to do was to put the laundry in the washing machine before starting to paint. I did not change the painting location, but immediately set up to paint when I saw the sun peeped timidly through the thick clouds casting light tinting the linings of the clouds pinkish upon the blue sky. Since I felt disappointed with the Japanese Rice paper, I found a piece of 300g Somerset print making paper to work on. Breezy blew wafting the chipping whistle of the birds while thick clouds floated in shading the mountain range below, and poured as rain instantly. The shower did not last long but the thin clouds remain. Though the intensified daylight kept varying the tones of the scenery from time to time, I enjoyed working attentively with the Somerset paper, which seemed to absorb paints better than those papers I used before. The sun rose to cast radiating ray on earth and the laundry was almost done, and perhaps it was the perfect time to pack.