Step Thirteen ...

Here's the top 'half' of the left-hand smoke plume (the bottom will come next ...). This is a difficult gradation - brushing one's hand in a concave curve is not easy.

It's perhaps worth noting that white areas in most traditional Japanese prints are not white pigment, but are simply untouched paper showing through. A certain style of prints made in the Kyoto area does use an opaque white pigment, but this is not common in either ukiyo-e or shin-hanga.

So the only way to obtain a white glow in a cloud like this, is to keep pigment away from that area ...

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