The print is composed of four plates; a base plate of pale grey, two middle plates of light and dark grey, and a main plate of black and dark blue, printed in a total of five runs.
Apart from the dark blue hidden within the black ink, the image is essentially monochromatic, composed predominately with different tonalities of ink. In order to recreate the effect of inkplay in the original, the composition is divided into four plates with four corresponding shades of ink; pale grey, light grey, dark grey, and black. The three different shades of grey make up the negative space of the image.
In Liu Kuo-sung’s monochromatic ink paintings, the dark blue infused in the centre of black ink plays an important role. It adds depth and gives a sense of mystery to the ink, and has since become an iconic feature in Liu’s paintings. Therefore, in creating the print, the dark blue was of equal importance. Printed last, it is applied in the centre of the carved components on the main board, and layered on top of the black ink of the previously run. Carefully blending the blue into the black, the darkness of the black ink is infused with a burst of energy that surpasses the solid and bland colours of conventional prints.
In the woodblock printmaking, humidity must be maintained high. In addition to keeping a high room humidity, spray bottles are used on selected parts of the image that require extra moisture. With additional moisture sprayed onto the wet ink, the application of different colours between each run are more prone to blending. In the final product, the additional moisture can be seen in the image, specifically and appropriately in the mist.