The ink and wash effect in Wu Zhen's paintings is closely related to his flexible use of various brushwork and ink techniques, and wet ink is by no means the increase of the simple amount of water. Wu Liyun: "Endless rivers and mountains, two volumes of the Yangtze River... Natural, five ink is ready, Gai Zhonggui is good at, non later scholars can be prepared." In order to give full play to the effect of ink, Wu Zhen chooses painting materials very carefully. He prefers paper for plum and bamboo painting, and silk for landscape painting. Painting landscape why choose silk, because silk thickness, fiber toughness, many rendering and not wrinkle. Wu Zhen is very familiar with the characteristics of pen, ink and silk. The five inks in painting are applied simultaneously but not greasy. Repeated texturing brushes without swelling produce artistic effects of thick but moist, wet but thick, astringent but not dry, dry but not dry. Wuzhen light like water, appeared thick and transparent effect. Looking at Wu Zhen's works today, we can still clearly identify their organizational relationship through his works. Wang Yuanqi of the Qing Dynasty said, "There are many scholars who splash ink on the plum Road. They are all in a muddled state, writing about them in order to be proud of themselves. No wonder there is also a pig." Wang's comments reflect the ink-using techniques in Wuzhen that few people can learn. Wu's calligraphy, poured after the Yuan dynasty everyone, Shen Zhou, Wen Zhengming, Yun Nantian, four Kings, Wu Li, bada Shanren and so on have praised Wu Zhen's calligraphy.