Early influence of Bada Shanren affected Ding Yan-yong's free-hand paintings with signs of calligraphy techniques in his later years. This work was completed with only a few strokes. The structure was boldly constructed with hints of classical techniques. Calligraphy strokes were applied to depict the fish. The amount of force shown in each brushstroke added weight to the fish on the lower left. Splash of ink at the tail highlights the vividness of the subject through the humidity of the brush. The eye-rolling technique of Bada Shanren is applied, as a bold gesture of the artist as someone detached from worldly pleasures. Fine strokes outline the frogs with swift rhythm, making them the centerpiece of the work. Such lively painting differentiates itself from the usual tranquility of Chinese paintings. Since then, frogs have become a famous subject of Ding's free-hand paintings. Variances from classical techniques could be traced in this work. It was exhibited in the Twentieth Anniversary Art Exhibition of New Asia College in 1969 and the Ding Hwin Young at the University of Guelph in 1970. This shows a world-wide acclamation to Ding's ink art.