International Artist

Poetic Beauty

Song Qing translates the beauty of ordinary scenes through compositio­n, color and brushwork

- Song Qing

Song Qing translates the beauty of ordinary scenes through compositio­n, color and brushwork

The beauty of life can be found everywhere, but the most important thing is how to discover it. Even an ordinary scenery has its beauty, and this can be turned into a watercolor painting by artists with their brush. There are a number of techniques needed to express your inner feelings and create the poetic beauty of the picture with a paintbrush, such as compositio­n, color, moisture, brushwork, choice, virtual reality, etc. Through the comprehens­ive applicatio­n of these techniques, you will eventually get satisfacto­ry results.

How do you create the poetic beauty of the picture? I like using bright colors, easy brushstrok­es and I refine the general shape to create a beautiful compositio­n. Even though there are some natural sceneries on the earth, which are already beautiful enough, I prefer the human landscapes, for example an old house with the smoke rising from the chimney, a canoe, a river, a ruin, an old street, etc. These scenes can always arouse my renewed memory and love for life. Man is the master of the world, the scenery becomes beautiful because of the existence of people, and the harmony between human and nature is the most beautiful scenery. Therefore, my painting style is not purely realistic, nor is it expression, but something in between. When I choose a scene for my paintings, I will carefully adjust the compositio­n of the picture. Facing complicate­d sceneries, I will focus on a visual center, just like shooting with a telephoto lens. Regardless of the size of the scene, I will always grab the part that attracts me and turn a blind eye to other things. The things you are interested in are carefully depicted, and the rest are simplified. When I use colors, I always like to use bright colors to express my feelings for the light; I also like the colors that are similar and those in contrast. When coloring, I generally adhere to the principle of first fresh and then gray. Even if I use gray, I prefer to use the gray color that shows clear tendency for warm and cold. When painting heavy colors, I almost never use black. Instead, I have a variety of heavy colors with a tendency to cool and warm, such as emerald green, dark red, cobalt violet, burnt sienna, sepia and so on. When dealing with the virtual and real relationsh­ip of the picture, I think that the unimportan­t part must be blurred and simplified, such as the sky, the leaves, the distant houses, the distant mountains, the grass, etc. These blurred things are especially important and must stay

in the picture. It should be done when the water not dried out on the paper, otherwise it will become stiff. In addition, the use of watercolor pens is also very important, different shapes of strokes will create different effects. When drawing the pencil draft, I generally don’t like to make the shape of the painting very specific, so there will be a lot of room left to play when I am painting. When laying out large colors, I usually use a square, soft brush made of squirrel hair, because the square brush can quickly draw a large color relationsh­ip and a virtual relationsh­ip. When drawing the details, use a round-headed stylus or a white Chinese ink brush. When drawing a tree, you can use the pen’s side to draw a changing block. When you hook the line, I like to use Rosemary’s knife pen and a Chinese ink brush for hooking and lining, these can sculpt ideal lines with changes.

?? ?? Shoal, watercolor, 30 x 40 cm (12 x 15¾") This painting was written in Lianyungan­g City, a shallow beach, a pile of reefs smashed by sea water and a few small fishing boats in the rest. These scenes are so casual under the sun, but it is a beautiful landscape.
Shoal, watercolor, 30 x 40 cm (12 x 15¾") This painting was written in Lianyungan­g City, a shallow beach, a pile of reefs smashed by sea water and a few small fishing boats in the rest. These scenes are so casual under the sun, but it is a beautiful landscape.
?? ?? Hill and Fishing Port, watercolor, 46 x 61 cm (18 x 24") This painting is a sketching work in Lianyungan­g City. In the compositio­n, the opposite mountain, the small island in the middle and the nearby residentia­l houses form three levels of the picture, which enhances the sense of rhythm. The calm sea is contrasted with the scattered houses. The whole picture is processed into a cool color, and the red roof with the surroundin­g in a blue- green tone form a complement­ary color contrast so the picture is both overall harmonious and detailed.
Hill and Fishing Port, watercolor, 46 x 61 cm (18 x 24") This painting is a sketching work in Lianyungan­g City. In the compositio­n, the opposite mountain, the small island in the middle and the nearby residentia­l houses form three levels of the picture, which enhances the sense of rhythm. The calm sea is contrasted with the scattered houses. The whole picture is processed into a cool color, and the red roof with the surroundin­g in a blue- green tone form a complement­ary color contrast so the picture is both overall harmonious and detailed.
?? ?? Fishing boat, watercolor, 38 x 53 cm (15 x 21") The work was inspired by a sketch in Anhui, where six families make a living by fishing, and the ships were their production tools. Whenever the tide rose, the first floor of their house was flooded. The picture depicts the embankment of the high tide. In the foreground is a small boat. The middle of the scene has a small tree with new leaves. The tree shadows are shaking in the water, the boats are moving and the fishing nets drying on the shore, everything is so poetic. When I was painting this work, the sky was finished with a pale yellow and lavender purple. The water surface was finished with cobalt blue and rose red. When the water was half dry, the medium leaves and reflection­s were painted, and the river bank was dry. Then, the reflection of the ship must be painted first, the hull is dried and then painted, and the trunk should be painted before it is dry. Finally, there are dry lines to draw masts, grass and other lines. When dealing with color, the overall color is warm, and the cool color of the boat contrasts with the warm color of water.
Fishing boat, watercolor, 38 x 53 cm (15 x 21") The work was inspired by a sketch in Anhui, where six families make a living by fishing, and the ships were their production tools. Whenever the tide rose, the first floor of their house was flooded. The picture depicts the embankment of the high tide. In the foreground is a small boat. The middle of the scene has a small tree with new leaves. The tree shadows are shaking in the water, the boats are moving and the fishing nets drying on the shore, everything is so poetic. When I was painting this work, the sky was finished with a pale yellow and lavender purple. The water surface was finished with cobalt blue and rose red. When the water was half dry, the medium leaves and reflection­s were painted, and the river bank was dry. Then, the reflection of the ship must be painted first, the hull is dried and then painted, and the trunk should be painted before it is dry. Finally, there are dry lines to draw masts, grass and other lines. When dealing with color, the overall color is warm, and the cool color of the boat contrasts with the warm color of water.
?? ?? Mountain village morning fog, watercolor, 36 x 51 cm (14 x 20") This painting uses direct drawing, starting from the sky and the distant mountains, using vermilion and lavender purple to spread the color with large moisture, the distant mountains are more familiar with French greens, the roof is made of Venice red plus a little cobalt purple, and the tree is olive green. In Kaplan, the grass is mixed with yellow green and medium green, and the ultramarin­e is mixed into different warm and warm green. The white wall of the house should be reserved in advance without using the shielding liquid. The tree on the right side is drawn with the Pulanga rose red and the medium green fruit. Finally, the picture is finished with a brush and a heavy color.
Mountain village morning fog, watercolor, 36 x 51 cm (14 x 20") This painting uses direct drawing, starting from the sky and the distant mountains, using vermilion and lavender purple to spread the color with large moisture, the distant mountains are more familiar with French greens, the roof is made of Venice red plus a little cobalt purple, and the tree is olive green. In Kaplan, the grass is mixed with yellow green and medium green, and the ultramarin­e is mixed into different warm and warm green. The white wall of the house should be reserved in advance without using the shielding liquid. The tree on the right side is drawn with the Pulanga rose red and the medium green fruit. Finally, the picture is finished with a brush and a heavy color.
?? ?? On the banks of Danube, watercolor, 38 x 53 cm (15 x 21") Prague, the capital of the Czech Republic, is a very beautiful place. This painting depicts the scenery of Prague, boating from afar on the Danube river, clusters of classical architectu­re and green trees, and churches in the distance, the river, the cruise ship and the group of playful ducks form a beautiful landscape. This painting emphasizes the importance of color blocks, and makes some trade-offs for the houses in the back. The red roof and the blue-green trees form a contrast of color between cold and warm. The general brushwork of the tree contrasts with the details of the building. The contrast between the moving and the moving ducks, all of which highlights the poetry of the picture.
On the banks of Danube, watercolor, 38 x 53 cm (15 x 21") Prague, the capital of the Czech Republic, is a very beautiful place. This painting depicts the scenery of Prague, boating from afar on the Danube river, clusters of classical architectu­re and green trees, and churches in the distance, the river, the cruise ship and the group of playful ducks form a beautiful landscape. This painting emphasizes the importance of color blocks, and makes some trade-offs for the houses in the back. The red roof and the blue-green trees form a contrast of color between cold and warm. The general brushwork of the tree contrasts with the details of the building. The contrast between the moving and the moving ducks, all of which highlights the poetry of the picture.
?? ?? Dhaka street, watercolor, 30 x 30 cm (12 x 12") This work is inspired by the sketches of Dhaka, depicting the early morning street people going to the mosque for worship. The picture is in yellow, the sky is painted in pale yellow, and the distant building is painted in gray and purple, with a contrast of complement­ary colors. The medium-sized tree is painted with olive green and blue-violet, the car is painted with earth yellow, the ground is painted with sassafras, the shadow is drawn with cobalt purple and squid ink, and the white robes of the characters are first emptied and finally painted, and the darker complexion is light red oxide. Add squid ink to draw. The poles should be painted with a dry pen, and the plastic bags on the ground should be emptied and finally portrayed.
Dhaka street, watercolor, 30 x 30 cm (12 x 12") This work is inspired by the sketches of Dhaka, depicting the early morning street people going to the mosque for worship. The picture is in yellow, the sky is painted in pale yellow, and the distant building is painted in gray and purple, with a contrast of complement­ary colors. The medium-sized tree is painted with olive green and blue-violet, the car is painted with earth yellow, the ground is painted with sassafras, the shadow is drawn with cobalt purple and squid ink, and the white robes of the characters are first emptied and finally painted, and the darker complexion is light red oxide. Add squid ink to draw. The poles should be painted with a dry pen, and the plastic bags on the ground should be emptied and finally portrayed.
?? ?? Early morning at Chefchaoue­n, watercolor, 42 x 56 cm (16½ x 22") The work was inspired by the sketching of Chefchaoue­n in Morocco, where the architectu­re is full of characteri­stic, all houses are painted with blue or green, while the top of the building retains the true color of the clay, which creates a contrast between warmth and coldness. These beautiful colors are very charming in different light. This painting depicts the scenery of the alley before the early morning. In this work, I emphasize the importance of blue tones. The walls, the sky, and the ground use different shades of blue, and the ground uses gray-purple. The point is that the warm colors of the picture are very important, including the woman wearing a pink robe, which plays a finishing touch.
Early morning at Chefchaoue­n, watercolor, 42 x 56 cm (16½ x 22") The work was inspired by the sketching of Chefchaoue­n in Morocco, where the architectu­re is full of characteri­stic, all houses are painted with blue or green, while the top of the building retains the true color of the clay, which creates a contrast between warmth and coldness. These beautiful colors are very charming in different light. This painting depicts the scenery of the alley before the early morning. In this work, I emphasize the importance of blue tones. The walls, the sky, and the ground use different shades of blue, and the ground uses gray-purple. The point is that the warm colors of the picture are very important, including the woman wearing a pink robe, which plays a finishing touch.
?? ?? Historic Site New Green, watercolor, 50 x 50 cm (20 x 20") This painting is a watercolor painting on rice paper and is a new attempt. The splicing technique was adopted in the compositio­n, and two different scenes were stitched together in the same painting. The trees in front of the ancient Roman ruins radiate buds and contrast with ancient ruins. The foreground adopts a freehand approach, which intentiona­lly makes the stone building paste into a piece, setting off the clear church behind, and the back view uses realistic methods. The rice paper is highly absorbent, and the water on the pen should be controlled when it is painted, otherwise it will fail.
Historic Site New Green, watercolor, 50 x 50 cm (20 x 20") This painting is a watercolor painting on rice paper and is a new attempt. The splicing technique was adopted in the compositio­n, and two different scenes were stitched together in the same painting. The trees in front of the ancient Roman ruins radiate buds and contrast with ancient ruins. The foreground adopts a freehand approach, which intentiona­lly makes the stone building paste into a piece, setting off the clear church behind, and the back view uses realistic methods. The rice paper is highly absorbent, and the water on the pen should be controlled when it is painted, otherwise it will fail.
?? ?? Demolition of the old village, watercolor, 36 x 51 cm (14 x 20") This scenery was completed on the spot while sketching in the countrysid­e. The inspiratio­n comes from a contrast between new and old, and a feeling of change in rural developmen­t. The foreground is a demolition site. The land is full of bricks and other constructi­on waste. In the distance is the old house. The place where the peasants lived for generation­s, the distant view of the mountains in the morning fog, the medium-sized trees and telephone poles, as well as small bridges flowing in the vicinity, faintly retain the original life, which is intertwine­d to form a landscape. In dealing with this work, I used the wet painting method, that is, using a watering can to spray water on the paper before painting, and when the water is half dry, the distance and the middle scene are drawn, so that different colors are naturally connected. When you are quick-drying, draw the poles and trunks. Use a flexible stylus to thicken the squid ink. Keep the strength of the hand when you use it. The trunk is drawn taller. When drawing a wire, the amount of water on the pen should be less, the speed should be slower and the stroke can be handled by using a dragging pen. The details of the small bridges and bricks in the vicinity are handled as needed.
Demolition of the old village, watercolor, 36 x 51 cm (14 x 20") This scenery was completed on the spot while sketching in the countrysid­e. The inspiratio­n comes from a contrast between new and old, and a feeling of change in rural developmen­t. The foreground is a demolition site. The land is full of bricks and other constructi­on waste. In the distance is the old house. The place where the peasants lived for generation­s, the distant view of the mountains in the morning fog, the medium-sized trees and telephone poles, as well as small bridges flowing in the vicinity, faintly retain the original life, which is intertwine­d to form a landscape. In dealing with this work, I used the wet painting method, that is, using a watering can to spray water on the paper before painting, and when the water is half dry, the distance and the middle scene are drawn, so that different colors are naturally connected. When you are quick-drying, draw the poles and trunks. Use a flexible stylus to thicken the squid ink. Keep the strength of the hand when you use it. The trunk is drawn taller. When drawing a wire, the amount of water on the pen should be less, the speed should be slower and the stroke can be handled by using a dragging pen. The details of the small bridges and bricks in the vicinity are handled as needed.

Newspapers in English

Newspapers from United States