Watercolor still life painting sample

Author: Li Zhensheng
Publisher:
Publishing Time: Not Available
Features: Sketching begins with observing nature through one's own eyes, observing the subject. In other words, sketching is about painting what we see with our eyes, seeking depth and truth. However, this does not mean copying or imitating nature in a naturalistic manner. Short sketches should not be flat, empty, or dull, but longer works should not be overly focused on details or. Instead, one must keenly perceive and grasp the initial feeling that comes from the heart, through color and brushwork, engaging with the subject while continuously enhancing and enriching this feeling. Painting too comprehensively can make the work stiff and lack vitality, while painting too simply or superficially can make it hollow and tedious. Achieving the "right balance" is the key training topic in our sketching process. In completing a sketch, the objective factors of the natural subject and the subjective artistic feelings each play a role. Handling the opposition and unity of these subjective and objective factors is also the purpose and task of our sketching training. Sketching also trains and cultivates our ability to observe objects and the subtle changes in nature in depth, discovering what truly moves us. Then, we use our brushwork and color to express the poetic and brushwork charm we feel in our hearts. The relationship between intention and unintentional, between resemblance and dissimilarity, is the essence of our sketching training.
Oil color sketching and gouache color sketching have now become compulsory subjects in the art exams of higher art colleges in China. Color sketching training is also the necessary path for beginners to progress from exercises to creation and artistic expression. Through rigorous color sketching training, in addition to cultivating solid realistic skills and profound color cultivation, one can also accurately and skillfully grasp the inner spirit of color sketching through long-term practice. Most of the works in this book are demonstration paintings for teaching. These works demonstrate the basic methods and steps of color sketching. Although they are exercises, they reflect the fundamental teaching standards and requirements. These works vary in style and form, including short-term exercises that pursue generalization, simplicity, and wholeness, as well as longer exercises that involve in-depth study, analysis, and depiction of the subject, resulting in more complete works. Some works are detailed, subtle, and nuanced; others are concise, generalized, vivid, and painterly. When I paint, in addition to fully expressing the subtle relationships between forms and colors, I focus more on the depth and richness of the overall feeling. I often feel that the effect of spontaneous, expressive, unrestrained, and lingering paintings is the artistic character I truly seek in my heart.