International Artist – August-September 2019

Continued

Watercolour Demonstration 87

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.

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.