Talking colour

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1.I used printing to press the brush, print the colour, and then draw the details of the stamen brush with coloured powder and crayons, which can draw more details of the petals.
2.I choose to use a brush to click on the picture to better depict the difference between the shadow and the bright side of the flower in the sun and the layer between the layers of leaves under the light and shadow.
3.Now I draw the details of the flowers on the board, and then use the method of overprinting to print on the paper, which is more textured and the picture is more powerful.
4.Choosing paper with different backgrounds can better reflect the beauty of the flower colour encountered in the garden. I paint it with my fingers, and the sticky pigment repeats the thick texture on the drawing paper many times.
5.I first drew a colour block, and then drew a sketch of the details of the place I met. I cut out the gaps of the sketch paper, let the colour block paper be exposed, and then glue them together. I sprinkled acrylic on it to make the texture.
6.Splash all kinds of acrylic on it, and then use the other end of the brush to draw lines along the traces of the paint to make more textures like the veins of leaves and the accumulation of colour leaves.
7.Use crayons, acrylic and coloured lead to draw different details, and then pile up folds on the paper to make the picture more three-dimensional and clearer.
8.Using water powder can better show the shape and texture of jellyfish mixed with different colours of water powder. Then I drew some details of the pattern with acrylic markers.
9.I used gouache and acrylic markers to draw this picture. The plants I photographed use different dots and lines to express the overall shape.
10.Three colours, black, white and gray are used. Black paper can make the picture more three-dimensional. There are not only hand-painted squares but also collage squares to better reflect the chessboard.


Reflection:
When reviewing my “colour” creation project, I realised that there was a significant flaw in my artistic techniques: the separation of colour and details.
Although my colour choices can trigger emotional resonance and convey a sense of atmosphere, they often exist only as basic tones and fail to carry a delicate narrative or inner rhythm. Similarly, my detailed processing technique tends to be single and mechanical, which cannot fully support or enrich the depth performance of colour. This disconnection results in a lack of colour expression within details, and the colour itself loses the intrinsic variations and subtle transformations that should emerge through texture and form.
For example, a certain red is always a flat emotional area, lacking the vitality and breathing quality brought by strokes, texture, and delicate changes in colour temperature. Techniques such as flat coating, washes, or simple gradient transitions restrict the overall visual expression and emotional layering.
My direction, therefore, is clear: we must realise the genuine integration of details and colours. I plan to explore a wider range of techniques — such as dot colour method, colour mask dyeing, and thin wiping method — so that each movement and structure of the strokes can enrich the colour layers simultaneously. The green of a leaf should not be a monotonous patch, but a living tapestry interwoven with warm and cool tones, light and shadow, and subtle contrasts between hues.
In the future, I will observe natural light more closely and experiment with diverse media, allowing each stroke to shape form and deepen colour, creating more resonant and compelling works.

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