自然界的花鸟动物，其动态、色彩是千变万化的，怎样去描绘才能使之适合在写意花鸟画创作之中呢？前人在花鸟画创作实践中对于花鸟画的立意、构图、用色用笔等方面，总结了丰富的经验。即：立意，构图以及笔墨。
艺术作品之所以能感染人，不仅仅是画面的形式美，更是通过形式美来表现的内在美，这个美即是“意”浓缩成的作者的审美趣味。“意”是抽象的，所以其表达总是要借助于具体的形，也就是我们常说的“借物抒情”。
写意花鸟在形象的刻画上保留了一定的形似成分，但又不是把形似放在唯一位置，追求“神似”和“不似之似”，所以我们在创作写意花鸟画时，首先是把要表达的思想感情和具体的意象景致结合在一起。就好像母鸡在下蛋时，没有事先准备好的“引窝蛋”来做引导，蛋是很难下出来的。没有形象，“意”难以寄托。
翻开青藤、八大、缶翁、白石诸前辈的画册，那高度简洁的笔墨，塑造的形象似真似幻，以一种醉梦天机之趣给人以强烈的感染。人们从中可以体会到作者失意孤寂和对社会、对民众的情感，画家的作品再现了他们的品性、节操和人格价值，具有鲜明的个性特征。
写意花鸟画营造的是一种精神世界，按照画家的意愿随心所动的创作。然而它又不是凭空的臆造，它顺应自然而不逾规矩，既融合了画家的个性，又贯通于无限广阔的自然的精神世界。它的本质应和自然精神一致，这就是写意花鸟画的精神所在，也是她能够屹立于世界艺术之林的魅力所在。
构图处理是创作成功的关键，只注重造型和笔墨技巧，而忽略整体构思、布局的作品，即便是花了很多时间，费尽心机仍是下品。散点透视是写意花鸟画最显着的特点之一，和西洋画的焦点透视相较，它不受时间和空间的限制。写意花鸟画的点景构图，与山水画不同，往往要求从近景取材，不能要求有极目千里之势。但也必须在画面上分出层次先后，强弱远近距离感觉，不然满纸物象乱作一团。
具体到构图之中则主要考虑六个方面的内容：宾主关系，虚实关系，疏密关系，交错关系，留白以及印章。
既要注意全局的严整、清新、灵活，又要极力避免充塞、繁琐、板实、重叠、对称、均匀、松散、空薄等，整体要有主和宾，局部亦是如此，一丛花有主有宾，一花一鸟也需分出主从详略。在写意花鸟画中，一只鸟通常头眼精细，尾翅从简，突出点睛之笔，若全身都画工细精就会呆板，成了一幅标本。
花鸟画的空白也是构图的重要部分，空白可以表现空间距离，白云，天空或者水面。画面上虚灵生动的感觉往往要靠空白来表现，空白是画中之画，也是画外之画，是构图中的一部分，虚实变化靠它为之。
对写意花鸟画来说，取势极为重要，“势”在中国画里的构图中包含两种意思，动势和气势。“动势”是画面形象运动的具体化，是指起承转合中的动态变化；“气势”则是指在作画中流露出来的作者的精神和感受。取势也是构图，笔墨相生之道在于势，势的由来去向，气的贯通起承转合，能增加画面的韵味和节奏感。势密则疏，势分则破，势险则扶。
写意花鸟画的构图反应出中国的传统文化，温和、敦厚、宽容、大度，它集诗书画印于一体，是一个系统工程，是一个不断调整，不断完善的过程，缺一不可。最终形成一个完整的构图，一幅赏心悦目的写意花鸟画作品。
写意花鸟画的艺术境界，可用“简、朴、省、妙”四个字来概括。
把“简”字排在第一，可见其重要，简在这里不能认作简单，而是简洁，简练。
“朴”，顾名思义即朴素，在写意花鸟画中，墨色的浓淡，就代表色彩的变化，以墨当色，比如画中用墨色来表现各种叶子，或者以淡彩铺底，墨色勾勒，所有花和叶都可以加入主观意识任意配色，不需按照自然界中的景物来描摹，这就是中国画与其他画种的最大区别。为了突出主体，使画面更为生动，花鸟画中的用色是根据画面需要而定的。它不是什么颜色都要使用，而要古意为之，忌讳太鲜。
“省”指的是在简朴的基础上多思考省悟，调整，指的是一个通过视觉和思考对画面进行分析调整的过程。要随机应变，要有预见性，实可而真，墨色的干和湿是有很大差别的，要不断积累经验，让画始终为表达思想感情而服务。
“妙”是对前面三个字进一步要求，它要求用笔、用墨、用色要恰到好处，要有情趣。要求画中之物要比客观事物更美，要出其不意、发人深思、不落俗套、要加强基本功的训练，让笔划的起承转合使得花鸟画的出枝、造势更有精神、更具艺术魅力，从而使得画面造型，用笔用色等方面与作者的思想感情同时跳跃。
The dynamics and colors of flowers, birds and animals in nature are ever-changing. How to describe them to make them suitable for the creation of freehand flower and bird painting? Predecessors have summed up rich experience in the creative practice of flower and bird painting in terms of conception, composition, color and pen. Namely: conception, composition and pen and ink. The reason why works of art can infect people is not only the formal beauty of the picture, but also the internal beauty expressed through the formal beauty. This beauty is the author's aesthetic taste condensed from "meaning". "Meaning" is abstract, so its expression always needs the help of concrete form, that is, we often say "Lyric through things". The freehand flowers and birds in the painting of chrysanthemums and bamboos by Xu Wei of the Ming Dynasty retain a certain form similarity in the image depiction, but it does not put the form similarity in the only position and pursue "spirit similarity" and "dissimilarity". Therefore, when creating freehand flowers and birds painting, we first combine the thoughts and feelings to be expressed with the specific image scenery. Just like the hen laying eggs, it is difficult to lay eggs without a prepared "nest egg" as a guide. Without image, "meaning" is difficult to repose. Open the picture albums of the predecessors such as Qingteng, Bada, fouweng and Baishi, and the highly concise pen and ink creates an image that looks like reality and fantasy, which gives people a strong infection with the interest of drunken dream and secret. From it, people can realize the author's frustration and loneliness and their feelings for society and the people. The painter's works reproduce their character, integrity and personality value, with distinctive personality characteristics. The freehand flower and bird painting in the painting of Kui stone by Chen Chun of the Ming Dynasty creates a spiritual world, which is created according to the wishes of the painter. However, it is not fabricated out of thin air. It conforms to nature and does not exceed the rules. It not only integrates the painter's personality, but also runs through the infinite and broad spiritual world of nature. Its essence should be consistent with the spirit of nature, which is the spirit of freehand flower and bird painting and the charm of her standing in the forest of world art. The composition processing of Pan Tianshou's eagle rock mountain flower painting is the key to the success of creation. The works that only pay attention to modeling and pen and ink skills and ignore the overall conception and layout are still inferior even if they spend a lot of time. Scattered perspective is one of the most remarkable features of freehand flower and bird painting. Compared with the focus perspective of Western painting, it is not limited by time and space. The point view composition of freehand flower and bird painting is different from landscape painting. It often requires materials from close range, and can not have the potential of seeing thousands of miles. But we must also distinguish the order of levels on the picture, and feel the strong and weak at a distance, otherwise the objects on the paper will be in a mess. When it comes to composition, it mainly considers six aspects: guest host relationship, virtual reality relationship, density relationship, staggered relationship, blank space and seal. We should not only pay attention to the integrity, freshness and flexibility of the overall situation, but also try our best to avoid filling, cumbersome, solid, overlapping, symmetry, uniformity, looseness and thin space. There should be master and guest on the whole, and the same is true on some parts. A cluster of flowers has master and guest, and a flower and a bird also need to distinguish master and slave in detail. In freehand flower and bird painting, a bird usually has fine head and eyes, simple tail and wings and highlights the finishing touch. If the whole body is fine, it will be rigid and become a specimen. The blank of flower and bird painting is also an important part of the composition. The blank can represent the spatial distance, white clouds, sky or water surface. The vivid feeling of emptiness on the picture often depends on the blank. The blank is not only the painting in the painting, but also the painting outside the painting. It is a part of the composition, and the change of emptiness and reality depends on it. The authentic work of Tang Yin painting chicken is very important for freehand flower and bird painting. The composition of "potential" in Chinese painting contains two meanings, momentum and momentum. "Momentum" is the concretization of the image movement of the picture, which refers to the dynamic change in the process of starting, connecting and changing; "Momentum" refers to the author's spirit and feelings revealed in painting. Taking potential is also a composition. The way of the combination of pen and ink lies in potential. The origin and direction of potential and the connection of Qi can increase the charm and rhythm of the picture. If the potential is dense, it will be sparse, if the potential is divided, it will be broken, and if the potential is dangerous, it will be helped. The composition of freehand flower and bird painting reflects Chinese traditional culture, which is gentle, honest, tolerant and generous. It integrates poetry, calligraphy and painting. It is a systematic project and a process of continuous adjustment and improvement. Finally form a complete composition, a pleasing freehand flower and bird painting. The artistic realm of Chen banding's Fugui spring freehand flower and bird painting can be summarized in four words "simple, simple, provincial and wonderful". Putting the word "Jane" in the first place shows its importance. Jane can not be regarded as simple here, but concise and concise. "Simplicity", as the name suggests, means simplicity. In freehand flower and bird paintings, the intensity of ink represents the change of color. When ink is used as color, for example, ink is used to represent all kinds of leaves in the painting, or light color is used to lay the foundation, and ink is used to outline. All flowers and leaves can be added with subjective consciousness to match colors arbitrarily without describing them according to the scenery in nature. This is the biggest difference between Chinese painting and other paintings. In order to highlight the main body and make the picture more vivid, the color in flower and bird painting is determined according to the needs of the picture. It should not be used in all colors, but in the ancient sense. It is taboo to be too fresh. Qi Baishi's "saving" refers to thinking, understanding and adjustment on the basis of simplicity. It refers to a process of analyzing and adjusting the picture through vision and thinking. We should be flexible, predictable, practical and true. There is a great difference between dry and wet ink. We should constantly accumulate experience and make the painting always serve to express our thoughts and feelings. "Wonderful" is a further requirement for the first three words. It requires the use of pen, ink and color to be appropriate and interesting. It is required that the objects in the painting should be more beautiful than objective things, be unexpected, thought-provoking and unconventional, strengthen the training of basic skills, and make the transition of strokes make the branch and momentum of flower and bird painting more spiritual and artistic charm, so as to make the picture modeling, brush and color jump with the author's thoughts and feelings at the same time.