preface
Trees are also called trees in landscape painting, and occupy a very important position in traditional landscape painting, even if only trees are painted, they can constitute a complete work. Painting trees should first observe the overall characteristics of the tree, and then look at the branches, because there are many types of trees, and the ecology of the branches is not the same. Beginners should take dead trees or deciduous trees in winter as the object of practice, and the branches without leaves have a clear structure and a distinct posture, and it is easy to grasp the growth rules and basic structures of different tree species.
Author Gome Tree Method Class Assignment
One
twig
The structure of the branches can be roughly divided into three categories: One is the type of upward growth, which is called staghorn branch in the traditional drawing spectrum, which is the most common type, such as poplar, locust, walnut and so on. The second is a downward curved type called a crab claw branch, such as a dragon claw locust. The third is the type of ordinary life, which can be called long-armed branches, such as pine, fir, kapok and so on. There are also forms that are somewhere in between the two or three. Painting trees must first understand the principle of "trees divided into four differences", that is, the situation of branches in all directions before and after the trunk, and avoid being like fish bones, two and two, lack of staggered wind. Secondly, pay attention to the arrangement of density and momentum, you can make a slight trade-off, the twigs and treetops can be boldly discarded, and you must pay attention to the use of pens, to be straight, each branch must be connected with the trunk or thick branches, can not grow in the air, and the branches should be longer and thinner, can not write the tail thick or thick branches, contrary to the ecological laws of plants.
Before painting the tree, you should carefully observe around the four sides of the tree, choose the most beautiful trunk and the most appropriate angle. First hook the thick branches of the trunk, and then add the fine branches, you should choose the principle of beauty from the perspective of art to express.
Two
Bark, roots
Tree roots are not only a natural growth phenomenon, but also a natural curiosity. In the painting, it is necessary to give people a feeling of the ancient age of the tree, so the tree painting shows more roots on the stone, and the tree painting shows fewer roots on the land. For example, the bark of pine trees is scaly, the bark of willow trees is obliquely cracked, the bark of Sakura apricot is horizontal, and the bark of Bo tree is twisted. Need to draw a three-dimensional feeling, the bark near the two sides of the texture should be narrow, or the ink is thicker, the texture near the center of the tree can be sparse or lighter, so that it is in line with the principle of perspective, after painting the branches, that is, painting the roots of the tree is mostly used for close-up objects, in the brushwork, more thick ink dry wrinkles, sometimes you can also use a roller pen. Because the roots of the painting tree are mostly attached to the mountain stone, the connection between the root and the stone should be natural, not suspended, and the pen should not be more, and the brushwork should be concise and bright. If it is entangled, the intersection should be coherent and draw a three-dimensional sense. From top to bottom, the ink color can be from thick to light, and the pen path can be thick to thin. Note that the roots of the tree should firmly grasp the rocks, so that people feel that they are one after the pen is dropped.
Three
foliage
The arrangement and structure of the leaves also vary depending on the species, no matter which kind of tree is painted, you must first look closely to understand the shape and arrangement principle of the leaves, and look at the overall posture and feeling (take its quality closely, take its potential from afar). The ancients drew trees to clip leaves (the method of hooking leaves), which was first widely used, and each leaf was outlined with more than two lines before filling in the color. After the prosperity of ink painting, the number of clipped leaves gradually decreased, and the single leaf (point leaf method) gradually increased, reduced to a stroke to symbolize a piece or a group of leaves, and according to its shape, there are pepper dots, word dots, preposition dots, plum blossom dots, rat foot dots, weeping vine dots, pine leaf dots, bamboo leaf dots and many other different symbols, but these symbols are extracted from the observation of nature by predecessors, which are generalized and not divorced from reality, and are not fabricated out of thin air. Except for pine, bamboo, willow, sycamore and other leaves with distinct image characteristics, other characteristics are not very clear. , commonly known as a miscellaneous tree. When pointing leaves, note that there are more leaves at the top of the tree that are exposed to sunlight, and the leaves near the trunk are usually sparser.
summary
Tree painting occupies a very important position in Chinese landscape painting techniques. In real life, trees are a manifestation of the meteorological life of landscapes. The so-called "mountains are clothed by trees, and mountains are flowers with grass and trees." In a landscape painting, the quality of the tree painting is related to the success or failure of the entire landscape painting. Landscape paintings without trees are extremely popular, and some painters are known for painting trees all their lives. Tree painting method is the main course of landscape painting, learning to paint landscape also often starts from painting trees, predecessors have long said that "learning to paint first starts from painting trees", "the merit of painting trees, half of all things".
Some of the text comes from the Internet
Chen Haifeng was formerly the chairman and secretary of Anhui Ocean Wind Culture Media Co., Ltd., a first-class advertising enterprise in China and a listed company on the New Third Board, the president of Ma'anshan Advertising Association, and the consultant of the presidium of Ma'anshan Artists Association.
From 1981 to 1993, he worked as a senior art editor at Ma'anshan Daily, and published thousands of inscriptions, illustrations, mastheads, sketches and cartoons for more than a decade.
He is currently studying at the China Academy of Art.