a. Opening and closing transfer
Traditional flowers and birds are painted in the chapter to take the momentum, and the branches must be obtained first. Branch taking momentum requires balance and stability, and the application of the mechanical principle of "wanting to go left first right, wanting to go up first and going down" is emphasized when expressing on the basis of the growth law of branches. This universal phenomenon should also be considered when painting, and proper opening and closing transfer is actually a summary and induction of this phenomenon.
b. Twists and turns
In the creation of flower and bird paintings, the posture is extremely important, and the potential can be divided into upward insertion, sagging, and horizontal leaning. There are three methods of divergence, interaction and interspersed in the situation, and the use of these methods has formed a visual effect of twists and turns of the picture. When taking the potential, we should repeatedly deliberate and study the direction of the "potential". Straight thickness to the back, divergence, interspersed, folding and staggering is very important, there are interspersed pictures there are layers, there are staggered pictures there are dense.
c. Segmentation interspersed
Segmentation, interspersing, stacking and accentuation of variations are the delicacies of flower and bird paintings. In ancient and modern works, the superposition and setting between branches, leaves and flowers, the clever interspersing of birds and birds, the main body and the scenery set off each other, superimposed and interspersed relationship, making the picture wonderful and attractive. In the creative process, it is extremely beneficial to consciously carry out such exercises and pay attention to expressing and reinforcing such changes at all times.
d. Dense crossover
The form and expression language of flower and bird painting have their own characteristics, it takes the structure of objective scenes as the focus of modeling and expression, which is completely different from Western paintings using chiaroscuro to shape, but in the basic laws of composition, complex scenes can be summarized as near, medium and far. Close-up is often used to inherit the work, just like the beginning of the article, but not necessarily the main scene, so it only needs to be loosely treated; the middle scene is generally the main performance content of the picture, which is arranged closer in the picture; the long-range scene should be denser to enhance the visual cohesion, generally painted virtually, lighter, or even not painted, reflected on the screen to appear loose, in order to open up the distance in space.
e. Perspective trade-offs
Chinese painting treats perspective with distance and proximity, which is customarily called "far and near method", which follows the basic laws and laws of perspective, but is not limited to a certain line of sight, so it is more flexible than Western painting. In flower and bird paintings, the close-up perspective method is mostly used, that is, focus perspective, and the object is selected from the field of view in front of the eyes, which is more similar to photography, but generally only heads-up can be used, and there are fewer overhead and upward views. In the process of perspective selection, according to the expression content of the image, bold trade-offs are made, and everything serves to highlight the main body and deepen the theme.
f. Primary and secondary echoes
Painting birds must accurately express its realistic image, but it cannot simply seek similarity, but more importantly, it is to portray its "divine qi", and the demeanor is often contained in the temperament and dynamics of various birds. Content determines form, and form serves content. When deliberating on the picture, the difference and connection between the subject and the supporting scene should be clarified - the primary and secondary relationship. The primary and secondary relationship itself will be reflected in the form of how many, how big, etc., and will also be empty, with the method of virtual lining the main body, or with the gesture of echoing and looking forward to the primary and secondary relationship.