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In traditional Chinese flower and bird paintings, the treatment of branches is particularly important. This not only represents the main dynamic of a work, but also an important carrier of the relationship between the virtual and real rhythm of the picture. Especially in floral motifs such as plum blossoms, which are mainly attached to branches, the role of branches is more critical. This article will briefly introduce four common branch treatment methods for you. The cold winter is the most suitable for painting plums, so hurry up and learn it.
Tareping
Weeping branches grow from top to bottom, with thicker branches above and thinner branches below. Because it is a weeping branch, the branches are S-shaped, and the large branches and small branches are interspersed, and when painting, pay attention to the use of ink to have virtual and real changes.
1, adjust the thick ink, the center of the pen to draw branches, with the pen can be curved or straight, there must be rhythm.
2. Dip in thick ink, draw fine branches, and pay attention to the change of ink thickness.
3, with thick ink moss dots, pay attention to the size of the size, thick and light changes.
Transverse branches
The main branches of the transverse branches are shorter, the branches are longer, hard and straight, there are fewer twigs, and there are more moss spots.
When painting, we should pay attention to the use of a pen, pay attention to the main branch in the process to use thick ink, the ink can be wet, the stroke is used in the middle and the flank, with the momentum of the ups and downs, holding the pen has a degree; and the thin branches should be dried a little to reflect the uprightness of the branches.
1, with thick ink and a small amount of water to mix, flanking with a pen, drawing branches, pay attention to the process of pressing to express the virtual reality.
2. When drawing branches in thick ink, draw from the bottom up, and the lines should gradually become thinner.
3. Add some branches as a foil.
4. Pay attention to the flexibility of the pen when drawing branches, and pay attention to the length and thickness of the branches when adding branches.
5. Draw the side branches from top to bottom with thick ink, pay attention to the changes in the use of ink, and divide the primary and secondary.
6. Reconcile the light ink, draw the branches, and pay attention to the thickness of the ink to express the level.
7. Add branches with thick ink to enrich the picture.
Vertical branch drawing method
1, thick ink painting branches, to draw to the branch turn where the pen pen, do not pause for too long.
2, then use heavy ink and light ink (pay attention to the dryer ink color) to leave a trace of the pen, pay attention to leaving white.
3, and then draw the branches, with a pen from thick to thin, pay attention to the pause at the turning point of the branches.
4, add side twigs, use ink from dark to shallow, use pen from thick to thin, all in one go.
5, continue to add a set of branches, to draw strong and powerful.
6. Finally, add some small branches to complete the drawing of the branches.
Old pole twig drawing method
It is mainly manifested as the main trunk of the old trunk, and the trunk skin is relatively rough and can be drawn with a dry pen.
The branches are relatively thin, when painting, we should pay attention to the contrast between the old stem and the fine branches, use ink to distinguish, do not be too unified, and focus on body shape and texture.
1. First dip in thick ink, draw the incision part on the branch with the flank, and then point and then lift the pen.
2. Continue to use thick ink to outline the shape of the incision, and use the pen to have virtual and real changes.
3. Draw the texture of the trunk with the wrinkle method, showing the shape of the bark.
4, add branches, showing the dryness and vicissitudes of the old tree.
5. Draw the outline of the trunk with a light ink flanker, and use the ink to dry some, leaving a brushstroke.
6. Use light ink to rub out the relationship between light and dark of the branches, pay attention to pauses and ink color.
7, draw a thin branch, do not pause with the pen, the brushwork should be smooth, and the old trunk contrasts.
8. Add the main branch of the auxiliary branch, and use the pen for the center.
9, the tip of the pen dipped in thick ink, but a little lighter than the main branch, draw a branch.
10. Add branches where the previous step intersects, pay attention to the pause when it is time to pause, and lift the pen when it is time to lift the pen.
11. Choose a good position to continue to add branches, and pay attention to the changes in interspersed, length and thickness when combining.
12. Improve the branches, reflecting the vitality of the branches.
13, with thick ink moss dots, pay attention to the size, high and low undulating.
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