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The material is excerpted from Tianjin Yangliuqing Painting Society's "Complete Solution to Freehand Pine Tree Techniques", compiled and illustrated by Pan Fuxing, excerpts of network shared content for reference only, if you need in-depth study, please purchase genuine books from formal channels.
Introduction to drawing loose brushwork
1. Double hook pine tree
With either a wolf or a pen, the center uses the pen to draw the pine tree in a top-down double line, while the center draws the twig. The outlined double lines and twigs are more inky, the lines below the double hook contour lines are thicker and thicker, and the upper lines are slightly lighter and thinner. The back two branches are boneless and loose, with a lighter ink color, and the center is slightly flanked, drawn from top to bottom.
2. Two pine trees standing side by side
They are all sketched with a pen by the center, reflecting the momentum of the pine tree. The pine in front should be painted slightly larger, and the ink color is more intense. When drawing the trunk, the branch interspersed structure can be drawn at the same time, and then the center and flanking are crossed to circle the pine skin into an irregular oval shape.
3. Pine rooted in the cliff
They are all outlined in the shape of a center double hook tree, with slight interspersed twigs. Use the little wolf to draw loose stems, and hold the pen shaft a little higher when painting, so that the pine needles drawn are sharper and have the shape of needles. When the double hook is up and down the double line, pay attention to the use of the pen to shake, the line drawn is thick and thin, intermittent, it shows the old age and strength of the tree.
Draw pine bark to use both in the center and on the flank. The dew roots of the pine tree and the gaps between the roots of the trees should be inked, so that the roots are aligned with the rocks and are tightly rooted in the cliff rocks.
Painting loose is a common form of composition
Cliff-like
This picture is themed after mountains, cliffs, and pines, and the layout is intricate. Strong old branches, vigorous coiling, showing the true color of jinsong, showing the strange posture of song old, wind and rain see the spirit. The old dry and vigorous knotted, eternal and everlasting. The painting song does not paint its straight and falls on the curve. The pines of the cliffs are full of strange beauty. The painting brush ink is majestic, dashing and bold, clear and green, and the ink rhymes.
Upright
In this painting, the mighty shore of the pine is tall and has the potential to soar over the clouds. That heroic beauty expresses matsu's purity and fortitude. This composition fully shows the momentum of the pine tree stretching and reaching the sky, which is amazing. Shi Zan: "Gao Song is holding the clouds, and he is as strong as a giant." Standing in the wind and rain, through the snow and frost morning. ”
Dragon posture style
This painting uses heavy ink to express the state of Loose's posture and crouching dragon. The ancient pines that have gone through vicissitudes have ups and downs, graceful and colorful, spotted dragon scales, iron claws grabbing clouds, showing the charm of the old pine dragon plate, the branches and the desire to fly and dance. Poetry: Splash ink to paint Cangsong, Taiyue Song Mountain standing calmly. Born dragon body strange, wearing scales and armor dancing east wind.
Disc stone type
In this landscape painting, the close-up scene is of three pine trees with different postures taking root and coiling stones, blending horizontally and intermingling, and the dangers are full of dangers. The first two cliff pine trees stand tall. The combination of five pine trees as the main body in a painting shows the resolute beauty of the pine tree's windy posture, "there is a wind and elegant rhyme, no snow to try the quiet posture", but also shows that one or several pine trees can be painted as an independent painting.
Cliff pine wind style
"Green pine out of the valley, ten miles to smell the wind", the above and lower three pine trees occupy the main position of the picture, with rocks, mountains and distant cloud mountains as a foil, attracting the attention of the viewer. The subject is real, the object is virtual; the main body is heavy, and the object is inky. Rendered in light ink in the distance, painting layers of cloud mountains, the chaotic clouds flying across, the fog spreading strange peaks, more loose and lush, huazi flowing beauty.
Horizontal
In the painting is a simple and vigorous old pine, with the vicissitudes of time and dry dragon scales. Matsuno's strength is clumsy, strong and unyielding, firm and stretched, lush, and the charm of black and white, thickness, size, dry and wet changes intertwined with old dry, dead branches and young leaves gives people a beautiful inspiration. The pine branches lie upright and stand tall against the sky, showing the majestic beauty of the old pine's fierceness. Pine age, thousand years of verdant.
The steps of creating a fan painting
"Golden Stone Matsushou" steps
Step 1: Sketch out the stone effect.
Step 2: The center uses a pen to double outline the effect of the crossed branches of the pine tree. Pine needles are added according to the posture of the tree and the windward trend. Pay attention to the change in the intensity of the ink color.
Step 3: The trunk is slightly inked with ochre and the pine needles are rendered with a little ink of flower cyan. It is necessary to pay attention to the primary and secondary relationship of the whole work, although the stone occupies a large area in the picture, it is to set off the vigorous and upright pine tree, so it is secondary, do not paint it too much emphasis. After the drawing is completed, the inscription is printed.
The steps of "Twin Pine Fusion Momentum"
Step 1: The center forward uses a pen to double outline the effect of the crossover of the branches of the double pine blend.
Step 2: Draw the turtle spots, pay attention to the change of the thickness of the ink and the trend when moving the pen, always grasp the moisture on the nib, and form a dry and wet contrast, in order to present the change of virtual reality.
Step 3: Draw pine needles on the trunk, paying attention to the contrast of the levels of near reality and far away. Pine needles should be drawn in groups, and each group of needles should be staggered, thick and thin, and short.
Step 4: Dye, after the picture is dry, then draw the stones for setting off, dye pine needles should also be grouped, and pay attention to the relationship between thickness and lightness. Organize the picture and print the inscription.
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