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Freehand character painting can be roughly divided into three categories: freehand line drawing, freehand coloring, and freehand freehand. Freehand line drawing is an important basic professional course of freehand figure painting, and it is also a form of expression that can be used independently. Freehand line drawing focuses on the initial training of the observation method and expression method of freehand figure painting, mainly learning the topic of using the pen, but also studying the problem of ink. Freehand coloring, which is the most common and most commonly used form of freehand figure painting, is to further train the pen and ink method on the basis of freehand line drawing learning, but the focus should be on the topic of color (including the performance of pigments, color techniques and art, color and ink mixing and contrast, coordination, etc.).
Freehand coloring can be written from the coloring belt, and gradually let go of the pen and enter the general coloring pen. The coloring method can also learn pastel coloring first and then study the performance of heavy color. Freehand is a form of relatively difficult to maximize the characteristics of freehand character painting techniques, and some traditional techniques such as stick figures, splashing ink, splashing color, and splashing water can be fully used in the large brush strokes of freehand.
1. Freehand line drawing basics
Line drawing is a common technique used in sketching, and it is also the easiest method. This is a technique of depicting the image with lines with different thicknesses, rigidity and softness, curved and straight, dense opposites, and virtual reality, and it is also the most ancient of the Chinese painting techniques. From the Xi'an Banpo faience pottery, you can see the changeable line drawing fish pattern. Comparing these vivid artistic images with primitive fish fossils shows that these fish patterns are great creations with realism and romantic overtones.
From the point of view of natural science, the line is the boundary of the surface, the independent line does not exist, and even the thread as thin as spider silk is a cylinder under the microscope. Because things have their own bodies, there is a body and a surface, and there is a sense of wiring when there is a surface. It was from this visual practice that the ancestors discovered the line and created the line drawing technique.
When we use this technique to sketch, we must also find lines from the structure of objects according to this theory. This line is the line of art, which can be thick or thin, wide or narrow, with both the function of modeling and lyricism, with rich expressiveness, laying the foundation of Chinese painting technology.
Beginner line drawing is better to start with the large flower head of the folded branch, use pencil sketching to facilitate modification, and then use ink line to re-outline the final draft. When re-ticking with the brush ink line, pay attention to the change of the pen, with the undulations of the edge of the flower and leaf, with its flipping and turning, with its structure to arrange the beginning of the pen, with its movement to pay attention to the rapidity of the pen, with its different textures to pay attention to the weight of the pen, ups and downs.
Generally speaking, the thick line is suitable for showing fat things, and the thin line has a very beautiful, thin feeling, straight line is firm, the round line is soft, the dry pen is dry, the wet pen is moist, and the denseness of the line can also show different spaces and color. A line drawing can be composed of uniform lines or a variety of variations. The same is true in terms of ink, a white painting can be completed with a consistent ink color, and it can also be used in both shades and shades, seeking more uniformity. All of these changes are dispatched by the author's freedom of respect for feelings. After proficiency, it is good to use ink to directly sketch, the shape of the object, the momentum, the texture, etc., often inspire us to use the changes of pen and ink, create new techniques, and create a more vivid image, which is particularly important for the creation of freehand painting.
Sketching is different from photography, you can add branches and leaves, transfer flowers and trees, and remove the essence, so that the image is more perfect. Beginners are good at using local materials, making trade-offs or gains, and not processing afterwards, so as not to weaken the vividness of the drawing.
2. Copying method
Banpo people have created line drawings, and we must constantly create new techniques. Marx said: "People make their own history, but their creation is not arbitrary, not by circumstances chosen by themselves, by those which have existed directly, which have been inherited from the past." "In order to create a new Chinese painting in the socialist era, we must critically inherit the existing creative achievements. After not inheriting, there is indeed a distinction between literary wilderness, thickness, speed and slowness, and high and low.
Knowledge comes from direct experience. Copying is an effective way to turn indirect experience into direct experience.
Copying method: one is to pro, one is to back pro. It is mainly used for gong pen painting and gong pen painting, and the craftsmanship of gong pen painting is strong, and the pen can be similar. It can also be used for the study of freehand painting, just to appreciate the general idea, do not have to be similar, because the freehand painting contains a certain accidental effect, even if the original author, repaint the original manuscript can not be exactly the same.
The procedure for backing is as follows:
The first is to choose a good probook. One is to choose the painter you admire for your favorite painting style, and the works you particularly like are conducive to the development of your own painting style. One is to choose the pro book according to their own creative needs and enrich the expression techniques. One is to choose The Book of Prophecy in order to correct one's pen habits. No matter which goal you choose from, it is better to use the original with clear handwriting, at least a better quality print.
The second is to read the painting. Take a closer look at the pro book and enjoy the painting. For this reason, it is also necessary to read material about the life of the author, especially comments related to this painting. Pay attention to the inscriptions, paragraphs, and seals of the picture to help understand the meaning of the picture.
The third is technical analysis. After appreciating the painting intention, carefully review the characteristics of the technique, consider how the picture effect is obtained, and the painting process, what to draw first, what to draw later, where to start writing, etc. For example, Zheng Banqiao studied the analysis made by Xu Qingteng's "Snow Bamboo Diagram": "Purely thin pen broken pen dry pen broken pen for it, never like bamboo; then dyed with light ink hooks, on the branches and leaves, not snow, bamboo combination, in the hidden leap." "A good example. According to the technical analysis, the equipment used in the original work is mainly: whether the picture book is paper or silk, raw paper or cooked paper; the type of brush used for painting, whether it is hard, soft, or combined; and then the quality of water, natural water, or glue-containing water. Tools and materials are the material basis of the technique, if the tools and materials are not right, it is difficult to get the effect of the original work and learn the technique. After deliberation, at least draw something of similar quality.
Freehand painting creation should be bamboo in the chest, and copying freehand painting should be painted in the chest to fall ink. According to your own needs, you can use the whole painting as a whole, or you can come to the whole picture in part. After the copying is completed, check it against the original, analyze the success or failure, and summarize the experience. The requirements for school hours are similar, and when it is used, it is necessary to choose the advantages and disadvantages and integrate them with me. The Qing Dynasty scholar Yuan Ming said on poetry: "There are ancient people living in pingju and the learning power is deep, and the spirit begins without ancients." Worth a good time to play.
3. Freehand painting coloring and capitalization
In addition to the freehand coloring should continue to use the freehand line drawing research pen, the main research direction shifts to the topic of combining ink, color, and color and ink.
Pen and ink in Chinese painting are two aspects of an inseparable whole. There is ink in the pen, and the pen in the ink is the basic requirement of traditional painting for pen and ink, and all kinds of pens cannot be separated from the change of ink color. It is not easy to change and have charm, it is improved with the improvement of practice and cultivation.
If there is ink and no pen, there is no bone in the ink, and the boneless ink is easy to rot and flat, thus losing the expressiveness and the special brush force of Chinese painting. Therefore, the problem of using the pen mentioned earlier is actually inseparable from the topic of using ink at the same time. Freehand coloring of figure painting, although the theme is transferred to the use of ink and color, in fact, it is also a process of further study of the use of pen. Color and ink have many common requirements in art, such as the use of ink, ink is divided into five colors, and the use of color needs to see the pen, the color of the bone, is the traditional requirement of using ink color.
The important feature of Chinese painting in terms of formal sense is the combination of various inks and colors with different inks and colors as the main body of the line. Of course, as a color, it has other requirements for a variety of artistic expressions, and the concept of seeing bones in ink and color in modern freehand figure painting is expanding and extending, such as the pursuit of texture effects, etc., which enriches and strengthens the brushstrokes of ink and color.
The ink color is roughly divided into scorched, heavy, thick, light and clear, there are changes in dryness, and there are methods of breaking ink, accumulating ink, splashing ink, sumo, and glue ink. The charm and rhythm of ink produce a variety of different artistic interests such as light, thick, rich, dripping and moisturizing, and use this to express some of the shapes and textures of objects, artistic conceptions and interests. The trick to using ink is to seek unity in change, this change can be the contrast between various ink colors, or it can be the sense of rhythm, richness, and texture of the ink color itself, so there are generally two tendencies in using ink, one is to seek unity in contrast, and the other is to seek change in unity. The former pursues richness and distinctiveness, while the latter should be harmonious and not monotonous.
The most commonly used ink method is the ink breaking method. Due to the permeability and repulsivity of raw rice paper, the content of water and the order of pen drops, the thick and light inks can produce complex artistic interest when blending or overlapping. Specifically, it can be divided into thick and light, dry and wet, ink and ink, etc., and during this period, the water content, speed, the time between the pen, the paper and ink quality, the pen and the pen type all play a different degree of role.
For example, the same ink moisture content, due to the different speed of the pen, will cause the length of the moment of contact between the rice paper and the pen, so that the thickness and permeability reflected on the rice paper will vary depending on the amount of ink and water sucked. If the length of time between the two pens is different, it will also have different effects in the blending with the pen that falls later due to the dry humidity of the pen marks and the different sizes of the seepage range. Sheep and wolf are not the same as the amount of water absorbed, and the dryness of the ink breaking effect is also different. Fresh ink and sumo, glue ink, and the use of ink breaking method will produce very different effects.
Fresh ink is sober and huazi, sumo is simple and thick, and glue ink is dignified and jerky. The quality of the paper or the permeability are different, and the effect will be very different with the same moisture and ink color. Smoke ink, calligraphy and painting ink, pine smoke ink, ink glue and advertising ink color will produce different interests on rice paper, and these inks of different natures will have very different effects due to different textures of paper. Therefore, the mastery of ink method requires the continuous accumulation of practice and personal experience.
The ink accumulation method is more used in landscape painting. The so-called accumulation of ink refers to the special artistic effect produced by the continuous interlacing and overlapping of various different ink colors and different brush strokes, giving people a sense of simplicity, richness and thickness. The overlap of each level of brush strokes at the time of accumulation is generally carried out when the brush strokes of the previous level are dry, and the overlap of brush strokes must have both a sense of form and an expression of objects.
When accumulating ink, wet pens are more difficult than thirsty pens, because the accumulation of wet pens is easy to bloated and vulgar, and it is not easy to pursue the effect of lushness; and thirsty pens are not only easy to loosen the spirit, if there is a failure, it is also easy to remedy. The accumulation of thirst pens should prevent loose and delicate. Wet thirst accumulation is the most commonly used technique, and if it is done well, it can appear muddy, show and present the effect. The ink accumulation method is generally used in figure painting to paint hair, rough objects and clothing, the skin of the elderly, and to express certain contrasts and special effects in the atmosphere.
The Law of Sumo. Su mo is due to the room temperature heat, so that the fresh ink glue and ink fermentation separate, this deteriorated ink may be accidentally discovered by the painter can produce special artistic effects. Due to partial or total fermentation of the glue, the ink particles are free to cause precipitation, so that it will condense on rice paper, and the pen marks are clear and not easy to penetrate or cover. Su ink is not as shiny as the ink color of fresh ink, but it is dark and rich, when painting, it is often because of its various pen marks are not easy to blend and overlap, and the occasional infiltration of some unfermented ink to form a unique curiosity, so that the Su ink method is its own style, and is favored by successive generations of painters.
The splash ink method refers to the painting method in which the essay throws a large amount of uneven ink on rice paper. This kind of splashed pen marks and water marks have a sense of nature and strength, but there is a great deal of accidentality and arbitrariness, which is the product of the author's intentional and unintentional, and it is easy to have both reasonable and unexpected effects. The splash ink method is often associated with capitalization and is suitable for the pursuit of interest, feeling and the lack of strict subject matter and objects in the shape. For example, painting loosely dressed and amorphous figures, stick figures in painting activities or dances, or painting figures in the wind, rain, fog, and night are all conducive to the play of the ink splashing method.
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