Click on the "Included in Topics" category to view all.
Tip: The graphic information comes from the Internet, and the copyright belongs to the original author. The picture is not sure of the authenticity of the work, not as the basis for investment collection, only for everyone to share and learn, if the author believes that it involves infringement, please contact us, we will verify and delete it immediately.
Chinese Painting Tutorial: Painting Methods of Landscape Fan Surfaces
Fan noodles are a special category in the rich and diverse art of China. Writing books and paintings on the fan surface is a unique phenomenon in the history of Chinese and even world art. Calligraphy and painting fans combine practicality, craftsmanship and art. From the emperors and eunuchs to the common people, they can have different levels of calligraphy and painting fans, which is one of the most widely appreciated works of art. Compared with scroll calligraphy, although fan calligraphy and painting are not as grand and profound as scroll calligraphy and painting, they have a stronger decorative interest.
Traditional fans mostly choose to make people look cool, and the view is refreshing themes and objects. The picture often appears green mountains and green water, summer rain and autumn wind, flying waterfalls and streams, snowy wild moon sky, or lotus fragrance to send cool, or good color proud frost. Generally speaking, the tone is light, the composition is loose, and the contrast with the hot and impetuous summer is formed, giving people spiritual and psychological comfort. In the hot summer, let's learn the painting method of the landscape fan, interested friends do not prevent the whole pen and ink painting on it!
First, the painting steps of the landscape fan
1. First pick a few trees, at this time there is no calculation in your mind. But pay attention to the mutual masking of trees, as well as the change of height and interspersed. The use of threads requires looseness, twists, mistakes, and rhythms. Pay attention to the length of the line, the twists, the twists, and the rhythm.
2. Pay attention to the changes in the virtual and real yin and yang between the point leaves and the sandwich leaves. Use the pen loosely and casually, without being too clear. Too clear, there will be a stereotypical feeling.
3. Draw the near hillside with the tree shape, the main tree is more than flat, and the crooked tree and upside-down tree are more raw slopes and cliff edges. Making mountains with trees and making trees with mountains needs to be physical, and the painting theory is also derived from this.
4. The pen needs to be loose, and the pine spirit will not be compacted. The structure of the mountain should be changed, that is, the "method of large room is small and small room is large" as described in the "Mustard Garden Painting Biography".
5. By imagination, arbitrarily outline the distant mountains, pay attention to the relationship between the part and the whole, and also pay attention to the relationship between the size and density of the mountain structure.
6. Then rub the mountain while rubbing. Pay attention to the contrast between light and heavy, dense. When rubbing, be sure to follow the trend of the mountain, and then render in light ink, paint the bridge and coats and the boats that are far away.
7. Continue rendering with light ink, and dye the leaves. Note: Do not flat paint, to see the pen, flat paint is easy to show the board stagnation. Dyeing mountains, trunks, leaves, etc. with ochre, to dye the unity and change, the most taboo is the east and the west. Draw distant mountains with splashing ink.
8. Continue to use the modulated flower blue, ochre yellow to dye the mountain, leaves, do not use pure color, pure color is not rich, pay attention not to flat paint, to have a change in shade. Use heavy ink as moss to dot and represent small vegetation. Pay attention to the changes in density, thickness, dryness and wetness, and then paint the aquatic weeds, inscriptions, and stamps, and the painting will be completed.
Second, the landscape fan example composition chapter method and technique analysis
Smoke Temple Evening Bell
The composition method of this painting is "horizontal type", also known as horizontal type, which is horizontally spread and integrated according to the context of the mountain, the rise and fall of the bearing, and the height of the undulation. During the intermingling of trees, the clouds also extend horizontally, and the springs and waterfalls flow between the cliffs and valleys, showing the meaning of looming and clear and flexible. The mountain is whisked or swept with the tip of the pen, and the axe, nail, and ghost face are combined to generate random hair and change according to the structure and stone pattern. The color of the mountain stone is colored with flower blue, and the middle scene is made of light ochre.
Qinglan yuanfan
This stamp method is of the "upright" style, with the main mountain in the center and towering straight, and the peak protruding out of the painting to see the strange sudden. In the space treatment, the "bird's eye view" style is taken, and the building, river sail, and far shore all have far-reaching meanings. The painting of the mountain stone is made of nail-headed beading, dipped in ink with the tip of the pen, and the pen is picked one by one, and the brush strokes are shaped like nails. The main mountain is colored with ochre and vermilion, and the top and dark parts are covered with a small amount of stone blue. Near the mountain, it is all painted with stone blue, and the two sandwich trees are dyed with stone blue and stone green respectively. It should be done with fresh bones and lustrous color.
Akirin Falls
This frame paints the late autumn jungle in the mountains, the trees are all used in the point leaf method, or ink spots, or color points, virtual and real, divided into several levels, often on the real and down virtual, thick and light, so that there is a sense of fog in the bushes, try to be dense and not chaotic. The mountain stone is split with a long axe, and the inside is also nailed. The whole picture is based on light color, leaving a blank space in the upper right corner.
Tide view chart
This figure adopts the posture method in the center of the main scene, the mountain stone is a block structure, with different lengths, widths and narrow strokes, vertical and horizontal sweeping, with the leaf dark dry and bright painting method, with thick ink dot leaves, trunk with double hooks, water waves with light ink outline, with snail green halo dyeing light and dark, the top of the wave, the wave flowers left white, the distant water plum disappears in the fog. The mountain stone is painted with ochre and stone blue, and the local cover is covered with stone green. The rocks should be painted brightly.
Shujiang Morning Dawn
This picture is composed of two mountains and one water. Left dark and right bright, forming a contrast, the viewpoint is pressed low, to show the majesty of the mountain, the mountain peak is first drawn with ink, the yang side is then used ochre plus Zhu Zhen fu instead of dyeing, the ridge of the stone green with the dot method, the background color is thick ink. The sky and water are rendered in light ink for a concentrated and subtle effect. The mountain on the left is shady, stained with thick ink and light ink, and the leaves are dotted with stone cyan, which contrasts with the warm color on the right side of the frame.
Pine cliff overlooking
This figure is an I-shaped composition, and the near stone and the right are vertical. The large branches of the stone slope, the back mountain and the tree are horizontal, protruding the force of extending in all directions. The mountain stone is shorted with wet ink. After the nearby stones are finished, they are first dyed with ink, then coated with bitter green (grass green with a little ink), and dried with stone blue and flower blue local blending. The stone slopes and back hills are dyed with ochre and stone green of different shades. The character's clothing pattern is double-hooked with garcinia and ochre, and then dyed with light powder.
Guanshan Travel
This scene focuses on the left and right sides, all intercepting the part of the mountainside, and its potential is to open the picture outward, and the overpass in the middle plays a role in pulling the force of the outer support, and forms the horizontal trend of the picture. The path introduces the viewer's gaze into the depth of the picture, and the bushes are interspersed with concealment in order to hide the hidden interest. The falling waterfall shows the dynamics of the picture and contains the magic of the void gathering. People and animals traveling on mountain roads, the theme of travel. Mountain stones are split with small axes with square strokes, swept vertically and horizontally, scarred or dry or wet, large or small, and the fine structure is outlined with square folded lines. The whole picture is based on the warm color of ochre, but there are subtle color changes between the clipped and spotted leaves, but the tone is still uniform.
Rock A Ming
This image is concentrated in the middle of the canvas, the left and right sides and four corners are white, the mountain stone is split with a large axe, the top of the stone is split horizontally, the vertical split is used on the vertical side, the upper and lower is closed, the upper and lower virtual, the line pen is sharp, forming a cut-off hook cutting brush stroke, in order to show the hardness and rigidity of the stone, and the obvious sense of block.
River gorge sails
This picture depicts the scenery of the smoke and clouds of the river gorge in ink, and the blank space in it is not only the image space in the picture, but also an important part of the picture image. The clouds should dye the shape and trend to make the picture dynamic. Its potential not only has the meaning of breaking and cutting, but also has a sense of surrounding and penetration. The sky darkened to hold out the clouds.
Wan Feng is deep in the monk's house
This figure is a V-shaped composition, taking the angle of view from the top, and the horizon is above the frame. Paint mountain stones using the hook method. The direction, density, and depth of the pen should change. Do less ink dyeing or no ink dyeing to highlight penmanship and bone strength. The color is required to be uniform and bright, dyeing the middle mountain with pure light ochre (plus a little magenta), the left side of the mountain is dyed with a light flower blue cover, and the leaves are dyed with snail blue (flower blue with a little light ink).
Cloud Cliff Waterfall View
This figure uses the high and far method to show the feeling of the towering mountain and the waterfall from the perspective of looking up. The treatment of mid-mountain cloud gas is aimed at enhancing the meaning of high and far.1. The near-range view is pushed and pulled. In addition to the level of the mountain to distinguish between thickness and simplicity, the depth of the cloud also plays a role in pushing away, the close-up view is pulled forward as much as possible, the main tree is pulled to the nearest position, the canopy is not seen, the roots are not seen below, and the thickness of the dot leaves is also intended to increase the weight of this part of the scene to strengthen the contrast between the front and back, and to set off the waterfall. The main mountain is made of horse's teeth, textured knots. The color is simple and bright, the whole painting basically uses two colors, the dark parts of the mountain stone and the leaves are rendered with flower blue ink, and the bright parts of the mountain stone and the trunk are rendered with ochre and a little rouge.
Mountain Pavilion Clear Tour
This picture is the composition method corresponding to the left and right, but the correspondence is not equal to the average, this is the form of the interaction between the two mountains, the left and right mountains use different methods, the left side is split with a water axe, with light ink sweeping, emphasizing the sense of unity and distance, the right side of the mountain is a close-up view, when depicting should pay attention to the subtle structure, with a nail head and a small axe splitting method. The pavilion takes the angle of view from the top, and the hook line does not use a ruler. In order to coordinate with the whole painting, the trees are also painted more delicately, and the hues pay attention to the contrast between cold and warm.
Sail shadow on the river
This composition is a variation of the half-sided trend, and the main scene is concentrated in the lower half along the bottom line. There are no miscellaneous trees in the width. The dotted leaf tree should be painted compactly and stretched, with virtual qi flowing in and out, so that there is an airy breath in the dense. The branches are mainly outlined with a thin pen and thick ink, and the overlap between the front and back changes slightly, but the overall thickness is thick.
Alone in the vast self-chanting poem
This figure shows the scenery halfway up the mountainside, and the scenery is divided into three levels from right to left. Mountain stone with a long axe split, the pen flows with the stone shape, dense and thick according to the change of yin and yang structure and runs, the tree adopts the method of thick dot supporting the leaves, the leaves are dyed with stone green and zhu, the near view of the mountain stone is coated with stone blue, the middle view mountain is coated with ochre, the local cover stone blue, and the distant mountain is painted with light flower blue. Mountain rock moss should not be much.
Creeks and mountains qingyuan
This picture is a flat composition, and the scene unfolds in a horizontal direction to achieve a sense of peace, tranquility and stability. Although the mountain is steep, it is not steep. The close-up scene extends to the left and right sides, the middle scene rises upwards, the jungle painted with heavy ink in the middle plays a role in converging, the color is only three colors, the mountain stones are all light ochre, the leaves made of ink dots and the distant mountains are made of snail green, and the red leaves are light rouge, which is intended to create a light scene of autumn scenery.
Third, fan appreciation
Click: "Included in the topic" Next article, turn the page to read.