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.
Demonstration (1)
Step 1:
Light ink hook flower head, medium ink hook calyx, support leaf, reverse leaf. Thick ink hooks the leaves and branches. Use a five-inch shading pen to dip a large amount of light sandalwood color (Garcinia garcinia + vermilion + ink + three greens) to flatten the base color. Pale white flat painted flower head. The white concentration should not be too thick, so as not to "eat color" when setting the color.
The top column of the flower seed in the middle of the thick white flat coating room. The alum is painted horizontally, fixing the base color, and the base color can be turned up without the need to turn up when rendering later. Garcinia cambogia + flower blue + cinnabar are blended into yellowish buds with flat-coated leaves, flower rooms and the opposite side of the calyx. Add a little flower green to the bud green and blend it into a green bud green flat coated reverse leaf.
Step 2:
Ink green (ink + flower blue) dyeing leaves: first of all, a light ink green dyeing, the first time from the root of the leaf to the tip of the dye to two-thirds of the rendering, and then again to the dyeing, this time only need to be integrated to one-half of the dyeing can be. The color of the third dyeing is adjustable and heavier, mainly concentrated in the place where the three tendons of the leaf are intertwined, that is, the root of the leaf. Then the leaves are dyed with ink green, mainly according to the direction of the leaf tendons, and are generally concentrated on the side where the leaves are far past.
There is a more mechanical way to understand that which side the leaf tendons bulge, the color is dyed on which side. For example, if the leaf tendon bulges up to the upper right, the color is dyed on the upper right side of the leaf tendon. The waterline is exactly the opposite of the leaf tendon and remains opposite it. It should be noted that the rendering of the reverse leaf is exactly the opposite of the positive leaf. Because the place where the positive leaf bulges is exactly where the reverse leaf recess comes in.
The waterline should not be too conspicuous, and the difference between light and dark can be expressed, unless it is a pure heavy color, otherwise do not use heavy colors such as stone green to outline the waterline. Light ink green is stained with flower houses, flower seeds, the reverse side of the calyx and the root of the leaf, and the whole of light ink green is stained with anti-leaves. Flower head: Pale akebono dye petals, the first time it needs to be dyed to about four-fifths of the entire petal. The color should be extremely light and not intense. The reverse orthropta is stained from the root, and there is no need to leave a waterline at this step.
Step 3:
Flower head: The reverse side is stained with a pale akebode, at which point the root can be left with a waterline to distinguish the front and back. The slightly thicker akebono on the front is twice more, and when dyeing, remember to reduce the dyeing area one by one. At the same time, we must pay attention to the masking relationship between the petals, usually the petals that are covered under the bottom are always darker than the top, and the junction should be slightly dyed with light akewara, just like the projection in Western paintings.
After the end of the dyeing, the color is mixed with rouge and aquamarine, and this time the dyeing is mainly concentrated on the roots, dedicated to expressing the spatial relationship between the petals and the structural changes of a petal itself. When dyeing, the dyeing method of the front petals is the same as that of the reverse leaves, and the dyeing method of the reverse petals is the same as that of the positive leaves, because the petals are basically rolled inward, and the leaves are basically turned outwards because of the drooping, so the light and dark relationship between the two is exactly different.
Leaves: Grass green is re-stained in the flower room, reverse leaves, and then back-dyed from the tip of the reverse leaf to the root with a moderate concentration of three greens. Rouge pours down from top to bottom to dye the flower room. Pale carmine stains calyxes and leaves. Stem: Flat painted bud green on the reverse and grass green on the front.
Step 4:
Flower head: Rouge dyes the dark part of the front flower head, emphasizing the change in its light and dark volume, without paying too much attention to its inherent color change. The reverse flap staining is enough at this time, and the overall thin dye with light rouge makes the picture look moist. After the whole part is dyed, it is dyed with white from the tip of the petal back, and this work has a background color, so it is slightly heavier when dyeing.
If you draw it on white paper, you can dye it thinly or even not dye it. The flower head powder does not need to be too thick, thick one is that the color is not easy to dye uniformly, and secondly, it is too white to see the white part of the work under the strong light and the sun, which is very dazzling, and the overall color is seriously disconnected, but it shows craftsmanship. This step is a mistake that beginner friends are prone to make, so I will explain it here.
Leaves: The front of the calyx and the front of the leaf are flat coated with grass green, once insufficient can be applied again, not once thick, so as not to be cloudy. The front of the stem is regurgitated once in the middle with a flower blue, showing the volume relationship between the middle parts of the slightly concave. Slightly thicker rouge stains the calyx on the reverse and leaves. The chiaroscuro treatment is the same as the peony positive leaf.
Step 5:
After the leaves are flat coated grass green, the picture will generally be "stuffy" because of the color quality problem, at this time, the root of the leaf is dyed with light ink blue, so that the ink blue color of the bottom layer is "transparent". Thick rouge is retouched on a main tendon in the middle of the positive leaf, as long as it is retracted to one-half, and the pen should not exceed the width of the line that began to be outlined, this front retraction is to refresh the mind, not to be too thick. A faint rouge water revives the reverse leaves, calyxes, leaves and other parts. The rouge should be very light and red.
The retraction is to show the red halo of the reverse leaf and the stem, so when the rehook, you can consciously let some to the side, do not need to completely concentrate on the line with the line, basically and the ink line is close and parallel to the retraction. Rod: Flat-coated bud green after the side of the staining of medium concentration three greens while staining light rouge, the same with light rouge retraction. Stem: The back is partially filled with a slightly thicker three-green color, mainly at the fork of the larger stalk, and then re-hooked with light rouge.
Flower head: the thick white is again raised to dye the tip of the flower head, and the area of this dyeing is very small, mainly concentrated in the tip of the nearest petal. Flower buds: thick white + garcinia yellow blended into pink yellow, with a small pen full of pigments, the center slowly point anthers, each stroke should be very full, the process of color grading can not use water, directly is the color between each other to reconcile.
Otherwise, if the concentration is not enough, there will be no spirit. After drying, use the stroke pen dipped in white along the direction of the anther to concentrate on the root of the flower room to hook the filament, and the pen can be heavy and light.
Part 1
Partial 2
Demonstration (2)
A scene uses sketch paper sketching to draw the peony flower form, the manuscript is crossed to the cooked rice paper with a hook pen, about an hour later, the brush is brushed on the cooked rice paper with the background color of the akebode blue tone, and then the four sides of the paper are fixed with water tape, and after drying, the flower head structure is dyed with adzuki, and the edge of the flower is slightly adjusted to the flower blue.
Second, after dyeing several times according to the structure of the flower, use the flower green akebode garcinia yellow ink, randomly blend and paint to the picture, and drip water when 80% dry, and the spot texture effect will appear.
3. Wash off the floating color with clean water, and try not to wash the flower heart.
Four garcinia dye filigree, repeated rendering adjustment of the flower head, the base color to add three greens and three greens, after the end of the in-depth with titanium dioxide repeated dyeing bright color, and finally the inscription stamped to complete.
1. Line drawing of peony leaves:
Peony leaves have three more prominent main tendons, and the flipping side of the leaves is carried out around these three main tendons.
Therefore, to depict the peony leaves, we must first depict the main tendon, and the middle main tendon is the first thing we have to outline. The root of the leaf tendon should be slightly thicker, slightly thinner when going to the tip of the leaf, and the tip should not be directly skimmed out, but slightly back to the front, so that the line can be dignified and powerful and not frivolous.
2. Shape of peony leaves:
The shape of the peony leaves does not have any fixed rules, which can be more fat and strong to express the meaning of grace, or it can be thin and weak to express the meaning of wildness. The combination of leaves in large groups should pay attention to the growth law of "three forks and nine tops".
The shape of the leaves in a gongbi peony painting should avoid multiple repetitions, and do not let the leaves grow on all sides, and avoid chaos. On the basis of overall order, pay more attention to the flexibility and change of the local parts, so that the painted leaves can be vivid and attractive.
Here is given a dozen kinds of peony leaves modeling, as long as more practice, proficient in the shape of each leaf change law, and then by example, according to the picture composition needs and peony leaves interspersed rules for organization, we can soon grasp the combination of large groups of leaves.
Top-secret pen color scheme
1, grass green: about 70% flower blue + 30% garcinia mixed, one of the most commonly used colors of the leaves of the brush flower.
2, juice green: about 80% Garcinia + 15% flower blue + 5% vermilion blended into a tender green, often used as the base color of the reverse leaf and the background color of the young leaves.
3, old green: grass green in the slight ink or slightly add a little rouge, often used to cover the color of the leaves in the dark, thin old green can also be used to render the reverse leaf.
4, sandalwood color: about 70% Garcinia + 20% vermilion + 10% three green blends, add a lot of water after commonly used to brush the background, can also be used as a young bud and leaf background color.
5, beige: about 70% garcinia + 30% ochre, mainly used to brush the background, in the painting of heavy color painting to play a layer of beige background color is easy to achieve color harmony.
6, three green: stone green + white and get, the more white added will become four green, five green and so on. The same is true for colors such as three green and four blue.
7, old ochre: Zhu Ping + ink blended, close to cooked brown. It is often used to stain branches or to stain parts of the leaf surface that have been bitten by insects.
8, rouge water: carmine color + a lot of water mixed. It is mainly used to regurgitate lines, and the same is true for the sayings of akebode water and flower water
Click: "Included in the topic" Next article, turn the page to read.