画山水口诀
The mountain is the hook point, and the tree is dyed with colored ink. Before painting, you need to set the shape, starting from the tree.
Hook out the branches and ink a little from the treetops. The color should be finely tuned, and the red and green should be pure.
Dyed on the top of the treetops, the tree head is thick with ink. The pine should be atmospheric, and the branches should strengthen the soul of the mountain.
The near pine leaves should be bright, and the far pine should be slightly clear. The leaves are dyed with dark green, and the stems should be yellow and clear.
The miscellaneous branches should be thin, and the dotted leaves should be distinct. Not too thick, not too thin.
There are many trees in the mountain streams, and the layers should be distinct. The size of the photo is far and near, and the shade depends on the shape.
Although the mountains and rocks are atmospheric, don't forget the darkness and light. There is light on one side, and this side must be light.
There is no light on one side, and the light and darkness are heavy. Draw a pound of stone, and care more from near and far.
Where it is connected to the tree, the level should be high. There is no light on the top of the mountain, and it is dark under the tree.
There is a bright hilltop tree, and the color should be calm. When descending at the foot of the mountain, dyeing several times.
At the foot of the mountain you can point trees, but to fog and clouds. The foot of the mountain is not a tree, it needs to be dyed pure.
The distant mountains write the sea of clouds, and the ink is dyed. There is fog near the mountain, only in the shape of the foot of the mountain.
High and low levels, write clouds several times. At the foot of the thick ink, the shade should be fine.
Sassafras dots the light and shade, and the pen should be careful and steady. The sassafras point is a mountain, and it is often cared for far and near.
The mountain streams are closely connected, and the shade must be distinguished. If you look closely at the painting half, it seems that it can be done.
If it doesn't work, look for homeopathic patterns. The change should be bold, and it must be careful if it is not changed.
Think quietly before painting, and be patient and steady when painting. Paint more on the wall to look good.
If you draw well, you need to reminisce and see if you can improve. Take a closer look at the difficulties, and remember to be stable next time.
This is the meaning of the painting, and the artistic conception is difficult to understand. Realize the deep thought, and the good painting will come naturally.
点皴画法口诀
All points need to be bald, and the repeated accumulation of points is light to thick.
The pursuit of thick and vast, the front and back levels should be clear.
Remember not to be too tired, and the pen should be flexible.
Rice point lying front horizontal with a pen, the dense forest fog and rain seek hazy.
The pen and pen are connected into a piece, some are thick and some are not flat.
One tick:
Hold the pen slightly on the wrist, and the middle side must be natural.
The beginning of the line should be decisive, and the ink can be slightly dry if there is a shade.
Slow and astringent advance into place, there are real and virtual and disconnected.
It is necessary to draw lines according to the structure, and the front and back are divided into layers.
Ni Tsuki:
The landscape method is the key, which is divided into three categories: points, lines, and surfaces.
The part of the scab is very important, and the stone surface is after the concave texture.
The brush is decisive and not repetitive, and the brushstrokes are not messy.
The in-depth portrayal is thick, and it cannot be counted once.
Three rubs:
The wrinkles are not enough to add to the brush, increasing the feeling of heaviness and roughness.
The wiping pen should be dry and lightly touch the paper, and the texture line should not be damaged.
It is not too much to go from light to heavy, and one time is not enough to be counted.
The texture of the mountain stone is different, and the rubbing can not be increased or decreased.
Four Dyes:
To add a sense of color, ink dyeing and color dyeing can be used.
The stone surface after the ink is dyed concave, from shallow to deep, it should be natural.
After the ink dries, it is colored, and generally does not hurt the ink line.
The color dye must have a main tone, and properly distinguish between cold and warm.
Five:
Finally, use ink dots to dot moss, like mountains and rivers with long eyebrows.
Horizontal and vertical points are pointed and round, and the paper is not slow to touch with a brush.
According to the mountain shape to choose, the brushwork is consistent and scattered.
There are virtual and real up and down before and after, and it is deeper to seek rectification in pieces.
画树口诀
Sketch the tree method
To learn landscapes, first draw trees, and drawing dead trees is the foundation.
The strength of the branches is the most important, and the spiritual temperament is revealed.
There are two types of staghorn crab claws, some sparse and some dense.
It is mostly outlined by the center, and the most taboo is to depict the boneless.
Practice makes perfect need to draw more, in fact, dead trees are not withered.
How to draw a leaf tree
The double hook leaves need to be practiced more, and the center is disconnected with the pen.
Master several methods of hooking leaves, and write by hand to seek nature.
The leaves are stacked into a glyph, which is complex and simple according to the whole.
The canopy should not be too large, as it is bloated and unsightly.
After the ink is dry, it is colored, and the color does not hinder the ink from filling in.
Boneless painting tree method
There are many applications for boneless painting trees, and the quality of raw and cooked will be different.
Start by practicing more dry trees, and the shade of reality is in it.
The branching method is regular, and the density also needs to look at the shape.
The front is solid and the back is virtual or the back is solid, the front is thick and the back is light or the back is thick.
The tree also needs to have a side, and the side can be more vivid.
How to draw the dotted leaves of miscellaneous trees
There are dozens of miscellaneous tree point methods, which can be used flexibly according to needs.
The dots are straight, horizontal, and arc points are different.
Branches and leaves are more than add and subtract, no matter how vivid or vivid.
The canopy is intact and there are deficiencies, leaving the air to see the ethereal.
The coloring gradually fades from light to dark, and the slight shade color is not flat.
How to draw a clump of trees
The painting method of the cluster tree has its own rules, and the subject and guest are grouped appropriately.
The word 12 "one" still needs to be remembered,
One more and one less, one high and one low, one positive and one oblique,
One thick and one fine, one thick and one light, one sparse and one dense.
Set off each other and contrast with each other. The focus of the painting should not be careless.
How to draw a pine tree
Draw the main line first, oblique or positive, the scales are thick, and the brushstrokes are scattered.
There are light and thick, dry and wet at the same time. Horizontal oblique branches, zigzag features.
The combination of needles, the words are stacked, and the coloring should be thin, from light to thick.
The branches are ochre-colored, moist and distinct. The leaves are dyed green, and the flowers can also be green.
How to draw a cypress tree
The trembling pen is astringent into the outline, and the straight line is bent.
Combined with the contour, the arrangement should be dense.
The thickness of the branches changes, and the sharp bald pen is applied.
It is advisable to write cypress leaves in groups to form clusters.
The ink can be dyed when it is dry, and the dried ochre leaves are dyed green.
画山石口诀
Painted stone body surface
The shape of the mountain stone is irregular, high and wide, easy to draw, and difficult to draw.
The front and back layers should be different, and the texture should be different.
The inner and outer contours are connected, and there are convex and concave outlines in one stroke.
Draw the stone first and then the feet, and the head and feet should not be reversed.
Decent relationships are handled well, regardless of the mountains and rocks.
Lung Ma Chen
The soil and mountains are mostly covered with linen, and the lower quality of the mountain slope is rough.
The dry pen is light and heavy, and the lines are naturally loose and hairy.
The soil and mountains should also be divided into layers, and the most important thing is to be properly cultivated.
The texture combination is sparse, and the compound pen should not be traced.
解索皴荷叶皴画法
Dissolve the rope pen and ink clearly, bend down the wrist and relax.
The ink color is lighter or slightly heavier, and the ridge grows more.
The drooping leaf tendons get their name, and there are this type of stony and soil.
The pen is slightly heavier and then lighter, and the pen color must not be thick.
Each stroke is divided to the foot of the mountain, and the yin and yang treatment is different.
Cirrus fold strip painting method
Cirrus clouds with a slightly light pen, round and changeable to win.
The lines are sparse and convex and concave, and the virtual and real are tight and flat.
The folded penmanship can be vertical and horizontal, and the wrist is relaxed in the middle side.
The surface of the brush stroke block is not muddy, and the angle of the fold is not the same.
This method is widely used and is most valued by painters.
斧劈皴画法
It is named after the axe splitting wood, and it is restarted and retracted in one go.
Do not repeat the stroke many times, some big and some small are not the same.
The northern peaks use this method, and the stone is hard and the pen is heavy.
It is also important to know its variants, which are cut by the vibrale in successive rows.
Drag mud with water painting method
The mud and water are painted, and the stone shape is convex and concave in the heart.
The sunny side should be white and the yin side should be separated, and the front and back stone faces should be distinguished.
Most of the positive side should be seen, and the yin side is blurry.
The bold pen should be decisive, and carefully clean up the taboo shape.