Spring, summer, autumn and winter fan surface four-in-one spring "White Butterfly Blue Field Jade" 60x30cm
Step 1:
Light ink outlines flowers, medium ink outlines reverse leaves, young leaves, old stems, etc., and heavy ink outlines positive leaves. When outlining flowers and leaves, pay attention to the thickness of the line, and the curve should be smooth and natural, not stiff. The old trunk line should be thick, the frustration should be powerful, and pay attention to the changes in the start and end of the pen. The pink butterfly is outlined with a gossamer, and the line should be delicate but not weak, and the line has the meaning of hiding needles in the cotton.
Step 2:
Background: After wetting the paper with the overall water of the shading pen, when it is not dry, brush with light blue (phthalocyanine blue plus three greens), and then wait until 7 into dry, and then brush into a slightly heavier blue, repeat about three times in turn, when the overall 8 into dry, bounce in a little water, form a slightly mottled texture effect, and complete the production of the background. When brushing the background, pay attention to the change of virtual and real, focus on the left and bottom of the picture, and dye the white pink butterfly around the upper right to leave blank.
Peony: The flower head is painted with a greenish five-cyan color (three greens plus a lot of white powder and a little bit of three-green). The reverse leaves and buds are coated with four green and flower rooms, the main leaves are coated with medium concentration of blue, and the top of flower seeds and the coat part of the flower room are flat with white powder.
Pink Butterfly: The head, chest, and back are painted with light ink, and the rest of the body is painted with a medium concentration of white foundation.
Step 3:
Background: The underside of the leaves, around the old stem, etc., is dyed with pale cyan. The left half of the picture is overlaid with pale phthalocyanine blue.
Peony: The flower head is dyed with light phthalocyanine blue, the front is deep and the back is shallow, the reverse petal is dyed by the dyeing method, and the edge does not need to leave a water line. Young leaves, branches, flower stems, etc. are dyed with slightly heavier three cyans, the main leaves are dyed with light ink cyan (cyan plus ink), and the reverse leaves are dyed with light cyan.
Pink butterfly: the black part is dyed with light ink, and the white part is dyed with light orange (Garcinia cambogia and Zhu Qi).
Step 4:
Peony: The flower head continues to be dyed with phthalocyanine blue, and the color around the flower room is heavier. The positive leaves are dyed with ink cyan (cyan plus ink) according to the changes of the leaf veins, and it is necessary to pay attention to the distinction of brightness on both sides of the leaf tendons, and to dye the undulating changes of the concave and convex changes, not to dye too evenly, and the waterline should not be deliberately left, and the light and shade changes should be natural. The reverse leaves continue to be dyed with cyanine. Young leaves, branches, buds, etc., are dyed with brighter four green (three green and white) from the light part to the dark part, and the young leaf roots are bright and dark.
Pink butterfly: The head and back are dyed with Chinese ink. Then use white powder to dye the bright part of the wings, and the lower abdomen is also dyed with white powder. Then the black spots were painted with light ink, and the light black markings on the tips of the wings were dyed with clear ink.
Step 5:
Peony: The flower head is dyed with phthalocyanine blue and a trace amount of head blue, pay attention to the light and dark relationship of each petal, and do not stick to the details of each local change. After the end of the unified dyeing, use light white powder to dye the edge of the reverse petal, a few pieces of reverse petals in the middle of the flower head, the dyeing area should be large, and the white powder dyeing is also slightly thicker. The upper left part of the flower head should be thin, and attention should be paid to reflecting the feeling of the flower head and the background. The positive leaves are also dyed with light ink cyan as a whole, this step should pay attention to the performance of the upper and lower layers of the leaves, the leaves at the bottom should be darker as a whole, and the leaves on the surface should be less depicted, and the whole should be bright. The leaves behind the old stem in the lower right and the back of the peony in the upper left are washed with water to weaken the whole. The old stem is dyed with brown (ochre plus ink).
Pink butterfly: The black spot part continues to be stained with medium ink. The main wing vein structure of the white part, the roots are dyed with pale ochre. The tentacles are also covered with pale ochre.
Step 6:
Background: After the paper is wet with water, use a shading pen to wash the whole according to the need, mainly washing the part of the picture that needs to be weakened. For example, bottom right, bottom left, and top left.
Peony: The four green flowers are dyed brightly, the stigma is dyed with white powder, the stamens are dotted with thick white powder and outline the filaments, and the light cyanine is carefully outlined with the stamens. Some of the closest to us are the positive leaf head green staining bright part, and the main rib of the ink is relegated. The reverse leaf is dyed three greens, and the light ink is relegated to the main tendon. The young leaves are pale rouge, reinforcing the main tendons and outlining the veins of the fine leaves. The old dry white powder is dyed and the bright part is dyed, the heavy ink dots moss, and the thick white powder is inlaid with treasure method.
Pink butterfly: The black markings on the wings are dotted with fine brushwork, and you should pay attention to the changes between virtual and real. The black part of the chest and abdomen is covered with heavy ink hairs. Heavy ink dots write legs, claws and mouthparts, thick ink dots, and head blue double dots. The white part of the butterfly's wings is covered with pale ochre around it, and the white part is set off. The inscription and the seal complete this drawing.
Spring, summer, autumn and winter fan four-in-one summer "Lotus Pond Dawn Mist" 60x30cm
Step 1:
Fine gossamer outlines the flower head, the line should be light, and the tip of the petals, especially the bud part, should pay attention to the tactful rotation with the line. Iron line outlines the lotus leaf, the root is thick and thin, close to the leaf umbilicus part to pay attention to the change of the pen, the pen can be slightly added to the pen. The insect erosion part of the leaf should be obvious with a pen. Aquatic plants, duckweed, etc. should be used in the pen to be virtual and thin, and the beginning and end of the lines should be weakened, so as not to hinder the performance of lotus flowers, lotus leaves and other subjects of the picture.
Step 2:
Background: After the paper is wet, when it is about 70% dry, the whole is dyed twice, and the periphery of the flower bud and flower head can be brought in, so as to facilitate the expression of the transparent texture of the petals in the later stage. When baking and dyeing the background, the first time you can bake and dye with aquatic weeds and duckweed, and the second time you continue to bake and dye, you should get out of the way when you encounter aquatic weeds and duckweed.
Lotus: lotus pod flat coated with pale pink yellow (Garcinia cambogia plus white), flower head flat coated with pale white powder, sepals, lotus stem, reverse leaf flat coated juice green (phthalocyanine blue plus Garcinia cambogia plus a little Zhu Qi). The largest leaf should be dyed when it encounters the infested part. The calyx part should also be dyed at the border with the petals. The main leaves are coated flat with cyan as a whole, slightly dyed at the edges.
Step 3:
Background: Continue to dye with light cyanine, dye the bottom of the lotus leaf several times, and leave the duckweed and aquatic plants free. The tips of aquatic plants are dyed with light ochre ink.
Lotus: The positive leaf is coated with a very saturated cyanine, after the pen is moist and dyed, drop into the water while it is wet, so that the water and cyan will permeate naturally, and it will form a mottled texture effect after drying. The reverse leaves and receptacles are dyed with grass green (Garcinia cambogia and cyan), and the flower head part is dyed with very light eosin, with deep reverse petals and shallow positive petals. The lotus pod is dyed with light orange yellow (Garcinia cambogia and Zhu Qi).
Step 4:
The reverse petals of the lotus flower are dyed with light eosin, and the shade changes around the central axis of the petals should be noted, and the root of the main petal should be dyed with light sandalwood (garcinia cambogia plus vermilion plus a little green plus a trace amount of ink), and the light and dark changes caused by the petal covering of lotus leaves should also be depicted. The edges of the lotus leaves are dyed with orange. The root of the positive leaf is dyed with cyan, and the reverse leaf is dyed grass green, and the color around the leaf tendon is slightly heavier. The root part of the aquatic grass is dyed with light cyan, and the main tendon retains the water line. The duckweed is dyed pale gray-green (three green with a little ink).
Step 5:
Background: After brushing the water as a whole, use a large shading pen to slightly wash according to the needs of the picture processing, mainly the upper left vista and the lower right duckweed part, so as to reasonably weaken the contrast of the vistex. The tip of the leaf of the aquatic plant is dyed light brown according to the distance.
Lotus: The bright part of the reverse leaf is dyed with four thin green (three green and white), and the broken edge of the leaf is dyed with light brown spot. The leaf umbilicus is dyed slightly thicker four greens. The roots of the main leaves are stained with inky blue, and the edges of the leaf tendons are slightly heavier. The lotus pod is dyed with pale crimson red (vermilion plus ink and rouge), and the root of the main petal around the lotus pod is dyed pale yellow-brown, and the extremely light cyan is used to dye it again along the periphery of the flower head to the middle, showing the transparency of the petals.
Step 6:
Background: The bright part of the duckweed slightly closer to the left is dyed with three greens, and the farthest duckweed is dyed with a light inky cyan boneless method. The root of the aquatic plant is dyed pale green, and the root part of the reverse leaf and the aquatic weed stem is dyed pale green.
Lotus: The reverse petal is locally stained with heavy eosin, the tip of the petal is slightly thicker, the vein is hooked with a thin pen of light eosin, and the sepal vein is hooked with a light cyan hook. After the bright part of the main leaf is moistened with water, it is washed into the three greens while it is wet and slightly dyed. The middle ink is re-hooked and the leaf tendon at the root of the leaf. Pale cyan outlines the veins of the reverse leaves. The bright part of the lotus pod is dyed pale green. Thick pink and yellow vertical powder method dot flower column, thick white powder dot stamen tip and outline the filament, white stamen tip center light rouge double point.
Spring, Summer, Autumn and Winter Fan Four-in-One Autumn "Bamboo Sea Qingyin" 60x30cm
Step 1:
Heavy ink outlines the near bamboo leaves, and the middle ink outlines the bamboo poles and distant bamboo leaves. The fine pen and heavy ink outline the damselfly. The bamboo leaves should be neat and neat, the bamboo poles should be straight and thick, and the bamboo leaves in the distance should be empty. The thread of the damselfly is delicate but not weak, and the needles are hidden in the cotton.
Step 2:
Use a large shading pen dipped in emerald green (phthalocyanine blue plus garcinia cambogia plus a little emerald green) to brush the background in the vertical direction, and then dip it in water to bake and dye a large area when it is dry. When baking and dyeing, the brushstrokes should be properly retained, which can better reflect the effect of rain. When it is not dry, then sprinkle water locally to complete the production of the base color texture. After drying, the main leaves are dyed with light cyan, leaving water lines on both sides, and the color of the prospect is slightly lighter. The reverse leaves and old stems are dyed with light grass green. The damselfly is dyed with light ink.
Step 3:
Bamboo leaves continue to be dyed with ink blue, and more attention should be paid to the changes in the primary and secondary relationships in this step, as well as the changes in the upper and lower levels of bamboo leaves. The leaves of the vista are dyed pale green (grass green with vermilion and ink). The bamboo poles continue to be darkened with grass green. The tip of the wings of the damselfly is lightly dyed to the root, and the body part is dyed with medium ink sections, and it is necessary to pay attention to the overall light and shade changes, not fragmented.
Step 4:
The upper part of the picture is brushed with emerald green again, and after the water pen is dyed, the three greens are sprinkled before it dries to let it permeate naturally. After drying, the tip of the leaf is dyed ochre yellow (Zhu Qi plus ink plus Garcinia cambogia). The upper end of the bamboo is slightly dyed cyan, leaving a fuzzy waterline, and the groove at the junction of the bamboo is flatly coated with cyanine. Reverse leaves, young shoots are dyed slightly heavier three greens.
Step 5:
The slightly heavier inky blue color dyes the roots of the bamboo leaves, focusing on the relationship between the upper and lower layers. The tips of the leaves are dotted with light brown markings. The background part is partially dyed with light cyan according to the picture effect. The old dried bamboo part is partially dyed with light cyanine. The damselfly is heavily dyed.
Step 6:
The ink line is blurred at the front leaf of the heavy ink, and the ink line is blurred at the bamboo pole with light ink. Then hook the veins of the leaves with a light ink pen, 5 to 7 can be, not too dense. The new leaves on the right are thin and four green, and the petioles and young branches of the bamboo are dyed four greens. The veins of the bean maid's wings are carefully outlined with a fine pen, and the legs and paws are directly written in light ink.
Spring, Summer, Autumn and Winter Fan Four-in-One Winter "Plum Blossom Fan Surface" 60x30cm
Step 1:
Light ink outlines flower heads, old stems, medium ink outlines young branches, receptacles, etc. Stone is heavily inked. The old dry pen should be slightly thicker and slightly rubbed, and the stone pen should pay attention to the thickness change, the lines are slightly dry, and the dark part is also slightly rubbed. The young branches should be firm with a pen, and the overlapping roots of the plum blossom petals should expose the receptacle behind them.
Step 2:
The background is dyed with light ink as a whole, and the old dry and flower head parts are vacant. The stone is coated with light ink, the plum blossom petal is coated with white powder, the reverse petal is coated with light eosin, the flower bud is coated with medium concentration eosin, and the flower receptacle and twigs are coated with green juice (phthalocyanine blue plus garcinia cambogia plus a little Zhu Qi).
Step 3:
The background continues to be dyed with light ink, the right side of the picture is deep and the left side is shallow, which can be dyed with plum blossoms, and the front of the petals is used to absorb the light ink of the cover dyeing while it is wet. The stone is dyed with light ink according to the principle of "stone is divided into three sides". The old dry plum blossoms are rubbed with light ink, and the young branches are dyed on both sides. The reverse petals of plum blossoms are dyed from the edge to the inside with eosin, and the light white powder from the edge to the inside of the positive petal.
Step 4:
The overall cover on the right side of the background is dyed pale cyan, and the overall cover on the left is dyed thin three greens. The stone is dyed with light ink as a whole, deep at the top and shallow at the bottom. The root of the plum blossom petal is dyed pale eosinate as a whole, and then the edge is dyed with thick white powder, this step should pay attention to the change of virtual and real, and pay attention to depict the spatial distance relationship of plum blossom. The reverse petals are dyed with slightly intense eosin, the edge of the petals is waterlined, and the receptacle is painted with four greens. The old stem is partially rubbed and rehooked with medium ink, and the nearest group of branches on the right is more heavily rubbed and rehooked, emphasizing the contrast between black and white.
Step 5:
The medium-thick branches of plum blossoms are dyed ochre-colored, the young shoots are dyed grass-green, and the flower tole is dyed pale rouge. After the positive petal is slightly washed with a water pen, the flower room is painted with white powder. The thick white powder outlines the filaments, which are thick inside and thin outside, like tiger whiskers, and should be strong and powerful. The roots of the stone are dyed orange yellow (Garcinia cambogia plus Zhu Qi), and from top to bottom, the whole is covered with a slightly darker earthy red color (Zhu Qi plus eosin plus a trace of light ink), focusing on the bright parts of the stone. In the first few steps, the dark part of the ink stain should be thin.
Step 6:
Thick pink yellow (Garcinia cambogia plus white) standing powder method points out the stamens, different shades of ink color point out the moss points on the branches, the moss points are round as a whole, the old dry moss points are slightly lighter, and the fine branches moss points are slightly thicker. Some of the small branches of the vista can be drawn directly with light ink freehand brushwork. The stone is dotted with burnt ink, and then used the "inlay method" to double the green once after drying, and the black ink line can be exposed on the edge. Finally, dip the white powder with a colored pen and tap on the other pen barrel to let the white powder naturally drip onto the picture, forming a snow-white texture effect. If you want the snow to be larger, the pencil dipped in white powder needs to be more saturated. If you need fine snow spots, you can first bounce off the excess white powder on the waste paper, and then implement the "pop powder method" on the screen.