As the saying goes, when you learn Chinese characters, you must learn big characters first, and then learn small letters. This is not unreasonable. Because the font of small letters is small, it is really difficult to express the aesthetic feeling of writing and structure. People who can't write in lower case always think that the action of writing should be smaller than that of writing in lower case, but this is not the case. The small font size of lower case does not mean that it is reduced in size just in terms of its surface shape. In fact, lower case has its own writing rules.
First, the word "clear" and "full" are the most important words
The word "clear" here means that the lines must be clean and not turbid; The "fat" here means that although the lines are slender, they should be plump in the thinness.
when writing in small letters, the stippling should be sharp, the lines between the lines should be clean, the lines should not be bloated, and the ink residue should not seep out. When writing, the movements must be steady, light and simple. When writing small letters, you should walk like an old man walking with a stick, and you can't walk until the stick is stable. Therefore, the pen should be solid and powerful. We should not only look around and echo each other, but also explain it with a pen. It is necessary to see the big picture from the small, but also to show the skills and skills of Chinese characters everywhere. These are all the difficulties in lower case calligraphy.
2. The word "generous" is the most important in the small letter structure.
The ancients said that it is difficult for big characters to be dense and small characters to be generous. Small print is small print, so it is not easy to create a feeling of "seeing the big in the small". In order to achieve "seeing the big in the small", we should pay attention to the following points in technical treatment:
1. Compared with block letters, block letters often adopt the technique of "painting with dots instead of dots", which narrows the form of stippling itself, thus increasing the space between stippling and stippling, and making the works achieve a generous effect on the whole.
The pen for small letters runs only by the tip of the pen, but in the process of carrying the pen, it still needs to keep the process of "reverse in and flat out, lifting and pressing" and starting, writing and collecting the pen. However, the brushwork of lower case letters is generally simple, and it often adopts such techniques as "point-to-point brushwork" and "sharp point into paper". Compared with lower case letters, lower case letters are more personalized, more graceful and more touching, both in brushwork and structure.
2. Compared with capital letters, the capital letter glyph structure often adopts the horizontal (left-right direction) stretching method, which makes the glyph "flat" on the whole, resulting in a generous effect of "laying horizontally and collecting vertically".
The lower case is very keen on the effect of stippling stretching and natural and cheerful structure. Once the glyph is flat, every stippling between the horizontal directions will show a trend of stretching left and right, which will easily make the glyph feel that it is small but open, tight inside and expanding outside, and it is both sparse and smooth, and it has achieved a spacious effect.
3. Compared with capital letters, the structure of capital letters should not be too straight, so there should be some subtle changes in the structure. If we can make the structure between justice and injustice, then the whole lower case works will be more natural, beautiful and interesting.
It can be seen that lower case letters are not smaller versions of upper case letters and middle case letters, but have their own relatively independent technical principles and artistic expressions. When we learn regular script, we should be more discriminating and more beneficial.