Question 1: How to write the word "emblem" in a good-looking way, with continuous strokes or cursive script
Question 2: How to write the cursive script of emblem like seal cursive
Question 3: Look at the picture of the cursive writing of micro characters. (Modern retired teacher Jin Shijiang).
You can check it out on the "Chinese Museum" online. There are dozens of writing methods - most of them are like this.
Question 4: How to write micro characters in cursive script. Hello from the main building:
First of all, it is the author's god, like eating and drinking, holding chopsticks, free and easy. The second is to be familiar with the structure of characters, that is, to write "one's own characters" (after practicing other people's characters, it will become one's own characters over time). Secondly, if one understands the composition and calligraphy, it will naturally look good. In the main building, you can imitate other characters first and then practice more by yourself! I believe you can!
Question 5: How to write Wang Xizhi’s cursive script in micro-characters. Go and look at Tang Huairen’s Preface to the Collection of the Holy Teachings of the King... There must be something on it... I remember reading it.
Question 6: How to write the emblem in cursive? Go to the next cursive font, install it and type it and you will know! !
Question 7: How to write Hui calligraphy in running script? Go to Amazon to choose a copybook, or read it online
Question 8: Cheng Wei’s artistic signature, please calligraphy expert for help. Cheng Wei
Question 9: Song Huizong's Edition of the Thousand-Character Cursive Script. It is a rare Huizong cursive scroll. In terms of the penmanship, the familiarity of the structure and even the artistic conception of the writing, it is compared with Huaisu. , it’s really hard to tell them apart. This scroll of flying ink is written on a piece of paper with a total length of more than three feet, depicting gold clouds and dragons. The exquisite patterns at the bottom of the text were painted stroke by stroke by the palace painter, which complemented Huizong's calligraphy and made this unprecedented masterpiece! It is known as "the most unique calligraphy treasure in the world". The length is 31.5 centimeters and the width is 1172 centimeters. It is written on a piece of paper with gold clouds and dragons all over it. This is Zhao Ji's exquisite work when he was forty years old. The writing style is bold and smooth, unpredictable, and completed in one go, which is quite spectacular. It is a masterpiece after Zhang Xu and Huai Su. It is now in the Liaoning Provincial Museum. Cultural Relics Publishing House and Shanghai People's Fine Arts Publishing House each have photocopied copies available. "The Thousand-Character Classic" is an ancient Chinese children's reading book. It is a collection of one thousand characters of Wang Xizhi's calligraphy collected by Zhou Xingsi of the Southern Dynasty, compiled into four-character rhymes, and its content includes knowledge about nature, society and other aspects. The overall atmosphere of this work can be said to be full of energy. The whole work is like a rushing water flowing with the trend. The visual consistency is always an important factor in attracting the attention of the viewer, just as Tao Zongyi explained in "Shu Shi Hui Yao" Like: "It is natural to express one's intention, and it cannot be achieved through traces and traces." As this is a long scroll, cursive script is written on it, which to a certain extent restricts the calligrapher's temperament. Why do you say that? Because the expressive dimension of calligraphy is top-down, especially cursive script, some random strokes are often produced in the vertical space, and the space for horizontal expansion is very limited after all. Looking at this post, I feel full of vigor and vitality, and my spirit is leaping forward. Although it is a long scroll, the writing is full of vitality, beating endlessly, and there is no tiredness in the writing. When the vertical space is relatively small, Zhao Ji's use of long lines is also very appropriate. For example, the far drooping strokes at the end of the characters such as "Hao", "Di", and "Ye" in the article not only adjust the proportions of the space, but also make it clear and clear. , ups and downs, smart, full of high emotion and far-reaching, and at the same time it also plays a role in guiding and integrating, making the work appear more coherent. From this work, it is not difficult to find that Zhao Ji is good at using interspersed and scattered compositions. Perhaps, he got inspiration from Huang Tingjian's cursive script. Huang's cursive writing is well-proportioned and graceful. His representative work "Li Bai's Reminiscences of Old Travels" makes excellent use of the invasion and interweaving of lines, making certain characters cross regions and invade the line space of other characters. This processing method makes the presentation of the composition no longer limited to a single row or column, but gives people the aesthetic feeling of "a street paved with rubble". The way of expression of invasion in Zhao Ji's work can be said to be the essence of Huang's work: strange at first glance, startling at second glance, and marvelous at third glance. From this volume, we can also see Zhao Ji's "free" attitude when creating: As for the strokes, on the basis of ensuring the quality of the line, he wrote very quickly, powerfully, and wildly, inspiring the world, and there was a saying of "Who else can I do?" This work is made on paper depicting gold clouds and dragons. Due to the smooth surface of the paper, the pen and ink penetrate slowly. As a result, there are mostly sharp and sharp strokes throughout the text, while there are fewer subtle and blunt strokes. This may be a reflection of the part of the beauty that is lost due to the blind pursuit of momentum.
In this way, the handling of painting, pinching, and turning points seems too fast and sharp. If it can achieve what Zhang Jie of the Song Dynasty said, "If it is released, it will be like the Yangtze River, with turbulent waves and endless rolling; if it is collected, it will be like the Yangtze River. Hidden, appearing and disappearing, with various postures." It is indulgent and at the same time capable of being captured. Then the aesthetic feeling brought to us by this volume may be richer - after all, subtlety can better arouse the aesthetic emotions of the viewer. . "Involvement", as the key link between upper and lower characters, is the main expression in cursive script. A calligrapher who is good at writing rough cursive has a wonderful grasp of the connection: sometimes it is as thick as the main pen, sometimes as thin as a hairspring; sometimes it is pulled vertically, with the momentum of flying down; sometimes it is pulled obliquely, with the toughness of bending iron and steel. . It can be seen from this volume that Zhao Ji is good at using the diagonal pulling method. On the one hand, this shows his confident writing state: like an angry cat picking a stone, unstoppable, calm and joyful, passionate and unrestrained; but on the other hand, it also reveals his lack of flexibility in the way of involving, with too many diagonal lines. The whole article seems messy, samey and monotonous. Like all calligraphers, Zhao Ji also liked to write the "Thousand-Character Essay". He wrote an unknown number of volumes in his life, and only two volumes have survived to this day. One is a thin book, now in the Shanghai Museum, written in the third year of Chongning (1104 AD), when he was twenty-two years old. The inscription "Giving Tongguan" at the back of the volume must have been written by him for Tongguan, who was enshrining the Mingjin Bureau at that time. The scroll is made of red silk, on plain paper, with characters about an inch larger than each other, with crosses on each line and hundreds of lines before and after. The calligraphy has been basically finalized. However, this fashion is too thin and restrained, and it is not as good as the plump, strong and strong mind and hand of the old age. This cursive calligraphy is strange and strange, large and small, and some are like "the ape crosses the tree, escapes and reaches the water";......>>