1. Density is one of the important factors that constitute the overall aesthetic feeling of characters and even works. In the Qing Dynasty, Deng said: "Sparse calligraphy and painting can make the horse go, and secrecy can't make it impenetrable. White is often black, and the odd one comes out." Chinese painting especially emphasizes this point. Only sparse but not dense, appear loose and dull, only dense but not sparse, appear dull and dull, lifeless.
2, to the back, that is, to the opposite side, like two people talking, such as Yan Zhenqing's vertical painting; Back to back, like two people back to back, like a good vertical painting; From the perspective of character modeling, the characters with left and right structures can be more expressive and can make their posture lively and generous. Clever use can avoid the monotony of lines and the rigidity of structure, and increase the expressive force and charm of brushstrokes, just like the high and low notes in music, and the balance of words in poetry makes the works have a sense of rhythm.
3. There should be jagged changes between jagged line segments and the combined parts of words, and there should be patchwork. Dong Qichang's "Essays on Painting Zen Rooms" said: "It is forbidden to write in even position. If there is a word, there must be a collection and release, and there must be a spiritual connection. Wang Xianzhi's books have never been divided into left and right, and the right army is like a phoenix, which seems to depend on it anyway. Miffy said it was a thousand words, which was biased and uneven. When the length is complex, the density is also alternating.
4. The combination of radical characters is also positively related, and a single word has the problem of main and auxiliary strokes. It is surprising that there is regularity, dignity and prejudice, but blindly positive and easy to be dull, "like an operator", and blind prejudice will lead to disorder. Complement by partiality, that is, seek righteousness by partiality, and make the character structure stable and dangerous.
5. Opening and closing are mainly used for left and right structures. The opening is full of fun, and the closing is full of density. Proper opening and closing can make fonts vivid and beautiful.
6. The strokes and composition of loanwords adopt the methods of line expansion, displacement, interlude and line reduction, which avoids repetition, looseness and crowding, and makes all components of loanwords form an interdependent, harmonious and interrelated whole. When using concession relationship, we should pay more attention to the borrowing situation around us, so as to achieve the overall balance.
7. Words with vertical and horizontal structures and words with left and right structures can also be handled by vertical and horizontal methods. Or up and down, or up and down, or left and right, or left and right, so that the structure is rich in changes.
8. Fiona Fang's squares and circles give people different aesthetic feelings. The round shape is soft and full of flesh and blood, the square shape is stiff and stiff, and the muscles are old and healthy. Fiona Fang is mainly used for enclosure structure. Fiona Fang's changes are reflected in two aspects: appearance and pen. A word can be written as a square or a circle, and some words have a circle inside the square, which is more interesting. For example, the Zheng Wengong Monument seeks a square with a circle, while other northern monuments seek a circle with a square.
The above are only the basic laws and means of structural change. A word is often a comprehensive application of various laws. Only by mastering it skillfully can we naturally adjust and shape a beautiful body when writing a book. For example, in Zheng Banqiao's calligraphy, the density, length and size of words have changed greatly through their ingenuity, and there are thousands of gestures; Another example is the Yellow Valley, where the stippling is exaggerated and elongated, like rowing with a long paddle, and the shadow is oblique.