1. Roger that. That is, transparent or translucent paper, such as glossy paper and sulfuric acid paper, is used to cover the selected posts, and a brush or pencil is used to follow the characters of the model, and a very thin light-colored line is used to hook the outline of the characters along the outline of the glyph (half inside and half outside), which is called "double hook". Then, in the outline drawn out, write it with a brush according to calligraphy and painting (if the template is a black book, it should be written according to the shade of ink), which is called "outline filling".
Hook is because novices don't know the words of template posts and are not familiar with using pens. After using this kind of double hook, they will write according to strokes to get familiar with the font and brushwork characteristics of the template. Therefore, after "double hook" and "outline filling", you should write one by one according to the strokes, and you can't scribble. When copying, you should write from left to right and from top to bottom, and pay attention to the brushwork, such as pouring into the front and closing the pen. And according to the knowledge of brushwork, imitate the model essay. No matter how you tick and fill in the outline, you should be serious and not hasty. After you have mastered the structure and brushwork of the words in the template, you can enter the face.
2. Framework. Cover the template with transparent paper. In order to prevent the template from being polluted by ink, you can put a completely transparent thin corneal piece between the two layers, and then draw it out one by one with the method of "tracing red" along the strokes of the characters. This is the frame. I'm afraid I can't read the following template words clearly. You can buy an extra template and put it next to it for reference and comparison. This can save the time of hooking. The purpose of this method is the same as that of hook copying.
Kang Youwei once said: "Learning books must be imitated first, and you can't get the shape and quality of the ancients, and you can't get the temperament of the ancients." So if you want to post it, you have to imitate it hundreds of times first, so you can transfer it, and then you can post it. "It means that you must imitate calligraphy first, and you can't get the face and charm of ancient calligraphy without mastering the skeletal strength of the ancients. So you must imitate it hundreds of times and master the brushwork of the ancients, such as starting, turning and closing, before you can post it. Whether sketching, easel painting or red painting, we should be familiar with and master the brushwork, structural characteristics, modeling and charm of the template. In order to quickly master the brushwork and structure of some words, quickly see the effect and consolidate the memory, you can practice template posts part by part. For example, you can learn three or four pages first, repeat them hundreds of times, and then continue to write later. In this way, you can see the effect part by part, and also improve your confidence and interest in practice.
(1) is opposite. That is, written on the words of the template. The first step is to use the grid first. The specific steps are as follows: First, draw the nine squares and the Mi Zige with a corneal slice or thick paper (Figure 44). The function of Jiugongge is to easily grasp the structure and the position of calligraphy and painting when copying, because there are eight lines of up, down, left and right as the basis, which is consistent with the structure of Chinese characters. Such as left and right, up and down structure, up, down, left, middle and right. And Jiugongge is also divided into Jiugongge, so that when writing, it is easier to grasp the proportion of each part, the length and position of strokes and the angle of inclination, so as to know fairly well and facilitate inspection. Mi Zige's role is the same as Jiugongge. Because it is difficult to grasp the inclination of strokes such as left stroke and right stroke, it is not easy to recognize them. Mi Zige just has two diagonals as the basis, and horizontal and vertical strokes have two center lines as the standard, which is also convenient to grasp the positions of horizontal and vertical paintings and various parts. Both are advantageous tools for replication (see figure).
When writing, cover the transparent cornea with Jiugongge or Mi Zige on the template, and put a piece of paper with Jiugongge or Mi Zige under the paper to write, so as to write temporarily. This grid goes a step further than hooking it up and painting it red. Although there are nine squares or Mi Zige to determine the position of strokes, how to start, lift, turn, collect, draw the thickness, length, inclination and so on. It depends on the students' mastery of the brushwork in the previous paragraph and their observation of the model font. In this way, with the help of Jiugongge and Mi Zige, we can master the structure and brushwork of Chinese characters more accurately. Step 2, align them, that is, remove the nine squares or Mi Zige covering the template. When writing, we can line a piece of paper with squares under temporary writing paper, and write completely in the squares by observing the words on the template. When facing a human face, we should first pay attention not to just look at a painting and write a stroke, but to observe and remember the length ratio of all strokes and words, and master the frame structure and shape of the whole word. If you only look at a painting and write a stroke, pay attention to the part and lack the overall concept, you can't grasp the whole of the text, let alone reflect the charm of the model essay. So we must observe the position and proportion of each stroke in the whole word and look at the painting as a whole. After mastering writing, you can enter the back-to-back stage.
(2) facing the back. It refers to putting away the template and memorizing the words of the template, which is the final stage of writing. It is on the basis of copying, shadow, grid and surface, mastering the structural characteristics and brushwork of the template skillfully, closing your eyes and remembering vividly, so that you can get the template by dictation. Back to back, the emphasis is on mastering the form and spirit of the sample book, and the absolute similarity of strokes is not required. But in terms of form and spirit, it should be basically consistent with the model, even exactly the same as the model. So the point behind is meaning. Of course, at the beginning, no matter the structure, brushwork and charm, there will be a great distance from the model, which depends on checking the model to find out the gap and temporarily correcting it in the second time. As long as you recite it repeatedly, you can write the charm of the model more and more accurately. If you can do this, you can get into writing, which means you have mastered a calligraphy style.
After mastering the style of one school, do you still need to go through these processes to learn from another school? This is unnecessary. Because, at this time, the ability to control strokes and master structural characteristics has been greatly improved. As long as you directly enter the opposite side, the time and process of learning another style of calligraphy will be greatly shortened, and you can really enter the artistic creation of calligraphy. In order to pursue and create my own unique style, I have to write and study various calligraphy schools all my life, compare and analyze them, and absorb their characteristics and strengths for my use.