Question 1: Which kind of paper is better for cursive writing in calligraphy at the National Exhibition? I also like calligraphy. I also suggest that if you are just copying and you are not very good at writing, you should always use Shuxuan.
If you are creating something or want to frame it, it will be better to use rice paper clips, or you can also use gold-sprinkled rice paper, which will look better when framed.
Question 2: What kind of paper is good for participating in calligraphy exhibitions? Traditional Chinese painting uses raw xuan, while calligraphy uses mature xuan.
Question 3: What kind of rice paper do calligraphers generally use when participating in national exhibitions? Generally speaking, Red Star is good, and it is high-end paper.
Question 4: What kind of rice paper do calligraphers generally use when participating in national exhibitions? What, like the kind of Xuan paper and pastel paper with several different colors?
You can go to our Taobao store to have a look, it is on sale now, Anhui Jingxian rice paper, you will be fined if it is fake Ten Oh
Question 5: Calligraphy works, how to splice different colors of paper together, I saw many of them in national exhibitions. Make a paste with flour yourself, use rice paper strips no longer than two centimeters, and paste them on the back
Question 6: Will there be a calligraphy exhibition this year? It ended on November 10th this year, and the results will be out soon, the National Official Script Exhibition. Wait slowly, once every ten years
Question 7: What type of works are good to choose for calligraphy competitions? There are many forms of calligraphy competitions. Generally, formal national exhibitions and provincial exhibitions will have requirements on the form and type of works.
And try to keep close to the theme of the exhibition and adopt a work style that combines the theme of the exhibition.
Dingru Call for Submissions for the 11th National Exhibition of Calligraphy and Seal Cutting Works.
Work requirements
(1) Content: healthy and uplifting ancient and modern poems, couplets, poems, etc. (must indicate the original author and title, and attach an explanation of the work), and encourage self-composed poems Joint Fu. Those who write ancient poetry should pay attention to using authoritative versions and keep the content relatively coherent and complete.
(2) Specifications: The submitted works are divided into three parts: calligraphy, seal cutting, and lettering.
Calligraphy part: Please send the original work of calligraphy works. There is no limit on the calligraphy style. The size should be within 8 feet of the whole sheet (the height should not exceed 248
cm, and the width should not exceed 129
p>
cm), all vertical. The size of small font works (such as small regular script) is within 4 feet of the entire page (the height does not exceed
138cm, the width does not exceed 69cm), and they are all vertical. The size of hand-scrolled works should not exceed 35cm in height and 248cm in length. The size of each album page should not exceed 40cm in height and width, and the number of pages should not exceed 12 pages. The number of hand scroll and album works included in the exhibition shall not exceed 6% of the total number. Please do not frame any works (except album pages). Those who do not meet the size requirements will not be selected.
Seal cutting part: The seal cutting work should be sent to 6-10 square meters of printed manuscript, with more than two margins attached, and affixed on 4-foot vertical rice paper. After the review, the organizing committee will notify the exhibitors to send 1 rough seal carving stone to the exhibition. The rough stone will be collected by the sponsor after the exhibition. Failure to send rough stones will be deemed as giving up the qualification to enter the exhibition.
Question 8: The calligraphy competition is limited to 6 feet, which means that the maximum length of the entire rice paper is 6 feet (about 182 cm), and the width is 3 feet (about 96 cm). . You can choose the paper size according to the situation, either a 3-foot full sheet (that is, a length of about 3 feet, 92 cm, a width of about 1.5 feet, 46 cm) or an entire 4-foot sheet (that is, a length of 4 feet, about 134 cm, a width of 2 feet). 68 centimeters or so), or use the corresponding cut size (commonly known as 4 feet in half, 3 feet in half, etc.). The size is calculated accordingly. There are fixed sizes. You can create according to the size of the paper or cut the paper. . Generally, exhibitions should be limited to a minimum width of no less than 4 feet.
When participating in exhibitions, we usually use vertical banners, so it is easy to choose.
It is best to use creases to make a lattice, which will not be visible once framed. There is no problem with folding the rice paper, and it can be handed in any way.
The size of your creation depends entirely on what you are good at. Create whatever you can to express your level.
I wish you success!
Question 9: How to splice several colors that are common in national exhibition works in recent years without mounting them, and make the interfaces neat and consistent, and the pasted works 1. Buy what you want You need three to ten sheets of rice paper in various colors, such as bright red, orange, etc. Prepare paste and separate paste strips (you can use thicker paper such as copy paper). 2. Design in advance what kind of splicing plan you want for several colors, and determine the sizes of several colors. And cut them at right angles, and use multiple layers of rice paper to cut them together. Use a ruler and a set square. Glass or cardboard can be used as the bottom material when cutting. 3. Splicing: (For example, if you want to splice three colors of red, yellow, and red into one banner) place the dark red rice paper back against the edge of the counter, press the paste strips apart, and use your fingers to spread the paste onto the back of the colored rice paper, i.e. Lift the colored rice paper and move it forward, then overlap the light yellow rice paper to be spliced ??on the glue line. After gluing, lift it up and move it forward again to prevent the paper from sticking to the table. This is the first splicing. When it is semi-dry, cover the interface with paper and let it dry slowly so that it will not wrinkle too much. The colored rice paper for the second splicing is red rice paper. The paste is also applied to the red rice paper. Glue the other side of the yellow rice paper onto the red rice paper. The action is the same as described above. Note: The paper should be cut at right angles. Color Xuan is a dark color overlaid on a light color. The overlap should be small. Note: Do not use double-sided tape. Supplement: No matter where the dark H strip is used, the first condition is that it does not discolor, and the bonded overlap must be small. The method is to first horizontally and then vertically, glue the back of the light-colored work, turn the work upside down after it is dry, apply glue on the dark-colored h strip, and paste another work. Ways to deal with particularly obvious seams: Find the solution in Qian Songyan's "Inkstone Edge Bits". Just use a dull knife (don't damage the paper too much) to slowly scrape the edges of the paper to be joined, being careful not to break them. Then stack the two scraped paper edges neatly, and use a small hammer to gently scrape them. Hammer it until it sticks firmly, no paste or glue is needed. Use a little water. I tried it, and the effect is much better than the framer's. Reprinted in Calligraphy Jianghu
Question 10: How to splice several colors that are common in the works of the National Exhibition in recent years without mounting them, and make the interfaces neat and consistent? Purchase the pasted works Three to ten sheets of rice paper in the various colors you want, such as bright red, orange, etc. Prepare paste and separate paste strips (you can use thicker paper such as copy paper). 2.
Splicing: (for example, if you want to splice red, yellow, and red colors into one banner) place the dark red rice paper back against the edge of the table,
press the paste strips , use your fingers to smear the paste on the back of the colored rice paper, then lift up the colored rice paper and move it forward, then overlap the light-colored yellow rice paper to be spliced ??on the paste line, and then lift it up and move it forward once it is glued. Prevent paper from sticking to the countertop. This is the first splicing
. When it is semi-dry,
cover the interface with paper,
let it dry slowly so that it will not wrinkle too much.
The colored rice paper used for the second splicing is red rice paper. The paste is also applied to the red rice paper. The other side of the yellow rice paper is glued and overlapped on the red rice paper. The action is the same as described above.
Note: The paper should be cut at right angles.
Color propaganda is a dark color overlaid on a light color.
The overlap should be small.
Also: Do ??not use double-sided tape.
Ways to deal with particularly obvious seams:
Find the solution in Qian Songyan's "Inkstone Bits". Just use a dull knife (don't damage the paper too much) to slowly scrape the edges of the paper to be joined, being careful not to break them. Then stack the two scraped paper edges neatly, and use a small hammer to gently scrape them. Hammer it until it sticks firmly, no paste or glue is needed. Use a little water. I tried it, and the effect is much better than the framer's. I have seen the portfolios of previous art exhibitions. The large-scale works are all spliced ??and vertically connected, and the traces are relatively obvious.