First of all, Mr. Liu pays attention to uniformity in the use of pens. It is difficult to see flying lines in Liu Bingsen's official script. He seems to be trying to avoid this kind of brushwork, but he has a deep preference for moist and smooth lines. In the distribution of pen power, Mr. Liu also handled it very "fairly": the horizontal painting was all thick and the vertical painting was all fine. Although this kind of brushwork looks very laborious, it does not show its due strength. Teacher Liu uses Juhao in vertical painting and spreads it in horizontal painting, which is thick and thin, which aggravates the flat feeling of fonts and greatly weakens the sense of volume and appeal of books. On the Chinese knot, Liu Bingsen's official script is full. Whether it's a multi-stroke word or a few-stroke word, Mr. Liu handles every word with four corners filled with color. For words with many strokes, it is easier to do so. For words with few strokes, the strokes should be bold, so that the size is even. For example, the ancients said that "big characters make the order small and small characters make the order big", which gives people the feeling of "iconicity" and lacks the breath of change, vitality and liveliness. In terms of composition, Liu Bingsen Lishu highlighted the word "human".
Like Mr. Liu Bingsen, who has no impetuous spirit and inherits the traditional spirit deeply, almost all calligraphers need to study hard. But for Mr. Liu himself, he lacks a spirit of change.