1. Line outline: This work was completed in the Song Dynasty and is one of the representative works of the courtyard style. The use of lines in gongbi works of that period was not as particular about the reference to "calligraphy brushwork" as in later works, but more about the consistency of "object texture" and line thickness, rhythm, and rhyme. The objects in this work are basically outlined with thin iron lines. Depending on the texture of the objects, there are slight differences in the speed and thickness of the lines.
2. Background color processing: This step is mainly about brushing the background color and flat coating the inherent color of each part of the object. First, mix a large amount of antique background color in the color plate, mainly bronze (Zhu Ke plus ink plus a little garcinia and a little eosin), and then use a large shading pen to brush once on the paper. When it is still wet, use Dip a medium-sized shading pen in light ink and brush it horizontally when wet to create changes in ink color according to the needs of the painting. Among them, the color of the hibiscus on the upper and lower sides of the picture and on the right side can be slightly darker. Don’t be too heavy on the background color of the object parts in the initial stage, especially the dark parts. Don’t think about applying it “in place” in one go. Just like the rendering technique, flat painting also requires “multiple layers of thin dyeing” most of the time. The white part also needs to be painted flat with white powder. Pay special attention to the concentration of white powder. Do not make it too thick to avoid stiffness and powdery air. The specific local background color matching will be explained in detail in the partial drawing step diagram later.