Ink painting originated from the landscape paintings of the "four kings" in the early Qing Dynasty. Wipe it with a dry pen, and then soak it in light ink after drying. There are traces inside the pen and ink halos outside. If the dry pen is rubbed with less water, the ink will be stained, which will make the ink dry and beautiful (Figure 1 16).
Figure 1 16: schematic diagram of ink dyeing method.
Wipe it with a dry pen first, and then dye it with wet ink stains after drying.
The difference between dipping ink method and wet dry method lies in: dipping ink method is to wipe with a dry pen and then dip it; Wet breaking is to break the dry pen with a wet pen before it is dry. If you don't dye enough ink at one time, you can dye it several times, so as to ensure that the ink is thick but not thin.
Second, the analysis of the method of accumulating ink in Italian figure painting
Ink accumulation method is a method of overlapping and adding layers of the same ink color or different ink colors. Tang Qi Zhi in the Ming Dynasty said: "Painters should accumulate ink, whether it is thick or light, whether it is thick before it is light, or thick after it is light, so that it will accumulate on silk, overflowing, falling, not astringent, deep but not thin, and complacent after it is cooked."
When you use the ink accumulation method, you should relax, you should be able to see the mark of the pen, and there should be a gap between the pens, otherwise you will feel "tired" and have black gas. Every time you accumulate ink, you should add it after the previous ink is dry. The color of ink used to accumulate ink should not be too strong, and the transparency of ink can still be seen when light ink can be accumulated several times. Thick ink accumulation repeated too many times, the level of ink block did not change, and finally became a black mass, losing the meaning of ink accumulation. Ink accumulation method generally uses light ink and wet pen to accumulate layer by layer in order to find the vigor of Mo Yun Huazi (Figure135); However, it can also be thickened layer by layer with light ink and dry pen, and the pen and pen are alternately re-released, forming a fine and silent pen and ink effect (Figure 136). Dry pen accumulates ink, pen tip dips in ink, and it is written on paper, and gradually there is a strong handwriting. The brushwork can be done by pointing, scratching and wiping, which is more common in modern figure painting, and it is more ancient, heavy and powerful than wet pen ink accumulation (Figure 137).
Figure 135: Schematic Diagram 1 of Ink Accumulation Method
Light pen wet ink accumulation method: left, double; Yes, accumulate ink three times.
Figure 136: Schematic Diagram 2 of Ink Accumulation Method
Dry pen ink accumulation method
Photo 137: Zhou Sicong returns to Dai Yue.
This painting first draws the basic shape with a stable brush, and then uses orange ink with a light Su Mo layer. Pay attention to the pen when using orange ink, and there are also shades, and the ink is light without losing its ancient thickness.
Thirdly, analyze the ink splashing method of Italian figure painting.
Ink-washing method is a method of washing and dyeing wet ink with clear water or light ink after the ink line is hooked, so that the wet ink melts and the dry ink maintains its original pen shape (Figure 132). Some pens were washed away by water, but the outlines of the pens remained, forming a unique ink effect. This method package should be used for large-scale works to achieve overall charm. The difference between it and broken ink is that the area of broken ink is relatively small, and some are partial; However, the washing method has a large area, and some of it is dyed by washing with water (Figure 133).
Figure 132: Schematic diagram of flushing method?
Photo 133: Feng Yuan's flower of evil.
The whole painting is painted with thick ink, and then the painting is dyed with clear water, which naturally forms the mottling and mutual penetration of water and forms the mysterious atmosphere of the picture.
Fourthly, the boneless ink painting method of Italian figure painting is analyzed.
Boneless method is a method of directly drawing a large area of black block without drawing lines, and directly expressing the shape with points and scratches. The brushwork often lies on the side with a large amount of ink, with a thick pen tip and a thin pen root, and the handwriting changes naturally (Figure 128).
Figure 128: Schematic Diagram 1 of Bone Removal Method
The boneless method should have multiple shades for each stroke, and the gradual wave should be natural.
The connection between the boneless pen and the pen should be at the root of the pen, so that the connection of the pen does not lose the overall harmony; The pen and the pen cannot be connected at the tip, which will not only destroy the shape of the pen, but also make the ink surface messy. Before writing, we should first design the direction of the pen gesture, the size of the ink block area and the order of writing, so as to achieve the same goal (Figure 129).
Figure 129: boneless method 2 has no intention.
First, design the strokes of the character's coat, and then use the pen from coarse to light in one go.
Boneless painting was originally a technique in flower-and-bird painting, and Ren Bonian began to draw figures with boneless painting in the Qing Dynasty. This method is best to use half-cooked paper or old paper, because it is gentle and slow to penetrate, and it can be calm and healthy when using a pen; It is difficult to grasp the shape of cotton paper and pen because it soaks too fast.
Fifth, analyze the ink painting method of Italian figure painting.
Su Mo is a kind of ink separated from dry ink by adding water, which contains row residue. Later generations also soaked the leftover Mo Ding in water and degummed it; Some people put Mo Ding in a cage and steam it into powder, then add water. On the original rice paper, Su Mo's stippling is surrounded by ink, forming a unique taste. Since the Ming and Qing Dynasties, many painters like to use this ink method (Figure 124).
The color of Su Mo is gray, there is no ink, the handwriting is obvious, and the effect of Mo Yun is good. Modern figure painting often uses both ink and new ink. Su Mo drew a picture first, and then added it with new ink. Especially in the creation of portraits, Su Mo is a common method. This kind of picture is very beautiful, full of pen and ink, and the effect is very good. Some juxtapose Su Mo and Xin Mo on the screen to form a contrast and produce subtle interest (Figure 125).
Gouache black also has the effect of Su Mo. The difference between gouache black and Su Mo is that ink is transparent and has no adhesion; Gouache black powder is heavy and has strong coverage, but if it is thick, there will be no pen marks or it will become a flat film. Modern figure painting often needs a flat black block because of the need of picture composition, and gouache black becomes an ideal material (Figure 126). Sometimes some parts of the picture are not ideal, so they can be covered with gouache and repaired.
Sixth, the analysis of Italian figure painting splash ink method.
This method began in Wang Qia in the Tang Dynasty, and every painting has been handed down. I drank to a high level and took off my clothes. First, pour ink on the silk ladle to make it look like a rock or a forest valley. I can't tell from the marks today, and I can't make a mistake. The present ink splashing method mainly refers to painting on a silk rope with a large number of wide marks, which often makes the ink on the whole paper fade. It looks like splashing ink, but in fact it uses strokes (Figure 122).
In figure painting, the splash-ink method is more accurate, because the physical constraints of the characters control the freedom of using the pen. At the same time, it should meet the modeling requirements. The splash-ink method should not be used too quickly, but should be calm and steady. No matter how big the pen shape is, it must start and end, and you can't scribble any more. Otherwise, it will be messy and difficult to clean up.
Figure 122: schematic diagram of ink splashing method
It's not splashing ink, it's actually a big deal.
Seven. Analysis on the Focusing Ink Method of Italian Figure Painting
Jiao Mo is a kind of ink heavier than thick ink, and the newly developed ink of inkstone is anhydrous Jiao Mo. Coke ink method mostly uses dry pen, which reflects the level of ink with the change of pen dryness and wetness. The ancients said, "Dry autumn wind, moisten spring rain." This theory points out the principle of coke ink method, that is, if the visual form is boring, the internal substances can be extremely colorful (Figure 1 19).
Focus ink pen should not be free of pen marks, and the brushwork should be clear. Keep the pen, not slippery. Otherwise, Mo Yun withered and lifeless, and it was dead ink (Figure 120).
Figure 1 19: schematic diagram of coke ink method.
There should be a feeling of autumn wind and spring rain.
Photo 120: Wang Rongqiang's sketch.
Jiao Mo's thirsty pen is used in the whole painting, and both the head pen and the hand pen should be round and young, so that the characters are accurate. Clothes are mostly made with wide pens, which forms a rhythm contrast with round pens.
Eight, the analysis of the broken ink method of Italian figure painting.
Ink-breaking method is a method of adding two kinds of inks with different chromaticity and water quantity before drying. Mainly to break the flat state of ink color and increase the richness of ink color. Sometimes the ink breaking method can modify the unsatisfactory ink block. Don? According to Zhang Yanyuan's Records of Famous Paintings in Past Dynasties, Wang Wei and Du Du used this method to make landscapes, which shows that the ink-breaking method has a long history in China ink painting. There are two traditional ways to break ink, one is to break thick ink with light ink, and the other is to break thin ink with thick ink. In modern ink painting, there are other methods (figure 108, figure 109, figure 1 10, figure11,figure 65438).
The ink breaking method should pay attention to the depth of ink color, and the two ink colors should not be too close, otherwise the ink breaking effect will be lost. When ink is broken, the amount of water in the pen should be moderate. If there is too much water, the ink will permeate excessively and become mushy. If there is too little water, the shade and dryness of ink will be isolated and cannot penetrate each other. When the pen is light and thick, if there is too little water, the thick ink layer cannot be broken (figure 1 13, figure 1 14, figure 1 15).
Figure 108: wet drying
Wipe with dry ink first, and then break with wet ink.
Figure 109: dry and humid
Draw wet ink first, and break it with dry ink when it is not dry.
Figure 1 10: Water breaks ink.
Draw thick ink first, and break it with clear water when it is not dry.
Figure 1 1 1: thick and weak
Draw light ink first, and break it with thick ink when it is not dry.
Figure 1 12: light broken and thick
Draw thick ink first, then light ink is broken.
Nine, Italian figure painting thick ink method analysis
Thick ink is ink with heavy ink color. The ink ground in the inkstone pool becomes thick ink with a little water. Thick ink often appears in eye-catching places in ink painting, and the stippling blocks drawn with thick ink have a calm and heavy feeling. Note: The thick ink can't be single, but slightly lighter thick ink is needed (Figure 103, Figure 104).
Figure 103: schematic diagram of thick ink method
Thick ink method should be clear and distinguishable, thick but not turbid. Can't black into dead ink.
Figure 104: Qing? Ni Tian's Map of Zhong Kui
The hats and cuffs of the characters in the painting are outlined with thick ink, the hats are supplemented with thick ink blocks, and the umbrellas and donkeys are all painted with thick ink with wide pens, so the handwriting is clear and natural.
Ten, Italian figure painting light ink analysis.
Light ink is a gray tone in ink color. To what extent, there is no certain definition, you can grasp it according to your own needs (Figure 106).
Thin ink method requires light but not thin, thin and thick. To achieve this state, it is all in the pen. The brushwork is thick, and the ink color is light but not light.
Light ink painting pursues an ethereal charm, such as a misty night and a foggy morning. Landscape painting is often dyed layer by layer, not for handwriting; In figure painting, multiple strokes are repeated. Find the level of handwriting and show the texture of clothing (figure 107).
Figure 106: Sketch of Light Ink Method
Light ink needs to see the pen, so it can be thin and thick.
Figure 107: Qing? Ren Bonian's "Liu Hai Play Toad Map"
Most of the figures in the paintings are painted in light ink, and the brushwork on the clothes is beautiful, the brushwork is calm and the ink color is light and ancient.