Introduction: Calligraphy creation is a rigorous knowledge. Only by rigorously planning the layout of the entire work can we produce high-quality products. Below are the key points I have collected about calligraphy creation. Welcome to refer to it!
(1) Composition
Cleverly signed and highlighted, the theme cannot be forgotten. Calligraphy works of art consist of four parts:
The first is the theme, that is, the main text, which reflects the meaning and artistic conception of the theme. The content should be positive and uplifting. If there is virtue, it should have a profound meaning. Choose according to your mood and preferences.
The second is form. Form can better set off, express, and highlight the theme. The layout form of the content and the overall shape of the work must be coordinated and unified.
The third is the signature. The signature comes from the "recognition". The signature includes the author's name (including word and number), time, writing content, and even the writing place, environment or climate, mood, etc.; the signature has the above paragraph. , the lower part, the author's name is called the lower part, the lower part with fewer characters is called the poor part, and the person to whom the book is presented is called the upper part. Generally, the upper part does not write the surname but only the first name to show intimacy. If it is a single name, Write the same name as the name, but also write the title under the name, usually "comrade" or "sir", and then write "zhengzhi", "zhengshu", "zhirecti" or "zhishu", "zhizheng", " "Ya Zheng", "Hui Cun", etc.
The fourth is the seal. The color of the seal is divided into three types: Zhuwenyin, Baiwenyin and Yinyang combined wall seal. Zhuwenyin is also called Yangwen, that is, the words are protruding and the words printed on the paper are red. ; Baiwenyin is also called Yinwen, that is, the words are concave and the words printed on the paper are white. Yinyang combined wall printing is an organic combination of the first two, which is more artistic and ingenious. According to the function, position, shape and content of the seal, there are two types: name seal (famous seal) and idle seal. According to the location of the seal, the idle seal can be divided into leading seal, waist seal (for vertical width), side seal and corner seal. chapter. The famous seal is necessary to remind the author's name, and the famous seal is mostly square; in order to make the calligraphy work echo up and down, the leisure seal has the function of blocking the edges, connecting the waist, gathering energy, setting off, and decorating.
(2) Layout
The layout of calligraphy should be particular about leaving blank space. There should be appropriate space around it, especially the upper right and lower left sections. There should be enough space. Generally, the last line takes up the entire page. A third of the line is better. The text layout requirements are as follows:
Remember to determine the leader, consider the overall situation, and echo each other from afar. In a piece of calligraphy work, the first character in the text is very important. Its size and stroke thickness lead the overall situation, like the vanguard of the line. If it is too large, it will not be enough space, and if it is too small, it will not be able to hold the position. It is generally slightly larger and thicker, with too many strokes. The ones that are slightly larger and have fewer strokes should be thicker. It is very important to take care of the overall situation, so he is called a master. The distant echo refers to the first word and the last word in the main text of a work, that is, the first word and the last word are in close proximity, and the beginning and the end echo each other. They should be slightly larger or slightly heavier than other words, which is extremely important. Sometimes in a piece of work, there is a corresponding relationship between the changes in the rhythm of the text and the sentence. At the same time, the center position of each word should run through the center line to make the layout neat.
There is virtuality and reality, emphasis and density, and mutual penetration must be consistent. The layout of a calligraphy work should have both virtuality and reality, as well as density and sparseness. It should avoid straightforward descriptions and should be full of variety. There should be reality within the virtuality and virtuality within the reality. The virtuality should be used to set off the reality. If there is no virtuality, the reality will not be highlighted. There is sparseness in the middle, and sparseness and density are combined. Without sparseness and density, it is dull, and they penetrate each other. Real means that the strokes of the character are rounded; virtual means that there are white spots in the strokes of the character, and there are connected lines between the strokes; sparse means that the parts are loose, the gaps between the strokes are large, the strokes stretch outward, and the spacing between the characters is relatively large; dense means that the parts are arranged Compact, the strokes are compact and convergent, there are more thick strokes, and the spacing between words is small.
Row size, line thickness, fluctuations and misalignment. In a calligraphy work, the characters should be arranged in staggered sizes, the strokes should have varying lengths and thicknesses, and the outer outline should have wavy lines, giving a visual sense of undulating beauty. Generally speaking, characters with many strokes are written larger and have thinner strokes. There are many strokes but the characters are not heavy. It is best to have density changes in one character. Characters with few strokes are written smaller and the strokes are thicker. Although the characters are small, they have a sense of weight. . In short, I feel that characters with more strokes are neither heavier nor lighter, so that there is a sense of balance between the characters. The size and position between rows should be staggered, avoid crowding, and look left and right. Only modesty is virtuous.
(3) Charm
As an art of calligraphy, its composition must have charm and momentum, that is, each word and the overall layout of the work must have momentum. The composition and rhythm are very important, and must be carefully considered. Without rhythm and momentum, there will be no magic, no sense of beauty, and it will not become a work of art.
Skillful use of momentum, sense of movement and stillness, hardness and softness to set off the bone line. Visually speaking, momentum gives people the feeling of being full of vitality, moving in a certain direction, or reaching a certain form of momentum. It reflects the sublimation of the author's emotions to a state of selflessness. Skillful use of potential refers to the use of character shapes, including circles, squares, rectangles, fans, etc., with vertical, horizontal, and diagonal postures, and the direction of stroke movement. For works with few words, one style is usually enough, while for works with many words, many styles are needed to avoid being rigid. The sense of movement and stillness means that the shape of the characters has a tendency to move or a feeling of stillness. The movement is like galloping, flying dragons and phoenixes, and leaping thousands of miles, but do not lose the center of gravity; stillness is like a rock, hard like steel, and stable like Mount Tai. Movement and stillness complement each other. The contrast between hardness and softness refers to the combination of hardness and softness in the words, the combination of hardness and softness, the contrast between hardness and softness, and the softness highlighting the hardness. The rattan is lingering, and most of the works are dominated by rigidity, supplemented by softness, and softness is used to complement the rigidity. The bone line penetration means that although there are changes on the left and right sides of the entire line, there is a center line. The characters cannot deviate from the center line. Too much deviation will give people a loose and uneven feeling. It has rhythm and melody, giving people a sense of musical beauty. Writing in the chest means that before writing, the content and the shape and layout of each stroke of the knot should be clearly known in the chest, and the writing speed of each stroke should be well understood. Calligraphy works of art are not casual writing. No matter how good the casual writing is, it is still calligraphy at best. Just like a painter's painting, a character is very expressive, but if you don't know what the object is describing, what theme it reflects, and there is no artistic conception, can it be called a work of art? ?Obviously not. Writing with the heart in mind means to concentrate on writing and let the pen follow your heart, so that you can follow your heart and do whatever you want instead of getting carried away. The ancients used Su Su to compose books, one part drunk and seven parts drunk. They used wine to cheer them up and wrote as they pleased. They did not forget the reason for writing arbitrarily, but they actually understood it well in their minds. If the text was not finished and the wall and paper were exhausted, wouldn't it be wrong? It's generous and laughable. To finish the work in one go and with charm means to complete the work in one go in a rhythmic manner after being fully prepared. Don't stop writing and think about it while writing. This will easily break the momentum. The writing should have charm and avoid being dull and uniform.
(4) Knot
Up, middle, bottom, left and right, the stroke changes are not parallel. The "knot" refers to the structure of the font. Regardless of whether it is a knot of top, middle, bottom, left, right, top, bottom, or left, the strokes should not be parallel, such as the word "三". The three horizontal strokes must change when writing and cannot be parallel, otherwise it will be dull.
If it is short, thick and solid, long and thin, it should be strong when pressing, lifting and setting. The strokes of characters are divided into lengths and short strokes, and there are rules for writing changes in thickness and thickness. Short strokes should be thick and solid, and long strokes should be thin and void to show the balance of weight of each stroke. Pressing the button, setting, setting, and turning should be powerful, so that the actual strokes can have many changes.
(5) Ink
The virtual ink should be dry, and the real ink should be wet. The changes of dry and wet contrast each other. To achieve the effect of virtual and real writing, pay attention to the change of dryness and wetness when using ink. When it is wet, it will be moist (solid), and when it is dry, it will be dry (empty). If it is too wet, the pen will smear on the paper, and the pen will disappear. If it is too dry, it will be colorless and the pen will break. If it is too long, the pen will break. It is a master who has just the right amount of wetness. The strokes of the words have changes in virtual and real strokes. The white virtual strokes set off the real strokes, and the characters appear better. The virtual strokes are not weak but are broken.
(6) Starting the writing
Emphasis on change, God first, deliberate turns and not rigidity. When you start writing each word, you must know it with your mind in mind, that is, God comes first. The starting strokes of the same strokes should be varied and should not be the same. The transitions of the strokes should be flexible, especially those that continue the same strokes.
(7) The pen edge
The long center and straight edge, the oblique short edge, the hidden edge and the exposed edge need to be changed. When writing, master the changes in the pen tip. Long and medium strokes refer to "horizontal, vertical, left, and back strokes." Use the center for long strokes. The hand must be straight and the force penetrates the back of the paper. Short oblique deviation refers to the short "skimming and lifting" strokes with a deflection. The change of hidden edge and exposed edge refers to whether the edge is exposed at the end of the stroke. It needs to be changed. Generally, cursive writing has many exposed edges.
(8) Movement of the pen
The flowing water is as fast as an arrow and as slow as a knife. The hand can turn. The pace of writing should be varied.
Running and flowing water refers to writing with continuous strokes as smoothly as flowing water. "Quick as an arrow" means that the "lifting and hooking" strokes of writing are as fast as an arrow leaving the string. Slow as a knife carving means that the thick strokes are written as slowly as a knife carving, and the center strokes have the effect of leakage marks and cone scratches in the sand. Being able to turn your hand means "folding" the strokes and turning the pen to keep it centered when writing at the corners.
(9) Closing the pen
Emphasis on continuity, the beginning and the end, and the disconnection and connection of the beginning and the end. When writing, it is very important to finish each stroke, especially at the end of a word. It is important to think about how to start the next stroke, how to connect it, and how to gain momentum, which determines the success or failure of writing. Paying attention to coherence means paying attention to the possible coherence between strokes and finding out the order in which the strokes should be written. The link between strokes and strokes refers to the link between strokes. The lines of a word itself or the lines at the end of a word and the beginning of a word should be coherent, like holding hands, with continuous momentum. The beginning and end are broken and the potential is connected. It means that the continuous links are sometimes connected and sometimes not connected, but the momentum must be connected, that is, the trace is broken and the potential is connected. Especially when writing between two words, you must first consider the potential before you can achieve the potential connection.