1, suitable shade.
There is a famous saying in Ou Yangxun's eight tactics:? Light ink will hurt the color of the gods, while thick ink will stagnate. ? If the ink is thicker, the handwriting will be more vivid, but if it is too thick, it will delay and hinder writing. At present, few people grind ink, all of them use ink, and the advanced calligraphy and painting ink is also very strong, which needs to be mixed with water before it can be used to write. Of course, the depth of ink is related to the hobbies and habits of the book itself. For example, Liu Yong in Qing Dynasty was a master of using thick ink, while Wang Wenzhi in the same period was a master of using light ink. Therefore, shade is not absolute, as long as it is light and harmless, and thick and not stagnant.
2, dry and wet.
Dry pen, also known as thirsty pen, wet pen, also known as full pen, is an advanced ink method. Dry pen refers to a kind of dry pen caused by the friction between urgent pen and strong pen and paper. What is this brushwork? Dry autumn wind? , clear and solid, dry and see the old. Miffy called his book? Brush words? When you speak fast, you are as calm and happy as a horse, which is a pen and ink effect produced by friction. Wet pen, call it? Running with the spring rain? , is a colorful brush strokes. Because most of the paper used in modern calligraphy creation is raw rice paper, writing on raw rice paper is easy to seep ink, so when a complete pen puts pen to paper, the ink seeps on the paper and slightly rushes out of the strokes without affecting the strokes, which is the most interesting. If the pen is slow or suspicious, the ink will ooze, so the pen can't be clean and healthy and become bloated; If there is not much ink at the front end of the pen, the pen will go straight when it is flushed or left alone, and the ink will not enter the paper, suffering from the shortcoming of thinness. Therefore, writing is based on pen and becomes ink, and the ways of pen and ink complement each other, so that the book will not be bloated and floating. The change of ink is nothing more than a word "thick, thin and wet". If we can unify the contradiction between thick and moist, light and dry, it is a master of ink.
3. Natural change.
The change of using ink depends on the skill of using ink on the one hand and the skill of using pen on the other. Because of the different pen rhythms, Mo Yun can be produced, resulting in the change of shade and dryness. On the other hand, ink painting will also affect brushwork. If the ink is full, you must hurry to transport the pen; When there is little ink, move the pen slowly. When writing, the silk in the strokes is white. What is this called? Bai Fei? This kind of dry pen alternating in running script can enrich the vivid changes in Mo Yun. Jiang Kui said in "Continued Book Spectrum":? If you want to do it, don't be too dry; Dry grass, moisten beauty, and take risks with dryness. ? Therefore, the use of dark ink and dry-wet mixing can make the white on the cloth more realistic.