Features of running script:? Running script has the characteristics of both regular script and cursive script, but it is by no means that you can write beautiful running script by writing regular script well. Running script, as an independent character, has its own characteristics in its development. To learn running script well, we must go through special copying training and master its brushwork and writing rules.
Take advantage of the trend to write: running script is no longer like regular script, which requires going backwards and forwards, hiding the head and protecting the tail. Instead, the pen enters the front, the pen moves with the heart, and the pen follows the trend, or the pen is involved, or the front is picked. Never go back to the front. So many strokes have been changed. The following pages. Most of these strokes are exposed. The brush gesture is obviously smooth. ?
Leading strings: The ticking between the dots and the painting makes them expect an echo. Sometimes this echo is written as a hairspring through the pen tip, and two or more strokes are connected in one go, which makes the words appear coherent and unique. For example:
Generally speaking, the inherent strokes of each character are heavier, and the connection between the two paintings is lighter, but they can't jump completely, otherwise they will appear dull and dull. Binding effect is one of the main features of running script, but it should be used properly.
Blindly implicated and entangled, when intermittent, but self-defeating, forming weakness, is the taboo of running script writing. A calligrapher once said that "the effect of connection and disconnection is different, and it is easier to connect than to disconnect, so you should know when to disconnect". Therefore, it is another important feature of running script to separate the ribbon tied with thread from the echo of stippling to distinguish their different functions.
Heavy pressure and light lifting: Some strokes in regular script, such as stopping writing and reversing writing, are no longer used or rarely used in running script, and more are carried out according to the trend. Where it is light and thin, you need to close the pen and lift it gently, a little faster.
The heavy part needs to be pressed again, and the speed is a little slower. Of course, the alternation of stroke thickness should have a reasonable ups and downs process and be natural. Lifting and pressing can be seen almost everywhere in the running script, and the change of lifting and pressing within one word is just like what is said in the preface to the collection of words: within a painting, there should be a difference between light and heavy.