Hook and frame
(1) hook and copy
That is, use transparent or translucent paper, such as glossy paper, Sydney paper, moisture-proof paper, cotton paper, sulfuric acid paper and so on. Cover the template, use a brush or pencil to draw the outline of the word (half inside and half outside) along the edge of the template and along the outline of the font, which is called "double hook". Then in the outline of the tick, use a pen to write according to calligraphy and painting (if the template is an ink book, it is necessary to
First of all, you should be loyal to the form of the original words in the copybook If the line is hooked outside the outline of the word, the filled word will be one circle larger than the original word; On the other hand, if the line is hooked on the outline, it will become smaller after filling the outline; If some lines are hooked outside the outline and some are hooked inside, the words filled out will lose their original appearance. When hooking, always follow the position where the edge of the word outline is half inside and half outside. So avoiding it requires care and concentration. Secondly, when filling the outline, you can't draw it flat like a pattern painting. You should write one by one according to the calligraphy and painting of the original post in the order of first left and then right, first up and then down. And we should ponder the brushwork of the original post words and conduct analysis and research. At present, give us the "double hook" first, and only do the "outline", that is, "drawing", which means "drawing red", that is, "contour filling", that is, beginners draw the printed red copybook with a brush along the handwriting, which speeds up the learning progress.
(2) Framework
That is, cover the template with transparent paper (glossy paper, Sydney paper, moisture-proof paper, cotton paper and sulfuric acid paper) or completely transparent thin corner pieces. In order to prevent the template from being polluted by ink, cover the transparent paper with thinner and more transparent historical paper and Xuan paper (such as tying flowers, connecting cotton and single announcement), and then trace the shadow of the words on the paper by "tracing red" along the strokes of the words. Because there are two layers of paper on the copybook, and the transparency of the paper is different, if you cover it on the template, the outline of the words under it may be blurred. You can buy an extra template as a reference and put it next to it at any time. This can save the time of copying process and increase the number of copies. Now beginners can buy photo albums directly to practice.
Kang Youwei once said: "Learning a book must be imitated first, and the ancients cannot be complacent. So if you want to post, you must imitate it hundreds of times first, so that you can transfer everything before posting. " Therefore, whether you fill in the outline or draw red in the shadow, it is to master the brushwork and charm of the ancients and exercise basic skills. Therefore, when checking, we should observe and study the characters used in model calligraphy and painting, and understand the characteristics of starting, turning and receiving pens, as well as their style charm. If it is an ink book, we should also study the dry and dark changes of ink color, which is the performance of pen-ink conversion, from which we can study ancient calligraphy and painting. In order to consolidate the memory, some long templates, such as the pagoda in Yan Zhenqing, the Jiucheng Palace in Ou Yangxun, the mysterious pagoda of Liu Gongquan, the Danba Imperial Monument in Zhao Mengfu, etc. , can be segmented copy, repeat. First of all, we should be familiar with and master a few brushwork, structure and charm, and then from less to more, so as to make the whole article smooth. Only through strict training can we master the brushwork, structure and brushwork of the model and form the habit of not scribbling every word. Therefore, in the beginning, instead of doodling for speed, it is better to slow down, otherwise haste makes waste. In addition, now learners often skip the copying stage and enter the temporary stage, and some even come without overlapping, which seems to be fast, the actual effect is not good, and even the interest in learning books is abandoned because of the slow progress. Only step by step can kung fu be solid.
Second, facing and facing backward.
Pro is to imitate the calligraphy and painting of the ancients or masters. Posting has two steps, one is to face and the other is to face.
(1) Facing the environment
That is, written on the words of the template. The first step is to use the grid.
The specific steps are as follows: firstly, draw a nine-square grid, a Mi Zige grid, a trapezoid grid and the like with corneal membrane (such as film, thin glass, transparent organic board or transparent paper, such as sulfuric acid paper). The function of Jiugongge is a basis for easily grasping the stroke position when copying. The proportion suitable for Chinese character structure, such as left-right structure, up-down juxtaposition structure, left-middle-right structure, upper-middle-lower structure, 90% squares are also divided into upper-middle-lower, left-middle-right nine squares, so that it is easy to see the position of Chinese character strokes in these nine small squares, and it is easy for copyists to grasp the proportion of each part, the length, thickness and inclination angle of strokes, so as to know fairly well. Mi Zige's role is the same as Jiugongge. Because the oblique angles such as apostrophe and accent are difficult to see accurately, Mi Zige has exactly two diagonals as the basis, and there are two centerlines in the horizontal and vertical directions, which is also convenient to master the horizontal and vertical drawing method and the proportion of each part. Both are advantageous tools for replication. Cover the template with nine squares or Mi Zige, and put a piece of backing paper with nine squares or Mi Zige under the paper to be written. Put the template obliquely in front of the table (the back can be supported by a wooden frame or other objects), which can be used for scribbling. Tables go a step further than copying. Although there are nine squares or Mi Zige to determine the position of strokes, how to start, close and rotate, the thickness, length and inclination of strokes depend on the learners' mastery of brushwork and observation of model fonts, that is, they walk without crutches. In this way, with the help of Jiugongge and Mi Zige, we can master the process and brushwork of Chinese characters more accurately. In the second step, we can face each other, remove the nine squares or Mi Zige covering the template, and put a piece of paper with squares under the temporary writing paper.
When you are facing your face, you should first pay attention to sketching, not just reading one stroke. You should observe and remember all the stroke positions and strokes of Chinese characters, and master the structure, shape and expression of Chinese characters. Otherwise, when we look at a temporary stroke, we only pay attention to that part. Without a complete concept, it is impossible to grasp the shape and charm of the characters as a whole. Therefore, before you write, you must carefully observe the font and brushwork, and even with your eyes closed, you can visualize the shape of the word in your mind. Secondly, temporary writing can be slightly larger than template words, which is convenient to master the frame structure and brushwork of words, especially some template fonts are smaller and need temporary writing. After writing to a certain extent, you can enter the second writing stage, that is, the back-to-back stage.
(2) facing the back
It refers to putting away the model and memorizing the model's style, which is the final stage of writing. On the basis of copying, shadow, grid and surface, it relies entirely on memory to face words. Only by mastering the structure, brushwork and font of the model essay, and vividly remembering it, can we write the model essay silently. Back-to-back focuses on mastering the form and spirit of sample books. When writing, the length and thickness of strokes may be different from the original model, but they should be consistent with the model in form and spirit. So the point behind is meaning. Of course, at the beginning, no matter the structure, brushwork and charm, there will be a distance from the model, relying on inspection and comparison to find out the gap, and then temporarily correct it for the second time. As long as you recite it repeatedly, you can master the structure, brushwork and charm of the model skillfully. If you can do this, you can get into writing. When you encounter words that are not in the model, you can write them according to the structure and brushwork characteristics of the book in the model. The written words will be consistent with the model's style, indicating that you have mastered a book.