freehand figure painting can be roughly divided into three categories: freehand line drawing, freehand coloring and freehand brushwork. Freehand brushwork line drawing is an important basic professional course of freehand brushwork figure painting, and it is also a manifestation that can be used independently. Freehand brushwork line drawing focuses on the initial training of observation method and expression method of freehand brushwork figure painting, mainly learning the subject of using pen, and also studying the problem of using ink. Freehand brushwork coloring is the most common and commonly used form of freehand brushwork figure painting, which is based on freehand brushwork line drawing learning, but the focus should be on the topic of color use (including the performance of pigments, the skills and art of color use, the mixing, contrast and coordination of colors and inks, etc.).
freehand brushwork coloring can start with coloring and writing, and gradually let go of the pen and enter the general coloring pen. Coloring methods can also learn light color coloring before studying the performance of heavy color. Freehand brushwork is a relatively difficult form to give full play to the technical characteristics of freehand brushwork figure painting. Some traditional techniques such as simple pen, splashing ink, splashing color and splashing water can be fully used in freehand brushwork.
1。 The basis of freehand brushwork line drawing
Line drawing is a common technique and the simplest method for sketching. This is a technique of depicting images only by lines with different thicknesses, alternating rigidity and softness, different curvatures, relative density and contrast between reality and reality, and it is also the oldest technique in Chinese painting. From the painted pottery in Banpo, Xi 'an, you can see the changeable line-drawing fish patterns. Comparing these vivid artistic images with the original fish fossils, it can be shown that these fish patterns are great creations with realism and romanticism.
From the viewpoint of natural science, a line is the boundary of a surface, and an independent line does not exist. Even a line as thin as spider silk is a cylinder under a microscope. Because everything has its own body, there is a face when there is a body, and there is a feeling that there is a wire when there is a face. It was from this visual practice that our ancestors discovered lines and created line drawing techniques.
When we use this technique to sketch, we should also find the line from the object structure according to this theory. This line is an artistic line, which can be thick and thin, wide and narrow. It has both the function of modeling and lyric, and has rich expressive force, laying the foundation for Chinese painting technology. For beginners, it is better to start with the big flower heads of broken branches, sketch with pencils for easy modification, and then re-hook with ink lines for finalization. When using a brush to re-hook ink lines, we should pay attention to the change of the pen, rise and fall with the edge of the flower leaf, turn with its turning, arrange the beginning and end of the pen with its structure, pay attention to the stroke of the pen with its movement, and pay attention to the weight and frustration of the pen with its different texture. Generally speaking, thick lines are suitable for expressing thick things, while thin lines have a graceful and thin feeling, with firm straight lines, soft round lines, dry pens and moist wet pens, and the density of lines can also show different space and color feelings. A line drawing can be composed of uniform lines or varied lines. The same is true for ink. A white painting can be finished with the same ink color, or it can be both thick and shallow, so as to achieve diversity and unity. All these changes are freely arranged by the author with respect for feelings. After proficiency, it is best to sketch directly with ink pen. The shape, spirit, movement and texture of the object will often inspire us to use the changes of pen and ink to create new techniques and create more vivid images, which is particularly important for freehand brushwork.
Sketching is different from taking photos. It can add branches and leaves, substitute flowers for trees, get rid of weeds and keep things, and make the image more perfect. The best thing for beginners is to use local materials, make choices or gains, and don't process them afterwards, so as not to weaken the vividness of the painting.
2。 Copying method
Banpo people have created line drawing, and we should constantly create new techniques. Marx said: "People create their own history, but their creation is not arbitrary, and it is not carried out under the circumstances that they have chosen, but under the circumstances that have existed directly, existed and inherited from the past." In order to create a new Chinese painting in the socialist era, we must critically inherit the existing creative achievements. There are indeed differences in literary field, thickness, speed and height.
knowledge comes from direct experience. Copying is an effective way to turn indirect experience into direct experience. Copying methods: one is facing the face, and the other is facing the back. The antithesis is mainly used for meticulous painting and meticulous painting, which has strong craftsmanship and can be imitated by brushstrokes. It can also be used in the study of freehand brushwork, only to understand the general idea, without seeking similarity with a pen, because freehand brushwork contains certain accidental effects, even if the original author redraws the manuscript, it can not be exactly the same.
The procedure of memorizing pro is as follows:
First, select pro-books. One is to choose the painter you admire according to your favorite painting style, and the favorite works are conducive to the development of your own painting style. One is to choose Linben according to one's own creative needs and rich expression techniques. One is to choose temporary books to correct one's habit of using pens. No matter which target you choose from, the original with clear handwriting is good, at least the printed copy with better quality.
next is reading pictures. Watch Linben carefully and appreciate the painting. To this end, we should also read the materials about the author's life, especially the comments related to this painting. Pay attention to the inscription, calligraphy and seal of the picture, which will help to understand the meaning of painting.
the third is the analysis of techniques. After appreciating the meaning of painting, carefully examine the characteristics of techniques, and examine how the picture effect is obtained, as well as the painting process, what to draw first, what to draw later, where to start writing, etc. For example, Zheng Banqiao studied Xu Qingteng's "Snow Bamboo Map" and made an analysis: "It is purely a thin pen to break the pen and dry the pen, not a bamboo; "Then it was dyed with a light ink hook, and the leaves between the branches were not covered with snow, but the combination of bamboo was in a hidden leap." Is a good example. According to the technical analysis, we will consider the equipment used in the original work, mainly: whether the painting is paper or silk, raw paper or cooked paper; The type of pen used for painting, whether it is hard, soft or doubled both brush; Then there is the quality of water used, whether it is natural water or water containing glue. Tools and materials are the material basis of techniques. If the tools and materials are not right, it will be difficult to get the effect of the original and learn the techniques. After careful consideration, at least draw something with similar quality.
freehand brushwork should be done in mind, and copying freehand brushwork should be done in mind before ink can be removed. According to your own needs, you can connect the whole painting to the whole painting, or you can connect it locally. After copying, proofread it against the original, analyze the success or failure, and sum up the experience. The requirements of class hours are similar, and the time should be long and short, and it should be integrated into me. Yuan Mei, a Qing Dynasty poet, said: "Living in peace with the ancients, you have a deep academic ability, and when you put pen to paper, you have a spirit." It is worth pondering.
3。 Freehand brushwork coloring and freehand brushwork coloring
In addition to the pen for freehand brushwork line drawing, the main research direction has shifted to the subject of using ink, using color and combining color and ink.
The pen and ink in Chinese painting are two aspects of an inseparable whole. There is ink in the pen, and seeing the pen in the ink is the basic requirement of traditional painting for pen and ink, and all kinds of pens can't get rid of the change of ink color. It is not easy to change and have charm, it is improved with the improvement of practice and self-restraint. If there is ink without a pen, there is no bone in the ink, and the ink without bones is easy to rot and flatten, thus losing the expressive force and the special sense of brushwork of Chinese painting. Therefore, the problem of using pen mentioned above is actually inseparable from the subject of using ink. Freehand painted figure painting, although the theme is changed to ink and color, is actually a process of further studying pen. Color and ink have many * * * requirements in art, such as using color in ink, which is divided into five colors, and using color requires seeing the pen and seeing the bone in the color, which is the traditional requirement of using ink and using color. The important feature of Chinese painting in the sense of form is the organic, harmonious and rhythmic combination of different ink and color strokes with line as the main body. Of course, as a color, there are other artistic expressions, and the concept of seeing bones in ink and color in modern freehand figure painting is expanding and extending, such as pursuing texture effect, which enriches and strengthens the sense of brushwork of ink and color.
Ink color can be divided into burnt, heavy, thick, light and clear, and there are some methods such as breaking ink, accumulating ink, splashing ink, Su Mo and gumming ink. The charm and rhythm of ink produce various artistic interests, such as elegance, heaviness, richness, dripping and moistening, which show some shapes and textures, artistic conception and interest of objects. The trick of using ink is to seek unity in change, which can be the contrast between various ink colors, or the sense of rhythm, richness and texture of the ink color itself. Therefore, there are generally two tendencies in using ink, one is to seek unity in comparison, and the other is to seek change in unity. The former pursues richness and distinctiveness, while the latter should be harmonious and not monotonous.
the most commonly used ink method is breaking ink. Because of the permeability and repulsion of raw rice paper, the water content and the order of writing are different, the dark and light ink can produce complex artistic interest when it blends or overlaps. Concretely speaking, it can be divided into three parts: mutual breaking of shade, mutual breaking of dryness and wetness, mutual breaking of ink and wash, etc. During this period, water content, speed, time interval between writing, paper quality and ink quality, pen type and pen type all play different roles. For example, if the ink content is the same, because the speed of writing is different, it will cause the instant length of contact between the rice paper and the pen, so the shade and permeability reflected on the rice paper will be different depending on the amount of ink and water absorbed. If the time interval between two strokes is different, it will also produce different effects in the blending with the pen that falls later because of the different dry humidity and infiltration range of the pen mark that falls first. Sheep's hair and wolf's hair are different because of their different water absorption and discharge, and their ink-breaking effects are also different. Fresh ink, Su Mo and gummed ink will have very different effects by breaking ink.
fresh ink is sober and colorful, Su Mo is simple and vigorous, and the glue ink is dignified and crude. Different paper quality or permeability, with the same moisture and ink color, the effect will be very different. Oil smoke ink, calligraphy and painting ink, Song Yanmo, ink glue and advertising ink all have different tastes on Xuan paper, and these inks with different properties will have very different effects due to different textures of paper. Therefore, the mastery of Mohism requires the continuous accumulation of practice and personal experience.
accumulated ink method is widely used in landscape painting. The so-called ink accumulation refers to the special artistic effect produced by the continuous overlapping of different ink colors and different strokes, which gives people a sense of simplicity, richness and thickness. The overlapping of strokes at each level during accumulation is generally carried out when the strokes at the previous level are dry, and the overlapping of strokes must have both a sense of form and an image. When accumulating ink, wet pen is more difficult than thirsty pen, because the accumulation of wet pen is easy to be bloated and vulgar, and it is not easy to pursue the lush and dripping effect; The thirsty pen is not only easy to be loose and delicate, but also easy to remedy if it fails. The accumulation of thirsty pens should be prevented from being loose and delicate. Wet and thirsty mixed product is the most commonly used technique, which has achieved the effect of being muddy and beautiful. Ink accumulation method is generally used in figure painting to draw hair, rough objects and clothes, the skin of the elderly, and to show some special effects in contrast and atmosphere.
Su Mo's method. Su Mo was separated from the ink by fermentation because the room temperature was too hot. This deteriorated ink may be discovered by the painter accidentally that it can produce special artistic effects. Su Mo is precipitated due to the partial or total fermentation of glue and the separation of ink particles, so that it will be solidified on rice paper, and the pen marks are clear, which is not easy to infiltrate or cover. Su Mo is not as shiny as fresh ink, but it is dark and rich. When painting, it is often because of its various pen marks that are not easy to blend and overlap, and the occasional infiltration of some unfermented ink, which makes the ink method unique and favored by painters of all ages.
ink splashing method refers to the painting method of splashing a large amount of uneven ink on rice paper with essays. This kind of splashing pen marks and water marks has a natural feeling and strength, but it has great contingency and randomness. It is the product of the author's intention and unintentionally, and it is easy to have both reasonable and unexpected effects. Splash ink method is often associated with freehand brushwork, which is suitable for pursuing interest, feeling and no need for strict themes and images in modeling. Painting loosely dressed figures, sketchy figures in activities or dances, or figures in the wind, rain, fog and night are all conducive to the play of ink splashing.
Finger brushwork is a special way of expressing painting with fingers as the pen. As early as the Tang Dynasty, there was a record of "touching plain silk by hand", but it was Gao Qipei in the Qing Dynasty who really formed the method of fingering ink. He developed and perfected the technique of fingering ink on the basis of predecessors. Finger painting actually uses fingers, fingers themselves, and even the palm of the hand to paint. Generally speaking, the bumps and skin of the hand are water reservoirs, and the ink attached to the hand continuously flows to the fingertips along the fingers, and the finger nails and fingertip meat are used to paint. Nails don't need to be too long, about half a centimeter is enough. If they are too long, they will easily make the painted marks thin, and the nail and the meat will contact the paper at the same time, which will easily produce a thicker effect. Five fingers can be used separately or continuously, or two or three fingers can be used together, and even the joints of fingers and palms can sometimes be used together. For the convenience of dipping in water, you can also use a small dish to hold ink, put it at hand, and carry your fingers while dipping. Refers to the painting paper should not be too permeable, and it should be made of soybean milk paper, boiled paper or cooked paper or paper with equivalent permeability.
Glue-ink method refers to the technique of painting with ink dipped in glue. Glue can be mixed in the ink first, so that the ink becomes heavy gelatinous, or ink and glue can be painted at any time while ginseng. Glue ink on rice paper is more difficult and uneven than water and ink, and it is this special property that we use to express some new feelings. Glue-ink painting has been used by many people since ancient times, such as Ren Bonian, Wu Changshuo and Pu Hua. After drying, the traces of glue and ink still have a fresh and moist feeling, and the effect that the edge circle infiltrated by water surrounds the transparent Mo Yun and ink block is often used by painters.
There are more than just the above ink methods. New ink methods are constantly being discovered and tested, but they need to be further improved and summarized.
color can be divided into color and color. In ancient freehand figure painting, color is subordinate, ink painting is the most important, and ink painting is the main one. It is rare to use color, especially heavy color. Modern and modern freehand brushwork figure painting began to increase in color.
Chinese painting pigments were originally directly extracted from minerals and plants, and cinnabar, vermilion, ochre, azurite, stone green and stone yellow were all processed from mineral sand, while cyanine, gamboge and rouge were processed from the juice of plants. The pigments used in modern times have broken the original framework. Many aqua colors such as ultramarine, purple, magenta, eosin, chrome yellow, sky blue, scarlet, lemon yellow, etc. have become frequently borrowed colors, and even some aqua pink is sometimes mixed with them. In color, mineral color and powdery color are not easy to permeate, but they are easy to precipitate. Generally speaking, vegetable color and non-mineral color are not easy to permeate and precipitate, but true mineral color has the advantage of not being easy to fade, while other colors will fade in a certain age, making it difficult to preserve for a long time.
There are three colors for freehand figure painting: primary color, blended color and color ink. Ancient paintings were dominated by primary colors, so were freehand figure paintings, and most of them were light colors. Modern freehand figure paintings used a variety of colors, and their techniques also increased. There is a natural connection between primary colors and ink colors, and the primary colors of ink-based pictures will appear simple, eye-catching and harmonious. And the primary color-based picture, ink color will also have a clear and bright effect. Modern freehand figure painting, the use of primary colors is still an important topic for people to study, especially the research and absorption of the use of primary colors in folk art and folk arts and crafts, so that the primary colors and tones of modern freehand figure painting are much richer than those in ancient times.
Modern freehand figure painting pays attention to the color tone of the picture, which promotes the research on the use of blended colors. For example, the use of colors in western painting, especially watercolor and gouache painting, the tone treatment of modern arts and crafts, the color feeling of lacquer painting and the pursuit of a new aesthetic perspective in nature are all important factors that affect the use of blended colors in China's freehand figure painting. However, the basic focus of China's study on the blending color of freehand figure painting should be on the change of inherent color.