Second, style. Yan-style strokes are thick vertically and thin horizontally, with obvious contrast between thickness. The strokes are often exposed when starting, and the folding angles are closely balanced when folding. The strokes are plump and sharp, and the font is generous and vigorous. The layered structure of the font is correct, serene and vigorous, with the beauty of tendons, just like a bodybuilder. The structure of face and body seems simple, but in fact, the layout is reasonable, relaxed and calm, without losing its position.
Third, Liu Ti. Liu Ti used a pen, mainly Fang Bi, and also used a round pen. Horizontal paintings vary in thickness, with clear advantages and disadvantages. Press the front of the vertical pen again, the middle is slightly curved, and the turning point is sharp and angular. The stippling echoes symmetrically, and it is strong and powerful. On the shelf structure, Liu Tizhong Palace is compact, extensive, dense, scattered and distinct, seemingly loose, but in fact it is skinny.
Fourth, Zhao Ti. Zhao Ti's pen is mainly centered, covering Fiona Fang and Fiona Fang. The strokes are connected by tendons and bones, combining rigidity and softness, combining movement and static, and the strokes are clean and neat. Font frame structure, moderate width, square compatibility, soft outside and rigid inside, enhances bone strength. Free and easy without losing elasticity, elegant without losing rigor. It seems chaotic, but it is actually very rhythmic.