Including sitting posture and pen holding style.
Sitting posture: naturally separate your legs. Don't cross your legs. Your upper body is upright, your head is slightly lower, and your left hand doesn't have to be placed across the table in front of your chest. You can put it on the left side of the writing paper to help you press the paper.
Hold the pen: usually use the thumb, forefinger and middle finger (depending on the length of the brush) to grasp the middle and lower part of the pen, with the thumb behind, the forefinger and middle finger in front, the ring finger included, and the outside against the pen. Palm to the left, keep the pen vertical. There are two ways to write: one is to put your right hand on the table, and the other is to hang it. It is suggested that people sitting in a sitting position should not use hanging, especially when they are beginners and learn to write small characters. Standing posture is the best at this time. Standing is casual, as long as you don't twist your waist and rest. The importance of posture is not alarmist, nor is it afraid of poor handwriting. This is an attitude. If you write to others, your body posture is not good, and others will not think that your handwriting will be good.
Second, observe.
Observe the different calligraphy fonts, including the words in the book, which are generally small (also on the computer at this time). Try to figure out the proportion, shelf and thickness of the characters. You will find that the reasons for beautiful handwriting are all in these six words, which together are called harmony or harmony. Because our Chinese characters come from hieroglyphics, everything in the universe has its perfect proportion and structure.
For example, in proportion, the top wood and the bottom wood are basically half, but when writing, the top wood cannot exceed half. It will appear heavy above and light below. The force of adding words is also half that of mouth, but the specific force of mouth is smaller. If the mouth is as big as the force, it will appear that the right side takes up too much space. The mouth is very eye-catching On the shelf (or structure): the main support of the frame is in the horizontal and vertical directions of the wooden characters. Therefore, the horizontal line should be written longer and slightly wider than the width of the words, in order to support the feeling above. The vertical line should be written between the force and the mouth. If it is from left to right, the center of gravity will be unstable. In calligraphy, the vertical of wooden characters can be written as vertical hooks. At this time, two points should be written in one stroke. The position is basically about stress and mouth. When writing a stroke, it is best not to tick vertically. Thickness: the wood should be slightly thinner horizontally and thicker vertically. The vertical direction is the main support here, just like the main pole of a tree.
Third, understanding.
Calligraphy pays attention to horizontal and vertical. At first, in order to strictly master the structure of Chinese characters, it was practiced like this. When you have a certain understanding, in order to write Chinese characters more vividly, you will begin to use horizontal, vertical (sometimes vertical and oblique) and stroke thickness, which can only be obtained through long-term practice.
Calligraphy contains many connotations, so I will talk about my personal study for reference only.