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. We introduce the technical characteristics of running script from two aspects: brushwork: drifting with the flow: running script is no longer like regular script, which requires going backwards and forwards, hiding the head and protecting the tail. However, when the pen enters the front, the pen is in the right position, and the pen is mostly caused by the trend, or it is implicated in writing or picking the front. Never go back to the front. Most of these strokes are exposed. The brush gesture is obviously smooth. It also makes the running script more curved, and the strokes should not be too straight, which increases the sense of stippling and will not stagnate. These changes in brushwork naturally accelerated the speed of writing. Echo of stippling: Because calligraphy and pen collection no longer return to the front, but mostly put forward the pen tip, stippling has a hook, that is, when the last pen ends, it goes down with the trend and the next pen naturally takes over, so that although stippling is disconnected, the pen is disconnected, resulting in obvious concern and echo. Obviously, these condescension and echoes make the font more vivid and interesting. Tie-line drawing tape: The marking between points and paintings makes them expect an echo. Sometimes this echo is written in two or more strokes, and it is written continuously in one go, which makes the words appear coherent and unique. 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. Abbreviations and ellipsis: As mentioned earlier, Lian can write two or more strokes together, which has actually simplified and accelerated the writing speed, but its original strokes have not decreased, only the strokes are related and do not exist alone. In the running script, it is even simpler, that is, the original stippling is simply combined to form a unique writing method in the running script. The change of collection and interpretation: compared with regular and rigorous fonts such as regular script, official script and seal script, running script has the same characteristics as cursive script. That is, it can adjust its own font and stroke shape at any time according to the needs of composition and the characteristics of a word. It can be restrained or indulged, and it can be extended and contracted at will, so that it can be made longer, for example, it can also be made into a square. Yifang: Regular script is round and the strokes are folded in many ways, that is, Zhao Mengfu's "Round Zhuanshu" mainly reveals its meaning, which is undoubtedly necessary and increases the strength of words. Running script moves with the trend and changes endlessly. Fiona Fang is flexible and vivid. Pay attention to the changes in Fiona Fang, and make it blend naturally, so that the effect of writing is both the rigidity of Fang Bi and the fluency and agility of a round pen. If you fold the square blindly, it will look stiff, while if you simply turn the circle, it will look vulgar, slippery and weak. In short, we should observe more in our study and think more in our creation. 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 lifted 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 can be seen almost everywhere in the running script, and the change of lifting in a word should be different in a painting. As for the light and heavy layout in an article according to the rules, it is also common in running script works. Calligraphers of all ages have their own experiences. If we carefully taste the works of later generations, we can appreciate the wonderful use of lifting pressure in running script writing. The wrist is just right: "The beauty of calligraphy is at the end of the pen." Today, some people think that this theory of predecessors is biased. Others, such as composition and ink painting, are also important. But calligraphy is the plastic art of lines, and improving the expressive force of lines is often the lifelong pursuit of calligraphers. Composition, ink painting and so on are inseparable from lines to complete the performance, and the expressive force of lines lies in the use of pens. Therefore, the above statement can be said to be correct and cannot be ignored. When it comes to using a pen, you can't help but mention your wrist. The two are inseparable. This point is often ignored or confused by beginners of calligraphy. As mentioned above, the movement of the pen can combine beautiful, strong, simple and naive works into different styles, so what is the key to using the pen? Of course, it is the brain, but the idea of the brain is completed through the reasonable cooperation of fingers, wrists and arms. Fingers are too thin and delicate, and exquisiteness may be acceptable, but overall, it is not enough. No one can write complete Chinese characters. The arm is too thick, writing a list may not be satisfactory, but it is not satisfactory to be perfect. Then only the wrist is in the middle, which can play two roles. Especially the agility and exquisiteness of running script, sometimes it is all done by wrist movements. Wrist movement means that in the process of writing, the wrist should consciously command the brush to swing left and right, and slowly press it down to change the illusion. So that the writing effect is smart and smooth. For example, when writing hundreds of Chinese characters, you must tilt your wrist to the left, push your pen to the right, and the end of the horizontal direction will turn right immediately. After lifting the pen, it will press inward to the small vertical fold and lift the front to the right, so that the rotating belt will lift the pen inward for some collection. This series of movements is to push and rotate the wrist from left to right. If you only move the pen by your arm, it is obviously difficult to accurately write the lines with changing light and heavy, and it is even more difficult to accurately show some dexterity and write half. Of course, if you write Berberis, you need the help of your arm, and the control pen is done by your wrist. Therefore, wrist movement is a crucial exercise course in cursive writing practice. Of course, the coordination of wrists, arms and fingers can not be ignored. In selecting posts and copying: some friends like to write freely and express freely when practicing calligraphy, which is understandable from the perspective of creation, but it should not be the case when practicing calligraphy. Because practicing calligraphy should be to learn the good words of predecessors, master them, make them become our own skills, and overcome our own shortcomings. This is also the attitude we should adopt when learning any subject. Why practice? I must be aware of my own shortcomings, but I can't achieve my goal without paying attention to the methods when practicing. I often see some friends writing posts for a long time, and the words haven't changed much. The reason is nothing more than a temporary learning method. It is common sense to write on the spot. Pro is to compare the font on the copybook with its writing method and writing law. When necessary, we should collect some words with tissue paper to copy and memorize them, so as to change our writing habits, instead of just copying the words on the copybook. Some comrades waste a lot of time and energy over and over again, but in the end they are still the same, and there is no progress. I'm afraid this is not caused by copying books. In posting practice, beginners or comrades who don't have a deep understanding of the original post may wish to enlarge the words, so as to better understand and analyze the brushwork and structure of the original post words. For some people who have mastered the temporary learning method, it is appropriate to use the original whole article, because for them, the brushwork and word formation rules are no longer a problem, and it is more important to understand the charm, composition or spirit and style of the original post. For beginners of calligraphy, in the process of clinical study, we should carefully observe, analyze and understand the appearance, size, convergence and dispersion, correction of the original font, elevation, retraction, length, angle, Fiona Fang and echo of the calligraphy. My experience is to select some words with representative structure and strokes and analyze them according to the above aspects. After you have an impression, you can start learning temporarily, then compare it with the original words, find out what doesn't match the original post, and then compare it with the original post. Repeat this several times, and gradually get close to or similar to the original post, so you can remove the original post and recite it again.