Chinese dragon freehand ink painting
The China dragon freehand ink painting was a kind of ink painting with the China dragon as the theme. This kind of painting was usually drawn on paper with black ink and a brush to express the image and aura of the dragon. Chen Rong, a painter of the Southern Song Dynasty, was famous for his paintings of dragons. His work, Cloud Dragon Painting, was one of his representative works. This painting depicted a giant dragon leaping in the clouds. The dragon's body twisted and circled, and the dragon's head was raised high, giving people a feeling of extraordinary agility and grandeur. China dragon freehand ink painting emphasized freehand style and observation methods in artistic creation. Through the use of splashing ink and brush and ink, it constructed a picture full of intention. This kind of painting had an important position in China culture and was regarded as one of the totems of the Chinese nation.
Sacred Body of the Ancients from the Beginning
Chinese dragon freehand ink painting
The Chinese dragon freehand ink painting was a kind of ink painting with the Chinese dragon as the theme. This kind of painting was usually drawn on paper with black ink and a brush to express the image and aura of the dragon. Chen Rong, a painter of the Southern Song Dynasty, was famous for his paintings of dragons. His work, Cloud Dragon Painting, was one of his representative works. This painting depicted a giant dragon leaping in the clouds. The dragon's body twisted and circled, and the dragon's head was raised high, giving people a feeling of extraordinary agility and grandeur. Chinese dragon freehand ink painting emphasized freehand style and observation methods in artistic creation. Through the use of splashing ink and brush and ink, it constructed a picture full of intention. This kind of painting had an important position in Chinese culture and was regarded as one of the totems of the Chinese nation.
Freehand Cat Ink Painting
Freehand cat ink painting had a unique artistic charm. Many artists were good at creating such works. For example, Liu Danzhai's cats were simple and complex, fresh and refined. The cats drawn were lazy, cute, or refined. The shapes were vivid and full of pen and ink fun. Qin Tianzhu was good at freehand flower and bird painting. His ink paintings were full of interest. His works pursued artistic conception, and the paintings were fresh, elegant, and ethereal. There was also the Swedish painter Endre Penovac, who had been painting ink animals for ten years. The cats in his works had different expressions, and the ink paintings varied in depth and depth, showing the cat's feathers vividly. In terms of the specific painting methods of freehand ink painting of cats, using the white cat painting method in the Chinese painting tutorial as an example, he first conceived the composition of the painting, starting from the head, using heavy ink to sketch the eyes, nose, and mouth, then using heavy ink to smoothly sketch the rough outline (brush peak flattened painting), then using light ink to dye the texture of the fur and color the eyes, nose, and ears, and then using a very thin white powder to dye the cat's whole body. When the picture was dry, he sketched the cat's whiskers and made up for the scene. Cats of different colors such as multi-colored cats, long-haired cats, yellow cats, etc. also had their own drawing steps, each with their own performance focus, such as multi-colored cats to show the flower spots, yellow cats to draw the yellow flower spots, etc.
Chinese painting freehand peach blossom
There were many ways to draw peach blossoms in traditional Chinese painting. The following were some common painting points: ** 1. Painting of Branches ** 1. ** Draw out the trunk and branches ** - Usually, the main body would be drawn with medium ink first. After the main body was drawn, the branches would be drawn intermittently. The posture of the intersecting branches needed to be paid attention to and should not be too flat. The branches are written in the center, and the branches should be drawn in a certain way. The interweaving and density should be precise. When painting the branches, you can also use thick ink and thirsty pen to cut the horizontal texture. He could also take the brush and dip it in a changing light ink according to the size of the painting, drawing the trunk on the side. 2. ** The color of ink and the change of pen ** - When painting peach branches, the brush should have a sense of hesitation to show the strength of the peach branches. The ink color became lighter and lighter from the root to the tip. ** 2. Painting of Flowers ** 1. ** Single petal flower painting ** - You can use the pen to adjust the white powder, the tip of the pen slightly dipped in ebony red, a single petal peach blossom five strokes, each petal should be drawn from the petal tip to the flower core. The flower buds should be slightly thicker when they are dotted. He could also use a medium sheep-hair brush with white powder and eos, dip the tip of the pen in eos, and use the side of the brush to draw the petals of peach blossoms. - There were different painting methods for different colored flowers. For example, a pale red flower can be made by dipping the white pen tip of the white cloud pen into a pale eos, and then stacking it from front to back. The tip of the pen can be used to directly touch the louse petals. The pen should be placed on the root of the petal, and the stamen should be left blank. A white flower can be made by dipping it into a white pen. The ovaries should be dyed light red or light yellow green, and the flowers should be dyed light yellow green. A dark red flower can be made by dipping the tip of the eos pen into rouge to touch the louse. - At the beginning of the flower, the inner petals were gathered together, and the outer petals were closer to the inner petals. When using a medium-sized sheep-hair brush with white powder and ebony, the tip of the pen dipped in ebony, and the side edge of the brush to draw the petals of the peach blossom, one should pay attention to the fact that the opening of the flower petals at the beginning is not strong, and the inner petals gather together and cannot see the pistil silk. When drawing the fully opened petals, one should pay attention to the shape of the petals, but the size is slightly different. Use a medium-sized sheep-hair pen and white powder and eos, dip the tip of the pen into eos, and then use a small pen dipped in thick ink to draw the petals. Draw a circle in the center of the corolla to represent the stamen, and then draw a radiating silk around the stamen and embellish the stamen at the top of the silk. 2. ** Stamen Painting ** - When the flower color is not dry, it can be used to hook silk and add medicine. He dipped a small wolf-hair pen in thick ink and moved the pen in the center to draw the stamen at the center of the flower (the stamen silk may not be visible at the beginning of the flower because the inner petals are gathered). Pay attention to the radiating stamen of the peach blossom. After drawing the petals, he had to draw a line of silk around the stamen, and then embellish the stamen on top of the silk. He could also use pine needles to blend the ebony red color to draw the peach blossom stamen. When drawing, he would use a vertical pen to draw the slender lines. The stamen could be divided into groups to draw, paying attention to the length of the stamen. After that, he would add a flower core to the stamen. 3. ** Calyx Painting ** - You can use purplish-red dots to write the side and back of the calyx, and the brush strokes should be as rough and casual as possible. You can also use the center to draw the calyx at the bud. ** 3. Leaf Drawing Technique ** 1. ** Leaf Painting ** - The tip of the pen could be dipped in rouge and decorated with some leaves around the flowers. The tips of the leaves were mostly upward, like a small knife facing the sky. You can also use the medium sheep-hair pen, garcinia and indigo to draw the leaves of the peach blossom. Then, draw the tip of the pen so that the two ends are sharp. Pay attention to the combination of the size of the leaves when drawing a group of leaves according to this method. - He dipped a small wolf-hair pen into the thick ink. When the ink was dry, the center forward moved the pen to draw the veins of the leaves. - With a medium sheep-hair brush, garcinia and indigo, and then dipped in ink, starting from the bottom of the petal root, the side and center used dots to draw the branches of the leaves, and then drew back the pen. - The tender leaves could be expressed by adding water to the brush to mix the paint. When painting the leaves, the peach leaves could be divided into groups from the inside out. The angle of the leaves could be pulled apart, with three to four or six to seven leaves in a group. When the brush was lifted, the strength was a little lighter. When painting to the middle of the leaves, the pressure was increased. Finally, the brush was lifted to withdraw the tip of the brush, and the green color was used to decorate the turning of the leaves. "Fairy Dream of Tang Shi: Fate of Peony" is equally wonderful. Everyone is welcome to click and read it!
Peony Freehand Painting
There were many ways to draw peony freehand paintings. The following were some common points: ** 1. Color adjustment ** 1. ** Red Flower ** - Vermilion could be used as the main color, mixed with bright red to form the basic color, and the tip of the pen dipped in ebony to draw. You can also use peony red on the pen belly and dip the tip of the pen in rouge to draw. This way, the red color drawn will be thick and thick to avoid appearing thin after drying. 2. ** Pink * - The color mixing method was white at the base of the pen, peony red at the belly of the pen, and rouge at the tip of the pen. 3. ** Yellow Flower ** - With yellow and white, the tip of the pen is dipped in the color of ochre and vermilion. The flower core can be painted with white or rouge. It can also be painted with white powder at the base of the pen, camboge at the belly of the pen, and green at the tip of the pen. When cleaning up, the tip of the pen should be painted with vermilion or rouge. 4. ** Orange * - Color for the pen root ochre, pen belly vermilion, pen tip rouge. 5. ** Blue Flower ** - You can use indigo, white and a small amount of eos as the basic color, the tip of the pen dipped in indigo painting, or the tip of the pen is white powder, the belly of the pen is blue, and the tip of the pen is painted with rouge. 6. ** Purple Flower ** - White, rouge, and indigo were mixed into the basic color. The tip of the pen was dipped in rouge. After it was roughly completed, it could be used to deepen the depth of the flower core and make the petals more abundant. It could also be white powder, rouge, and a little peptide-cyan. 7. ** White Flower ** - He used grass green, a little ochre, and a small amount of ink to adjust the basic color. When painting, he dipped it in pure white, and the tip of the pen dipped in the basic color. After he was done, he could use green to dye the dark parts and the heart of the flower, and pure white to emphasize the bright petals. 8. ** Ink Flower ** - The writing speed should be fast and decisive. It should have a fresh and carefree feeling. Don't repeat the revision. After the ink dried, you can use stone cyan, stone green, cinnabar and other opaque mineral colors to dot the flower core. When painting the petals, you must use a bold pen and do not leave white. 9. ** Black Peony ** - He used peony red, rouge, and ink to make it black and purple. 10. ** Green * - White, grass green, and a little vermilion were mixed into the basic color. The tip of the pen was dipped in grass green and painted from the reverse petal. Shi Qing was more suitable for painting the petal. 11. ** Dark red ** - Using bright red and a little eos to make the basic color, the tip of the pen was dipped in rouge, and the brush was clean and neat. It was to avoid repeating the brush to avoid "burning" the painting. The difficulty lay in the control of water content. If there was too much water content, the color would not feel heavy. If there was too little water content, it would easily appear dry and dull. Only with appropriate water content could it be thick and moist. ** 2. Drawing Steps ** 1. ** Flower Head Drawing ** - For example, when using the No. 3 Goat Hair Pen to draw a pink flower head, the pen belly was dipped in a little white powder, and the tip of the pen was mixed with a light red. Then, the reverse petal was drawn with the dotting brush method. After that, a slightly thicker red was added in front of the brush, and after mixing evenly, the tip of the pen was dipped in a thick ebony red. Then, the dotting brush method was used to draw the positive petal. The color of the outermost petal was darker. In the darkest part near the greenhouse, a little ink red was added to the tip of the pen to draw deeply. The drawing technique of the light red flower head at the bottom was similar. The color of the reverse petal was white powder mixed with ebony red, the color of the positive petal was ebony red, the tip of the pen was dipped in rouge and the ink was written in the darkest place. The reverse petal of the yellow flower head is the white powder of the pen belly, and the tip of the pen is garcinia. The positive petal is on the basis of the original reverse petal, and the tip of the pen is mixed with eos. - The flower bud was mainly drawn with a dotting stroke, but each dotting stroke had a certain stroke method, such as from top to bottom, from bottom to top, from left to right, from right to left, etc. The flower bud was divided into front, side, front and side, and other forms of expression. The flower buds on the front were mostly completed with four or five strokes, and the center was added with heavy colors; Some of the flower buds on the side were completed directly with one stroke, and some were completed with two or three strokes; The flower buds on the front side were completed with five or six strokes, and then one or two strokes were used to extend the petals to complete the shape. 2. ** Drawing of torus and leaves ** - Use No. 2 and No. 3 wolf-hair brush or stone badger bucket brush, fill the belly of the brush with garcinia and cyanine, dip the tip of the brush in rouge, and draw the tender leaves and flower holders according to the growth law and the needs of the composition. Then, use garcinia cambogia and indigo to adjust the pen belly, dip it in thick ink to draw deeper leaves. When the water content on the pen is insufficient, dip the tip of the pen in water and continue to draw the leaves. It is best to draw the gradual effect. Pay attention to the layout of the leaves and the shade of the leaves. 3. ** Hook leaf tendons and tender branches ** - He used a small brush or a leaf tendon pen. He used rouge and ink for the tender leaves and leaf tendons, and thick ink for the old leaves. He used the traditional nail head and mouse tail method to outline the direction of the leaves. Using garcinia and indigo, the tip of the pen was dipped in rouge to draw out the tender branches to connect the leaves. This step required strength in the brush. 4. ** Old stem and tender shoot drawing ** - Use No.2 and No.3 wolf hair bucket pen, Lao Gan uses vermilion and light ink or ochre to adjust the pen belly evenly, dip both sides of the pen in thick ink to draw. Garcinia cambogia and indigo, the tip of the pen dipped in rouge to point out the tender buds. Pay attention to the interweaving of the branches. 5. ** Drawing with stamens ** - You can use the small sheep hair to adjust the titanium white to draw the stamen, pay attention to the size and direction, and then use the bucket pen to adjust the light stone blue and light ink to clean up the entire layout. You can also adjust the color of garcinia and Taibai with a pen to point out the pistil. The pistil should be high or low, long or short. You can also point out the pistil in the middle (such as using three green dots to point out the pistil in the middle). When creating peony freehand paintings, the permeating effect of the rice paper should be fully exerted. The color of the flowers mainly depended on the water to mediate, and could not rely too much on the white color to avoid the effect of hardening and drying. At the same time, we should pay attention to the shape and charm of peony flowers. Don't copy its type mechanically. From "getting its shape to losing its shape, then getting its charm", we should truly understand the true essence of peony beauty and use appropriate techniques to describe it. "Fairy Dream of Tang Shi: Fate of Peony" is equally wonderful. Everyone is welcome to click and read it!
Freehand Painting Peony
Freehand Peony was an important part of traditional Chinese painting. When drawing freehand peony, there were many ways to draw the flower head. For example, some used the No. 3 sheep hair brush and the center stroke to draw. When drawing the pink flower head, the pen belly was dipped in a little white powder, and the tip of the pen was mixed with light red. First, the reverse petal was carved with the dotting brush method. Then, a slightly thicker red was added in front of the brush. After mixing evenly, the tip of the pen was dipped in thick eos and continued to carve the positive petal. The color of the outermost petal was darker, and it was close to the darkest part of the greenhouse. The tip of the pen was added with a little ink red to carve deeply. The yellow flower head was inverted with white powder in the pen belly, and the tip of the pen was garcinia. On the basis of the inverted petal, the tip of the pen was added with more eos to blend. The drawing of the flower bud was mainly done with a dot-like stroke, and there were various strokes, such as from top to bottom, from bottom to top, from left to right, from right to left, etc. The flower bud could be expressed in front, side, front and side, etc. The strokes were different in different forms. The flower bud on the front used four or five strokes to complete the shape, and the center was added with heavy colors. Some of the flower buds on the side were completed directly in one stroke, some were completed in two or three strokes, and the flower bud on the front and side used five or six strokes to complete the main body. Then, he used one or two strokes of petals to complete the shape. From the shape classification of peony flower heads, there were three types and six types, including single-petal type (mostly lotus type and sunflower type), multiple-petal type (divided into tortoise-type and rose-type), and thousand-petal type (mostly hydrangea type and crown-type). In terms of color, it was divided into nine color systems. Peonies of different color systems had different blending methods. For example, white peonies used three colors of zinc-titanium white, plant green, and rouge; yellow peonies used four colors of zinc-titanium white, garcinia, plant green, and rouge. When drawing peony, the flower holder and leaves should be painted with No.2 and No.3 Wolf Hair or Stone Badger Fighting Pen. The tender branches and leaves should be filled with garcinia and cyanine. The tip of the pen should be dipped in rouge to paint. Then, garcinia and cyanine should be used to adjust the pen belly. The dark leaves should be dipped in thick ink to reflect the gradual effect. When hooking the leaf tendons and tender branches, the tender leaf tendons were painted with rouge and ink, and the old leaves were painted with thick ink, using the traditional nail head and mouse tail method. Old stem and tender shoots were painted with No. 2 and No. 3 Wolf Hair Pen. The belly of the pen was evenly adjusted with vermilion and light ink or ochre. Both sides of the pen were dipped in thick ink to draw the old stem, garcinia and indigo, and the tip of the pen was dipped in rouge to point out the tender shoots. As for the pistil, the pistil used a big white cloud pen, the pen belly was mixed with stone cyan or stone green, and the tip of the pen was dipped in rouge. The stamen used a small white cloud pen, and it was evenly matched with the yellow color of titanium white. In addition, the flower bud in a work should be paid attention to the proportion of the flower head, and when painting freehand peony, one should appreciate the charm of peony, not mechanically copy its type and form. It needs more painting, more practice, more thinking and more summary, so as to truly show the beauty of peony. While waiting for the TV series, he could also read the exciting content related to this site!
The best freehand peony painting
The quality of a work of art was very subjective. Different people might have different standards for judging the best. However, there were some painters who were highly praised for their freehand peony paintings. For example, Zhu Qizhan's freehand peony paintings were bright and resounding in color, with a strong sense of rhythm, power, and layering. The more he got older, the more vigorous and unrefined they became. The peony paintings under his pen were the performance of "clusters". Several huge flowers were blooming, graceful and magnanimous. The branches were "unkempt" but charming. The dark green branches and leaves were only a few strokes but had a meaningful charm. Shi Guozhi was also good at painting peonies with freehand painting techniques. His "Only Peonies Are the True Colors of the Country" showed the blooming scene of peonies through freehand painting. Peonies were especially beautiful under the heavy ink and heavy color rendering. Through freehand painting, he painted the peony with heavy makeup and light colors, thick black and green leaves, and the theme was distinct and prominent. " Fairy Dream of Tang Shi: Fate of Peony " is equally wonderful. Everyone is welcome to click and read it!
A Master of Modern Freehand Painting
The first person in contemporary freehand painting
I recommend The Painter and Calligrapher of the Valley, a novel about urban life written by Wang Sanchuan. To teach a nameless junior in the ravine to become a painting master, to have the mission of revitalizing martial arts, and to be taught by the masters of the past generations. Although there were some small problems at the beginning, such as the unnatural act and the tacky character, the overall writing style was not bad. It made the painting interesting and could also increase one's knowledge. The lack of updates was a disadvantage. The recommendation index was three and a half stars. "Summoning Big Boss" was not bad either. It was a Xianxia novel written by Wastepaper Bridge. The main character, Lin Xi, was a Heavenly Demon who was determined to become a Chaos Demon God. The story was about transmigrating into the Heaven Demon Bug and being summoned to the living world to absorb negative emotions to strengthen himself. This book had a novel setting, sophisticated writing style, smooth logic, and wonderful stories, especially the part about Buddhism and demons. Although there were some small flaws, it was still food and grass. The recommended index was five stars. 'Heavenly King of Arts' was an urban novel written by I'm A Guzzle of Wind. The protagonist was a lover of literature and art, and he broke into the literary circle with a carving knife, a paintbrush, and a guitar. In the beginning, the style of writing was light, but it gradually became better. Those who liked literary stories could read it. "The Work World Game" was an urban work novel written by Endless Forest. The male lead, Feng Yun, was promoted in the workplace with the help of the "Work Game" app. It was a casual and daily work novel with a hotel as the background. The author's updates were guaranteed, and the recommendation index was four stars. "Wonders of the Literature and Art World" was an urban entertainment novel written by the meat governor. The protagonist Zhuang Yan accidentally entered the literary world after transmigrating. It was a plagiarist novel, but it was more creative. It interpreted famous works, but there were female characters describing poison, water, and possible eunuchs. The early stages were not bad. While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!
Ink painting
'Ink painting' had many meanings. In the field of painting and calligraphy, there were works related to "Ink Painting Fragrance" created by artists. There was also a Fang Hua painting and calligraphy appraisal meeting with the theme of "Enchanting Landscape, Ink Painting Fragrance". Fang Hua's paintings and calligraphy had a unique artistic style in landscape painting. In the real estate field, Quanzhou had the urban construction·Ink Painting Fragrance project. It was located in the Xihuayang area and was the first commercial housing project launched in the area. The rough price limit was 16900 yuan/square meter. The project was close to March Lake Park and planned to build three to four houses with an area of about 105 - 150 square meters. It was built by the state-owned Quanzhou City Construction, but it faced poor sales. There was also a series of figure paintings called "The Beauty of Ink Painting." It had a unique style of painting. It was composed of large colored blocks and a few freehand lines. "Prosperous Brocade Record" is equally exciting. Everyone is welcome to click and read it!
Freehand Painting of Flowers and Birds by Famous Artists
The following are some of the famous artists and their works: - Li Ming: President of the Spring Tide Association, judge of the Hong Kong Youth Learning Competition, learned Lingnan painting from Gao Jianfu, and has held many joint and solo shows in many places. - Chen Fuchun, also known as Fuchun, the owner of the Autumn Water Book House. He graduated from the China Painting Department of the Tianjin Academy of Fine Arts in 1986 and has been teaching there since. His works include "Purple Glow"(Xuan paper), which was created in 2014. Ink painting. mineral color, 68×45cm), March 2011's "Autumn in the Front Pavilion","Light Smoke Conceals Fragrance"(Xuan paper ink painting 68×68cm), etc. - Professor Liang Guiling, a famous teacher of benevolence and beauty, is good at freehand flower-and-bird painting. - Xu Xiaofei, Deng Yuanpo, Guo Shifu: Their works were included in Freehand Flower and Bird Paintings: A Collection of Paintings by Guo Shifu, Deng Yuanpo, and Xu Xiaofei. While waiting for the TV series, you can also click on the link below to read the classic original work of "Dafeng Nightwatchman"!