How to draw landscape paintings

First, the tools, materials and usage of Chinese painting (I. Pen 1. Classification of pens:?

There are three types of pens: bristles, bristles and double brushes. ?

(1) Hard pen: Hard pen is mainly wolf hair, but also hair or mane of badger, mink and mouse, which is strong and powerful. Commonly used are Xiao Hong Mao, Yi Wen Pen, Ye Jin Pen, Book Brush, Zhu Lan, and Wolf Brush. ? (2) Soft pen: Soft pen is mainly made of wool or bird hair. They are soft in nature and come in various sizes and lengths. ? (3) Double-stranded brush: Double-stranded brush is made of wool with wolf hair or wool with rabbit hair, which is neutral in nature. For example, large, medium and small "Baiyun Pen", "Seven Purple Three Sheep" and "Five Purple Five Sheep" are all commonly used double brushes. ? 2. How to use the pen?

You don't have to have all pens when you learn painting. At first, a few pens are enough. Asking from difficulties is of great benefit to the training of basic skills. When you are proficient in painting, you can prepare more pens and choose good pens when you create. ?

After each painting, be sure to clean the brush with clear water to prevent Su Mo and residual color from staying at the root of the pen and damaging its performance. Don't wash the pen with boiling water, because boiling water will make the pen hair hard and brittle. The general way to keep pens is to wash them and put them in a pen container or hang them up. When you go out to paint, you can buy a small curtain made of fine bamboo silk, called a pen curtain, and roll the pen in the pen curtain, which is very convenient to carry and can also protect the brush hair from damage: (2) Ink 1. Classification of ink:?

There are two kinds of ink: "oil smoke" and "pine smoke". Painting is done with oily smoke and ink. ?

(1) 【 cigar smoke ink 】 cigar smoke ink is made by burning tobacco seeds with tung oil. Oil fume ink has luster and is suitable for painting. (2)[ Song Yanmo] Song Yanmo is an ink made of burning smoke from pine branches. Pine smoke is dark and dull, suitable for writing, but not often used for painting. Song Yanmo is occasionally used to paint butterflies, or as a deep purple background. For example, painting the ink painting "Purple Peony" must take Song Yanmo as the prototype. 2. How to use ink?

Clean water should be used for grinding ink. Press it again, push it gently, not too fast. More rounded. Don't use too much water at a time. If you need more ink, you can pour the ground ink into another bowl and grind it several times. ?

After Mo Ding's research, the ink nozzle must be dried to prevent it from being broken. Mo Ding should not be exposed to sunlight or moisture. It's best to wrap the ink in paper and then coat it with wax to prevent the ink from being broken and dirty.

(3) Paper 1. Chinese painting paper (1) silk:?

In ancient painting in China, silk was mostly used for painting, and it was a good painting material. Silk can also be divided into raw silk and cooked silk. After finishing, it is called cooked silk, which is suitable for meticulous painting Now some meticulous paintings still use silk. However, the cost of silk is high and it is not convenient to popularize. There are fewer people painting with silk now. The nature of cooked rice paper is similar to that of silk, so now cooked rice paper is used instead of silk. (2) Xuan paper:?

After Yuan Dynasty, Xuan paper was gradually used in painting. China's rice paper began to be produced in the Tang Dynasty. Because the rice paper produced in Xuancheng, Anhui Province is the most famous, it is called rice paper. ?

Xuan paper has strong water absorption and is easy to penetrate, and it is easy to solidify with more water. This is its characteristic, and the painted ink is uneven and changeable, giving full play to the unique expressive force and pen and ink techniques of Chinese painting. Commonly used rice paper includes: clean leather, semi-woven fabric, cotton joint, etc. Good rice paper should have the following characteristics:

One is to fix it with a pen, that is, there are pen marks between strokes on the painting; ?

The second is inking, that is, the pen is not strung on the paper, there will be no collusion between shades, and the ink color will not be gray; Third, the permeability is moderate ...?

After the rice paper is processed with alum water, it is called alum paper or cooked rice paper. Its characteristics are changed to non-absorbent and non-exposed, which is convenient for meticulous painting to be colored layer by layer or dyed with watercolor. Commonly used cooked rice paper are: "Cicada Wing Xuan" and "Alum Cotton Company". The performance of household paper produced in some places is close to that of rice paper. If you can master its characteristics, it is also suitable for painting, and you can draw some effects different from Xuan paper. Such as: Yunnan Leather Paper, Wenzhou Leather Paper, Sichuan Jiajiang Leather Paper, Shanxi Hemp Paper, Northeast Korea Paper, Beijing and so on. Beginners or practitioners of Chinese painting can choose cheap rough paper, such as fringed paper and meta-book paper. However, white newspaper, Taoist paper and painting paper are not suitable for Chinese painting paper. (4) inkstone 1. What kind of inkstone?

There are many kinds of inkstones, such as inkstones, pottery inkstones, brick inkstones and jade inkstones. Its forms are square inkstone, round inkstone, square inkstone and scattered inkstone. Guangdong Duanyan and Anhui She Yan are more famous, but they are more expensive. 2. The choice of inkstone

Painting with inkstones is not collecting inkstones. Generally, the texture is delicate and easy to ink. If it is too fine to reject ink, it is not easy to grind; If the ink is too rough, it will grind quickly, but the ink is also thick, which is easy to damage the brush. It takes more ink to make a large-scale Chinese painting, so the inkstone pool needs to be deeper to store more ink. Cover the inkstone so that the ink can dry slowly and keep clean. (5) Pigment?

The color of traditional Chinese painting can be divided into stone color and plant color. 1. Stone color?

Stone color is composed of minerals, including ochre, cinnabar, azurite, stone green, realgar, stone yellow and so on. 2. plant color?

Plant colors include gamboge, rouge and cyanine. Second, one of the basic skills of Chinese painting is to use a pen?

Zhang Yanyuan said in the Tang Dynasty: "The image of a husband should be tangible and have a backbone. The shape of the spine depends entirely on the will and the pen. " Zhang Yanyuan emphasized the relationship between pen and conception modeling. Conception needs modeling, and modeling needs a pen, which has become the basis of Chinese painting. Pen and thread?

In Chinese painting, the pen is actually a line, and the line is the most basic modeling method in Chinese painting. Line is by no means a description of the outline in the shaping of the body, but also shows the texture, sense of quantity and movement of the object. For example, in landscape painting, axe chopping gives people a strong and tough feeling; Pima gives people a soft feeling and so on. The use of lines reflects the ability of China painters to generalize, refine and understand objective images, and their great creativity in controlling objects. ?

In Chinese painting, the relationship between line and shape is mainly reflected in the communication between the character of line itself and the author. As Shi Tao said, "I write almost everything in the world with pen and ink." The lyrical freehand brushwork of pen and ink (line) is due to the various changes of the painter's brush strokes, which makes the line itself have an ever-changing posture. On the one hand, colorful line forms can arouse viewers' association with the beauty of similar objects in various images of real life, making abstract lines an indirect tortuous reflection of the formal beauty of real things, thus causing people's different feelings. On the other hand, in the process of brush strokes, the painter's personal feelings, interests and thoughts are injected, so that the lines in Chinese painting have obvious characteristics of the painter's personality, achieving lyricism, fluency and freehand brushwork, and then expressing the painter's aesthetic ideal, temperament, mind and personality. This is what the ancients called "painting as a person". 2. pen and meaning?

Zhang Yanyuan's theory that "the backbone and shape depend entirely on the pen" takes conception as the "foundation" of the pen, and "foundation" means commander in chief. "Yi" contains extremely complex cultural connotations and is a complex reflection of the painter's subjective world, that is, various feelings, ideal cultivation and temperament. "Meaning" is subjective, but it is not purely subjective fiction. It is through the use of lines that China painters realize this "lyrical freehand brushwork". Therefore, in the Qing Dynasty, Bu Yantu thought that "it means great use ..... so a good painting must focus on the pen first, not on the pen, not on the pen. ..... So those who learn must think before they act, which means that the pen is used for the purpose. " ?

As a subjective world activity, "meaning" itself cannot be directly "written". The main point of Chinese painting with intention is to make a pen with god and attract god with meaning, that is, the so-called "meaning to god" and "god to power" "Intention is a pen.

"First" means that the painter has formed an idea before the pen falls on the paper, and once the pen falls on the paper, it is intended to be in the pen. ? It is under this modality that China painters often grasp their ever-changing emotional process, seize the sudden and fleeting creative inspiration, keep the freshness and continuity of creative impulse, and never lose the painting machine in one go. 3. pen and force?

The use of Qi requires the painter to concentrate all his energy on the pen end, and writing will naturally produce strength, which is "pen power". Because the temperament, self-restraint, emotion and thought that constitute the painter's "meaning" are different, the spirit that runs through the pen will be different. The "Qi" of a pen is different from Qi, which also causes the diversity, complexity and variability of the "pen power" of a pen. For example, Wu Changshuo's brushwork is simple and muddy, while Zhao's brushwork is like a "cotton-wrapped needle", and his lines are quite straightforward, and he is also known as "the wind in the Wu Dynasty" and "the water". ?

China painters pay attention to saving the pen first, making the pen work with qi, and creating all kinds of brushstrokes with different verve. The change of brush strokes is reflected in the change of brush strokes, and the diversity of nature and human life provides the creative source of brush strokes for China painters. For example, Wang Xizhi realized the elastic change of brushwork from the rotation of goose neck, Zhang Xu realized the brushwork of weeds from watching Gong Sundaniang's sword dance, and Su Shi and Huang Tingjian realized the mystery of brushwork from rowing against the current and boatman rowing respectively. ?

When China painters use pens, they rely on luck. Their pens follow the trend of the air, and the painter's genius naturally overflows intentionally or unintentionally. The king of Qing Dynasty said: "God meets heart, and heart meets god.". If you can't do it, you have to do it. I have no intention of seeking work and meaning, but the strangeness of work is beyond pen and ink. " In the process of painting, China painters often say that to get rid of distractions and maintain a relaxed and natural state of mind and body is to make the pen end auspicious, use the pen smoothly and see the power with the pen. Third, one of the basic techniques of Chinese painting-using ink?

Ink is the basic technique of Chinese painting. Painters have always attached importance to the use of pen and ink, the rise of freehand brushwork and the widespread application of life propaganda, and the use of pen and ink has become the basic feature of Chinese painting. ?

Chinese painting ink mainly uses the skills of ink color change. Due to the different ink content in the pen, it changes from dry to wet and from thick to light. Replacing color with ink has produced the saying that ink is divided into five colors. Zhang Tang and Yan Yuan's "History of Famous Paintings in Past Dynasties" said: "Ink is transported in five colors." The five colors are coke, thick, heavy, light and clear, and each ink color has a change of dry, wet, thick and light, which is the wonder of Chinese painting ink. In addition, there is another saying that ink is divided into six colors. In the Qing Dynasty, Tang Dai said in "A Brief Introduction to Painting": "Among ink colors, there are six colors. What is six colors? Black, white, dry, wet, thick and light. " There is another cloud: "ink has six colors, which makes black and white difficult to distinguish, and there is no yin and yang light and shade;" Dry and wet, no green and beautiful; " The shade is not petal-shaped, but there is no bump and distance. "The richness of color changes in Chinese painting ink can be imagined. The ink color that has not changed must be dull and become a lifeless dead picture. The success of a painter is often inseparable from the skill of using ink. For example, Qi Baishi painted shrimp, so it is well known to women and children. An important reason lies in the proper use of ink. He painted the shrimp three times: "At first, it was only slightly similar. Once it became true, it became darker and lighter.

"What we can see now is the lifelike shrimp shape, the transparent and tough shrimp shell, especially the head of the shrimp, the place where the ink of the skull is light, and the place where the ink is thick is the shrimp brain. It is really wonderful. ?

The skill of using ink in Chinese painting is not reflected in how many ink colors can be transferred in the palette, but how to make different ink colors reflected on paper, especially how to make a pen produce various ink color changes. With the continuous development of Chinese painting, the skills of using ink are becoming more and more mature, resulting in various expressions such as "splashing ink", "accumulating ink" and "breaking ink". Four, one of the techniques of Chinese painting, the characteristics of color?

China's paintings have always attached great importance to the use of color. In the Catalogue of Ancient Paintings, Sheikh of Nanqi took "color matching" as one of the "six methods". This theory that different colors endow different types of images is the basis of the use of colors in Chinese painting. ?

Chinese painting pays attention to "color by category", but it also attaches great importance to the influence of space environment on objects. With the influence of space environment on objects and the change of space environment, the color of objects will change accordingly. Xiao Yi made a careful observation of this phenomenon in the Southern and Northern Dynasties. In Song of Rocky Mountains and Rivers, he said: "Autumn hair clan bones, summer shadows, cold and hot, warm days and cool stars." This is China's earliest explanation of the difference between seasons and climate, which caused the color change of objects, especially the change of cold and warm colors. In Song Dynasty, Guo's "Lin Gao Quan Zhi" summarized the influence of seasonal changes on water color and sky: "Water color: Chun Lv, Bi Xia, Qiuqing, Kehei; Sky: Spring shakes, summer is light, autumn is clear, and home is dark. " In the Qing Dynasty and the Tang Dynasty, Guo's quotation from "Sketch of Painting" is even more vivid: "Mountains have four seasons, and the wind and rain are gloomy, with different changes, and they are not colored to resemble their appearance. "The so-called spring mountain is like a smile, summer mountain is like a drop of green, autumn mountain is like light, and winter mountain is like sleep. This is also the spirit of the four seasons. " ?

Five, freehand brushwork creation method 1. If you write first, you have a plan. ?

Freehand brushwork is different from meticulous painting. Meticulous painting is divided into three processes: first, drafting; Secondly, ink line stereotypes; Finally, dyeing and color filling are completed. And freehand brushwork must be done in one go. Therefore, in the creative method, we must remember all kinds of objects to be depicted by observing or sketching, so as to be prepared. For example, if you want to draw bamboo, you must clearly understand the image, structure and characteristics of bamboo before painting, and even the changes in different environments such as wind, sunny, rain and snow. By imagination, before writing, at first glance, it seems that thousands of leaves have jumped off the paper. Finally, carve the bamboo you want to describe one by one, which is the creative method of freehand brushwork. But it must be vivid and vivid, and the pen and ink are free and easy. ?

2. Put pen to paper and do it in one go. ?

The completion of meticulous painting goes through three processes and takes time; Freehand brushwork is a better way to write. What do you mean by putting pen to paper? Such as hue, thickness, hardness, frustration, etc. The leaves from the root to the tip of the pen need very strong and natural expression, which can neither be changed nor rushed. Therefore, when using a pen, we must first pay attention to ink adjustment, and the shade and dryness must be adjusted well, so that we can know fairly well. When carrying a pen, you should boldly put pen to paper, without being nervous or in a hurry. Draw one by one very calmly, and you can finish it well. The leaves of orchids are slender, grasslike, tough and have a certain hardness, but after all, they are plants and flowers, which need some flexibility. The ancients accumulated good experience in practice, and it is very reasonable to guide them to do the creative method of "liking to write orchids and drawing bamboo angrily". Today, we can still use it as the guiding ideology for drawing orchid leaves. For example, painting orchid leaves should be both "rigid" and "soft", and you can use "love to write orchids" to guide your creation. At the same time, to express the quality and style of bamboo, you can also use the method of "painting bamboo with gas". These requirements are examples of putting pen to paper, which we can embody in future practice. ?

In addition, the so-called one-stop operation cannot be understood as one-stop operation. For example, if we want to draw twenty or thirty orchid leaves, it's best to finish them all at once, that is, at one go. This kind of treatment is very beneficial, so that the entanglement and interlacing between pens, leaves and leaves, the consistency of brushwork and the cohesion of momentum are not affected. Otherwise, stopping writing for a long time will change the original intention, which may lead to the inconsistency and imperfection of the painting. Therefore, it is necessary to cultivate the habit of drawing in one go from the beginning. Secondly, it is precisely because of writing that "it cannot be repeated", which is also one of the characteristics of freehand brushwork. Six, landscape painting sketch method?

Speaking of "sketching", it reminds people of the experience of setting up a picture clip and painting a scene for half a day. This is generally the method of sketching in western painting. In Chinese painting, the so-called "sketching" is often "putting a tracing pen in a leather bag or in a scenic place. When you see a strange tree, you will touch it and write it down ..." (The Strategy of Writing Landscape by Huang Yuan Wang Gong). In China's traditional concept of landscape painting, the deep observation and subtle understanding of nature are really put in the first place, so that the natural landscape and the painter's mind can blend with each other, and finally achieve the goal of "meeting mountains and rivers" as Gu Kaizhi said. In order to achieve this goal, it is not enough to just "write by imitation". Travel all over the famous mountains and rivers, melt into the chest, and then send it at the end of the hair, vividly. The kung fu of observation and understanding must reach home, only in this way can God have a trail to follow when he meets him. ?

In fact, the concept of China's ancient landscape painting is to integrate man and natural landscape, and the landscape is mine, so there is no obstacle between "things and me". Since the god of landscape has arrived, it is bound to be full of form and spirit. This point can't be achieved by "sketching" in the modern sense. However, its spirit also plays a positive role in the teaching of modern landscape painting. ?

The role of modern landscape painting in sketch

What is the bridge function of 1. 1 sketch?

The study of Chinese painting generally starts from copying and runs through the whole process. Copying, as an important means to learn Chinese painting, can help us quickly understand the basic techniques of Chinese painting in a short time, thus achieving twice the result with half the effort. However, due to the techniques of traditional Chinese painting, it has become a perfect program after repeated tempering by predecessors. Copy for a long time, it is easy to be confused by its perfect program, unable to extricate themselves. Through sketching, learners can build a bridge between stylized landscape and real landscape under traditional techniques. 1.2 What is the recording function of sketch?

As a means of remembering the feelings of traveling through mountains and rivers, sketch also plays an important role. When facing the real landscape, there will be many changes, at the same time, because of the land, because of the weather changes, but also because of the steaming and flying of clouds. These sketches are often more in line with feelings, but once they are taken, they are often too "real" and lack touching power.

1.3 Micro-function of sketch?

Comparing copying landscape painting with sketching, copying is tantamount to asking a famous teacher for advice. As long as you study it carefully, you will reap great benefits. However, if we can't compare these copied achievements with the natural landscape, we can't gain much. Directly facing the living natural landscape, through careful observation, we often have our own unique experience. These unique experiences, after repeated strengthening, will become the starting point for the establishment of personal painting style. ?

2. What should we pay attention to in landscape painting?

2. 1 Don't be "antique". ?

Too much emphasis is placed on the techniques of copying landscape paintings, especially the methods of drawing rocks. The result is either that the living landscape is written as a dead landscape by the program, or that the thinking is bound by the real landscape and cannot be expressed.

2.2 Avoid "eating foreign objects". ?

The method of western painting sketch is directly transplanted to Chinese painting landscape sketch, and Chinese painting sketch is equivalent to hard pen light and dark sketch or line sketch. The direct consequence is that when sketching is handy, no matter whether you write casually or create carefully, almost all you draw is a "sketch". These paintings, if viewed from the visual effect of the pictures, may be good, but they can't be called China landscape paintings. Because of its openness and superficiality, it directly determines its low character. ?

3. Landscape painting?

3. 1 local mode writing: suitable for beginners, unskilled in copying, and not much in touch with real scenery. It is necessary to compare the two and imitate and write them. At this time, don't covet perfection.

3.2 Detailed music score:?

A relatively complete "real" picture record is suitable for beginners. At this time, it is necessary to emphasize the truth of feelings rather than the "truth" on the surface of objects. ?

3.3 Remember different methods:?

Only write special things, suitable for use when there is little time or special feelings. 3.4 Annotation (shorthand annotation)?

Simply record an impression without detailed description.

3.5 Magnification method:?

Choose an emotional part, enlarge it, and make a more detailed performance, which often leads to unexpected gains. ?

3.6 Mapping method:?

According to the feeling of the whole scene, draw a general impression more concisely, not seeking form, but seeking meaning. ?

3.7 Image superposition method:?

Instead of shorthand for one mountain and one water, we should pay attention to the superimposed impression of the whole mountain and the whole water, even Qian Shan. This is the so-called "Wan Li Road, thousands of books", mountains and valleys in the chest, wonderfully creating nature.

3.8 Repeat the body odor method:?

This method is to linger on this mountain and this water, linger on it, and observe the body odor repeatedly, so that the landscape image is completely familiar to the chest and you can sit, sleep and eat. Shi Tao loves Huangshan Mountain, Mr. Pan Tianshou paints wild goose swings, and Mr. Huang loves watching night mountains, which is the samadhi of this method. ?

4. Overall guarantee?

4. 1 China's landscape painting is macroscopic, so we should deal with the microscopic in the macroscopic grasp, pay attention to the overall big feeling, and avoid being confined to a single plant and tree. ?

4.2 The more skilled you sketch, the less you need to draw the scene directly. On the contrary, you should put your mind and body into observation and experience the wonders of nature. Here, "viewing" is very important. Through "seeing" and "seeing", you should strive to achieve the goal of forgetting things and me. 4.3 Pay special attention to the strong feeling of natural landscape under certain conditions, because such feeling is often your unique personal experience. Try to strengthen this experience and express it. This is the beginning of your meeting with God and the establishment of your painting style.