I want to mount it on a board and color it after sketching on silk, but I don't know if I should line it with raw xuan paper or cooked xuan paper?

To use raw Xuan paper. Raw Xuan paper is highly absorbent and will absorb the excess color.

Working Brush Painting on Silk

Working Brush Painting is a kind of traditional Chinese painting, and this kind of structured and decorative coloring painting style is one of the earliest styles and forms of Chinese painting. The painstaking cultivation of painters through the ages has gradually formed and perfected the painting form and complete techniques that permeate the national cultural connotation. At present, many special techniques have emerged in brush painting. In the creation, the author draws nutrients from rock color painting, watercolor painting, printmaking and other kinds of paintings, which enriches the expressive power of Gongbi Painting. According to my own practice, talk about the feeling of painting on silk and explore some techniques.

One, the performance of silk

Silk is a traditional painting material, Chinese painters have been used for more than two thousand years. Because of its glossy and fine texture, it is very suitable for painting fine and neat brushwork, and has been used since ancient times.

Silk is made of pure silk, which is flat and divided into two kinds: round silk and flat silk, and there are raw silk and cooked silk. Round silk, also known as "original silk", common in ancient paintings, but the ancient silk is slightly thicker than the current silk. Round silk silk because of the original shape of the silk without hammering to maintain the original silk, so the silk and silk slightly between the gap, although on the gum alum water is still prone to leakage of alum, so the current production of less, not many users, generally only used in the copying of ancient paintings. But round silk silk easy to leak alum characteristics for some of the current brush painting artists to use, painting a distinctive brush painting to. Flat silk silk is made in the silk after artificial hammering, so that the silk is flat, in order to reduce the gap between the silk and silk, so that the silk is more fine and compact, on the gum alum water is not easy to leak alum. Currently art supplies stores sell more of this type. Flat silk silk white, light antique, deep antique three colors.

The raw silk refers to the silk has not been on the gum alum water (including flat silk and round silk), its seepage performance, the effect is close to the raw Xuan, leather paper. This kind of silk on the brush on a layer of glue and alum water will become ripe silk. Cooked silk will not bleed away after coloring, suitable for fine line outlining, multi-layer rendering and other techniques, especially suitable for the performance of illusory and hazy effects. Silk is suitable for painting with light colors, and it is also good for painting with thick and light colors. Since the choice of silk as a material, we must play the silk fine and glossy, transparent characteristics, such as covering a large area of heavy pigments, covering the silk gloss, the use of silk is lost.

With silk as a layout material, must be mounted on the board, mounting attention to stretching the silk horizontal and vertical grain, because the silk is very easy to be skewed, especially figure painting, if the silk is skewed, after the painting and then formally mounted when the character's facial posture will be affected and can not be remedied.

Two, silk painting

Traditional brush painting is mainly on the front of the silk color, very careful about the artistic process - that is, the process of painting the outlines, fill in the color of the order of precedence. According to the texture of the color is divided into white ink dyeing, light color dyeing and heavy color dyeing. The steps of dyeing are usually to first outline the draft with thick and light ink, and then divide the dye from light to dark, cover the dye, and lift the dye. After the whole procedure is finished, sometimes local lining is done on the back. At the same time, it is also very concerned about choosing the right technique in order to make the color expression of moist, brilliant, so that the relationship between the silk and brushwork, modeling, color are in line with the requirements of artistic expression, and to express the creator's pen and ink interest and aesthetic orientation. After many years of exploration, I found some techniques in line with their own creations, the specific approach is: in the works completed eighty percent of the time when the back dyeing, so that the transparency of the silk can be fully realized. Back dyeing, first of all, the front of the dyeing of the elephant, flat coating a desired color, the color should be thin. Then according to the traditional method of sub-dyeing, sub-dyeing bottoming to have a three-dimensional, spatial, near and far levels until the front of the number of traverses to be less. When the bottom is complete, cover dyeing one to two times. The color should not be too thick at the beginning, if it is not ideal, it can be overdyed again until it is ideal. Back-dyeing procedure not only maintains the ethereal and vivid works, but also makes the picture avoid the problem of dirty and greasy. This technique not only enhances the heaviness of the front color, play a thin in the role of thick, but also supplement the front of the lack of a certain chromaticity, deepen or brighten the effect of color, correct and eliminate the front color due to improper grasp of the lack of. Such as light-colored flowers, if the back with white dye, it will appear more bright and heavy. For dark-colored flowers, dye them with different dark colors according to the differences in hues. If you want to make the brightness of the color weakened, you can achieve the desired effect by lining the back with the appropriate dark color. The white flowers in "White Magnolia" and "Jade Snow Fragrance" created by the author are dyed with white behind the silk. In "Return", which was made to welcome the return of Hong Kong to the motherland, the peace dove, the main object, is also dyed in white, and the big red peony is dyed and covered with eosin, vermillion, and cinnabar, which makes the dyed birds and flowers more implicit when viewed from the front. Secondly, in order to enrich the layers of the picture and emphasize the sequence of the layers, the virtual scenery is left on the silk and written afterwards. The first layer is the same as the front, using the double hook method, the first hook line, the line is lighter than the front, and then divided into dyeing and shading colors, the second layer of paintings with the boneless method. In this way, both the double hook method of the real, but also the bone method of the virtual light, strengthened the contrast between reality and falsehood, the level of open, the picture also has a far-reaching, ethereal feeling. At the same time, a large area of the base color is also dyed from the back of the silk, which is both uniform and transparent from the front. After the completion of the silk dyeing, the silk turned over, the picture up on the board, and wash with water or color water, so as to unify the tone or remedy some of the incongruous parts of the blurred in the dyeing process of the subtle brush marks, after drying the focus of scratching, carefully adjusted until satisfied, and finally inscribed with a seal. Thirdly, painting on bracket paper, which is also an excellent way to deal with the relationship between reality and reality. My "magnolia series" of seven, eight and "mountain love", the main object in the silk of the front and back of the good writing, the background in the bracket for the paper, the main use of kneading, topography, spraying, salt, detergent, etc., the method, the material used for the Goryeo paper, rosette Xuan, leather paper, and so on. A piece of work after the front of the color, backing, back writing alternately repeated, and combined with painting on the bracket paper, mounted on the bracket together, the use of the transparency of the silk, vaguely visible after the background of the birds and flowers, before the real and after the virtual, and have a special interest. It can be seen, this kind of virtual reflection of the real, the real show virtual, virtual and real processing techniques not only expand the picture mood, but also the theme has played an excellent role in helping and highlighting.

Three, the use of multiple painting

Innovation is the life of art. Innovative painters are more benefited from their predecessors. Today's world of rapid development of science and technology, rapid change, which in turn triggered a revolution in materials. Traditional painters did not even dare to think of new tools, new materials are widely used, will inevitably produce new effects. The development of the chemical industry has provided us with a variety of synthetic pigments. In addition to the original traditional pigments, gouache, watercolor, acrylic, and the new rock color can be used directly in Chinese painting. Contemporary Jin Hongjun has made meaningful attempts on silk, Pan Jiezi often uses watercolor paper for brush painting, which is also very distinctive, and Li Kui-cheng's use of "dotted color" in his paintings is a way of applying the brushwork of oil painting to Chinese painting. The efforts of these artists have enriched the connotations and margins of brush painting, developed the tradition of Chinese painting, and made it more and more vibrant in the new historical period. These artists' efforts have enriched Chinese painting with its inner and outer meanings, developed the tradition of Chinese painting, and made Chinese painting more and more vigorous in the new historical period.

The author believes that there is still much room for the development of color in brush painting, and that the inherent formula of color in brush painting should not become a box that binds brush painting. What kind of feelings and interests the color will produce on the screen, whether it has originality and unique charm, depends on whether the color aptly expresses the theme of the work and the rich and colorful modern life.

Every winter, swans come to Rongcheng Swan Lake in Shandong Province in large groups to overwinter. Accompanied by cries from afar, people see white swans in groups of three to five gliding between the blue sky and white clouds and then descending. At a height of more than 100 meters, they proudly hover, and then meteoric slide to the water surface, rushing up the water like a blooming lotus, leaving a long trail of water behind. For such a poetic, colorful and delicate picture, traditional brush painting should have a particularly rich color expression. However, not wanting to be limited to the traditional forms of color expression, and not wanting to draw nourishment from only one type of painting, the author decided to use the insights gained from many years of researching rock color paintings for the color expression of this piece of work. The gouache, mineral color, crystalline color and so on are used in the brush painting, and strive to make the color expression in the brush painting shows a greater charm. The author paints as follows: first of all, using the method of rock color painting the blue sky, white clouds, the sea, reeds and other backgrounds painted ------ The point to be emphasized here is that the picture color settings and the position of each form, light and darkness should be done in the base to do the bottom to do the chest, in the base should also be careful to use the brush, the effect of such a brush to be achieved is the thick and thin and varied, do not flat paint. Leaching powder and glue proportion of the right mix, but also in the process of water in the process of making part of the water color penetrates into the pink, resulting in "you have me, I have you," the harmonious effect. Secondly, the silk is mounted on the background has been done, the use of silk transparency, vaguely reveals the background after the birds and flowers, before the real after the virtual have a lot of fun. The third is to depict the main object (foreground) on the silk, the texture of the picture, lines, brush strokes, color thickness, production procedures and texture methods to form a comprehensive effect, not only in the picture of the organization of the surface above, but also penetrate into the modeling of the imagery. It can be seen that this kind of virtual reflection of the real, the real show virtual, virtual and real treatment not only extends the picture mood, but also play an excellent role in supporting the theme.

Working brush painting color chart

1, grass green: about 70% of the flower green + 30% of the garcinia cambogia blended, one of the most common colors used to paint the leaves of flowers.

2, juice green: about 80% of garcinia +15% of flowers and green +5% of cinnabar blended into a tender green, often used as the base color of the anti-leaf and the base color of young leaves.

3, the old green: grass green with ink or a little rouge, often used to cover the color of the leaves in the dark part of the color, thin old green can also be used to render the reverse leaf.

4, sandalwood color: about 70% of the vine yellow + 20% of the vermilion + 10% of the three green blend, plus a lot of water is often used to brush the background, can also be used as a young shoots and the base color of the leaves.

5, beige: about 70% of vine yellow + 30% ochre, mainly used to brush the background, in the painting of heavy-color paintings in a layer of beige primer is easy to achieve color harmony.

6, three green: stone green + white and get, the more white added to become four green, five green. Three green, four green and other colors are the same.

7, the old ochre: vermilion + ink blend, close to the cooked brown. Often used to dye the branches and trunks or the foliage of the insect bites and eroded parts.

8, cochineal water: cochineal color + a lot of water and become. Mainly used to repeat the lines, eosin water, flower green water and other say the same thing

doulv = soybean green (green + garcinia + a little phthalocyanine blue)

mohong = ink red (eosin + a little bit of ink)

zhelv = ochre green (ochre + green)

gutong = bronze (vermilion + ink + a little bit of garcinia + a little bit of eosin)

gutong = copper (vermillion + ink + a little bit of garcinia + a little bit of eosin )

zhilv=juice green (grass green + garcinia + a little cinnabar)

huilv=gray-green (three greens + a little ink)

yallv=bud green (juice green + garcinia)

mihuang=beige (garcinia + cinnabar + a little ink)

juhuang=orange (garcinia + cinnabar)

moqing=murray blue (blue + ink)

zangqing=navy blue (phthalocyanine blue + ink + a little bit of azurite)

jianghong=reddish-red (cochineal + cinnabar + a little bit of ink)

zise=purple (eosin + a little bit of phthalocyanine blue)

molv=dark green (grass-green + a little bit of ink)

laolv=old green (grass green + a little rouge)

cuilv=emerald green (phthalo blue + garcinia + a little emerald green)

hese=brown (ochre + ink)

tanxiang=sandalwood (garcinia + cinnabar + a little triple green)

lanhui=bluish grey (floral green + white powder + a little triple green)

lahui=blue gray (floral green + white powder + a little triple green) white powder + a little bit of three green)

dousha=bean paste color (rouge + vermilion + a little bit of flower green)

tuhong=earth red (vermilion + a little bit of rouge)

qinglv=lime green (grass green + a little bit of phthalocyanine blue)

silv=tetra-green (three green + white)

yanzhishui= Rouge (cochineal + a lot of water)

qinghui=green-gray (floral green + a little ink + white)

lanse=blue (phthalocyanine blue + triple green)

zhuhong=vermilion (cinnabar + eosin)

ziqing=purple-green (cochineal + a little phthalocyanine blue)

fenhuang = pinkish yellow (garcinia + white)

honghe = reddish brown (ink + cochineal + a little cinnabar)

Dyeing method

1, sub-dyeing: the most important coloring technique in brush painting. One brush is dipped in color and the other in water, dragging and dyeing the color away to form a gradation of color from thick to light.

2, unified dyeing: in the process of painting brushstrokes, according to the needs of the picture of light and dark treatment, often need a few leaves, a few petals unified rendering, emphasizing the overall relationship between light and dark and color, known as unified dyeing.

3, cover dye: in the already colored picture to re-cover a layer of color and local rendering.

4, dyeing: dyeing near completion with a certain color small area, local brighten or deepen the picture is called dyeing.

5, baking and dyeing: in the portrayal of the object around the light rendering of the base color used to set off or mask the object.

6, point and dye: close to the writing brushwork, a dip in different shades of color in the picture with dye, take the meaning of the spirit. This method is often used when dealing with the background or small flowers.

7, good offices dyeing: a piece of color to the surrounding dye. This method is used when painting the blush of ladies' cheeks, and it is also used in the painting of peonies.

8, wake up dyeing: in the cover color after the color is slightly boring on the screen with a light dark color re-dyeing, in order to draw out the bottom part of the color, to make the picture awake again.

9, pick up the dye: the method is divided into saucers to mix two to three patterns of color, the same thickness of each color, mostly similar colors or similar colors, divided into a few branches of the pen will be the colors spread on the paper, and then quickly to the dry brush will be the colors pick up the brush. Or connect two colors in a range with water to produce a natural transition effect. Vertical and then horizontal, quickly and accurately, so that it does not show the brush marks, color halo and uniformity. Craft painting patterns also use this method.

Techniques

Chafing: painting often encountered in the soil, stone, stumps and other objects, often chafing to enhance the texture and heaviness, but also the line of the complementary, more concerned about the use of the pen. Generally require a natural and smooth, not posturing. Rub, more hidden pen. Generally only rich in chapped techniques, and sometimes also play a role in modifying the failure of the chapped.

Dyeing method: there are many kinds of, generally have flat coating, dyeing, cover dyeing, etc., flat coated more in the bottom of the color and the picture of the local color coated with color, should not see the pen marks. Dyeing is divided out of the structure of the object dyeing method, there are two kinds of high dyeing and low dyeing. Dyeing in the middle of the object in the raised parts and cause a little three-dimensional meaning is high dyeing. Shading is in the part that has been dyed with color ink covered with a certain color, which can produce a heavy and calm color changes. Baking is generally outside the object Hong dyeing part of the color ink, in order to strengthen the main object shaping, in fact, have dyeing to expand the meaning. The moon, clouds, snow edge is used.

Points: the point in the painting is extremely wide range of uses, depending on where the hit can be flowers, grass and wildflowers, can be moss points, but also regardless of what is only for the decoration of the picture. Dot is a small point, is the expansion of the point, hissing method commonly used in painting. When using the point generally seeks to use the pen consistent and unified.

Collision of water and powder: some paintings are flexible and varied, there are color and powder collision method, there are also color and powder water collision method, there are also mutual use. Generally, it is to draw the shape and structure of the object with a large water-containing brush, and then use color, ink and powder to collide with the fun, due to changes in hydration and insolubility, lively and vivid.

Fading method: layers of color accumulation, a layer of color when withdrawing part of the color, the more color the more layers, paintings of birds and flowers and grasses commonly used in miscellaneous objects.

Split Dye: In addition to separate use, but also commonly used for the cover dyeing the base color, for the flat paint open wake up. The method is to use two brushes, one dipped in color, one dipped in water, the first color brush from the deepest parts of the dye, and then use the water brush to make the color gradually faded outward, so that the more the lighter, leaving no traces.

Hood dyeing: hood dyeing, can not be in a hurry, to thin hood, a time is not enough, you can cover again, the pen should be full of color, with the pen straight to light, not back and forth smear, so as not to stir up the base color.

The unified dyeing: the pen should be full of color, the pen should be light, to prevent the effect of sub-dyeing destroyed.

Touch dyeing: there are two different colors, from the leaves or petals of the two ends of the dyeing at the same time.