Paper-cut materials and materials

Paper cutting, also known as paper carving, window cutting or painting cutting. The difference is that when creating, some use scissors and some use carving knives. Although the tools are different, the artistic works created are basically the same, which is collectively called paper-cutting. Paper-cutting is a kind of hollow art, which gives people a sense of emptiness and artistic enjoyment visually. Its carrier can be paper, gold foil, silver foil, bark, leaves, cloth, leather and other sheet materials. The basic material of paper-cutting is flat paper, the basic units are lines and blocks, and the basic language symbols are decorative points, lines and surfaces. In addition, due to the limitation of materials, paper-cutting is not good at expressing multi-level complex picture content and light and shadow effects, as well as the volume, depth and fluctuation of objects and images. Therefore, it is only necessary to foster strengths and avoid weaknesses, and adopt head-up composition in composition, that is, to change objects and scenes from three-dimensional images into two-dimensional images. By boldly selecting the performance materials, simplifying them, summarizing them with concise lines, highlighting the key points of the picture, and contrasting the black-and-white relationship with reality, the expressive force of the works can be enhanced, and the objects in the world can be represented with a head-up view, which determines the planarization characteristics of paper-cutting performance, that is, any image creation is stored in a specific visual plane. Folk paper-cutting adopts an expanded way of thinking, which is very arbitrary. Under the scissors of the creator, paper-cutting has become a natural and bold creation, without volume, space, perspective and proportion, relying on experience and spirituality. In order to express their ideas, creators can break the objective laws of nature and space restrictions and put objects in different time and space on the same plane. This kind of static planarization can represent three-dimensional, four-dimensional or even multi-dimensional space, and constantly depict the world in your heart through dynamic thinking. Folk paper-cutting is to make a fuss about the limitations of paper, gallop freely in the limitations, make the impossible possible and simplify the three-dimensional world into a two-dimensional space. Infinite space and infinite complex shapes are placed on a plane, and the flat outline has become the modeling basis of paper-cutting. Therefore, the unique expressive force of folk paper-cutting is realized on the basis of the thorough concept of two-dimensional space. Paper-cut creators play their true and pure artistic nature, break the shackles of the objective world, and express their artistic objects from multiple angles, directions and levels. This composition thinking of folk paper-cut is not limited by living customs and subject matter content, and creatively organizes a number of images to make them coherent, comparative and foil. This expression technique of flattening and taking things enhances the subjectivity, time and space, three-dimensional sense and comprehensiveness of paper-cutting, and its ultimate goal is to pursue the integrity of modeling. Perfect psychology is the foundation of all this. In folk paper-cutting, the foreground and background of the paper-cut object appear on the same plane, and the object and the image do not overlap each other, so that we can see both the front object and the back object completely, thus showing a strong decorative style. The creator broke the obstacles of realization out of pure thoughts, feelings and aesthetic stereotypes, and fully expressed the image with the method of unity of form and spirit. For paper-cutting, the back, top, bottom or interior of the object can't be seen, but it has an inner feeling. Invisibility is reasonable, but it is unreasonable not to cut it out. In addition, the structure and expression of folk paper-cutting is not a simulation or representation of a static visual image from a fixed angle, but a dynamic dialectics that fully integrates sensibility and rationality. China folk art does not pursue the depth of perspective, but has an aesthetic recognition of "seeing more and seeing more". Folk paper-cutting also embodies this aesthetic concept, which embodies the whole picture of things in two-dimensional space. The composition form of folk paper-cut completely abandons the concept of "focus" perspective painting, which not only breaks the limitation of time, space and proportion, but also completely breaks away from the specific position of natural scenery, unifying the picture with primary and secondary images, symmetry and balance formal rules. At the same time, folk paper-cutting also has the method of scattered composition, that is, different materials are independent of each other and do not cross each other, and even each object has its own perspective, so the author can arrange these different materials in the same plane reasonably. This is unreasonable in reality, but it is naturally reasonable in paper-cutting. Folk paper-cutting is not bound by the inherent shape of natural objects, and is not satisfied with the simulation of appearance, but expresses all objects on the plane. At the same time, in order to pursue the integrity and comprehensiveness of modeling, different scenes in different time and space are described, which fully embodies the creator's wonderful ingenuity and aesthetic desire to pursue perfection. Modeling means that folk paper-cutting comes from life, and the creators of paper-cutting express their understanding of life and nature in this special art form, which is an expression of inner feelings. Therefore, this kind of artistic expression focuses on spiritual expression, not similar expression. At the same time, due to the limitation of paper-cutting technology, it is not appropriate to adopt a completely realistic approach, but only highlight the outline characteristics of the object, and use deformation and exaggeration to highlight the characteristics of the object. Therefore, exaggeration and distortion have become one of the most commonly used expression languages in paper-cutting. Exaggerated deformation is the result of human creative labor and the crystallization of wisdom. Whether it is the painted pottery decoration of Yangshao culture, the graphic patterns of bronzes in Yin and Shang dynasties, or the stone carving art in Qin and Han dynasties, it shows its eternal artistic charm with the beauty of artistic exaggeration. As the direct carrier of primitive art, paper-cutting has outstanding performance in exaggeration and deformation. The performance of folk paper-cutting mostly comes from real life and reflects the life and things around working people. However, it is not only a simple and intuitive simulation of the object to be expressed in its works, but a common standard that transcends the objective expression of reality and changes the nature and shape of the object through exaggeration and deformation. The creators of folk paper-cutting regard paper-cutting as a part of life, and the yearning for a better life and the worship of ancient totems are the main contents of folk paper-cutting. These themes full of folk customs, beliefs and philosophies can only be expressed subjectively, which makes the image of paper-cut arbitrary, and the depiction of inner images can not be separated from exaggerated artistic language. The exaggeration of folk paper-cut modeling is a systematic and standardized process of complicated content, rather than an objective description of nature. Therefore, the image in paper-cut is more prominent and eye-catching than the prototype. This is determined by the big historical and cultural background and living environment, and comes from the rich life. At the same time, the processing and simplification of living raw materials is also the basis of folk paper-cut modeling. Eliminating non-essential things, highlighting the parts with characteristics and individuality, and turning complexity into simple art re-creation are the exaggeration of folk paper-cutting. Exaggeration emphasizes the characteristics of the object on the basis of ellipsis, and expands, shrinks, elongates, thickens and deforms the most special part of the object image to make the image more distinctive and artistic. In many folk paper-cut works, people can only see their eyes in facial modeling, because in people's minds, eyes are the most vivid, so the creators exaggerate people's eyes. The exaggeration of folk paper-cutting not only embodies the characteristics of the object, but also requires the purpose of decorative beauty, which shows the creator's spiritual pursuit of life, such as ideals and wishes. In order to make the prominent part more clear, concentrated and eye-catching, some decorative patterns are often added to the image to achieve the perfect decorative purpose. The desire for beauty has also become one of the exaggerated contents. When representing a character, the clothes of the character are covered with flowers; When depicting animals, the fur on animals is exaggerated into a whirlpool shape, or patterns are directly added to it, so that the original ordinary image becomes transparent and shows strong decoration. Sawtooth and crescent are common decorative patterns in folk paper-cutting. The creative process of folk paper-cutting is a process of evolution and deepening from "truth" in real life to "beauty" in art through exaggeration, and it is also a process of the creator's thoughts, feelings, aesthetic psychology and pursuit and embodiment of beauty. Through long-term observation and understanding of life and long-term practice, the creator understands the law of paper-cutting, and freely combines balanced, uneven, dense and irregular lines to form wonderful rhythm and rhythm, which adds interest and enriches the appeal of the image. Tool Description Paper-cutting is not made by machine, but by hand. The common methods are scissors and knife scissors. As the name implies, scissors are scissors. After cutting, paste a few (usually no more than 8) paper-cuts, and finally process the pattern with sharp scissors. Knife scissors first fold the paper into several folds, put it on the soft mixture of ashes and animal fat, and then slowly carve it with a knife. Paper-cutting artists usually hold a knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife scissors is that they can be processed into various paper-cut patterns at one time. Paper-cut carving 1. Orthographic carving is based on lines, keeping the lines of modeling and cutting off other parts. The lines are connected, but the shape is also kept and other parts are cut off. This is called orthomorphism. 2. Based on the block, the concave carving cuts off the lines of the characters, and the lines are broken, and the shape is cut empty, which is called negative shape. 3. Combination of Yin and Yang engraving, Yang engraving and Yin engraving. Tool Flow Tools that need to be prepared for traditional paper cutting: 1 scissors 2 pencils 3 rice paper 4 wax plates 5 carving knives 6 needle and thread 7 dyes or ink and brush 8 kerosene lamps 9 traditional operation flow of iron 1. Printing and Dyeing Paper-Traditional paper-cutting artists in China will dye the paper with a brush to traditional China Red. 2. Hot stamping-After the dyed rice paper is dried, wrinkles usually appear. Use a hot iron to iron wrinkled paper. 3. Make a template-the image of the butterfly below is very simple. Draw the outline of a butterfly with a pencil. 4. Smoked template-Take a piece of paper dyed and prepared by Zhang Gang, wet it, and then press the template on it. Such that one side of the template faces the kerosene lamp. The template and the place where the template is not covered will be blackened by kerosene lamps. When the paper is completely dry, take off the template, and then leave the place where the kerosene lamp is smoked and the blank covered by the template. This is a paper-cut model. 5. Stacking-put the paper-cut samples on a small pile of paper dyed with lewd colors, about 20 pieces, and then seal them together. 6. Paper-cutting-Paper-cutting artists in China usually choose sharp scissors with long handles and short toughness. Use it to cut the one with visible graphics, so that other papers can be cut at the same time. The first is to cut the pattern inside, and the second is to cut the edge outside. Among all kinds of scissors in China, Yuxian paper-cutting is unique. It is a stippling paper-cut with negative engraving as the main part and positive engraving as the auxiliary part. Its technological process can be divided into the following six processes. 1. Painting: Designers draw patterns according to their own ideas or customers' requirements, which is generally called painting. Second, the order: sort the painted looks on the rice paper (generally fifty pieces of rice paper at a time are appropriate), and divide them into small pieces with scissors according to the size of the looks. 3. Soak: soak the ordered goods in water and take them out, then squeeze out the water contained in them and dry them in the sun. 4. Carving: Put the soaked goods on the wax board and carve them according to the requirements of the pattern. 5. Dyeing: Coloring the carved products. Raw material coloring and dust removal; Tools are a writing brush and a clean newspaper. 6. Packaging: The products produced by the above five processes are packaged in the form of paper plastic or books, picture frames, gold and platinum.