Is the main and auxiliary method of breaking the skeleton or texture of Chinese painting a common method?

The main and auxiliary methods are commonly used in the texture of Chinese painting, and there are many methods.

First, the paper rubbing method

After crumpling the paper, you can generally brush the ink on the front and underline the back with thick ink or color; It can also be colored with light ink as needed.

1. The whole paper is wrinkled

Local friction

Commonly used cooked rice paper. After the main drawing is completed, it will be partially kneaded into regular or irregular lines as needed and flattened for post-processing.

3. Don't be too specific after painting. You can draw the front and back, and they can get different texture effects.

4. Fold the origami into fine or horizontal or vertical lines.

5. Tie up the paper, lift the middle of the paper, hold the other parts tightly, flatten them, and brush them with ink, which can be radial.

6. Press the paper to fold the drawing paper horizontally or vertically, spray it wet, roll it up, and then flatten the ink color to show a more delicate texture.

Two. Tie dyeing method

1. Tie-dye before painting, then dip in ink, or use pen-and-ink drawing.

Tie-dyeing after painting

Step 3: After work

Wet the body

3. Collage repair method

Raw rice paper: circle the unnecessary part with clear water, tear it off while wet, straighten out the raw edges, brush the top with another white paste, then paste the same type of rice paper, water it, and tear off the redundant part.

Cooked rice paper: after cutting off the excess parts, wet the edges, gently tear off the thin edges and paste the paper. You can also add a little paste to the subsidized edge to make it generally fixed, then make up the pen or make it full of air, and then mount it after completion.

1. Cut a picture, break it down, and then transpose or recombine it in place (for example, change the angle of a circle or paste it on the other side).

2. Or put a part of another picture on this picture to form a new relationship. For example, gold foil is directly attached to the picture.

3. Interlaced collage method (such as drawing reeds and fishing boats behind reeds).

4. Paperboard shading method

1. Paper reinforcement method Adding paper reinforcement to the drawing paper, pasting it with water, and tearing it off after painting can show the texture and texture of the rock. Paper ribs can also be added to friction materials.

2. Carve images such as geese and egrets. And then rub them. Other sundries: hemp seed, pine needles, etc.

3. Paper stencil printing is the opposite of occlusion. First, the hollow image is cut on the hard paper for printing or rubbing.

Verb (abbreviation of verb) contrast method

1. Tick the back

2. The front is hooked and the back is colored.

3. Draw the main body on the front and the background on the paper.

Lithography of intransitive verbs

The rubbing materials are: glass, wood board, plywood, plastic board, cloth, paper, slate, iron plate, etc. When rubbing on the glass, a piece of white paper can be lined under it to show the trace of ink color and the change of depth.

1. Monochrome direct rubbing

2. Multi-ink direct rubbing

3. Local friction

Step 4 rub repeatedly

5. Continuous friction

There is still a little ink on the printed material, so you can continue printing while it is still dry, and you can get the interest of cracking the autumn wind confusion.

6. Dry-painted paper rubbing

7. Wet drawing paper rubbing

8. Come on, Friction

9. Brush rubbing (_ rubbing method). Water brush

10. One-time friction.

1 1. Knead for many times.

12. After rubbing the pattern in water, you can also lift it for a long time after rubbing, or add some ink locally to let it flow naturally.

13. Stick alum before water extension.

14. Volatile oil: turpentine, gasoline, etc. Replenish energy and expand in water.

16. Rub on the dark water.

17. After soaking oil in water, rub the ink.

18 skillfully borrows physical textures and renders them after expansion. Optional objects are: leaves, ropes, hemp seeds, pine needles, mats, fly swatter, wood grain, etc.

19. Duyin

20. The reverse side is printed on the reverse side of drawing paper, and then the ink is washed.

2 1. Ball dip color printing: made of paper balls, bagasse, hemp rope, linen, coarse cloth, wood grain, silk pulp and other texture materials, dipped in ink and printed directly on drawing paper.

Seven. Rolling printing method

1. Pad roller printing method

2. Hard pad printing roller printing method

3. Rope winding method

4. Rolling friction method

5. Wrinkled paper roll printing method

6. Health care water jet printing method

7. Be familiar with the roll printing method of throwing thin lines and lining hard plates.

8. Roller printing method with uneven ink color on the roller

9. Multi-technology repetitive multi-roll printing method

10. Ink roller printing on ink-free rubbing materials.

1 1. Ink-free roller printing on ink friction materials.

Eight. infiltration

1. Two pieces of paper are stacked together for painting, and the bottom is a natural texture.

2. After folding a piece of paper, draw a picture on one side. The principle is the same as above, and then it is regarded as the same figure.

3. Draw on a watertight board, and the next one will be stained with strange textures.

Nine. Flat coating method

1. Light color ink coating

2. Light ink flat painting superimposed strokes

Ink accumulation method

1. Dry ink method

2. Wet ink method

3. Dry-wet ink accumulation method

4. Ink accumulation and rubbing methods

Xi。 Break the law of ink

1. Strong and weak

2. Light and thick

3. Ink will spoil the color

4. Color destroys ink

Twelve. Ink washing method

Familiar propaganda is often used, and vigorous propaganda can also be used. Raw Xuan ink needs to be cleaned and dried with a large number of seals. The pad that does not absorb water is called "ink flowing punch", and the pad that absorbs water is called "ink absorbing punch". Prepare a hot air blower before inking. This method can be combined with salt sprinkling method, crepe paper method and local denaturation method.

1. Add gum to the washing ink, draw the general idea, put it underground, and rinse it with plenty of water before it is dry to make the original ink soak as much as possible. When the effect is ideal, fix it with a hot fan. If you need to wash a lot of parts, you can wash them several times. For example, wash branches first, then wash leaves and so on.

2. Ink washing is to coat or spray with water first, and then shower or wash with thick and light ink. This method is similar to "breaking ink". See this article.

3. Wash the ink when the ink color is slightly dry, and dry the ink edge first, which has a hazy effect.

Brush the paper with soapy water first, then treat it.

5. After inking, hang a picture, spray water with a watering can to make the ink block flow, and fix it with a hot air blower.

6. The ink dot containing glue drops water into the center of the ink dot when it is wet.

Extended data

Chinese painting

Many modern China painters maintain or stick to the foundation of traditional painting.

Wenxuan Gallery's appreciation of Zhang Hongfei's works is not influenced by western paintings. They are divided into two branches: one is based on imitating and inheriting the skills and manners of predecessors; The other school tries to innovate while fully inheriting the tradition, but their innovation is mainly limited to building their own unique style or injecting some new content into their works, rather than shaking and transforming the traditional model.

The former's contribution lies in preserving and imparting traditional skills; The latter's contribution lies in developing tradition, making traditional painting more perfect and creating its own artistic personality. The former is represented by Jincheng and Gu, while the latter is represented by Qi Baishi, Huang and Pan Tianshou.

Qi Baishi became a master of Chinese painting from a folk sculptor. After the late Qing Dynasty, the Republic of China and the Republic of China, he integrated literati painting with folk art, poetry, calligraphy, printing, painting accomplishment and peasant temperament, and expressed the aesthetic ideal of China people in his works.

As a master of modern landscape painting, Huang turned his profound traditional cultivation, knowledge and love for the mountains and rivers of the motherland into a vigorous brushwork. Although people lament his art, they can't help but admit that he created one of the highest artistic beauty of this era.

Pan Tianshou's achievements are mainly in flower-and-bird painting. He is simple and honest, but his education is entirely literati. He combined the northern and southern sects into one, breaking through the beautiful and feminine style of flower-and-bird painting since the Ming and Qing Dynasties, and creating a strange, dangerous and vigorous style.

Fu Baoshi, Pu Xin, Fei, He,,, etc. He also enriched traditional painting with his own different styles and made his own contribution. Although the works of these painters keep a different distance from the modern ideological trend and modern aesthetic ideal, they show profound national cultural consciousness and permeate the emotional psychology of modern people to varying degrees.

Qi Baishi's truth and strength, Huang's profundity and enthusiasm, Pan Tianshou's boldness and fortitude, and Fu Baoshi's frankness and passion are all related to the modern spirit, and they have all broken through the ideological and emotional category of traditional literati painting in a certain sense.

Chinese painting mainly relies on the inheritance and reference of classical painting, especially literati painting, as well as the observation of sketch in form and performance. Its existence is based on the traditional pen and ink skills. Only by learning from various schools, being familiar with famous works and being comprehensive and unique can we succeed. Modern painters live in Guangfu collection. In the metropolis where printing and natural history have begun to take shape, there are more opportunities to get in touch with famous works of past dynasties;

Developed transportation provides them with convenient Wan Li Road and exhibitions. The structure of modern social life forces painters to sell their works as commodities, which greatly changes the nature of self-entertainment in painting.

These characteristics have a far-reaching impact on the creation of traditional painters, so their artistic path has obviously widened the distance from ancient artists. With the continuous expansion of China's foreign exchange and the change of modern life rhythm, the traditional painting, which is characterized by observing nature and appreciating the interest of pen and ink, is increasingly showing the gap with the new aesthetic needs. How to endow it with new vitality is an important issue for contemporary China painters.

Reference materials? Baidu Encyclopedia-China Modern Painting