Five minutes, teach you to paint lime green landscape painting tutorial

In addition to ink landscape, light vermillion landscape and lime green landscape are delightful. Shallow reddish-red landscape is ink-based, supplemented by flower green, ochre cold and warm colors, belonging to the light color landscape. Green landscape is the use of stone green, stone green, cinnabar, white powder and other heavy colors, most of the techniques are neat and fine. Green landscape through the ages, there are masters of the treasures of the world, but also because of the supremacy of ink and was regarded as "artisanal", "gaudy", but it is undeniable, green landscape and ink landscape, is the same as the unique artistic language of Chinese painting is the display of the Chinese style of artistic expression.

Chou Ying's "Peachland Wonderland" is a large blue and green, depicting a wondrous and gorgeous realm of immortals. This painting is rich in color, the technique is diverse and complex, copying it will be a more comprehensive understanding of the ancient techniques of green landscape program, but also because of the difficulty of this painting, can exercise the learner to grasp the overall coordination of the picture ability, is a good and difficult to copy.

The step-by-step diagram of the model painting is selected from the top part of the picture.

First, ink.

Chinese painting, there was an old painter said: "Chinese painters are responsible for every stroke." This "responsible" from the first ink until the final completion of the picture, and even mounted on display. Because it can not be altered at will, a pen and ink are aesthetic. Chinese paintings can be shaped with a pencil, but once the brush is used, it cannot be as casual as a pencil. The inking of the brush is not only to outline the shape of the object, but also to convey the form, texture, volume and space of the object being painted, taking into account the influence of the ink's thickness, dryness and wetness on the final coloring, and at the same time showing the rhythmic beauty of the brush and ink itself. Therefore, the ink of green landscape is the skeleton of the picture as much as the outline of the characters, and the foundation of the picture cannot be repaired. Some learners think that the most important thing is the back of green coloring, in fact, green landscape every step should be emphasized. Of course, the hook line to usually accumulate more, more experience in order to skillfully and accurately expressed with the pen.

1, experience the pro-book, do a detailed analysis of the entire work to local style to have an overall grasp.

2, wolf-hair brush hook line, from the rock hook. The main structure and outline line a little thick and heavy, pay attention to the pen's rhythm, and not too wet.

3, line edge slightly chapped, not too much, or affect the final coloring.

4, hook pine trees, branches and rocks to distinguish between the dry pen, to be more fluent. To carefully analyze the organization of pine needles, can not be chaotic. Each of the ancient paintings deal with pine needles in different ways.

5, hook cloud, this painting is smooth clouds contain raw, very rhythmic. If there are pavilions to pay attention to the accuracy of the line structure.

Second, mounting board, brush base color, in order to make the tone uniform, to first brush 1, 2 times antique base color.

Third, playing the base color. Playing primer is the traditional procedure, with water color paving the bottom, so that after the heavy color stone color can be even and clean, and appear rich. Otherwise the heavy color will be flowery, fire.

1, first from the heaviest ink color, usually pine needles, with ink toned floral blue first dye 1, 2 times.

2, conventional painting method warm rocks (green) with ochre base color, cold rocks (cyan) with flower green base. My painting method is to use ochre throughout the bottom, green rocks and then on the blue, so that the color is more stable, generally on 2 times.

3, the dark part of the rock with a slightly rendered blue ink.

4, the heavier mountain graphite and blue on 2 more times, divided into layers of structure.

5, green mountains and rocks with grass green cover once.

Fourth, on the heavy color

1, green mountain stone dye three green, outflow side of the ochre color.

2, on the stone green. This painting I use the head of green peptide blue. Stone green is more difficult to dye evenly, on a few times available water to wash once.

3, rendering stage. Before the stone green stone green belongs to the flat coating, there is no hierarchy and sense of thickness, rendering can achieve this effect. With stone green or stone green in the bright part of the mountain continue to dye, dark stone color to maintain a thin state. Behind the mountain stone set color is richer, but also more gray, with stone green stone green dyeing different parts, some parts of the two tones and use. In this way, the foreground of the mountain stone lime green is thicker and more pure, the back view of the color is thinner and greyer, forming color space.

Fifth, in-depth finishing. This step is very critical, because before on the stone color will look raw, colorful, this step to adjust the color relationship.

1, with ochre to adjust the flower green into a kind of gray, rendering the distant view of the greyer mountains and rocks, until more stable.

2, with the above color rendering of the dark part of the foreground rocks, divided into layers. Darker color darker rocks with blue ochre and then adjust the ink will be painted dark.

3, the brightest part of the foreground blue mountains with three green to three green brightening.

4, dyed clouds of white powder, sub-dye.

5, double hook, wake up line. With light ink blending rouge re-hook green hills, light ink blending flower green re-hook green hills. This is the use of color complementary relationship. Green warm with a cold color awake line, green mountains with a reddish color awake line, will be more distinctive and rich. Appropriate use of dry brush with color chapping, so that the mountains and rocks more texture, not too much, the pen should be careful, can not be painted.

6, point ink. Represent the lushness of the trees on the mountain. Behind the point of the rock is more dense, divided into multiple points into. Pay attention to the direction of the point to be unified, not chapterless and irregular, which should be studied in depth pro-book. Finish.