Plum blossom branch sketch

How to draw plum branches?

Usually, we should observe the painter's paintings more and use our brains more.

Look at the real plum blossom. To understand its habits.

Observe more, and you can draw well. The first step is to expand business.

Dip the pen in light ink first, then dry it at the edge of the plate, then dip it in deep ink, and draw the front branch with the center. When you start writing, draw from the center to the lower end of the branch and gradually turn to the side. Be sure to note that the branches are left blank and disconnected during writing, so as to fill in the flowers.

You can also use lighter ink, draw the thick branches at the back with the front side, and add the deep branches at the front. It should be used flexibly according to the needs of composition.

Either way, the interleaving and density of branches are the same as disconnection and blank space. The second step is to circle the flowers with light ink.

Pay attention to the gathering and scattering of flowers and the positive expression. Flowers and branches need to be repeated alternately.

Draw the main branch, decide the overall situation, draw some side branches, and then start drawing flowers. When the flowers are almost finished, insert branches into the flowers, make up some flowers or add some twigs. This will be done alternately, step by step, and the steps cannot be completely separated. The third step, flower heart treatment, removing flower whiskers, pointing flower heads and pedicels.

Use a bald pen, preferably coarse ink from the center. The front and back of flowers are often displayed through snacks.

The fourth step is to tidy up the moss. After the stem, branches and flowers are basically completed, look back at the overall effect and make substantive adjustments in the shortcomings.

Finally, cover the title in the appropriate place. A plum blossom is finished.

Draw a circle of plums, usually without coloring. In order to support the white flowers, light ink can be dyed on the periphery of the petal outline.

You can also use light ochre or light grass green ring dyeing. When ring dyeing, the amount of water should be sufficient to achieve the infiltration effect and avoid dryness and rigidity.

After ring dyeing, you can use a larger pen, add water to turn it into a lighter ochre or grass green, and sprinkle it on the gap between ring flowers or branches (densely, not too much) to make the picture more substantial and changeable, and the overall atmosphere is better. Generally, the flower heart is left blank, or add some yellow powder.

Some painters fill the petals on the back of rice paper with white powder after painting, which will make Bai Mei more full and prominent and add beauty. The composition of plum blossom is called "quotient position" in the traditional theory of Chinese painting, that is, the layout of the picture.

This is an inevitable problem that you will encounter when you enter the process of imitation or creation after you understand the growth law and structural characteristics of flowers and the basic modeling methods and pen and ink requirements. It is also a flower. Why can a literate painter enjoy beauty when painting, but it is difficult for beginners to do so? In addition to pen and ink skills, the overall layout of the picture, that is, whether the composition is reasonable, is very important.

Therefore, pen and ink, form and composition are the main technical elements of drawing a good picture. The composition of China's flowers or flower-and-bird paintings can be understood from two aspects.

First, the specific techniques or ways to deal with the picture, such as "S"-shaped composition, semi-circular composition, vertical and horizontal cross composition, etc. The second is to master the laws of beauty and beauty in the layout of the picture, such as the main auxiliary, the virtual reality, the density, the gathering and scattering, the hiding, the opening and closing, and the echo.

It is necessary for beginners to master several specific forms of composition, but it is still necessary to understand and master the rules of composition, so as to draw inferences from one another. Flexible use can be ever-changing, handy, and briefly described respectively.

Subject and auxiliary: or "primary and secondary", "subject and object", "subject and object" and so on. A painting has a subject and a background. The subject is the focus or center of the picture.

In the layout, make every effort to make the main body stand out and attract attention. As a foil, the other parts should be hidden and the lines should be empty. On the left, the front is the main branch of plum, and the back is the guest.

One main and one auxiliary. A thick and thin, a tall and short, a sparse and dense, naturally formed a distinct rhythm and contrast.

Don't discriminate between primary and secondary, treat them equally. Specific use, there are also useful skills for comparison.

That is to say, put the minor in front and the main body in the back. Depending on the needs of composition and expression.

Reality: A painting must have a contrast between reality and reality in its overall layout. Generally speaking, "painting is true, no painting is virtual" or "pen is true, no pen is virtual". This is about the contrast between the blank space on the screen and the object image.

In writing, there are often techniques such as alternation of reality and falsehood, mutual use of reality and falsehood, showing reality with falsehood, and breaking reality with falsehood. Flower-and-bird painting generally does not draw the background, leaving a large blank, that is, "virtual", but draws "reality", or is close to reality and far from virtual, or the main reality is virtual, all for the contrast effect of the picture.

"Imagination" can give people the power to think wonderfully, and the so-called "meaning can't be written" and "meaning is still unfinished" are also wonderful effects of "showing reality with emptiness". Don't cover the paper with ink, the painted objects occupy all the blanks and are painted tightly, which makes the viewer feel blocked and lose the space for daydreaming.

Figure 45, except for two plum blossoms, a large blank is left at the top left, just to get the effect of virtual and real. Density: There is a rule in Chinese painting that "density is not ventilated, and density can lead a horse".

When writing, you should be dense, and the rhythm can be vivid and straightforward. Without the change of density, it will be dull and dull, and the vision will be boring. Plum blossom painting mainly deals with the arrangement and intersection of points, lines and surfaces such as branches, flowers and moss spots.

Above, the main branches in front are thick and dense, and the auxiliary branches in the back are light and sparse. Aggregation and dispersion: refers to the relationship between concentration and dispersion.

When painting plum blossoms, the distribution of flowers must be gathered and scattered, and there must be a connection between gathering and scattering in order to have a sense of rhythm and fascination. Avoid uniform distribution and scattered layout.

Hiding and Exposing: According to the needs of artistic conception and artistic techniques of pictures, some parts are often hidden and some parts are exposed in composition. Some parts should be highlighted and some places should be hidden.

Generally, the main part should be conspicuous and the background part should be hidden. But in some compositions, the main part should be hidden.

For example, the picture "New Posture of Old Cadres" with Gu Mei as the leading role, although the old cadres occupy the main position of the picture when composing, must handle the relationship between hiding and revealing when writing. Only in this way can the picture produce strong contrast and subtle and changeable artistic effects, such as size and thickness, and shades before and after.

Opening and closing: refers to the complete unity of picture composition. Doors and windows have switches, stories have a beginning and an end, articles have a beginning and an end, and paintings have a beginning and an end.

Some paintings make people feel unfinished, that is, they are not combined. If you draw a dragon, the dragon is "on", the finishing touch is "off", and the dragon dies without finishing touch.

The same is true of painting plum blossoms. It's just like painting a dragon to circle the petals and not point the flower heart.

The painting of plum blossoms in Chinese painting … the painting of branches?

The drawing method of plum blossom in Chinese painting: 1. Gently sketch the branches of plum blossoms with charcoal strips, and don't hook the flowers, so as not to drop ink and start writing.

2. With a pen dried with ink, hook, scrape and wipe, and draw Mei old terrier with the middle and side. Pay attention to the thickness and length of the lines.

3. Draw plum branches and top branches with heavy ink. The thick pen should be steady, and the thin pen should be alive.

Branchlets should be interspersed with blanks and presbyopia, and pay attention to the density relationship. 4. Tick the flowers with a light ink circle and draw them from the intersection of the old stem and the trunk.

Pay attention to cohesion, simplification and quantity. There are many flowers on branches and branches, but few flowers on lateral and top ends.

5. Point out calyx, flower whisker and anther with burnt ink. When it is dry, draw flowers on the back of the work with white powder.

Then dye the roots of the flowers with light ink and draw the effect of clouds supporting the moon. .

How to draw the branches of plum blossoms in Chinese painting?

The drawing method of plum blossom branches in Chinese painting;

(1) The plum blossom hook method of Chinese painting uses No.2 bucket pens such as hard-haired badger and rat tail to enter the pen from the dark side, and hooks while hooking. There should be less water on the pen, and the gray ink should be dipped in deep ink and painted in sections. In order to express the rough texture of old terrier's edge, it is advisable to use the side pen to go backwards. After drawing the dark side, gradually draw the main shape of old terrier with arcs of different lengths, and draw the outline of the bright part of old terrier. The strokes of this line should not be too solid, but can be intermittent to show the flexibility of brushwork.

After drying, add some Jiao Mo moss to complete the trunk. In Chinese painting, the thick branches protruding from the stems of plum blossoms can be painted with double hooks or splashed with ink.

(2) When painting plum blossom branches in traditional Chinese painting, we should first pay attention to the change of ink color, handle the relationship between ink mixing and ink dipping, and use a large-scale hard pen to dip the ink side to raise the pen retrograde, and the nib will also change with the development of pen trend. It is necessary to strengthen the change of brushwork by lifting, stumbling, and taking advantage of the trend with a pen.

The pen and ink that appears in the pen before loosening or after drying should be naturally preserved, and the ink color will be completely beautiful after it is dried. Plum tree trunks in traditional Chinese painting can use double strokes, and the left and right strokes are arranged in parallel, first left and then right. After the trunk is completed, write down the thick branches and tender stems, and draw them in the same way as described in the drawing. What is introduced above is how to draw plum blossoms well.

How to draw plum branches

Usually, we should observe the painter's paintings more and use our brains more.

Look at the real plum blossom. To understand its habits.

Observe more, and you can draw well. The first step is to expand business.

Dip the pen in light ink first, then dry it at the edge of the plate, then dip it in deep ink, and draw the front branch with the center. When you start writing, draw from the center to the lower end of the branch and gradually turn to the side. Be sure to note that the branches are left blank and disconnected during writing, so as to fill in the flowers.

You can also use lighter ink, draw the thick branches at the back with the front side, and add the deep branches at the front. It should be used flexibly according to the needs of composition.

Either way, the interleaving and density of branches are the same as disconnection and blank space. The second step is to circle the flowers with light ink.

Pay attention to the gathering and scattering of flowers and the positive expression. Flowers and branches need to be repeated alternately.

Draw the main branch, decide the overall situation, draw some side branches, and then start drawing flowers. When the flowers are almost finished, insert branches into the flowers, make up some flowers or add some twigs. This will be done alternately, step by step, and the steps cannot be completely separated. The third step, flower heart treatment, removing flower whiskers, pointing flower heads and pedicels.

Use a bald pen, preferably coarse ink from the center. The front and back of flowers are often displayed through snacks.

The fourth step is to tidy up the moss. After the stem, branches and flowers are basically completed, look back at the overall effect and make substantive adjustments in the shortcomings.

Finally, cover the title in the appropriate place. A plum blossom is finished.

Draw a circle of plums, usually without coloring. In order to support the white flowers, light ink can be dyed on the periphery of the petal outline.

You can also use light ochre or light grass green ring dyeing. When ring dyeing, the amount of water should be sufficient to achieve the infiltration effect and avoid dryness and rigidity.

After ring dyeing, you can use a larger pen, add water to turn it into a lighter ochre or grass green, and sprinkle it on the gap between ring flowers or branches (densely, not too much) to make the picture more substantial and changeable, and the overall atmosphere is better. Generally, the flower heart is left blank, or add some yellow powder.

Some painters fill the petals on the back of rice paper with white powder after painting, which will make Bai Mei more full and prominent and add beauty. The composition of plum blossom is called "quotient position" in the traditional theory of Chinese painting, that is, the layout of the picture.

This is an inevitable problem that you will encounter when you enter the process of imitation or creation after you understand the growth law and structural characteristics of flowers and the basic modeling methods and pen and ink requirements. It is also a flower. Why can a literate painter enjoy beauty when painting, but it is difficult for beginners to do so? In addition to pen and ink skills, the overall layout of the picture, that is, whether the composition is reasonable, is very important.

Therefore, pen and ink, form and composition are the main technical elements of drawing a good picture. The composition of China's flowers or flower-and-bird paintings can be understood from two aspects.

First, the specific techniques or ways to deal with the picture, such as "S"-shaped composition, semi-circular composition, vertical and horizontal cross composition, etc. The second is to master the laws of beauty and beauty in the layout of the picture, such as the main auxiliary, the virtual reality, the density, the gathering and scattering, the hiding, the opening and closing, and the echo.

It is necessary for beginners to master several specific forms of composition, but it is fundamental to understand and master the rules of composition, so as to draw inferences from one another. Flexible use can be ever-changing, handy, and briefly described respectively.

Subject and auxiliary: or "primary and secondary", "subject and object", "subject and object" and so on. A painting has a subject and a background. The subject is the focus or center of the picture.

In the layout, make every effort to make the main body stand out and attract attention. As a foil, the other parts should be hidden and the lines should be empty. On the left, the front is the main branch of plum, and the back is the guest.

One main and one auxiliary. A thick and thin, a tall and short, a sparse and dense, naturally formed a distinct rhythm and contrast.

Don't discriminate between primary and secondary, treat them equally. Specific use, there are also useful skills for comparison.

That is to say, put the minor in front and the main body in the back. Depending on the needs of composition and expression.

Reality: A painting must have a contrast between reality and reality in its overall layout. Generally speaking, "painting is true, no painting is virtual" or "pen is true, no pen is virtual". This is about the contrast between the blank space on the screen and the object image.

In writing, there are often techniques such as alternation of reality and falsehood, mutual use of reality and falsehood, showing reality with falsehood, and breaking reality with falsehood. Flower-and-bird painting generally does not draw the background, leaving a large blank, that is, "virtual", but draws "reality", or is close to reality and far from virtual, or the main reality is virtual, all for the contrast effect of the picture.

"Imagination" can give people the power to think wonderfully, and the so-called "meaning can't be written" and "meaning is still unfinished" are also wonderful effects of "showing reality with emptiness". Don't cover the paper with ink, the painted objects occupy all the blanks and are painted tightly, which makes the viewer feel blocked and lose the space for daydreaming.

Figure 45, except for two plum blossoms, a large blank is left at the top left, just to get the effect of virtual and real. Density: There is a rule in Chinese painting that "density is not ventilated, and density can lead a horse".

When writing, you should be dense, and the rhythm can be vivid and straightforward. Without the change of density, it will be dull and dull, and the vision will be boring. Plum blossom painting mainly deals with the arrangement and intersection of points, lines and surfaces such as branches, flowers and moss spots.

Above, the main branches in front are thick and dense, and the auxiliary branches in the back are light and sparse. Aggregation and dispersion: refers to the relationship between concentration and dispersion.

When painting plum blossoms, the distribution of flowers must be gathered and scattered, and there must be a connection between gathering and scattering in order to have a sense of rhythm and fascination. Avoid uniform distribution and scattered layout.

Hiding and Exposing: According to the needs of artistic conception and artistic techniques of pictures, some parts are often hidden and some parts are exposed in composition. Some parts should be highlighted and some places should be hidden.

Generally, the main part should be conspicuous and the background part should be hidden. But in some compositions, the main part should be hidden.

For example, the picture "New Posture of Old Cadres" with Gu Mei as the leading role, although the old cadres occupy the main position of the picture when composing, must handle the relationship between hiding and revealing when writing. Only in this way can the picture produce strong contrast and subtle and changeable artistic effects, such as size and thickness, and shades before and after.

Opening and closing: refers to the complete unity of picture composition. Doors and windows have switches, stories have a beginning and an end, articles have a beginning and an end, and paintings have a beginning and an end.

Some paintings make people feel unfinished, that is, they are not combined. If you draw a dragon, the dragon is "on", the finishing touch is "off", and the dragon dies without finishing touch.

The same is true for painting plum blossoms, which only draw petal rings, not flower hearts.

How to draw the branches of plum blossoms in Chinese painting?

Painting method of plum blossom in Chinese painting: (1) The painting method of plum blossom in Chinese painting is to use No.2 bucket pen, such as badger and rat tail, to enter the pen from the dark side. At the same time, when the pen is hooked, the water should be divided into small parts, and the gray ink should be dipped in deep ink, and it should be drawn in sections.

In order to express the rough texture of old terrier's edge, it is advisable to use the side pen to go backwards. After drawing the dark side, gradually draw the main shape of old terrier with arcs of different lengths, and draw the outline of the bright part of old terrier. The strokes of this line should not be too solid, but can be intermittent to show the flexibility of brushwork.

After drying, add some Jiao Mo moss to complete the trunk. In Chinese painting, the thick branches protruding from the stems of plum blossoms can be painted with double hooks or splashed with ink.

(2) When painting plum blossom branches in traditional Chinese painting, we should first pay attention to the change of ink color, handle the relationship between ink mixing and ink dipping, and use a large-scale hard pen to dip the ink side to raise the pen retrograde, and the nib will also change with the development of pen trend. It is necessary to strengthen the change of brushwork by lifting, stumbling, and taking advantage of the trend with a pen. The pen and ink that appears in the pen before loosening or after drying should be naturally preserved, and the ink color will be completely beautiful after it is dried.

Plum tree trunks in traditional Chinese painting can use double strokes, and the left and right strokes are arranged in parallel, first left and then right. After the trunk is completed, write down the thick branches and tender stems, and draw them in the same way as described in the drawing.

What is introduced above is how to draw plum blossoms well.

How to draw plum blossom with pen and ink painting

The first step is to expand business.

Dip the pen in light ink first, then dry it at the edge of the plate, then dip it in deep ink, and draw the front branch with the center. When you start writing, draw from the center to the lower end of the branch and gradually turn to the side. Be sure to note that the branches are left blank and disconnected during writing, so as to fill in the flowers.

You can also use lighter ink, draw the thick branches at the back with the front side, and add the deep branches at the front. It should be used flexibly according to the needs of composition.

Either way, the interleaving and density of branches are the same as disconnection and blank space. The second step is to circle the flowers with light ink.

Pay attention to the gathering and scattering of flowers and the positive expression. Flowers and branches need to be repeated alternately.

Draw the main branch, decide the overall situation, draw some side branches, and then start drawing flowers. When the flowers are almost finished, insert branches into the flowers, make up some flowers or add some twigs. This will be done alternately, step by step, and the steps cannot be completely separated. The third step, flower heart treatment, removing flower whiskers, pointing flower heads and pedicels.

Use a bald pen, preferably coarse ink from the center. The front and back of flowers are often displayed through snacks.

How to draw a simple plum blossom diagram

First of all, we should have a general idea: draw a stone at the lower right, and the trunk of plum will tilt from left to right.

1. Dip a bucket pen or a big brush in water first, then dip it in ink to draw stones at a faster speed, and add stones appropriately, which is not advisable. 2. Dip the pen tip in thick ink, draw the branches of the main branches first, fork appropriately, and draw down gradually, paying attention to rhythm and speed. The more water and ink are painted, the drier it is. At this time, draw the thickest part of the main branch, and draw the texture of the old bark of the wooden trunk with dry light ink.

Depending on the situation, you can add an outline, or you can point out some moss spots at will. Generally, the middle branchlets are supplemented by large branches, and the trunk is lighter. Then, this branch can be weighted appropriately. Near the stone and in the upper right corner, branches can be broken to leave the place for flowers.

Drawing branches is an extremely important step. The branches should be strong and the center should be used.

When the painting is rough and dry, the ink becomes light and dry, and it cracks while painting. At this time, I use it more sideways. When added, it can be used more on the lower side of the trunk, and it also increases the brightness and three-dimensional sense of the trunk, which is more obvious through later rendering.

3. crochet the flowers with a small brush and dip them in light ink. Generally, each petal is hooked with two strokes, and the bone flower is also composed of two strokes. The reason why we need two pens is mainly to slow down, put the pens in place and avoid carelessness.

When crocheting, pay attention to drawing more unopened and half-opened, and less fully opened. And pay attention to the back and density of flowers when cutting.

Dense branches, denser flowers. In the process of painting, I realized that "airtight, sparse and not leaking."

Flowers can be sparse in sparse branches, and dense flowers can be dense in dense branches; Sometimes it can also be regarded as sparse branches and dense flowers, and dense branches and sparse flowers. 4. Pick the nucleus and point the calyx.

Because Bai Meihua should be painted from the beginning, Bai Mei should also make it have a sense of color. I'll let you add ink with eosin, but you can pick the core first.

When drawing plum blossoms, you should hold your wrist firmly, the lines should be thin and hard, not thick, not light and not hard, and each line should be coherent and skillful, because this is the place that best reflects the spirit of plum blossoms. Point the pollen after painting the stamens. Don't stick every silk. The stamens are neat and the powder points should be round and smart.

Then, the calyx is dotted with eosin, and the direction of bone flower is expressed and set off by the calyx. Calyx should be clean and tidy, and must not be sloppy.

When the calyx is lit, you can add a little twig according to the situation of the dense place of flowers, which is more chromatic than the branches drawn first, and can also make the dense place more dense. Sparse places are clearer.

5, in order to increase the vitality of the picture, you can decorate a few sparrows. In this work, we crouch on the lower left thick branch and two stand on the left side of the stone.

Sparrows are simple and easy to draw, and the whole picture will be full of vitality when it is processed. When painting, first point out the top of your head with ochre and ink, and point all three at once.

The lower two can draw the front and the slightly side, and the slightly side can draw wings with thick ochre ink, even revealing a slightly upturned tail feather. Next, use another pen dipped in coarse ink to outline the mouth and eyes, and then use light ochre ink to draw the bird's abdomen in two strokes. These two strokes must be drawn against each other.

At this time, you can wait a while. After half-drying, you can add black spots to your shoulders and chin, draw the wings and feathers of people with ink, and draw the legs and claws of sparrows with thick ink. Legs and claws must be pulled with sharp force. You can also just draw legs without claws, just like standing in the snow (of course, this needs some processing), so let's not draw claws on this picture yet.

6. Now branches, flowers, calyx, pistil, etc. It's all dry. Here are some simple renderings. First, dye the branches of plum blossoms with the remaining light ochre ink. Whether you draw branches with thick ink or light ink, you should draw them again with light ochre ink, which will show their texture more clearly.

Dye the stone with light ink, the stone is green, and it can basically be painted flat. The upper part can be slightly shallow and the lower part can be slightly deep.

Still use this color to make some dots around the flowers, don't soak them, it will make the white flowers whiter. This is one of the ways to draw white eyebrows, and there are many ways to express white eyebrows, which will be learned gradually in the future.

Still use this color to order several different sizes of ideas on the ground, such as Chun Xue and the birds that began to eat together. Then draw a bunch of bamboo leaves of this color in the upper left corner as a foil for plum blossoms in this painting.

Plum blossom decorative painting

There are many kinds of plums. There are many plums in Jiangnan, but there are no plums in the north, only Huangmei and Chimonanthus praecox. There are many ways to draw plums, including circle plum, ink plum, red plum, pink plum, Bai Mei, ochre plum, yellow plum and green plum. It is the most difficult to circle plum blossoms, and critics think it has been unqualified for decades. The pens with circular flowers should be round and non-round, square and non-square, with a contrast in size, and should be gathered together. In addition to round petals, we must also study the method of breaking the nucleus. Pay attention to pistil, calyx, beard and English when painting plums. When painting, circle petals with a thirsty pen, draw a beard with light ink, and dot English with deep ink. When drawing a core, consider the direction of the core according to the reverse side of the flower. Don't spend too much, just five or seven strokes. You can get more than five or seven points in English, but not too much. Too much will be chaotic. Generally draw "wild plum", only flowers and whiskers, not English. Mo Mei can also draw calyx with deep ink, or order Chili with a thirsty pen.

The composition of plum painting should be made of paper, and the long scroll should be perspective with scattered points. In the layout of plum branches, we should pay attention to leaving white space. Sometimes a piece of paper is empty and dried out of thin air, but there are also some unsatisfactory places. If branches are everywhere, they cannot be complete. Dried prunes are thick and thin. Thick dried prunes can be brushed with big wool or used together. Old cadres are mostly in the back, so it is advisable to use light ink, work hard in the front, and draw with thick ink and light ink. Dark ink can break the shade of dead branches, and the moss is dotted with essays. When you order moss or calyx, focus on the branch, but leave it a little away from the branch, and it must look like it grows on the branch, not out of thin air. The ancients discussed the words "female", "branch", "case" and "cluster" in painting plum branches. It takes a lot of strength to draw branches, but we should also pay attention to straightness and avoid symmetry. The center is tough and thirsty, and the shade is faint. Writing requires wrist strength and arm strength, so as to express the spirit of Ao Shuang Ling Xue. If you need professional decorative painting design, you can go to Yipin Witkey to release the collection task, and millions of professional Witkey will give you the best design service.