How to draw 100 landscapes and snow scenes (a Chinese painting tutorial that will benefit you for a lifetime~)

1. After composing the picture, use paper tendons dipped in ink to rub the trees according to the composition, paying attention to the gathering and dispersion of the trees. Use snow-chattered pens to draw house roofs, single-plank bridges and river banks.

2. Use thick ink to draw the house and barn, carefully highlighting the tree shape.

3. Draw the single-plank bridge and the river, paying attention to the tree shape.

4. Use the center line to neatly outline the small branches, paying attention to the density relationship and the front and rear concealment.

5. Wet the background of the house, use paper to rub light ink, and splash out the virtual tree behind. Pay attention to the ink seepage at all times to protect the shape of the house.

6. Draw trees on light ink, from thick to light, striving to be rich and unified.

7. Continue to wet the back, use paper to rub the virtual tree in the distance, and use light ocher to draw the house and barn.

8. Use neat calligraphy to draw the fence and the black dog in the appropriate position, keeping it simple and neat.

9. Use light ink trees to enrich the woods at the back, and use snow-chattered brushwork to deeply depict the nearby white trees. Avoid being too thin. Embed snow on the black trees and adjust the picture. Finally, the signature is signed and the painting is completed.

Zhao Chunqiu: Conversion Techniques of Sketching of Ice and Snow Landscape Paintings

1. First, interpret the sketching work to be converted, conduct an in-depth analysis of the origin and transition of the entire composition, and have a clear understanding of the structure of the mountains and rocks. , design the upcoming screen. The ancients talked about setting up the layout and managing the position, which means that the composition should be like marching and setting up an army, it should be carefully considered and there should be a management concept.

Image/Text/Zhao Chunqiu

2. Use a Shanma pen dipped in ink and a dry brush to draw the nearest rocks, paying attention to the direction and general structure of the rocks.

3. Use slightly thicker ink to find out the structure of the rocks, use snow texture to explain the relationship between the rocks and the snow, and start lighting trees.

Tips: When painting snowy ground, pay attention to the moisture in the pen. The ink color should be from thick to light and natural. You can try it repeatedly on the test pen paper and draw again when you are sure.

4. After lighting the tree, use a large brush to paint the cliff behind according to the structure.

5. Deeply express the structure and shape of the cliff in the middle, and use snow texture to depict the relationship between the rocks and the snow.

6. Point the tree and pay attention to the density relationship. To draw a tree, you need to paint it as if you were a human being, you need to talk to each other, you need to bow and bow to each other, and you need to have a story to make it vivid.

7. After finishing the tree, continue to push it back, use a large brush to follow the structure and splash the cliff behind it, and then carve it in depth.

8. Use a large pen dipped in light ink to sweep across the background of the painting. Pay attention to controlling the moisture and appropriately leaving the location of the snowy mountains.

9. Further adjust the background and use darker ink to squeeze out the distant mountains to make the picture richer. Use slightly thicker ink to draw the creek, and use the snow flick method to unify the picture.

10. Adjust the picture and strive to unify it, and finally sign and seal it to complete.

Appreciation of the conversion of Zhao Chunqiu’s sketch into ice and snow landscape painting:

Original sketch:

Converted ice and snow landscape painting:

Original sketch:

Converted ice and snow landscape paintings:

Snow Crack

In the eyes of many people, ice and snow landscape paintings are very magical. Ice and snow landscape painting is a developed form of snow landscape painting. In traditional Chinese painting, snow landscape painting has been favored by literati of all ages. As early as in literary works such as The Book of Songs and Chu Ci, the shape, color and quality of snow have been given metaphorical expressions. Physics and object shapes are connected with human temperament, and have the expressive function of expressing emotions. The majestic and solemn mountains combined with the pure white snow make it more solemn and solemn. Therefore, snow scene painting has become a unique branch of landscape painting and has been passed down.

As history has developed to this day, great changes have taken place from aesthetic concepts to painting techniques. Ice and snow landscape paintings have taken on a new look and are loved by all walks of life. However, for both professionals and non-professionals, , the understanding of contemporary ice and snow landscape painting is superficial, and many people's understanding is still at the level of "alum water" and "special effects", thus ignoring and denying its literati painting attributes and separating it from traditional snow landscape painting. bloodline inheritance and genetic development.

From the perspective of a painter who has been immersed in Sri Lanka for 30 years, the famous painter Zhao Chunqiu reveals to everyone the secrets of ice and snow landscape painting that are unknown to outsiders. He hopes that it can help everyone to understand, feel, and Experience the clear state of mind and pious attitude of the ice and snow painter when painting, cleanse your emotions in the desolate and cold snow scene that dilutes the silence, and observe the things with joy, allowing us to gain an eclectic balance in physics, painting theory, and emotion.

? Do you know? When using alum water for ice and snow landscape painting, you need to paint on the reverse side. After painting, look at the front side!

The snow bag below was painted on the reverse side using alum water and ink.

Snow bag is still a vitriol ink technique.

The white tree is painted on the back with alum ink. Isn’t it amazing how layered it is?

Sometimes the white trees in ice and snow landscape paintings can be left blank. Although it requires a high degree of skill, it does not delay the use of brush and ink like ordinary landscape paintings.

Using the white color of the rice paper, thinking white as black, knowing white and keeping black, a charming white birch forest appears on the paper.

See the tree in the back? Without saying a word, you can achieve all the charm, and it feels like you got it by chance!

The rice paper is kneaded into texture, which is pictographic and natural.

It was originally a ball of crumpled paper, but with a little bit of writing and ink, does it feel right?

Don’t think that the trees painted in ice and snow landscapes are all modern. In fact, they are traditional. Without traditional skills, most people cannot draw well!

Look at this tree. Does it have the shadow of the landscapes of the Song and Yuan Dynasties?

Here are a few trees that you can see clearly. Is this the traditional tree method?

Double Hook Tree

Look, does it require traditional skills? Is it possible to paint without putting in the effort to copy traditional paintings?

Ice and snow landscape painting is all about brush and ink. Without the foundation of traditional literati painting, it is impossible to paint well. A good ice and snow landscape painting shines with the spirit of literati brush and ink in the dots and lines.

Like the requirements of literati painting, ice and snow landscape painting is also a calligraphy pen, which is written, not drawn, let alone traced.

Looking at the elastic twigs, you can’t describe the feeling just by describing them.

Ice and snow landscape painting is good at expressing rime, which is not found in traditional painting techniques!

The colors of ice and snow landscape paintings are rich, but no matter what color, it does not change the essence of ice and snow!

Snow

Snow chapping techniques

Zhao’s snow chapping is said to be omnipotent;

Landscapes, clouds and sky, Everything can be used;

Lighten the ink throughout the stroke and scrape it into a flat edge;

Try it once or twice to check the color of the ink;

Dip it in water and Turn the pen horizontally;

Apply water and press down the ink, and it will infiltrate naturally;

Swing the edge of the plate twice, scrape off the remainder and blend it;

Again Try two or three times and observe the transition;

Then draw on paper and supplement it with ink;

Three and a half strokes per stroke, one star serves two purposes;

Nails are used to draw lines, which are dense and shaped;

The top is bottomed, and the bottom is bottomed;

The snow nest is large in the near view, and the river bank in the distance is flat;

Small Yan Ji flies alone and forms a snow scene.

Su Zhenhuan's copying work 1

Songs and Techniques of Miscellaneous Trees

Zhao's true skill in painting miscellaneous trees is evident in his lines;

Single and double hooks on tree trunks , do not relax the pen;

Open the middle of the trunk, and the center becomes the side;

The side needs to lift the pen, and rub it to become the center;

Then draw both sides The lines are broken and broken;

Clean up the cracks carefully, and the tree scars are among them;

The upper trunk can be hooked single-handedly, and the center is connected;

The tree trunk Avoid electric poles, which have strong curved shapes;

Let’s talk about painting branches, single hook calligraphy skills;

The pens are in place, with long and short female characters;

It looks like a branch. Welding, thick and thin;

Thirty degrees of beauty, interspersed with natural lines;

The exposed branches should be precise, and the direction can be seen clearly;

Occasionally, a few Dots, dots, lines and surfaces are formed;

The sizes are staggered, and the density becomes a tree scene.

Su Zhenhuan's Copying Work 2

Songs of Hollowing Techniques

Zhao's hollowing method is commonly known as tree digging;

Use dry or wet paper , first draw the back part;

Dip a large pen in light ink and initially set the dark part of the tree;

The pen has a length, and the branches can be taken care of;

Stick to Black emphasizes white, and there is a white tree in the chest;

For light ink, look for the shape first, with small dots and short vertical lines;

The dotted line tube has many sides, and the white part should be looked at when writing;

After looking for it two or three times, the branches have begun to show;

The branches cross at three points, and there are many branches distributed;

Use thick ink on the trunk, and the edges should be clear;< /p>

Everything outside the white tree is dark, and in the darkness there are dots and lines;

The picture is black and white and gray, and the workmanship can be seen in every layer;

The main tree can be extended downwards, and can be seen in the distance. place;

Crush it horizontally and vertically to reveal the light and dark textures;

Accompany the near and far shots to make the picture richer.

Su Zhenhuan’s three copies of works

Songs of alum ink technique

Zhao’s alum ink technique was inherited by Yu Laozhen;

Alum ink or Milk ink, innovative techniques.

Use alum ink on snow bags to reveal the alum mark;

Use milk ink on trees to prevent bleeding.

Aluminum water milk paper and pen, all painting materials must be available;

Double-layered rice paper, homemade alum water;

Pay attention to the selection of pens, and reverse painting is the core.

Let’s talk about painting snow packs first. The technique is to use a drag brush;

Use a large Shanma pen and dip the whole brush into alum water;

Adjust the ink color with one stroke at the tip of the pen. It becomes snowy;

It is advisable to move the brush slowly so that it can be soaked;

Draw from front to back, the iron rule cannot be violated;

The size of the snow bag Both, densely arranged;

Look at the upper arc when writing, and leave a mark on the lower part;

The front is short and thick, and the back is long and thin;

The river bank needs Pull the bottom and press the ink half a minute;

Repeat two or three times to reveal the alum seal in multiple layers;

When you look at it from the front after the painting is done, the alum ink groans in the snow.

Let’s talk about painting rime, the technique is pine needles;

Use a small mountain horse pen and dip it in milk and water;

Don’t write too fast, it’s intended to cover everything up. smear;

The painting method is like painting a tree, and the branches are painted vigorously;

The branches are grouped into groups to show the thickness and density;

The tree head is slightly drooping, which can be seen The weight of snow sinks;

If a tree or boat is embedded in snow, soak the reverse side in milk;

Use vitriol ink instead of brush, and use multiple layers of ink to smear;

Use light ink once. Ink, re-take the milk route;

Use medium ink for the second time, focusing on the tree forest;

Use thick ink for the third time, the branches are slightly more realistic;

Adjust cyan with medium ink, and splash the head slightly on the reverse side;

Use a large Shanma pen, use medium ink on the reverse side;

Use ink on the front, and add thick branches;

Looking from the front after the painting, the rime shows the guest of honor.

The blue sky and clear water make the scenery beautiful and fresh.

Four works copied by Su Zhenhuan

? Mountain stone technique

Zhao's mountain stone technique is actually not simple;

Ice and snow mountain stone painting, Ming Dynasty It should come first;

The slope is covered with snow, and the stone face is exposed under the snow;

Chinese ink becomes a thirsty pen, cut diagonally and vertically and erased;

Horizontal and vertical structure method, draw the stone surface diagonally and vertically;

Use horizontal lines to find the structure, and use thick ink to draw dark edges;

Use light ink to find the three-dimensional shape, without drawing outlines;

Size The density and density of the mountains and rocks are cleverly transformed;

Paint the snow again, walking along the edge;

Dyeing takes three steps, and the ocher turns light;

The virtual and the real Go through it once, and lightly cover it with dye twice;

Use ink to see the effect, and add color three times;

Look at it as a whole, there is one more thing;

Stone The top is chapped, and the rocks are bright and visible.

Su Zhenhuan’s five copied works

Songs and Techniques of Big Brush

Zhao’s big brush is a unique skill;

Landscapes, trees, clouds and sky, Get twice the result with half the effort;

Use the whole brush to adjust the ink, and the ink will be thirsty when drying;

The ink method is chapped on the snow, and the scraping will show the fusion;

Try two or three times first The bottom can be applied on paper;

For distant mountains and skyscapes, it is better to use thicker ink;

The top should be brushed well, and the corners should be taken care of;

Below is the top of the mountain, with a large outline;

The most important thing is to use ink to depict the distant mountains in the chest;

If the white couplets are not connected to the black ones, the trend depends on the white lines;

< p> Use it vertically and horizontally to clean the rough spots;

Lightly enter and then empty out, the whole pieces are easy to combine;

The light and dark are asymmetrical to prevent dead ink;

Zhongshan requires processing, and the challengting method must be sincere;

Zhongyuan trees at the foot of the mountain have many shades;

The horizontal and vertical pushing method can be used up and down;

< p> Gently sweep the swipe, and re-apply the anti-slip ink;

Find the shape of the head while it is wet, and outline the light branches;

Any color ink can be used on the water under the tree and the shore ;

Pay attention to the horizon, the mouth of the water should not be higher than it;

The two banks run parallel, and the shore water has many sharp angles;

Small strokes cross the water line and vertical brushes reflect the river;

Needless to say, reserve the top of the snowpack on the shore;

The brush is flexible and can change naturally.

The material comes from the Internet, and the copyright belongs to the original author!