Freehand brushwork of grape painting

First, the freehand brushwork of grape painting

1, painting of grapes

The freehand brushwork of grape painting should have a sense of integrity, and a string should have changes in depth and reality, not a flat plate. Grapes should be rich in color, but have a theme, not colorful and dazzling, and the colors should be unified and diverse.

The commonly used colors of purple grapes are: eosin, rouge, cyanine, phthalocyanine blue, azurite, juice green and so on. According to the need, you can adjust purple or blue-purple in the palette, with different colors of cold and warm. Purplish red, with more red components; Blue-purple, with more blue components; Prepare a small dish and use Garcinia and cyanine to make the juice green. If the purple is too bright and harsh, you can add a small amount of juice green to make the purple calm and soft.

Dip the adjusted purple with a big white cloud pen and draw a round (or oval) grape grain with two strokes. The left stroke is light, the right stroke is heavy, and the highlight is on the left. The bright spot is not easy to be too big, don't pursue it deliberately, let it be. In order to moisten the grapes, the purple nib absorbs some water, which is better. The purple nib absorbs some juice green, and the painted effect is half purple and half green, and the purple is green. The purple nib sucks out a little green, and the grapes drawn are as cold as frost.

Draw a bunch of grapes into groups, dip them in one color and draw three or five grapes with different shades in succession. The shades, the virtual reality and the temperature all change. Draw a few bright grapes first, then dip them in the heavy and dark grapes. The heaviest grapes can be added with cyanine or a little ink.

When you are eight minutes dry, touch your navel with a wolf pen dipped in ink and rouge. In fact, the navel is not obvious, but it is very important. Touching the navel will enhance the texture and feeling of grapes. Play the role of finishing touch. The navel should be written according to the different growth directions of grape particles. Finally, draw grape stalks with grass green and small eosin.

Painting grapes should have a sense of integrity, and a string should have changes in depth and reality, and flat plates should not be used. Grapes should be rich in color, but have a theme, not colorful and dazzling, and the colors should be unified and diverse.

2. Drawing method of branches

Grape is a perennial woody and vine fruit tree. There are old cadres and new branches. Because woody branches are perennial, the epidermis is thick and wrinkled, curved and less folded, so they can be expressed in ink or ochre ink. Ink color should be changed from shade to dryness, and special attention should be paid to painting with calligraphy. Draw a curve with a long pen center dipped in uneven ink and color.

3. Leaf painting

Grape leaves are palm-shaped, with three to five leaves (palm leaves have three tips and five tips). The root of the leaf has a long concave petiole, and there is a main Ye Jin from the petiole to the tip of the leaf, and Ye Jin is attached to both sides of the main Ye Jin. Different varieties of grapes have slightly different leaf sizes and colors. Leaves have various postures, front, side, back, back. Because most of the time, you can't see all the five tips of the leaves, so when you show the leaves, you should show the posture of the front, side, back and back of the leaves, as well as the distance and reality of the leaves. Draw a leaf with a stroke, and draw the whole leaf from left to right with one stroke. The back leaf (reverse leaf) is light in color and the front leaf is heavy in color. For the side leaves that can be seen on both sides, draw a few folds of light ink first, and then draw a few heavy inks. Draw a petiole at the root of the leaf. When the leaves are 70% dry, write down the main and subsidiary Ye Jin from petiole to tip with wolfram pen. The main Ye Jin line is slightly thicker, and the attached Ye Jin is drawn alternately on both sides of the main Ye Jin. It should be noted that the attached Ye Jin is not relative.

In order to distinguish grapes from leaves, the ink color of leaves is lighter or heavier than grapes. The leaves of purple grapes and green grapes can be represented by ink or color. Commonly used colors are dark green, cyan, ochre, azurite with ink or azurite with ink. Draw leaves of various colors, and dip the pen tip with a little eosin to enrich the color change. Ye Jin is marked with the same strong color or ink. Blue, blue and green leaves with eosin hooks are also very chic. Small works strive for accuracy and Mo Miao, while large works should pay attention to the overall performance, and local changes should not be too great, otherwise there will be a sense of disorder.

Second, the freehand grape painting belongs to freehand painting, that is, it depicts the scenery with concise brushwork. Freehand brushwork is more in propaganda, vertical pen, flying ink color. Compared with meticulous painting, freehand brushwork can better reflect the charm of the scenery described and directly express the author's feelings. It is represented by the center, the sides and the back.

Freehand brushwork is an art form integrating poetry, calligraphy and painting, and printing.

Freehand brushwork is gradually formed in long-term artistic practice. Among them, the participation of literati in painting has played a positive role in the formation and development of freehand brushwork. According to legend, in the Tang Dynasty, because of its excellent poetry and painting, later generations called it "painting in poetry, painting in poetry". He "changed the way of painting" and created a broken ink landscape of "light ink and clear pen". In the Five Dynasties, the branches and leaves of flowers were first written in ink, and then sketched in light color, which created the "drop ink method" of Xu Ti. Later, Wen Tong promoted the painting style of "Four Gentlemen" in Song Dynasty, and Lin Liang opened a new style of "Courtyard Style" in Ming Dynasty. In the Ming Dynasty, Shen Zhou made good use of thick ink and light color, Chen Bai Yang emphasized realistic ink and light color, and Xu Qingteng was even more unconstrained and unconstrained. After a long period of artistic practice, freehand brushwork has entered its heyday. Developed by Badashanren, Shi Tao, Shan Li, Wu Changshuo, Qi Baishi, Zhang Daqian, Pan Tianshou, Wang Yachen disciple Wang Dezu, Anping Yijun, Li Kuchan, Zhu Xuanxian, Li Keran and Fan Ceng, freehand brushwork is the most influential and widely spread painting method.

Freehand brushwork advocates spirit likeness. Dong Qichang said: "Freehand brushwork is the best way to draw landscapes. What is this? When the shape and quality are perfect, there is no charm; If the colors are different, there is no brushwork. " Xu Wei's Poems on Paintings in the Ming Dynasty also said, "We don't want to look like a rhyme of survival, but we should cut it with our five fingers."

The meaning of freehand brushwork comes first. Contemporary painter Nanshan Leshan thinks: "Li Taibai has a poem: A goose brings a sad heart, and a mountain brings a good moon. Wonderful artistic conception. A lead with a title is extremely full of meaning. The picture tension is enough. Therefore, because there is no heart of Wan Li, there is no painting of Wan Li. It is for this purpose. What did a freehand brushwork inadvertently write? Therefore, intention comes first. Therefore, the pen is unexpected. The pen breaks the meaning, and the meaning breaks the god. Taste the pen of Minangong on all sides; Octupole boxing says that punches are far away in all directions. There's only one reason. Therefore, the connotation of his paintings pays more attention to the expression of Tao and spirit, and his form pays more attention to the personality of the pen and the cooperation of poetry and calligraphy. "