How to draw detailed flowers and birds? 0? three

The composition of flower-and-bird paintings is no better than landscapes and figures. There are rocks, trees, pavilions, waterfalls, flowing springs and so on. , and the difference between near, middle and far, there is a great spatial distance; The characters are men, women and children with different characteristics of all ethnic groups and classes. Only the flower-and-bird painting has a small spatial distance and a general theme. Therefore, the problem of composition is particularly important, which is now expounded as follows: (1) The object clearly distinguishes between the guest and the host, and the subject is the subject. What is the main consideration when creating? What is secondary? If this concept is not established, it will be indecisive and unable to move forward. So what should the host and guests do? The subject should be composed of main image, theme, main color and quantity. Secondly, nothing can go beyond the subject, which is called distinguishing between subject and object. It is very clear to the audience who is the host and who is the guest. If you are vague, there will be two feelings immediately: (1) the guest and the host are not divided. It is not clear who is the master and who is the guest. (2) a presumptuous guest usurps the host's role. Turning minor things into major images will inevitably lead to confusion and indistinguishability. When we understand contradictions, we must focus on the primary and secondary aspects, and draw contradictions and solve them in line. Therefore, it is necessary to prioritize and create a good one. For example, the lotus leaf, of course, the flower is the subject and the leaf is the object. As an image, leaves occupy a large area, flowers are small and there is no weight. But the ink leaves draw one or two bright red lotus flowers from it, and as long as they are brightly colored, they can exceed the number and image. Therefore, it is not only determined by the number of images, but also depends on the changes between them and the effect of the picture. This is a different change of the same object (generally, the object is large and the quantity is mostly the main body); What happens if you draw different objects together? For example, chrysanthemums and hedges are two different objects. What should we do when we draw them together? Similarly, it is necessary to recognize who has the final say and who has the final say between different objects. Since chrysanthemums are the main body and hedges are the objects, we should shape the image, position, color and quantity of chrysanthemums according to the requirements of the main body. To achieve the requirement of distinguishing between subject and object, it is necessary to distinguish the two clearly. Another example: pear flower bird, of course, the bird is the subject and pear flower is the object. If you put the birds in the open space, the color and quantity should be conspicuous and affect the main body, otherwise it will be a presumptuous guest usurps the host's role. Large scale, many painting materials, composition should choose the main painting materials, important highlights, auxiliary painting materials, all serve the main painting materials. According to the principle of distinguishing between subject and object, make careful arrangements in a planned way. There should be centralization, decentralization, priority, reality, order, organization, not disorder and complexity. Finally, we should consider the problem of the host and the guest according to the distance of the object. Generally, the front or near is the main position, and the back or far is the secondary position. When painting, we also need to take care of the different spatial distances and the different requirements for distinguishing between subject and object. (2) Light and heavy virtual reality refers to the position of painting materials. Pay attention to the imbalance of the picture when creating. Up, down, left and right, you should concentrate on reading. If the top is light and heavy, the top is light and heavy, or the left is light and the right is light, and the right is light and the left is light, it must be unequal. The composition of the burden cannot be established. For example, composing music is impassioned at last, with high and low in the middle, slow and varied in priorities, so as to ripple and inspire people. Music is like this, painting is different. Otherwise, how can it be fascinating? Pay more attention to the unbalanced balance when composing music. For example: up and down, left and right, the weight is unbalanced, and it must be balanced to be stable. The left side is too heavy, so you should add painting materials to the right side, or write short poems and inscriptions to balance it. The right side is solid, the left side is empty, and the weight is too uncoordinated! Even if you use a corner seal, there is no balance. The upper part is too solid, the lower part is too empty, or the lower part is too heavy and the upper part is too light, so other painting materials such as bees, dragonflies, butterflies, birds or poems must be added to balance it. However, attention should be paid to the difference between the weight and the original painting material, otherwise the top and bottom are equal. Without affecting the imbalance, we must take a slight balance as the principle. A painting, which pays more attention to the top than the bottom, is elastic, such as weeping willows, wisteria and Lingxiao. It is quite dynamic and has the feeling of swaying in the breeze. People who value and despise are in a stable state. Such as peony, peony, chrysanthemum, rose and other general flowers can be applied. Add stones to make the picture thick and stable. Ancient painters paid more attention to this important principle, which is also a common French style. But this is not the only one. The most important thing is life and artistic conception. Sometimes innovation needs a breakthrough. Therefore, the masters of past dynasties often fail to achieve universality. Shi Tao's so-called law is impossible, but it is the supreme law. It is not universal, and it must be obtained on the basis of law! Chinese paintings are usually mounted on shafts and hung between walls for appreciation. Easy to handle when composing music. The reason is that the height and width are twice as different and have changed. At present, a square four feet apart is difficult to handle because the four sides of the paper are unchanged. When arranging painting materials, we must pay attention to breaking the equality of this quadrilateral, otherwise it will affect the use of corners. You must change from the top, bottom, left and right angles to make the composition perfect. Virtual reality, what is virtual reality? Refers to whether there are black and white painting materials. Generally, the empty place is called virtual, and the painted place is called real. Or the sparse place is called virtual, and the dense place is called real. There are similarities between the two, but they cannot be confused and need to be distinguished from the blank. Virtual reality plays a role in adjusting and changing the picture. Its principle is: "Actually, it is virtual, and virtual is real." Never be empty, that is empty. Badashan people have only a few strokes, which is by no means empty. Then it's actually true, too boring to accept. Therefore, there are two most difficult methods in composition, one is "confusing the truth with falsehood" and the other is "confusing the truth with falsehood". The sparseness of Badashan people is pleasing to the eye, realistic and realistic. Some people draw all over the paper without gaps. It looks solid, but it's actually boring. "Thousands of flowers are dazzling, but only two or three flowers are pleasing to the eye", let us understand what art is. Therefore, it is not easy to seek emptiness with reality. Therefore, no deficiency can not show reality, and no reality can not exist; Or sparse and dense, dense and sparse, with a strong sense of rhythm, never tire of watching it. Music can't be beautiful without rhythm; Painting has no rhythm. What do you think? What should be done about imagination and reality? There are paintings that are true, and they must be true, and they will not be bored to see the sky. The space is empty. There must be something in it to be empty. If you can know how to seek emptiness with reality, it is called "crowding"; I also know how to use space to realize reality, which is the so-called "empty". If I can do this, I will be prepared. (3) The density of dishes refers to the staggered arrangement of painting materials. Its highest principle: "sparse energy, dense ventilation." What is density? The arrangement of painting materials and painting materials is far and near, and complexity and simplicity alternate. With distance and simplicity, it becomes density. Chinese painting begins with a little painting and ends with an infinite point and an infinite painting. But if the arrangement is staggered, there must be 3.3 paintings to form. So 3.3 painting is the starting point of density, and Qian Qian's 3.3 painting is the end point of density. What is a three-point three-point painting? For example, three ink dots are close at two points and separated at one point, forming a distance, that is, density. Three trunks, two branches intersect, one branch is independent, and the complexity is simplified. Therefore, when we are creating, we must follow this principle to think. Where it is sparse, where it is dense. Draw a little less in the sparse place, so that it is sparse to the extreme, and the horse can pass through it, which becomes a big empty space. Dense places, draw more. For example, three orchid leaves are grouped, one is kept, the other is crossed and the third is broken. You can draw more groups, dozens of groups, which are extremely dense and the wind is sad, and it becomes a big reality. A painting can be big and empty, and the sense of rhythm is bound to be strong, and the artistry will be produced immediately. What is gathering and scattering? Refers to the location where the object is placed. If you gather, you will be concentrated, and if you disperse, you will be separated. A painting is sparse and dense, concentrated and scattered and intricate, which must be intriguing. Therefore, no matter what we draw, three chickens, three chrysanthemums and three fences must focus on two things, that is, impenetrable; If we are separated, we can leave soon. Follow this principle everywhere, arrange objects, even more objects, and create with this requirement everywhere. (4) Interleaving refers to the complex overlapping of painting materials. When creating, how to make flowers, leaves, branches and stems numerous and overlapping? Must rely on the intersection between objects. There are two intersections: ① Real intersection. Two objects, intersect a little. 2 Virtual intersection. Two objects do not intersect each other, but their guiding lines intersect at one point, that is, they do not intersect. Real communication is very useful. There is no intersection between objects, which is too simple. Only when two lines intersect, or even multiple lines intersect, can it be complicated. However, virtual intersection is also useful. If the real communication is too real and you have to draw, it must be replaced by virtual communication, which is essential to solve the contradiction between reality and reality. Therefore, interweaving in flower-and-bird painting is very important, which has the same effect as gathering and scattering. When we are creating, we can say that the words "sparse and dense, scattered and interspersed" have always been in our minds. The whole process of freehand brushwork creation can be summarized as: "act decisively, improvise, correct mistakes, and replace mistakes with corrections." It is precisely because of the limitations of freehand brushwork flowers and birds, materials and tools that the creative methods are also affected. We should not only "plan ahead", but also "put pen to paper, and we can't do it again in one go", so it is particularly important to "gather and disperse, interspersed and staggered" (5) The spatial distance between the front and rear levels of landscape painting is large, with close shot, middle shot and long shot, and the front and rear levels are easy to solve. Freehand brushwork flowers and birds are basically close-ups, and the objects are not far apart, but they also talk about the front and back levels. For example, a painting with chrysanthemums in front, stones after flowers and fine bamboo after stones is not complicated and attractive. Flower and bird painting should also pay attention to the front and back position of this object, otherwise there will be no hierarchy! When dealing with the front and back levels, the heavy color ink is generally in front and the light color ink is behind. In the freehand brushwork of flowers and birds, the method of setting off the clouds and supporting the moon is of little use, and of course it can also be used. As for the size processing, the focus perspective is used, and the near is large and the far is small. Because the spatial distance of flower-and-bird painting is not large, the distance between objects is not suitable for the big gap between far and near; The size difference of objects should not be too big. Mr. Pan Tianshou, a former teacher, said, "Now some flower-and-bird paintings combine distant view with close view, and landscape with flowers and birds. Of course, they are all new, but they always feel a little inconsistent. I also have a new idea, especially for the flowers and wild plants in the mountains, the grass is messy, the height is strewn at random, the vertical and horizontal chaos, the natural shortage rate is pure and elegant, which can be described as elegant and chic. I am used to putting them in close-up landscapes, hoping to be different from the ancients. The combination of making the strokes of stones thicker and the shapes of flowers and plants smaller is of course more harmonious and shortens the distance. But there is no space for thousands of miles! Appropriate and inappropriate, to be blamed. " Mr. Wang's remarks show that he is constantly exploring innovative issues. It can be seen that the spirit of the older generation masters is worth learning! In order to show the hierarchy, I want to draw flowers in the foreground, fill stones after flowers, add flowers after stones, and add some points outside flowers, like flowers instead of flowers, which are things instead of things. In this way, the level of abstraction has increased, the distance between far and near has been obtained, and the relationship between reality and reality has become obvious, which has made the artistic conception of flower-and-bird painting have a new development; At the same time, it can enrich colors and reflect the thriving spirit of the times. I don't know if this is appropriate. (6) Echo of momentum refers to the mutual connection between objects. What should I do? There should be a connection between the front and the back, and it is also a connection between looking around, communicating and distributing, and there is no connection even outside the painting. A painting, up and down, left and right, front and back, left and right, inside and outside the painting, are all interrelated, so its atmosphere will be unified, not antagonistic and not scattered. Opposition and dispersion are the most taboo in composition. If a painting is divided by opposites, how can anyone love it When writing, we should talk about "connecting the preceding with the following", which is the same as the "connecting the preceding with the following" in the poem, with the aim of unity. Between undertaking, there are real connection and virtual connection, opening and closing should be related, anyway, interdependent, corresponding to adversity and so on. , have the role of echo and cohesion. So a painting can't be made without an atmosphere of unity. This is common sense and the principle of painting. So how to understand the relationship between painting and painting? For example, if you draw a old terrier and draw it from the paper alone, nothing will take it back from the painting, and it will be scattered outside without any connection. This is a disease. How to deal with it? If you insert one or two branches, whether it is the same flower or not, even if it is not the same flower, it can also play the role of internal and external contact, reflecting that there are many flowers and trees outside the paper. On the one hand, the flowers and trees outside the painting play a connecting role with the inside; On the other hand, the objects in the painting and the objects outside the painting echo each other, both inside and outside, and there is a scene outside the scene, which is endless. It not only expands the scope, but also makes the audience have more associations. Another example: draw a flock of birds, five in the paper and one outside the paper. In this way, at first glance, I feel that birds are in droves and countless people are following. This is also a way to express the relationship between inside and outside the painting. Momentum generally refers to the treatment of painting materials during composition. Wu Changshuo painted peony, chrysanthemum and pine trees. There are always some dead branches at the end of the painting. Why? Make up the momentum. After a painting is finished, a few lines are often inscribed. Why? It is also a supplement to the momentum, resulting in his own form of composition. These are all seeking motivation from composition. Badashan people have the pain of national subjugation, so they write freely, vigorously, with resistance and violence. This is reflected in the momentum of the pen. Mr. Pan has a chapter that says: "Blindly dominating" is imposing manner. The shortcomings of ordinary literati painting are: ① the modeling ability is weak and the technique is not rigorous enough; (2) the pen is weak and there is no majestic posture. Mr. Pan tried his best to correct the disadvantages of the times, and thought that only by being bold and enterprising can he jump out of the cage of literati painting, draw great creations with the spirit of the times and praise our great motherland. So, how did the motivation come from? There are congenital and acquired. Reading thousands of books and taking Wan Li Road can improve self-cultivation, broaden mind and cultivate momentum. Mencius said that "cultivating my noble spirit" is a way to cultivate momentum slowly. Our paintings are freehand, so we should pay special attention to tolerance. Without tolerance, you can't draw magnificent works. (seven) the treatment of painting materials. What is a head? The top of the object is called the head; What is a foot? The root of an object is called a foot. What do you mean, close your head? Drawing the head of an object on paper for the audience to appreciate is called closing the head. Before Wu Changshuo, no one talked about "closing your head and feet". He found the beauty of truth and falsehood from the layout of seals and transplanted it into composition, which is the development of composition. Mr. Pan also used it to guide his own creation. However, it was later found that the situation of "closing the head and closing the feet" was not great, and the scope of the picture was often reduced in order to close the feet, which did not adapt to the long and large scale and gradually changed to paving the feet. He said: "feet scattered outside the paper can broaden your horizons, and there is no limit, and there are paintings outside the painting, and there is no limit; Second, it can introduce reverie, deepen artistic conception, have scenery outside, and be ethereal. " Then he said, "Why did Mr. Chang Shuo stop? The purpose is to seek truth from facts. So sometimes you need to use it occasionally to solve the contradiction of seeking emptiness in reality. In order to expand the situation, I used to spread my feet on the floor. In order to paint outside, it was endless. There is no painting outside the painting, which is clear at a glance, unable to attract the audience, lingering, intoxicated with the work, and can't bear to leave for a long time. " Therefore, Mr. Wang's paintings, the head of the object, always stop at paper, and the roots are basically spread out of the paper, and there are not many paintings and many empty ones; There are not many paintings inside, but many outside. Often pursuing the pen outside the pen, the ink outside the ink, the unexpected meaning, and the overseas territory, and forming your own personal style of "spacious, majestic, tall and novel" should be another development of composition. (8) Blank treatment is one of the characteristics of Chinese painting, and it is very important in composition, which is equivalent to the intermission in music. "There are more silent complaints than talking". Therefore, when studying, we should study and analyze carefully, absorb nutrition from ancient and modern famous paintings, and enrich our thinking and imagination. It is even more necessary to go deep into life, observe, experience and discover the changes of things, and deal with their own creations with the law of "being poor means changing, and changing means communicating". What about the blank one? There is no written law, but there are principle requirements. (1) Blank images can't be the same, the size can't be the same, and the number can't be equal. Blank and blank should be coordinated. It must be checked repeatedly, carefully scrutinized and handled with care. ② There should be differences, connections and interdependence between large space and small space. Even where the cone stands, it plays a decisive role. (3) The position of blank arrangement should not be symmetrical, balanced, parallel or a straight line, but should be large and small, sparse and dense, high and low, more and less, far and near, and intricately changing. In fact, the most important function of blank is to give people an ethereal, profound and broad-minded feeling; It can also cause various associations, a glance, and room for manoeuvre. Just like poetry, it is very subtle, subtle, unpredictable and endless. So sometimes emptiness is more profound than painting. (9) Use a piece of paper in the corner. No matter how big or small it is, it has four sides and four corners. Usually these are not mentioned. Only Mr. Pan Tianshou emphasized the four corners. His arguments are as follows: ① Pay attention to the four sides, especially the four corners, in the layout of the painting. Mountains and rivers have their horns, flowers and birds have their horns, and people have their horns. (2) The four sides and corners of the painting have a great relationship with the topic, so we must pay close attention to them. (3) The four corners of the picture are connected with the painting materials outside the painting, and the momentum is inherited, so that you can enjoy yourself outside the painting. To sum up: first, pay attention to the role of corners. Second, the edges and corners are related to the painting materials and momentum outside the painting, which makes us interested outside the painting. It is closely related to the discovery of paving feet and the use of corners. This is the root of why Mr Pan Tianshou's paintings can win by surprise. How to use the corners? The four corners are dangerous places, which are generally avoided and dare not be used. But for the sake of surprise, Mr. Pan Tianshou paid special attention to the use of corners. (2) Putting the main body on four corners is one of the surprising methods. Because the middle is a safe place, everyone uses it. Only when everyone doesn't use it and I use it alone can it be different. Therefore, Mr. Pan emphasized that "the article should be four corners." (3) The use of four sides of paper: First, it should be treated differently; The placement of painting materials must be more or less; The floor space must be large and small; The presentation of objects must be virtual and real; The arrangement of weight must be light and heavy. Only in this way can there be different changes, resulting in light and heavy reality. For example: more on the top and less on the bottom; The left side is heavy and the right side is light; This shore is empty and solid; Four paper edges are not equal. Only in this way can the four sides of the paper change. Therefore, when we create, we should pay special attention to the use of paper edges: ① Draw from one side. Up, down, left and right. Draw painting materials from the outside to the inside at any time. (2) You can draw on both sides. Up, down, left and right, choose any side and draw the painting material from the outside to the inside. (3) You can also draw from three sides. Select any three faces and draw the painting material from outside to inside. (4) You can draw from four sides. Use all four sides to draw the material from the outside. If you draw from four paper edges, the composition will be very complicated and pleasing to the eye. If you only draw from one side, it will be simpler, more monotonous and slightly acceptable. Generally, it takes two paper edges to be complicated. Especially for large-scale composition, painting materials must be placed on three or four sides. Only when you use it up, down, left and right can it be everywhere and rich in content. Echo each other, natural and attractive. The composition mentioned above is from the outside to the inside. There is also a composition that is from the inside out. Draw an object from a certain part of the paper, gradually draw it to the edge of the paper, and then extend outward. You can draw on one side, or on two sides, three sides or even four sides. But it must be taken back at any time. Otherwise, if they are scattered outside, they will not be able to unite and will not meet the requirements of "from beginning to end". So this composition is more difficult to handle. Few people use it. As for the handling of the four corners, we should also pay attention to "emptiness" and "reality", and we should not be empty on both sides or solid on both sides; It can't be empty, and it can't be real. The left corner should be empty and the right corner should be solid; The upper corner is empty and the lower corner should be solid. Moreover, the hollowing out of the four corners should be of different sizes before it changes. Only people with no prospects and the composition of ancient flowers are useless. (10) Inscription seal can make up for the deficiency of the picture, which is very necessary in both content and form, and is also an indispensable part of Chinese painting. Therefore, after a painting is completed, it must be inscribed and stamped, which is also one of the characteristics of Chinese painting. We should inherit and carry forward. So how to deal with it? The range of content titles is very wide. Poetry, ci, fu, qu, painting theory, short comment postscript, essay prose, with rhyme and without rhyme, can all be used for the topic. It can also be related to the painting materials, or it can be unrelated to the painting materials. For example, a poem written by Mr. Pan Tianshou: "Sleeping Cats"-"It's noon, and it's hidden deep. It's a pity that cats are too lazy to sleep. " Frog-"The water towns in the south of the Yangtze River are full of fields, and frogs giggle and sound all over the sky, praising the harvest of corn and millet every year." The author's poem: "Cherry Blossom Birds"-"The voice outside the window!" March is spring, with drizzle and flowers and shadows everywhere. "Huayang Topic"-"Willow hangs down, spring comes like dancing waist, spring can't stop, and flying catkins are fluttering. Misty face, swaying all the way, up and down with the wind, Ren Er is far away! The above four songs are neither profound nor archaic. There is no formula in the sentence, there is no fixed number of words, and even numbers are not needed, but they are all rhymes, relaxed and lively, lyrical and interesting! (2) The shape can be horizontal or straight, long or short. Poor money, just write the year, name, nickname and place. One question, two questions, or more than three questions will do. But it must be coordinated with the overall composition, and it is not boring and does not affect the layout. The title can be empty, real or painted. But it should be based on the principle of correspondence between reality and reality and alternation of density. (3) the title method (style) can be neat and square, dense; You can also lean sideways, like a dragon and snake. However, it is necessary to create momentum in density and adjust it in reality, and painting style is painting, and painting style is painting style, which can be integrated with painting materials, and the change is the best. (4) There are eight kinds of fonts: brush, seal, eight points, official script, Cao Zhang, Feibai, running script and cursive script. But it is best to achieve unity with the style of painting. Especially those who are good at books, stroke by stroke, with lines and cadences, can have pictures in books and books in paintings. ⑤ Seal is a profound knowledge, which should be studied in depth if possible. What is said here is the need for composition. Stamps have various images, such as big and small Fiona Fang, long and peaceful. And the name, the rest chapter, the betting angle, the beginning. Don't use it indiscriminately. The position of the cover also has certain rules. The first chapter is printed on the right of the paragraph. The name stamp is printed on the left side of the paragraph or under the paragraph (facing the paragraph). Leisure chapters can be covered on the left side of the paragraph or other places, or on the paintings on both sides. Corners are covered on the left and right corners respectively. Different sizes, not both sides. As for covering and not covering and covering less and covering more, it depends on the needs of the picture. After the questions in the upper and lower paragraphs are finished, the left side should be stamped. Sometimes for the sake of momentum, weight, color and other needs, you can cover a few more faces. But pay attention to the corresponding size and distance to connect, to prevent loosening. Only when Zhu and Bai alternate can there be changes and increase artistry. Hot stamping is very particular, and it should be closely coordinated with composition. Everyone pays attention to the masters of past dynasties, and we must learn from the celebrities of ancient and modern times and study how they handled it. In particular, Mr. Chang Shuo has a profound management of printing and has a reputation of catching up with Qin and Han Dynasties. Therefore, he is not only good at carving himself, but also carefully considers the size, position, distance, cinnabar and quantity. We should learn from it. Therefore, the inscription seal is also an important part that cannot be ignored.