How to find the best angle when taking pictures?

[Explanation] When painting, according to the requirements of the theme and theme, the images to be expressed are properly organized to form a coordinated and complete picture.

Terminology of composition and plastic arts. Refers to the structural configuration method of artistic images in works. It is an important means for plastic arts to express the ideological content of works and gain artistic appeal.

composition

composition

In photography and painting, it is often used to express the same meaning as picture composition. Edit this paragraph | Back to the top, the name composition comes from western art, and there is a course called composition in western painting.

In the theory of Chinese painting, the name of composition is not composition, but layout, or quotient. In other words, photographic composition is transformed from artistic composition, which we can simply call framing.

Whether it is the layout in Chinese painting or the framing in photography, it only involves part of the composition, and it cannot contain the full meaning of composition. Therefore, it is more scientific and accurate to use the word "component" uniformly.

What is the purpose of learning composition? It is to study the relationship between the height, width and depth of three-dimensional space on the plane, so as to highlight the theme and enhance the artistic appeal. Whether the composition is handled properly, novel and concise has a great relationship with the success or failure of photographic works of art.

Practically speaking, a successful photographic work of art is the success of composition first. Successful composition can make the content of the work logical, clear-cut, prominent and pleasing to the eye. On the contrary, it will affect the effect of the work, which is chaotic and lacks hierarchy, and the whole work is unintelligible. Edit this paragraph | Back to the First Principle The basic principles of composition are: balance and symmetry, contrast and viewpoint.

1, on balance and symmetry

Balance and symmetry are the basis of composition, and their main functions are to stabilize the picture. Balance and symmetry are not a concept, but they have internal identity-stability. The sense of stability is a visual habit and aesthetic concept formed by human beings in their long-term observation of nature. Therefore, all plastic arts that conform to this aesthetic concept can produce aesthetic feeling, and those that violate this principle will look uncomfortable. Equilibrium and symmetry are not average, but a logical proportional relationship. Although the average value is stable, it lacks change. Without change, there is no aesthetic feeling, so the most taboo of composition is that the picture is evenly distributed. Symmetry has a strong sense of stability, and symmetry can make the picture feel solemn, solemn and harmonious. For example, ancient Chinese architecture is a model of symmetry, but relative to symmetry and balance, the change of balance is far greater than symmetry. Therefore, although symmetry is an important principle of composition, there are fewer opportunities for practical application, and you will feel the same way if you use it more.

The most important things in composition are the "needle" shape and the Sanqi rule. The zigzag composition method and the Sanqi composition method are often called the golden composition method, and the triangle composition method is called eternity, both of which refer to balance. What is zigzag composition? That is, when three objects appear on the screen at the same time, they should not be placed on a line at equal distance, but should be triangular, like a character. As long as you pay attention, this triangle is everywhere in nature. Dashan is composed of countless triangles, staggered up and down, arranged orderly, like a huge character or triangle, which has a strong charm of arrangement.

What is the composition of "37 Laws"? Is the proportion of the picture. If it is a vertical diagram, the top accounts for three points and the bottom accounts for seven points, or the top accounts for seven points and the bottom accounts for three points; If the picture is horizontally composed, the right side accounts for three points, the left side accounts for seven points, or the right side accounts for seven points and the left side accounts for three points. In the field of Chinese painting, this composition layout is called the best composition layout proportion relationship. The so-called best is not single or unique. Under special circumstances, it can also be broken according to the needs of the subject matter, and the 28 th Law or the 46 th Law can also be used. Originally, art was about law, not law. In short, it is a comprehensive consideration and a comprehensive application. For photographers. If you can use balance and contrast freely, you have mastered the basic essentials of photographic composition.

2. About comparison

Clever contrast can not only enhance the artistic appeal, but also clearly reflect and sublimate the theme. Comparative composition is to highlight the theme and strengthen the theme. There are various contrasts and ever-changing, but they are similar. We can draw the following conclusions:

The first is the comparison of modeling. Such as: big and small, tall and short, old and young, fat and thin, thick and thin.

The second is the contrast of colors. Such as: deep and shallow, cold and warm, bright and dark, black and white.

The third is the contrast between ash and ash. Such as: deep and shallow, bright and dark, etc.

In a work, you can use a single contrast, but you can also use multiple contrasts at the same time. Contrast method is relatively easy to master, but we should be careful not to copy mechanically, far-fetched, and not to pretend to be the master.

3. About opinions

Viewpoint composition is to attract the audience's attention to the center of the picture. Viewpoint is the name of perspective, also called vanishing point. To make a clear point, we have to start from three lines: the apparent horizon, the horizon and the horizontal line. The visual horizon is a line parallel to the eyes. We stand anywhere and look into the distance. There is a clear line where heaven and earth meet or where water and sky meet. This line is just parallel to the eyes. This is the obvious horizon. This line varies with the height of the eyes. The higher a person stands, the farther he can see. This is the truth, but when you walk up a flight of stairs, you broaden your horizons by 300 miles. On the other hand, when people stand low, they can see from the horizon that the low place is nearby and small. According to the perspective principle, objects above the horizon, such as mountains and buildings, are near high and far low, near large and far small; Obvious objects below the horizon, such as the earth, oceans and roads, are near low and far high, near wide and far narrow, and extend upward to the left and right. In this way, with the direction of the human eye as the axis, it extends in one direction, up and down, left and right, and finally gathers together, concentrates at one point and disappears in the line of sight plane. This is the origin of the viewpoint. The lens of the camera is designed according to the principle of human eyes and perspective. Aperture is like the pupil of the human eye. Pupils contract or enlarge with light, so what the camera takes is basically the same as what the human eye sees. In a sense, what is photographed with a camera is more accurate than what people see. Sometimes people don't feel the difference in distance when they look at it, as if they are on a plane, but objects farther away are much smaller after being photographed, because of the role of perspective. When we know the principle of perspective, we can give full play to the role of perspective. If you want to make the object bigger, just put it close to the lens; If you want to make the two sides bigger and the picture wider, you must choose the shooting position at a high place and shoot with a depression angle, which will get satisfactory results; If you want to shoot the stereo photo of an object, you can choose the shooting angle of the side of the object. The function of viewpoint is to draw people's attention to a point in the picture. This point should be the theme of the picture, but its position is not fixed. According to the needs of the subject, it can be placed at any point on the top, bottom, left and right of the picture. No matter where you put it, the extension lines of the surrounding objects should focus on this point. If there are two viewpoints in a picture, the picture will be scattered, and as an audience, I don't know where the photographer wants to express the theme. There can only be one viewpoint on the screen, which is the most fundamental difference between photography and painting in composition. Painting is about scattered perspective, and photography can only be a little bit, otherwise the composition and picture of photography will be very chaotic. There are two views on photographic works, which are roughly as follows; First, the tall object is placed in the center of the picture, and due to the perspective, the extension line extends in the opposite direction, resulting in the segmentation of the picture; Second, I want to show a variety of activities on one screen and form multiple centers; Third, when choosing the foreground, do not pay attention to the direction of the object extension line. Do not echo each other, but run counter to each other, and visually form a sense of division of the picture. Edit this paragraph | Return to the particularity of top-level particularity photography composition, not at one time, but in two steps; One is to shoot from an angle, and the other is to cut photos. This special photographic composition is caused by the limitations of the camera. Although there are many kinds of cameras, there are only two ways of composition, one is rectangular and the other is square. For framing, rectangular composition is superior and easy to handle, while the photos taken by square composition do not distinguish between vertical and horizontal, so it is impossible for photos taken by horizontal composition and vertical composition to be cropped. This is a camera with rectangular composition. Due to the limitation of environmental conditions when shooting, it is inevitable that unnecessary objects will be brought into the lens during composition, which will affect the beauty of the picture. To get rid of these things, you need to cut out the photos. Everything is established in advance, and it is abolished if it is not foreseen. Knowing the particularity of photographic composition can turn passivity into initiative. Before pressing the shutter, determine the composition, whether to shoot vertically or horizontally, so as to know fairly well. This way, you can focus on the theme you want to express when shooting. If you feel a little dissatisfied with the composition after taking photos, you can make the picture more satisfied by cutting, but you still need to practice more and shoot more before taking photos, so that you will have a certain foundation in your mind. No matter what you do, practice makes perfect. Knowing the composition principle does not mean that you can shoot excellent photographic works. After mastering the composition, you can't finish it overnight, but you need to practice hard to be handy. No matter how you practice, as long as you persist and practice for a long time, you will leave all kinds of compositions in your mind. When shooting on the spot, the corresponding composition will automatically jump out for you to choose, which is the result of more practice. Besides doing more exercises by yourself, you should also read other people's works, especially the excellent ones. Whether painting or photography, watching other people's composition, pondering other people's composition ideas, watching movies, TV, MTV, etc., are all direct references.

As the ancients said, if you don't obey the rules, you won't be Fiona Fang. The basic principles of composition are rules, that is, balance and symmetry, contrast and viewpoint. However, due to the different artistic qualities of photographers and different angles of observing things, the works created are also different. The objective laws cannot be violated, but those who know the laws will not be bound by them. Lin Sanzhi, a calligrapher, once said: It's precious to know when you stay in ink, and it's true when you know simply. We should seek the impossible from the law and verify it from ancient times to the present. What I am talking about here is the artistic style of not sticking to the rules, being brave in innovation, not being bound by rules and regulations, breaking the shackles and publicizing photography creation. Only in this way can we show ourselves with different styles and tensions, and show our artistic style, and truly achieve "shine on you is better than blue". Edit this paragraph | Return to the top. Whether drawing or writing an article, you should be organized and laid out. In painting, the so-called composition and layout is what we call composition.

Sheikh's "six laws" are also called business positions. Why not say it's the distribution location but the business location? This shows that painting is a question of thinking and how to arrange the picture. Painting has a theme, which is conveyed to the audience through pictures, so that the audience can accept your ideas and beauty. From conception to picture, the first hurdle is composition. Xie's Taxation in Ming Dynasty: "The story of the city is structured. Another contemporary painter, Li Rihua, said: Most painting methods are based on the arrangement of images first. It can be seen that it is not all right to get a good theme. Next, we need to study where the main part is placed, how to properly match the secondary parts, and even the details such as blank space, momentum, color and inscription. It must be scrutinized repeatedly, and it is best not to draw, but it must be taken into account that this process of scrutiny and layout is a kind of management.

Painters often can't achieve the ideal composition through one or two sketches, especially the composition of Chinese paintings. It is necessary to consider the characteristics of national forms, facilitate the use of pen and ink, facilitate the development of objects and images, and require multiple changes, multiple levels and unity. These features will be described in detail below.

academic titles conferred on the three candidates who came out first at examinations held at three levels

In the northern song dynasty, Guo proposed in the article Lin Zhi that the mountain is three miles away, and it is called high from the foot of the mountain to the top. Looking at the mountain from the front is far-reaching; Looking far from the mountain near the mountain, the son of Qing Dynasty is far away, as described below.

First, lofty.

The landscape part of Biography of Mustard Seed Garden summarizes a common problem in composition, that is, the three-dimensional method of height, distance and distance, which is actually a method to express the three-dimensional space of height, width and depth in the landscape realm.

The concept of sublimity mentioned in Biography of Mustard Seed Garden is that we look up from below and feel that we are sublime. Today we use perspective view, that is, putting objects on the visual trunk line will make the shore stand upright. In this book, it is suggested to use spring water to help it achieve high momentum. For example, painting Longji Waterfall on Yandang Mountain means having high momentum. But the problem can't be clearly stated in the book, because no matter how high you draw the mountain and how long you draw the spring, it is less than one thousandth of the height of the real mountain. How to draw a mountain as high as a thousand boxes on a scale? Liu Wei pointed out to Zong Bing in the Preface to Mountains and Seas that as long as there is a considerable distance between the eyes and the mountains, it is enough to draw them in proportion. If you draw three inches, you will feel a thousand cases; A few feet in the cabin can reflect a hundred miles away. For example, in order to exaggerate the mountains, people, houses and trees can be painted very small. For example, Fan Kuan's "A Journey to Japan" and Shen Zhou's "The High Map of Lushan Mountain" are all small. Sometimes, the peaks can be pushed out of the painting or hidden in the clouds, making people feel that the mountains are rich and high.

If you draw a high situation, you can leave the lower part empty. Painting a mountain with clouds, breaking the foot of the mountain, you feel pious, that is, Guo said that the mountain wants to be high, the exhaustion is not high, and the smoke locks its waist is high. On the other hand, a picturesque person will be far away, which will make it empty, and it will also create a tendency to visit Wan Li.

Second, it has far-reaching influence.

Drawing a deep feeling from the front to the inside is called deep. The depth of the painting is great, creating a far-reaching artistic conception. The interpretation of Biography of Mustard Seed Garden has a far-reaching influence, which was also discussed by Guo in Linnuo in Song Dynasty, but water does not travel far. Hiding away, breaking its pulse. This treatment method can be used to explain that the steam in the Qinling Mountains in the cloud core breaks the Wuxia Gorge. Experienced landscape painters are the most difficult to reflect the profundity in the three distances. In the Yuan Dynasty, Wang Meng's "Forest House with Area" was surrounded by mountains, with deep valleys stacked on top of each other and houses compared to persimmons, which painstakingly drew a sense of depth.

Third, the plain

Plain scenery should draw a vast space. Generally speaking, there are two kinds of plain painting methods: one is plain landscape in low mountains and hills; One is the plain land with only pastoral rivers. For the previous painting, Biography of Mustard Seed Garden emphasizes the use of smoke to enhance the sense of plane. With smoke, I feel vast. In fact, no matter high or low, this is applicable. Huang Zijiu's Fuchun Shan Jutu and Youpo's Zizhi Shan Jutu both belong to plain landscape. We can also use some similar techniques to describe the vast landforms of plain scenery, but mainly we should use the perspective of scenery, such as the perspective of forest belts and ridges, and the vertical and horizontal rivers will enhance the leveling effect. Ojihara in Ma Pingchuan is a difficult painting problem in Chinese painting. Modern painters use rice fields to set off white sails, and also use trees and houses to push them away.

After Guo put forward the three-distance method, Han Biao and his descendants Huang, Fei Hanyuan went to Japan to study art, and they all developed the three-distance method to varying degrees.

Guo also mentioned three kinds of flirting in Sanyuan, that is, another kind of lofty and far-reaching color is heavy and dull, and the color of Pingyuan is bright and mineral. He analyzed that the lofty trend is abrupt, the far-reaching meaning is overlapping, and the flat meaning is melting and ethereal. It seems that the author made an in-depth observation. When we face the mountains from bottom to top, we will definitely feel beautiful and the peaks stand proudly. If you look down from the front of the mountain, there will inevitably be overlap and overlap between the mountains. If you look at the mountain from a distance, you will feel that the distant mountain has a vague feeling in the air layer because it is too far away. These are all caused by the difference between the direction of the painter's line of sight and the size of his field of vision when taking pictures.

Open-closed competition

The composition is ever-changing, and it is really not clear in a few words. However, we can't think that the composition is mysterious. In this respect, the ancients also accumulated a lot of experience. One of the most commonly used terms of China painters is the yield method.

In the Qing Dynasty, Ji Zheng put forward in On Scenery that every scene begins with straightness and the middle picture is a breakthrough. This means that after the layout begins, we must pay attention to the development of the situation. After the development, Ji Zheng thought that there should be division and combination. Of course, the layout of pictures and the application of strokes are the same. Shen Zongchun compares this to chess, where players from all countries do not give in to each other, and do not give in to each other ... Here, he can understand the principle of painting. There is little controversy between the two sides, but they have lost a lot in the overall situation. In the layout of Chinese painting, we should avoid such small opening and closing and small competition.

We can see from Gao's "Yunshan Map" that the opening of the platform is wonderful, the giant peaks are prominent in value, and the peaks are clustered together, which is a combination; Clouds in the mountains, water in the lower places; There are Woods and stone slopes on the left and right, which is a struggle; There are high and low, and there are retractable glue, which is to let. This composition is quite like the hand of a famous writer who is good at writing articles. Seeing the ups and downs of his works and the endless changes of the weather, we can also see the gullies in the author's chest and the ingenious arrangement of smoke clouds in his works.

Sparse horse racing is airtight.

Deng, a famous calligrapher and seal engraver in Qing Dynasty, quoted the famous saying of predecessors in the development of calligraphy and painting: the density of calligraphy and painting can be taken into account, but the density can not be ventilated. China painters often use these two sentences to emphasize the contrast between density and reality, so as to oppose equal treatment and enumeration. Sparse, refers to the empty place where you can escape and gallop, of course, it is quite a space; Dense, refers to the dense place, even the wind can not penetrate, of course, it is very real.

We can use Li Enxun's Pavilion on the River in the Tang Dynasty to illustrate this point. He concentrated the mountains, shadows and other objects on the left, painted houses in the cracks of the trees, and there was a sea on the right, dotted with one or two sails, which was endless. If you ask, is it necessary to increase the density gap? Yes, the so-called blank space does not mean that there is nothing to say and artistic significance cannot be found. It is precisely to set off the ethereal image of Mian, so that it can win more with less, just like a pause in music, which makes people have more room for tears. There are more silent stories than talking.

It is reasonable to be good at seeing reality from the virtual, and predecessors have also suggested that the essence of physical objects is born from the virtual. Dense parts should be more concentrated and accurately portrayed in the composition, so that pen and ink, color and lines can give full play to the effect. In contrast, the white part is whiter, and the dense part is denser and more prominent, giving the audience a stronger impression, thus giving play to the professionalism of plastic arts. Imagination and reality are inseparable, and they are two aspects of composition methods. It is inappropriate to emphasize any one aspect in isolation.

Dense and dispersed

Similar to the meaning of the last section, this change can sometimes be described by four words: sparse, dense, gathered and scattered. Denseness and gathering are the real points in the painting, while sparseness and dispersion refer to the imaginary points in the painting. Just as sparsity can be used for horse racing, it is sparse and stuffy, and the audience can see a great sense of rhythm in the picture. But emptiness is not a simple blank, and there are images in the third middle school. Let's try the flowers and paintings of Badashan people, and often only draw a flower and a bird. It's as simple as that, leaving a large area of blank space on the paper, the whole picture is empty, allowing readers to exert their imagination, which can be imagined as sky, white clouds and water waves, resulting in a lot of room for manoeuvre. However, only the blank can't be drawn, and there must be some secret to explain the problem. The most taboo is to arrange the willows evenly. For example, Wu's three groups of willows are invited to gather and disperse, and their slopes are arranged in an S line. The Zhongyuan Mountain in the painting is spread as far as possible in order to disperse, which will arouse the viewer's sense of mountains and rivers, and also show us how to deal with the gathering and dispersion.

Count white as black.

This sentence was also written by Deng, a calligrapher in Qing Dynasty. It's strange and interesting, because this rule can be applied to painting, and China painter has applied his theory to painting. Similarly, Karin in the Qing Dynasty said in the comment on the painting "The Secret of Nanzong": The whole painting is left blank, which is particularly cautious.

Chinese painting emphasizes the use of blank space and pays great attention to the management of blank space. It is also painstaking to regard it as a part of a painting. Why do you want to leave some blanks? It's like the subtext of characters in plays and movies. If you tell everything without leaving any subtext, it is called straightforward narration. There is a space in the picture, and we can feel the painter's thoughts galloping in this space, which is a common technique in Mi Yunshan's painting. A white cloud crosses the mountainside, and the mountain lives with the cloud. However, Deng's profound significance is not limited to this. He demanded that white without strokes should be treated seriously as black with strokes, and carefully managed, so that white also has contents and paintings, rather than a blank piece of paper that has not been painted. We should consider the measures and countermeasures of white and black, such as drawing a long bridge across waves, the bridge body is black and the water is white. How to arrange the bridge is very important. When you say the position, you can feel the running water under the bridge, which causes association with water. This kind of blank is either dispensable or speechless. This is between the lines, interesting and meaningful. The essence of art lies in implication, and blank space is also one of various implicit techniques.

The arrangement is like Pythagoras.

Zou Yi, a painter in Qing Dynasty, put forward the composition principle of Chinese painting in Landscape Painting Spectrum, and arranged the picture layout as a triangle. Twisted triangles can also be straight triangles and oblique triangles. The three lines of Pythagoras are called Hungarian line, string line and chord.

Western masters of painting in Europe, such as Hermite, love to use square composition, while painters in China love to use triangle composition principle, which may be more in line with the ideographic nature of Chinese painting and more convenient to express the psychological factors of landscape flower-and-bird composition, such as focusing on the top, making the top small and making the bottom big, and shifting the center of gravity. Avoid hitting the board. This is the whole, of course, the composition is infinitely rich, it is difficult to make a single theory, and it should not be bound by the originality of each painter.

As mentioned above, the composition of Chinese painting also needs a prison. For a square, a triangle is a square with a balanced gap. Even the triangle itself can be broken, for example, the big problem and small method of drawing stones, a few small stones with a big stone, will break a string of triangles. The legend shown by Pan Tianshou is the triangle breaking method.

Positive and partial, rigid and soft, even and uneven, balanced and unbalanced, symmetrical and asymmetrical are all laws of unity of opposites in artistic expression. When writing, we should always pay attention to its dialectical relationship, start from the theme and find the main way of writing from the theme.

Hidden scenery and exposed scenery

Chinese painting composition has both hidden and exposed, and it can't be completely hidden and exposed, so that there can be painting outside the painting and it won't be unobstructed. However, what should be hidden and what should be revealed depends on the theme. Generally speaking, the main characters should be exposed, the secondary characters should be hidden, the main plot should be exposed and the secondary plot should be hidden.

Hidden scenery is for implicit pictures. In Song Dynasty, the picture of a stick on a stream bridge was written by Shi Liang. The stick was exposed and the pavilion was hidden to show the secluded pavilion in a bamboo forest where the hermit went. Draw canvas sails of ships, wine curtains of restaurants, spires of tall towers in big cities, and the rest are hidden in green trees, which is more picturesque than all of them. The so-called incoherent, China painter knows the fun best.

However, the hidden scenery is endless. In Bai Juyi's Song of Eternal Sorrow, her guitar was covered, revealing half of her face, which showed the extraordinary and verve of the performer. Blindly hiding the scenery will make the picture obscure, and blindly revealing the scenery will be boring. The landscape of traditional Chinese painting is often a corner of the pavilion, and the boat is semi-reused with hidden willow tips, and the stone has no branches, which constitutes a realm of limited scenery and endless taste.

Form a set

For a picture dominated by characters, draw some environments as a foil, which is called a makeup set. Most painters draw their own sketches in a planned way, in order, with people as the background and scenery as the background, such as seasons, houses, furnishings, emotional appeal, etc., all of which should meet people's needs.

The environment can't be increased or decreased without people. If you are afraid of the background space and decorate casually, plus unnecessary environment and props, it looks lively, but it is too beside the point, but it destroys the overall atmosphere. People and the environment should be considered together, and each scene should consider whether it contributes to the image and the intention of painting.

To create historical paintings, we need to study historical materials. Fan Xian once said in Qing Dynasty that painting figures should first examine the differences of imperial robes, ceremonial ceremonies and systems in different dynasties. After reading books and records, don't cut them until you see them. If no one is involved, if the stories of the Han Dynasty and the furnishings of the Tang Dynasty are not ridiculous, they will be knowledgeable! .

Painting modern themes will encounter new problems, and modern buildings, cars, straight roads and steel bridges will also make it difficult for painters to take measures. It is generally wrong to retreat or barely express. I think as long as the painter is familiar with the pen and ink techniques of Chinese painting, the picture is really needed and can completely follow the laws and procedures of Chinese painting, and the above themes are not difficult to show. Of course, we should pay attention to the angle of Chinese painting and try our best to foster strengths and avoid weaknesses.

On the contrary, for landscape painting with landscape as the main body, people and other small decorations are called point scenery, which includes buildings, ships, people and animals. Of course, facilities that express modernization will also encounter the difficulties mentioned above. China painters are groping for expression techniques, using traditional lines and pictographs, trying to describe new objects with hooks, wrinkles, dots, dyes and breaks in Chinese paintings, so that stagnant people can live, dull people can be broken, and mechanical people can be loosened, thus breaking the shortcomings of straightness, hardness and engraving in modern facilities.

Apart from buildings and boats, it is important to draw little people in scenic spots. Even a painter who is good at figures is not necessarily a master in this field, because the figures in the landscape can be vivid with only a few strokes, and they must be connected with the brush of the landscape; Tone, generally don't do facial characterization, or just point your eyes. In landscape painting, we should practice to point out the characters as the theme, often sketch from the people in life, and learn how to simplify and summarize the characters. After experience and practice, you can master the skills of drawing small figures.

The makeup set involves landscapes and flowers and birds. People who draw characters should also learn to draw flowers, birds and landscapes; Painting landscapes also needs people and flowers, so the way to learn painting should not be too narrow.

Nine rot and one blow.

Charcoal made of willow branches is called decay. Nine decay means that the manuscript has to be drafted many times before it can be finalized. It can be seen that the manuscript is the key to a painting. The manuscript has to be revised many times, and the charcoal bar is the most convenient to change. If you are not satisfied, you will lose it. If it is meticulous painting, it is usually made of pencil, and then covered with thin rice paper or silk, or colored with ink by copying boxes.

It is not difficult to make a copy box by yourself. Just use a large frame to embed the glass, fix a certain height on both sides, and install a lamp or light bulb below.

Because Chinese painting is spread on the desktop, the composition arrangement in drafting often needs to be hung up and checked repeatedly. If you are not mature for a while, you can hang it on the wall to observe and ponder, and then finish it when you have a perfect idea. Edit this paragraph | Back to the top, 12 taboos

In Yuan Dynasty, Rao Ziran wrote Twelve Taboos of Painting Sect, which mainly pointed out twelve faults in landscape painting. The twelve taboos put forward in the book are:

1. Arrange traffic jams (the rules are congested and people can't breathe)

2. No matter the distance.

3. There are no veins in the mountains (the coming and going rock veins are unclear)

4. There is no water source (the nozzle is not clear, and the spring water appears too suddenly)

5. There is no danger at the boundary (the boundary plate lacks change)

6. This road is impassable

7. Only one side of the stone (painted stone lacks three-dimensional sense)

8. There are four skills in the village (most people only draw branches in the left and right directions, who is showing branches that extend forward and backward)

9. This portrait is bent (this portrait was painted with a bow).

10. The exhibition halls are mixed (the architectural layout has no perspective and lacks reasonable layout)

1 1. The shade is inappropriate (the shade of the ink is inappropriate and uncoordinated)

12. Dot dyeing failure (including ink dot dyeing obstacle)

In every painting, one of the twelve taboos may be committed. In landscape paintings with figures and buildings, nine taboos and twelve taboos are impossible. For beginners of painting, they may often feel taboo. This is because the concept and technology are not mature enough. If they are not good at spotting, they should practice spotting more. If they draw stones badly, they should learn more ways to draw stones to make up for their personal shortcomings. Content source: Soso Encyclopedia.