Wisteria is a deciduous vine and a long-lived tree, so people like to plant it. The structure of wisteria is a main branch in the middle, surrounded by dense flowers. When the flowers bloom, they start from the top. When a bunch of flowers are fully open, the flowers are close to dying.
Wisteria flowers are dense, so there are generally only two ways to draw Chinese painting, line drawing and freehand brushwork.
Sketch:
① Sketch the external shape and position of flowers with charcoal strips. This step should be fully considered, otherwise it will have a bad influence on the vision.
(2) flower sketch, when sketching flowers, start with the flowers fully displayed at the bottom, and then move up gradually until a bunch of wisteria flowers are completely drawn.
(3) Sketch the twigs connecting the flowers. When drawing a twig, it should be hidden from time to time, but the brushwork should be coherent to achieve the effect of breaking the meaning.
Freehand brushwork:
It is a common way to express wisteria with freehand brushwork.
(1) color matching, the color of wisteria is generally mixed with cyanine and eosin in traditional Chinese painting pigments, and the ratio of the two colors is determined according to needs.
(2) Start painting, starting from the bottom of the wisteria string. Draw the bottom deeper and the flowers on it lighter, because the flowers on it are already in bloom, and the color will become lighter.
(3) Sketch twigs, which can be green with ink or juice.
(4) Adjust the picture to show a wisteria better.
Morning glory painting:
Morning glory, also known as morning glory, is an annual vine-wrapped herb flower with slender stems of 3 to 4 meters, alternate leaves, heart-shaped whole plant or dichotomy, axillary flowers/kloc-0 to 4, and the corolla is trumpet-shaped, with beautiful and diverse colors, such as purple, red, pink, white and blue. Flowering from June to 10, open at noon.
First, add a little cinnabar to Eosin, dip the pen tip in rouge, and draw flowers on the side. The big white cloud has a faint twilight red tone, and the pen tip is dipped in thick eosin, and the pen is drawn from top to bottom, with three strokes of * * *, and the flowers are arranged in an arc to draw the petals a little farther. When painting, put pen to paper, but the pen is empty.
(2) The brushwork uses eosin, and the center uses a pen. Two strokes draw the petals that bend upward nearby into a semi-arc.
(3) Then draw the trumpet under the petals with light eosin and side strokes.
④ Draw the container with thick ink and three strokes.
(5) adjust the thick ink, dip the tip of the pen in a little thick ink, add a little water to the root of the pen, and draw a few leaves with different shades of ink. A few leaves should be done in one go, without ink painting, discontinuous. The shadows of the leaves should change direction. Pay attention to the shade of ink, dry and wet, the size of strokes and the reality. Pay attention to the density, shade, size and straightness of the cloth leaves, that is, there is rhythm.
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6. After the foliar painting, hook Ye Jin with the center of thick ink. When hooking the leaves, pay attention to the dark or semi-dry leaves. If it is too dry, the lines will float on the paper; if it is too wet, the lines and leaves will merge into one. You can draw all the main veins and branches, or you can draw only the main veins. Pay attention to the thickness, length and density of lines.
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⑦ Draw leaves and flowers before drawing flowers. First of all, we must understand the ins and outs of Chu flowers, draw the main vine with the ink in the center, and then draw the branches with light ink, so as to connect the leaves and flowers together. The pen should be flexible and free, soft and firm, the strokes of lines should be smooth and smart, and the winding should be loose and natural. Pay attention to Hua Teng's straightness, shade and reality, and compare the size and shape of the wound blank. Draw the relationship between reality and Hua Teng's priority by using the shade of pen and ink and the speed of pen.