Chinese figure painting can be roughly divided into 3 categories: line drawing, coloring and capitalization. Line drawing is an important basic specialty of figure painting, but also a form of expression that can be used independently. Line Drawing focuses on the initial training of observation and expression methods of realistic figure painting, mainly learning the subject of brushwork, but also studying the use of ink. Writing coloring, is the most common and most commonly used form of writing figure painting, is based on the study of writing line drawing for further training in brush and ink methods, but the focus should be on the use of color (including pigment properties, color techniques and art, color and ink mixing and contrast, coordination, etc.) on the subject.

Coloring can start with coloring and writing, and gradually release the brush and enter the general coloring brush. The coloring method can also be learned first light color coloring and then study the expression of heavy color. Dazhongyi, is to maximize the characteristics of figure painting techniques, relatively difficult form, some of the traditional simple brush, ink, color, water and other techniques can be fully utilized in Dazhongyi large brush stroke.

1. The basis of line drawing

Line drawing is a common technique for sketching, but also the easiest way. It is a technique of portraying an image with lines of different thickness, rigidity and flexibility, curvature and straightness, sparseness and density, and contrasting reality and emptiness, and it is also one of the most ancient techniques in Chinese painting. From the Xi'an half-slope colored pottery can be seen on the varied line drawings of fish patterns,. Comparing these vivid artistic images with the original fish fossils, it can be shown that these fish patterns are great creations with realism and romanticism.

With the natural science point of view, the line is the boundary of the surface, independent of the line does not exist, even as fine as a spider's thread, under the microscope is also a cylinder. As things have their own body, there is a body on the surface, there is a line on the surface of the feeling exists. It is from this visual practice that the ancestors discovered the line and created the line drawing technique.

When we use this technique to sketch, we also need to find the line from the structure of the object according to this theory. This line is the line of art, can be thick or thin, can be wide or narrow, both modeling and lyrical function, has a rich expressive power, laid the foundation of the technique of Chinese painting. Beginner line drawing to fold the large flower head to start as well, with pencil sketches to facilitate modification, and then re-check with ink line finalized as well. With the brush ink line hook, pay attention to the changes in the brush, with the undulation of the edge of the flowers and leaves and undulation, with the flip and turn, with the structure of the arrangement of the pen's beginning and end, with the movement of the brush to note the speed of the brush, with the different texture to note the lightness and weight of the brush, staccato. Generally speaking, thick line is suitable for the performance of fat things, thin line is quite beautiful, thin feeling, straight line firm, round line soft, dry pen wither, wet pen moist, line sparse and dense can also show a different space, color sense. A line drawing, you can use a uniform line, you can also use a variety of changes in the composition of the line. The same is true for ink, a white drawing can be completed with a consistent ink color, or both thick and light, in order to achieve a variety of uniformity. All these variations are freely deployed by the author respecting his feelings. After skillful, top good with ink brush directly sketching, the object's shape, movement, texture, etc., will often inspire us to use the changes in ink and brush, creating new techniques, shaping a more vivid image, which is particularly important for the creation of the painting.

Sketching is different from taking pictures, you can add branches and leaves, move flowers and trees, remove the weeds and keep the essence, so that the image is more perfect. Beginners are good to take the material on the spot, to take or gain, do not post-processing, so as not to weaken the vividness of the draft.

2. copying method

Halfway people created the line drawing, we also need to constantly create new techniques. Marx said: "People themselves create their own history, but this creation of theirs is not at will, and is not carried out by the circumstances which they themselves have chosen, but in those circumstances which already exist directly, which are established, and which have been inherited from the past." In order to create a new national painting for the socialist era, we must critically inherit the fruits of existing creations. Whether to inherit or not, there is indeed a difference between literacy and wildness, coarseness and fineness, speed and slowness, high and low.

Knowledge comes from direct experience. Copying is an effective way to turn indirect experience into direct experience. Copying method: one is to copy, one is back to copy. Copying is mainly used for brush painting, brush painting is a strong craft, can be similar to the brush. It can also be used for the study of freehand painting, only the general idea must be understood, without the need for similarity, because freehand painting contains certain accidental effects, even if the original author, repainting the original draft can not be exactly the same.

The procedure for memorizing is as follows:

The first thing to do is to choose a good copy. One is their favorite style of painting, choose their own admiration for the painter, especially favorite works conducive to the development of their own style of painting. A kind of is according to their own creative needs, rich performance techniques to choose the pro-book. One is to correct their own brush habits to choose the book. No matter from which goal to choose a copy, are clear handwriting as good, at least the better quality of the print.

The second is to read the painting. Carefully watch the book to understand the meaning of the painting. To this end, also read the material about the author's life, especially the comments related to the painting. Pay attention to the picture of the inscription, paragraph, seal all help to understand the meaning of the painting.

Third is the analysis of technique. After understanding the meaning of the painting, the detailed examination of the characteristics of the technique, and how the effect of the picture is achieved, as well as the process of painting, what to paint first, what to paint after, where to start the brush, and so on. For example, Zheng Banqiao study Xu Qingteng "Snow Bamboo Figure" analysis: "purely thin pen broken pen dry pen broken pen for the, never like bamboo; and then hooked with light ink coloring out of the branches between the leaves, no non-snow, bamboo of the body, in the hidden leaps between carry on." Is a good example. According to the technique analysis and then consider the original use of equipment, mainly: the painting is paper or silk, is raw paper or cooked paper; painting with a brush category, is a hard milli, soft milli, or both milli; and then the quality of the water, is natural water, or water with glue. Tools and materials are the material basis of technique, if the tools and materials are not right, it is difficult to get the effect of the original work and learn the technique. After the deliberation, at least draw something of similar quality.

The creation of a freehand painting should be done with a clear mind, and the copying of a freehand painting should be done with a clear mind before the ink can fall. According to your own needs, you can copy the whole painting, or you can copy a part of it. After the completion of copying and then proofread against the original, analyze the success or failure, and summarize the experience. When you are learning, you need to be similar, but when you are using it, you need to take the long and give up the short, and integrate it into me. Yuan Mei, a Qing scholar, said in his poem, "The ancient people are living in a peaceful place and the learning power is deep, and the spirit of writing without the ancient people begins to come out". It is worthwhile to have a good taste.

3. coloring and capital painting

Coloring in addition to writing line drawing should continue to study the pen, the main research direction to ink, color, color and ink combination of the subject.

Brush and ink in Chinese painting are two aspects of an inseparable whole. Ink in the brush and ink in the ink are the basic requirements of traditional painting, and all kinds of ink and color changes are inseparable from the use of the brush. It is not easy to change and have flavor, but it is improved with practice and cultivation. If there is ink without brush, there is no bone in the ink, and the ink without bone is easy to be rotten and flat, thus losing the expressive power and the special sense of Chinese painting. Therefore, the problem of using the brush is actually inseparable from the subject of using ink at the same time. Although the subject of coloring figure painting is transferred to the use of ink and color, it is actually a process of further research on the use of brush. Color and ink in the art of many **** the same requirements, ink such as color, ink divided into five colors, while the use of color need to see the pen, color in the bone, is the traditional requirements of ink and color. The important feature of Chinese painting in the sense of form is the organic, harmonious and rhythmic combination of different ink and color strokes with line as the main body. Of course, as the use of color it has a variety of other requirements for artistic expression, and modern realistic figure painting in the ink and color in the concept of the bone and expand and extend, such as the pursuit of texture effect, etc., more rich and strengthened the ink and color strokes.

The ink color is roughly divided into burnt, heavy, thick, light and clear, and there are changes in wither and wetness, and there are methods of breaking ink, accumulating ink, pouring ink, lodging ink, and gluing ink. The rhythm and rhythm of the ink produces a variety of different artistic interests, such as light, heavy, rich, dripping, moist, and so on, and in this way to express some of the object's form and texture, mood and interest. The trick of using ink is to seek unity in change, which can be the contrast between various ink colors, or the rhythm, richness and texture of the ink itself, thus there are generally two tendencies in using ink, one is to seek unity in contrast, and the other is to seek change in unity. The former seeks richness and distinctness, while the latter should be harmonious and not monotonous.

The most commonly used ink method is the broken ink method. Due to the seepage and exclusion of raw Xuan paper, the water content and the sequence of different strokes, can make the ink in the thick and light or overlap in the mingling of complex artistic interest. Specifically speaking, can be divided into thick and light broken each other, withered and wet broken each other, ink broken each other, etc., and between the water content, speed, the time between strokes, paper and ink quality, pen type and pen type all play a different role. Such as the same ink and water content, due to the speed of the pen is different, will cause the paper and pen contact with the length of the moment, so that the reflection of the thickness and penetration on the paper will be due to the amount of ink and water sucked and different. If the time between the two strokes is not the same, will also be due to the first drop of the pen trace dryness and wetness and oozing range of different sizes, and after the drop of the pen in the blend of different effects. The amount of water absorbed and released is different between sheep hair and wolf hair, and the degree of moistening and drying of the broken ink is also different. Fresh ink and ink, glue ink, with broken ink method will produce very different effects.

Fresh ink is sober and colorful, ink is simple and thick, gum ink is heavy and astringent. Paper quality or permeability is different, with the same water and ink color, the effect will be very different. Soot ink, calligraphy ink, pine smoke ink, ink glue and advertising ink color will produce different interesting on rice paper, and these different nature of the ink, will be due to different texture of the paper to produce very different effects. Therefore, the mastery of the ink method requires practice and the accumulation of personal experience.

Ink accumulation is used more often in landscape painting. The so-called accumulation of ink refers to the special artistic effect produced by the constant interlacing and overlapping of different ink colors and strokes, which gives people a sense of simplicity, richness and thickness. The overlapping of strokes at each level of accumulation is usually done when the strokes at the previous level are dry, and the overlapping of strokes must have both a sense of form and the ability to express the object. When accumulating ink, the wet brush is more difficult than the thirsty brush, because the accumulation of the wet brush is easy to be bloated and dull, and it is not easy to pursue the effect of pallor and richness; while the thirsty brush is not only easy to be loose and elegant, but also easy to be remedied if there is a failure of the brush. The accumulation of thirsty brush should prevent loose and weak. Wet and thirsty mixed accumulation is the most commonly used technique, and if it is done well, it can appear muddy, beautiful and present the effect. Accumulation of ink in figure painting is generally used in painting hair, coarse texture of objects and clothing, the skin of the elderly, as well as the expression of certain contrasts and special effects in the atmosphere.

Hanging Ink. Lodging ink is due to the room temperature is hot, so that the fresh ink gel and ink fermentation and separation of the ink, this deterioration of the ink may be accidentally discovered by the artist can produce special artistic effects. Lodging ink due to part or all of the fermentation of gum, ink particles free caused by precipitation, so that it will be in the rice paper when the condensation and melt, and the brush marks are clear, not easy to ooze or cover. Lodging ink is not as glossy as the ink color of fresh ink, but it is black and rich, when painting, often because of its various brush marks are not easy to blend and overlap, as well as part of the unfermented ink occasional seepage and the formation of a peculiar curiosity, which makes the method of lodging ink to form a style of its own and has been favored by painters throughout the ages.

The ink-splashing method refers to the method of painting by splashing a large amount of uneven ink on rice paper with the brush. This kind of splash into the brush marks, water marks, there is a sense of nature and strength, but there is a great deal of chance and arbitrariness, is the author of intentional and unintentional products, easy to appear both in the reasonable and unexpected effects. Ink splash method is often associated with capitalization, and is suitable for the pursuit of interest, feeling, as well as in the modeling of subjects and objects that do not need to be very strict. For example, if you draw a figure in loose and indefinite clothing, draw a sketchy figure in an activity or a dance, or draw a figure in wind, rain, fog, or night, all of them are conducive to the play of the ink-splash method.

The finger ink method is a special expression of painting with the finger as a pen. As early as in the Tang Dynasty, there are records of "touching the silk with the hand", but the real formation of the finger-ink method is Gao Qipei in the Qing Dynasty, who developed and perfected the technique of finger-ink painting on the basis of his predecessors. Finger painting is actually using the fingertips, the fingers themselves, and even the palm of the hand to paint. Generally speaking, the concave and convex of the hand and the skin are water reservoirs, and the ink attached to the hand flows along the fingers to the fingertips continuously, utilizing the nails of the fingers and the flesh of the fingertips to paint. Fingernails do not need to be too long, about half a centimeter is enough, too long easily make the traces drawn thin, nail and flesh at the same time contact with the paper and easy to produce a thicker effect. Five fingers can be used separately, can also be used continuously, can also be two, three fingers together, and even the joints of the fingers and the palm of the hand can sometimes be used in conjunction. In order to dip the water for convenience, can also be used in a small dish to hold ink, close to the hand, while dipping the finger. Finger-painting paper should not be too much osmosis, the application of soybean paste paper, boiled weight paper or cooked Xuan or quite osmosis type of paper.

Glue ink method, refers to the ink painting technique with the reference to the glue. Gum can be first and in the ink, so that the ink into a heavy gelatinous, but also ink and gum at any time while the reference side of the painting. Gum ink on rice paper is more difficult to penetrate between gum and ink than between water and ink and is prone to unevenness, and we are using this special property to express some new feelings. Gum ink painting method has been used by many people since ancient times, such as Ren Bonian, Wu Changshuo, Pu Hua are all capable of using gum ink. Gum ink traces in the dry still have a fresh and wet feeling, and the water seeped into the edge of the circle surrounded by transparent ink rhyme, ink block effect, often utilized by painters.

The ink method is not only the above several, new ink method is also in the discovery and test, but to be further improved and summarized. The use of color in modern and contemporary figure paintings has begun to increase.

Chinese pigments were originally taken directly from minerals and plants, such as cinnabar, cinnabar, ochre, stone green, stone green, stone yellow, etc., all processed from mineral sands, and processed from plant juices, such as flower green, garcinia, rouge, etc. The modern pigments used have broken away from the traditional traditional pigmentation, and are now more and more popular. Modern use of pigments, has broken the original framework, many water colors such as ultramarine blue, purple, magenta, dawn red, chrome yellow, sky blue, red, lemon yellow and so on have become a frequently borrowed color, and even part of the water pink also sometimes mixed with the use of. Color in the mineral color and powder color is not easy to seepage, but very easy to precipitate, generally speaking, plant and non-mineral non-powder color seepage is large, is not easy to precipitate, but the real mineral color has the advantage of not easy to fade, and other colors to a certain age picture will fade, difficult to long-term preservation.

There are three kinds of colors used in figure painting: primary colors, blending colors, and color ink. Ancient paintings are based on primary colors, and so is figure painting, and most of them are in light colors, but modern figure paintings use a wide variety of colors, and the number of techniques has also increased. There is a natural connection between the original color and the ink color, and the original color of the ink-based picture will appear simple, eye-catching, and have a sense of coordination. While the original color is the main picture, the ink color will also have a clear and bright effect. Modern figure painting, the use of primary colors is still an important topic of research, especially on folk art, folk arts and crafts in the use of primary colors in the research and learning, so that the modern figure painting of the primary colors of the hue than in ancient times to be much richer.

Modern realistic figure painting focuses on the color tone of the picture, which promotes the study of the use of tonal color. Such as Western painting, especially watercolor and gouache paintings of the use of color, the modern arts and crafts of the tonal treatment, the color feeling of lacquer painting and the pursuit of new aesthetic perspectives on the natural world, etc., are important factors affecting the use of blending colors in Chinese Figure Painting. However, the basic focus of the research on the blending color of Chinese Figure Painting should be placed on the changes of the inherent color, and the research and use of the light source color should not be taken as the focus. Color mixing should be in the performance of rich and colorful inherent color changes on the more effort, from the juxtaposition of the color block effect to seek a large unity, small contrast, rich and coordinated effect.

In ancient works, the use of color is generally not to break the boundaries between the different inherent color of the original object, in modern works, some still use this technique, but has begun to picture the needs of the author's subjective feelings and to generalize and deal with the picture of the color, or to break the boundaries of the inherent color, or to merge the same kind of color or even according to the needs of the atmosphere and the performance of the change in the original color, and so on. Although these techniques exceed the hue and boundaries of the intrinsic color, but still need to be based on the performance of the object, respecting the overall feeling and impression of the special image, otherwise it is easy to lose the concentration of life, and develop the habit of using the color of the typology, the concept of the habit.

Color and ink is a very distinctive expression of Chinese freehand painting. Because the raw rice paper has the characteristic of seepage, the process of mutual seepage of color, ink and water will form endless and extremely rich layers of color and ink, if the ink dipping skill is high, the water, color and ink will form rich layers at the end of the brush before putting down the pen, and if the change of this end of the brush and the seepage of the rice paper are utilized appropriately during the operation of the brush, then it will produce the magical effect that only the Chinese pictorial painting can have.

The mixed use of color and ink, should pay attention to a few points, one is the ink and color in the palette can not be overly stirred, if the stirring is too even, the picture is easy to form a dull effect, if you think that the mix is too even, can be dipped in water before the pen to cause the end of the color of the ink and ink once again uneven. Secondly, after dipping the pen into ink and color, the pen can not be dipped into ink and color in the plate, that is, the pen directly on the paper, while running the pen while mixing, but also while the performance, so that the color, ink and water in the paper for natural mingling, so that the color and ink can be retained in their respective original brightness. Third, through continuous practice, improve the ability to grasp the amount of color and ink at the end of the brush as well as the effect of the brush, especially the repeated application of the brush from thick to light, so that the contrast, level and proportion of color and ink will produce a rich and natural color and ink gradation from strong to weak in the stroke of the brush. Fourth, the mixed use of white and ink will form a special difference from the light silver gray, if used in juxtaposition with fresh pure light ink, will produce a subtle sense of rhythm. Color and ink mixing will enhance the sense of simplicity of color, but also add layers of ink, and easy to make the picture to reduce the fire, vulgarity of the air. However, it is not advisable to use color and ink universally in a picture, as it is easy to be flowery and broken. Blending color ink and non-blending color ink can be used in combination, so that the picture is more durable. In recent history, there are many masters of the use of color ink, such as Wu Changshuo and Ren Yi, Qi Baishi gave us a lot of model works in this regard, to be further inherited and developed.

The use of water. Painting the figure painting is inseparable from the use of water, brush, ink, color characteristics of the play is a very important factor is the use of water, "ink is not water is not awake, awake is clear and God", the picture to have the charm, first of all, we must master the skills of the use of water. The use of water involves the amount of water contained in the end of the brush, the type of paper and brush, the speed of the brush and the length of time it touches the paper, the strength and manner of the brush, and the different properties of the water itself, etc. For example, the water content of the end of the brush is the same as that of the ink. For example, the amount of water contained in the end of the brush directly affects the result of the oozing of the picture, and the same amount of water, under different speeds and strengths of the brush, will produce a different sense of wetness. The same water content of soft hair and hard hair, because the soft hair slow release of water, while the hard hair fast release of water, will produce different brush marks, and different properties of the paper will directly affect the degree of water seepage of large and small. The same amount of water will be due to the center, side, lying, against the different ways of using the pen and produce different effects. Such as the water flow in the middle of the stroke, the side of the stroke and lying water does not flow smoothly, and the reverse stroke will be tightened by the bristles when scattered and reduce the bristles and paper contact surface, so that the paper can not focus on drawing the end of the water contained in the brush, and so on. The different nature of the water itself will affect its color and ink blending effect, such as water, mixed water, alum water, glue, wine as a blend of water, or used alone will produce different artistic interest. Water is the most commonly used, the effect of pen, ink and color mentioned earlier refers to the role of water. Mixed water can make the color steady, alum water can make the color of the ink of the pen marks clear, glue can slow down the speed of seepage, so that part of the color of the ink seems to be non-chemical, and keep the feeling of wet, wine can accelerate the scope of seepage, but also make some color and ink precipitation. Different water if the first into the paper surface will form a water halo and brush marks on raw xuan paper, and this water marks produce exclusivity, so that after the color and ink can not be applied to cover them all. Thus retaining the hidden degree of traces to show some special effects. A large amount of water can partially remove the traces of color and ink that have not yet dried, or directly into the color ink to produce new water marks.

Outlining is the main form of brushwork in Chinese painting, and it is also the most difficult to perform. Single-line outlining is clear and exposed, so more than other forms of brushwork need to be carefully designed and have a deeper power, so that the picture can make brushwork, there is a strong, by the look of the pen and the pen should be echoed between the rhythm of the composition of the sparse and dense, thick and thin and withered temperature is appropriate. Change the traditional line of the pen, the pursuit of new forms of interest, the pursuit of the overall sense of rhythm on the line and the overall sense of modeling. Simple strokes and complexity of meaning. The outlining should be as concise as possible, and if necessary, the outlining can be re-combined according to the need, and even change the original form of the object. Pay attention to the embodiment of the power of each stroke, the pen and the pen between the rigid and soft, straight and curved, the contrast between light and dark, each other's echo and rhythm, the main body of the composition of the pen should try to repeat the deliberation. To outline, chafing, bleed and other techniques, the picture can be a combination of solid and virtual pine, and pay attention to the effect of solid but not board, pine and meaning to.

Life sketches. Although the improvisation of the brushwork, but usually must accumulate a lot of interesting life sketch material, brush sketch and other sketches can be, in this sketch on the basis of sketches of sketches, prompting the imagination to play. The first thing you need to do is to make sure that you have a good idea of what you're doing and that you're doing it right. Make full use of the wet ink to see the pen, seemingly seeping non-seeping performance, the ink is generally said to be easy to wet pen effect, withered pen is not obvious, so all the ink painting, can be more wet pen, saturated pen. To loose withered brush-based performance can give a person a sense of strength, withered and condensed is the key to mastering the withered brush, the use of withered brush produced by the flying white, for appropriate rendering, through the careful packing, so that the painting produces a loose and the overall effect. Break the conventional way of combining lines, so that the points and lines form an organic combination of patterns, and change the texture of the line effect, but keep the basic characteristics of the traditional line of the work, in order to enrich the artistic interest of the line, while improving the expressive power of the line. The combined use of various techniques, withered, wet, chapped, rubbed, point, painting, seepage, dyeing of the organic combination to more fully express the object, the pen before the line, point, surface arrangement, there can be a general idea, in order to make the picture as a whole natural, rich.