We all say that calligraphy is the art of the line, the treasure of Chinese civilization. In the age of information technology, where writing is based on input, if you can still write a good hand, it's like having a piece of handmade fine leather goods, which have been passed down for 5000 years, how can you not be sexually inspired.
For children who have just begun to learn calligraphy, of course, from a little stroke to stroke, slowly familiarize themselves with the law of the pen, and then to a single word tracing writing, and gradually master the word structure. Of course, for many people, calligraphy training also ends here, often see a lot of people, including some people who have practiced the word pro post, a single word although it looks good, but write to the chapter, but how to look at it is not comfortable, and how is this?
In fact, we have overlooked one point: calligraphy is not only the art of line, but also the art of space division and layout. Calligraphy development to modern times, has long been far beyond the reliance on words to convey information in such a category, the content of the writing, the text of the font, the structure, the overall layout of the chapter, the changes in the strokes, etc., etc., all the time is not in the response to the writer's mental outlook. But for adults, many people have missed the best children's skills training period, post learning often do not know where to start. Here I will introduce a 'quick-fix' method, talk about not let your calligraphy level greatly improved, but at least in a period of time to let you you write a paragraph pleasing to the eye to the text.
The key trick here is to shift your thinking away from the meaning of the words themselves, while shifting your focus from the slenderness of the brushstrokes to the spatial structure of the relationships and the overall layout of the chapter.
Let's take the word "summer" as an example, and look at the spatial layout, pay attention to several aspects,
The first thing to look at is the overall shape of the word, is it a rectangle, trapezoid, triangle, or a combination of several shapes? Like this Xia character, it's a rectangle plus a little bit of a small triangle in the lower right corner, and if you refine it further, you can subtract two arcs within the rectangle.
The second thing to focus on is the structure of the font, the proportion of each part, Xia is the top and bottom structure, basically 1:1 size ratio.
The third thing to focus on is the relationship between the strokes. We can take out the horizontal, vertical and diagonal strokes and observe them carefully, and we can find that the horizontal strokes, the horizontal ones, are two long and four short in length, and they are kept equidistant from each other horizontally, with a slight inclination of 10 degrees to the upper right. The two verticals are equal in length, but the two apostrophes are in a gradual relationship.
The last thing is to observe to find the center of gravity and balance of this character. Although the character Xia does not have a separate center of gravity stroke, if we connect his upper and lower intersections, we will find that this straight line exactly bisects it, which is the balance of the center of gravity.
For the most widely used hard pen calligraphy nowadays, the variation and importance of the strokes have taken a back seat to the visual effect brought by the spatial structure, which comes first. After mastering these key tricks, you will not be able to draw a gourd by following the pattern when writing, but will consciously make adjustments to the overall structure, and find the most beautiful way of structure.
After mastering the rules of practicing single characters, we should start the training of chapter structure. Chapter structure is like building the words one by one onto an invisible frame structure. Without the overall structure of the chapter, the single word, no matter how good it looks, is just a single word in its own form.
The key to building the framework structure of the overall chapter lies in two points, one is the axis of the rows and columns, and the other is the outline of the line.
The axis of the rows and columns, that is, what the ancients called the string of this line or column of the overall charm of the "gas",
Wang Xizhi's hole in the center of the post, the center of gravity of each word line, basically fall in the same axis, the gas stretches out, and heave.
The second point is the control of the contour of the side of the line. A line of characters, if we follow the change in the size of the strokes to draw the outer outline, this is the line side outline. By adjusting the size of the font, the size of the strokes, and the spacing of the words in a line, we can create a completely different line profile, showing a different style and spirit.
These are all examples for the vertical axis, but now the horizontal axis follows the same rule.
Of course, this writing is some of the primary law, more details of the grasp, need to master a certain foundation, and then slowly experience, but for most of the calligraphy enthusiasts, understand the mastery of these usually invisible law and know-how, after a period of time of deliberate training, and then when the pen, you will experience the feeling of a godsend.
Welcome to my public micro-signal: infoVision, we come together to feel the beauty of vision!