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在一幅画中,如果画数量较多的群雀,则要在变化中求统一。图中,栖于石上的群雀虽有大小、肥瘦、高低以及墨色上的变化,但麻雀的动态和朝向趋于统一。这样,画面的感觉才不会杂乱。(图8-5)画露背飞翔的麻雀,先以赭墨点头、背、尾,然后浓墨添画飞翔的双翅。根据近大远小的透视原理,前翅一般应画得稍大于后翅,用笔也要前实后虚。
In a painting, if you draw a large number of birds, we must seek unity in the changes. In the picture, though the size, fatness, height, and ink color of the birds resting on the stone vary, the dynamics and orientation of the sparrow tend to be uniform. In this way, the feeling of the screen will not be messy. (Picture 8-5) Painting a sparrow flying in the back, first nodded with ocher, back and tail, and then painted the wings of thick ink. According to the principle of near-far and small perspective, the forewing should generally be slightly larger than the hind wings, and the pen must be before and after the actual.