The key to using ink lies in expressing the harmonious changes of "thick, thin, dry, and wet" ink colors. The ink colors should have a gradient, covering a wide area, similar to the range of musical notes. The commonly mentioned "five types of ink and six colors" refers to the need for rich and varied ink colors. The thick ink contains changes of dryness and wetness, and the thin ink also needs to have changes of dryness and wetness. That is to say, the dry ink has both thick and thin variations; the wet ink also has both thick and thin variations.
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In traditional Chinese painting, ink usage is not merely used as a color but is often employed to adjust the black and white relationship of the picture.
There are several types of ink techniques:
1. Splashing Ink Technique: This technique is to complete the effect of dryness and thickness, as well as thinness and dryness of black ink at one time according to the needs of the picture. During actual painting, if the splashing ink technique does not achieve the desired effect, the broken ink technique or accumulated ink technique can be used for adjustment.
2. Broken Ink Technique: This is a two-step ink usage method. That is, the second layer of ink is applied while the first layer is still wet, using the second layer of ink to break the effect of the first layer, thereby generating more vivid and ideal ink colors. This method is often used in freehand painting.
Commonly used techniques include "thick breaking thin" method, "thin breaking thick" method, "ink breaking color" method, "color breaking ink" method, and "water breaking ink" method, etc.
3. Accumulated Ink Technique: This is a two-step or more ink usage method. During painting, the first layer of ink should be dry before applying the second layer of ink, and the second layer of ink should be dry before applying the third layer of ink, until the desired effect is achieved. Using this ink technique, the picture becomes heavy and rich.
4. Stale Ink Technique: "Stale ink" originally refers to ink left over overnight. In fact, any unused and dried ink can be called stale ink. This ink, due to the loss of glue, does not penetrate as well on the paper, and it is easier to retain the brushstrokes, especially for light ink. The stale ink technique is to utilize this characteristic to achieve the desired effect in the picture. This method is also applicable to the expression of objects with colors.
To master the creation methods and basic techniques of Chinese painting, one must first solve the problem of form, followed by issues such as brush and ink. When dealing with forms, figures and birds and beasts require both "form" and "logic" to be present, while landscapes and flowers require a constant "logic" without constant "forms", allowing for full expression as long as it feels reasonable and comfortable. Solving the problem of form requires first addressing "logic", which is the abstract rule. Then comes the specific form. The form of the objects in Chinese painting, due to the large amount of subjective consciousness components involved, thus has different handling methods. The learning approach can be through copying, sketching, and silent writing to solve.
Copying: Copying is an indirect way to understand life and is a special and effective way for learning Chinese painting techniques. The various expression methods, content refinement and selection, coloring techniques, and handling methods of brushwork and composition in the works of predecessors and contemporaries can be learned through copying. This cannot be derived from sketching. However, during copying, it is also advisable to compare with the real object to understand the real structure and mood. Alternating like this will naturally lead to success.
The learning method of copying is very important, but it should be "living copying" rather than "dead copying". "Living copying" can be "used for the present", "used by oneself", and "take what is useful and discard what is not useful". "Dead copying" means "sticking to the past without changing". As the predecessors said: "Learn by understanding the meaning rather than the appearance". When copying, one should "read the painting" and have an overall understanding of the work. For example: the artistic conception, momentum; the expression techniques and composition arrangement; the handling of color; the speed, roundness, dryness, heaviness of the brushstrokes; the thick and thin ink and rhythm; how these factors are unified in one picture, etc. Through repeated imitation, research, understanding, and digestion, one can achieve a clear mind, grasp the key points, and avoid merely copying mechanically. Otherwise, one can only grasp the surface and lose the spirit. This should be paid special attention to. Sketching: In the traditional concept of painting, it is regarded as a creative method and spirit of Chinese painting. Sketching is the direct depiction of life and is the fundamental way to understand life.
In China, painting has always attached great importance to sketching. Every generation has produced many skilled sketchers. The method of sketching is summarized by predecessors as: "Observation and Heart-to-Heart Transmission". The term "Observation" means seeing with one's own eyes, while "Heart-to-Heart Transmission" means remembering after seeing. Reproducing the observation and memory onto the canvas is a good method. This method combined with freehand drawing is creative and can capture the spirit and major relationship of the depicted object, eliminating irrelevant details and adding elements of imagination. Currently, we mostly adopt landscape sketching. Landscape sketching has its advantages in being able to describe the structure and spirit of objects in detail. However, it also has drawbacks, being unfavorable for generalization and selection, and for exaggeration and deformation.
Freehand drawing: In the creation of Chinese painting, especially freehand painting, it is mostly carried out under the condition of freehand drawing. Therefore, freehand drawing is an important part of drawing good Chinese painting.
The methods of freehand drawing are many. Freehand drawing can be combined with reasoning and imagination. By reasoning and changing the image observed and sketched, one can better master the structure and dynamics of the depicted object, making it higher and more idealized than life.
Freehand drawing can also be used in sketching and copying. For example, in copying, there are back-copying and freehand-copying. The traditional method of "Observation and Heart-to-Heart Transmission" for sketching is actually freehand drawing. The practice of freehand drawing can enhance visual memory and artistic imagination, thus laying a foundation for entering the creative process.
The practice of freehand drawing should progress from easy to difficult, from simple to complex, from few to many, in a step-by-step manner. In terms of methods, one can start with stillness and movement, slow and fast, long and short (referring to time), and through continuous learning, our ability to understand and express life will gradually improve, preparing fully for the creative process.
The tools for freehand drawing can be various, such as pencils, pens, and brushes.
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