Question 2: How to write the cursive script of the emblem as shown in the picture?
Question 3: cursive writing of micro-characters. Look at the pictures. (Modern retired teacher Jin Shijiang).
You can look at China's natural history on the Internet. There are dozens of ways to write it ―― most of them.
Question 4: How to write the cursive main building?
First of all, the author's gods, such as eating and drinking chopsticks, are free and handy. Secondly, word formation is familiar, that is, writing "your own words" (practicing other people's words for a long time will become your own words). Furthermore, it is naturally beautiful through its composition and ink method. The landlord can imitate other words first and then practice more by himself! I believe you can!
Question 5: How to write Wang Xizhi's cursive script? Go and see the preface of Tang Huairen's "Jiao Ji" ... There must be ... I remember I have been there.
Question 6: How to scribble the emblem? Just put it on the next cursive font! !
Question 7: How to write the emblem script to Amazon for copybook selection, or read it online?
Question 8: Cheng Wei's artistic signature requires a word from the calligrapher. Cheng Wei
Question 9: The Song Huizong version of the thousand-character script is a rare long scroll of Hui Zong cursive script. Compared with Huai Su, it is almost indistinguishable in the familiarity of the pen and structure and even the artistic conception of writing. This pen is full of flying ink, written on the full picture of Un-yong Kim, with a total length of more than three feet. The exquisite design of the text at the bottom was painted on paper by the painter in the palace, which complemented Mo Bao in Hui Zong, and * * * made this unprecedented masterpiece! Known as "Mo Bao". It is 3 1.5cm long and 1 172cm wide, and written on a whole piece of writing paper depicting Un-yong Kim. This is Evonne's masterpiece at the age of forty. His brushwork is unrestrained, fluent, unpredictable and spectacular in one go. It is a masterpiece after Zhang Xu and Huai Su. Today, Liaoning Provincial Museum. Cultural Relics Publishing House and Shanghai People's Fine Arts Publishing House each have photocopies. Qian Wen Zi is an ancient children's book in China. It is a thousand words in Wang Xizhi's calligraphy collected by Zhou Xingsi in the Southern Dynasties. It is composed of four-character poems, including knowledge of nature and social knowledge. The overall atmosphere of this work can be described as full of vitality, and the whole article is endless, and its visual realization has always been an important factor to attract the attention of viewers, as Tao explained in Shangshu: "Intention is natural, and it is necessary to seek form." As a long scroll, writing cursive script on it restricts the exertion of calligrapher's temperament to some extent. Why do you say that? Because the expression dimension of calligraphy is top-down, especially cursive script, it often produces some spontaneous strokes in vertical space, but the space for horizontal expansion is limited after all. Throughout this position, I am full of vigor and spirit. Although it is a long scroll, my pen is full of vitality and enjoys it. In the case of relatively small vertical space, Evonne's use of long lines is also very appropriate. For example, the words "Hao", "Emperor" and "Ye" in the text are far from drooping, which not only adjusts the spatial proportion, but also appears spacious, undulating and agile, full of lofty feelings, and at the same time plays a role in guiding and accommodating, making the works more coherent. From this work, we can easily find that Evonne is good at using scattered composition. Perhaps he got inspiration from Huang Tingjian's cursive script. Huang's cursive script is patchy. His masterpiece Li Bai's Poems of Remembering the Past makes good use of the invasion and interpenetration of lines, which makes some words cross the region and invade the line space of other words. This treatment makes the presentation of rules no longer stay in a single line or a single line, but gives people the aesthetic feeling of "paving streets with stones". The performance of this invasion in the works can be described as the essence of Huang: at first glance, it is strange, then it is strange, and then it is wonderful. From this volume, we can also see the "free" state of Evonne's creation: for strokes, on the basis of ensuring the quality of lines, they are very fast and powerful, and Wang Yang is arrogant, inspiring Liuhe, and there is a tendency to "give up who I am"; This work was written on Un-yong Kim paper. Because the paper is smooth, pen and ink penetrate slowly. In this way, the sharp strokes are mostly in the whole article, and the implicit and blunt strokes are less, which may be a manifestation of blindly pursuing momentum and losing some aesthetic feelings. In this case, skimming the drawing and dealing with the turning point will be too fast and sharp. If we can do what Zhang Jie, a poet in the Song Dynasty, said, "If we let it go, it will go on and on like the Yangtze River;" When I accepted it, I disappeared, and when I first came out, my posture was different. "If you are addicted to it and can accept it at the same time, then the beauty brought by this volume may be more abundant-after all, exquisiteness can arouse the aesthetic mood of the viewer." "Implication" is the main form of cursive script, and it is the hinge of the coherence of upper and lower characters. A calligrapher who is good at writing big grass has a wonderful grasp of the meaning: sometimes it is as thick as the main pen, and sometimes it is as fine as a hairspring; Sometimes the vertical pull-down has the momentum of flying down; Sometimes cable-stayed has the toughness of bent iron plate steel. As can be seen from this volume, Evonne is good at using implicit cable-stayed methods. On the one hand, it shows its confident writing state: for example, unstoppable, leisurely and unrestrained; But on the other hand, it also reveals that he lacks flexibility in dealing with implicature, and there are many oblique lines, which makes the whole article appear miscellaneous, similar and monotonous. Like all calligraphers, Zhao Ji likes to write thousands of words. I don't know how many volumes he wrote in his life, only two volumes remain. One is the book of thin muscles, which is now in Shanghai Museum. Written in the third year of Chongning (A.D. 1 104), he was 22 years old. After the volume, the inscription "To Tong Guan" was written by Tong Guan, who was worshipping Jin Ming Bureau at that time. The scroll is a cinnabar column, plain notebook, the words are big and long, and each line is cross-shaped, with hundreds of lines before and after. Calligraphy has been basically stereotyped, but this fashion is too thin and stiff, which is not as fat, smooth and tough as my old age. This volume of cursive script is strange, large and small, and some are like "Teng apes cross trees and escape from water"; ......& gt& gt