Chinese Painting for Beginners - Lessons 1 and 2 - Peony Painting for Beginners - With subtitles

Hello everyone, today we are going to talk about the frame of the peony, the stroke, the water control, and the tone. First of all, for beginners, you may not know much about paper. The paper I'm using now is a thick paper. Of course, the paper we usually encounter is also different. There are semi-ripe, raw, and cooked. Semi-ripe paper has a certain amount of water retention, so it does not absorb quickly. Raw paper is thin, thick, and cooked. Of course, this is what we usually use to draw peonies. This is what we use to draw Chinese paintings. This is what we often use to draw palace pens. This is the paper we are going to talk about. We just talked about the control pen and the stroke pen. Now, let's talk about how to draw the shape of the peony. How to draw the shape of the peony in a more detailed and simplified way. First of all, I'm going to use some purple. This is too white. I'm going to adjust the base color. Prepare the stroke pen. I'm going to add some water. Let's adjust the base color first. Let's talk about the stroke pen again. The stroke pen I use is a 5.2 stroke. This stroke pen is not long or short for me to draw peonies. It's quite suitable. It's too short. When you draw peonies, you can only draw small petals. Because the stroke pen is often here, right? The caliber is also here. It's too big. The caliber is okay. It's long and big. It may be soft. So it's important to have a suitable stroke pen. This is the tool we talked about. Now I'm holding this stroke pen. It's a hard stroke pen. The outside is wool. Look, it's soft. It absorbs water. The inside is wool. It's hard, right? So it's easy to flow down. When we draw peonies, it's suitable to draw with this stroke pen. It has a certain amount of water and a certain elasticity. Let me adjust it. Let's review it. After you add water, adjust it to the state of milk. Milk is just a standard for measuring. When you draw this thing, because it's not on the spot, adjust it to the state of milk. Don't make it too thick. Make it thinner. For example, I made it thinner than milk. But then again, you can make it thinner, but don't add too much water to the stroke pen. Think about it. There's a lot of water on the stroke pen. If you add other colors, it won't flow down. Right? Don't add too much water. Let's prepare two more colors. I'll prepare some of this. This is peony red. I'll prepare some more rouge. Let's use a little less color today. It's mainly about how peonies are drawn with stroke pens. It's a theoretical knowledge, right? Let's go a little deeper. Did you scrape off the excess water from the color? Yes, you scraped off the excess water. But after you've scraped off the excess water, it's not necessarily a good stroke pen. It's possible that as you adjust it, you'll find that the water is flowing down. Right? It's also possible that the stroke pen is too small. For those of you who have zero foundation, it's perfectly normal. You can scrape off the excess water. What if you don't have enough water? You can dip the tip of the stroke pen in a little more water. Add a little more water. I said a lot of things without thinking. Oh, it turns out that the stroke pen has too much water. You can scrape it off. If the water is too little, you can add a little more water. Right? We all need to summarize. Let's adjust the color. Adjust the color until it's light and thin. Let the stroke pen... Look. You added a base color. Then you adjust a light and thin layer. It can't be one layer red and one layer white. It just flows in. It slowly forms two transition colors. Right. Two transition colors. After two transition colors, you can strengthen the tip of the stroke pen. After two transition colors, Right? There's another color gradient. Let's add some rouge to the tip of the stroke pen. Don't add too much. Some students add too much. You can't tell how much they've added. You can't tell. Although I didn't say how much at this moment, you should be able to feel it. The first layer is light and thin. I didn't finish the first layer. Let's be honest. You can't use the tip of the stroke pen. When you draw petals, you mostly use the tip of the stroke pen. Right? So don't use the stroke pen that's too short. It's too long and hard to use. You draw to this point. Then you adjust another layer of peony. Adjust it to here. Did you notice? You didn't finish the first layer. So in the process of creating, we didn't explain much about the percentage. Because it's a thousand peonies. Right? If you draw a work with more than 1,000 peonies, you can remember it. Later, two thirds, one fifth, three fourths, draw a peony. Just remember the percentage. You might have a headache. Let's try it. Add a little bit to the tip of the stroke pen. When you add a little bit, you want to strengthen the color of the tip of the stroke pen. You don't focus on drawing peony. We focus on drawing peony. So let's try it. Then you can consider your problem. Let's take a look at this stroke pen. Some of you may say, why do you need a stroke pen? I don't know how to use a stroke pen. Stroke pen is to move your stroke pen. For example, let's say I don't move my stroke pen. It's like this. The tip of the stroke pen is here. It becomes a transition. This is a mirror. I don't move my stroke pen. Right? This is a mirror. You don't move your stroke pen. You move it up a little bit. Let's move the stroke pen. Move the tip of the stroke pen. Move it. Right? The tip of the stroke pen, the color, it forms a curve. It forms a curve. Right? Where is the light color? The light color is your ratio. So if you adjust the color well, the transition color will be very good. Light, half light, slowly increase. This is the hole we are talking about. One mirror, one hole. This is the stroke pen we are talking about. Yes, the stroke pen we are talking about. The stroke pen is divided into one mirror and one hole. Let's come here again. The hole is the hole. You can make it appear in many shapes. For example, let me do this. The stroke pen is thin and curved. Right? It's curved. You can also say, my stroke pen comes diagonally. I'll add another stroke here. This is one stroke. This is two strokes. Can I draw another one here? Let me try. Look, the stroke pen is in the paper. The stroke pen is in the paper. Right? Yes. Press down. Slowly lift the stroke pen. The tip of the pen does not leave the paper. Press down again. Come here again. This is a continuous stroke. The stroke pen does not leave the paper. It's connected. But did you find it? Our ultimate goal is to draw and draw. Whether it's one stroke, two strokes, or continuous strokes, we want to make it vivid. Right? Natural. That's what we're after. We want your stroke pen to be more vivid and natural. Whether it's one stroke, two strokes, or three strokes, our ultimate goal is to make it vivid and natural. Right? We talked about this again. Pengpeng said we talked about cutting the stroke pen again. Should we cut it or not? Let's try. Look. Let's turn it over again. This curve is one stroke. What about this one? Look. Right? What about this one? Oh. These two are a bit similar. Yes. After you draw the petals in advance, you can follow this feeling for the rest. Let's continue. Let's see where we are. Let's go this way. What are we drawing with the stroke pen again? Oh. We're drawing this. Look. Let's continue. The stroke pen is in the paper. Right? Look. It's in the paper. I added another stroke. After I add another stroke, I'll go to the tip of the pen and add some water or you can add some base color. Let's try again. Just like before, let's adjust the color. At this time, you have to add more. Look. Let's follow the curve. Follow the curve. Look. Come on. Press it down. This becomes a petal. Oh. This becomes a petal. What does this petal mean? This petal is curled. Let's make an example. Let's turn it over again. A petal is not curled. A petal is curled. Let's summarize. A flat petal is not curled. A petal is curled. What's the problem again? These two petals have a problem with the angle. Let's make an example. This is a petal. It's pretty. But it has grooves. This is a flat petal. And this one is curled. Where is it curled? It's curled here. Oh. The peony we drew is like this. Let's zoom in. Look. Right? This side petal is curled. It's the petal we drew here. It's curled. It's a light petal. Look. It's a light petal. Right? This one is also curled. It's a light petal. Like this. Now we understand. This one is not curled at all. Look. This one is curled. It's the same as this one. It's all curled. Now we understand. Right? Let's make an example. Speaking of curled or not curled, it reminds us of another thing. This video is very important. I suggest you watch it a few more times. Speaking of cutting, cutting or not cutting, the question of cutting or not cutting is raised again. Cutting or not cutting? On a peony, it... Right? Let's see. Some have wrinkles. Some have gaps. Some don't. So, look at this peony. Some need to be cut. Some don't need to be cut. When you learn something, don't be too absolute. I learned to cut half a peony. Which half do I have to cut? Look. It's drawn well. No need to cut it. This one is not very natural. For example, on a peony, can I add two peonies? Right? Let's imagine. In the end, it's all about the pursuit of these two words. The pursuit of naturalness. Naturalness of movement. Right? Naturalness of movement. So, it's raised again. Speaking of the question of cutting or not cutting, how do I cut it? I don't cut it. Right? Let's continue. OK. Let's try again. Take two pens and move forward. Sidewind. This is two pens. Look. Two pens. One pen. Let's talk about the question of cutting. This is two pens. This is one pen. This is two pens. Let's talk about the question of cutting. There is a gap here. Maybe we don't need to cut it. Don't cut two pens first. Let's do this. Make a gap with two pens. Make a gap with three pens. Both are OK. This is more stable. Two pens. That is to say, you don't know how to control the pen. You don't know how to move. Let's not move forward first. The tip of the pen is heavier. The color is thicker. If the question of cutting is involved in your pen, the water in the front can have it. But the water in the back can have it. But the hair in the front, the hair in the front can have it. You can make it a little bit thicker. Think about it. There is water on the hair pen. There is water under it. When water touches water, will it be alive? This is the problem we often encounter. Look. Side wind. Right? The middle wind is a line. The hair pen is slanted. Side wind. Come on. I went to the tip of the pen and strengthened it again. I feel that the color is not enough. I made another pen. Look at this. It comes along the gap. Right? This peony is a curl. It is curled. Two pens have completed a curl. When you imagine these, don't think too absolutely. Teacher, do I have to draw every petal like this? Not necessarily. Although we are talking very delicately now, right? Nature. Pursue nature. In other words, no matter what method you use, what we want is the last two words. Nature. We talked about the tip of the pen, right? It is curled again. We talked about the tip of the pen again. Then you go along the curve. Go along the curve. For this, we need to strengthen the tip of the pen. Excessive. Strengthen the tip of the pen again. Rouge. Let's try again. Hair pen. Side wind. Pen. Look at the pen. Go along the original curve. Go. When you get here, you can pause. If the color of the tip of the pen is still there, you can still help it. That is to say, it can be solved. It won't dye. Then you go down with a pen. You see, a tiny gap. It is very natural. Then you see if the effect of the two is the same. Yes. The effect of the two is the same. Whether you do this or that, it is the same. We talked about this problem again. You have drawn the gap. You go along the gap. What about this? When we cut, I will make two more comparisons. For friends, if you don't understand, you can turn it over and see it again, right? Don't worry. We will encounter a lot of problems in the process of painting. For example, water control, pen transport, toning, right? Let's talk about cutting first. Let me test it. Let's try again. The color is heavy and thick when the tip of the pen is here. Let's cut another one here. Some friends cut it like this. I drew it very seriously. I drew it. I will make up for it. I drew it again. Oh, it's very serious. Maybe the effect it has is not as natural as it is. Right? Look at the beautiful curve. This is a suggestion. What about cutting like this? I don't recommend it. We talked about beauty again. There are two kinds of beauty, right? One is natural beauty. The other is according to the law. You see, three equal parts. You see, there are many rules. It is also beautiful. Two kinds of beauty. But this beauty is not recommended. Use it above the peony. It's too uniform. It will be relatively flat. But, both of them are beautiful. So we use the beauty above. It is to require this line. This wave is very natural. You see, it's not beautiful. So don't have this problem It's uniform. Right? It's symmetrical. Let's give another example. Our eyes, ears, left and right are symmetrical. Isn't it beautiful? But maybe you draw a peony. The petals. Draw one on the left and one on the right. Here, here, here, here. It's asymmetrical. It's not beautiful. Let's continue to draw the next paper. Let's review the addition of the petals and this. That is to say, why do we have to rub the door open? This one, you see, I drew it here. Can you summarize it? Right? Let's summarize. Wait a minute. I drew a piece of paper. Oh, this is a pen. The pen is here. This is a line. This is what I made. This is my brush. It's connected. Its ultimate purpose is a petal. It's the other way around. It's rolled up a little bit. When we first started, it was rolled up. The color inside is a little bit heavier. Right? We think this example is very good. What we draw is the roll. It's the other way around. The color inside is a little bit heavier. We haven't drawn it yet. Oh, this petal. One is flat. One is rolled up. It's a matter of perspective. Then we naturally talked about cutting. When you cut it, you think about what I did just now. It's connected. You cut along the curve. This is a little bit inside. Clean it up. The color of the brush is heavy. Clean it up here. Then we talked about cutting. You have to cut it naturally. This is not very natural. It's even. But it's a kind of beauty between the two. It's beautiful. Because whether it's life or other aspects of creation, these two beauties can't be separated. But at the moment, what we want to draw a peony is this kind of natural beauty. Oh, this has been summarized, right? We've learned it in our hearts. Now that we've learned it, let's get another piece of paper. At this time, let's take it down and cut it again. Oh, I'm going down. Tell me about the problems you may encounter, okay? I'll zoom in on the camera so we can see it clearly. These are very important. I hope you don't need to look at it again Because these directly affect the work behind you. Is it very flexible? Scratch off the excess water. Is it very natural? Okay, here we go. We're talking about the petals again. Add a heavy color to the tip of the pen. Don't make it too high. If you want to draw a very light, very pink peony, the color should be a thin layer. Make the tip of the pen two colors. Don't draw too high. If you draw too high, the red petals won't even show up on the edge. Or, if you really want to draw a red one, you can pick a little bit on the pen. You don't have to worry about a few cents. Just think about it. Oh, light petals. The heavy color should be adjusted to the tip of the pen. If you want to draw a normal peony, don't layer it layer by layer. And then strengthen the tip of the pen. There should be a certain degree of thickness. Right? Otherwise, one stroke, two strokes, it's still a tiger. Let's go down. We just talked about the problem of the back of the pen. Right? Back of the pen. Side wind. When you pinch the pen, let's talk about it again. I'll try it again. You can do it like this. Side wind. Look at my pen. I didn't even pinch it. Look at my hand. Of course, you have to know where you are going to draw. Let's try another one. Look at my hand. I pinched it a little bit. Look at my hand. This is holding the pen for a while. This is holding it for half a year. It's like riding a bicycle going down the slope. This is going down And this is riding a bicycle for half a lap. Right? It's just a little bit of force. So you can say both of them can be used. Both can be used. You see, the effect is the same. Right? It's the same. It's just a little bit of detail. Maybe your friends don't understand it at once. Let's continue. We talked about the back of the pen. You have to hold your pen like this. Hold it up. It's normal to move your hand a little bit. We don't have a 360-degree stick here. We draw while holding the pen. Just a little bit. Just for the sake of nature. When you cut, let's listen again. The water is very big at this time. Let me show you. I added a lot of colors. I adjusted it again. It's all water. Although the paper is very good, the effect is very good. When you write, it's all water. It's all water. 啊为什么老师我的这个画糊你的不糊 我们要会控水 找方法 这个就是方法 一呢就是顺其自然的切 你看 好比说这有一个啊 你顺其自然的切 二个呢就是 你要加重色度 加强色度 把原来的 这个 不满意的地方 锁住 用颜料 都是对的 所以这个方法还是要有的 糊不糊的问题也解决了 就是水分过大 过会儿了 你想这么好的一个纸 如果说很薄的 你这边画那边糊了一下 跑的哪都是 是吧 对用重色 用重颜料 去锁水 去锁啊去锁水 但是你锁的时候呀 你注意 锁水的时候呀 还要 调重颜料去给它 调匀 还要调一下再去 那为什么呢 有的朋友们 这一画 哎呦妈呀 哎呀 这是我一画 怎么两节颜色呀 这里头 稠的不像样子 重的很 这上面呢又淡的很 这是什么原因呢 为什么呢