Guo fu ling
Abstract: poetry is printed together and represents a core artistic paradigm after the man has matured. The book occupies a unique position in the country's drawings and areas with its vast, plentiful beauty. Unlike books, stylists, stylists, books, typologies and graphics, fonts and graphics. This paper deals with the aesthetics of the title of the book, its application, the rules of the law, the ink scale, creative malfeasance and contemporary revelation, and clarifies the underlying logic of the title of the book for use in the national drawing area, providing theoretical references to the practices of the same origin。
I. The aesthetic core of the book title: the ancient aerobic opposites land
The book was born on the han stone cliff, with flat-tangular openings, clear-cut, accompanied temple halls, pompous cliffs, simple-spirited categories, and a golden stone. When it's a title book, it's not just a medium of text information, it's an extension of image horizons。
Lines are retweeted in the narration of passions; role models are expensive in elegance; and the core values of book titles are retrofitting, thickening and mapping. Mountain water, flower birds, writing works, if the picture is strong, stylish and stylish, the ink of gold and paints is in each other's appearances, reinforcing the paleness of the art; it is especially suitable for writing subjects such as yishan water, matsuba, melanhchui, the ancient cold springs, the luminous lines of books, resonance with the pen ink of the pixie, so as to bring about uniformity in the quality of books。
In the historical context, yuan ming-suk has developed a space for painters to participate in the subject of books; after the qing dynasty of goldstone, the kimnon painting book and the yin-chung book were heavily involved in drawing the title, bringing it to maturity. Kim, who paints a poem with his own paint book, whose verbs are platitudes, and which are so cold and solitude that the book is a drawing, a printing certificate and a model for the painting of books。
But the book itself is very strong and not all paintings are suitable. A small piece of fine, elegance, which, if forced to use the majestic areas, would crush the elegance of the image and separate the book from the painting. It's the first trade-off logic of writing a book: the picture is simple and light, and the book is easy to use; and the picture is rash, and the book makes a big difference。
Ii. Typologies and font scales for placards: the difference between large plaques and small charades
Most of the writings are in writing, while most of the country's drawings are written in small writings, and the fact that the writings on the tablets are taken directly down and down to the scenes is extremely prone to the ills of rigidity, hyperbole and swollen drawings, which are prevalent in contemporary creations。
The tablets, the embroidery, the temple tablets, were carved in such a way as to be necessary for the gravel. When translated into small writings in the middle of the picture, it is necessary to soften the pen: it is not appropriate to overstretch, it is not appropriate to pick a pen to expand, it is not appropriate to reduce the exaggeration of decorations, it is necessary to keep the flat-tangled clitoris, it is a practical pen, and it is necessary to “sustain the bones of the gills, so as to reduce their power”。
The title of the large book, which is used to draw the headline, the title of the large title, can be slightly larger, and the male side of the monument, the monument, is right along the way, and the graphics field should be secured. The long-word poems and the subject-matter area should be used in small writings, with simple words, small writings, tight collages, airtightness, word-independentness, broken meanings, and refusal to apply the original title of the great monuments to the image。
Ink also needs to be integrated. Writing ink paints, ink changes with wet and wet ink, and ink is not allowed to be ink-heated. The ink is fine and the ink is slightly light; the ink is thick and pale, the ink is heavy, the ink level is resonated with the drawing ink, the ink is not allowed to appear in light ink, the ink is dark, and the vision is split。
Iii. Structure collectives: the operation of the books and the images
The national drawing area is never just a blank, but an integral part of the picture. Books have broad font shapes, strong horizontal tension and far more partial visual weights than role models, and therefore have a special set of rules that distinguish them from other books in terms of location selection, word spacing and size。
(i) selection of location: qualifications, layout
1. Array frames: apogee aeroplanes, mostly blank on the left side of the picture and vertically vertically. Books are stretched horizontally and close to the image, leaving enough space to buffer. If the subject matter of the picture is on the right side, the left side is large and white and suitable for the book; if the picture is covered in pens, it can only be short, poor and not lengthy, avoiding oppression。
2. Bands: most of the rolls are spread from right to left, and the book areas are suitable for remaining positions on the tails of the scrolls and are not suitable for interpolation between image cracks. It's easy to cut the image and destroy the whole hymn of the painting。
3. Book pages, boxing: a single page on a single page of the book is limited, the subject of the book is shorter, with short poems and short sentences being the main focus; the parties make drawings, the area of the subject matter of the book should be set aside on the side, and the large sections of the centre should be laid, preventing the fragmentation of the square into two separate pieces。
4. Panorama: sector arc space, books open horizontally, it is not appropriate to cover them, make more short-term payments, line them up along the arc of the fan, and not force them to line up, creating congestion。
Core principle: books have a lot of visual weight, much less secrecy. In the same way, the line book can write lines, while the book needs to reduce the number of lines, leave more breathing space and avoid filling the picture in white。
(ii) word spacing, line spacing and font hierarchy
The ancient law of the book is based on “slurryness, narrowness of the line”, a flatness of the word, a horizontal opening and a vertical convergence between the lines, thus unleashing the horizontal dynamic. Transplanted to the national drawing area without completely replicating the tablets. The inscription is purely calligraphy and the area is a subsidiary element of painting。
First, the title of the subject area must be smaller than that of the drawing body, and the text of the subject area must not usurp the subject matter of the image. If the painting contains a title, the title can be slightly larger, followed by a note, a year, a signature, the symbol must be smaller and the main sub-level distinguished。
Second, small word areas, with moderate word spacing, with a moderate easing of walking distance, with a greater focus on air flow than the balconies of han stone, and the inability to reproduce the scrawl of the tablets, otherwise they would appear depressed on the drawing paper。
Thirdly, the writing of books is independent, there is no weed-to-weed map, and it is all done by the will. Each line is written in such a way as to be broadly organized, and the font size is inaccuracies, so as not to rise or fall, so as to avoid creating an agitated surface in the blanks of the picture and disrupting the serenity of the painting。
(iii) compatibility of the book mix with the cash printing
There is a tradition of “classic art”, and the text is ancient, and money can be replaced by more mobile books。
If a great poem is used on the screen, and the last year of the signature, it can be used to make money and make a difference; if the book is used in its entirety, then the style of the book is to be consistent with the text, and it cannot be monolithic, conjunctive and torn。
The seal needs to match the chili. Books, lots of chinese seals, platitudes and cynicism. The seal shall be smaller in size than a note, and it may not be larger than the text in the subject area; it shall be a combination of zhu wei wei wei wei wei, which is thick and heavy, and zhu wei wei wei wei. Seal positions serve the function of balancing images, which, after the title of the book, crush the edge, balancing the weight of the book and making the whole picture false。
Iv. Common creative malfeasance of book titles
In the contemporary production of books, the title of books is often in the wrong zone and is summarized in four main points:
Number one, the book is mischaracteristic. It's a small piece of work, and it's forced to write a big, big book on the cliffs, and the body's gold is thicker than a painting, and two skins。
Secondly, the title is reduced directly by the engraving. To reduce the original text of the monuments of the emblem to the drawings, which are exaggerated, swollen and swollen, the small words are coarse and thin, and do not understand the graphic conversion of the large plaques and the small areas。
Third, it's a long story. It's hard to read, and despite the space remaining in the picture, it's a long section, filled with blank images, squeezing drawings, squeezing noises, and instead it becomes a video burden。
Fourthly, the chapter is detached from the book character. The writing area, with line-spaces for linebooks, word-spaced, line-spaced, suppresses horizontal openings of books, and loses the aesthetic face of books。
V. Contemporary realization: reality and services
Bookheads are essentially in the service of painting, and calligraphy is complementary to painting, rather than, conversely, making drawings the bottom of calligraphy。
The study of monographs begins with a distinction between monographs and drawing areas, with the use of taohan jurisprudence, followed by penthouses, so that their bones can be taken away from them. The second is to learn how to read and write, to see the picture first, to determine the body, length, location, and not to write a book to force a blank image。
It's not a monograph, it's a monograph. The images seek to be strong, and the books help them; and the images seek to be simple and light, and the books are reduced and even abandoned. Books are for painting, and ink is the true law。
Concluding remarks:
Poetry is printed in one place. The introduction of the book in a golden spirit is a valuable legacy of tradition for future generations. It is only by respecting the aesthetics of the book itself, by respecting the inherent patterns of drawing, and by balancing the principal, false, and acoustic balance between the book and the painting, that the guilds can truly serve to enhance the landscape and enhance the fabric。
