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Calligraphy 4/5
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Written by Wei-Jing Zhu
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Notes from lessons 4 & 5. I'll upload scanned graphics later.
Lesson 4
Review individual HW strokes.
Corrections to my problems and incorrect interpretations:
Before every stroke, have the pen fully loaded with ink. Our brushes can retain much ink without excessive leak, so don't worry about over-loading too much ink. Furthermore, most of our problems with strokes are due to insufficient ink:
- strokes ending in split-hair
- brush going dry, or not smooth, or moving the paper
- hard to write the dwindling vertical stroke
The beginning and ending of a stroke should not be separated triangles, not even emphasized too much. While the motions are that of triangular movement, we basically start with tiny “hidding the tip”, then use the side of the brush tip to form a clean beginning. The emphasis at the beginning and ending are naturally shown.
The key objective of the minor triangular movement is simply to form clean begin and end of each stroke.
Methodology:
Don't over emphasize every detail of the mechanism of the style that we are learning. Instead, try your own methods.
The key objective is to learn, and create at the same time. If we only learn from others, we can at best perfect their method. But we need to create our own style.
Personal styles:
Some people naturally write better small characters, while other personalities naturally adapt easily to big characters. Each style has suitable and famous examples, such as ...
Arrangement of characters:
Pay attention to every element of the character, starting from the overall size inside the space (80%), then the balance, stability, and thickness of every stroke. Practice with big characters, then it is easier to move to smaller characters.
Looking ahead:
Start observing plants and flowers, as the branch and stick on a plant form patterns that can innovate the arrangement of our calligraphy strokes.
Try different materials, and experiment with their quality in response to your brush strokes.
Example paper: rice paper
Ink allows different shades of gray and black, forming a wonderful form of painting that both adults and kids would enjoy. This enables the entire family to enjoy calligraphy. Furthermore, kids and unrestricted and unburdened by tradition, being more creative, and will in turn show us how to innovate.
Lesson 5
Review
Our style empasize angular beginning and end.
So when the ends of strokes are round, then fix them by emphasizing the triangular movement of the brush tip.
Hide all joints, so that we don't show the details of the joint. (Much lie a body with continuous limbs, rather than sudden gaps.)
Slow stroke movement for turning strokes, like the two for the character “八”
Make sure the brush is filled with ink. (Had enough to eat.)
All instances of the slanted stroke (2nd stroke of “八”) in all characters have the same shape: flat beginning, convex upward, then slide down, follow by change in curvature to concave upward. Pressing down the brush to full width at the turning point, to create the maximum thickness effect.
The hook in “月 Moon” requires more practice: going vertical, slow down to end in relativly sharp tip. Then go up, down, and lift to the left with brisk.
New characters:
Character “后 behind”: The initial stroke starts with left to right emphasis, but then because it changes direction to go from right to left, we need to rotate our right wrist so that palm direction faces up, and then smoothly let the stroke go left.
Character “及 and”: the 2nd stroke of double twist is difficult. First turn needs re-emphasis, but the next turn simply continues, without the need to re-emphasize.
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