Peony sketching
In traditional painting, there are many people who paint peonies. A**** professionals, there are even those who paint meticulous peonies, because peonies are both magnificent and can demonstrate one's skills. Nowadays, many retired old comrades also pick up their paintbrushes to paint peonies. Because peonies can still reflect the breath of spring and have a symbolic meaning, successful works keep emerging. Whether painting meticulous peonies or freehand peonies, understanding the growth patterns and the beauty of their forms is an indispensable step, and the most effective way to understand this step is through line drawing. If conditions permit, starting to sketch from the time when peonies sprout in early spring will provide a comprehensive understanding of the growth process of peonies.
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I. Branch and trunk sketching
In early spring, the tips of the grayish-white branches and the jointed parts of the peony will sprout some new purplish-red buds and small flower buds. The purpose of sketching during this period is to observe the structural characteristics and postures of the old stems. One can choose the main branches that are close to each other for sketching. Based on the structure and perspective changes of the cylinder, as well as the rule that the lower part is thicker and the upper part is thinner, use short and forceful lines for sketching. In fact, this step already contains creative elements, because the implementation of the selection and organization of lines itself carries a creative consciousness and is the result of a rational activity based on actual observation. From nothing to something, from nature to painting is a series of thinking and practical processes. When you finish this sketching, you will experience a sense of creative happiness. Although there are still some unsatisfactory aspects in the picture, you will immediately organize and implement a new sketching plan. When a favorite sketching work appears, that sense of pleasure will arise spontaneously, and at the same time, a good piece of material has already taken its place in your album. Such sketching can produce multiple works of various forms from different angles of the same branch, all of which can be used as references for future creations.
Ii. Sketching of branches and leaves
Before depicting the branches and leaves, plan the composition of the picture first. Even if the branches and leaves to be sketched form a work, make this step a habit of sketching. The method is to first visually inspect the object, then move the sketched object onto the picture and form a picture layout.
The overall impression given by the branches and leaves is that they are lustrous, upright and slender. However, the leaves themselves share common structural features, which are largely similar common characteristics. Generally, there is a main vein in the middle, and the two sides are basically symmetrical, so it can be drawn with an arc. To be more confident, you can also draw the leaves separately to achieve accurate, vivid, smooth and round lines. Of course, attention should also be paid to the relationship between the branches and leaves. When sketching, they should be made to form a whole to avoid being fragmented.
When sketching branches and leaves, in addition to paying attention to the growth patterns of the branches and leaves, one should also be mindful of the density of the lines. Of course, complete leaves are necessary, but the partial parts of numerous leaves serving as supplements to the picture are also very important, because if the space of the main leaves is well drawn, it will give the picture a sense of depth.
Iii. Flower Camp Sketching
The shape of early flower beds is relatively simple, while the flower buds that are close to blooming are structurally more complex. When sketching, one can start from the receptacle and gradually move towards the top of the flower. You will notice that because the top structure of the flower bud is more complex, the corresponding lines are also denser. This is also a rule. In addition, different angles should be selected to study the inclination of the flower buds to reflect the dynamics of the flower buds. Understanding these situations will make future creations richer and more life-like, rather than being drawn in a uniform and stereotyped way. Therefore, studying the sketching of flower buds from different perspectives can accumulate more materials.
Four. Sketching of newly opened peonies
The sketching of flowers is a key point in the sketching of peonies and also a rather challenging one. Therefore, one can start with a relatively simple single flower. After visually determining the composition, start sketching from the nearest petal. The lines should be slightly thinner to express the light and tender texture of the flower. Then, draw towards both sides and the back of the petals in sequence. This step should focus on studying the flipping and moving direction of the petals. The brushstrokes should be light and flexible, and the direction of the brushstrokes should be clearly stated, with a clear interrelationship. Only in this way can the relationship between the petals be explained. At the same time, there should be a balance between taking and combining, avoiding overly concentrated or sparse lines. Instead, the density of the lines should be organized rhythmically. This can be seen from the relationship between the petals and the stamens at the back of Figure 4. Due to the dense short lines used in the stamens, which contrast with the blank petals behind, a sense of space appears in the picture. Next, draw along the receptacle downward one by one. Although the branches are sometimes not visible in the picture, it can still be clearly shown that the leaves grow around the branches.
The many leaves in this sketch are arranged in an orderly and dense manner, which is a complete manifestation of a natural state and the result of organization and creation. As a single peony, extracting its essence and highlighting it is an extremely beneficial sketching activity for future creation.
V. Sketching of Blooming Peonies
Here we still choose a single peony for sketching, but only describe the blooming peony flowers from the front. Because this choice allows for a comprehensive observation of the structure of the flower and the interrelationship between its petals.
The petals of the blooming peony extend in all directions. Due to the texture and structure, they have a unique shape and a charming posture. First, start with the relatively complete petals nearby for sketching. Then, based on this, expand your sketching. All the petals should be concentrated towards the center, and pay attention to using thin, sparse and few lines in the center area. Leave the space for double-hook lines mainly composed of short lines to draw the flower stamens, reflecting a kind of variation. Finally, draw the leaves with thicker lines to complete the sketching.
Six. Multi-headed Peony Sketching
Choose more than two flowers for sketching. First, make sure the flowers are oriented in the same direction. Second, the flower shapes should be the same; Third, use the brush uniformly and arrange the relationship between the front and back, top and bottom reasonably. Because there are many flowers, the lines used should be more meticulous. For instance, when horizontal lines are used for flowers, vertical lines should be used for branches and leaves, and there should be a difference in density to effectively distinguish flowers and leaves of different textures.
Further research on peony sketches involves a lot of content, especially the brushwork and composition with individual colors, which can be said to be an endless topic. At the same time, profound research is also a kind of creative painting research. Of course, if sketching and creation are linked together, many topics will arise, because there are still many issues between materials and creation that need to be further explored and studied, so as to properly balance the relationship between the finished product and the materials and avoid the drawback of only knowing successful works while neglecting sketching.
Experience has proved that sketching belongs to the training of skills outside of painting, and the work itself is the terminal of sketching. The organic combination of the two is the key to the success of the work.
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