How to use the ink for calligraphy and painting is correct?
The use of printed ink is required for documents, vouchers, the signing of letters, the imprint of historical relics, and the paintings of gold and stone. However, many people do not know how to use ink for painting and calligraphy. So, how is the use of calligraphy and ink to be correct? Let me introduce you below! Interested partners can look at it together!
     How to use the ink for calligraphy and painting is correct, the content is as follows:
First, you must constantly adjust the ink pad
     Generally, ink pigments are classified into light organic pigments and heavy organic pigments. The material of the same organic pigment or the same inorganic pigment sometimes varies in lightness and weight. The proportion of pigments and greases is even different.
     The reconciliation of oils, pigments and fibers is only a physical reaction, so stratification occurs over a long period of time. The light pigment will slowly rise with the oil, and the heavy pigment will slowly sink. As time goes on, the stratification phenomenon will become more and more serious. Over time, the oily color paste will appear on the surface of the ink pad, and the color paste will be rancid and become sticky and thick. The sinking heavy color paste gradually hardens and hardens. This change dampens the fiber to varying degrees, eventually causing the fiber to rot, and the ink becomes a hard block or a very viscous colored paste that cannot be used. In order to keep the ink in the best condition, it must be adjusted frequently. At least once in half a year.
Second, the correct adjustment
     Note the following points when turning over: Flip tools: smooth horns, smooth bamboo or smooth plastic strips. Flipping gestures: Flip up and down in one direction, not suitable for cutting or flipping. In winter, the ink can be placed on the steam or directly heated by hot air. The role of the adjustment: depending on the pigment of different specific gravity, the oil and fiber are fully mixed and interwoven into one. Flipping during use can improve the imbalance of the color paste surface. The winter adjustment can improve the softness of the ink, make the ink on the chapter easy, easy to drop paper, and even.
Third, 蘸 mud gesture
     Use the printed surface to print the mud, it should be light and not heavy, and it is not allowed to squeeze or beat. Because the fiber is woven into the pulp and then interlaced in the ink paste, the three are integrated. If squeezed, knocking the print mud will pull the fibers out of the interlaced state while sticking a large amount of color paste, and the fibers are easily broken, damaged, fuzzed, and even smashed. Therefore, it is not advisable to use the squeezing and tapping gestures.
     Sometimes we encounter an incomprehensible phenomenon, that is, the newly purchased ink pad will be raised when it is used at the beginning of the group. After a period of use, its hair phenomenon will gradually disappear, and then the use of the standard will be extremely effective. good. This is because the surface of the ink is too exposed to foreign substances or containers, and the fibers are damaged, causing fluffing. In the later stage, because it has been kept in standard use, the fibers with damaged surface are removed and the fibers with interlaced inner layers are no longer damaged, and the use effect is optimal.
Fourth, how to press
     A thin sheet of cardboard should be placed under the paper, or a piece of hard rubber. The thickness of the mat is based on the flatness of the stamp. If the stamp is spherical or curved, the mat should be slightly thicker and slightly softer. Conversely, if the print surface is flat, it can be directly stamped on the glass platen. In short, efforts must be made to make the printed text clearly on paper.
     The degree of the upper chapter of the mud: the face is muddy and the best is uniform. The structure of the material is different, tight, soft and hard. When the material is too tight, it should be slightly heavier, and it should be lighter and slower to prevent hard pressure when it is dropped. Paper quality. Calligraphy and paper, slightly hairy, thicker, and even later, the amount of ink is larger, so use a more wet ink pad. The sizing is slightly thicker, and the printing should be lighter, slower, and longer. Even the book papers are slightly clean and smooth, the paper is thinner, and the amount of ink is less, so use some dry ink. The sizing should not be too thick. The printing should be light and slow, and the time should not be long. Hold the chapter to be straight and straight, you can borrow the printing rules. Do not shake, move the seal. When stamping and printing, the force should be as uniform as possible. If the density of the paper is too tight and the oil penetration is poor, the force should not be too large, and the time should be extended appropriately. The color paste should slowly penetrate the paper surface. In short, if the effect of the printed text reaches the white and red blocks, the white lines are evenly exposed, and the fine lines of Zhu Wen are constant; the Zhu and Bai Wen are not deformed, and can truly reflect the author's idea, the knife and the seal are clear and sacred, and the effect is used. It is the best state. Additional points of attention: If the paper area is small and the printed red bottom area is large (for example, fine white text), the paper surface can be turned over after the printing, and gently rubbed with the nail until the pulp color is transparent. After the stamp is used, wipe it off with soft paper or cloth to prevent the scale from affecting the color and quality of the ink and seal. If the scale is long, you can use a small brush and soapy water to gently wash.
     Through the above content, do you know how to use the ink for calligraphy and painting? Are you using the inkjet painting correctly?
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