Chinese painting is a unique painting technique in China, which pays more attention to artistic conception. It differs from other manuscripts because of the materials used and the content of the expression. The paper it uses is mainly Xuan paper, and the painting tools are focused on the use of pen and ink. In pre-press production, Chinese painting manuscripts are relatively difficult to process. Traditional Chinese paintings are divided into gongbi, white drawing, freehand brushwork, etc. by their different expression techniques. Most of them depict the scenery with lines. Through the use of lines, they express the outline, surface, volume, texture, degree of light received and the density of the picture. Rhythm, etc. In the use of ink, there are ink, light color, and heavy color. They can not only express the texture and shape of the object, but also show the charm and virtual reality of the object. Most Chinese paintings are mainly black ink, supplemented by color ink. The color of the ink is divided into five colors: burnt ink, thick ink, heavy ink, light ink, and clear ink. The color requirements are bright, simple, and harmonious. Due to these characteristics of Chinese painting manuscripts, a full-scale black version should be used to express the skeleton level of the whole picture during the copying process. At the same time, when doing the background color removal, the amount of removal can be appropriately increased, and the starting point of the background color removal can be appropriately moved to the bright tone part.

Handling traditional Chinese painting manuscripts is the same as other types of manuscripts. First, we must consider the setting of black and white fields. According to the characteristics of Chinese painting manuscripts, when calibrating in the white field, it is necessary to pay attention to the places where there are no nets. The appearance of the nets will cause this part of the picture to be too prominent and conspicuous, which will destroy the overall effect of the picture. Will destroy the sense of weight of Chinese painting. In general, the cyan, magenta, and yellow dots of the white field should be maintained at 3% -5% of the dots, which can make the highlight part richer. When dealing with ancient Chinese paintings of a long time, the yellow version can be enlarged appropriately, and a warm tea color can appear to show the old feeling, but it should be noted that the dots should not be enlarged too large, so as not to destroy the overall gray balance of the picture. The processing of the black field of Chinese painting manuscripts needs to be determined according to the inking level of the manuscripts and the density of dark tones. In general, for normal manuscripts with normal density contrast, the black field should be set at the thick ink area of ​​the screen, and cannot be set at the burnt or heavy ink area. If the black point is set at the focal ink, the dark tone level will be compressed, and the tone will be flat and thin, and the density will be insufficient; and if the black point is set at the heavy ink, the dark tone will be leveled, and the picture will be blurred. Dead place.

In dealing with the middle tone of traditional Chinese painting manuscripts, it is necessary to pay attention to the gray balance of the picture. In Chinese painting, black ink is mainly used to express the relationship between the shaded and sunny sides, concave and convex sides, dark and light colors, far and near, cold and warm, light and dark, and it can also express various scenes in nature, such as: Clouds, rain, smoke, fog, snow, etc. Therefore, in the process of copying, it is crucial to correctly represent the gray changes in each tone. In addition, the deviation of gray balance will also destroy the solemnity, calmness and plainness of traditional Chinese painting, and it is impossible to express the artistic conception and charm portrayed by the author. During the copying process, it is necessary to increase the sharpness of the image appropriately to emphasize the outline of the screen and the edges of the lines, so as to better express the texture of the rice paper and the strength of the strokes of the screen, but be careful not to make the graininess too large. , Destroying the softness of the picture.

When copying traditional Chinese paintings of landscapes, special attention should also be paid to the spatial relationship between the various scenes in the picture. The vast space represented by the picture should be reproduced to maintain the near and far layers of the picture. The perspective relationship of the original and the color of the real environment.

The reproduction of the original manuscripts of Chinese paintings introduced above is not difficult to see. Understanding and appreciation of Chinese paintings is the key to copying such manuscripts. Without a certain appreciation ability, one cannot truly appreciate the artistic conception that the author wants to express, nor can he find the distinctive characteristics among them. When calibrating in black and white, it cannot be calibrated correctly. Therefore, it is critical to improve one's aesthetics.

Finally, let us introduce the characteristics of the five ink colors in the Chinese painting mentioned above, so that everyone can distinguish better when copying.

Jiao Mo: Used to depict the extremely dense and prominent parts of the picture, it is the darkest part of the picture.

Light ink: It is an ink color connected with the middle tone. It can reflect the rich and varied layers of the ink color, and plays an extremely important role in forming a vivid charm.

Clear ink: refers to the lightest gray in the picture, which is a subtle ink color with a subtle change in color, and the general area of ​​the ink is the largest.

Thick ink: Its blackness is second only to coke ink, it is a kind of ink color with coke ink on top and heavy ink on the bottom.

Heavy Ink: In the whole picture, it is the part where the ink color is more saturated, and its shade is a middle tone, which can make the coke ink and the thick ink get an organic connection.

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