How to write lowercase letters?

Question 1: How to write a small letter and practice it repeatedly. Every word is familiar from big to small. Don't be completely horizontal and vertical, don't write calligraphy, relax and feel comfortable, write column by column, pay attention to consistency, and don't demand that every word be beautiful first, mainly in size, charm and fluency. You can't make efforts, look at the experience of calligraphers and combine your own practice. Now read the Heart Sutra at least once a day. Remember not to be insatiable, but to know how to choose and find the one that suits you.

Question 2: What should I pay attention to when writing lowercase letters? To write small letters well, playing with your wrist is the key problem. Zheng yue said, "the husband holds the author, and the key to the dharma book is also." Although there is little difference between general law enforcement and writing running script and capital letters, capital letters also have their own characteristics. Let's talk about several aspects that should be paid attention to when writing capital letters: (1) "Finger is solid and palm is weak, wrist is flat and palm is vertical" is the basic law. The so-called "pointing to reality" is the five-finger writing of L, pressure, tick, grid and touch. L use the abdomen of the first section of the thumb to press against the top of the pen tube, and force it to the upper right, which should be inclined. The upper end of the index finger abuts against the outside of the pen tube, and the force is opposite to that of the thumb. Hook the upper middle finger near the horizontal bar, bend it into a hook and hook the pen tube, and force it to the right and down. The joint between the ring finger and claw is close to the pen tube, and the strength is opposite to that of the middle finger. Press the little finger against the lower end of the ring finger to increase the finger force of the ring finger. Due to the reasonable distribution of five fingers, the strength is gathered from all directions, and a pen is firmly held in your hand. When writing small print, it is advisable to write lightly, and stick the finger tip on the tube because the finger tip feels sensitive. If you write shallowly, your palm will naturally be weak, and your palm will be weak, so you will be comfortable to exercise and there will be no obstacles. Calligraphers in the past dynasties have different interpretations of the "stirrup-pulling method" proposed by Li Houzhu in the Southern Tang Dynasty. Some people think that people who are good at riding horses can easily get in and out on tiptoe. Some people think that stirrup pulling is that the ancients pulled out the lamp core with a small stick with their fingertips, which is a metaphor for shallow grip. Some people think that it is because of the shallow writing that the tiger's mouth is like a horse's stirrup (that is, the writing of Cheng). When writing lowercase letters, you shouldn't hold the pen too tightly or too loosely. If it is too tight, the pen will be stiff, if it is too loose, the stippling will be weak. Therefore, it is best to combine hard and soft, tight but not dead, loose but not loose, not wide and not fierce, and there is a way of neutralization. Zhao H-guang said in "On a Broom in Cold Mountain": "If you hold the pipe too tightly, your strength will stop on the pipe, which will make the pipe inflexible and unsafe to command." This is indeed a learned saying. The strength of the pen should penetrate into the tip of the pen through the shoulders, elbows, wrists and fingers, and the muscles of each joint should not be tense and hard. If the grip is too tight, the force will stop at the tube, and if the wrist is tense, the nib will not be able to penetrate. Therefore, Su Shi suggested that the pen should be wide, and only when it is wide can it be used freely. When writing fine print, if you hold the pen too deeply (that is, hold it in the middle of the middle finger), the palm of your hand will be empty, and the fingers will be deep and solid, so that the pen can not rotate back and forth, which will easily lead to stagnation of qi and invalid transportation. When writing small print, the pen should not be too high, so it is about an inch away from the writing head. If it is low, it is calm and firm, and words are not erratic. Tang Wei Rongzong said: "The real book is small and dense, and it is suitable to hold it near the head." Zhao h-guang's talk on a broom in a cold mountain also said: "the real book should be stable, so write one inch or one inch." If the pen is too high when writing fine print, the painting will be vain, but there will be no strength. In this case, lowercase letters are mainly composed of thick ends, and a lower pen can better control the pen force. When writing small print, the wrist should be flat and the palm should be upright (that is, the elbow and wrist should be flat on the desktop, and the palm should be slightly erect when the wrist can stand up, keeping an oblique angle with the paper). When the wrist is flat and the palm is vertical, the front is easy to straighten, the front is regular and full of potential. It must be clear here that when writing small print, the pen tube does not always move vertically and parallel to the paper. When the pen tube is centered on a straight line, it will roll up and down with the action of the pen. Only when it is made by will, and when it is closed, if the end guides the rope, it will eventually remain upright, then the pen gesture will naturally be round. Especially when writing fine print beside Fang Bi, it is not appropriate to hold it straight down when raising a pen. When the pen tube is slightly tilted to the right, it will be smooth and smooth, and often it can achieve handy results. Zhu Hegang's New Interpretation of Linchi said: "I even said that the pen is like a marksmanship. When I am left and right, I will turn around, follow the trend, concentrate on it, exercise my heart, and sometimes slightly sideways, which is more agile. " This passage is worth remembering. If we insist on taking the center as the fixed method and blindly take it as the correct method, it is doomed to fail to achieve comprehensive and natural changes. In short, the method of writing, but should be appropriate, not curious, so as to give full play to the pen. (2) Fingering dead wrist is the basic method of writing fine print. Wrist should be loose and flexible, not too nervous and not too hard, which will make the wrist stiff. Even with wrist strength, this force can't be exerted. The function of the wrist is mainly to adjust the pen tip, and secretly change the pen center by lifting and stumbling, so as to achieve the purpose of central stroke. Only when the front is hidden can it go deep into the bone marrow. Living by wrist means carrying a pen ... >>

Question 3: How can I write fine print? To learn fine print well, you should choose the right brush, the right paper and the right paste method. These three items are crucial.

Select the appropriate brush:

There are many kinds of writing brushes. When learning for the first time, I hope you choose the "Seven Purple and Three Sheep" brush. Because the brush of "Seven Purple Three Sheep" is very hard and easy to master, which is very important for your future study.

When choosing a brush stroke, you should choose an appropriate length, because the brush stroke is too long to master, the short brush stroke is suitable for writing regular script and easy to master, and the short brush stroke cannot master the writing rules of small letters.

Choose the right paper:

For beginners, it's good to use fringed paper and meta-book paper first, and then use Xuan paper after a certain achievement.

Wool edge paper is bamboo paper produced in Jiangxi Province. Delicate, thin and soft, light yellow, water-resistant, good water absorption. It is not only suitable for writing, but also for printing ancient books. Wool edge paper produced in Sichuan can be divided into two categories: one is hand-raw, soft, thick and delicate, yellowish in color, with the same feel on both sides, and hand-made with tender bamboo pulp. Moderate water absorption, writing feel is quite good, the majority of calligraphy lovers are very fond of it, and it is an affordable variety for practicing calligraphy.

Yuan Shu paper is a kind of bamboo paper. It was called Red Pavilion Paper in ancient times. Taking tender bamboo as raw material, hand-made writing paper with brush. Location: Fuyang City. It is called Xie Gong Paper or Xie Gong Note. Its characteristics are white and flexible, slightly fragrant with bamboo, soluble in water, impervious to ink, and not moth-eaten or discolored after long-term storage. In ancient times, it was used for painting and calligraphy, writing official documents and making books.

Xuan paper is divided into raw Xuan, semi-cooked Xuan and cooked Xuan. Shengxuan has strong water absorption and hydrophilicity, and it is easy to produce rich Mo Yun changes. By splashing and accumulating ink, water can be collected and diluted to achieve the artistic effect of water flow. Used for freehand brushwork. Cooked Xuan is coated with alum when it is processed, so the paper is harder than raw Xuan, and its water absorption capacity is weak, and the ink color will not spread when it is used. Therefore, the characteristics make cooked propaganda suitable for meticulous painting rather than ink freehand painting. Half-cooked publicity is also processed from raw publicity, and its water absorption capacity is between the first two, which is just suitable for writing fine print.

The correct way to publish:

With the basic skills of regular script, I have mastered the structure and brushwork of regular script, and then I will write regular script, official script, running script and cursive script. Even seal script can get twice the result with half the effort. Regular script can enrich and change the structure of Weibei and Lishu, such as Zhu Suiliang's regular script; The penetration of regular script into running script and cursive brushwork can increase agility, such as some inscriptions in regular script written by Zhao Meng.

The best way to practice regular script is to paste it. Actually, just post one. You can choose tablets according to your own preferences, such as Wang, Yan, Ou, Liu and Zhao. There is a better monument, the Ling Fei Classic written by Zhong Shaojing in the Tang Dynasty. But when buying flat stickers, try to buy better quality copybooks.

On the basis of selecting posts, we should go through five steps: reading posts, describing posts, copying posts, carrying posts back and creating posts.

The first step is to read the post

We all know the pronunciation of the posted Chinese characters, so we don't need to read them any more. Read what? Read fonts, read structures, read strokes, and analyze the relationship between stroke characteristics and strokes of Chinese characters. For example, when we read the Chinese character "zhong", we should read that a vertical line of "zhong" passes through the middle of "kou", and the word "kou" is slightly flat. The long vertical line in the middle is divided into two sections with equal length by the lower horizontal line of the mouth, and the upper horizontal line of the mouth is divided into two sections with equal length. This is an interpretation of glyphs and structures. Different fonts and strokes have different characteristics.

The second step is tracking. "Tracing red" refers to tracing red, that is, beginners draw printed red copybooks along the handwriting with a brush. "Imitation" refers to copying the post, that is, covering the model words with transparent paper and writing them one by one along the shadow of the words on the paper, which is also called writing imitation.

The third step is to post. It refers to putting the copybook aside and watching the copybook write word by word. This method is helpful to master the brushwork and meaning of Chinese characters, but it is not easy to master the structure of Chinese characters.

The fourth step is to recite the post. Refers to the method of removing the copybook on the basis of copying, recalling the font on the copybook according to your own memory and writing it on paper. This is a key step in practicing calligraphy. Only by carefully examining the words you read and write, can you write accurately. When writing, if you can see the exact font of the Chinese characters to be written on white paper, so that "the words are on the paper and the words are on the chest", it is not a problem to write a good hand.

The fifth step is to post. On the basis of mastering the writing method of the words on the copybook, I learned the writing method of the words not on the copybook by analogy. According to the needs of self-expression, writing a paragraph with center, content and self-contained system is creation.

If you can write a word close to copybook in your daily study and life, your purpose of practicing calligraphy will be achieved.

Practice posture ... >>

Question 4: How to lay out lower case letters? First, there are rows vertically and columns horizontally. This layout is suitable for content with more words and must be completed within a certain scale. Through calculation, you can master the number of words. The lattice of small letters should be slightly flat, so that the spacing is tight and the spacing is slightly open. Naturally, the whole layout is neat and symmetrical, with the beauty of artificial accumulation. This vertical and horizontal boundary was called "Wu Si Lan" by the ancients. He Jiang's original calligraphy says: "There are three kinds of white cloth: white cloth in words, white cloth in words and white cloth between lines. Novices stop evenly. When they know that they stop being uniform, they seek change, oblique and dense, scattered in between. " Because every word is bound in a box of the same size, it is also the easiest to bind a person's creative spirituality. There are two points to pay attention to when writing this composition: First, every cell is a small world, and there is also a small composition in this Xiaotian field. The arrangement of glyphs in this space should be very appropriate, just right, not too big, indomitable spirit, not too small, the world is empty, the left and right sides are empty, too little blank space, the composition is tight, too much blank space, and the layout is evacuated. When writing fine print, you should first look at the position of the first pen. If this pen is written incorrectly, it is all misplaced and cannot be saved. It is not easy to master this method. It is rare to write more and copy more. Second, pay attention to the fact that the first word is bound in the same size space. Therefore, it is necessary to avoid flat structure and uniform size. Instead, we should try our best to make up for the deficiency of this style by changing the size, length, width, singularity, density, opening and closing, expansion and contraction of words, and strive to be even in staggered and symmetrical. So writing can make up for the deficiency of this style. Second, there are rows vertically and no columns horizontally. This kind of composition mostly uses lowercase letters. People in the Jin and Tang Dynasties wrote scriptures, while people in the Yuan and Ming Dynasties wrote scriptures by hand, and they liked to use this method. This layout is more flexible than the previous composition, because it breaks the bondage of horizontal grid. Pay special attention to the uneven change of a line, which is patchy and has its own posture. Gaizi is long and short, wide and narrow, large and small. It is impossible to generalize, but it can be unique and guided by the situation. Although complex characters are different, their lines are unique, which is natural and unexpected. "Write in lowercase letters. Although this change is not as strong as cursive script, it can only be as beautiful as nature if there are uneven changes.

Because this composition breaks the shackles of the horizontal grid, we should pay special attention to the relationship between the upper and lower characters in each line and the flow direction of qi. Where people are neither dense nor inclined, there must be spiritual ties. Regular script often produces momentum through the ups and downs of glyphs. Bao's "Double Use of Art" said: "The font size of ancient posts is quite different, such as old people and young grandchildren. This layout of seeking nature in injustice and continuity in strewn at random greatly increases the interest of fine print writing.

This kind of composition, the line spacing is in the middle of the open plain, and there are also statutes. Generally speaking, the distance between white cloth should be uniform, up and down, left and right, but there are also tight spacing and wide spacing. Huang Daozhou and Ni often like to use this composition. There are also spacing and spacing rules. For example, Yang Ningshi and Dong Qichang in Zhang Jizhi like to use this method. And the rules of spacing and spacing are red and special. For example, Yan Zhenqing's "The Fairy Altar of Little Horse". In short, this flexible layout is dense but not close, sparse but not far, dense and flowing, lively but not dull, dense and sparse, so-called less blank and far-reaching. The scattered ones are all wrapped in a bundle, and the cycle is not stagnant. Although sparse, it is dense. The so-called blank space is too dense. Only in this way can the effect of proper density be achieved.

Third, there are no horizontal columns and no vertical lines. This kind of composition completely breaks the shackles of orchid, so it is the easiest to give play to one's artistic personality and the most free and frank pen and ink interest. It originated from ancient Chinese characters, instant characters and early Zhong Ding inscriptions in Jin and Jia dynasties. These ancient characters are either positive or oblique in composition and layout, big or small, sometimes sparse and sometimes dense, sometimes short.

1, the book should have a global view. Taking the whole article as a word, the whole picture as a whole, emphasizing the balance and symmetry of the whole, comparing and taking care of our samples, seeking the balance and symmetry of the whole from the asymmetry of local uneven fronts, and ... & gt

Question 5: Reprinting how to write small letters Chapter 1: Using a pen in small letters Section 1: The characteristics of writing and the movement of the wrist are a key problem in writing small letters. Jacky (son) said: "The husband holds the author, and the key to the dharma book is also". Although there is not much difference between general law enforcement and writing running script and capital letters, capital letters also have their own characteristics. Let's talk about several aspects that should be paid attention to when writing capital letters: (1) "Finger is solid and palm is weak, wrist is flat and palm is vertical" is the basic law. L use the abdomen of the first section of the thumb to press against the top of the pen tube, and force it to the upper right, which should be inclined. The upper end of the index finger abuts against the outside of the pen tube, and the force is opposite to that of the thumb. Hook the upper middle finger near the horizontal bar, bend it into a hook and hook the pen tube, and force it to the right and down. The joint between the ring finger and claw is close to the pen tube, and the strength is opposite to that of the middle finger. Press the little finger against the lower end of the ring finger to increase the finger force of the ring finger. Due to the reasonable distribution of five fingers, the strength is gathered from all directions, and a pen is firmly held in your hand. When writing small print, it is advisable to write lightly, and stick the finger tip on the tube because the finger tip feels sensitive. If you write shallowly, your palm will naturally be weak, and your palm will be weak, so you will be comfortable to exercise and there will be no obstacles. Calligraphers in the past dynasties have different interpretations of the "stirrup-pulling method" proposed by Li Houzhu in the Southern Tang Dynasty. Some people think that people who are good at riding horses can easily get in and out on tiptoe. Some people think that stirrup pulling is that the ancients pulled out the lamp core with a small stick with their fingertips, which is a metaphor for shallow grip. Some people think that it is because of the shallow writing that the tiger's mouth is like a horse's stirrup (that is, the writing of the process). When writing lowercase letters, you shouldn't hold the pen too tightly or too loosely. If it is too tight, the pen will be stiff, if it is too loose, the stippling will be weak. Therefore, it is best to combine hard and soft, tight but not dead, loose but not loose, not wide and not fierce, and there is a way of neutralization. Zhao Ming H-ray said in "On a Broom in Cold Mountain": "If you hold the pipe too tightly, your strength will stop on the pipe, which will make the pipe inflexible and unsafe to command." This is really the language in my heart. Pen power should penetrate into the pen tip through shoulders, elbows, wrists and fingers. The muscles of all joints should not be tense and hard. If the grip is too tight, the force will stop on the tube, and if the wrist is pulled, the force will stop on the wrist. Even if you have arm strength, you can't immerse yourself in the pen tip. Therefore, Su Shi suggested that the pen should be open and wide, and only open and wide can it be operated freely. When writing fine print, if you hold the pen too deeply (that is, hold it in the middle of the middle finger), the palm of your hand will be empty, and the fingers will be deep and solid, so that the pen can not rotate back and forth, which will easily lead to stagnation of qi and invalid transportation. When writing small print, the pen should not be too high, so it is about an inch away from the writing head. If it is low, it is calm and firm, and words are not erratic. Tang Wei Rongzong said: "The real book is small and dense, and it is suitable to hold it near the head." Zhao h-guang's talk on a broom in a cold mountain also said: "the real book should be stable, so write one inch or one inch." If the pen is too high when writing fine print, the painting will be vain, but there will be no strength. In this case, lowercase letters are mainly composed of thick ends, and a lower pen can better control the pen force. When writing small print, the wrist should be flat and the palm should be upright (that is, the elbow and wrist should be flat on the desktop, and the palm should be slightly erect when the wrist can stand up, keeping an oblique angle with the paper). When the wrist is flat and the palm is vertical, the front is easy to straighten, the front is regular and full of potential. It must be clear here that when writing small print, the pen tube does not always move vertically and parallel to the paper. When the center of the circle is straight, the pen tube rolls back and forth, left and right, up and down, which is intentional. When the pen is closed, if the rope is drawn, it will always be straight, and the pen gesture will naturally be round and lively. Especially when writing fine print beside Fang Bi, it is not appropriate to hold it straight down when raising a pen. When the pen tube is slightly tilted to the right, it will be smooth and smooth, and often it can achieve handy results. And Tang's Linchi New Street said: "I even said that writing is like marksmanship. Before and after the left and right, the front is positive, and it must be turned with the trend, manipulated in one breath, and slightly sideways. " This passage is worth remembering. If we persist in taking the center as the fixed method and blindly persist, we will not be able to achieve comprehensive and natural changes. In short, the method of writing, but should be appropriate, not curious, so as to give full play to the pen. (2) Fingering dead wrist is the basic method of writing fine print. When writing fine print, your wrist should be loose and flexible, not too nervous or too hard, which will make your wrist stiff. Even if there is wrist force, this force can't be exerted. The function of the wrist is mainly to adjust the pen tip, and secretly change the pen center by lifting and bumping, so as to achieve the purpose of carrying the pen in the center. Only in Tibetan front painting can we sink our strength into the bone marrow and make the brushwork full and vivid. When writing small print under false pretence, the pen should be strong, the wrist should be light, and the words within the square inch should be mainly on the back of the wrist, so as to ensure the brushwork ... >>

Question 6: How to practice lower case calligraphy and learn lower case calligraphy;

1. There must be at least one copybook in lower case. It is suggested that Xiling Publishing House publish the Collection of Lower Case in Jin and Tang Dynasties. It is very important to choose a good model, and almost all the ancient methods are in it.

2. You should have at least a small black and white pen, which should be hard and flexible, especially with good brushstrokes. You can look at the brush made by Shanlianhu Pen and Nongbizhuang, which is suitable for small squares. It is not recommended to buy pens below 20 yuan, because the quality is too poor.

3. The choice of paper is very important. It is not suitable for beginners to write small print, because the publicity is very rich and it is easy to write a ball of ink. You can practice on cooked or semi-cooked rice paper, and of course you can also use rough paper. It is recommended to try good hand-made rough paper, which has a good effect.

4. The ink should be thick, but don't use Su Mo. You can use a Dege or Red Star ink. Dip a small amount of ink when writing, and don't dip a brush with too much ink.

5 Practice method: First, compare the small letter posts of Zhong You, Wang Xizhi and others, because they are the most classic in history and represent the peak of small letters. It is suggested that you understand the rules first, then work hard on fine brushwork, then pay attention to the structure with one word, and then stick to it until you learn to write: finger is solid and palm is empty, finger is dead. Hold these eight words first, stick to them for a while, and then use the pen slowly and flexibly to achieve the effect of dying.

In short, it is not difficult to persevere, but it requires a lot of writing practice.

Question 7: How to learn the lower case of brush calligraphy? First of all, you can use a double-stranded brush, because there was no long-edged wool pen in the Tang Dynasty, which only appeared in the Song Dynasty. Calligraphers in the Tang Dynasty generally used the purple brush in the tribute, which was made of the hair on the back and tail of a black rabbit in Xuancheng area, but the price of this pen was too high, so try to choose a pen similar to it. Personally, I think the short pen of doubled both brush is the closest. Second, which copybook to learn, I suggest you learn lower case well. Because it is not only well written, but also beautifully carved and well preserved, Ling Fei Classic is the authoritative copybook for learning lowercase letters in the history of calligraphy. Zhao Meng, a great calligrapher in Yuan Dynasty, studied the Ling Fei Classic. Dong Qichang in the Ming Dynasty commented, "Zhao Zhong Shaojing was the author of Ling Fei Jing, because there was no signature after Ling Fei Jing, so later generations speculated that his author was Zhong Shaojing in the Tang Dynasty, so I suggest you study Ling Fei Jing, and Zhao Meng scored three or four points in nine cases out of ten. If you can get seven or eight, you will be the master of the world! Finally, I think it doesn't matter whether the starting point is high or not. If you feel a little carried away, read Zhao Meng's Tao Te Ching. But I think since you study Zhao Meng, you might as well study Ling Fei Classics directly.

Question 8: How to write a small letter? Practice again and again, from big to small, and you will be familiar with it. Don't be completely horizontal and vertical, don't write calligraphy, relax and feel comfortable, write column by column, pay attention to consistency, and don't demand that every word be beautiful first, mainly in size, charm and fluency. You can't make efforts, look at the experience of calligraphers and combine your own practice. Now read the Heart Sutra at least once a day. Remember not to be insatiable, but to know how to choose and find the one that suits you.