Handling of Chinese painting originals in prepress production
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In the prepress production, the Chinese painting manuscript is a kind of manuscript that is more difficult to handle. Chinese painting is a painting technique unique to China, and it pays more attention to artistic conception. It differs from other originals because of the materials used and the content of the expression. The paper used is mainly rice paper, and the painting tools focus on the use of pen and ink. Chinese paintings are divided into meticulous brush, white drawing, freehand brushwork, etc., which mostly depict lines, and use the lines to express the outline, face, volume, texture, degree of light received, and the density of the picture. Rhythm and so on. In the use of ink, there are ink, light, and heavy colors. They can not only express the texture and shape of objects, but also express the charm and reality of objects. In the Chinese paintings, the black ink is the main one, and the color ink is the supplement. The ink color is divided into coke ink, thick ink, heavy ink, light ink and clear ink. The color requirements are clear, simple and harmonious. Due to these characteristics of traditional Chinese manuscripts, in the process of copying, a full-order black-and-white version should be used to express the skeleton level of the whole picture, and the black version should be opened to show the changes of focus, concentration, weight, light and clear. At the same time, when the background color is removed, the amount of removal can be appropriately increased, and the starting point of the removal of the background color is appropriately moved to the bright portion.
To handle traditional Chinese-original manuscripts, like other types of manuscripts, first consider the setting of the black-and-white field. According to the characteristics of traditional Chinese manuscripts, when marking the white field, it is necessary to pay attention to the place where the net can not be found. The appearance of the net place will cause this part of the picture to be overly prominent and conspicuous, thus destroying the overall effect of the picture. It will undermine the heavy feeling of Chinese painting. Generally, the cyan, magenta, and yellow color outlets of the white field should have 3%-5% of the dots, which makes the highlights more abundant. When dealing with the old Chinese paintings, you can increase the yellow version appropriately, and the warm brown color can appear to show the old feeling, but pay attention to the outlets should not be too large, so as not to damage the overall gray balance of the picture. For the processing of the black field of the Chinese painting manuscript, it is necessary to determine the ink color level and the density of the dark tone of the original. For an original with a normal density contrast, the black field should be set at the thick ink of the picture and cannot be set at the focus or heavy ink. If the black field is set at the focus, the dark level will be compressed, the tone will be thin, and the density will be insufficient. When the black field is set at the heavy ink, the dark tone will be leveled and the picture will be pasted. The place of death.
In the handling of the intermediate adjustment of Chinese paintings, it is necessary to pay attention to the gray balance of the picture. Chinese painting mainly uses black ink to express the relationship between the shade and the sun, the concave and convex, the dark and light, the far and the near, the cold and the warm, the light and the dark, and also the various scenes in the natural world, such as: Clouds, rain, smoke, fog, snow, etc. Therefore, in the process of copying, it is very important to correctly represent the change of gray in each tone. In addition, the deviation of the gray balance will also undermine the solemnity, calmness and simplicity of the Chinese painting, and it is impossible to express the artistic conception and temperament depicted by the author. In the process of copying, it is necessary to appropriately increase the sharpness of the image, and emphasize the outline of the picture and the edge of the line, so that the texture of the rice paper and the stroke of the picture can be better expressed, but care must be taken not to make the particle size too large. , destroy the softness of the picture.
When copying landscape paintings, it is also necessary to pay special attention to the spatial relationship between the scenes in the picture. It is necessary to reproduce the vast space of the picture and keep the picture near and far. The front and back of the ink are light and the color is dark. The perspective relationship of the original and the color of the real environment.
It is not difficult to see from the reproduction of the Chinese-original manuscripts introduced above that the recognition and appreciation of Chinese painting is the key to copying such manuscripts. Without a certain ability to appreciate, you can't really appreciate the artistic conception that the author wants to express, nor can you find the distinctive features of it. When the black and white field is fixed, it cannot be correctly scaled. Therefore, improving your aesthetics is critical.
Jiao Mo: It is used to depict the extremely thick and prominent part of the picture, which is the darkest place in the picture.
Thick ink: Its blackness is second only to the coke ink. It is a kind of ink with a focal ink and a heavy ink.
Heavy ink: In the whole picture, the part which is more saturated with ink, its shade is a middle tone, which can make the organic connection between the coke and the thick ink.
Light ink: It is an ink color that is connected with the middle color. It can reflect the rich changes of the ink color and plays an extremely important role in the formation of vivid charm.
Clear ink: refers to the lightest gray in the picture, which is a subtle color of ink, which is the largest in the ink.