Lesson No. 44: Introduction to Traditional Chinese Bird and Flower Painting (with subtitles)

We need to connect these two parts in series. Add a support rod so this bird can stand on the vine. Then, since the branches and leaves have already been drawn So now we need to connect them together. Connect it to the back of this. Here, we'll draw just a few small branches. Wait, let's come back later to add more details about Xiao Ye. There is a branch standing on this branch. Then we'll add a larger branch here. We can draw the main branch a bit thicker. Two more branches because there are lots of flowers here Here, a bunch also comes out. You can add a slight curve when rolling it out again. Make it have the characteristics of a vine. We will add leaves to this. Let's draw some small leaves in this blank area. Since we are using a lot of flowers, we'll try to draw as few leaves as possible. Fewer leaves relatively That way, it will brush the flower out. Draw a small tube, not too much That way, it will brush the flower out. Usually, we draw this scene The more flowers, the fewer leaves. If there are many leaves, there will be few flowers drawn. Thus, it will create a contrast. Then connect them together. The leaf is now drawn. We'll just draw this leaf for now Add a little bit by a little bit Then add a bit more foliage here. Because it has already drawn several sets A lighter shade also appears slightly in this area above. The most difficult part about painting wisteria is the leaves. branches and trunk Flowers are relatively easier. Because each string is more or less the same. It's just a difference in size. Let's adjust these flowers. Some places have a lot of blank space. We should use a lighter color. The color used for painting the wisteria originally Lighter, we need to give it some depth. This time it's very faint. The purpose is to make it appear heavy. The empty spaces in this flower Add some light colors That way, it will appear much more. I have to tidy up like this every time I finish drawing. This画面 will only become substantial. Use the same color to organize it. Let's use the bluer one. We'll use the purplish one for the purplish one. This shade of pinkish rouge Once organized like this, it will have much more depth and structure. But don't overdo it when organizing. Just tidy it up appropriately. Don't organize everything. Some places have two layers added. A layer has been added in some places. Some places haven't moved at all. Then there is a difference. These are all very light. After drying, some areas become invisible. Go through everything and organize it completely. That way, it will be very thick. There are even more layers. There are some areas with dry brush strokes. We'll use a lighter color. Then, we can add a touch of fade afterwards. A flower can be added behind another flower. A few small flowers can also be seen growing slightly behind this leaf. There's still more coming later Then another light one later Here, adjust the shape slightly. A little more of the lighter leaf can still be added behind this one. A few small tender leaves to decorate it a bit Right here on this small branch here We can also appear slightly, just a little bit. The more you progress, the more you refine the details. The more detailed it is, the more time it takes. Draw while thinking and watching, and keep adding as you go. It was actually quite fast at first. Just draw casually at first. It will depend on the situation later on. Where should additions be made? Where needs to be supplemented? We'll add some light leaves later on. We don't need to add much more of the淡葉子. Gradually add a little at a time while observing and organizing simultaneously. Then you can add a little bit of light-colored wisteria. Behind this flower That way, it will have many layers. After fermentation, it develops many layers. The leaves behind this kind of planting A small amount, just a bit of light leaves A background of varying density and clarity, real and illusory Just a little bit, please. We need to break the edge along the following border. Some boundaries we need to break through. All these edges are very important. The so-called precision edge angle Our handling of this edge It's very meticulous. How much should be left for the border? Where to go to break the border? These are all elements that need to be defined within the画面. Tayori, we need to be behind this flower Or behind the trunk Or behind Nouriko Let it have a contrasting interplay of this kind Bring this branch up here. This flower needs to be turned downward. Grows up from here In this kind of relationship, encountering such a situation arises.