Second, we should avoid it, that is, when writing compound words, we should pay attention to the mutual avoidance and complementarity of certain strokes, so that the whole font will not be too "sparse" or too "dense". Therefore, we should carefully grasp the changes of strokes in specific writing, and achieve the purpose of evasion by appropriately changing the writing methods of strokes. The word "mention" shown in the picture below is a small apostrophe, so avoid holding hands.
Third, the balance of size refers to correctly grasping where the center of gravity is when writing fonts with upper and lower structures or upper, middle and lower structures. If there are many strokes in the upper structure and few strokes in the lower structure, it is necessary to set up a good frame and keep the center of gravity unchanged. As shown below, for the traditional writing of the word "Yin", the upper part should be of a proper size, not too big or too peaceful.
Fourth, cross-combination means that when writing some fonts with staggered strokes, the crossed strokes should be combined, neither too long nor too thick, nor too short nor too thin. Just put it in the right place. As shown in the figure below, the word "Sheng" should not be too big and too wide, and the word "Cheng" should not be too small and too short. Just put it on the two shoulders of the dish and write the cross in the word "Cheng" as a short cross, which is the avoidance rule we mentioned above.
Fifth, the unity of symmetry. Symmetry refers to the symmetry when writing fonts with the same or similar structure left and right or up and down. Of course, this can't be absolute symmetry, but formal symmetry. As shown below, the word "fly" should be symmetrical, dense and alternating, and the layout should be even. Fonts like this include "Peng" and "Yu".
Sixth, the positive deviation is appropriate, that is, the font has a positive deviation, and the shelf structure should allocate strokes according to the overall shape of the font. In which direction the radical is placed in the main body, we must grasp it well. As shown in the figure below, the word "troubled" should not be written too big and too slender next to the word "mountain", but should be placed in the upper left corner. Moreover, the words "struggle" and "honor" should give way to the word "mountain", so that the layout will look good.
The seventh method, stretching in place, is that we should pay attention to stretching these strokes in place when writing some cross-hook strokes or fonts. They are too long and straight to look good, but they should be just right to reflect the balance of words. If the word "salty" shown in the figure below is written too long, it will appear that the radical of the right tick is too big, the structure on the left is too small, and the center of gravity of the font is inward, giving people the feeling of boneless.
Eighth, the principle of mutual understanding and accommodation. That is to say, when writing some fonts with several entities connected, we should grasp the combination law of each part of the characters, give the other party a certain space and position, and let the other party have a foothold, not too crowded, but not too loose, leaving too much space. At the same time, pay attention to the proportion between the parts that make up the font. The word "for" is as follows. Give up the word Shouzi next to the foot. The long and horizontal position of Shouzi is too far to the left. Give up the foot.
The ninth method, fill in the blanks, is that when we write some closed or semi-closed fonts, we should pay attention to fill in the blanks between strokes so that the space left is not empty, so we should adjust some strokes to make them suitable in length and reasonable in structure. In the traditional Chinese character "Guo" as shown below, the word "or" inside should be written only to fill the blank in the lower right corner of the frame.
The tenth method, tolerance is appropriate, which is mainly when we write a treasure cover or semi-closed font. For example, the word "room" in the headgear should not be too wide, just cover the word "knowledge". If it is too wide, the font will generally look small and unbalanced.
In our specific calligraphy practice, it is helpful to learn to write some difficult fonts and correctly grasp the above ten structural rules. With the shelf structure set up, even if the strokes are not very good-looking, the shape of the whole font will become good-looking because of coordination. If the word is compared to the human body, then the strokes are flesh and blood, and the shelf structure is bones. You can use your imagination.
Extended data
Architecture: refers to the forms and laws of collocation, arrangement and combination of strokes into words. Because Chinese characters are composed of strokes, it is a unique writing system based on hieroglyphics, with a large number of glyphs and complexity.
1. Parallel structure.
⑴ Left and right coordinate structures, such as sex language.
(2) Left-middle-right coordinate structure, such as Zheban Zhelinnuo.
2. Upper and lower structure.
(1) Up and down structures, such as: Taiwan Province is going to suffer.
(2) Upper, middle and lower structures, such as Gao Pu and Zhang Mangjian.
3. The surrounding structure.
⑴ Fully enclosed structure, such as: back to the trapped country circle.
⑵ The upper three peripheral structures, such as using winds in different directions.
(3) the left three-dimensional structure, such as Kuang Xia, Tibetan minister.
(4) the next three peripheral structures, such as: the letter of the storm.
5. The upper and left enclosing structures, such as the investigation of dysuria.
(6) the upper right enclosing structure, such as: the sentence is even, aerobic.
(7) The lower left closed structure, such as this carpet.
Being the lower right enclosure structure, such as the head bucket.
4. The structure of the left and right photos, such as sitting on a witch. The characteristic of this kind of words is that there is a vertical line in the middle of each word. The vertical side is like a mirror, reflecting the image of the other side. )
Baidu encyclopedia-bookshelf structure