Who can recommend a good texture painter 5

There are contemporary Jin Feng and Wei Guangqing.

Ancient and modern, Chinese and foreign.

Ancient and modern Chinese and foreign [interpretation] refers to from ancient times to modern times, from domestic to foreign. It generally refers to a long time and a vast space. The range of descriptions is very broad and universal.

Chinese name 古今中外 外文名 ancient and modern Chinese and foreign pinyin gǔ jīn zhōng wài

Zhan Ziqian (c. 550-604) was a native of Bohai (now Yangxin, Shandong). Libei Qi, Zhou, Sui, good at painting figures, carriages and horses, landscapes, pavilions, pen and ink at the same time, the rhyme is flying, the history is called "the ancestor of landscape painting". Dong Yuan (?)

962) Five Dynasties, Southern Tang Dynasty, Yuan and Zuo Wu, the word Shuda, Jiangnan Zhongling (now Jiangxi Jinxian) people. It is known as "Shanshui Luban", the pen and ink are vigorous, and the interest is ancient. Fan Kuan (?)

1026) Northern Song Dynasty, whose real name is Zhongzheng, the word Zhongli, was a native of Huayuan (now Yaoxian, Shaanxi). He is good at painting landscapes, with superb techniques, ancient brushstrokes, and far-reaching artistic conception. Ma Yuan (1164—?)

Southern Song Dynasty, the word Yao's father, called Qinshan, originally from Shanxi, later lived in Qiantang (Hangzhou). He is good at painting landscapes, with superb skills, and is one of the "Four Great Masters of the Southern Song Dynasty". Xia Gui (1195-1224) was a native of Qiantang (now Hangzhou) in the Southern Song Dynasty.

He is good at painting landscapes, with superb skills, and is one of the "Four Great Masters of the Southern Song Dynasty". Huang Gongwang (1269-1355) yuan, the word Zijiu, the number of a peak, also known as the big idiot Taoist, the late number Jingxi Taoist. He is good at painting landscapes, and his pen is vigorous, one of the "four families of the Yuan".

Tang Yin (1470-1523) Ming, the word Bohu, the word Ziwei, the number six such as layman, Wu County (now Suzhou, Jiangsu) native. He is good at painting figures and landscapes, and is one of the "Four Ming Families". Qiu Ying (1493-1560) was a native of Taicang (now Taicang, Jiangsu) and a native of Wuxian (now Suzhou, Jiangsu).

He is good at painting landscapes and figures, and is one of the "Four Ming Families". Zhang Hong (1577-1652) was a native of Wu County (now Suzhou, Jiangsu) in the Ming Dynasty. Good at painting landscapes, the pen is steep, and the ink is moist, which is the strength of the Wu School.

Shi Tao (1642-1707) Qing, monk, common surname Zhu, word Shi Tao, number Da Dizi, one of the "Qing Four Monks", and Shixi together called "two stones".

The top 10 contemporary Chinese painters are:

Huang Zejin, Jin Shangyi, Fan Zeng, Shi Yonghua, Leng Jun, Huang Yongyu, Liu Dawei, He Jiaying, Zeng Fanzhi, Cui Ruzhuo.

Top 10 Contemporary Chinese Painters: Huang Zejin, Huang Yongyu, Fan Zeng, Jin Shangyi, Huang Jiannan, Leng Jun, He Jiaying, Yang Feiyun, Fan Di'an, Zhou Chunya.

China's Top Ten Authoritative Painters: Zhou Yansheng, He Jiaying, Jin Shangyi, Liu Wenxi, Leng Jun, Yang Feiyun, Fan Di'an, Zhou Chunya, Fan Zeng, Huang Yongyu.

Huang Zejin, Jin Shangyi, Huang Yongyu, Leng Jun, Fan Zeng, Shi Yonghua, He Jiaying, Liu Dawei, Cui Ruzhuo, Zeng Fanzhi.

The above are the top ten modern Chinese painters.

Contemporary painters, works of contemporary Chinese painters, famous contemporary painters.

There are a lot of famous contemporary painters, I can't say that they are all about the same, probably a few, such as Fan Zeng; JIN Shangyi; Cold Army; HE Jiaying; Huo Chunyang; WANG Mingming; LI Qingsong; He Yanzhe et al.,

Shen Jiazheng, Zheng Shen Jia, Shen Jia, Shen Jia, Shen Zhengjia, Shen Zhengjia, Shen Zheng, Shen Zheng, Shen Zheng, Shen Zheng, Shen Zheng, Shen Zheng, Shen Zheng, Shen Zheng.

Famous modern Chinese calligraphers and painters are: Li Shutong *** Guo Moruo Yu Youren, Shen Yinmo, Shu Tong, Lin Sanzhi, Zhao Puchu, Sha Menghai, Qi Gong, Wu Yuru, Wang Zhihua, Kang Yin, Fu Bogeng, Liu Bingsen, Zhang Hai, Shen Peng, Ouyang Zhongshi, Shi Kai, Sun Boxiang, Chen Liangkun, Chen Jincheng, Zhang Yongjin, Li Ronghai, Zhao Banzhi, Hou Dechang, Zhong Zhishuai, Zhang Xingyan, Zhang Rongqing, Ning Lanzhi, Zou Dezhong, Li Zhenkai, Xu Wenda, Yao Dianzhong, Zhu Yan, Zhao Wangjin, Li Caiwang, Tian Shuchang, Chen Jiyong, Deng Mingge, Wang Yong, Ding Li, Ding Yixian, Wei Tianliang, Wei Gaowa, Ma Liangzhong, Wang Lu, Wang Zhiguo, Wang Xingguo, Wang Laihe, Wang Jiankui Wang Yongxiang, Wang Haipeng, Wang Chaorui, Wang Xiusheng, Wang Maoquan, Wang Zhigang, Wang Yueqing, Wen Jingming, Kang Jinma, Qiu Guanyou, Deng Xinquan, Feng Jiandong, Shi Xiqin, Liu Suoxiang, Han Jiaxiang, Wei Qihou, Lv Weitao, Zhang Siping, Fan Qiang, Wu Shifu, Zhong Xiaoping, Ma Lansheng, Chen Qiyuan, Ma Hualin, Zhu Guantian, Chen Wujian, Liu Mengyan, Su Yuan, Hou Kaijia, Liu Dongfu, Chen Mowu, Liu Yalou, Lv Jinguang, Xie Jiyun, He Yinghui, Dai Yue, Zhang Jingyue, Tian Xuzhong, Wu Yiren, Dou Zhongliang, Chen Liangkun, Zhang Chongxian, Yan Binghui, Ao Yongcai, Zhou Junjie, Nie Chenghua, Huang Xuejiang, Zhou Hongxing, Sun Xiaoyun, Hua Rende, Li Gangtian, Chu Yun, Cao Baolin Chen Zhenlian, Huang Dun, Liu Zhengcheng, Wei Tianchi, Zhao Yanjun, Xue Longchun, Xue Minghui, Liu Yantao, Lin Bangde, Nie Chengwen, Jiang Weisong, Chen Jinyan, Wang Xuezhong.

Common materials used to make textures are:

1) Lime powder. It can be developed into fine powder and sand grains, and can be mixed with oil paints, but not too much, otherwise it will weaken the attraction.

2) Marble powder. Similar to lime powder, but this lime powder is hard and heavy, and it is not easy to grind.

3) Sand. It needs to be washed with water before use, and it is easy to mix oil paints.

4) Hematite powder. It needs to be fully blended with oil paints to achieve an even texture. Not suitable for thick usage.

5) Miscellaneous. Glass, sawdust, weeds, etc. are used evenly.

No matter what kind of additives are used, it will affect the adhesion of the color. If a large number of additives are used, varnish can be used to increase the adhesion of the medium and give the surface a glossy finish. Here are a few easy ways to make textures:

1) Use large white powder or lithop powder to adjust white latex into a paste, use a paintbrush or painting knife to make a mottled pen mark texture where needed, or apply white powder paste to the bottom layer, and use knives, combs, rollers, etc. to make the required texture.

2) Dissolve Dama or Marty resin in turpentine and mix the white pigment to achieve a certain viscosity, and then use a paintbrush or large painting knife to make the ideal texture on the scraped canvas. When turpentine evaporates, the lead white hardens quickly (about 2 minutes), so it is important to time it properly, as if it is too late, the paint hardens, and it is difficult to make the texture.

3) It is very convenient to use acrylic paint or acrylic molding paste to make texture, because the acrylic material dries quickly and can also be stacked. However, if it is used on an oil base or on a colored oil film, the acrylic paint is easy to peel off, so it should be sanded with sandpaper before use.

4) In the process of painting, you can directly make uneven rough effects by using brushstrokes and knife techniques to change colors such as thin, thick, thin, and thick, or mix sand, sawdust, glass chips, bread crumbs and other granular materials into the pigment to make texture.

Dye the sand to the desired color and then dry it for later use. Then leave a blank space on the canvas and spray 502 glue on it, spraying a layer of sand until you are satisfied.

In the easiest way:

Du first composes the picture on the frame and applies it to it with plastic glue (you can add less water to dilute it a little.

Edition), you can do the sand pattern you want on the right (with a painting knife), and then sprinkle the fine sand on the shaping glue, sprinkle evenly, and it's OK, and then use a brush to sweep away some of the excess sand that doesn't stick to it after it dries. Hope it helps!

Mix the sand with latex or texture paste to make a base, stick it firmly, and cover it with color.

It can be mixed with oil painting and mixed into oil paint. The color that jumps out is high-grade gray, which is very beautiful, and you can also try it by adding soil to the oil paint, just suggested. You can study different materials when you are drawing.

Didn't see the copy of what exactly you asked.

Bai color or texture, I don't know the specifics, so.

It should be said that most of the paper used in Chinese painting is white paper, with no background color and no texture.

If there is a background color, it is generally processed Xuan, which is dyed in the factory when it leaves the factory, and there are many kinds of colors, and the painter can choose whether to do it himself. One or two sentences of practice are not clear.

If there is a texture on the color, it may be sprinkled with gold and silver, or it may be gold and silver, or it may be printed, which is also done by the paper factory, and you don't have to do it yourself. Among them, the sprinkling of gold and silver can also be done by the painter himself. One or two sentences of practice are not clear.

There are also some papers that have the natural texture of the natural raw materials in the pulp. Such as skin and hemp, etc.

Except for an antique paper (paper dyed with old colors), these textured papers are rarely used by other painters because they are too flowery. These papers are mainly used for writing.

The above are some common textures of rice paper when they leave the factory, and some are uncommon and even weird.

However, the existence of these does not mean that the shading texture in Chinese painting cannot be done by the painter himself. It's hard to say if you don't see the specifics.

But in any case, the painter rarely uses fancy rice paper, and it is rare to see the painter to make a shading texture for the picture.

In addition, the word texture is generally not mentioned in Chinese painting, and when it comes to expressing the texture effect of objects, it is customary to call it the method of texture. But that's the texture of the object, and the texture of the background color has never been heard of.

You should be talking about the texture of objects in fine brushwork or freehand painting.

It's simple, but you have to master it over a long period of time.

The main principle is to form different ink halos through the different solubility of other components and ink color in water.

There are two situations, one is to apply the color first and then the water.

The other is to brush it with clean water first, and then wait for the water to dry when the spot dyeing, spot dyeing can be done with salt water, alum water or even laundry detergent water, hand sanitizer water, etc., as long as the rendering degree of ink on the paper is relatively different.

The composition of the dot dyeing and the ink will naturally blend through the water on the paper surface, because the solubility is different, the formed texture will naturally have a boundary, and the natural texture will be formed after drying.

By combining origami, I thought it would be better.

Hope it helps.