About prepress processing of Chinese manuscripts

Chinese painting is a kind of unique painting technique in China, and it pays more attention to the artistic conception. It differs from other manuscripts in that it uses different materials and expressions. The paper it uses is mainly rice paper, while the painting tools emphasize the use of pen and ink. In prepress production, Chinese manuscripts are more difficult to deal with.
Traditional Chinese paintings are divided into meticulous, stroked, and freehand brushwork. They mostly use lines to depict scenes. Through the use of lines, they depict the outline, face, volume, texture, degree of light reception, and density of the picture. Rhythm and so on. The use of ink is divided into ink, light color, and heavy color. They can not only express the texture and shape of the object, but also show the charm and reality of the object.
Among Chinese paintings, black ink is the main ingredient, and color ink is the auxiliary. Ink is divided into five colors: defocused ink, thick ink, heavy ink, light ink, and clear ink. Colors require bright, thick, and reconciliation. Due to these characteristics of the Chinese painting manuscripts, in the reproduction process, the full-scale black edition should be used to express the skeleton level of the whole picture, and the black version level should be opened to express the five levels of coke, thick, heavy, light, and clear. At the same time, when removing the background color, the amount of removal can be appropriately increased, and the starting point of the removal of the background color is appropriately shifted to the bright-tone portion.
Processing Chinese Manuscripts Like other manuscripts, the first thing to consider is setting black and white fields. According to the characteristics of the manuscripts of Chinese painting, in the calibration of the white field, we must pay attention to places that cannot be netted. The appearance of a net-free place will cause this part of the picture to be overly prominent, and to undermine the overall effect of the picture. It will undermine the richness of Chinese painting. It is advisable to keep 3%-5% outlets of the white, blue, magenta and yellow three-color outlets of Baichang. This will make the highlights more abundant.
When dealing with old Chinese paintings, you can increase the number of yellow plates appropriately, and you may feel warm and brown to express old feelings. However, you must be careful not to oversize the dots so as not to destroy the overall gray balance of the picture. The processing of the black space for the Chinese painting class must be based on the level of the ink rhyme and the darkness of the manuscript. For a manuscript with a normal density contrast, the black field should be set at the dark ink on the screen, and it cannot be set at the focal ink or at the heavy ink. If the black field is set at the focal spot, the dark tone level will be compressed, the tone will be flat, and the density will be insufficient. When the black field is set to the heavy ink, the dark tone will be adjusted and the picture will be blurred. Dead place.
In dealing with the manuscripts of Chinese paintings, it is necessary to pay attention to the gray balance of the screen. In Chinese paintings, black ink is used to express the relationship between the negative and positive surfaces, concave surfaces and convex surfaces, dark and light colors, distant and near, cold and warm, bright and dark objects, as well as various scenes in the natural world, such as: Clouds, rain, smoke, fog, snow, etc. Therefore, in the process of copying, correct expression of the gray changes in each tone is crucial. In addition, the deviation of the gray balance also undermines the dignity, calmness and simplicity of the traditional Chinese paintings, and it is impossible to express the artist's artistic conception and charm. In the copying process, it is also necessary to appropriately increase the sharpness of the image, emphasize the outline of the screen and the edges of the lines, so that the texture of the rice paper and the stroke of the screen can be better expressed, but care must be taken not to make the grain size too large. , to destroy the softness of the picture.
When copying Chinese paintings of landscapes, it is also necessary to pay special attention to the spatial relationships among the scenes in the paintings. Reproduce the vast space of the pictures, maintain the distance between the pictures, and adjust the front and back of the ink. The shades of color must be consistent. The perspective of the manuscript and the color of the real environment.
It is not difficult to see from the copying of the manuscripts of Chinese paintings described above that the recognition and appreciation of Chinese painting is the key to copying such manuscripts. Without a certain appreciation ability, one cannot really appreciate the artistic conception that the author wishes to express, nor can one find distinctive features among them. When the black and white fields are calibrated, they cannot be properly calibrated. Therefore, it is critical to improve your aesthetics.
Then introduce the features of the ink color in the Chinese painting mentioned above in order to allow everyone to better distinguish when copying.
Jiaomo: Used to depict the most intense and prominent part of the picture, which is the darkest place in the picture.
Light ink: It is a kind of ink color that connects with the middle tone. It can reflect the rich and varied levels of the ink color and play an extremely important role in forming a lively charm.
Clear ink: refers to the lightest gray in the picture, which is a more subtle ink color for ink change. In the ink part, the general area is the largest.
Dark ink: Its blackness is second only to the dark ink. It is the black color that holds the ink on the top and the heavy ink on the bottom.
Re-inking: In the entire picture, for the ink-saturated part, the shade is a mid-tone, which can make the organic ink between dark ink and dark ink organically.