Buy celebrity calligraphy and painting here, and then talk about the steps of learning line drawing. To learn line drawing, we should first pay attention to two points: first, we should be faithful to the object, and it doesn't matter if we draw slowly. Learning techniques is from slow to fast, from simple to complex, and fast is impossible. Second, pay attention to the strokes of lines. The so-called stroke method is the sharp, round, sharp and blunt effect produced by each stroke, just like the eight methods of writing "Yong". If you don't pay attention to any stroke, it can't be considered perfect. For beginners, try to improve the part as much as possible, but take care of the whole and combine the part with the whole in order to produce a unified effect.

线描的笔法，直接地关系民族风格，不注意笔法，民族风格便常感觉薄弱，节奏感、韵律感因之也失去了。宋代大画家郭若虚谈到画衣纹要有“高侧、深斜、卷摺、飘举”之势，便是说明运笔的变化。苏东坡说吴道子画衣纹有“……逆来顺往，旁见侧出，横斜平直，各相乘除”，充分地形容了这位画家使用线描的活力。

The brushwork of line drawing is directly related to the national style. Without paying attention to the brushwork, the national style often feels weak, and the sense of rhythm and rhythm are lost. Guo Ruoxu, a great painter in the Song Dynasty, talked about the trend of "high side, deep inclination, folding and floating", which shows the change of pen movement. Su Dongpo said that Wu Daozi's clothing patterns are "... Reverse, forward, side by side, oblique and straight, multiplication and division of each phase", which fully describes the painter's vitality in using line drawing.

描画线条，不要仅仅注意物体的外部现象，譬如画人脸，不要仅仅从表现皮肉着眼，还要注意皮肉内部的骨骼;又如画衣服，外部衣褶的形成，都是由内部肢体运动所决定的，内部的运动既然能决定外部的变化，明白了物象的运动规律，线条的组织便可迎刃而解。

When drawing lines, don't just pay attention to the external phenomena of objects, such as drawing human faces. Don't just focus on the performance of skin and flesh, but also pay attention to the bones inside skin and flesh; Another example is a picture of clothes. The formation of outer pleats is determined by the movement of internal limbs. Since the internal movement can determine the external changes, the organization of lines can be easily solved after understanding the movement law of objects and images.

线条本身要清楚明确，一根线条的粗细转折，常常是决定质感的关键，因此，下笔前必须经过一番思考，所谓“惜笔如金，笔无妄下”便是这个意思。假如不经研究，下笔就画，尽管线条一大堆，却不能表现物体，结果都成为废笔，初学勾线，要注意下笔的效果。

The line itself should be clear and clear. The thickness of a line is often the key to determining the texture. Therefore, we must think about it before writing. This is what the so-called "cherish the pen like gold, and write without recklessness" means. If you draw without research, although there are a lot of lines, you can't express objects. As a result, you become a waste pen. For the first time, you should pay attention to the effect of writing.

不同类型的线描代表不同的物体，这一点上面已经说过了，这里再补充几句。画历史画，古人衣服都是宽袍大袖，所以采用长衣纹才可以表现舒展飘洒的风度，现代人穿的衣服瘦窄得多——为干部服、西服，用长线条表现便不合适了，只能根据物象，用短而曲折的衣纹才可以表现得恰当。画绸质衣服，用笔要光些，毛质衣服线条要毛些。主要的线(区别衣服结构关系的线)重一些，次要的线(次要的衣褶)轻一些。画成组的人物，前面的重一些，后面的淡一些。运用线描的轻重虚实干湿、快慢之间的关系，把形体、运动和质感三者结合起来，才能够发挥出线描动人的效果。

Different types of line drawings represent different objects, which has been mentioned above. Here are some additional words. In historical paintings, the clothes of the ancients were all wide robes and large sleeves, so long clothes patterns can be used to show the relaxed and flowing demeanor. The clothes worn by modern people are much thinner and narrower - for Cadres' clothes and suits, long lines are not appropriate. They can only be properly expressed by short and tortuous clothes patterns according to the object image. When painting silk clothes, the pen should be lighter and the lines of wool clothes should be hairier. The main line (the line that distinguishes the structural relationship of clothes) is heavier, and the secondary line (the secondary pleat) is lighter. The characters drawn in groups are heavier in the front and lighter in the back. Using the relationship between the weight, deficiency, reality, dryness and wetness, speed and speed of line drawing, and combining the body, movement and texture, we can give full play to the moving effect of line drawing.

但技法这一门功课，不只从理论上理解便可以掌握，重要的还要通过亲自实践，从实践中获得经验，再把经验提高到理论，使理论和实践两者不断地循环上升，技术也就不断地进步。

However, the course of skills can be mastered not only through theoretical understanding, but also through personal practice, to obtain experience from practice, and then improve the experience to theory, so that theory and practice continue to rise in a circular manner, and technology will continue to progress.