As soon as Gu Weijing got home, he returned to his studio in the calligraphy and painting shop.
It is better to choose the day than to hit it.
Now that he has selected a suitable work, he wants to copy this oil painting today.
Gu Weijing quickly found the canvas, brushes, palette knife, and palette in the studio.
He also deliberately took a bottle of chemically synthesized quick-drying medium from the cabinet.
Contrary to what many people think, oil paints cannot be diluted with water, and special drying oil must be used. As the dry oil gradually evaporates, it will form a dry oil film on the surface of the canvas, which plays a role in fixing the pigment.
Oils with different formulas dry at completely different speeds after contact with air.
There are fast and slow formulas.
The formula with fast drying speed is called "thin oil" in the industry, and the formula with slow drying speed and large oil content is called "fat oil" in the industry. .
When painting any oil painting, the first important principle that learners learn is the principle of fat, cover and thin.
To put it bluntly, the lower the paint, the faster the formula should dry.
The higher the layer of paint, the slower the formula should dry.
If it's the other way around, the top pigment dries and shrinks with the bottom pigment first, which will cause the top pigment to harden, and the surface will crack or even sludge.
There are fast ways to paint an oil painting, and there are slow ways to paint an oil painting.
Generally speaking, more classical painting methods often use dry painting.
Gu Weijing’s oil painting of a Mercedes-Benz car model took almost a month in total just to paint it in order to wait for each layer of paint to dry completely.
However, Impressionist works usually have thicker paints, more expressive brushstrokes, and can be covered layer by layer with wet paint.
Coupled with the chemical quick-drying media developed by modern oil painting manufacturers, if the speed is fast, an oil painting can be completed in an afternoon.
Gu Weijing stretched a canvas of suitable size onto the frame.
He chose a white canvas covered with chemical acrylic.
Same as paint, if you are pursuing perfection for the white base covering the surface of the canvas, you can use lithopone, white powder and yourself to mix it.
But this is the first time to copy this masterful work.
Gu Weijing knew that he could not draw very well, so there was no need to worry about these details.
Just like getting 80% or above in an exam first, then it makes sense to pursue the test score and whether the writing looks good or not. If you don’t have the time to repaint the canvas, it’s better to make more copies and make greater progress.
Gu Weijing first used the non-contact scanner in the gallery to scan the entire painting into an electronic version, and then used a projector to project the electronic photo onto the canvas.
This is another quick copying tip.
Gu Weijing has a naturally strong sense of space, which is actually very advantageous when copying works of art. If you slowly use a pencil to draft the original painting from scratch, Gu WeiI can also draw very accurately, but it is too time consuming.
Anyway, he will definitely copy this picture of the old church in a thunderstorm many times.
The focus of the first copying is to figure out the painting process, understand the color principle of the painting and become familiar with the composition.
Gu Weijing used a projector to project the original painting as a clever way to save time.
He adjusted the projector so that the size of the picture exactly coincided with the canvas.
As soon as he started making sketches with pencil on the canvas, Gu Weijing noticed the changes brought about by his improvement in sketching in the past month.
Smooth
This is Gu Weijing’s biggest feeling.
With the help of the projector, the painter can quickly establish the large shapes in the oil painting theme, but the small shapes still need to be continuously adjusted during the in-depth process.
It still tests your sketching skills.
This was without the help of Menzel's skills. Gu Weijing was purely using his own ability to paint.
In the past, he often copied famous paintings under the guidance of the school's art teacher. His drafts were very accurate, but the copying process was very difficult.
Strictly speaking, he felt that he was more describing than painting.
But now, with his first-level professional sketching skills, he finally has the feeling that his pen is following him, rather than him following the pen.
Gu Weijing pursued his own ideas and slowly used lines to restore the rough spatial relationship of the picture as clearly as possible.
At this time, the advantages of sketching in front of the original work gradually begin to emerge.
Gu Weijing kept stopping his brush to compare with the original painting in front of him.
Sometimes he just glanced at the original painting in a hurry. Sometimes, Gu Weijing stared at the painting for a long time. He even occasionally put down the brush and walked back and forth in the studio.
He looked straight at the church in the picture frame, walking from far to near, and then from near to far.
Having a sufficient sense of communication with the original painting itself is the state that painters most desire when copying, and it is also something that cannot be achieved by copying electronic albums.
It's like the difference between listening to an English tape and having a conversation with an English teacher in person.
It is said that a few years ago, a painter suddenly cried while copying Adolf Menzel's realist masterpiece The Steel Factory, which depicts the life of bourgeois workers, in an art museum.
When others asked him why,
the painter replied, "I felt hell-like sparks splashing on my body."
An oil painting It is like a piece of amber embodying the painter's spirit. It is alive and changes in light and shadow when viewed from different angles.
Gu Weijing walks around and observes repeatedly. Only by buying paintings home can he get such a good treatment.
As Gu Weijing wrote faster and faster, dense and complex lines appeared on the canvas.superior.
After about half an hour, Gu Weijing put down his pencil.
It’s just a pencil sketch, so there’s no need to express the light and shadow in detail, just have a general shape.
"Well, there are still many imperfections, but the general shape is like this."
He turned off the projector and placed the manuscript he had prepared on the Next to the original painting, I studied it for a few seconds and found that it was generally passable.
Gu Weijing’s manuscript divides the picture into three parts.
The sky in the thunderstorm is the background color, the architectural structure of the church is the main body, and the two Madonna statues in front of the church are close-ups.
After the sketching work is completed, you can prepare to apply the background color.
Gu Weijing began to mix oil paints.
Soon, he frowned.
“Something’s not right.”
Even though he hadn’t started coloring yet, Gu Weijing already felt like he had nowhere to start.
He glanced at his oil painting panel oil painting semi-professional v32171000.
Legend has it that a saint’s sermons can make mortals suddenly enlightened and make lotuses grow out of the mud.
Looking directly at the works that have been systematically evaluated as painting saints, it seems to have a similar effect.
Gu Weijing’s reckless move in appreciating Reano’s works led him to be taken directly to the hospital.
But after he woke up, he discovered that in just one glance, his oil painting skills had increased a lot out of thin air, reaching the v3 semi-professional level.
Unfortunately, even at the semi-professional level, there is still a huge gap between the second-level master level.
Even if the original painting was right in front of him, Gu Weijing could not restore the original color feeling while holding the palette.
Although when he was restoring the murals before, Mojie's notes on the understanding of Chinese painting pigments allowed Gu Weijing to make a lot of analogies.
In addition to the difference in color between Chinese painting and oil painting, the color mixing of Impressionist oil painting is the most complicated type of oil painting.
Impressionist painters will choose appropriate colors as the base color tones. When they mix colors, they express a feeling. They do not completely adjust the colors on the palette and use them as they go. Change with change.
The background color of this painting is dark brown, and Gu Weijing carefully arranged several kinds of black and purple on the palette.
He felt something was not right. Compared with the original painting's clever color control, which was dark but not eerie, it seemed too rigid and rigid. Please remember to collect it, the latest and fastest website is free to read without anti-theft