Gu Weijing picked a mink-hair oil paintbrush with moderate elasticity and dipped it in a darker dark pigment as the outline color of the base map.
Before starting to write,
he specially used heavy metal-containing pigments with only a small amount of turpentine added to draw the lines.
Metal elements such as cobalt, manganese, and lead are often used as chemical driers to allow pigments to dry quickly.
For example, the paint currently used by Gu Weijing is a quick-drying paint designed for time-limited exams and on-site art competitions. It can almost dry when exposed to wind. .
The price is to slightly sacrifice the color of the picture, and the pigment is relatively toxic.
If Gu Weijing was fascinated by the paintings and dared to imitate the ancient Wang Xizhi and eat steamed buns dipped in paint, he would definitely be sent to the hospital to have his stomach evacuated.
Fortunately,
the base map will gradually be filled in with more complete paint details in the later painting process, like a house with a roof and the keel covered with layers. deck.
In the end, only a small part of the base image will be displayed on the appearance of the completed painting, which will not affect the look and feel.
So it doesn’t matter if you sacrifice a little bit, the faster it dries, the better. Of course, there is no need to wait two or three days for the base map to dry after the painting is finished.
Drawing a base map,
To put it bluntly, it is equivalent to using the fastest time to let the creator himself see the final effect of the painting.
Although the audience cannot see the original base map when appreciating the final painting,
But for professional painters, as long as they glance at the base map of a painting, this painting will The final finished look is pretty much as you can imagine.
An underdrawing is a rough representation of what the artwork will eventually look like, its original projection onto the canvas.
If you compare the process of creating a painting to the process of a little girl growing up.
As the saying goes, you can look older at the age of three, and you can look older at the age of eight.
The draft is equivalent to what the painting looked like when it was still a toddler. Depending on the quality of the design, it can be called a "beautiful child", or only a "moderate posture", or Even worse is the "hateful appearance".
However,
After all, sketches can only show the composition ability of the creator, and at most they can test the artist's sketch line skills.
The future of the work itself is still full of uncertainty, and there is the possibility of female major changes.
If the technique is rough, even if you design a composition with a draft from Raphael’s School of Athens, sometimes after the painting is finished, the audience will think that it is a monkey having a meeting.
Similarly,
Portraits like the Mona Lisa, which were painted by Leonardo da Vinci based on the pyramid structure according to strict standards, do not even have any creative composition, but they can still be It was painted as a masterpiece handed down from generation to generation.
If you have a deep enough appreciation of art,
Whether you are a gallery agent or an art critic, art curators, or senior collectors like Chen Shenglin may be able to design good drafts.
But it is impossible to let non-professional painters draw the base drawings.
The draft tests the design, and when it comes to the base drawing, it begins to test the artist's real painting skills.
The base map does not need exquisite and complicated details to fill the picture. After the base map is drawn, in addition to the sketch lines, the most important elements of the work, such as the shape structure and color matching ability, are all real. It showed.
It is equivalent to this painting reaching the age of graduating from junior high school, and the eyebrows, eyes and facial features have been finalized.
The moment the last stroke of the base map is completed, the final look and feel of the painting is basically formed.
Zhong Wuyan cannot become Xia Yingchun, and Xia Yingchun cannot become Zhong Wuyan.
Art cannot be used for plastic surgery.
As long as the artist who writes the painting remains the same, the look and feel of the finished product can at most float within a certain range. You can judge the upper and lower limits of the painting with certainty.
Some art agents and gallery brokers can start to give the artist a formal decision after going to the studio to see the artist's semi-finished product, roughly what price it will be sold at, and what the market expectations are. Offer to acquire the contract.
Because the base drawing is the projection of the final product,
No matter what major shortcomings the final product has, they will all be reflected when drawing the base drawing. .
Gu Weijing has tried to paint fusion paintings before. When he completed the painting of the Good Luck Orphanage in the Sun, he felt the "sense of fragmentation" and "weirdness" for the first time, which appeared at the bottom of the painting. When drawing.
The fusion of line shapes and sketching techniques in traditional Chinese gongbi painting has different aesthetic styles and ways of using brushes. One is simple and the other is complex.
The concepts of pigment color are also different. One emphasizes spirit and the other emphasizes form.
Everyone can say this about learning from others’ strengths, but it’s just a matter of words.
The objective differences between the painting methods of different cultural systems are like whales and sharks. They both look like fish, but they are not the same species at all.
Fusion painting is known as a painting category "exclusively for art masters" like Wu Guanzhong and Zao Wou-Ki who can easily sell their works for a small target. Its difficulty and toughness are reflected here.
Theoretically,
for an art student of Gu Weijing's age, the hope of completing this high-end painting method is as slim as David challenging Goliath.
The look and feel of his previous works was very bad.
However, after three days of separation,
he now has a foundation of hundreds of line drawings and sketches, as well as Lang Shining's complete painting ideas.
As soon as he started writing,
Gu Weijing clearly noticed a completely different feeling from before.
Spring returns to the earth, the ice melts, and the drizzle washes away the dust and sand.
EvenAfter several weeks of hard work, all the obstacles disappeared, and the feeling of dullness and irritability in my heart completely disappeared when I wrote.
"It turned out to be true"
As soon as he occupied the high spot on the canvas and finished the outline of the Madonna, Gu Weijing suddenly had this idea in his mind, and he was secretly delighted. .
You are on the right path.
Although Mr. Cao Xuan himself has not dabbled in the field of fusion painting, the great master is the great master, and he definitely has a vicious eye when it comes to instructing people.
There is nothing wrong with the idea of "Line Drawing Sketches and Castiglione's New Body Painting".
It is indeed a broad road for beginners who want to try to express the concept of connecting China and the West on canvas in a smooth and satisfying way.
Line drawing can streamline the concave and convex changes of sketch lines and integrate them into meticulous white drawing.
The line drawing chapters of new style painting can also integrate the color science of traditional Chinese painting and oil painting. , through the change of visual focus of points, lines, surfaces and the combination of colors, the charm, form and spirit of Eastern and Western colors are combined into one.
The pen and ink are harmonious and run smoothly.
The light touch came from the tip of Gu Weijing's pen, like a fish returning to the water or a bird rising from the top of the mountain.
This is a whole new realm.
He cleaned the pen,
lightly dipped it in some pearl white, and began to fill in the most basic tones for the Madonna.
"Boom"
The rain was beating on the windows, and the light rain that continued all day came to the evening. Not only did it not show any intention of stopping, but it turned into a silver thread floating down.
Zigzag lightning flashed and died on the top of the old church. The sky was as dark as a piece of dark iron, with neither the setting sun nor the moonlight visible.
Gu Weijing lit up the tungsten light in the small studio of the orphanage.
When Uncle Alai was installing a security door for this small room, he asked the construction team to install a portable engineering lighting with a battery to facilitate Gu Weijing's painting.
That’s when it comes in handy.
When the first spring thunder rumbled from the window, Gu Weijing just finished the last stroke of the base map.
The white Madonna statue, the dark janitor, and the children in the yard illuminated by the sun
Gu Weijing painted with great restraint, using line drawings every time. The outline only lays out the basic contrast between light and dark in the main scene, and uses the simplest brushwork as possible to fill the composition of the picture.
But he was still not very fast at drawing the manuscript, and he had to think over many lines before he started writing them.
This high-level painting method that combines painting is still very complicated for Gu Weijing's current experience level as a professional painter. He must paint carefully to master the collision of Chinese and Western cultures in his paintings. .
"It's been such a long time"
He glanced at his watch. It took him about two hours to create a base map.
For oil painting villages like those in Guangdong Province, one person can paint in a yearTake the assembly-line art industrial production of two thousand pieces of Van Gogh's Starry Night.
In two hours, if you use acrylic, you can draw a complete oil painting and frame it. A painter who can paint at this speed is not even worthy of having a chicken drumstick for dinner.
Even for an ordinary art student, if it is not a huge painting that is several meters in length, it only takes tens of minutes to make a base map of the draft.
Gu Weijing’s painting speed was as slow as a snail.
But Gu Weijing was not anxious at all. He looked at the completed base map, imagined what the final picture would look like, and laughed silently.
The base picture on the canvas has a subtle and exquisite artistic balance, with the unique charm of the collision of two artistic styles in Eurasia.
If we say,
his previous painting of the Good Luck Orphanage under the Sun was impacted by two different cultural aesthetics into a fragmented tragedy.
The manuscript in front of me is like a pair of invisible hands, fusing two ancient souls into a flowing Tai Chi Yin and Yang fish.
This painting
came to life
Looking at the background painting in front of him, Gu Weijing even felt a sense of relief like a samurai sheathing his sword.
He looked at the time and sent a text message to his grandfather, Mr. Gu, explaining that he was going to paint and go home late, but he did not continue to write on the base map.
He simply packed up the paint, and after making sure that the thin layer of paint on the manuscript had dried completely, he gently put a dark plastic garbage bag on it to prevent dust from falling off.
Then Gu Weijing walked to the window and stared at the scenery outside the window.
"Maybe today is a good opportunity to copy the picture of the old church in a thunderstorm." Gu Weijing looked at the heavy rain outside the window, and a thought suddenly came to his mind,
Rain It was raining heavily.
The only light between the sky and the earth was the lightning that occasionally illuminated the earth. The dark clouds were like flowing black tides, covering the top of the head low.
"That female painter Carroll may have seen such a scene back then."
He thought for a moment, took out his mobile phone, and sent a message. "Miss Katsuko, do you want to come and paint together in the evening?"
"That female painter Carol-senpai may have seen such a scene back then"
Sakai Such thoughts flashed through Katsuko's mind.
She had just finished taking a shower, dried her hair, wrapped herself in white silk pajamas, and walked out of the bathroom.
After a day of shopping, Mrs. Sakai returned triumphantly carrying large and small bags of jewelry. Although her wallet was not shriveled, her body was obviously tired.
The lady was lying on the sofa bed in the living room of the suite. The home theater in front of her was playing HBO's hit drama "The Dragon" this year, but she had already fallen asleep.
"Alas."
Katsuko Sakai glanced at her mother's long breathing and smiled.
The girl walked over and turned off the TV, found a blanket and covered Mrs. Sakai, but she was not sleepy.
She walked into her bedroom in the suite and opened the window gently. The curtains swayed, and the cold wind and cool rain poured in from the window.
Katsuko Sakai likes rain, and artists always like rain.
Gazing into the dark rainy night always gives Ms. Sakai a huge, deep and sweet sense of desolation.
Thunderstorm is like a unique symphony between heaven and earth, with a fresh atmosphere far away from human traces.
She gently unbuttoned some of her pajamas, opened the window to the maximum, raised her white chin slightly, stretched out her arms as if to embrace the rainy night, and allowed herself to be overwhelmed by the nature outside the window.
Looking from the back,
the wind rolled up the silk robe, and the smooth calves and the white curves that made people bleed were looming in the fleeting lightning.
If Kou Kou sees this scene, she will definitely feel that bikinis are still too weak.
Even Paul Rubens, the great representative painter of Baroqueism who is famous for depicting the delicate skin and naked flesh of girls, may not be able to capture this moment of style skillfully.
Katsuko Sakai feels the cold feeling of wind sliding through the deepest part of her skin, and wants to touch the feelings of the impressionist female senior who was bathed in the same wind and rain one hundred and fifty years ago.
Spiritual synaesthesia and soul communication with the masters have always been the weaknesses of Katsuko Sakai when copying her paintings.
“Having very exquisite techniques, but only pale and empty emotions.”
This may be the sequelae of having experienced the most professional art skills training since birth.
Rousseau during the Renaissance once believed that
The most sublime state of an artist is to return to the "barbarian" who knows nothing and feel with a childlike and innocent soul. The way nature is.
All complicated techniques and acquired training will destroy the artist's ability to feel nature.
Too much skill will be charming, and too much complexity will be vulgar. There is a similar saying in Eastern painting.
Of course, Katsuko Sakai cannot and cannot forget all art theories and completely return to the mental state of the "noble savage" in the words of Rousseau, the master of the Enlightenment.
However,
She felt that as she and Gu Weijing wrote papers and discussed together, they kept exploring the aesthetic value and emotional expression of the old church in the thunderstorm. ,
Sakai Katsuko is increasingly able to escape from the cages of formulaic appreciation rhetoric and art theories in books and classes, and gradually travel through time and enter the heart of the female painter Carol. world.
"This feels so good. I wonder if Gu Jun is watching the rain too." She was a little lost in thought.
Just when Sakai Katsuko thought she felt something, the phone on the bedside vibrated several times. Please remember to bookmark the website, the latest, fastest and free reading without anti-theft<