Gu Weijing took a clean paintbrush from the pen holder, placed it on the easel at a distance of about half a centimeter over an empty spot, and gently used the brush to rub the areas without paint on the canvas, simulating the movements of painting. Feel it with a pen.
“It’s much more precise.”
The degree of precision in controlling the brush is the cornerstone of the artist’s painting ability.
From the perspective of oil painting, all images on the work are composed of hundreds of ink lines, color blocks and color points.
All the complicated techniques and ingenious ideas need to be expressed with a brush in your hand.
The more control a painter has over his brush, the more accurate and precise his strokes will be. Generally speaking, the final picture is more realistic.
Even if you are an informal Fauvist,
the brushwork can be scattered but not chaotic.
You can be rude, but you can't lose control.
No matter how avant-garde art is, no matter how abstract and wild the lines it expresses, it is difficult for the audience to understand. As long as the artist still wants to express something, the brush must be controlled. No matter how you escape or take the wrong approach, you cannot leave this framework principle.
When it jumps out, it’s not a painting, but a child’s graffiti.
Objectively, art works with uncontrolled graffiti actually exist, and some are even very expensive.
The art market is a mixed bag, and everyone’s aesthetic needs are different. However, this kind of work must be classified into the category of art. It is also performance art and space art rather than painting art.
A painter who cannot even use a pen well has no qualifications to talk about artistry.
Dulwich's sketching professor Vattle asked students to use sketching pencils to draw small grids in the improvement class, which is to train the ability to control the pen.
It is undoubtedly much more difficult for soft pens such as brushes and oil brushes to draw accurately and accurately than hard pens such as pencils and carbon rods.
The brush is an extension of the painter's arm and consciousness, or so it is said in theory.
In fact, among the painters, those who can use the small pencil to rotate the fingertip and use it like an arm are already very good.
Soft pens made of soft and elastic boar bristles, mink hair, wool, squirrel hair, weasel hair, etc., are like "prosthetics" in the hands of most students, with a layer of The sense of alienation is difficult to eliminate and cannot be precisely controlled.
As an analogy to the ancient battlefield,
If you want to split an apple in half on someone else's head, use a light small weapon such as a dagger and a European-style heavy hand. A heavy weapon like a sword that can be opened and closed definitely requires different levels of proficiency.
After the Song Dynasty, the masters of traditional Chinese painting in Eastern Xia were often masters of soft-brush calligraphy, and the principles are the same.
Gu Weijing felt that,
if he had reached the second-level professional level, he could instead use a small oil paintbrush to play the game of drawing small grids.
With a master like Mondrian, every oil painting line in his work can beThere's still a long way to go for pathological control comparisons with half-millimeter precision.
It can be drawn pretty much the same, but it’s not difficult.
In the scene in front of him of copying the old church on a thunderstorm day, the significant increase in experience points brought about the most significant change for Gu Weijing, which was that he could express some things that he could not otherwise draw. The lines are gone.
The dancing candlelight flames of the old church were broken down into hundreds of flowing lines in Gu Weijing's mind.
Only by expressing as many of these color lines as possible on paper with pen can the vivid and brilliant light of colorful candlelight be restored.
Without the support of brushwork skills, paint is dead. This is why, Gu Weijing and Miss Sakai said, it is not enough just to mix the paint accurately.
The dancing lines of candlelight are clearly filling the eyes, but most of them are beyond the reach of the original self. This feeling is very frustrating.
Knowing the principle in your brain is completely different from whether you can draw it in writing.
The story that it took Leonardo da Vinci a year to draw an egg with smooth lines is doubtful.
Too many ordinary people in the real world actually draw a circle with their bare hands and the drawings are all kinds of weird and bumpy.
It is more than an order of magnitude more difficult to draw a candle than an egg.
It’s easy to draw simply.
Use two simplest lines to form an upside-down heart on a candle. As long as you are not worried about being laughed out of your mind, this is also called candlelight.
If you want to draw something realistic enough, you will always have the only way to continuously challenge your own limits.
Gu Weijing could only pick out the lines in his mind that were easy to draw and express them one-tenth of the way. If there were more lines, they would become tangled up like messy yarn.
Now,
he is confident that he can use the brush in his hand to reproduce 50% of the lines on the paper, or even more.
The tip of Gu Weijing's pen was dipped in paint, and with a flick of his wrist, a beautiful and mysterious line, like an antelope hanging its horns, appeared on the canvas.
His confidence increased greatly.
"Don't run, I caught you"
Gu Weijing glanced at the rainy night outside the window again, facing the lines in his mind that were as hard to capture as naughty elves He said happily to himself, with a smile on his face like an old hunter holding a shotgun.
He believes that as long as he captures these lines, the "thin" candlelight he drew when copying will immediately become fuller and three-dimensional.
"Gu Jun is much more mature than Tsunasa in dealing with people. Occasionally he will show such a child-like persistence and sincerity, which is cute."
Sakai Katsuko heard that Gu Wei Sutra talks to himself and smiles.
Even though she didn't quite understand what Gu Weijing had caught, she still felt a little relieved.
The most frustrating thing for a painter is to sit there facing the scenery.meditation.
The more you think about it, the more annoyed you become, and the more you think about it, the more nervous you become. Finally, you get emotional and shoot someone else in the head, or shoot yourself in the head. Sakai Katsuko has heard of it.
It’s better to start writing.
No matter what Gu Weijing’s plans are, as soon as he starts painting, he will realize his problems and won’t get into trouble.
"If you fail, you will hit the wall, so you will turn back." Sakai Katsuko smiled.
Facing Gu Weijing, he wanted to seize the opportunity and copy the divine intention of the female painter Carroll's works.
Maybe some people think that this guy is stupid and doesn’t know how high the sky is, but Katsuko Sakai just thinks that the boys around her are interesting.
If you want to achieve something beyond ordinary people on the artistic stage, how can you do it without some ambition?
Even if he is stupid, he is still cute.
A slight failure can actually help the other party grow.
Sakai Katsuko is a person who has seen the vastness of the world, but Gu Weijing is not.
Wild geniuses in small places, because they never meet anyone of similar level to themselves among their peers, it is easy for them to believe too much in their own abilities.
In the future, I went to Paris, Florence, St. Petersburg, and yn. In the top art academy and art environment, I was surrounded by the best students from all over the world. I suddenly found that I suddenly became mediocre. .
A huge psychological gap will make people feel depressed and lose their fighting spirit.
Many small towns in the history of art were born in this way. This problem has even troubled an entire generation of outstanding African painters.
As long as you can quickly adjust your mentality if you hit the wall a few times, it will be beneficial to your future development.
Thinking of this,
Sakai Katsuko herself was not too anxious to start writing. She planned to wait for Gu Weijing's attempt to fail before analyzing the problem with him.
It’s not that Ms. Sakai has no confidence in Gu Weijing’s level, but that she knows how strong this female senior’s writing skills are.
The same sentence,
If it weren’t for her terrible brushing skills, it would not have been possible for Uncle Sakai, who was just wandering around in the evening, to spot the calligraphy and painting stalls at a glance. The dirty and dusty old church on a thunderstorm day is unique.
Even if Gu Weijing looks confident, Miss Shengzi is not optimistic.
Stories of sudden enlightenment and qualitative leaps in technique are not uncommon in the painting circle.
Similar descriptions can be seen in almost all the biographies of famous figures such as Picasso and Monet. This feeling of sudden enlightenment was also experienced by Katsuko Sakai once.
However, overall, epiphany or something is still an extremely unlikely event.
Sakai Katsuko would not naively think that Gu Weijing happened to meet him by such a coincidence.
Most of the time, art students think thatThe epiphany is just a frog at the bottom of the well jumping lightly onto the smooth well wall. Soon they will find that they fall back to the bottom of the well in vain.
Sakai Katsuko saw Gu Weijing mixing a rainbow-like array of paints on the palette, from cold to warm tones, with a small spread of each paint, and two sticks in his hand. brush.
Katsuko Sakai immediately guessed that the other party wanted to use delicate brushwork to express the effect of light and color mixing.
So she took the initiative and said, "Let me wash your brushes and you can paint with peace of mind."
"Thank you, I only need to use a small brush, size 1 or 2."
Gu Weijing nodded and did not reject Sakai Katsuko's kindness.
Oil paintings are different from brushes and gouache. Paste pigments have stronger adhesion and are slightly more difficult to wash. If there is unwashed paint between the bristles of the brush, it may contaminate the painting.
For the convenience of painting, when expressing color mixing, one brush is often used for one main color. When changing colors, the brush is directly changed, and finally the brushes are washed together.
They were originally one person's painting tools and two people were using them. Although there were many brushes, there were only four small brushes with sufficiently small peaks.
If you use a thicker brush and draw small lines, it will look like Zhang Fei's embroidery.
The colors of the candlelight here are changeable, and the brushes are definitely not enough for one-time use. It is much more convenient for me to have Katsuko Sakai to help wash the brushes.
"You want to use the smallest brush line to over-render the color a little bit." Sakai Katsuko nodded and encouraged, "Well, the idea is still good."
Similar points The color painting method uses delicate brushwork with fine gradient lines to express subtle changes in dark and light parts.
Katsuko Sakai has also thought about this method.
This is how the female painter Carroll painted.
However, Sakai Katsuko felt that her ability was not up to par, so she did not deliberately switch to extremely fine brushes.
If you can’t draw it, you just can’t draw it.
This cannot be solved by changing pens more diligently and mixing more paints.
If you have more stationery, you can solve the problem of experience in using pens. Then as long as you buy more pens, everyone will be an artist.
The more exaggerated art students have dozens of paintbrushes in two or three stacks around them. When painting, they hold one in their right hand and three in their left hand. They look like they are selling brushes.
What should be painted is not what it should be.
If you don’t have enough skill and just pursue the extremely fine lines, the picture will look messy.
Sakai Katsuko was unwilling to undermine Gu Weijing's self-confidence, so she did not express her thoughts and instead made suggestions from the side.
“In fact, if you simply want to express delicate lines, using a hazel-shaped oil paint brush will have better results. Unfortunately, we are not prepared.”
Oil paint brushes are divided into hazel-shaped tips. There are three main categories of brushes: flat and fan..
Medieval tempera painters and Renaissance realist oil painters basically used hazel-shaped oil paint brushes, while impressionist painters preferred to use flat-headed oil paint brushes.
Oil paint brushes with fan-shaped or tilted quadrilateral tips are a type of oil paint brush that only appeared in modern times.
Hazel-shaped oil paint brushes are the best tool for expressing delicate lines because of their sharp tips.
This temporary studio converted from a porter’s hut is relatively simple. Sakai Katsuko and the others use They are all flat oil paint brushes, which are not very convenient for handling small lines.
"Next time, I'll give it to you"
Sakai Katsuko held the pen washer and leaned against the window sill. She tilted her cheek and looked at Gu Weijing painting, chatting casually. Suddenly paused.
She held her breath fiercely and stared at the canvas in front of Gu Weijing with her lilac-colored pupils without blinking.
Miss Shengzi noticed that Dao Gu Weijing’s writing style was very elegant and smooth, and the lines in his writing conveyed an elegant feeling everywhere.
Flat brushes are prone to uneven strokes.
What Gu Weijing has in his hand is the smallest paintbrush. The tip of the No. 1 oil paintbrush is only about four millimeters wide, which is about the same thickness as the smallest cotton swab. Any instability and the line will be ruined.
Sakai Katsuko discovered that
Gu Weijing’s arms did not tremble at all from the beginning to the end. His wrists were as stable as mechanical arms, and his movements were very bold. The lines are flexible and not dull.
The flame flows, is ethereal and invisible, and is brilliant.
And the lines he writes use the tangible to depict the intangible.
One line, two lines, ten lines
Miss Sakai looked more and more carefully, and the more she looked, the more seriously she looked.
She felt that she could draw each of these lines alone.
It can be combined together, but it would be difficult to make no mistakes at all.
Gu Weijing's ability to do it cannot be explained by pure luck.
"Brush"
Miss Sakai was startled, and then realized that Gu Weijing was about to change to a different color, and hurriedly handed over the clean brush in his hand. Soak the paintbrush he just used up into the pen holder.
She just watched Gu Weijing paint in silence, watching the miracle happen before her eyes.
As Gu Weijing used the brush,
The fire began to burn slowly on the blank canvas, and it seemed like tiny colorful fireflies gathered on the canvas to form a wonderful spiral.
It is profound and mysterious, just like what Carroll wrote in his memory.
Sakai Katsuko needed to slowly cover her mouth to suppress the incredible exclamation of joy from her heaving chest. Please remember to collect it, the latest and fastest website is free to read without anti-theft