What’s even more rare is that what he painted was a familiar subject that Watter had practiced many times.
Vettel counted.
Excluding those exterior scenes, Gu Weijing used approximately 112 lines to draw the entire covered bridge.
The difference of more than a dozen lines.
It must be partly due to the slight difference in the structure and proportion of the bridge caused by the angle they chose for painting.
It is more about the differences in painting techniques and skills.
Why does he already feel that every line of his has been refined and compressed into the most essential skeleton? Gu Weijing can still support the spirit of the entire work with fewer brushstrokes
How can the turns and transitions here be drawn in one stroke?
Professor Vatel put away the folder, took out a piece of watercolor paper and pencil again, frowned, and secretly He started drawing according to the impression.
Hmm.
My head feels itchy.
He needs to have a brain.
If Valtter had something as awesome as a system panel, he would surely be able to hear the experience value increasing in his ears right now. sound.
In the studio separated by a wall.
There is experience value making a ding-dong sound.
The sound of increased skill experience flashed continuously from the system panel, just like big beads and small beads falling into a jade plate.
Watercolor experience value 1
Watercolor experience value 3
Watercolor experience value 2
Gu Weijing used a 12 flat tip carefully and slowly dipped in gray-toned paint, slowly pulled across the upper edge of the covered bridge pier.
Replaced with real brushes and paper.
He almost immediately realized what Wattle meant by letting gravity freely exert its magic.
Watercolor paper and watercolor brushes are a match made in heaven.
This is like canning with a can opener, and red wine with a red wine glass. It is a natural and logical description that requires no explanation.
Only those who have painted know the great truth in it.
Watercolor paper has a higher absorption and affinity for pigments than linen canvas has for oil paints.
Whether it is coarse-grained or fine-grained watercolor paper, its surface is covered with water-absorbing fibers.
The moment the pen tip touches the paper, the water-containing pigment dissolved on the brush immediately begins to dissolve and spread on the paper.
At the same time.
Modern watercolor paper is thick.
Its paper fibers are mixed with a layer of aluminum sulfate as an interlayer, which is the so-called alum coating.
This makes watercolor paper have very good water retention, and will not be easily soaked by water stains like wet sketch paper or toilet paper.
As long as the paint is not too thin.
Use dry painting methods such as flat paintingWhen you have finished the entire painting, pick up the watercolor paper. The part of the back that touches the work surface should still be dry and white.
After excess watercolor paint adheres to the paper.
They will flow downward in a small amount according to certain rules above the alum coating.
When painting an oil painting, if a wet stroke is applied and the paint is still dripping down, the painting is not far away from being declared dead.
Watercolor is different.
Water is meant to flow.
Flow is the soul of watercolor. Paper per unit area has limited capacity to absorb and store water. Without tilting the drawing board, the area smeared with too much watercolor paint will dry very slowly.
Drying is slow enough to be innocuous.
The reason why it is unacceptable is that areas painted with too thick and thick paint will reflect light and be different from other areas, forming some unsightly light spots.
Once dry, the thick paint layer will clump together and easily crack and fall off the paper.
So the paint must flow diagonally.
It is as if there is an invisible hand, holding a small card, pushing the excess paint into the gaps in the paper fibers next to it for even dyeing.
Gravity is the gentlest, most stable, and most eternal third hand beside the painter.
Whether it was eating snacks fed by the palace maids in the Palace of Fontainebleau, or the watercolor master painting a portrait of Cardinal Richelieu who was scolding Fang Qiu.
Still miserable as an art student who has not yet become famous, he stood in the bleak winter snow, his nose bubbled with snot, and his wrists were shaking from the cold.
Gravity will always stand by your side. With a gravity acceleration of 98s2, it will constantly attract the paint to flow downward and spread it evenly along the inherent curvature of the drawing board.
Let the brushstrokes become agile, magnificent and bright.
From this perspective, it treats all watercolor painters with a mother-like kindness and patience that ignores the noble and the humble.
For a semi-professional watercolor painter like Gu Weijing who has yet to get a glimpse of his career path, Professor Wattel can be regarded as a very good teacher.
He is definitely not the best, but he is suitable.
He has very rich experience in how to guide low-level "beginners" like Gu Weijing to slowly get started and grasp the mystery of gravity.
What’s more, this is what people eat.
Mr. Wattle does not have any genius-like epoch-making innovations, but he has a proven teaching method that has been honed over decades of teaching career.
This is the grid sketching exercise that hone your ability to use the pen accurately.
The same goes for flat painting exercises to improve your familiarity with watercolor brushes.
To put it simply, if you want to train national-level sprinters to become Usain Bolt, a teacher like Professor Wattel must be qualified and knowledgeable., the pattern is not enough.
He cannot hone a super genius into a gleaming peerless sword.
They have reached that level of skill.
He also came to find a high school teacher for training, and the other party couldn’t even think about it.
But if you can bring out ordinary students in the physical examination with a professional entrance score that can enter 211 through independent recruitment, tell the art students under you how to fully and deeply understand the art he uses in the low-level stage as quickly as possible. techniques.
Vettel is very professional.
The 15-degree tilt angle of the workbench he set for Gu Weijing was very gentle.
It is suitable for Gu Weijing to get started now.
The so-called grasping gravity means grasping the laws that control the natural flow of paint.
The higher the tilt angle of the drawing board, the faster the paint will flow. The flatter the drawing board is, the slower the paint will flow.
This is the same as the small water droplets rolling endlessly on the cup lid according to the difference in the tilt of the sketch teacher's wrist. The simplest and simplest laws of physics are at work.
Most watercolor painters often set the tilt angle of the drawing board to about 25 degrees.
There are 30 degrees, 33 degrees, and 35 degrees.
In order to pursue higher painting efficiency, it is not uncommon to set the inclination angle of the flat workbench to exceed 40 degrees.
Some people have absolute confidence in their paintbrushes and think that the paint they have mixed is just right in viscosity. A watercolor master who has everything that happens on the canvas within his control.
When they paint watercolor paintings outdoors, they will use almost the same easel as an oil painter, so that the drawing board is almost completely vertical to the ground.
At this time.
The stroke of pen and the flow and spread of paint are completed almost simultaneously.
As the brush slides across the paper, when the artist lifts the pen, the flowing and blending of the brush strokes has also ended, and the next stroke of pen can be carried out without stopping.
Although this is a superb art, it is also too radical and leaves no room for error.
Gu Weijing challenged such a large tilt angle when he first came up. Since he was making things difficult for himself and was in a hurry, he might not be able to achieve much improvement and gain.
"The pen is not smooth enough, and the paint is a bit thin."
Gu Weijing raised his pen, looked at the gray southeast tone he had just laid out for the bridge deck, and nodded, He shook his head again.
He now likes the small tilt angle of 15 degrees.
Like a glass of light sake, it is mild, soft and easy to drink. You will not feel strong or dizzy when you drink it lightly. You can feel the fine grain, lactic acid and fruit aroma spreading on the tip of your tongue. Anyway, Miss Sakai told him this statement.
Gu Weijing has never drunk anything, so he should generally feel like this.
This angle.
After he lifted the brush, he could still notice that the paint continued to slowly spread downward along the bottom edge of where he put the brush, as if a layer of gray-white mist was slowly spreading on the paper.
There is clear feedback and control whether the stroke is light or heavy.
This kind of feedback can directly improve technical proficiency.
Paint mixing in watercolor brushes is a complex and precise art.
That one just now.
Gu Weijing was still a little worried about the paint flowing turbulently on the paper, so his brushstrokes were not moist enough and were a bit too dry.
Thick and uneven paint will form small light spots of different colors on the paper. A brush that is too dry will prevent the paint from fully and evenly moistening the absorbent fibers of the watercolor paper, resulting in dirty tones. And chaos, deep and shallow, white and gray.
Gu Weijing found that he had not mastered the strength of his writing.
During the flat painting process, due to the uneven application of force on the wrist, the brushstrokes should have been a regular rectangular parallelepiped. At the end, the lower edge of the brush strokes became smudged and spread as the paint smudged and spread. It turned into an irregular undulating curve like ocean waves.
When starting the pen along such a wavy trajectory, make the next straight line at the bottom.
If it is not handled well, the parts that are not covered enough by the paint will be transparent and appear colorless, while the parts where the two brush strokes repeatedly intersect will become darker due to the superposition of colors.
The entire background is laid out in this way.
When viewers observe this painting closely, they will see some subtle small tones, small color bars and small color dots of different shades on the painting paper.
Color spots are not necessarily a bad thing.
When Gu Weijing completed the painting of Good Luck Orphanage under the sun, he combined the Apple philosophy and the impressionist painter's way of depicting light on the canvas. The layered and fine brushstrokes created a broken light. The effect brings a very good visual impression.
Impressionist ideas can also be used in watercolor painting.
Turner’s art style is one of the important foundational sources of Impressionist painting theory.
Excellent watercolor paintings definitely need sufficient layering as support.
But it is not the "sense of hierarchy" that Gu Weijing has on paper now due to mistakes.
It’s too messy and too uncontrollable.
This messy hierarchy is meaningless.
After a high level of flat painting practice, the final effect will be that the painted paper surface should be as round and smooth as a smooth mirror surface, or an absolutely still water pool when there is no wind.
If Gu Weijing finishes painting an entire piece of watercolor paper, let it dry and show it to the audience.
The other party held a magnifying glass and could not find where he started or picked up the pen, nor could he see any transitions in his brushwork.
No track.
There is no color difference.
There is no distinction between hues and hues.
Even the audience couldn’t guess whether the paper was painted horizontally, vertically or diagonally, and even speculated that when it was produced, it was simply a gray paper.
Not to mention Gu Weijing, he is already a watercolor master. At least, as far as the basic painting method of flat painting is concerned, he is definitely a master.
The ripples in the air, the oscillations of the water waves, the mottled ancient trees, the gorgeous aurora in the Arctic sky, the tear marks and dimples when the beauty smiles.
In the eyes of watercolor painters, all the layers of pigments and the fluctuations in color in the world can be highlighted through special painting techniques such as overdying, gradient, wet painting, and dry chamfering.
Only in watercolor flat painting practice.
It leaves no trace when you write, it is the highest aesthetics.
The level caused by Gu Weijing's mistake is not called level.
It depends on how dry the brush is and the paint you choose.
The resulting image is somewhere between the skin of patients with vitiligo and psoriasis.
Gu Weijing stared at the spots on the small part of the covered bridge that he had painted. A watercolor painting suffering from skin disease would definitely not be called beautiful.
But he looked at it very seriously and had no intention of modifying it.
First of all, this is just a casual exercise.
Secondly, he had no way to modify it. There was an eraser for sketches, crumbs for toner, and a painting knife for oil paintings.
Watercolor paints nothing.
Whether the painting is good or bad, the moment the brush comes into contact with the paper and the paint penetrates into the paper, the final effect of the brush strokes has been finalized.
No one can erase the mistakes on the screen unless they turn back time.
There is a special knife painting in the field of oil painting, but it is simply not applicable in the watercolor category.
Although art students sometimes prepare scrapers next to them when painting watercolors, this is different from special painting methods. This is because modern watercolor papers are generally of good quality and thick enough.
So when there is no other way.
If you find that you made a mistake during the exam, you can also try to make amends by scraping off the unwanted parts and redrawing.
Because the oil painting knife scrapes the paint, while the watercolor knife scrapes the paper and canvas itself.
So it is inevitable that the picture will eventually lose its color, which is essentially the same as writing a typo on a paper and tearing it off with tape.
A hole can be made by accident.
"You really have to use a paintbrush to draw."
Gu Weijing felt something.
He discovered that painting watercolor on the workbench and painting watercolor on the iad are indeed two completely different painting methods.
It’s not just the natural flow of paint.
There are also subtle differences in mentality.
All strokes in the drawing software on IAD can be erased and undone without loss.Instead of painting with a brush on paper.
A stroke is a stroke, a painting is a painting.
No regrets once you put pen to paper.
This is the delicate and cruel part of the art of watercolor, and it is also its most gorgeous and charming part. Please remember to collect it, the latest and fastest website is free to read without anti-theft