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 writing,
He specially used pigments containing heavy metals 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 paints currently used by Gu Weijing,
It 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 a slight sacrifice in 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,
In the later painting process, the base map will gradually be filled in with more complete paint details, like a roof added to a house and the keels covering the layers of decks.
In the end, only a small part of the base image will be displayed on the appearance of the completed painting, which does not affect the look and feel.
Therefore, it doesn't matter if you make a small sacrifice. The faster it dries, the better. There is no need to wait two or three days for the base map to dry after painting.
Draw 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 when the audience appreciates the final painting, they cannot see the original underdrawing,
But for professional painters, just by glancing at the base map of a painting, they can already imagine the final look of the painting.
An underdrawing is a schematic 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, three-year-olds look older and eight-year-olds look older.
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 "beauty", only a "medium appearance", or even worse, a "hateful appearance" ".
However,
After all, sketches can only show the composition ability of the creator, and at most they can test the artist's sketching 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 use the draft of Raphael's "School of Athens" to design the composition, sometimes after the painting is finished, the audience will think that the painting is monkeys having a meeting.
In the same way,
"Mona Lisa", a portrait painted by Leonardo da Vinci based on a pyramid structure according to strict standards, without even having any creative composition, can still be painted into a masterpiece.
If you have a deep enough artistic appreciation,
Whether you are a gallery agent, art critic, art curator, or a senior collector like Chen Shenglin, you may be able to design a good draft.
But it is impossible for non-professional painters to 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 require 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, including the shape structure and color matching ability, are all truly expressed.
It is as if this painting has reached 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 always judge the upper and lower limits of the painting.
Some art agents and gallery brokers, after going to the studio and looking at the artist's half-finished drawings, roughly what price they will be sold for, and what the market expectations are, they can already start to give the artist a formal offer and purchase contract.
Just because the base map is the projection of the final product,
Therefore, no matter what major shortcomings the final product has, they will all be reflected when drawing the base drawing.
Gu Weijing had previously tried to paint fusion paintings. When he was completing the painting "Good Luck Orphanage Under the Sun", he first felt the "sense of fragmentation" and "weirdness" when he was drawing the base map.
The fusion of line shapes and sketching techniques in traditional Chinese gongbi paintings 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 that you should learn from other people's strong points, but it just stays in 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, if he wants to complete this high-end painting method, he has as little hope as David challenging Goliath.
The look and feel of his previous works was terrible.
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.
Just started writing,
Gu Weijing clearly noticed that he felt completely different from before.
Spring returns to the earth, the ice melts, and the drizzle washes away the dust.
The hard work of several consecutive weeks has paid off. All the obstacles have disappeared, and the feeling of stagnation that made me feel depressed and irritable while writing has completely disappeared.
"Sure enough it happened!"
As soon as he occupied the high spot on the canvas and completed the outline of the Madonna, Gu Weijing had this idea in his mind and was secretly delighted.
Keep yourself on the right path.
Although Mr. Cao Xuan himself has not dabbled in the field of fusion painting, the Grand Master is the Grand Master, and he definitely has a vicious eye when it comes to instructing people.
There is nothing wrong with the idea of "line drawing sketch + Lang Shining'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 chapter of "New Body Painting" can combine the color science of Chinese painting and oil painting, through the change of visual focus of points, lines and planes and the combination of colors, to combine the charm, form and spirit of Eastern and Western colors into one.
The pen and ink are harmonious and run smoothly.
Gu Weijing's pen tip came with a light touch, like a fish returning to the water or a bird rising from the top of the mountain.
This is a whole new level.
He cleans his pen,
After lightly applying some pearl white, I started to fill in the most basic tones for the Madonna statue.
"Boom!"
The rain was beating against the windows, and the light rain that continued all day did not stop at all in the evening. Instead, 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 turned on 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 happened to come 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, the children in the yard illuminated by the sun...
Gu Weijing painted with great restraint. Every time he used line drawing to outline the outline, he only laid out the basic contrast between light and dark in the main scene, and used the simplest brushwork as possible to fill the composition of the picture.
But he still didn't draw the manuscript very quickly, and he considered many lines before he started writing them.
This high-level painting method of fusion painting is still very complicated for Gu Weijing's current experience level as a professional painter. He must paint carefully in order to master the collision of Chinese and Western cultures in his paintings.
"It's been this long?"
He looked at his watch. It took him about two hours to make a base map.
For an assembly-line art industrial production like the Oil Painting Village in Guangdong Province, one person can paint two thousand paintings of Van Gogh's "Starry Night" a year.
In two hours, if you use acrylic, you can paint a complete oil painting and frame it. A painter who can draw at this speed is not even worthy of having a chicken drumstick for dinner.
Even for ordinary art students, if it is not a huge painting that is several meters in length, it only takes dozens 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 painting on the canvas has a subtle and exquisite artistic balance, with the unique charm of the collision of two artistic styles from the Eurasian continent.
If,
His previous painting "Good Luck Orphanage Under the Sun" was transformed into a fragmented tragedy by two different cultural aesthetics.
Then the manuscript in front of me is like a pair of invisible hands, merging two ancient souls into a flowing Tai Chi Yin and Yang fish.
this painting……
Live!
Looking at the background map 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 come home late, but he did not continue to write on the base map.
He simply packed away 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.
Then Gu Weijing walked to the window and stared at the scenery outside the window.
"Maybe today is a good opportunity to copy the painting "Old Church in a Thunderstorm"." Gu Weijing looked at the heavy rain outside the window, and a thought suddenly came to his mind,
It's raining heavily,
The only light between the sky and the earth is the lightning that occasionally illuminates the earth. The dark clouds are like flowing black tides, covering the top of the head low.
"The female painter Carol may have seen such a scene back then."
He thought for a moment, took out his cell phone, and sent a message. "Miss Katsuko? Do you want to come and paint together in the evening?"
…
"That female painter, Senior Carol, maybe she saw such a scene back then?"
Such thoughts flashed through Sakai Katsuko's mind.
She had just finished taking a shower, dried her hair, and walked out of the bathroom wrapped in white silk pajamas.
After a day of shopping, Mrs. Sakai came home 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.
"well."
Sakai Katsuko 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.
Staring into the dark rainy night always gives Miss Sakai a huge, deep and sweet sense of desolation.
A thunderstorm is like a unique symphony between heaven and earth, with a fresh atmosphere far away from human traces.
She gently unbuttoned some 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 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 felt the cold feeling of wind sliding through the deepest part of her skin, and wanted 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 a weakness of Katsuko Sakai when copying her paintings.
"It has 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 sublimated state of an artist is to return to the "savage" who knows nothing and experience the original appearance of nature with a childlike and innocent soul.
All the complicated techniques and acquired training will destroy the artist's ability to feel nature.
If it is too clever, it will be charming, if it is too complicated, it will be vulgar. There is a similar saying in Eastern paintings.
Of course, Katsuko Sakai cannot and cannot forget all art theories and completely return to the mental state of the "noble savage" described by Rousseau, the master of the Enlightenment.
However,
She felt that as she and Gu Weijing wrote papers and discussed together, constantly exploring the aesthetic value and emotional expression of "The Old Church on a Thunderstorm Day",
Sakai Katsuko is increasingly able to escape from the cage of formulaic appreciation rhetoric and art theory in the classroom, and gradually travel through time and enter the inner world of the female painter Carroll.
"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 beside the bed vibrated several times.
(End of chapter)
