New tool?
"Are you referring to...the oil painting knife?" Gu Weijing asked hesitantly.
Different painting tools will produce different final viewing effects on the surface of linen canvas.
For textures and colors that soft brushes cannot handle, using a different painting method can often create a different effect.
For example, an oil painting knife can handle the mixing and excess of pigments, scraping off thick pigments, leaving a strip of color spots formed by several shallow layers of pigment covering the smudge.
Gu Weijing's knife painting was born out of this.
Over a long period of time, there is no limit to the artist's creative power.
In addition to the common oil painting knife,
There are also hard pen holders, sponges, pieces of cloth, newspapers and even horn combs, cooking colanders and lipstick caps, all of which have been studied by previous painters and used as painting tools for handling paint.
Each painting tool can form its own unique texture, and many commonly used tools have been developed with corresponding exclusive techniques.
Broken down,
None of them may be simpler than the related techniques of the oil painting knife.
For example, when the early 20th century Impressionist painter Henry Tonks was teaching at the Slade School of Art in London, he grabbed a piece of The Times he bought for breakfast and used it to erase the stains he had accidentally painted on the canvas. Dirt.
He accidentally discovered that this kind of old newspaper, which has a certain ability to absorb water, is very useful when working with surface paint details.
Based on this, he developed a new painting method using newspapers as a painting method, and named it "Tang Ke Method" after his surname.
To this day,
There are very few people who specifically use the "Tangke method" for painting.
However, using scrap newspapers to remove excess texture from the faces of characters and the surfaces of buildings is still a very practical technique for artists to draw portraits and landscapes with smooth surfaces.
In truth, it is more common and practical than painting with a knife.
Before Gu Weijing received the "Summary of the Essence of New Body Painting", he had considered using an oil painting knife to deal with excess color.
He who holds a big hammer always wants to hammer nails.
The oil painting knife was the skill he had the highest level of proficiency in. As long as it could be useful, Gu Weijing wanted to try it.
Unfortunately, the only use case for a paint knife is to deal with thick, creamy coatings of paint.
It conflicts with the light and fresh painting concept that Chinese painting emphasizes.
At the same time, using an oil painting knife can easily form ridge-like uneven texture lines on the surface of the oil painting, which is determined by the hard natural properties of the painting knife.
This kind of abstract texture is not a bad thing, it is a characteristic of Hua Dao Hua.
However, it is different from the traditional realistic picture effect pursued by Gu Weijing, and it is also completely opposite to the concept of new body painting.
New style painting is palace painting.
Have you ever seen any painter in the Forbidden City paint the faces of Emperors Kangxi and Qianlong with bumps and ridges?
This is not a bold reform of painting methods.
This is the life of a painter.
If Emperor Kangxi mistakenly thought that he was making fun of the pimples left by smallpox in his childhood, the nine tribes would definitely want to strangle him to death.
"This kind of painting is not suitable for using an oil painting knife, and it is not easy to use an oil painting knife well."
Sakai Katsuko gently poked Gu Weijing's forehead with her finger, "I'm talking about a more direct way of painting, our fingers."
"This is probably not your final exhibition work, Gu Jun. So, do you mind if I move it?"
After obtaining Gu Weijing's consent, Miss Sakai wrapped the white fingertips with the tissue she had just wiped off Gu Weijing's sweat.
She leaned on the boy's shoulder, stretched out her hand from above Gu Weijing's arm, directly pressed her fingers on a high-gloss surface of the oil painting, and rubbed it gently.
"If such a painting was placed in front of me and I couldn't achieve it with my pen, I might adopt this method of treatment."
Katsuko's movements look a bit like children's drawings.
But she rubbed her fingertips very carefully, and brushed them little by little.
"Fingers are the painting tools we are born with. They are rich in nerves and have more flexible joints. They are the most primitive and direct. When we need to show subtle effects, they are better than brushes and knives. Not only children will paint with their fingers Leonardo da Vinci, Titian, Goya and Turner all favored the finger daubing method of painting.”
Katsuko Sakai used her fingertips to slowly rub the paint at the transition point between the high-gloss colors in Gu Weijing's brush into the deep texture fibers of the linen canvas.
She exhaled like blue and explained softly in Gu Weijing's ear.
"I once viewed Titian's famous painting "Venus of Urbirno" up close at the Uffizi Gallery in Florence. At that time, I noticed that Titian liked to use his fingers to lightly rub highlights and accents. , to soften the edges of the picture and create some ethereal elegance.”
When Gu Weijing started, more than half of his energy was distracted by the wonderful soft and gentle touch of marshmallow coming from behind.
Only after more than ten seconds,
He became serious.
Gu Weijing's entire attention was attracted by Miss Shengzi's fingers and the canvas in front of him.
The position where Katsuko Sakai's finger points is exactly at the diagonally upper corner of the canvas surface, where the large locust tree shines from the sun.
Gu Weijing has basically finished the painting details here just now.
The bright sunlight here creates a strong visual contrast with the shadows of the leaves.
sand~sand~
Sakai Katsuko's fingertips followed the outline of Gu Weijing's brush and swept it from the edge of the leaves on the canvas surface, leaving a misty outline.
She looks like a housewife dealing with disobedient dough.
Layers of thick and light pigments blend together under the pressure of Katsuko’s fingertips, creating a translucent yet blurry picture effect.
The sky is opposite to the leaves, and the uppermost sky and the edges of the leaves are merged together.
The leaves of the big locust tree retain their light but clear outline.
"Look, would this effect be much better? I actually think that the misty blur at the edge of the veins of the leaves is quite good, but if you want, you can also add this background color again. Go up and patch the veins on the leaves."
Sakai Katsuko spent three or four minutes carefully processing the edges of all the high-gloss parts of the leaves of the locust tree, and then dipped her fingertips into the thinner on one side.
She washed off the paint that had stained her hands through the paper towel and asked as if she was doing something good.
"Katsuko."
"Um?"
"You are such a genius." Gu Weijing sighed softly as he looked at the picture.
"You too." Sakai Katsuko smoothed her hair and responded with a smile.
There is no need to wait for the final digitized panel provided by the system.
Just looking at the current picture effect, Gu Weijing can confirm that the current work has definitely made a lot of progress compared to his last painting.
The way Katsuko Sakai skips the brush and directly uses her fingers to handle the paint is both bold and efficient.
The layers of light and dark colors are superimposed very naturally, creating a very soft color gradient.
Like the faint morning light.
Gu Weijing's heartbeat was very fast.
Miss Katsuko really gave him a great gift.
The finger smearing method cannot help Gu Weijing directly eliminate all the gaps in the painting.
It also has its own limitations, as applying paint with your fingers is generally only suitable for dealing with highlight overtones.
Color transition is only one of the main reasons for the shortcomings of the picture. It can be used to deal with leaves and sky, but it is not easy to use with characters. It is messed up when you apply it with your fingers.
But it's still an idea worth its weight in gold.
Don't look at it. Miss Sakai just used her fingertips to smear on Gu Weijing's canvas for a few minutes.
Gu Weijing immediately realized that the value of this painting had doubled compared to its predecessor.
This statement is no exaggeration.
The valuable thing about art paintings is not only the better look and feel, but also the artistic creativity that cannot be replaced.
And creativity is priceless!
Forgeries that are 100% plagiarized in the art world are almost worthless.
The judges of large galleries and art exhibitions have different demands on painters than Brother Hao, requiring originality.
A copyist who can only paint "Mona Lisa", "Starry Night", and "Sunrise Impression" will not be favored by galleries at all, and the market will not like it either.
The value of a work of art lies in its uniqueness and the thoughtfulness the artist has put into it.
Duchamp once spent dozens of francs to buy a cheap imitation of the "Mona Lisa", then added a few mustaches to it, and wrote "LHOOQ" on the surface of the painting with a marker.
The French pronunciation of LHOOQ is "elle a chand au cul" which translates as - her ass is hot.
The painting "Hot Butt", which took less than three minutes to create, was sold for about $1 million when it changed hands in 2014.
Collectors like Duchamp's extremeness and uniqueness, as well as the many controversies and stories behind this painting.
But without Duchamp's few mustaches and rather vulgar promptings.
The original copy of the Mona Lisa,
It's really only worth a few dozen francs.
If Gu Weijing dared to imitate a "Picture of Emperor Qianlong's Viewing Painting", he would submit it to the Lion City Art Exhibition.
No matter how good his imitation is, even if Castiglione himself secretly crawled out from the Portuguese missionary cemetery outside Fuchengmen in western Beijing and lay down again after finishing the painting.
Excuse me,
The old men on the organizing committee will definitely throw out the drawings, step on them, and spit on them.
Subject originality is the most basic requirement for participation in the exhibition.
Whether the painting method is original is a bonus.
If you think of "New Body Painting" as an art school like "Impressionism".
Like what Gu Weijing is doing now, imitating the painting methods of his predecessors and creating new works is not a particularly big problem in the field of classical painting.
A painter who becomes famous may be criticized for lacking originality.
For young painters who are far from “going their own way”. It is outrageous to ask them to innovate even their painting methods.
Uncle Sakai's painting style during his youth was very similar to Ingres.
The modern art world often no longer assigns the painting styles of living painters to belong to a specific art school. It pursues to break the shackles of schools and be inclusive.
But actually if you look closely,
The brushwork of many artists contains a lot of shadows of classical painting methods such as Impressionism and Aestheticism.
Gu Weijing could only be regarded as an imitator of "New Body Painting".
What he painted is no different from the palace paintings of the Qing Dynasty.
Everything Gu Weijing did on the canvas, from the drawing on the paper to the drawing of the lines with the brush, had already been done by the painters at the Forbidden City Painting Academy hundreds of years ago.
until--
Ms. Sakai Katsuko lay on his shoulder and placed her fingers on the canvas in front of her.
"You're really awesome, Katsuko."
Gu Weijing was so happy that he wanted to pick up Miss Sakai and lift her up high.
She didn't just come up with great ideas for herself on how to deal with over-highlighting.
From this moment on, my own "Good Luck Orphanage Under the Sun" began to incorporate some new ideas.
Some brand new graphic elements that have never been seen before!
No matter how much effect this change can produce in the painting, there is a fundamental difference between conformity and improvement and innovation in the art circle.
Gu Weijing looked at the soft and ethereal color transition created by Katsuko Sakai at the edge of the painting. The final effect of this painting at this moment was unprecedented in history.
To be more serious and exaggerated,
In other words, the technique of just blending color edges with your fingers may be a bit too simple, and it is difficult to rise to the level of artistic concepts.
otherwise,
According to the naming method of scientific theorems, this painting method can be called "Lang Shining-Sakai Katsuko New Style Painting Method."
The art world prefers to call this innovation "New New Body Painting" or "Post-New Body Painting".
Seurat and Pissarro, who established Neo-Impressionism in history.
What they did was nothing more than to innovate the painting methods of their predecessors, using a large number of mixed color dots to replace the original color mixing effect.
It's essentially the same thing as the excessive color applied by Katsuko-san's fingers.
"Oh, we are different."
Gu Weijing remembered that a month ago, when they parted in the parking lot, Komatsu Taro had just torn up his painting. The girl catches up and whispers in his ear the words about "making your own way".
He sighed, and couldn't help but feel a sense of inferiority that he couldn't hide.
Compared with a true pure wild genius like him, a version of him that has been matured by the acquired system just lacks some aura.
Adding new painterly elements to the surface of a painting sounds easy.
As long as you no longer care that the final effect of the picture will be "exceptionally abstract" - abstract in a derogatory sense.
Not to mention the finger smear method;
Taking a writing brush from a distance of several meters and randomly flicking ink dots upwards like a psychopath is a brand new artistic element...Performance art can be said to be art or not.
But if you want to finally achieve a good effect that complements each other, it will be even more difficult.
People like Seurat used the color mixing effect of millions of small color dots to improve the original painting methods of Impressionism, which is a great achievement that can be written into art textbooks in various countries.
Judge it from basic logic.
If it were so easy to improve a painting method, so many smart people in history, and so many scroll kings in the Qing Dynasty palace painting academy who hoped to gain good fortune, would have done so long ago.
It is always very difficult to improve the underlying painting method and bring good visual effects.
Look at the soft and excessive highlight colors on the drawing board in front of you.
Gu Weijing understood that Sakai Katsuko had made successful improvements over the previous painters.
Perhaps it is just a small gain, but in the minds of art exhibitions, galleries and knowledgeable collectors, the value of this painting and the status of its creator are completely different from what they used to be.
What a genius golden finger.
(End of chapter)
