Almighty painter

Chapter 181 Line Rendering
Gu Weijing took a clean paintbrush from the pen holder, placed it on the easel at a distance of about half a centimeter, and then gently rubbed the brush on the place where there was no paint on the canvas, simulating the feeling of using a brush when painting .

"It's much more refined."

The fineness of pen control is the cornerstone of a painter's painting ability.

From the perspective of oil painting, all the images on the work are composed of hundreds of ink lines, color blocks and color points.

All complicated techniques and ingenious ideas need to be expressed from a brush in hand.

The stronger the painter's control over the brush in his hand, the more accurate and fine the brushwork will be.Generally speaking, the final picture is more realistic.

Even the informal Fauvism,

The brushwork can be scattered, but not chaotic.

You can be rude, but you can't get out of control.

No matter how abstract and wild the lines of expression are in the avant-garde art, it is difficult for the audience to understand.As long as the painter still wants to express something, the brush must be controlled.No matter how to jump out or take a slanted sword, you can't leave this framework principle.

If it jumps out, it is not a painting, but a child's graffiti.

Objectively speaking, uncontrolled doodles of fine art...actually exist, and some are even very expensive.

The art market is mixed, and everyone's aesthetic needs are different, but this kind of work must be classified into the category of art, and it is also performance art, space art rather than painting art.

A painter who can't even use a pen well is not qualified to talk about artistry at all.

Dulwich College's sketch professor Watter, in the improvement class, let the students draw small grids with sketch pencils, which is to train the control ability of using the pen.

Soft pens such as brushes and oil paint brushes are undoubtedly much more difficult than hard pens such as pencils and carbon rods if they want to write with sufficient precision and draw accurately.

The brush is an extension of the painter's arm and mind, the theory goes.

In fact, among painters, those who can rotate their fingertips with small pencils and play with them like arms and fingers are already very good.

And the soft pens made of soft and elastic bristles, mink hair, wool, squirrel hair, weasel hair, etc., are like "prosthetic limbs" in the hands of most students, with a layer of barriers that are difficult to eliminate , cannot be precisely controlled.

Analogous to the ancient battlefield,
If you want to split an apple on someone else's head in half, you must have different proficiency requirements for using a light weapon like a dagger and a heavy weapon like a European-style two-handed epee.

After the Song Dynasty, the masters of Chinese painting in Eastern Xia were often masters of soft brush calligraphy, and the principles are the same.

Gu Weijing felt,

If he had reached the second-level professional level, he would use a small oil paintbrush to play the game of drawing small grids.

Compared with a master like Mondrian, who can have half-millimeter-level precision in every oil painting line in his works, there is still a long way to go.

It's not too bad to draw, and it's not difficult.

In the scene of copying "The Old Church in a Thunderstorm", the experience value has been greatly improved, and the most significant change brought to Gu Weijing is that he can show some lines that he could not draw originally.

The beating candle flames of the old church were broken down into hundreds of flowing lines in Gu Weijing's mind.

Only by expressing these color lines as much as possible on paper with a pen can the vivid and brilliant light of colored candles be restored.

Without the support of brush strokes, the paint is a dead thing.That's why, Gu Weijing and Ms. Sakai said, it is not enough to just adjust the paint.

The dancing lines of the candlelight are clearly in front of my eyes, but most of them cannot be grasped by my original self. This feeling is very frustrating.

Knowing the principle in the brain is completely different from being able to draw it with the pen.

The story about Leonardo Da Vinci who spent a year drawing smooth eggs is doubtful.

There are too many ordinary people in the real world, but they really draw a circle with freehands, and the drawings are full of strange things and bumps.

To draw a candle is more than an order of magnitude more difficult than an egg.

It's easy to draw simple.

Just use two simplest lines to make an upside-down peach heart on the candle, as long as you don't worry about being laughed out of your teeth, this is also called candlelight.

If you want to paint realistic enough, you will always have to challenge your own limits.

Originally, Gu Weijing could only pick out those lines in his mind that were easy to draw, expressing them out of ten, and if there were more, they would be tangled up like messy wool ends.

He now,

But I am sure to use the brush in my hand to reproduce and restore 50.00% of the lines on the paper, or even more.

Gu Weijing's pen tip was stained with paint, and with a slight flick of his wrist, a mysterious and agile beautiful line like an antelope's horns appeared on the canvas.

His confidence soared.

"Don't run, I've got you!"

Gu Weijing glanced at the rainy night outside the window again, talking happily to the naughty elf-like elusive lines in his mind, with a smile like an old hunter holding a shotgun on his face.

He believes that as long as he grasps these lines, the "thin" candlelight he painted in the past will immediately become full and three-dimensional.

"Gu Jun is usually much more mature than Gang Chang in dealing with people, and occasionally he will show such a child-like persistent and serious side, which is cute."

Sakai Katsuko heard Gu Weijing's soliloquy and smiled.

Even though she didn't quite understand what Gu Weijing had caught, she still breathed a sigh of relief.

The most depressing thing for a painter is to sit and meditate facing the scenery.

The more you think about it, the more you worry, the more you think about it, the more sad you get, and finally get emotional and shoot someone else in the head, or shoot yourself in the head, Katsuko Sakai has heard of it.

It's better to start writing.

No matter what kind of plan Gu Weijing has, as long as he starts to paint, he will realize his own problems while painting, and he will not be in a corner.

"Failed, hit the south wall, and turned back." Sakai Katsuko smiled.

Faced with Gu Weijing's move to seize the opportunity to imitate the works of the female painter Carroll.

Maybe some people think that this guy is stupid and doesn't know the heights of the sky and the earth, but Sakai Katsuko just thinks the boys around him are very interesting.

If you want to make achievements beyond ordinary people on the art stage, how can you do it without ambition.

Even if it's silly, it's cute and silly.

A little failure actually helps the other party grow.

Sakai Katsuko is someone who has seen the size of the world, but Gu Weijing is not.

A wild genius in a small place, because he can't meet anyone at the same level as himself among his peers, it is easy to believe too much in his ability.

In the future, I went to Paris, Florence, St. Petersburg, WYN... In the top art academy and art environment, 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, Shang Zhongyong, were born in this way.This question even troubled a whole generation of excellent African painters.

Usually hit the wall a few more times, as long as you can quickly adjust your mentality, it will be good for your future development.

Thinking of this,

Sakai Katsuko herself was not in a hurry to start writing, she was going to wait for Gu Weijing to try and fail, and then analyze and analyze the problem with him.

It's not that Ms. Sakai has no confidence in Gu Weijing's level, but that she knows how strong the brushwork skills of this senior woman, Carol, are.

Again,
If it weren't for her terrible brushwork skills, it would be impossible for Uncle Sakai, who was just wandering in the evening, to see the dirty and dusty "Old Church in a Thunderstorm Day" on the calligraphy and painting booth at a glance. Different.

Even though Gu Weijing seemed to be full of confidence, Ms. Shengzi was not optimistic.

All of a sudden, the story of a great enlightenment and a qualitative leap in technique is not uncommon in the painting circle.

Similar descriptions can be seen almost in the biographies of famous masters such as Picasso and Monet. Katsuko Sakai also experienced this feeling of sudden enlightenment once.

However, on the whole, epiphany or something is still an extremely low probability event.

Sakai Katsuko would not naively think that Gu Weijing just happened to meet by such a coincidence.

Most of the time, the epiphany that art students think is just that the frog at the bottom of the well jumped lightly on the smooth wall of the well, and soon they will find that they fall back to the bottom of the well in vain.

Katsuko Sakai saw that Gu Weijing arranged rainbow-like interlaced pigments on the palette in turn from cool tones to warm tones. Each pigment was in a small pool, and he was holding two paintbrushes in his hand.

Sakai Katsuko 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 to say: "Let me wash your brushes for you? You can draw with peace of mind."

"Thanks, I'll just use a small brush, one or two."

Gu Weijing nodded, but did not reject Sakai Katsuko's kindness.

Oil painting is different from brush and gouache. Paste pigments have strong adhesion and are slightly difficult to wash.If there is unwashed paint between the brush hairs, it may contaminate the picture.

For the convenience of painting, when expressing color mixing, I often use a brush for one main color, and change the brush directly when changing the color, and wash the brush together at the end.

They were originally one person's painting tool and two people used it. Although there were a lot of paintbrushes, there were only four small paintbrushes with small peaks.

With a thicker brush, if you draw small lines, there will be a sense of incongruity in 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 to have Katsuko Sakai to help wash the brushes.

"You want to use the lines of the smallest brush to over-render the color a little bit?" Sakai Katsuko nodded encouragingly: "Well, the idea is still good."

Similar to pointillism, delicate brushwork with small gradient lines expresses subtle changes in dark and bright parts.

This way, Sakai Katsuko also thought about it.

This is how the female painter Carroll painted.

However, Sakai Katsuko felt that her ability was not up to the mark, so she didn't deliberately switch to a very fine brush.

If you can't draw it, you just can't draw it.

This is not something that can be solved if you change pens more diligently and mix more paints.

If there are more stationery, the problem of pen experience can be solved, then as long as you buy more pens, everyone will be an artist.

The more exaggerated art students have two or three stacks of dozens of paint brushes beside them. When painting, they hold one in their right hand and three in their left hand. It looks like they are selling brushes.

What should be painted is not what to paint.

If the skills are not up to the mark, and blindly pursue the extreme fineness of the lines, the picture will appear messy.

Sakai Katsuko didn't want to hurt Gu Weijing's self-confidence, so she didn't speak out her thoughts, but made suggestions on the sidelines.

"In fact, if you simply want to express delicate lines, you can use a hazel-shaped oil brush for better results, but unfortunately we are not prepared."

Oil paint brushes are divided into three main brush classifications: hazel (pointed), flat and fan-shaped.

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.

The fan-shaped or inclined quadrilateral oil paint brush is a type of oil paint brush that only appeared in modern times.

The hazel-shaped oil brush is the best tool for expressing delicate lines because of its sharp tip.
This temporary studio converted from a concierge hut is relatively simple. Katsuko Sakai and the others use flat-headed oil paint brushes, which are not very convenient for handling small lines.

"Next time, I'll give you..."

Katsuko Sakai was leaning against the window sill with a brush holder in her hand, tilting her cheeks and watching Gu Weijing draw a picture, the voice of casual chatter suddenly stopped.

She held her breath suddenly, her lilac-colored pupils stared at the canvas in front of Gu Weijing without blinking.

Ms. Shengzi noticed that Gu Weijing's brushwork is very elegant and smooth, and the lines in his pen convey an elegant feeling everywhere.

Flat brushes are prone to uneven strokes.

Gu Weijing holds the smallest paintbrush in his hand. The No. [-] oil paintbrush is only about four millimeters wide, which is about the same thickness as the smallest cotton swab. destroyed.

Katsuko Sakai discovered that

From the beginning to the end, Gu Weijing's arms did not tremble at all, his wrists were as stable as a mechanical arm, his movements were bold, and his lines were flexible and not dull.

The flames flowed, ethereal and radiant.

And the lines in his pen are to describe the intangible with the tangible.

One line, two lines, ten lines...

Ms. Sakai watched more carefully, more seriously.

In terms of each of these lines, she felt that she could draw them.

It can be combined together, if there is no mistake at all, it will be difficult.

Gu Weijing's ability to do it is naturally not something that can be explained by pure luck.

"Pen?"

Ms. Sakai was taken aback, only then did she realize that Gu Weijing was about to change to another color, and hastily handed over the clean paintbrush in her hand, and dunked the paintbrush he had just used into the pen holder.

She just watched Gu Weijing's painting silently, watching the miracle happen before her eyes.

With Gu Weijing's pen,

Little by little, the fire light began to burn slowly on the blank canvas, and it seemed that finely divided colored fireflies gathered into a wonderful spiral on the canvas.

Deep and mysterious, just like what Carroll described in my memory.

Sakai Katsuko needed to cover her mouth slowly to suppress the unbelievable exclamation of joy from her heaving chest.

(End of this chapter)