Almighty painter

Chapter 211 Finger Smearing Method

new tool?
"You mean... an oil painting knife?" Gu Weijing asked hesitantly.

Different painting tools will have different final viewing effects on the surface of the linen canvas.

For textures and colors that cannot be handled by soft brushes, changing to a different painting method can often achieve a different effect.

For example, an oil painting knife can handle the mixing and over-excess of paint, scrape off the thick paint, and leave a strip of color spots formed by several shallow paints covering the smudge.

Gu Weijing's painting knife painting was born out of this.

Over a long period of time, there is no limit to the creativity of painters.

In addition to the common oil painting knife,

There are also hard pen holders, sponges, cloth pieces, 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 processing pigments.

Each painting tool can form its own exclusive texture, and many commonly used tools have been developed around corresponding exclusive techniques.

Subdivided,

They are not necessarily simpler than the related techniques of oil painting knives.

For example, when Henry Tonks, an impressionist painter in the early 20th century, was teaching at the Slade School of Art in London, he grabbed a piece of "The Times" bought at breakfast and used it to erase the paint on the canvas that he accidentally painted. dirt.

He stumbled upon this kind of old newspaper, which has a certain water absorption ability, and it is very useful in dealing with the details of the surface paint.

Based on this, he developed a new painting method using newspapers as a painting method, and named it "Tang Kefa" after his own surname.

Today,

Few people use "Tangke method" exclusively for painting.

However, using waste newspapers to remove redundant textures on the cheeks of characters and the surface of buildings is still a very practical technique for art students to draw portraits of people and landscape buildings with smooth surfaces.

The theory of truth is more common and practical than painting with a knife.

Before Gu Weijing got the "Summary of the Essence of New Body Painting", he considered using an oil painting knife to deal with excessive color.

He who holds a hammer always wants to hammer a nail.

The oil painting knife is the skill with the highest level of proficiency in his mastery. As long as there is something that can be used, Gu Weijing wants to try it.

Sadly, the paint knife is for thick, creamy paint coats.

It conflicts with the light and fresh painting viewpoint that Chinese painting pays attention to.

At the same time, it is easy to form ridge-like concave-convex texture lines on the surface of the oil painting with an oil painting knife, which is determined by the hard and natural properties of the painting knife.

This kind of abstract texture is not a bad thing, it is the characteristic of Huadao painting.

But it is different from Gu Weijing's pursuit of traditional realistic picture effects, and it is also completely opposite to the concept of new style painting.

The new type of painting is court painting.

When have you ever seen any painter in the Forbidden City paint the faces of Emperor Kangxi and Emperor Qianlong with pitted lines and ribs?
This is not a bold reform of the painting method,
This is what the painter is tired of.

If Emperor Kangxi mistakenly thought that he was making fun of his smallpox acne when he was young, the Nine Clans would definitely want to strangle him to death.

"This kind of picture is not suitable for oil painting knife, and it is not easy to use oil painting knife well."

Katsuko Sakai gently poked Gu Weijing's forehead with his finger, "I'm talking about a more direct way of painting, our fingers."

"This should not be Gu Jun's final exhibit, so you don't mind if I move?"

After obtaining Gu Weijing's consent, Ms. Sakai wrapped her fair fingertips with the tissue that Gu Weijing had just wiped off her sweat.

Leaning her whole body on the boy's shoulder, she stretched out her hand from above Gu Weijing's arm, directly pressed her finger on a high-gloss surface of the oil painting, and rubbed it gently.

"If such a painting is placed in front of me and I can't reach it with a pen, I may adopt this way of processing."

Katsuko's movements are a bit like children's drawings.

But her fingertips kneaded very carefully, brushing across the fingertips bit by bit.

"Fingers are the painting tools we are born with. They are rich in nerves and more flexible in joints. They are the most primitive and direct. When subtle effects need to be shown, they are better than brushes and paint knives. Not only children can paint with their fingers Da Vinci, Titian, Goya and Turner all liked painting with the finger daub method."

Katsuko Sakai slowly kneaded the pigment in the high-gloss color transition of Gu Weijing's pen into the deep texture fibers of the linen canvas with the belly of her fingers.

She exhaled like blue, and explained softly in Gu Weijing's ear.

"I was in the Uffizi Gallery in Florence, watching Titian's famous painting "Venus of Urbirno" up close. At that time, I noticed that Titian was very fond of dabbing highlights and accents with his fingers. , to soften the edges of the picture and create some ethereal and elegant atmosphere.”

When Gu Weijing started, more than half of his energy was distracted by the marshmallow-like soft touch coming from behind him.

After only ten seconds,

He got serious.

All of Gu Weijing's attention was attracted by Miss Shengzi's fingers and the canvas in front of him.

The position where Sakai Katsuko's finger points is the oblique upper corner of the canvas surface, the position of the big locust tree that is illuminated by the sun.

Gu Weijing has basically finished painting the details of the painting here.

The bright sunlight here creates a strong visual contrast with the shadow of the leaves.

sand~sand~
Sakai Katsuko's fingertips follow Gu Weijing's brush strokes and sweep across the edges of the leaves on the canvas surface, leaving a foggy outline.

She is like a housewife dealing with disobedient dough.

Layers of thick paint and light paint blended together under the squeeze of Katsuko's fingertips, resulting in a transparent and blurred picture effect.

The sky is opposite to the leaves, and the uppermost sky and the edge of the leaves are bridged together.

The leaves of the big locust tree retain a light but clear outline.

"Let's see, does this look much better? I actually like the foggy blur around the edges of the veins on the leaves, but if you want, you can also repaint the base color on this layer. Go up and fill in the veins."

It took Sakai Katsuko three or four minutes to carefully handle the edges of all the high-gloss parts of the locust tree leaves before dipping her fingertips into the thinner on one side.

She washed away the paint that had stained her hands through the tissue, and asked as if showing merit.

"Victor."

"Ok?"

"You are such a genius." Gu Weijing sighed softly while looking at the picture.

"You too." Sakai Katsuko smoothed his hair and responded with a smile.

There is no need to wait for the digitized panel finally given by the system.

Just looking at the current picture effect, Gu Weijing can also confirm that the current work has definitely made a lot of progress compared with his last drawing.

Katsuko Sakai's way of skipping the brush and directly handling the paint with her fingers is both bold and efficient.

The layers of light and dark colors are superimposed together very naturally, creating a very soft color gradient.

Like the faint morning light.

Gu Weijing's heart beat fast.

Miss Shengzi really gave him a big gift.

The method of smearing with fingers cannot help Gu Weijing to directly eliminate all the gaps in the picture.

It also has its own limitations, using fingers to apply paint, and is usually only suitable for dealing with the over-color of highlights.

The color transition is only one of the main reasons for the shortage of the picture. It can deal with the leaves and the sky, but the characters are not easy to use.

But it's still an idea as precious as gold.

Don't look at Ms. Sakai just dabbing on Gu Weijing's canvas with her fingertips for a few minutes.

Gu Weijing realized right away that the value of this painting had doubled compared to its predecessors.

This statement is no exaggeration.

The value of art paintings is not only a better picture look and feel, but also an irreplaceable art creativity.

And creativity is priceless!
A copy that is 100% plagiarized in the art world is hardly worth anything.

The judges of large galleries and art exhibitions have different requirements for painters than Brother Hao, and require originality.

A copyer who can only paint "Mona Lisa", "Starry Sky" and "Sunrise Impression" will not be liked by galleries at all, nor will the market like it.

The value of a work of art lies in its uniqueness and the thoughtfulness injected into it by the artist.

Duchamp once bought a cheap imitation of the "Mona Lisa" for tens of francs, 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" translated as - her ass is hot.

This "hot butt" was created in less than 3 minutes and was sold for about $2014 million in 100.

Collectors like Duchamp's extreme and maverick, as well as the many controversies and stories behind this painting.

But without Duchamp's mustache and rather vulgar prompting.

An imitation of the original Mona Lisa,

It's really only worth a few dozen francs.

If Gu Weijing dared to imitate a picture of "Emperor Qianlong Viewing Paintings" and submit it to the Lion City Art Exhibition.

No matter how good his imitation is, even if Castiglione himself sneaks out of the Portuguese missionary cemetery outside Fucheng Gate in the west of Beijing and lays down after painting.

Sorry,
The old men of the organizing committee will definitely throw out the drawing, step on it, and then spit.

The originality of the subject is the most basic requirement for exhibitors.

And whether the painting method is original is a bonus item.

If you regard "New Body Painting" as an art genre like "Impressionism".

Like what Gu Weijing is doing now, imitating the painting methods of his predecessors to create new works is not a particularly big problem in the field of classical painting.

A famous painter may be criticized for lack of originality.

For young painters who are far from "going out of their own way".It is too outrageous to ask them to innovate even the painting method.

Uncle Sakai's painting style in his youth is very similar to that of Angel.

The modern art world often no longer assigns the painting styles of living painters to belong to a specific school of art, and seeks to break the shackles of schools and be compatible.

But actually, if you look closely,
The brushwork of many artists contains a lot of shadows of classical painting techniques 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 court paintings of the Qing Dynasty.

Gu Weijing did everything on the canvas, from drafting on paper to smearing with brushes, the painters at the Forbidden City Academy of Painting had already done it hundreds of years ago.

until--

Ms. Katsuko Sakai leaned on his shoulders and put her fingers on the canvas in front of her.

"You're really amazing, Katsuko."

Gu Weijing was so happy that he wanted to hug Miss Sakai and hold her high.

She didn't just come up with great ideas for dealing with blown highlights for herself.

From this moment on, the "Good Luck Orphanage in the Sun" I wrote began to incorporate some new ideas.

Some brand new graphic elements that have never been seen before!

No matter how much effect this kind of change can produce in the picture, there is a fundamental difference between following the rules and improving and innovating in the art circle.

Gu Weijing looked at the soft and ethereal transitions of color created by Katsuko Sakai at the edge of the picture. The final effect of the painting method at this moment is unprecedented in history.

To be serious and exaggerated,
That is to say, the technique of just mixing the edges of colors with fingers may be a bit too simple, and it is difficult to rise to the height of artistic concept.

otherwise,

According to the naming method of scientific theorems, this painting method can be called "Lang Shining - Sakai Katsuko's new body painting painting method."

The art world prefers to refer to this innovation as [New New Body Painting] or [Post New Body Painting].

Seurat and Pissarro established Neo-Impressionists in history.

What they did was nothing more than to innovate the painting methods of their predecessors, replacing the original toning effect with a large number of mixed color dots.

The excessive color applied by Ms. Katsuko's fingers is essentially the same thing.

"Oh, we are different."

Gu Weijing remembered a month ago, when they parted in the parking lot, Taro Komatsu had just tore up his painting.The girl caught up with what was being said in his ear about "going out of your own way".

He sighed, and couldn't help feeling a little inferiority complex in his heart.

Compared with a real pure wild genius like others, his acquired system matured version just lacks aura.

Adding a new painterly element to the surface of a painting sounds easy.

As long as you don't care that the final effect of the picture will be "extraordinarily abstract" - the kind of abstraction in a pejorative sense.

Not to mention the finger smudge method,
Taking a brush and flicking ink dots upwards like a psychopath at a distance of a few meters can be regarded as a brand new artistic element... Performance art can also be called art, right?

But if you want to finally show a good effect that complements each other, it will be even more difficult.

People like Seurat used thousands of small color dots to improve the original painting method of Impressionism, which is a great achievement that can be included in the art textbooks of various countries.

Judging from the basic logic.

If it were so easy to improve a painting method, so many smart people in history, and so many scroll kings who hoped to get lucky in the court painting academy of the Qing Dynasty, would have done so long ago.

It is always very difficult to improve the underlying drawing method and bring good visual effects.

Look at the soft and excessive highlight colors on the drawing board in front of you.

Gu Weijing knew that Katsuko Sakai had made a successful improvement over his predecessors.

Perhaps it is only a small gain, but in the hearts of art exhibitions, galleries and knowledgeable collectors, the value of this painting and the status of the creator have completely changed from what they used to be.

What a golden finger of genius.

(End of this chapter)