Almighty painter

Chapter 374 Sketch
  The moment Miao Aung Win angrily said "I can't do it" in front of the publicity board.

He must not have expected it.

What a coincidence is that at the other end of the school, in the British-style teaching building covered with green vines, there is another person holding Gu Weijing's sketch, with a dull expression like a puppet.

If he knew that even Mr. Wattle, who taught him sketching, was now muttering to himself in a life of doubt.

Maybe he would feel comforted.

Or perhaps, Miao Anwen will completely feel cold despair and giving up on pursuing Gu Weijing in painting techniques.

Make sense.

After twenty or thirty years of tireless exploration and practice in sketching, I was easily stepped on by high school students less than half my age.

Use common sense to judge.

Teacher Watter should feel as angry as Miao Aung Win, or at least a little bit unconcealed dejection and frustration.

but.

At this moment.

The German teacher was not angry at all, nor did he even feel too depressed.

It's been a while since he had this sketch in his hands. It was time for him to be agitated, but he was already agitated.

After going through——

"Fuck me, this is the level a high school student should have, so outrageous!" and "Fuck me, why can't I draw such a work. I'm so envious!" and finally "Fuck me, why can't I draw such a work? , this painting is really great, I don’t care, I must keep it.” After a series of multiple and complex subtle psychological changes.

Now he just wants to quietly appreciate the indescribable ingenuity between the lines of the water covered bridge in his hand.

He just held the watercolor paper in his hand and sat on the chair for a long time.

Until the wind seeped out from the gap in the window of the teacher's office and slid over Professor Vattle's leather jacket that was rolled up high against the cuffs of his sleeves. He couldn't help but stretch out a finger and scratch it a few times.

The warm spring breeze should have been quite a gentle touch.

A small layer of goosebumps appeared on the sketch professor's exposed skin.

He scratched the itch twice, took the unfinished Heineken, held the watercolor paper in his hand, looked at it a few times and took a sip of the beer, then looked at it a few more times, and then took a sip.

Appreciate the subtleties and ingenuity.

The tongue in his mouth couldn't help but lick between the professor's upper teeth, making a squeaking sound.

"This is more exciting than watching a football game."

Wattle sighed slowly.

He lost this competition with students.

If we look at it from the perspective of a teacher, each stroke, each stroke, the stability of each structure, the smoothness of each line, the turning and shaping of each pen tip, are all scored one by one.

Vettel's loss may not be too much.

Each item is slightly inferior.

At least, Gu Weijing's line drawing works can't be said to be useless based on these separated details.

But when all the "missing three points" are gathered into one painting.

result,

It becomes a crushing of clouds and mud.

In front of this exquisite sketch he held in his hand, Watter was convinced that he had lost.

Gu Weijing and his sketching techniques are indeed no longer in the same league.

"It's funny. I was thinking confidently that today's pencil draft is pretty good."

Watter put the empty beer can aside, touched his hair, and laughed.

half an hour ago.

He bent over his desk on watercolor paper and confidently sketched out the final touches of the neat white buildings surrounding the Greek-style hall of the Imperial Museum between the waves of the Berlin Museum Island.

When completing this water covered bridge.

Teacher Wattle specifically glanced at the alarm clock at hand.

6 minutes 57 seconds.

The painting speed was a little slower than he expected.

The goal of finishing within 6 minutes was not reached, and it was slightly exceeded by one minute.

"It doesn't matter, it's slow, but it's worth the slowness."

He stood up and walked towards the studio in the back room, giving what he thought was a fair summary of the painting process in his mind.

Without accuracy, it is meaningless to talk about speed.

It's slower than I imagined, and it's better than I imagined.

Every stroke he makes is smooth and precise. All his professional accumulation and practice experience in the art of sketching are reflected in the 8-karat watercolor paper in his hand.

Not to mention a super god.

He also used [-]% of his extraordinary skills.

"126 lines."

Wattel even silently recorded the total number of lines he drew.

A total of just over 130 strokes were used during the drawing process.

He was not satisfied with the results of only a few strokes, and made slight deletions.

More than 130 strokes and 126 lines.

For the still life theme he chose to paint, such as the bridge on the water, which is neat but not simple, he can compress the number of brush strokes and control the accuracy of the strokes to this degree.

It’s not that Wang Po sells melons and boasts about herself.

Professor Wattel believes that his sketching techniques can really be called "sophisticated".

The number of lines in the sketch manuscript, given the overall look and feel of the work, is more streamlined, compressed, and capable, indicating that the artist's level is more in line with the soul of the sketch, and the more able he is to capture the most vivid aspects of the scene. A line... This matter has always been controversial in academic circles.

To put it bluntly.

It is currently believed that it is meaningful to talk about the number of lines only in an artistic environment like Dulwich College where the European drawing school is taught.

It is impossible to say which one is better than the European sketch, but their characteristics are very distinct.

The Soviet Union’s aesthetic system and overall aesthetic approach were inherited from a unique context that was different from Western society.

in history.

The culture and art of the entire Russian feudal era were deeply infected and influenced by the gorgeous French fashion. Except for Andrei Lublev, the only medieval icon painter, and the equally unique medieval tome.

The most brilliant and dazzling art, literature and poetry in the entire history of Russia, which shocked the world, were all born in a short period of one and a half centuries accompanied by drastic social changes.

1811 years.

France declares war on Tsarist Russia.

This was the most legendary moment of the French Empire in history. Under the leadership of Napoleon, the traditional European powers Austria, Prussia, and the United Kingdom were defeated by him one after another. France dominated the European continent by occupying all of Italy and northern Spain.

At the beginning of the year, Napoleon's queen gave birth to the crown prince in the Tuileries Palace. The city of Paris was lit up and a hundred salutes were fired continuously. Napoleon personally gave him the title "Roi de Rome", which means "this boy will rule the world like the king of ancient Rome."

in a trance.

It seems that the once huge and diverse empire like Rome will reappear throughout Europe in a thousand years.

Who else can stop the power of this invincible god of war?

After experiencing five consecutive defeats, European countries hurriedly formed the sixth anti-French alliance.

No one could have predicted it.

After paying the price of burning the city of Moscow in flames, Tsarist Russia almost single-handedly ruined Napoleon's half-million-strong expeditionary force, as well as his ambition and ambition to rebuild Rome, relying on the never-ending cold wind of winter on the Siberian snowfields. dream.

This is a battle for the founding of the Russian people based on their spiritual culture.

Since that day.

They discovered that they, these uneducated barbarians from the snowy plains, could also overthrow the French, who represented the brightest light of civilization.

So why do they need to learn Western European art and culture and be proud of being able to speak French?
  Why can't they have their own unique aesthetic theory and cultural aesthetic?
  the century and a half that followed.

The Slavs took European traditional art as their roots and bloomed their own unique flowers in the cold wind of Siberia.

The Soviet painting style is thick and rigorous, solemn to the point of melancholy.

It seems that it has melted the eternal snow on the outskirts of Moscow in winter and the [-]-ton Bronze Horseman statue on Twelve Party Square in St. Petersburg into its own pen and ink.

The Russian system of sketching has absolute rationality and absolute rigor that the sketching education in all other countries does not have.

There is an inappropriate statement.

The same portrait sketch.

Whether it was painted by Soviet system painters, even ordinary people can see it at a glance. The paintings drawn by Soviet painters are thicker and grayer because they use 50% more pencil lines than European sketch painters. They focus on using thick brushwork and precise shapes to shape objects.

In order to seriously analyze the painting object, from the inside to the outside, the strokes are like the corners of the dense knitted silk clothes of the cold-warming cotton clothes.

I painted it densely.

Rather than comparing the brush strokes of Soviet sketches to the corners of a military coat on the snowy field, it is better to say that they have the balance and stability of the classicism of the Seven Sisters Building on the streets of Moscow (note), with the vertical and horizontal lines like weaving and the intricate patterns like Baroque. The style palace follows the architectural concepts of absolute symmetry and absolute balance, which are precisely derived from the traditional Russian aesthetic taste.

(Note: The Seven Sisters of Moscow are seven Moscow landmark buildings represented by the main building of the National University. Their solemn and heavy reinforced concrete structures are representative products of Soviet-style architectural aesthetics.)
  Blizzards, wars, earthquakes, no matter what kind of turmoil or suffering, can never destroy the natural coordination and supreme balance in works of art.

European sketches are the opposite.

It is the light spring water under the Alps, the joyful floating notes on the violin strings in the Vienna Park, and the subtle arc of the snow-white collarbone exposed by the lady's low-cut dress in the ball and salon at the Palace of Versailles.

To be lighter, more graceful, more erratic.

The elusive artistry of painting takes far higher priority than the so-called balance.

Or to put it more bluntly.

In the European sketch theory system, the highest priority is not sketching at all, but oil painting and watercolor.

Sketching serves oil painting, and sketching serves watercolor.

The purpose of practicing sketching lines is to produce more accurate and expressive outline drafts when painting oil paintings and watercolors. The purpose of practicing black and white shading is to master the contrast and matching of pigment colors when painting oil paintings.

Therefore, how to use the fewest and most capable lines to depict the most subtle and expressive outlines of scenery has become an important criterion for judging the level of a sketch artist.

Whether it is the art system of Western Europe or the Soviet Union, they have advantages that the other cannot match, and they also have their own limitations. It mainly depends on the technical level of the artist who puts down the pen.

Russian sketch masters also have very vivid and expressive lines.

German masters like Menzel were known for their scalpel-like structural rigor.

All roads lead to Rome.

The line techniques of outstanding masters cannot be divided into schools. They can use their own talents to transcend the limitations of their own regions.

If you want to be complicated, be complicated; if you want to be simple, be simple.

but.

To let the style of the brush in your hand move according to your heart, the requirements are still too high for a professional painter of the level of Vattel or Gu Weijing.

The European sketch route they followed is still at the primary stage of subtracting their works.

"Under the most ideal situation. There are a few excesses that can be dealt with, and the arched structure at the top can be pulled out in one stroke..."

Vettel is projected for his styling abilities.

When it is flawless, the total number of hook lines can be reduced to about 120, and errors and modifications can be controlled to less than three.

But this is just an imaginary situation.

It is already a very ideal state for a painter to be able to exert [-]% of his ability.

Even if you are an exam-oriented player, it is impossible for you to accidentally hit the extraordinary performance that only happens once in a hundred times during major exams and competitions.

As long as you can perform more than [-]% stably, there is nothing to be dissatisfied with.

Walter is like this.

The same is true for Gu Weijing in the studio.

He typed the Museum Island manuscript many times, and many of the lines should have been as smooth as if he had memorized them in his mind.

But in fact, although he had never counted carefully before, there were not many times that he could be squeezed into 130 strokes in one go.

There were several this time.

He felt it was extremely expressive.

When a painter completes a work that satisfies him, the clearest feeling in his heart is not overflowing with self-satisfaction, but a sense of relief and contentment.

When Professor Wattel walked into the studio.

He has the kind of solemn joy that he feels when he completes a bloody breakthrough on the football field, panting slightly, watching the football roll into the net.

As expected.

Gu Weijing still hasn't had time to finish the entire work, and is still drawing something on the tilted watercolor board with a pencil.

For a moment.

Professor Wattel felt he had won the battle.

"Not finished? The covered bridge on the water shouldn't be such a difficult connection. I've already finished the same draft." He endured it again and again, but finally couldn't resist the urge to show off.

"Almost, teacher, it's almost done. The structure here is a bit complicated for me, and I still need to finish it off a little." Gu Weijing said without raising his head.

"Well, it doesn't matter. Just because it's easy for me, doesn't mean it's easy for you too. There's still time, don't be in a hurry, and draw well——"

Professor Watter walked a few steps toward the workbench with his hands behind his back, wanting to see how much slower Gu Weijing's drawing progress was than himself.

After three seconds.

The incomprehensible and proud smile on his face was brutally killed the moment he saw the other person's sketch on watercolor paper.

(End of this chapter)