Almighty painter

Chapter 376
  What's even more rare is that what he painted was a familiar theme that Wattel had practiced many times.

Wattel counted.

Excluding those exterior scenes, Gu Weijing used approximately 112 lines to draw the entire covered bridge.

The difference of a dozen lines.

It must be partly due to the slight difference in the structure and proportion of the covered bridge caused by the angle they chose for painting.

It's more about the differences in painting techniques and skills.

Why does Gu Weijing feel that every one of his lines has been refined and compressed into the most essential skeleton, yet Gu Weijing can still support the spirit of the entire work with fewer brushstrokes?

How can the turning points and transitions here be drawn out in one stroke?

Professor Watter put away the folder, took out a piece of watercolor paper again, took out a pencil, frowned, and secretly started drawing according to the impression.

Ok.

My head is itchy.

A brain needs to grow!

If Vatel had something as awesome as a system panel, he would surely be able to hear the sound of experience points increasing and the clanking sound in his ears at this moment.

……

In a studio separated by a wall.

There are experience points making a ding-dong sound.

The sound of increased skill experience flashed continuously from the system panel, just like big beads and small beads falling into a jade plate.

[Watercolor experience value +1]

[Watercolor experience value +3]

[Watercolor experience value +2]

Gu Weijing carefully and slowly dipped a 12mm flat tip into gray-toned paint and slowly drew it from the upper edge of the covered bridge pier.

Replaced with real brushes and paper.

He almost immediately understood what Watter meant by letting gravity freely exert its magic.

Watercolor paper and watercolor brushes are a match made in heaven.

This is like a can opener for a can, or a red wine glass for red wine. It is a natural and logical description that requires no explanation.

Only those who have painted know the truth in it.

Watercolor paper has a higher absorption and affinity for pigments than linen canvas has for oil paints.

Whether it is coarse or fine grain watercolor paper, its surface is covered with water-absorbing fibers.

The moment the pen tip touches the paper, the water-containing pigment dissolved in the brush immediately begins to dissolve and spread on the paper.

Simultaneously.

Modern watercolor paper is thick.

Its paper fibers are sandwiched with a layer of aluminum sulfate as an interlayer, which is the so-called alum coating.

This makes watercolor paper have very good water retention, and will not be easily soaked by water stains like wet sketch paper or toilet paper.

Just don't make the paint too thin.

When using dry painting methods such as flat painting to complete the entire work, pick up the watercolor paper. The part of the back that contacts the workbench should still be dry and white.

After the excess watercolor paint adheres to the paper.

They will flow downward in a small and regular manner above the alum coating.

When painting an oil painting, if a wet stroke is applied and the paint is still dripping down, the painting is not far away from being declared dead.

Watercolor is different.

Water is meant to flow.

Flow is the soul of watercolor. Paper has a limited capacity to absorb and store water per unit area. Without tilting the drawing board, the area smeared with too much watercolor paint will dry very slowly.

It dries so slowly that it doesn't hurt.

The reason why it is unacceptable is that the areas where the paint is applied too thickly will reflect light and be different from other areas, forming some unsightly light spots.

Once dry, the thick paint layer will clump together and easily crack and fall off the paper.

So the paint must flow diagonally.

It is as if there is an invisible hand, holding a small card, pushing the excess paint into the gaps in the paper fibers next to it, and dyeing it evenly.

Gravity is the gentlest, most stable, and most eternal third hand beside the painter.

Whether he was eating snacks fed by the palace maids in the Palace of Fontainebleau, or the watercolor master painting a portrait of Cardinal Richelieu who was scolding Fang Qiu.

Still a not-yet-famous art student, I stood miserable in the bleak winter snow, my nose bubbled with snot, my wrists trembling from the cold.

Gravity will always stand by your side. With a gravity acceleration of 9.8m/s^2, it will constantly attract the paint to flow downward and spread it evenly along the inherent curvature of the drawing board.

Let the brushstrokes become agile, magnificent and bright.

From this perspective, it treats all watercolor painters with a mother-like kindness and patience that ignores the noble and the humble.

For a semi-professional watercolor painter like Gu Weijing who has yet to get a glimpse of a career path, Professor Wattel can be regarded as a very good teacher.

He's definitely not the best, but he's a good fit.

He has very rich experience in how to guide low-level "beginners" like Gu Weijing to slowly get started and grasp the mystery of gravity.

Besides, this is what people eat.

Mr. Wattel does not have any genius-like epoch-making innovations, but he has a proven teaching method that has been honed over decades of teaching career.

Such is the practice of sketching grids to hone your ability to be precise with a pen.

The same goes for flat-painting exercises to improve your familiarity with watercolor brushes.

To put it simply, if you want to train national-level sprinters to become Usain Bolt, teachers like Professor Vettel must not have enough level, knowledge, or structure.

He couldn't hone a super genius into a gleaming peerless sword.

They have all reached that level of skill.

He also came to find a high school teacher for training, and the other party couldn't even think about it.

But if you can bring out ordinary students in the physical examination to get a professional entrance score of 211 through a single admission, tell your art students how to fully and deeply understand the artistic techniques he uses at the low-level stage as quickly as possible.

Wattle is very professional.

The 15-degree tilt angle of the workbench he set for Gu Weijing was very gentle.

It is suitable for Gu Weijing to get started now.

The so-called grasping gravity means grasping and controlling the laws of the natural flow of paint.

The more tilted the drawing board, the faster the paint will flow. The flatter the drawing board is, the slower the paint will flow.

This is the same as the small water droplets rolling endlessly on the cup lid according to the tilt of the sketch teacher's wrist. The simplest and simplest laws of physics are at work.

Most watercolor painters tend to set the tilt angle of their drawing board to about 25 degrees.

There are 30 degrees, 33 degrees, and 35 degrees.

In order to pursue higher painting efficiency, it is not uncommon to set the inclination angle of the flat workbench to exceed 40 degrees.

Some people have absolute confidence in their paintbrushes and believe that the paint they mix is ​​just right in consistency. A watercolor master who has everything that happens on the canvas within his control. Even when they paint watercolor paintings outdoors, they will use an easel almost the same as an oil painter, so that the painting board is almost completely vertical to the ground.

this time.

The stroke of pen and the flow and spread of paint are completed almost simultaneously.

As the brush slides across the paper, when the artist lifts the pen, the flowing and blending of the brush strokes has ended, and the next stroke of pen can be carried out without stopping.

Although this is a superb art, it is also too radical and leaves no room for error.

Gu Weijing challenged such a large tilt angle when he first came up. Since he was making things difficult for himself and was in a hurry, he might not be able to achieve much improvement or gain.

“The brush is not smooth enough and the paint is a bit thin.”

Gu Weijing raised his pen and looked at the gray southeastern tone he had just laid out for the bridge deck. He nodded and shook his head.

He now likes to draw at small angles like 15 degrees.

It's like a cup of light sake, mild, soft, and easy to use. You won't feel strong or dizzy when you drink it lightly. You can feel the fine grain, lactic acid and fruit aroma spreading on the tip of your tongue... Anyway, this is what Sakai said. The lady told him.

Gu Weijing had never drunk anything, so he generally felt like this.

this angle.

After he lifted the brush, he could still notice that the paint continued to spread slowly downward along the bottom edge where he put the brush, as if a layer of gray-white mist was slowly spreading on the paper.

Whether the stroke is light or heavy, there is clear feedback and control.

And this kind of feedback can lead to direct improvement of technical proficiency.

Mixing paint in watercolor brushes is a complex and precise art.

That one just now.

Gu Weijing was still a little worried about the paint flowing turbulently on the paper, so his brushstrokes were not moist enough and were a bit too dry.

Thick and uneven paint will form small light spots of different colors on the paper. A brush that is too dry will prevent the paint from fully and evenly moistening the absorbent fibers of the watercolor paper, resulting in dirty and messy colors, deep and shallow. White and gray.

Gu Weijing found that he had not mastered the strength of his writing.

During the flat painting process, due to the uneven application of force on the wrist, the brush strokes should have been a regular rectangular parallelepiped. In the end, the lower edge of the brush strokes became as irregular as ocean waves as the paint smudged and spread. undulating curve.

When starting the pen along such a wave-like trajectory, make the next straight line at the bottom.

If it is not handled well, the parts that are not covered enough by the paint will be transparent and appear colorless, while the parts where the two brush strokes repeatedly intersect will become darker due to the superposition of colors.

The entire background is laid out in this way.

When an audience looks at this painting closely, they will see some subtle small tones, small color bars and small dots of different shades on the paper.

Color spots are not necessarily a bad thing.

When Gu Weijing completed the painting "Good Luck Orphanage Under the Sun", he combined the Apple philosophy and the impressionist painter's way of depicting light on the canvas. The layered and fine brushstrokes created the effect of broken light, bringing A very good visual impression.

Impressionist ideas can also be applied to watercolor paintings.

Turner's art style is one of the important foundational sources of Impressionist painting theory.

Excellent watercolor paintings definitely need sufficient layering as support.

But it's not the "sense of hierarchy" that Gu Weijing has on paper now due to mistakes.

It was too messy and too uncontrollable.

This messy layering makes no sense.

After a high level of flat painting practice, the final effect will be that the painted paper surface should be as round and smooth as a smooth mirror surface, or an absolutely still water pool when there is no wind.

If Gu Weijing has finished painting an entire piece of watercolor paper, let it dry and then show it to the audience.

Even if the other party holds a magnifying glass, he can't find where he starts or picks up the pen, and he can't see any succession or transition in his brushwork.

There is no trajectory.

There is no color difference.

There is no distinction between hues and tones.

The audience can't even guess whether the paper is painted horizontally, vertically or diagonally, and even speculates that when it was produced, it was simply a gray paper.

Not to mention Gu Weijing, he is already a master of watercolor. At least, as far as the basic painting method of flat painting is concerned, he must be a master of the generation.

The ripples in the air, the vibrations in the water, the mottled old trees, the gorgeous aurora in the Arctic sky, the tear marks and dimples when a beauty smiles.

In the eyes of watercolor painters, all the layers of paint and the fluctuations in color in the world can be highlighted through special painting techniques such as overdying, gradient, wet painting, and dry chapping.

Only in watercolor flat painting practice.

There is no trace of the writing, it is the highest aesthetics.

The level caused by Gu Weijing's mistake is not called level.

It depends on how dry the brush is and the paint you choose.

The resulting image is somewhere between the skin of patients with vitiligo and psoriasis.

Gu Weijing stared at the spots on the small part of the covered bridge that he had painted. A watercolor painting suffering from skin disease would definitely not be called beautiful.

But he looked at it very seriously and had no intention of modifying it.

First of all, this is just a casual exercise.

Secondly, he had no way to modify it. There was an eraser for sketches, crumbs for toner, and a painting knife for oil paintings.

Watercolor paints nothing.

Whether the painting is good or bad, the moment the brush comes into contact with the paper and the paint penetrates into the paper, the final effect of the brush strokes is already finalized.

Unless we go back in time, no one can erase the mistakes on the screen from the page.

In the field of oil painting, there is a special knife painting, but it is simply not applicable in the watercolor category.

Although some art students prepare scrapers when they draw watercolors, this is different from special painting methods. It is because modern watercolor papers are generally of good quality and thick enough.

So when there is no other way.

If you really find that you made a mistake during the exam, you can also try to make amends by scraping off the unwanted parts and drawing again.

Because the oil painting knife scrapes the paint, the watercolor knife scrapes the paper and canvas itself.

Therefore, it is inevitable that the picture will eventually lose its color. It is essentially the same as writing a typo on a paper and tearing it off with tape.

You can really make a hole if you're not careful.

"You really have to use a paintbrush to draw."

Gu Weijing felt something.

He discovered that painting watercolors on the workbench and painting watercolors on an iPad are indeed two completely different methods of painting.

It’s not just the natural flow of paint.

There are also subtle differences in mentality.

All strokes in the drawing software on the iPad can be erased and undone losslessly, while painting on paper is done with a brush.

A stroke is a stroke, a painting is a painting.

No regrets when writing.

This is the delicate and cruel aspect of the art of watercolor, as well as its most gorgeous and charming aspect.

(End of this chapter)