Almighty painter

Chapter 532 Straightness and Arc

Gu Weijing dipped the tip of his pen into paint and applied it lightly on the canvas.

It's not like painting.

It's like applying a layer of moisturizing lotion to a girl's skin to keep it moisturized.

The reason why she is called a girl is probably due to the natural gender difference.

Gu Weijing was not a man like Awang, who had rough living habits and didn't like to wash his face or bathe.

But I just use facial cleanser in the morning and evening and forget about it.

Even on the Dulwich campus, those young boys imitating the exquisite creams of Korean and Japanese dramas apply moisturizing water on their faces.

He probably didn't have the patience that Gu Weijing had with the canvas in front of him at the moment.

He once met Kou Kou backstage at the rehearsal of the school's May Dance, who was touching up her makeup by the small mirror under the stage.

Elastic, firm, like gelatin.

Even the paint effect he wanted to create on the canvas was similar to the advertising slogan of a cosmetics company——

Kou Kou seemed to notice his surprised peeking eyes, glanced at him in the mirror, and told Gu Weijing openly not to look at these things, each one has a different use.

Girls are quite troublesome every day, Gu Weijing nodded and thought to himself, and immediately retracted his gaze.

The oil painting techniques of the third level of the profession have not yet reached the level where legendary level skills do not need to be explained at all.

And it can highlight the translucent, cream-like texture of white jade like magnolia petals.

All of these may lead to inconsistent solidification speed of the picture. The color shrinkage rate of the outer layer is much faster than that of the inner layer, causing the picture to collapse.

Various small brushes, small tweezers, large and small powder puffs, eyelash curlers and eyebrow brushes... one by one.

But compared to the previous painting on fresh linseed oil, the difficulty has dropped from dancing on the blade to the level of an Indian acrobat performing a tightrope performance wearing a safety rope.

Fresh ingredients only need simple steaming.

Gu Weijing quickly applied a layer of highly volatile liquid pigment on the basis of the semi-solidified color film.

Because the bottom layer of paint has begun to dry, the tension imbalance between the two layers of paint will not be too serious, and the collapse of the paint will only make the color tighter and full of elasticity.

It is tied with a safety rope with Level 6 professional oil painting technique of Level .

It seems outrageous. In fact, Gu Weijing did not directly apply thin paint directly on fresh thick paint... doing so was like dancing on the tip of a knife. When mixing colors and painting, the humidity of the air is not controlled at all. , or even just the surrounding air flow velocity suddenly increased.

His admiration for the other party has skyrocketed, and he no longer feels that Kou Kou is impatient in doing things.

Koko was in the mirror, winking at him playfully.

You can sit still for such a boring thing.

Simultaneously.

Gu Weijing remembered that the small bag in the other person's hand was just like the book of sand written by Borges that could never be finished, or the four-dimensional bag on Doraemon's belly.

There are twenty colors on the screen at the same time. If you don't play well, the painter will be dazzled and dizzy.

When the artist's technical skills are sufficient, the simplest and cleanest color combination can often create the best effect.

"What's the point of putting on makeup? Drawing is so fun." Xiao Gu commented.

In this way, when the diluent white essential oil in the paint evaporates quickly outdoors, it will quickly shrink and tighten the surface paint.

I just finished painting it two weeks ago, and it looks like an old river bed that has been weathered for a hundred years, full of cracks.

At this moment, Gu Weijing spent a lot of energy and meticulousness in front of the drawing board, and when he kept decorating the delicate petals over and over again, he finally felt a little bit of the fun that young ladies have when applying makeup.

Gu Weijing felt that no matter how hard he walked on thin ice, he could still reach the other side.

But after he couldn't help but unconsciously use the corner of his eye to see Kou Kou at the edge of the stage, humming a little song and putting on makeup for half an hour.

Gu Weijing didn't specifically want to think of Kou Kou's makeup. It's just that the two things give people a sense of temperament. They are really similar.

Gu Weijing did quite well.

A small bag the size of a handkerchief.

There were also more bottles and jars for the girls on the countertop backstage than there were in the chemistry lab.

however.

It is unreasonable for a cheerleader girl to use one-third of her quiet energy on the drawing board when applying makeup. This should not be given to an outstanding female painter!
I don't understand.

Moreover, even before the painting was transformed, the underlying paint that Katsuko applied to the painting was already in a semi-solidified state.

Essentially, the underlying principles of these two techniques are highly similar.

"Here, this is the eye shadow brush for applying eye shadow, this is the blush brush for applying blush, this is the powder puff for applying large foundation, this powder brush is used to perfect the texture details, and the beauty sponge is used on the tip of the nose. My sister has good skin and fine pores, right? She doesn’t have any acne marks or spots on her face, so she doesn’t usually use a concealer brush, but she needs to use a moisturizing mask every morning and night to keep her skin firm and shrink her pores.”

In fact.

It's just like space magic.

It is still difficult to really create such a color.

It's better to be able to play well with a simple paint.

(Note: The picture shows cracking of the surface paint.)
He had already thinned the paint with an oil painting knife beforehand.

Even without using any paint in the narrow sense, just using the simplest and most pristine black and white, through the delicate excessive gradient of different grayscales, it is still possible to vividly depict the colorful and colorful colors of nature. Modern black and white photography art is actually specialized in doing this.

For example, black-and-white cameras such as the Leica m10monochrom are due to the very fine black-and-white transition paired with the lens.

One is easily the price of a small BMW.

"Are you going to paint portraits of flowers again?"

Katsuko Sakai soon discovered that young people introduced the "thin and fat" technique, which was occasionally used when painting portraits, into landscape paintings.

At this moment, she noticed again the subtle temperament of his brushwork, and couldn't help but speak.

"It looks a bit like Gilbert Stewart, or maybe it's Cecilia Beau?" The girl stared at the drawing board in front of her, holding her chin as she considered her words.

"It's Gilbert Stewart. So smart, Katsuko."

Gu Weijing smiled.

He likes this about Miss Sakai, her innate intuition and super artistic insight.

Many times when he stayed with Sakai Katsuko, Gu Weijing felt that the other person seemed to have practiced secret cultivation techniques found in magical novels such as "telepathy with other minds" and "reading skills".

No explanation is needed.

No need to even open your mouth.

With just a look or an action, the other person can understand what you are thinking at the moment.

How many people in the world can understand what you are thinking through a few simple scribbles of magnolia flowers?
When Gu Weijing was eighteen years old, there was such a girl standing beside him.

Who can say that this is not great luck?
Ms. Sakai hit the nail on the head.

What Gu Weijing was thinking of at the moment was Gilbert Stewart. Gilbert Stewart was one of those people who absolutely hated the complicated sculpting and matching of paints.

It is recorded in the literature that Stewart has been painting portraits all his life, and he has maintained a habit of pre-mixing a few simple colors on a palette before painting and putting them aside.

Everything on the picture must be painted with these kinds of paints.

Avoid excessive color mixing, which may cause the painting to look dirty.

It is this obsessive-compulsive emphasis on "clean" painting that makes his works often very distinct and smooth.

He is probably one of the best-known portrait painters in the Western world.

Perhaps the "Mona Lisa" is more famous, but in terms of the number of people who have seen the artist's images, Leonardo da Vinci may also be defeated.

Because he painted a portrait of Washington, which is the one printed on the one-dollar bill by the Federal Reserve.

Women are compared to flowers in poetry.

From East Asia to the Mediterranean, to Latin America and the African savannah, whether it is the brilliance of literati or the lyrics of Western bards in taverns.

This is a metaphor that people from almost any cultural background make invariably.

But in painting.

Using flowers as metaphors for people, using flowers to compare people, and condensing the temperament of flowers with the integrity and character of people into one, this is almost a unique artistic breakthrough made by the Eastern Xia art theory.

Gu Weijing hoped to use the same techniques as portraits and the same color combinations as portraits, and finally paint the magnolia flower as elegant and beautiful as a fairy.

When Gu Weijing was impressed by Miss Shengzi's tacit understanding.

Sakai Katsuko was also doubly impressed by the exquisiteness and delicacy of Gu Weijing's pen and ink.

It is different from drawing with a knife.

Sakai Katsuko did not put any more effort into the oil painting knife than ordinary art students, and the legendary painting knife painting technique was too terrible.

So Shengzi actually couldn't quite understand how good Gu Weijing's oil painting knife was.

But the painting strokes, every stroke, every painting, every smear and push and pull, Sakai Katsuko can see clearly. She can not only understand, but also see clearly.

And I can fully understand how difficult it is.

The painting method of thin and fat.

Sakai Katsuko occasionally uses it, and she can draw, but she will never be as relaxed as Gu Weijing.

It is almost inevitable to leave small cracks on the surface of the picture.

To put it bluntly, Shengzi believes that cracks are like aging, unless they are placed in a constant-temperature humidifier from the day they are made, or are evacuated and stored in a 24-hour light shield.

Otherwise, it will be sooner or later, and the degree will be mild or severe.

A painting will definitely encounter the problem of cracking of the surface oil.

The works painted on canvas are actually fine. The weathering and cracking of the murals is the real big problem that makes people lose their hair. Most of the Italian government’s annual art department expenditures are burned by various monument maintenance projects. There is also a large amount of funding from all walks of life.

Especially in the major ancient churches, when the faithful men and women donate money, it is really as if it is money.

We can even occasionally receive anonymous check donations of tens of millions of dollars.

But even with such abundant financial support, the protection situation is quite difficult to describe.

It's famous like "The Last Supper". In fact, just look at the pictures on the Internet. If you look at it up close and live, you will see that it is actually very rough. The surface has been weathered and eroded by all kinds of weathering, and it looks like a hornet's nest.

Sakai Katsuko’s painting wisdom allows her to find ways to utilize this weathering.

The paint cracks are turned into special patterns and textures, which become a part of the historical sense of the portrait and the aging, dark spots and wrinkles on the old woman's skin.

This is a solution that maximizes the strengths and avoids the weaknesses of the painting method.

But in the final analysis, at the technical level, it is essentially an alternative that cannot be used without the confidence to avoid cracking of the work within a period of time.

The technique is not supportive enough.

Therefore, we can only use the highlights of thinking to cover up the deficiencies in details.

When it comes to painting skills, Katsuko Sakai found that she still had some clever tricks to use.

But toning, putting pen to paper, mixing colors... Miss Sakai really can't do these real skills.

Gu Weijing's strokes are harder and more linear than those of Sakai Katsuko.

Is it more difficult to draw a straight line or an arc?

Everyone has their own version of this matter.

Just like playing with a purple clay teapot, whether it is a "harmony between heaven and earth" or "one square is worth ten yuan" usually depends on which teapot the pot seller on the short video mainly wants to promote, and he can say both right and wrong.

But at least for flowers, it is definitely more difficult to draw straight lines without being rigid or rigid than ordinary arcs.

It is difficult for Western thinking to understand the concept of "soft straightness".

Just like you can hardly find an image of "elastic and upright" like bamboo in oil paintings.

Otherwise it's straight.

Otherwise it is bent.

There is no intermediate state.

Oil painters often use straight lines in a Gothic church marble style, solemn, cold, and even a bit sinister, without paying much attention to the elasticity of straight lines.

People have all heard of the inspirational story about Leonardo da Vinci who couldn't draw round curves when he was a child, so he practiced drawing eggs like crazy, but few have heard about someone who couldn't draw straight lines and practiced drawing straight lines every day.

Of course, Leonardo da Vinci's inability to draw eggs is just like Einstein's failure in mathematics since he was a child. They are both urban legends with very doubtful authenticity.

But.

Listen to the story to get an idea.

It is not a document research by historians, so it would be meaningless to stick to the literal terms.

You can see the subtle details and see the leopard in the pipe. There are real reflections in any legend. At least, through such stories, we can get some context of Western art theory.

Traditional oil painters don't like and find it difficult to draw interesting straight lines or interesting sharp edges.

Even when Monet, who was crazy about Eastern culture, painted "Woman in Japanese Kimono Camel" in 1876, he changed the draft many times and could not draw the charm of the clothes on the model.

Western-style clothing, in order to highlight a woman's curves, is traditionally cut in curves.

The kimono was born out of Hanfu. The clothing contains the spirit of "property", is upright and peaceful, and is traditionally cut in straight lines.

Monet tried many times, but could not reproduce on canvas the peculiar feeling that the straight-cut hem of the kimono gave him.

In the end there was really no other way.

Only then can it be changed into a draped arc shape in the style of an evening dress, and that's all.

(End of this chapter)