"Don't rush to shoot, it's not over yet. ”

Qin Huai stopped Shang Ya and turned around to take out the wood wax paint from the counter.

"Aren't they all carved yet?"

Shang Ya asked suspiciously, and her beautiful eyes fell on this wood carving.

From a distance, dignified and solemn.

Up close, the details are realistic.

Even the scales of the snake's tail are also visible in the light of the table lamp.

Just one glance and all it takes is stunning.

It's all come to this extent, Qin Huai feels that he is still not satisfied, there is still room for improvement?

"The engraving is done, but the post-processing is not over yet. ”

Qin Huai shook his head and smiled.

When he carved furniture, the carved patterns were simple, and only a little wood wax oil was applied to set off the original color.

For jade carving, Qin Huai also rarely uses fine sandpaper to polish, but directly uses a carved jade knife to polish.

There is still a big difference between these two ways of repairing light.

Fine sandpaper is indiscriminate sanding.

The use of the knife technique is to use a knife to polish the work, relying on the tip of the knife or the blade of the knife to polish the details of each detail, the pursuit of thousands of knives, into a knife, the realm of naturalness.

Coloring and waxing is equivalent to adding special effects, and the polishing method of the cleaning knife is more delicate, more ingenious, and amazing!

It's just time-consuming and labor-intensive.

Of course, both methods have merits, and they must be used according to the situation, and if they are used in the right place, they are just right, and if they are used wrongly, a fine product can also become a defective product.

As for this picture of Fuxi Nuwa, Qin Huai does not plan to stop at the cleaning knife and polishing, he will also color and wax.

What is waxing?

Actually, it's literal.

Coloring and waxing has been around for a long time.

Because wood carvings are highly susceptible to moisture and insect infestation...... and so on, so for the preservation, embalming, and beauty of wood carving, wood carving craftsmen often color and wax their works.

Today's coloring and waxing was developed later.

The original antiseptic method was called lacquering.

In other words, a thousand years ago, natural lacquer was used for the pigment of wood carvings.

In this way, wood carving is convenient for another traditional skill and is closely related.

That's right, it's lacquer art.

The lacquer art process is complicated, and each process has to be groped with the palm of the palm for ten days and half a month.

After 30 processes, almost a year and a half, when encountering special works, only one piece of lacquerware can be made a year.

Wood carvers obviously don't have so much time, so in ancient times, wood carvers and lacquer craftsmen were one family, and after the woodcarvers finished carving, they would often be handed over to lacquer craftsmen for processing.

But later, with the acceleration of the pace of life and the change of processing methods, wood carvers simplified the process in order to adapt to the times, which is the modern coloring process.

Of course, there are still woodcarvers who paint their works to lacquer craftsmen.

This age-old and delicate way of working together is not extinct.

It's just that compared to modern coloring techniques, it's much rarer.

What Qin Huai wants to use is a simplified version of the coloring and waxing process.

- First of all, put the gouache paint on the table that is quite permeable and does not blend easily.

Then pour the fruit lacquer into a small white porcelain bowl and slowly add the pigment to reconcile.

Qin Huai scooped very little pigment, only sprinkled a little bit of pigment in a bowl of pectin.

Compared to pectin, the amount of pigment is almost negligible.

The pigment is only translucent and light.

The reason why the pigment is so prepared is also exquisite-

Because this is not to cover the oil painting with bright colors, but to better render the essential beauty of the wood grain.

Therefore, in general, the ratio of pigment to pectin will be maintained at 1:35.

The resulting pigment color must also be as thin as possible.

This is also exquisite!

The benefits of thinning the color are numerous.

First, if the first color is too light, you can do it again or even two or three times, but if the first color is too light, then you can't change it.

Unless you scrape the bill off.

However, in doing so, the work is completely destroyed.

Obviously, the modulation of light-colored pigments is more tolerant than that of dark-colored pigments.

Second, use light colors to color, and you can also consciously color several times in some places to create a color gradient effect to increase the layering of the work.

For both reasons, wood carvers choose a ratio of about 1:35.

Of course, these are small details hidden in a small process.

Behind a fine wood carving work, there are hundreds of details that need to be paid attention to, and there is not one less!

It can be said that it is very cumbersome.

At the beginning of learning, the mentality of many woodcarvers will collapse.

However, it is precisely this ingenious detail that makes the originally ugly wood undergo a transformation.

In the end, it amazed the time.

……

Qin Huai sat at the desk and quietly concocted the paint, his eyes were slightly solemn, and he occasionally applied the leftovers on the side to try the color.

A seriousness that flows out of the bones, like sandalwood, spreads.

Seeing Shang Ya, she couldn't help but add drama to herself.

However, Qin Huai rarely looked up at Shang Ya, and even forgot that there was a fair-skinned and beautiful beauty next to him.

Qin Huai patiently tried many times, adjusted for half an hour, and finally concocted six pigments that he was satisfied with.

The colors are nothing more than white and red.

But red and white have lighter, lighter gradients, so there are six bowls of paint on Qin Huai's desk.

This is also the ingenuity hidden in the details.

After adjusting the paint, Qin Huai picked up the wood carving, wiped the surface of the work with small satin dipped in alcohol over and over again, and wiped it clean, before taking out the rabbit brush and outlining it at the snake's tail.

Here, Qin Huai uses a brush, and it is the kind of small pen used to write fly-headed small letters, dip the paint in the bowl, lightly touch it evenly, and then color the wood carving......

After the first pass, let it air dry.

The second time, only some parts are pointed, and left to dry.

The third time, Qin Huai seemed to work on the details of the scales and placed them to dry.

Fourth pass......

Until the tail was completed, Qin Huai still put the wood carving on the table and let it dry.

Looking at it again at this moment, the wood grain of the snake's tail is much clearer and smoother.

"It's so realistic!"

Shang Ya sighed, her mouth slightly open.

The corners of Qin Huai's mouth crossed a smile, in fact, it was not deliberately realistic, but ......

Qin Huai stole a hand from Leng Jun's oil paintings.

In this carving, he deliberately made the reflection of each scale different, with subtle angle differences......

This is mimicking the real world, the real snake, and the reflection of each of its scales will never be exactly the same.

Aristotle once said: There are no two leaves in the world that are the same.

And it's really because of this wonderful realism that the snake tail is cool and realistic enough!

At the same time, Qin Huai also used the use of beautiful color carving, that is, the natural formation of the annual ring line as the dividing line of the scales when carving.

Because the annual rings of Yabai are squeezed by the barren Taihang Mountain, it is full of a sense of strength, so the snake's tail also shows a kind of muscle tightness because of the existence of these lines.

This kind of expressive tension cannot be expressed in ordinary carving. Only by using the annual rings of the cypress and the natural interest of the cypress can it be expressed!

Qin Huai carefully looked at the snake tail entwined by the wood carving of Fuxi Nuwa, and couldn't help but bow his head.

That's right, this sense of power fits the snake's muscles too well!

There is obviously a better use for Yabai, why should it be used to carve the same content?

I hope that this work can bring a new atmosphere to the wood carving industry.

-- A new atmosphere of innovation.