New tool?

"What do you mean...... Oil painting knife? Gu Weijing asked hesitantly.

Depending on the painting tool, the final view on the surface of the linen canvas will be different.

Textures and colors that can't be handled by soft brushes can often be done differently by a different approach to painting.

For example, an oil painting knife can handle the mixing and over-mixing of paints, scraping off thick pigments, leaving a strip of color that is formed by several shallow pigments covering the smudge.

Gu Weijing's mastery of knife painting was born from this.

For a long time, there is no limit to the creativity of a painter.

In addition to the common oil painting knife,

There are also hard pen barrels, sponges, pieces of cloth, newspapers, and even horn combs, cooking colanders, and lipstick hats, all of which have been studied by previous painters and used as painting tools for working with paint.

Each painting tool can form its own unique texture, and many of the commonly used tools have developed their own unique techniques around it.

Subdividing it down,

None of them are necessarily simpler than the techniques associated with oil painting knives.

For example, the early 20th-century Impressionist painter Henry Tonks was teaching at the Slade School of Art in London, when he grabbed a copy of The Times that he bought for breakfast and used it to erase the dirt that he had accidentally painted on his canvas.

He stumbled upon this kind of old newspaper that had a certain ability to absorb water, and it worked well when dealing with surface pigment details.

Based on this, he developed a new method of drawing with newspapers as a way of drawing, and named it "Donkfa" after his surname.

Today

Very few people use the "Donk Method" to paint.

However, using waste newspapers to remove excess texture from the cheeks of people and the surface of buildings is still a very practical technique for art students when painting portraits of people and landscape buildings with smooth surfaces.

It is more common and practical than knife painting.

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

The one who holds the big hammer always wants to hammer the nail.

The oil painting knife was the skill he had mastered at the highest proficiency level, and as long as there was something that could be useful, Gu Weijing thought about trying it.

Unfortunately, oil painting knives are used to work with thick pigment coatings that are as thick as cream.

It conflicts with the light and fresh view of Chinese painting.

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

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

However, it is different from the traditional realistic picture effect pursued by Gu Weijing, and it is also diametrically opposed to the concept of new style painting.

The new style painting is a court painting.

When have you ever seen any painter in the Forbidden City who would paint the faces of Kangxi and Qianlong Emperors with pitted holes and ribbed lines?

This is not a bold reform of the way of painting,

This is the painter tired of living.

If Emperor Kangxi mistook it for making fun of the pox pit left by his childhood smallpox, the Nine Clans would definitely want to strangle him.

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

Sakai Katsuko lightly poked his finger at the corner of Gu Weijing's forehead, "I'm talking about a more direct way of painting, our fingers." ”

"It shouldn't be Gu Jun's final exhibit work, so don't you mind me moving?"

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

She leaned on the boy's shoulder, stretched out her hand from above Gu Weijing's arm, pressed her fingers directly on a high-gloss surface of the oil painting, and gently rubbed it.

"If such a painting is placed in front of me and I can't use the brush, I may use this treatment."

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

But her fingertips were twisted very carefully, brushing over the surface of her fingers little by little.

"Fingers are the tools we were born with for painting. Nerves are abundant, joints are more flexible, the most primitive, the most direct, and when you need to show subtle effects, you are better than brushes and knives. It wasn't just children who could paint with their fingers on it, Leonardo da Vinci, Titian, Goya and Turner all loved to paint with their fingers. ”

Katsuko Sakai uses her fingers to slowly knead the pigments from the high-gloss transitions of Gu Weijing's brush into the deep textured fibers of the linen canvas.

She exhaled like an orchid and explained softly in Gu Weijing's ear.

"When I was at the Galerie Uffizi in Florence, I saw Titian's Venus de Ubileno up close, and I noticed that Titian was very fond of rubbing his fingers with highlights and accents to soften the edges of the picture and create some ethereal elegance."

At the beginning, more than half of Gu Weijing's energy was distracted by the exquisite touch of cotton candy that came from behind him.

Just a dozen seconds later,

And he got serious.

Gu Weijing's full attention was drawn to Miss Katsuko's fingers and the oil canvas in front of him.

The point of Katsuko Sakai's finger is the location of the large locust tree with sunlight in the upper corner of the canvas surface.

The details of the painting here, Gu Weijing has basically finished painting just now.

Here, the bright sunlight creates a strong visual contrast with the shadows of the leaves.

Sand ~ Sand ~

Katsuko Sakai's fingertips followed the outline of Gu Weijing's brush, sweeping over the edges of the leaves on the surface of the canvas, leaving a misty outline.

She was like a housewife dealing with disobedient dough.

Layers of thick and light pigments are squeezed and blended with each other by Katsuko's fingertips, creating a translucent and blurry effect.

The sky is opposite the leaves, and the top sky and the edges of the leaves are bridged.

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

"Let's see, will this effect be much better? I actually think this foggy blur at the edge of the veins of the leaves is good, but if you wish, you can also refill the veins on this layer of background. ”

It took Katsuko Sakai three or four minutes to carefully process the edges of the leaves on all the highlights of the locust tree before dipping the tips of her fingers into the thinner on one side.

She asked as if she had done a good job as she washed away the paint that had been stained on her hands with a paper towel.

"Katsuko."

"Huh?"

"You're such a genius." Gu Weijing looked at the picture and sighed softly.

"So are you." Katsuko Sakai smoothed her hair and responded with a smile.

There is no need to wait for the system to give a data-based panel at the end.

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

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

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

It's like a faint morning light.

Gu Weijing's heart was beating fast.

Miss Katsuko really gave him a big gift.

The finger smearing method cannot help Gu Weijing directly eliminate all the barriers in the picture.

It also has its own limitations, applying paint with your fingers, and is usually only suitable for dealing with highlight color overtones.

Color transitions are only one of the main reasons for the lack of images, and the foliage and sky are fine, but the characters are not easy to use, and the fingers are spent.

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

Don't look at Miss Sakai, she just took her fingertips and smeared them on Gu Weijing's canvas for a few minutes.

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

This statement is not an exaggeration.

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

And creativity is priceless!

A 100% plagiarized imitation in the art world is almost worthless.

The judges of the big galleries and art exhibitions have different demands on the painters than Brother Hao, and they demand originality.

A copyist who can only paint "Mona Lisa", "Starry Sky", and "Sunrise Impression" will not be appreciated by the gallery at all, and the market will not like it.

The value of a work of art lies in its uniqueness and the ideology that the artist injects into it.

Duchamp had spent a few dozen francs on a cheap copy of the Mona Lisa, then added a few moustaches to it and wrote "LHOOQ" on the surface of the painting with a marker.

LHOOQ's French pronunciation is "elle a chand au cul", which translates to "her ass is hot".

The "Hot Butt," which took less than three minutes to create, was sold for about $1 million less in 2014.

Collectors love Duchamp's extremism and maverickism, as well as the controversy and storytelling behind the painting.

But without a few mustaches and rather vulgar prompts from Duchamp.

The original imitation of the Mona Lisa,

It's really only worth a few tens of francs.

Gu Weijing dared to imitate a "Qianlong Emperor's View of Paintings" to submit to the Lion City Art Exhibition.

No matter how good he is, even if Lang Shining personally crawled out of the Portuguese missionary cemetery outside the Fucheng Gate in Jingxi and lay back after painting.

Excuse me

The old men of the organizing committee will definitely throw out the sketches, step on their feet, and then spit on them.

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

The originality of the drawing is a plus.

If you think of "New Style Painting" as an art genre like "Impressionism".

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

If a painter becomes famous, he may be criticized for his lack of novelty.

For the little painters who are far from "going their own way". It's outrageous to ask them to even innovate their drawing methods.

Uncle Sakai's brushwork style during his youth is very similar to Ingres'.

The modern art world often no longer distinguishes the painting styles of living painters into specific art genres, and pursues to break the shackles of genres and be compatible.

But in fact, if you look closely,

Many artists' brushstrokes contain a lot of shadows of classical painting methods such as impressionism and aestheticism.

Gu Weijing could only be regarded as an imitator of "new style painting".

The things he painted were no different from the court paintings of the Qing Dynasty.

Everything Gu Weijing does on the canvas, from the drafting on the paper to the outline and smearing of the brush, has been done by the painters at the Forbidden City Painting Academy hundreds of years ago.

Until—

Miss Katsuko Sakai leaned on his shoulder and clubbed her fingers on the canvas in front of her.

"You're really amazing, Katsuko."

Gu Weijing was so happy that he couldn't wait to pick up Miss Sakai and lift her high.

She didn't just come up with good ideas for herself to deal with excessive highlights.

From this moment on, his "Good Luck Orphanage under the Sun" began to incorporate some new ideas.

Some brand new visual elements like never before!

No matter how much effect this change can produce in the picture, the fundamental difference between conformity and improvement and innovation is fundamentally different in the art world.

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

To put it seriously and exaggerate,

In other words, the technique of mixing the edges of colors with your fingers may be a bit too simple, and it is difficult to rise to the level of artistic concept.

otherwise

According to the naming method of the scientific theorem, this painting method can be called "Lang Shining - Sakai Katsuko New Style Painting Method". ”

The art world prefers to call this innovation "New New Style Painting" or "Post-New Style Painting".

Seurat and Pissarro, who established Neo-Impressionism in history.

What they do is nothing more than to innovate the painting methods of their predecessors, replacing the original color grading effect with a large number of mixed color points.

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

"Well, we're different."

Gu Weijing remembered that a month ago, when they were separated in the parking lot, Komatsu Taro had just torn up his painting. The girl caught up with the words in his ear about "going out of your own way".

He sighed, and his heart couldn't help but feel a little difficult to hide his inferiority.

Compared with a real pure wild genius like others, his acquired version of the system is less aura.

Adding new pictorial elements to the surface of a painting doesn't sound difficult.

As long as you don't care about the end result of the picture, it's "extraordinarily abstract" – the kind of abstraction in the pejorative sense.

Not to mention finger smearing,

Taking a brush and throwing ink dots up like a psychotic person at a distance of a few meters is also a new artistic element...... Performance art can also be said to be art, and it is not.

But if you want to end up with a good effect that complements each other, it is even more difficult.

Seurat and others used the mixing effect of thousands of small color dots to improve the original painting method of the Impressionists, but it is a great achievement that can be written into the art textbooks of various countries.

Judging by the basic logic.

If it was so easy to improve a painting method, so many smart people in history, so many Juan Wang who hoped to get lucky in the Qing Dynasty court painting academy, would have done so a long time ago.

It's always very difficult to improve the underlying drawing and bring out great visuals.

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

Gu Weijing understood that Katsuko Sakai had made successful improvements that surpassed those of her predecessors.

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

It's really a genius finger.

(End of chapter)