Miao Angwen said in annoyance in front of the propaganda board that I couldn't do it.

He couldn't have expected it.

Coincidentally, at the other end of the school yard, in the British teaching building covered with green vines, there was another person pinching Gu Weijing's sketch, looking like a puppet.

If only he knew that even Mr. Wattell, who had taught him sketching, was now there muttering doubts about his life.

Maybe he will feel comforted.

Perhaps, Miao Angwen will feel cold despair and death for the pursuit of Gu Weijing in painting techniques.

Be reasonable.

After twenty or thirty years of tireless exploration and practice in sketching, he was easily trampled under the feet of high school students who were less than half his age.

Judge by common sense.

Teacher Wattle should feel as angry as Miao Anwen, or at least a little depressed and frustrated.

But.

At this moment.

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

It had been a while since he had the sketch in his hand, and he had already been emotionally stirred.

After going through -

"it, this is a high school student's level, it's outrageous!" and "meow, why can't I draw something like this?" So envious! And finally, "it, this painting is really good, it's great, it's great, I have to collect it." "After successive multiple complex subtle psychological changes.

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

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

Until the wind seeped through the crack in the window of the teacher's office and slipped over the leather coat that was pulled up high against the cuffs of Professor Wattel, he couldn't help but stick out a finger and tickle a few times.

The warm breeze of spring would have been quite gentle to the touch.

The sketch professor had a small layer of goosebumps on his bare skin.

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

Taste delicate and subtle.

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

"It's even more exciting than watching a football game."

Wattle sighed slowly.

In this competition with the students, he lost.

If you look at it from the perspective of the judge, one stroke at a time, the stability of each structure, the smoothness of each line, the turn and shape of each nib, all of them are scored one by one.

Wattle probably didn't lose too much.

Each of these items is slightly inferior.

At least, Gu Weijing's line sketch works are useless from these split details.

But when all the "missing points" come together into one painting.

outcome

It became a crushing of clouds and mud.

In front of the exquisite sketch in his hand, Wattle was convinced.

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

"It's ridiculous, I was still thinking with confidence, and this pencil manuscript is doing well today."

Wattel set aside the empty beer can, stroked his hair, and smiled dumbly.

Half an hour ago.

Sitting on watercolour paper, he confidently sketches the final strokes of the neat plain white architecture that surrounds the Hellenistic hall of the Imperial Museum in Berlin.

At the time of the completion of this covered bridge on the water.

Mr. Wattel glanced at the alarm clock at hand.

6 minutes and 57 seconds.

The painting was a little slower than he expected.

Missed the goal of 6 minutes, slightly more than 1 minute.

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

He stood up and walked towards the studio in the back room, giving in his mind a summary of what he considered to be the process of painting.

Without accuracy, there is no point in talking about speed.

It's slower than you think, and it's better than you think.

Each of his strokes is very smooth, every stroke is very precise, and all his professional precipitation and practice experience in the art of sketching are expressed on this 8-carat watercolor paper in his hand.

It's not super-godly.

The very skill he has has has also been exerted ninety out of ten.

"126 lines."

Wattle even silently wrote down all the lines he had drawn.

In total, it took only 130 strokes to draw the line.

In the meantime, he was not satisfied with the effect of only a few strokes, and made some deletions.

More than 130 strokes, 126 lines.

For the still-life theme of the water covered bridge, which is a regular but not simple painting in his chosen paintings, he can compress to such a number of brushstrokes and control this degree of accuracy.

It's not that the princess sells melons, she sells herself and boasts.

Professor Wattle thinks that his sketching technique really deserves the comment of "old spicy".

The number of lines in the sketch sketch is not more streamlined, compressed, and capable than the overall look of the work, the more it shows that the artist's level is more in line with the soul of the sketch, and the more he can capture the most expressive lines of the scene...... This matter has always been controversial in academic circles.

Let's be blunt.

It is currently believed that it only makes sense to talk about the number of lines in an artistic environment where European sketching is taught at Dulwich College.

Soviet sketches and European-style sketches are not good or inferior, but their characteristics are very distinct.

The aesthetic system and the overall aesthetic approach of the Soviet Union are inherited from a unique set of contexts that are different from those of Western society.

Historically.

The culture and art of the entire Russian feudal era were deeply influenced by the magnificent French fashion. In addition to Andrei Lubrev, the only medieval icon painter, and a medieval tome that is also unique.

The most glorious and dazzling works of art, literature and poetry in the entire history of Russia, which have made the world tremble, were born in a short century and a half along with the fierce social changes.

Year 1811.

France declares war on Tsarist Russia.

It was the pinnacle of the French Empire's legendary moment in history.

Under the leadership of Napoleon, Austria, Prussia, and Britain, the traditional European powers, were defeated by him one after another, and France dominated the European continent by occupying all of Italy and northern Spain.

At the beginning of the year, Napoleon's Empress gave birth to the Crown Prince at the Tuileries Palace, and the lights of Paris were constantly lit up, and a 100-gun salute was fired in a row. Napoleon himself gave him the title "Roi de Rome", which means that "this boy will rule the world like the king of ancient Rome." ”

In a trance.

It seems that the once vast and pluralistic empire of Rome will reappear in Europe a thousand years from now.

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

After five successive defeats, the European countries hurriedly formed the Sixth Anti-French Alliance.

No one could have predicted it.

Tsarist Russia, after paying the price of burning Moscow, almost single-handedly relied on the never-ending cold winter winds on the Siberian snowfields to bury Napoleon's 500,000 expeditionary force and his ambitions and dreams of rebuilding Rome.

This is the battle for the foundation of the Russian spirit and culture.

From that day on.

They found that these uneducated barbarians from the snowy fields could also overturn the French, who represented the most brilliant light of civilization.

So what else is there for them to be proud of being able to speak French in order to learn the art and culture of Western Europe?

Why can't they have their own unique aesthetic theories and cultural aesthetics?

A century and a half after that.

The Slavs took the roots of traditional European art as their roots, and in the cold Siberian winds, they bloomed their own unique flowers.

The painting method of the Soviet system is thick and rigorous, solemn to the point of depression.

It seems that it has melted the never-ending winter snow on the outskirts of Moscow and the 40-ton bronze horseman statue on St. Petersburg's Square of the Twelve into its own ink.

The Russian system of sketching has an absolute rationality and absolute rigor that is not found in sketching education in all other countries.

There's a misnomer.

Sketches of the same people.

Whether it was painted by a painter of the Soviet system or not can be seen at a glance by ordinary people. Soviet painters painted thicker and grayer because they had 50% more pencil lines than European sketchers, and they focused on shaping their subjects with heavy brushwork and precise shapes.

In order to seriously dissect the object of the painting, from the inside to the outside, the brush portrait is like the knitted silk corners of a warm cotton garment.

Densely drawn.

Rather than comparing the brushstrokes of Soviet sketches to the corners of military coats on a snowfield, they have the balance and stability of the classicism of the Seven Sisters on the streets of Moscow (Note), the kind of vertical and horizontal weaving, the intricate patterns like a baroque court, and the architectural concept of absolute symmetry and absolute balance is precisely derived from the aesthetic taste of the Russian tradition.

(Note: The Seven Moscow Sisters, seven Moscow landmark buildings represented by the main building of the State University, with solemn and heavy reinforced concrete structures, are representative products of Soviet-style architectural aesthetics.) ）

Blizzards, wars, earthquakes, no amount of turmoil and suffering, can destroy the natural harmony and supreme balance in the works of art.

European sketches, on the other hand.

It is the light water of the Alps, the joyful notes of the violin strings in the Vienna park, the subtle curvature of the bare snow-white collarbones of the ladies in the balls and salons of the Palace of Versailles.

Be lighter, more elegant, more erratic.

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

Or to put it more bluntly.

In the European theoretical system of drawing, the highest priority is not drawing at all, but oil painting and watercolor.

Sketching is at the service of oil painting, and sketching is at the service of watercolor.

The purpose of practicing the lines of sketching is to make a more accurate and expressive outline when painting oil and watercolor, and practicing the black and white light and dark shadows is to grasp the contrast of pigment colors when painting oil painting.

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

Whether it is the art system of Western Europe or the Soviet Union, it has advantages that others cannot match, and both have their own limitations, mainly depending on the technical level of the painter.

Russian sketchers also have very smart lines.

German masters such as Menzel were known for their scalpel-like structural rigour.

All roads lead to Rome.

There is no distinction between the lines of the great masters, and they can use their talents to transcend the limitations of their own territory.

If you want to be complex, you can be simple.

But.

To let the style of the brush in your hand move as you like, such a requirement is still too high for a professional painter of the level of Watel or Gu Weijing.

The European sketch route they took is still in the initial stage of subtracting their works.

"At its best. There are a few overruns that can be dealt with a little more, and the arch at the top can also be pulled out with one stroke......"

Wattle is expected to be able to do it with his styling abilities.

In the case of flawlessness, the total number of hooks can be compressed to about 120, and errors, omissions and modifications can be controlled to less than three.

But that's just an imaginary situation.

It is already a very ideal state for a painter to be able to exert nine out of ten successful abilities.

Even if you are an exam-type player, it is impossible to happen to hit the luck of extraordinary performance that cannot appear once in a hundred times in the occasion of big exams and competitions.

As long as you can play more than 90% steadily, there is nothing to be dissatisfied with.

Wattel: So is it.

The same is true for Gu Weijing in the studio.

He typed the manuscript of Museum Island many times, and many of the lines should already be as smooth as if they were memorized.

But in fact, although he hadn't counted carefully before, there weren't many times he could have been compressed into 130 strokes in one go.

There are several of them this time.

He felt extraordinarily expressive.

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

When Professor Wattle walked into the studio.

He had the solemn joy of completing a bloody single knife breakthrough on the football field, gasping slightly, and watching the football roll into the net.

As expected.

Gu Weijing still hasn't had time to finish all his works, and he is still drawing something with a pencil on an inclined watercolor board.

For a moment.

Professor Wattle felt like he had won the battle.

"Didn't finish the painting? The covered bridge on the water should not be a difficult connection. I've already finished the same draft. He endured and endured, and finally couldn't resist the urge to show off.

"Almost, teacher, it's almost right. The structure here is a bit complicated for me, and I'm going to wrap it up a bit. Gu Weijing said without raising his head.

"Well, it doesn't matter. Just because it's simple for me doesn't mean it's for you. There's still time, don't worry, draw well-"

Professor Wattle walked a few steps to the workbench with his hands behind his back, wanting to see how much slower Gu Weijing's progress was compared to his own.

Three seconds later.

The unfathomable smug smile on his face was brutally killed at the moment he saw the sketch on the other party's watercolor paper.

(End of chapter)