What is even more rare is that he paints familiar subjects that Wattle has practiced many times.

Wattle counted.

Excluding those exterior scenes, the entire covered bridge Gu Weijing was depicted with about 112 lines.

The difference of a dozen lines.

This must be partly due to the slight differences in the structure and proportions of the bridge caused by the angle they chose to paint.

It's more about the difference between high and low painting techniques.

Why does he already feel that every line of his work has been tempered and compressed into the most essential skeleton, and Gu Weijing can still support the spirit of the whole work with fewer brushstrokes?

How do you pull out the twists and transitions here?

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

Well.

My head is so itchy.

You're going to have to have a brain!

If Wattle had such an awesome thing as the system panel, he would have been able to hear the sound of experience points increasing and clanging in his ears at this moment.

……

Inside the studio across the wall.

There is experience in ding-dong.

The prompt sound of the increase in the experience value of the technique flashed from the system panel continuously, just like a large bead and a small bead falling into the jade plate.

【Watercolor XP +1】

【Watercolor XP +3】

【Watercolor XP +2】

Gu Weijing carefully and slowly dipped the 12mm flat-tip pen into the gray pigment and slowly pulled it over the upper edge of the pier of the covered bridge.

Replaced with real brushes and paper.

Almost immediately, he realized what Wattel meant by letting gravity work its magic freely.

Watercolor paper and watercolor brushes are a natural pair.

It's like canning with a can opener, and red wine with a red wine glass, which is a natural and unexplained description.

Only those who have painted it know that there is a lot of truth in it.

Watercolor paper has a higher affinity for pigment absorption than linen canvas for oil paint.

Whether it's coarse or fine-grained watercolor paper, its surface is covered with absorbent fibers.

The aqueous pigment that dissolves into the brush as soon as the tip touches the paper begins to dissolve and diffuse on the paper.

Meantime.

Modern watercolor paper is thick.

Between the paper fibers, a layer of aluminum sulfate is sandwiched as a sandwich, which is the so-called alum coating.

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

As long as the pigment is not too outrageous.

When you use a dry painting method such as flat painting to complete the whole work, pick up the watercolor paper, and the part of the back that touches the workbench should still be dry and plain.

After the excess watercolor paint adheres to the paper.

They flow down in small increments following a certain pattern above the alum coating.

When painting an oil painting, if a wet paste is applied and the paint is still dripping, the painting is not far from being condemned to death.

Watercolors are different.

Water is meant to flow.

Flow is the soul of watercolor, the paper per unit area has limited water absorption and storage capacity, and without tilting the drawing board, the area where too much watercolor paint is applied will dry very slowly.

It's so slow that it doesn't hurt.

The reason for this is that the area that is too thick with thick pigment will reflect the light, distinguish it from other areas, and form some unsightly spots.

Once dry, the thick layer of pigment will clump and crack easily.

So you have to let the paint flow obliquely.

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

Gravity is the gentleest, most stable, and most eternal third hand around the painter.

Whether it's eating a snack fed by a maid in the Palace of Fontainebleau, or painting a portrait of Cardinal Richelieu who is scolding Fang Xuan.

Still not yet famous, art students are standing in the bleak winter snow, snotty bubbles, and their frozen wrists are shaking.

With a gravitational acceleration of 9.8m/s^2, the gravitational acceleration of 9.8m/s^2 will constantly attract the paint to flow and spread downward, and the paint will be evenly smoothed along the inherent arc of the drawing board.

Let the brushstrokes become smart, magnificent and bright.

From this point of view, it treats all watercolorists with a motherly kindness and patience that ignores the noble and the lowly.

In the case of Gu Weijing, a semi-professional watercolorist who has not yet glimpsed the professional path, Professor Wattle can be regarded as a very good teacher.

He's certainly not the best, but it's appropriate.

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

What's more, people eat this bowl of rice.

Mr. Wattle does not have any genius epoch-making innovation, but he has a practical and proven teaching method honed by decades of teaching career.

Hone your ability to use the pen precisely in the sketch grid practice so.

The same is true for flat painting exercises to improve familiarity with watercolor brushes.

To put it simply, if you want to train national sprinters into Usain Bolt, a teacher like Professor Wattel must not have enough level, knowledge, and pattern.

He couldn't sharpen a super genius into a peerless sword that shimmered with cold light.

It's all up to that level of technique.

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

However, if you bring out an ordinary student in the physical examination to get a professional entry score that can enter the 211 with a single recruitment, tell the art students under his command how to fully understand the art techniques he uses as quickly as possible at a low level.

Wattle is very professional.

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

It is suitable for the current Gu Weijing to get started.

The so-called grasping gravity is to grasp the laws that control the natural flow of this pigment.

The more tilted the canvas is, the faster the paint flows, and the flatter the canvas is placed, the slower the paint flows.

This is the same as the small droplets of water tumbling on the lid of the cup with the difference in the amplitude of the sketch teacher's wrist tilt, and it is the most simple and simple law of physics at work.

For most watercolorists, the tilt angle of the drawing board tends to be set to about 25 degrees.

30 degrees, 33 degrees, 35 degrees.

In order to pursue higher painting efficiency, it is not uncommon for the tilt angle of the flat table to be set at more than 40 degrees.

Some have absolute confidence in their brushes and think that the pigment they are blending is just the right amount of viscosity. Everything that happens on the artboard is under the control of the watercolor master.

They even use almost the same easel as the oil painter when painting watercolors outdoors, so that the canvas is almost completely perpendicular to the ground.

This kind of time.

The flow and diffusion of the pen and the paint are completed almost simultaneously in an instant.

As the brush glides over the paper, when the painter lifts the brush, the flow of the brush is over, and the next stroke can be carried out non-stop.

It's a brilliant feat at the top, but it's also too aggressive, and there's no room for error.

Gu Weijing came up to challenge such a large tilt angle, which is not only difficult for himself, but also in the hurry, and may not be able to improve and gain much.

"It's not smooth enough with a pen, and the paint is a bit thin."

Gu Weijing raised his pen, looked at the gray southeast tone he had laid out for the bridge deck just now, nodded, and shook his head again.

He now likes to draw at a small angle like 15 degrees.

Like a shallow sake, it is mild and gentle, and it is easy to get started, and you will not feel hot or dizzy when you drink it lightly, and you will feel the delicate aromas of grains, lactic acid, and fruits spreading on the tip of your tongue...... Anyway, this statement was told to him by Miss Sakai.

Gu Weijing has never drunk any wine, and it should be that this feeling is not bad.

this angle.

When he lifted the brush, he could also notice that the paint continued to spread slowly downwards along the bottom edge of his brush, as if a grayish-white mist was slowly spilling over the paper.

Whether the pen is light or heavy, there can be clear feedback and control.

And this feedback can lead to a direct improvement in skill proficiency.

Pigment mixing in watercolor brushes is a complex and precise science.

The one just now.

Gu Weijing was still a little worried about the turbulent flow of paint on the paper, so the moisturization of his pen was not enough, and it was a little too dry.

The thick and uneven pigment will form small spots of light with different colors on the paper, and the brush that is too dry will make the pigment unable to fully and evenly moisten the absorbent fibers of the watercolor paper, resulting in dirty and messy tones, deep and shallow, white and gray.

Gu Weijing found that he didn't grasp the strength of his pen well.

In the process of flat painting, due to the uneven force on the wrist, it should have been painted as a regular rectangular stroke, and finally the lower edge of the brush path becomes an irregular undulating curve like a wave as the paint blends and spreads.

Start with such a wavy trajectory and apply the next straight line flat below.

If it is not properly treated, the part that is not covered by the paint will be transparent and colorless, and the part where the two brushstrokes repeatedly intersect will become darker due to the superposition of colors.

The whole undertone is laid out in this way.

When a viewer looks at the painting up close, they will see some subtle shades of small shades, small color bars and small color spots on the drawing paper.

Color spots aren't necessarily a bad thing.

During Gu Weijing's completion of "Good Luck Orphanage in the Sun", he fused the apple philosophy and the way the Impressionist painter depicted light on the canvas, and the layered small brushstrokes created the effect of light breaking, bringing a very good visual perception.

Impressionist ideas can also be applied to watercolor painting.

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

A good watercolor painting must also need to be supported by a sense of layering.

But it is not the "layering" brought about by mistakes on paper that Gu Weijing is now on.

It's too messy, and it's too uncontrollable.

This messy hierarchy doesn't make any sense.

With a high level of flat application, the final result is that the finished paper should be as round as a smooth mirror, or as smooth as a pool of water that is absolutely still when there is no wind.

If Gu Weijing finishes painting a whole sheet of watercolor paper at what time, after drying, give it to the audience.

The other party is holding a magnifying glass, and he can't find out where he started the pen and where he picked up the pen, and he can't see the beginning and end of any brushwork.

There is no trajectory.

There is no difference in color.

There is no distinction between hue and hue.

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

Not to mention that Gu Weijing is already a watercolor master, at least, in terms of the basic painting method of flat painting, he must be a generation of grandmasters.

The ripples of the air, the vibrations of the water waves, the mottling of ancient trees, the brilliant aurora in the Arctic sky, the tears and dimples when the beauty smiles.

In the eyes of watercolor painters, all the layers of pigments in the world, the ups and downs of color, can be outlined through special painting techniques such as overcoat dyeing, gradation, wet painting, and dryness.

Only in the practice of watercolor flat painting.

Leaving no trace, it is the highest aesthetic.

The level brought about by Gu Weijing's mistake is not called a level.

It depends on how boring the brush is and how pigment you choose.

The final picture is between the skin of a patient with vitiligo and psoriasis.

Gu Weijing stared at the spots on the small part of the covered bridge that he had already painted, a watercolor painting with leather clothing disease, it must not be called beautiful.

But he looked at it very seriously, and he didn't have any thoughts of revising it.

For one, it's just a handy exercise.

Second, he has no way to modify it, the sketch has a skin eraser, the toner has breadcrumbs, and the oil painting has an oil painting knife.

Watercolors are nothing.

Whether the painting is good or bad, the final effect of the brush is already set the moment the brush comes into contact with the paper and the paint seeps into the smudge paper.

Unless you go back in time, no one has a way to erase a mistake from the page.

In the field of oil painting, there is a special knife painting, which is not established at all in the watercolor category.

Although there are also spatulas prepared next to the watercolor painting when art students paint watercolors, this is not the same thing as a special painting method, because modern watercolor paper is generally too good and thick enough.

So when there is no way.

If you really find that you have made a mistake during the exam, you can also try to scrape off the unwanted part and redraw it.

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

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

If you're not careful, you can really scratch a hole.

"You really have to paint with a paintbrush."

Gu Weijing felt something.

HE FOUND THAT PAINTING WATERCOLOR ON HIS WORKBENCH AND WATERCOLOR ON HIS IPAD WERE REALLY TWO COMPLETELY DIFFERENT WAYS OF DRAWING.

It's not just the natural flow of paint.

There are also subtle differences in mentality.

All strokes on the iPad painting software can be erased and undone without damage, while drawing with a brush on paper.

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

No regrets.

This is the subtlety and brutality of the technique of watercolor, and it is also the most beautiful and fascinating part of it.

(End of chapter)