Gu Weijing tried to feel this uncontrollable mistake.

He captures every uncontrollable flutter of the nib, and feels the texture of the nylon hair on the nib as it drags on the paper, the dry and excessively juicy dripping between the precise balance of a chopstick's boundary with a toothpick.

"The improvement of painting technique has always come from finding mistakes and solving them."

His heart sounded in a certain WeChat class, what Professor Lin Tao told him.

Among several disciples, Lin Tao was the only one who joined Mr. Cao's disciple after the crown.

It is also the so-called art investment master in ancient times.

At the end of the 70s of the last century, Lin Tao studied in the Chinese Painting Department of CAFA.

At the "Art Exhibition of the National Art Competition for the New Era", which attracted much attention at the National Art Museum, it stood out among thousands of submissions from all over the country and won the gold medal.

He is famous, and he has already obtained such an extremely rare position as the appreciation and research post of ancient calligraphy and painting in the Forbidden City.

But he gave up the precious establishment, and by chance, he became the second disciple of Cao Lao.

Lin Tao said that when he was a senior year, he was recommended by the director of the academy and had the opportunity to meet Mr. Cao Xuan, who was already in the limelight at that time.

Arrogant, he carried the meat floss cake from Daoxiang Village, and carried a "Ink and Bamboo Picture" drawn by himself under his arm, and poured three buses to the handwritten address given to him by his mentor before he found Cao Lao's house in the capital.

And then......

was rejected.

He had a meal at Cao's hometown, chatted for a while, and gave gifts.

Cao Lao accepted his meat floss cake, but only opened the scroll of the Chinese painting and glanced at it, and asked the nanny at home to return the scroll when he went out.

Lin Tao was annoyed at that time.

Those who were able to go to CAFA in that era were not simple characters.

The gentlemen of the capital are arrogant, he has not long become famous at a young age, and he is not afraid of the sky, the earth is not afraid, and looking at those masters of the scenery, he feels that he can replace him.

This Cao Xuan.

Isn't he a master who was born early, a teacher cow, has stayed abroad, has a great reputation, has won awards, and is fragrant outside the Chinese and Western regions, inside and outside the walls......

Well, when you think about it this way, to be honest, it's really an old.

But you're awesome, and you don't look down on people so much.

Don't say anything else.

Lin Tao thinks that his own gongbi techniques have touched the edge of "everyone's demeanor".

Compared with the free and easy style in the works, the meaning and expression are not accurate compared to the painters of the older generation, but compared with the delicate and delicate articles in his hands, Lin Tao has the confidence of "fighting the ancients in blood, and being superior".

I'm here to visit the old-timers on behalf of the mentor, and I don't have to ask you for anything, why don't you give face to the master so much.

", this old thing is too much!"

People respect me, I respect people.

If you don't look at my paintings and hit me in the face, then I won't be able to look down on me.

The look on his face was very unsightly.

For the sake of the director of the hospital, he didn't have a seizure on the spot.

Cao Lao saw Lin Tao's arrogance and dissatisfaction, smiled before going out, clicked four times on the "Ink Bamboo Map", and used his index finger to make a pen, dipped the dragon well on the table to draw a picture, and said, "The ink and bamboo are dry, don't Cao Yi out of the water, you want to learn from Wu to take the wind." He waved his hand to see off the guest.

On the bus back to Lin Tao, he held the painting in his hand and pondered.

He had a belly full of sulking.

But Cao Xuan's words when he sent off the guest really scared him a little.

The so-called "Cao Yi out of the water" refers to the white portrait master Cao Zhongda of the Northern Qi Dynasty, his brushwork is dense, the lines are round and colorful, and the most significant painting feature is that the clothes of the characters in this person's pen seem to be carried out of the water, with a moist and heavy texture.

Lin Tao is the most proud thing.

It is the plum orchid bamboo chrysanthemum that he thinks creatively integrates the white lines of clothes and clothes into the outline lines of flowers, birds and plants.

There is no water but there is water, but the ink color is green.

He carefully studied and honed again and again before he took the essence of his predecessors' painting and formed his own unique style of brushwork.

Being casually glanced at by this old guy, it's like having no clothes, and the red stripes are clear?

"What do you mean to learn from Wu to be the wind?"

Of course, he knew that Wu was in charge.

This is to say that Wu Daozi was painted opposite Cao Zhongda in the painting world, and the clothes and belts of the characters in his pen were round and elegant, as if they were flowing in the wind.

Compared with Cao Zhongda, whose lines are as smooth as ever.

Wu Daozi's white lines are obviously more aggressive and bold, paying attention to the change of the weight of the lines.

Cao Xuan's words before leaving, was he reminding himself that he had taken the wrong path?

We should pay attention to expressing the dry roots and bones of ink bamboo, rather than being moist and affectionate, and the white lines are right, but should we learn from Wu Daozi instead of Cao Zhongda?

Lin Tao held the painting and sat until the terminal of the bus without getting off.

He frowned, reminiscing about Cao Xuan's mention and painting at the dinner table, thinking about it afterwards, the more he thought about it, the more he felt that the antelope was hanging on its horns, full of Zen flavor.

I kind of understand it, but I don't understand it too much.

pondering and pondering.

The resentment in his stomach had turned into a heart full of amazement, and he felt more and more that the two understatements, with endless aftertaste, were the feeling he was looking for.

When you reach a certain level of painting, how difficult is it to clarify the path of the future?

The four places that Cao Xuan pointed out on "Ink and Bamboo Map" are also to the point, and they happen to be the places where his breath is not smooth and his pen is not coherent enough.

And the penmanship of that demonstration ...... A broad avenue paved in front of him.

I only hated that I didn't pay more attention at that time, and regretted wanting to slap myself twice.

The conductor looked at the only remaining passenger on the bus who frowned for a while, was in a daze for a while, and smiled for a while, and only after making sure that this guy didn't bite for a long time did he remind the other party that they had arrived at the terminal.

Lin Tao didn't say a word, so he bought a ticket and sat back.

That night, he stood honestly and respectfully in front of Cao Lao's house for a night.

There was only one thought in his mind.

", this old man...... Sir is also too awesome. Such a god, I must learn from him, after this village, there is no such shop. ”

Afterward.

After Lin Tao finally worshiped Cao Lao's door, he had two years, eating and living in Cao Lao's house. I don't draw anything, I don't practice anything.

Draw only the simplest bamboo veins.

Only practice the most simple white lines.

Every time he practiced a painting, Cao Xuan used his pen to outline the breath of the line, and hit it back to repaint, starting with only the most basic long and short straight lines, round lines, spiral lines, and corrugated lines.

Two months later, he began to add strength, turns, and frustrations to his brushstrokes, emphasizing the elasticity and tenacity of the lines.

Strive to make the pen pause, the shape of the air does not disperse.

After four months, I practiced the whitening and sparse changes that appeared in the non-contrast scanning.

Half a year later, he began to draw the torso of a single bamboo.

After ten months, they began to join the foliage and bamboo forest.

……

Those were the two most difficult years of Professor Lin Tao's life in middle school painting, and they were also the two years in his life when he made the greatest progress in learning to paint.

Professor Lin told Gu Weijing that it was the second enlightenment of calligraphy and painting in his life.

It is like a frog at the bottom of a well, jumping out of the dry well for the first time to re-understand the world, and like a chaotic and ignorant baby reincarnated.

Apprenticeship has always been like recognizing one's father, and learning art is like reincarnation.

Two years ago, before Lin Tao walked into the teacher's house, he was just an ignorant young man who was complacent when he touched the "everyone's atmosphere", and his heart was higher than the sky.

Between the swaying shadows of the bamboo, he grew up quietly.

Two years later, when Lin Tao finished painting no less than 3,000 Taotao bamboo seas, and polished all the shortcomings and frizz carefully, he put pen to pen and became a master of Chinese painting with a truly famous law.

Twenty months later.

Cao Laocai accepted Lin Tao's first bamboo painting, and instead of letting the nanny destroy it as in the past, he hung it on the wall.

"The breath is condensed, the bamboo roots are deeply rooted in the paper, and the penmanship is done in one go, and it is finally a little interesting, but it can be played." Cao Xuan commented.

"All in one go?"

Gu Weijing thought about Professor Lin Tao's story of learning to paint.

It's a bit of a distraction.

When he was doing the practice of watercolor flat painting, he also subconsciously corresponded to the rhythm of his own breathing with the rhythm of the brush in his hand.

Exhale, inhale, exhale, inhale......

Lift the pen, put the pen, lift the pen, put the pen......

Gu Weijing didn't even notice it, as he painted, his hands gradually became more and more stable, and the uncontrollable trembling and mottling between his brushstrokes gradually decreased.

It was not that he was favored by the god of watercolors.

Instead, Gu Weijing gradually discovered that although the brushwork, substrate, and pigment are not the same.

But in fact......

Watercolor and ink Chinese painting have the same subtlety.

In addition to the fact that there is no need to tilt the paper when painting Chinese ink painting, the rice paper with strong water absorption ability can directly complete the steps of pigment rendering, as well as the chic and freehand painting method of Chinese painting, and the light and realistic painting method of watercolor.

Two traditional painting methods were born in Europe and Asia.

There is a certain similarity between the two paths.

The same emphasis on the subtlety of brushwork, emphasis on the training of wrist stability when the painter uses a soft pen, the same water-dyed paper, one stroke at a time, white paper dyed ink like a carving knife chiseled stone, after the pen to go down, in one go, there is no room for the painter to hesitate.

After adjusting his breathing, it was clear that he was coloring and painting, and it was a bit distracting to do this repetitive work.

But Gu Weijing is more relaxed.

He didn't have much training in watercolor brushes, and he started getting brushes almost from a young age.

Not to mention, his Chinese painting is the highest of all his painting techniques in terms of pure numerical values.

The way brushes and watercolor pens hold and move the pen are very different.

The painter's state of mind is similar, when he no longer thinks about how to delete and modify on the paper.

He thinks about watercolor brushstrokes in the way of thinking about Chinese painting.

To think about the control of watercolor smudging on cardboard by controlling the velocity of the pen in ink painting.

The half-painted water bridge on the paper began to become interesting in Gu Weijing's eyes.

[Watercolor Technique XP +303!] 】

He noticed a hint flashing on the system panel with a high amount of experience increase.

Gu Weijing was slightly stunned.

It's not as good as the thousands of astronomical gains he received from the epiphany when he was at the Royal Botanic Gardens, but the harvest of 300 points in an instant is really a lot.

To know.

His original watercolor experience points totaled more than 200 points in the semi-professional, which was still after two months of getting the system, and the increase in other techniques brought about by the improvement of rain and dew.

Gu Weijing went to art school since he was a child.

Watercolor is Dulwich's main course, and even if Gu Weijing himself does not invest too much time and energy in practicing this technique in his spare time, the opportunities for daily contact are not too few.

Just now, Gu Weijing's casual idea and breathing rhythm perception that he found interesting basically topped all the gains he gained from practicing watercolor techniques throughout his primary and secondary school student days?

Of course.

It is difficult for ordinary students to have such a good foundation in Lv.5 level Chinese painting techniques, but this is enough to make Gu Weijing feel overjoyed.

"Art is really a kind of study that pursues spiritual understanding. Breath...... Maybe I've discovered that most of the soft pen drawings have a common way of controlling the use of the pen. ”

Gu Weijing laughed lightly.

He could clearly feel that after adding the overall control of hand movements and breathing rhythm in the painting room, the flat lines on the watercolor paper became smooth and obedient almost instantly.

There is not much difference between the flat painting and the brush, but the line in its hand is a thick line with a width of 12mm.

It seems that there are not too many mistakes in his substitution idea.

Painters in both the East and the West are human beings.

Although there are cultural differences, there are more things that art has in common.

The technical barrier is not as insurmountable as many people think.

Studying the similarities between the way the Impressionists used their brushes and the similarities between Japanese painting and Oriental painting.

It's already a cliché and nothing new.

It is an uncontroversial conclusion in the academic community.

As for the fact that there are many European and American art critics who study calligraphy.

The ability to write classical Chinese is very average.

I didn't even know a few Chinese characters, and I thought of calligraphy purely as a painting discipline.

It is simply to interpret the work from the strength of the strokes and the structure of the brush, and even to separate the brushstrokes and add them to the process of other avant-garde artistic creation.

In the past few years, I have made quite achievements.

To put it bluntly.

Gu Weijing studied Chinese painting since he was a child, but he still felt that the color science and delicacy of watercolor, as well as the entire proportional relationship and perspective focus system, were much more advanced than Chinese painting.

But on the line of the pen with a pen.

After Su Shi pioneered the literati painting system and implanted the calligraphy of Chinese characters into the oriental painting system, basically in all painting methods, he simply put his hands in his pockets and could not find any opponents.

What's more, when Lang Shining brought the painting method of watercolor painting to the East.

In the early days, many Dongxia painters were originally using brushes to paint watercolors.

To this day, some art schools suggest that beginners can use a traditional brush dipped in watercolor paint.

Squeak......

When Gu Weijing's coloring exercise is nearing completion.

The sound of the hinge of the door shaft is turning.

Professor Wattle walked into the room with his hands in his pockets.

(End of chapter)