by percyshelley, 2011/10/23
Anyone who knows anything about the work to be evaluated below will know that it involves an unprecedented huge hole in the history of dark silk.
According to incomplete statistics, painters who have openly jumped into the trap include parr, windream, sylow, justify, Lylian, crowdyue, etc. At the same time, I also deeply suspect that many painters have underground failed works.
The so-called small town scenery originated from a painting. Let’s take a look at the original picture first:
(For the following time period, it is recommended to look at this picture while watching my verbosity)
When you first look at this picture, you will definitely feel that it is extremely complicated, with various colors, various items, and various light and shadow. Not to mention drawing it into ansi image, even if you copy it, you will find it difficult to start. Let’s put aside those previous paintings (if you haven’t seen any of them, even better), if it were you, drawing this picture for the first time, how would you deal with it?
Don't scratch your head and worry, wumi, parr, windream and others already have ready-made experience and guidance. wumi once pointed out (for related comments and works, please see the ANSI Essence Area x-9-2-6 of Fudan Sun and Moon Guanghua BBS):
In my opinion, the biggest highlight of this painting should be the relationship between light and shadow: the walls and balconies in the middle shot use
cold and dark tones , forming a contrast between light and dark, hot and cold , and the depths of the alley in the distant view. The sun fan in the distant view and
the high-light processing on the ground, as well as the ray of sunlight falling on the flowers in the close-up view, these rich changes in light and shadow give the entire picture a
sense of depth and also exaggerate a taste of life.
That is to say: when you first see this picture, your eyes will first be attracted by the car parasol in the picture, because it is the brightest place in the whole picture and is also located in the center of the picture. You will start from the flowers nearby, then follow the stone path to the distance, and see the flower pots, stairs, trolleys and parasols next to the trolley, until far away.
This is the feeling caused by the depth and contrast of light and dark in the original picture. In painting, the key is to make choices and light and dark processing: focus on depicting the key objects that attract your attention (distant scenery is not counted, these It will hinder the sense of depth in the picture), and you must use appropriate light and shade to restore the light in the middle and dark on both sides of the original image.
I have the audacity to talk so much nonsense behind my predecessors, and I have the audacity to say no. Among all the works, the only ones that impress me deeply are Sylow’s color blocks and Parr’s lines. There is nothing else but the right choice, light and shade.
Having said that, let’s take a look at sylow’s works. It should be noted that although in the original picture, the nearby flowers, the stone road and the branches and leaves above are painted very delicately and beautifully, in my humble opinion, they can never be clearly shown in the ansi picture. Artists such as Windream, Justify and Lylian clearly depicted the stone road, which not only overwhelms the focus, but also distracts from the attraction of key parts such as the parasol car, and also destroys the sense of depth in the original painting. And you can also take a look at how sylow and parr deal with the stone road.
Similarly, although the nearby flowers are in the bright light, excessive depiction will distract the view. In a word, in order to achieve a well-organized design, non-critical parts should be simplified, simplified and simplified again. In parr's picture, the nearby flowers are all dark, and most of them are only outlined with straight lines and diagonal lines; while sylow uses highlights, but all use simple three-character blocks, supplemented by highlights. (In fact, originally the branches and leaves on the upper right side could have been outlined only with black shadow, but perhaps in order to balance the entire picture and prevent the upper right side from being too empty, highlight green was used)
We can look at parr's "Small Town Scenery". As wumi and windream pointed out, parr's pictures make extensive use of |, the thinnest straight line (this technique is also widely used in the pictures of Chive and Kieslowski). Except for the middle parasol part, both sides are dark. I hope everyone can feel her painstaking efforts in creating light and dark effects and a sense of depth. In my opinion, complex large-area scenery processing should be the most difficult and top part of the dark silk map. Dark silk drawings are different from photos and fine art paintings. When copying a painting, a lot of deformation and selection are required, and at the same time, it is very difficult to capture the charm of the original picture.
Finally, I will use a color block diagram to discuss this issue: Gatchaman's "Architecture and Perspective". (Actually, it’s the main entrance of Fudan University. The original picture is as follows:)
Gatchaman’s work is as follows:
=> Architecture and Perspective
The original picture is relatively simple, and there is no strong contrast between light and shadow. But there are still some choices worth learning from:
I won’t explain it specifically. This review is over.
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