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我临摹过许多画,为的是更深地理解和体会其中的奥妙。更为的是闹明白自己该怎么画。在临摹毕加索的线描时,我用的是圆珠笔,在非常光滑的玻璃上画,出来的效果流畅而漂亮,神采飞扬。有人称赞我临的比毕加索的还好,我知道不是,毕加索的线有一种雅致的从容,那是真正大师不动声色的了不起。而我自己因为内涵不够,所以表面反而抢眼。关良的画,我临摹过,不是用毛笔,而是用钢笔。我想用完全不同的工具来探究他造型的“若不经意”。他没有追求笔墨效果,却是贴在型上特别的对,怎看怎好。他的线笨笨拙拙却表现出极准极妙的感觉。我没法不喜欢,而且不是一般的喜欢。
I have copied many paintings in order to better understand and appreciate the mystery among them. More is to understand how to draw their own. While copying Picasso’s line drawings, I used a ball-point pen, drawing on a very smooth glass, flowing smoothly and beautifully. Some people praise me better than Picasso, I know not, Picasso’s line has a elegant calm, it is the real master quietly great. And because my own content is not enough, so the surface but eye-catching. Guan Liang’s paintings, I copied, not with a brush, but with a pen. I want to use a completely different tool to explore his modeling “casual ”. He did not pursue the pen and ink effects, but it is affixed to the type of special right, how to see how good. His line was awkward and clumsy but showed a very subtle feeling. I can not help but do not like it, and I do not like it normally.