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What is super writing and fantasy painting?

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What is super writing and fantasy painting? Empty What is super writing and fantasy painting?

Post by Admin Mon Mar 04, 2024 6:29 am

Super writing, also known as photographic writing, is the product of the combination of modern technology and writing painting techniques. Chakkoros, an American painter, is one of the representatives of superwriting. he has more than ten giant head portraits and pursues more realistic visual effects than photography. This method of painting is delicate and slow.
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The characteristics of super photographic writing techniques:
(1) most of the works are based on current photography, depicting objects purely objectively and truly, the author's emotion is suppressed, and the technique is only a skill.
(2) it is different from the photo in tone and mood. Generalization and refinement are just cutting and clipping of photos.
(3) in order to fully display the details of the object image, the object image is often magnified several times or dozens of times, so that the work has a strong visual impact.
(4) full of decorative characteristics.
The production procedures for super-written works are as follows:
(1) use a slide projector or a photo projector to enlarge the pre-taken negatives on the canvas.
(2) use oil paint or acrylic paint to make a detailed description with reference to the photo, so as to strive for accurate shape and structure, detailed and rich details.
(3) spray the flat, clean and bright parts with a layer of color to make the color transition natural and weaken the traces of brush strokes.
Modern super-writing works mostly use acrylic pigments, because acrylic pigments dissolve in water and alcohol, easy to spray, dry, to achieve a bright surface effect, often apply a layer of varnish on the surface.
Painter Shi Chong uses oil paints to take pictures and write paintings. He first made the crop according to the idea, and then took a picture, and then according to the enlarged photo, he began to draw locally with a small round pen, gradually painted the whole picture, and finished it after comparison.
The school of fantasy painting sprang up in the United States in the 1970s and 1980s and was reborn in France a hundred years later. Claude Evell, a more successful contemporary painter, came to give lectures. The purpose of the creation of fantasy painting is to make us admit the real existence of the painted object, and the ultimate point is to make the viewer forget the existence of canvas and paint, while the mind enters the country and mistook the reproduced truth for the objective truth.
The skill of fantasy painting is to cover up all the traces of painting and reproduce it without individual style.
The materials used by Professor Evell are:
(1) linen, oily base (see the manufacture of oily base for details).
(2) Marty resin varnish, paste medium (see the preparation method of the medium for details).
(3) pigment powder is better extracted from minerals, plants and animals. The necessary pigment powders are: lead white, earth red, ripe brown, ivory black, iron black, group blue, cobalt blue, lake blue, as well as Naples, silver, alizarin red and emerald green. When grinding pigment powder, use a mixture of raw and cooked walnut oil (2:1).
Painting procedure:
(1) put a still life and tick a small draft.
(2) copy the completed paper sketch to the canvas with sulfuric acid paper.
(3) Mark the canvas with ripe walnut oil diluted with brown gray (earth red, cobalt blue and lead white) and turpentine. Then use lead white tone and mature brown to further draw the sketch relationship.
(4) mix with ripe walnut oil and turpentine and lead-white pigments (usually lead white, clay, earth red, sand, cobalt blue, group blue and iron black). This time the painting is lighter gray than the object, thin and transparent.
(5) after the first color is dry, modify the raised particles with a scraper, clean the picture with Panamanian bark water (which can be replaced by a very light detergent) or turpentine, and use a medium to dilute the brush with five times turpentine. Then use turpentine and medium to color the second layer of color.
(6) after drying for five or six days, clean again, then dilute the thin brush with medium and four times turpentine. After the cover dyeing, make the color saturated, and describe the details, through the cover dyeing, to achieve a rich, transparent, crystal clear, rich special aesthetic feeling.
(7) let the painting dry for more than half a year, and then clean and polish.
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