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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 Thu Apr 25, 2024 6:32 am


Super writing, also known as photographic writing, is the product of the combination of modern technology and writing painting techniques. One of the representatives of superwriterism is the American painter Cakoros, who made more than a dozen giant heads in pursuit of a more realistic visual effect than photography. The drawing is slow and delicate.
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Features of super photographic writing techniques:
(1) The works are mostly based on current photography, depicting objects objectively and truly, the author's emotions are suppressed, and the techniques are only techniques.
(2) Different from photos in tone and mood. Summary and refinement are just cuts and trims of the photo.
(3) In order to fully display the details of the image, the 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 procedure of super writing works is as follows:
(1) Use a slide projector or a photographic object projector to enlarge the negative taken in advance onto the canvas.
(2) Use oil paints or acrylic paints to refer to photos for meticulous copying, and strive for accurate shape structure and detailed and rich details.
(3) Spray the flat, clean and bright parts with a layer of color, so that the color of the picture transition naturally and weaken the trace of brush strokes.
Modern super writing works mostly use acrylic pigments, because acrylic pigments dissolve in water and alcohol, easy to spray painting, dry, to achieve the surface bright effect, often apply a layer of glossy oil on the surface.
Painter Shi Chong uses oil paints to create photographic drawings. He first made objects according to the idea, and then took photos, and then according to the enlarged photos, he used a small pen to dot the part, and gradually painted the whole picture, and compared the finishing and dyeing.
The school began in the United States in the 1970s and 1980s and was reborn a century later in France, where one of the more successful contemporary painters, Claude Eville, gave lectures. The purpose of fantasy painting is to make us acknowledge the reality of the painted object, and the ultimate point is to make the viewer forget the existence of canvas and oil paint, and enter the mind, mistaking the reproduced truth for the objective truth.
The technique of fantasy painting is to cover up all the traces of painting and reproduce it without personality style.
The materials used by Professor Eville are:
(1) Linen, oil base (see production of oil base for details).
(2) Mati resin gloss oil, paste media (see media production method for details).
(3) Pigment powder, it is better to extract from minerals, plants and animals. The necessary pigments are: lead white, earth, earth red, ripe brown, ivory black, iron black, ultramarine, cobalt blue, lake blue, and a small amount of Naples, silver, medium and alizarin red, emerald green. When grinding the pigment powder, use a mixture of raw and cooked walnut oil
Painting procedure:
(1) Put still life, hook short manuscript.
(2) Copy the finished sketch on paper to the canvas using sulphate paper.
(3) Line the canvas with cooked walnut oil diluted with brown gray (earth red, cobalt blue and lead white) and double turpentine. Then use lead white and ripe brown to further sketch the relationship.
(4) With cooked walnut oil and turpentine mixed with the required pigment added lead white (usually lead white, earth, earth red, sand, cobalt blue, ultramarine and iron black), thin paint the first color. This painting is lighter gray than the subject, thinner and more transparent.
(5) After the first color is dry, use a scraper to modify the raised particles, clean the picture with Panama bark water (can be replaced by a very light detergent) or turpentine, and brush it with a medium and five times turpentine oil after drying, and then use turpentine and medium to adjust the second layer of color.
(6) After five or six days, clean again, and then dilute the brush with four times turpentine with the media agent. After the mask dyeing, so that the color saturation, and describe the details, through the mask dyeing, to achieve rich, transparent, crystal, rich special aesthetic feeling.
(7) Let the painting dry for more than half a year, and then clean and polish.
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