In any market in the country, the friends who believe they have seen good materials have the same experience and contradictions: when the eyes are bright, they wonder where to begin, with all kinds of fine stone, slashing and heartache; and they feel sorry for not moving. A lot of the guys who just started playing with the sculptures asked uncle yu -- how did you design it to be neither wasteful of material, nor "high sense"
First, we need to look at the raw materials in different light and context. The search for a “good sense” — a truly “good” stone — is beautiful in the warm light of 3600 k-colour, and in the natural light; it is warm on white paper, it is moving on a black cloth and it shines a fascinating bead. If a piece of material looks good under the light, and the natural light changes colour at once, then it's called "oil" or "beautiful under the light" and it does not reach the threshold at the top。
In fact, i've seen a lot of good sheep-fat-grade stones on the market, and the hard-boil has been carved into a store. Sometimes it's not the process that fails, but the jade sculptor fails to grasp the most basic principles — the more the material, the more the wisdom of “learning”. Traditional techniques are the foundation, not the shackles. The true master is a man of tradition, who is flexible in materiality. Those who do not have experience are often caught in two extremes: either a greedy worker, making good things too “full”; or a fear of error, making good things “small”. The design of high-quality stones is essentially an “art of choice”. The cultural attributes of jade are too strong, especially on the line of xinjiang and tanyu, and players look not just at material, but more at what you “want to express”. There's a theme behind good work, narratives, support。
The scale, the focus and the expression, the decision is "like not human."
The character's carvings are the worst fear of being “failed”. The first thing is to look for a center of gravity: to keep one foot vertically and in the ear so that human objects can stand. There are also different steps in standing: outer eight, ding, straight, two-word. The ratio is even more low: men have thick bones and women are thin, while children have big eyes, small arms and legs, and cannot be rigidly represented as adults。
The head face ratio is critical: it says "three courtesies" in the face, that is, three vertical, five horizontal. Shoulder widths are usually larger than the head in two units; the arms stretch and the elbows correspond. There is also the term “stand seven, sit five, crouch three four” within the line, which is in fact to allow for a range of heights for standing, sitting and crouching positions。
There are eight types of facial traditions, with an additional “wind font”: fields, bygone, country, same, month, ace, shin, etc. The fat ones are more visible, more obese, more thin, more visible, more visible, more visible, and more common to beautiful women. If you change your face again, the person will be “live”。
The mouth and the expression are very much related: the upper lip is slightly thick and the lower lip is slightly retreating. And when he laughs, his mouth is raised, and when he is angry, he closes, and all his joy is in the radians of his lips. The eyebrows also speak: the male eyebrows are thick, the male eyebrows are thick, the female eyebrows are long. The eyes are the soul of the human being: the eyes of a man are handsome and the eyes of a woman are beautiful; the eyes of an old man are dim and the eyes of a child are round. It's hard to turn back when it's small and then magnified。
There's a tough rule in the nose: a nose that can be magnified and collected, and an eye that can be reduced. The reason is simple: small noses are hard to fix and big eyes are hard to shrink. The nose is high and low, and there are differences between men and women: men have high and large noses and women have narrow noses. The expression has little effect on the nose, but minor changes should be noted, otherwise the entire face would be “fake”. If you want to make fun of yourself, you want to make fun of your eyes, you want to make fun of your mouth, you want to make fun of your mouth, you want to make fun of your mouth, you want to make fun of your eyes, you want to see your face, you want to make fun of your eyes, you want to use a triangle, and you want to make fun of your eyes, you have to squeeze your nose and your nose
The ears also vary: the ears of the blessed are thick, as if they were on their shoulders; the ears are usually high at their hair. Ears are like question marks and ears are deep. These traditional techniques are the foundation, not the shackles. The true master is a man of tradition, who is flexible in materiality。
"perception point" for characters
The "fifty five long" — short body, head, hand, foot, finger, large belly, long ear — is common in meeller. The garments shall be soft as clouds
And the sound of the sound of the sound shall be full of mercy: a little bowing of the head, a little chest, and abdomen; the eye of the eye as fresh as the moon, with a tenderness; the finger of the finger as small as orchids, with a pure bottle in hand; and the water shall be smooth and bare-footed with a lot or a bow
The ladies used to scratch the hymns with their melon faces, phoenix eyes, cherry lips, orchid hands, willow waists and human shoulders
The birthday stars are often as tall as peaches, wrinkled, shoulder-lided, toothless and smiley, bearded with long chests, stick-in-hand, peaches。
The mouthpieces of human objects appear to be cumbersome, but they are the basic syntax of high-profile engraving: with grammar, you can write articles of different styles; without grammar, you can repeat others' sentences. In conclusion, the design of the high-end and tamayu objects has only two words at its core: “balanced”。
This balance exists between “natural beauty” and “artificial beauty” and between “traditional bottoms” and “modern aesthetics”. In recent years, despite the national tide in the industry, uncle yu has seen more of the same pattern, and even some of the works have lost their purest warmth because of their excessive formality。
The use of the true tide of the state on human objects is not a superficial collage of patterns, but rather a search for the human philosophy behind them. Human objects should contain the emotions of human beings. They should be storytellers, culturally supported, and stories can hold, so that expressions can be skeletal and vices can become scenes. It's from nature. We're just using the process to make its beauty more visible. Don't think about conquering it, but understand it and adapt to it. Impairments are not necessarily defects, but are sometimes the most unique beauty. Instead of fighting over the technology, go back to the source and figure out how to protect the "sherley of the heavens and the earth" better and better。
