"Lusa, Dawei, you two should tell Wang Ding about the basic knowledge of sculpture first, such as the tools we apply, how we make sculptures, and the preliminary preparations for the sculptures. You should not be very clear about this Wang Ding.
?”
Alberni was thinking of calling Wang Ding to learn from the beginning. Of course, Wang Ding cherished this opportunity. "I'm a little confused, so I'm so grateful to you."
Dawei snorted secretly. He thought Wang Ding was so powerful, but he didn't expect that he was just a layman who knew nothing. Naturally, Dawei didn't want to give Wang Ding sincerely, and said coldly, "Okay, the teacher asks you to teach me."
, I'll tell him."
Lusa said enthusiastically, "Wang Ding, don't worry, we will tell you some basic knowledge of sculpture. In fact, if you get started with sculpture, it will not be as complicated as you think."
"Then let's start now. I see you were making sculptures just now. What are the basic tools for this sculpture?"
Wang Ding asked curiously, and Dawei said it quickly in French first. But Wang Ding could not understand French. Seeing Wang Ding blushing awkwardly after hearing this, Alberni simply said, "Okay,
Dawei, if you don’t understand Wang Ding in French, why don’t you understand, Lusa, teach Wang Ding alone. Dawei, go and prepare some clay sculptures for me.”
Dawei was arranged to do something else, and only Wang Ding and Lusa were left here.
The teacher left to do something else, Lusa was not lazy. He nodded politely to Wang Ding, Lusa put his small hands on his thighs and said seriously, "Wang Ding, the tools of the sculpture are like Dawei Fangcai.
In French, there are many. For example, there are three types of sculpture knives: the first is metal tools. It is made of steel, stainless steel, brass, etc. The knife head is divided into oblique triangles, willow leaves, and thud leaves.
The shape and arrow shape are zigzag shapes, some of which are zigzag-shaped at the edges. The second type is non-metallic tools, made of bamboo, wood, bone, ivory, cow horns, plastic and other materials. Large cutters have soles, cuttle bones, and thumbs.
Shape, oblique triangle, etc., small tool shapes include diamond-shaped, small foot shape, spherical, strip shape, etc. The third type is a scraper, which can be cut and made of clothes, and has various arc-shaped and square double-sided scrapers.
Sculpture knives are generally used for clay sculptures, used to scrape, cut, paste, pick, press, smear clay sculptures and shapes. Then there are stone carvings, stone carvings, poundings, etc. By the way, the bow handle and dot shaped instrument are also used in sculptures.
It is often used.”
Wang Ding knew about stone carvings and stone carvings, but he didn't know much about the bow handle and this dot meter.
"Miss Lusa, I want to ask, what are the bow handles and dot meters, and what role does he play in sculpture?"
Lusazhen felt that Wang Ding was very blank about the sculpture, but she said with a friendly laugh, "This bow handle is a caliper for plastic, and has two ivory-shaped clamping feet that can be opened and closed, which can measure the distance and can also change the clamping feet at any time.
Curvature, of course, also proportional bow handle, which is a measurement tool for magnification of sculptures. And the point meter is a three-coordinate positioning instrument, which is used to copy stone carvings and wood carvings. We usually find three on the plaster statue.
The reference point is aimed and fixed with the positioning steel on the point meter. The slidable parts, universal joints and pointers on the point meter can be used to aim at any space position on the statue and lock the movable parts.
Then move the dot meter to the stone or wood, and the steel is aimed at the corresponding reference point. The pointer can mark the dots on the plaster image on the stone or wood block, and then it can accurately copy it into stone carvings and wood carvings."
"Oh, there are still such tools?"
Wang Ding probably understood that Teacher Alberni was able to copy many of Master Rodan's works, and this dot meter should be of great significance.
Seeing that Wang Ding was very interested in the point meter, Lusa took a point meter and asked Wang Ding to experience it himself. There were many clay sculptures in this studio. Lusa first found a sculpture template.
Then, use a dot meter to take three base points on the top, and then fix it, and then move the instrument to the clay sculpture again. The three base points are marked on the clay sculpture.
"You see, with this dot meter, we can copy a sculptural artwork more prepared to minimize the error."
"I understand, Lusa thanks you very much, but I have another question, is this clay sculpture the original material of your sculpture? I see that there are many such clay sculptures in this studio, and there are some iron racks there...
”
Wang Ding is very good at observing. Before he finished speaking what he wanted to say, Lusa interrupted him and said, "Wang Ding, Teacher Alberni said you have talent, it seems that it is true. Your ability to discover is amazing.
Indeed, the clay sculptures you see are the most commonly used materials for our sculptures. In addition to clay sculptures, stone, jade, wood, ivory, etc. are all materials that we use for sculptures. And the role of those iron racks took place in the early stages of sculptures.
A crucial role is that we must first make a shelf when doing sculptures..."
"Playing a stubborn?" Wang Ding said in confusion.
"Ha, are you a little vague? Then I'll say it more clearly. To make a sculpture, we need to make a shelf based on the posture and the proportion of the body of the statue, which fixes the shape of its internal skeleton;
Several small crosses are tied around the skeleton. Its function is to connect the mud into a whole, so as not to collapse and facilitate shaping. Only after the frame is made can we enlarge and shape it according to the pre-made mud composition."
"So this is how the sculptures are made? I said, how can these clay sculptures be connected together? It turns out that they are supported by a shelf?"
Wang Ding really gained his knowledge, but he now knows far less than one-tenth of the sculpture. Lusa smiled slightly, and a dimples appeared next to his handsome face.
"Wang Ding, how can sculpture be made? Making an iron rack is just the first step to finish the sculpture. After the clay sculpture is ready, it is too easy to be affected by the climate, fission and deformation, and difficult to preserve forever. We must
Turn clay sculptures into plaster statues. Most of the sculptures we often come into contact with are made of plaster. Regarding plaster turning, we also have our own complex technology. After the plaster is made, we often have to continue spraying them on them.
The color makes it produce the texture of bronze, wood, stone, etc. Only then can the sculpture be said to be completed."
Lusa briefly talked to Wang Ding about the method of making sculptures. However, Wang Ding learned about the whole method, but found a problem, that is, Western sculpture art is actually different from Eastern sculpture art.
Because Wang Ding talked to Brother Jinlong about sculpture and carving. In Jinlong's story, Wang Ding remembers that the materials of Chinese sculptures are wood, mud balls, cotton, broken hemp, sand, straw, etc. The complexity is compared to Western
Sculptures are even better than those.
However, Wang Ding can also understand that Chinese sculptures are actually not as good as Western sculptures in the history of development. In China, the word sculptor basically did not exist in ancient times. In that era, China was more of a carpenter.
, while carpenters are in the middle and lower class in society. Not only that, they make very little money and cannot be compared with Western sculptors. Therefore, in terms of sculpture skills and development, China is far less developed than the West.
Until now in China, sculptors are still a member of the traditional division of labor. Their main responsibilities are to build statues for temples and carve stones for buildings. On the one hand, they do not have the free space for independent creation, and on the other hand, from the object of expression, works
In terms of space and other aspects, their works lack the ability to intervene in social reality, which is behind. In the West, sculptures created freely in studios can express their observations on society with the help of works, and the power of the works is not weak at all.
The works of painters of the same era, Western sculptures that accept customs from all parties and profit from them, can enter public spaces in various modern society, such as squares, streets, and parks. The works of their works will naturally attract public attention.
The recognition of identity and status made money, so the sculptors continued.
Wang Ding felt that he had the responsibility to apply the essence of Western sculpture to Eastern sculpture, and he wanted to prove that China also had sculptors who could influence the world.
...
"Wang Ding, how are you learning basic knowledge?"
Wang Ding is still absorbing the sculpture knowledge just now. Teacher Alberni has already asked questions with concern. Because time is tight, Alberni wants to ask Wang Ding to accept the basic knowledge of sculpture in the shortest time, and then enter the next one.
In the process, conduct on-site sculpture exercises.
Because in Alberni's concept, theory without practice will always be blank and weak, and only by truly creating perfect sculptures with both hands can one be the true sculptor.
Although Wang Ding still has questions about the sculpture, he thought that he could continue to learn by following Teacher Alberni's sculpture, and said. "Teacher Alberni, I basically understand the principles of sculpture, but the deeper content
I don't know very well. But teacher, we can start carving first."
"Okay, then let's hurry up and improve this goddess of victory."
Lusa was stunned for a moment when he said that the teacher wanted to make the goddess of victory, and Dawei was even more shocked by Alberni's actions. Why did the teacher want to make the goddess of victory? This work of art in the Louvre is already perfect
, its unreplicable beauty is meaningless to carve again.
And how to perfect it?
But Wang Ding answered quickly, "Teacher Alberni, I think we need to make a stand for the head of the goddess of victory first, and then pinch out her clay sculpture."
Wang Ding's words are not particularly professional, but Alberni was still very happy to hear Wang Ding's words, because this is a kind of growth after all.
"Wang Ding, whether the clay sculpture of the head is used or not, but I'm sure we need to do a lot of heads. I hope we have a relatively satisfactory head this afternoon, come on!" (To be continued, please search Astronomy