Chapter 465: A Bamboo in the Heart, the Idea Precedes the Brush

Master Wang was more experienced; after a moment of contemplation, he guessed the reason:

"These three strokes of blue material must be the clothing of three figures..."

"Since the requirement is for a more elegant and subtle tone, Gem Blue, which is too deep and too bright, is not suitable for painting clothing."

"Either remix it or change to another, but remixing takes too much time, so it's better to just use the prepared Cobalt Blue..."

Several masters looked strange: did this mean the young man was being lazy?

But even if he were being lazy, he couldn't use Cobalt Blue: this stuff only glazes at over a thousand degrees; with such a high temperature, what would happen to the other Glaze Materials? "After painting, it still needs to be coated with a layer of surface glaze, so there is no need for the Cobalt Blue to glaze, as long as it shows color!" Master Wang explained, "It's not like one would actually use such a plate to eat?"

The several masters suddenly realized: with the surface glaze for Isolation, the Cobalt Blue would not scatter even if it did not glaze. As long as the temperature did not exceed six hundred degrees, it would not affect the overall pattern.

A high temperature of six hundred degrees, let alone holding dishes or rice, unless you burn it with fire...

With thoughts turning in their minds, several pairs of eyes blinked, staring intently at the brush in Lin Sicheng's hand.

Using the Gold Tracing technique of Canton Enamel to paint people—was this truly the first time they had seen it?

But as they watched, someone noticed something wrong:

The reason it is called the Stacking Gold method has one core word: stack. Whether painting patterns, objects, or people, one must first perform multi-layer Stacking Sculpture on the parts, and then use a technique similar to carved lacquer to perform further creation.

To put it simply: to form the three-dimensional effect of a Shallow Relief.

But this method of Lin Sicheng's only involved applying two layers, which was far from stacking, and could not even be considered "layering." It had nothing to do with "Relief Carving" or the like. Moreover, in the Gold Tracing method, there was no such painting style where one begins to stack a second color material before the first one is finished.

While they were suspicious, Lin Sicheng changed to a new brush, but this time he did not dip it in pigment; he dipped it in Turpentine.

It was that transparent, colorless kind, which acts in porcelain painting much like water does in traditional Chinese painting: diluting pigments and adjusting color concentration. The problem was, in the Gold Tracing of Canton Enamel, whether it was stacking gold or Gold Tracing, one only worried that the concentration was not high enough or the color not vivid enough; why would one use this? Just as they were stunned, Lin Sicheng lifted the brush, scraped it on the oil dish, and landed it on the plate again.

The tip of the brush tapped lightly, then rubbed, and the stroke of Double Yellow in the center of the plate suddenly faded. After tracing two or three more times, the outline of a person's face gradually took shape.

These three strokes of Double Yellow were actually three faces?

But the question was, why paint it this way?

Trying hard to recall, it seemed they had never seen such a technique in the Gold Tracing method of Canton Enamel.

Seeing the group of people frowning and unable to figure it out, Ye Anlan nudged Ye Anning: "Is this also a secret move?"

Ye Anning pursed her lips: What kind of secret move is that? This is the most authentic traditional Chinese painting technique, which has existed since ancient times.

It was just that these masters had their minds full of "Canton Enamel" and had reached a dead end, unable to turn their thoughts around for a moment: the Canton Enamel painting style is a combination of East and West, using focal perspective, obvious contrast, and even more so, the meticulous brushwork of traditional Chinese painting.