Tsinghua University Academy of Arts and Design Pre-exam Sketch Guidance

Author: Chen Hui
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Publish Date: 2005-04-01
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5. Lines detached from structure equal zero Some students say their lines don’t look good and lack a sense of direction, while others mention that a single stroke should have variations in thickness and texture, but they can’t achieve it. In Chinese painting, there are two main types of line drawing techniques: "Iron Line" and "Orchid Leaf Line," with other techniques derived from these. The Iron Line uses the central brushstroke like a cone drawing sand, creating round, uniform lines that resemble straight steel wires, strong and upright. Gu Kaizhi from the Eastern Jin Dynasty belonged to this style. The Orchid Leaf Line has variations in texture and strength, with directional and vanishing points, giving a sense of movement and elegance. Wu Daozi from the Tang Dynasty used this style—his "Wu Biao Feng" (Wind-Carried Robes). In reality, any line drawing technique is just a form; lines exist to serve structure and form. A good line can not only depict outlines and structures but also transitions and spatial relationships. Imagine this: even the most beautiful lines lose their purpose if detached from the characteristics of the subject or its structural contours. The true meaning of lines is to accurately and vividly represent the shape and structure of objects. Deviating from this principle, no matter how varied or rich the lines may be, they hold no significance. Lines detached from structure equal zero. (Figures 1-16 to 1-18)
6. Fine-tuning is futile Sketching is not about meticulous craftsmanship like embroidery, where slow work yields fine results. In preparatory class sessions, I often see students meticulously drawing every turn of the model, focusing excessively on the edges, drawing and erasing repeatedly, as if they want to capture every detail of the subject. Unaware, they fail to realize that the purpose of sketching is toly (sensitive and concise representation of the form), briefly and completely depicting the shape, emphasizing the overall relationship and sense of unity. Fine-tuning can easily lead to a cluttered, weak visual effect—subtle up close but chaotic and feeble from a distance, lacking overall strength. Like jade carvings or ivory carvings, which are valuable despite the time and effort invested, every detail is meticulously crafted, yet their craftsmanship, no matter how refined, remains just an expensive material artifact, not an artwork. How can they compare to the stone sculptures before the tomb of Hu Qubing in the Han Dynasty? These statues lack fine-tuning, omitting excessive details, focusing instead on the overall shape of the stone carvings, capturing the indomitable spirit of the figures. These two analogies illustrate that details are local variations and cannot overshadow the whole. If everything is included, it disrupts the balance, losing the primary and secondary relationships—just like a play where everyone wants to be the main actor, causing chaos. Variation should be sought within the whole, with local elements subordinate to the overall structure for meaningful change. Learn to identify the main conflict, and other problems will resolve themselves. For lines, the main conflict is accurate representation, while the secondary conflict is form and variation. (Figures 1-19 to 1-21)
7. Maintain your strengths and uniqueness, confidence is the mother of success Cabbage and radishes have different tastes and characteristics, yet why must everyone be the same? With different personalities come different preferences—I can stew radishes, you can salad them, and he can braise them. The same ingredients, different methods, yet completely different flavors—each with its own taste or uniqueness. Different methods are forms, but the key is whether the taste is authentic, whether it’s done right. "Right" is the common standard of accuracy and likeness. So, if you excel at using fine lines to depict subjects, or if someone else finds line-and-plane combinations more natural, or if I prefer lines with varying thicknesses as my strength—all these are fine, as long as they revolve around the fundamental principle of accuracy and likeness. Methods come later. Confidence is not stubbornness; it’s not rejecting new, good things. Without absorbing the good, one becomes rigid and regresses. Confidence is a driving force within the right methods, a relative advantage in certain subjects within a certain range, and perseverance toward ideals—it is the mother of success. The early stages of learning to paint are often tedious—without goals, interest, perseverance, or confidence, they become even more unbearable, and the results are poor. How to engage students’ interest, build their confidence, and fully support their self-assurance is more important. Confidence comes from teachers’ encouragement. Sometimes, a casual remark can become a student’s motivation or a source of demotivation. A good teacher does not impose a one-size-fits-all approach, like forcing everyone to eat the same-taste dish, but adjusts to each individual, like preparing a unique dish for each person. Maintain their strengths and uniqueness, overcome weaknesses, and let students follow their own paths. The teacher guides them for a while, helping them stay on the right track. (Figures 1-22 to 1-24)