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那繪畫技巧很高超但卻無法與看畫的人引起共鳴的畫能算是好的作品嗎？

你所說的真的讓我受益良多...^^

HI.
GOOD POINT!
MY DAUGHTER LIKES YOUR PAINTING TOO.

恩，大致上知道了些



總之謝啦JT老師，我知道我學得不夠!懂得也不多，但我會努力的

多謝你的指導喔^^”

不錯唷....
有我想要的味道呵呵
~JT老師~.....呵呵

JT的中文很棒嘛～不用討中國老婆了啦^o^

恩..我看到了
中文又進步囉^^

嗯嗯!!!很認真的做了解釋，受用無窮^^

只是....很想請問JT老師
現階段的我還是很分不清楚怎樣的繪畫叫”對”，怎樣的繪畫叫”錯”???
我在以前畫動畫時老師常提醒我，不要用些很boring的鏡頭，要用一些攝影機不太可能存在的拍攝角度去呈現畫面，這樣動畫才有趣，不然你用攝影機拍攝就好啦(我老師說話比較直接啦^^|||)
相同的，有時我會在插畫上造型想要跳脫原有的造型，所以做了刻意變形，手不像手，腳不像腳，但是在插畫語言中它還是所謂的手腳，又要怎麼做才能不叫錯誤???

我不是想要跟JT老師辯論喔，請別誤會喔^^|||
只是做個資訊交流:P
嗯...對於藝術、設計這種東西，我的修行還差很遠
還在學習中^^

NICE,NICE.

Wow! You are really hardworking and telanted. You always can create a great piece quickly.

I can immage how hard you were to finish it.

雖然懂得你所說低繪畫

但我現階段無法常常訓練自己低技巧

因為我還是學生~還有課業

可是我卻想創造一ㄍ純藝術低感覺

這~辦得到ㄇ

我想好的繪畫就是畫者發自內心地完成的作品
有時候看看小孩子的塗鴉
會發現她們的想像空間比大人厲害多了
常常碰到許多朋友說很想畫畫 但是畫得不好
我通常會告訴她們有心就可以畫畫了

To JS:

我有與你相同的疑問, 因為我畫東西時, 也喜歡用跳脫真實的方法去做.

不過我想JT所指的是, 傳統正統上的畫圖與繪畫, 因為畢卡索的畫也都是很不真實啊! 畢卡索是Cubism那一派的, 所有的東西幾乎都是由幾何圖形所構成的, 但相信鮮少人會說畢卡索的畫不好吧! 因為他只是不是在強調外在的東西, 而是畫到內在去了.

我的看法是, 要看今天你的這個插畫, 是要用在甚麼地方. 假如今天JT上面所做的那些畫, 裡面有個人沒有腳, 但是有三對眼睛, 那就有了嚴重衝突, 完全不對了.

你創作使終令人嘆為觀止，創作有時也許只為當下所融入的情感與專注後性靈的解脫，短暫地放空亦享受筆下所受的感動。

^^ pretty drawings~ I like them
This is like an addition to the ”Drawing” article
Practise makes perfect~I guess that is why we have to get rid of the bad drawings first.
I did some bad drawings~ I guess they are just not enough~ ha ha ^^

在看了那麼多的作品後，我感覺到，你很喜歡獨處、而選擇獨處的空間都很寬廣，靜謐，似乎靜到會忘了自己的存在。不過仔細觀察，群山遠觀如如不動、但蘊藏生命、江河不動、是寬廣深沈所致，淺窄的水流必是湍急，深廣的江河流動是緩慢徐徐，所以你愛大且蘊藏生命的環境，表示你喜歡探索、好奇生命的存在方式與意義。的你總愛把視覺前，畫上視覺的掩體，從小處微視自己每一秒鐘，製造成每個靜止畫面，就像漫畫形成的方式，在由你自己本身的意識或思考，讓他一幕一幕的快速閃過，變成活的景象。那麼！以後你的視覺所看到的任何景象，你都可以帶回家，甚至是像電腦存檔一樣，不管時間再久，你都隨時可以把它變成一幅圖像，一副有生命力的靜止圖像，只要你翻動每一張畫面，他們真是有生命的存在，這可能是你在培養，如何在有生命的景象當中，捉住其中的瞬間，那瞬間雖然是如一張圖畫一般，可是他卻是有他的生命存在。你叫我寫詩詞歌賦，來表達以上這些，我對您的觀念，我想應該不是什麼困難的問題。可是叫我用這種敘述的方法，我真的卻是很糟糕，你的翻譯軟體，能不能把詩詞，翻譯成你看得懂得白話文呢？算了！我想那是不可能的事。我不知道，我這樣的分析，對你是否有幫助！不過我已經很認真在做了，但我知道，我自己還是沒有能夠完全把我的想法，敘述完全。因為打字真的很累，有時候長長的一段話，在打字個過程當中，如打錯或是尋找我想要表達的，你又可以知道的用語。結果十話剩下不到一半，有時候我邊打字，邊在埋怨你。哈哈！跟你開玩笑，除了在溝通方面的障礙，我也是人心甘情願的啦！我知道！你都請人把你的內文翻譯成中文了。我真的被你感動的無話可說！就這樣子吧，再聊吧！

我想, 你可能是想說:學習繪畫的基本技巧是基礎, 是重要的, 但是一旦技巧純熟後, 一切技巧都出於自然, 拋開對技巧的執著及鑽營, 加入生命及畫者所要表達的意識形態.至於比例各佔多少, 就因人而異了.

其實, 不只是畫者觀點不同, 欣賞者的角度也會不同. 就像我今天看了一本佛畫冊, 我就只對其中的一幅”魚籃觀音”特別鍾愛. 畫者把觀音像畫得異於一般地入世, 就像一個平凡村姑一樣, 讓人不禁讚嘆, 觀音的用心及慈悲, 為了渡眾生, 刻意喬裝微服出巡, 以村姑相渡人. 同樣是”魚籃觀音”有很多幅, 它的畫工不是最好的, 但是我就是這幅, 喜歡畫者所賦予這幅的意境及詮釋. (當然囉, 並不是每個人都這麼想的.) 這就是在重視畫工之餘, 畫者所給予的生命, 情感及詮釋的魅力所在.

路過留言....

你對技巧的詮釋鞭辟入裡, 受教了.

不過..我想技巧固然重要, 它應該不是, 也不應該是大多數藝術的核心吧. 繪畫者與賞畫者的互動, 除了造型的 ”是非對錯”, 還有更多的非理性原素.
我以為創作者透過 ”絃外之音, 甘餘之味”, 創造更引人入勝的意境, 以及更深層的感動.

所以對於不曾學習繪畫的我, 講究是非對錯的
技巧當然是第一步. 不過因為你的標題是 ”對繪畫
的看法”, 或許鼓勵初學者 (欣賞者) ”快速通過” (不是忽略, 更不是不學) “技巧” 這個層次,
可能更能引起彼此心靈的共鳴.

至於如何創造繪畫的絃外之音..? 呵呵, 那我就
無法班門弄斧了.

我是大自然的愛好者….透過鏡頭 ”紀錄” 景色.
攝影如同繪畫, 也算是 ”造型藝術” 的一種吧.
不過我的目的只是盡量忠實紀錄, 等老的時候
有些可資回憶的影像, 所以當然談不上藝術
創作..:-)


歡迎釜正.

Thanks for your nice words.

Composition / viewpoint, among others,
is one of the keys to deliver essential information, for photographer. Undoubtedly there has much room left for me to improve my vision. So I’m all ears to any criticism to help me pinpoint my ”blind spots”.

Please give me your valuable advice, whenever you are available.

Oops, I deleted your message in my blog
unknowingly. Please accept my apologies.

I have to write tens of e-mails daily to earn my living. Practice makes, if not perfect, better, doesn’t it?

Anyhow you could use Mandarin better than
I do English. That is a simple truth indeed.

I got and really appreciated your messages.
In fact I knew Angela a few months ago and
then knew you on her guest book.:-)

I started close-up photography just from
this summer and have no surprise I failed to do the good job. Even after years of taking photos of landscape, I still feel there must exist better way to express them more properly. Well, it is inevitable to make some comprise in high mountain areas, due to the limited physical access.
However I would like to minimize their
detrimental effect.

Less is usually more. Undoubtedly I must miss key focus from time to time unknowingly. Please criticize some photos more specifically if you have time.

I do study tens of English-written books on
photography and know some basic principles.
I guess my main problem is how to implement
them in real situations. Your talent and
professional experience must make your eyes
sharp and observing. So I’m looking forward to your further messages.

Cheer,

I guess I catch the points of the following note:

”How can you show your main subject
in color and play down other stuff with just black”

Well, it is a question of taste and technical considerations, instead of
right-or-wrong, IMHO.

I know some famous photographers, such as Mr. John Shaw, dislike particularly about photos with black background. He describes them in his book, Closeup in Nature, as ”boring”, and so on (P.84).

However even so, he still shows some photos of insects and leaves in totally black, blue, or other pure colors. That implies only black itself could bring boring feeling, and others would be not.

I couldn’t catch that, could you?

I further look up some German-written books, such as ”Makro Fotoschule” written by Martin Sigrist, etc. and find they have
many photos in totally dark background. They are not boring at all.

Technically the situation I meet is as follows: In strongly windy and dimly
lit high mountain, a flower just
swings significantly and rapidly. On the other hand, to achieve proper depth-of- field and better resolution, I have to use f/8 ~ f/13 and then the shutter speed will
be 1/8 second or longer with natural light only. However, to freeze the flower, the shutter speed should be 1/100 second or even faster. That means flash will be the major light source and then the natural light is negligible inevitably.

Well, it is possible to use multiple flashes and get more ”natural” photos. However it is technically difficult and practically impossible without assistants in wild field....

The real issue is whether black or blue background in color photography is totally boring and unacceptable.

My experience tells me it is one of
the ways to express flowers or other marco-subjects. It is fine to use it sometimes but bad always. Even ”natural” photos looks boring, if people have to view it tens of time daily. Moreover it is likely the only way for me, in reality, to photo flowers in windy and dim environment. Of course
some plants grow closely to the ground and seldom move. Then I will use available light as the main source and flash as fill-light .

Just 2 cents of mine..:-)

你必須要由自己的內心下去畫，所以人們才可以欣賞它並感覺到你想表達的。

太絕妙了！我懂了，畫畫就像寫作一樣，要讓靈魂、精神加入於創作之中！

受教了！大師 JT︿︿

Thanks so much for your detailed
and straight points. Though I made
a quick reply a few minutes ago,
I will read them again.

By the way, have you ever thought
black is in fact a color as well?

I am wondering if you studied colorimetry before. It is a science dealing with colors. Black, grey, and white are just part of color gamut. They are neutral colors indeed.

Maybe you could reconsider to treat
neutral colors in the other way..:-)

Yes, I apprecite the talent you show
on your paintings, comics, poems,
and so on. In addition to the talent,
you must have another key, i.e.
hard working.

By the way, could you describe
the word ”strong” more details?

Likely I didn’t understand it
correctly. In my opinions,
strong is good but not the most
important. Sometimes the
strongest means the weakest.
(In Chinese traditional philosophy)

A picture too strong surprises
viewers at the beginning but
then bores them soon.

Balance, depth, tone accaracy,
and so on would seem to be
less impressive. However just
like rice, they bring more
pleasure as time goes by.

Thanks again for your professional
and friendly advice.