The classroom was silent,
perhaps so people initially held a certain level of disdain for this little ga of coloring in the squares.
Upon hearing these words, they imdiately started to take it seriously.
Everyone was a student of Fitz, and their pen skills hovered around the sa baseline level.
Seeing the male student’s trembling and cautious pen control projected on the screen, his fingertips gripping the pencil were turning slightly white.
Even without Professor Watter’s explicit instructions, they naturally developed a sense of awe at the difficulty of this drawing technique.
The five minutes passed quickly.
On the projection screen, it was clear to see that about one-third of the space below the grid was still blank.
The completed section of lines did not et the professor’s requirents either.
It wasn’t neat and was quite far from being aesthetically pleasing.
Professor Watter did not bla the student; he waved his hand and had him step aside.
"I will give you a proper demonstration."
The elderly gentleman personally took the pencil and quickly began coloring in.
In just a few dozen seconds, he neatly filled in the remaining one-third of the blank space.
"Wow! That’s amazing."
This direct comparison elicited a soft murmur of amazent from the students.
Professor Watter listened with subtle satisfaction. As he took out a stack of pre-printed sketch papers with grids of the sa specifications from his briefcase and distributed them to the class, he said,
"I’ve been practicing sketching for thirty years; it’s only natural that you haven’t reached this level. For now, your class task for each session is to practice this standard exercise. Each sheet has a total of fifteen small grids, complete it and submit it at the end of class."
Looking at the students’ worried faces, Professor Watter smiled.
This is the real world.
Even if these professional art students have been studying art for over a decade, their line detail could still be inconsistent.
If any random online artist could reach a Master Level, artworks wouldn’t be valuable anymore.
"You can draw slowly; spending an hour and a half, or even two hours, is fine. You must do your best to draw well, rember this feeling, and when you work on your own portfolios, handle every line and stroke with the current mindset."
"If you can nail the details, I can’t promise anything else, but improving your portfolio by thirty percent is definitely possible."
The students began to work diligently.
Gu Weijing took the sketch paper.
He took out a sharpened 4B pencil from his pencil case and tried two strokes of line drawing in the small grid.
Line drawing is a ticulous task, and every renowned artist that focuses on line shapes has unique techniques for it.
Durer’s sketch lines can adapt to the slightest texture changes of the paper or fabric surface with the pencil’s trace.
And Ingres and Holbein, known for their precision in painting, may not match the forr in neatness with pure sketch line patterns, but the brush details in oil painting are often precise to half a milliter.
Teacher Watter’s practice thod is quite innovative.
With Gu Weijing’s Tier One Professional sketching technique, when he first started using the pencil, the positioning point of the pencil tip nearly exceeded the boundaries of the grid.
He slightly adjusted his wrist, carefully shifted the point of contact between his thumb’s pad and the wooden pencil shaft, and drew another line.
This ti, the line was completed effortlessly.
The pencil’s trajectory started cleanly from one end of the sketch paper’s grid and stopped perfectly at the boundary.
Gu Weijing nodded.
His wrist slightly suspended, the pencil tip began moving rapidly across the sketch paper, with every stroke as precise as an industrial assembly line.
The quick adaptation is the charm of professional-level technique.
This feeling isn’t unique to painting.
More obvious examples exist in racing, where professional drivers like Schumacher might not be much faster on a new track’s first lap compared to lower-tier or semi-pro street racers, but professional players always quickly adapt to the track’s characteristics.
Having tried one line, Gu Weijing imdiately found his groove.
The speed of his hand increased,
and once proficient, he didn’t even need to care about the grid’s boundaries. Following muscle mory, the pencil tip could flow smoothly where needed and pause where it should.
He quickly finished the first grid.
Gu Weijing moved his index finger down, twisted the pencil, switching from a traditional overhand grip to a more free-flowing and bold baton-style grip.
And began continuing with the next small grid.
[Sketching Technique 3 Experience Points!]
[Sketching Technique 1 Experience Point!]
[Sketching Technique 5 Experience Points!]
The virtual panel constantly relayed notifications of acquiring experience points for sketching technique.
The speed of gaining experience points was getting close to when he activated nzel’s Painting Basics skill, even surprising Gu Weijing with its abundance.
This doesn’t imply that Fitz’s art professor’s understanding of art sketching compares to a national treasure-level artist like nzel.
Rather, this practice thod, summarized by Teacher Watter’s years of teaching experience, happened to fill in the gaps in Gu Weijing’s current brushwork details.
Like the line drawing sketches invented by Chinese Painting masters like Xu Beihong.
Every profession has its specialization,
Having Einstein teach children’s introductory physics might not necessarily outperform a professionally trained village teacher.
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