Ye Xianyu, 1907-1995, how many sketches he painted in his whole life may be a mystery of art history. The rough estimate is no less than 25,000. As a result, the various sketches Ye has published so far, when added together, are only the tip of a huge iceberg emerging from the sea.
Ye once said, "In the autumn of 1933, I met the Mexican cartoonist Gropius in Shanghai, and I saw that he often carried a small book with him to record various images he saw during his travels as the material for creation. Since then, I also picked up a sketch book." Ye actually sketched before 1933, though since then he has taken to sketching more consciously, with sketchbooks and pencils as his go-to tools. Anyone familiar with Mr. Ye in the art world knows that his clothes always come with a large, custom-made pocket where he keeps a sketch book ready to be pulled out. So sketching is his way of life and his way of life.
Ye Has been sketching for decades, and he has mastered the image very well. A few strokes make the image appear on the paper. He once summed up the key points of sketching techniques as "the first eye, the second mind, the third meaning", that is, the observation and imagination are connected, the record and free modeling is connected, through the understanding of the image, understanding and expression of each link, so that the process of sketching into the process of creation. Therefore, in addition to conciseness, Ye's style of sketching is his characterization of the essence of things.
He sometimes uses the line completely, sometimes uses the line and the brush to combine, sometimes uses the material comprehensively, transfers the different technique, all is in order to convey the painting object to give him the most nature characteristic. In a large number of character sketches, what he focused on was not the appearance of the characters, but the organic whole of the characters' bodies in the dynamic process. What he captured was not so much the "dynamic line" of the characters' movements as the "lifeline" of the characters' movements. What makes his works vivid is not the details, nor is it just the head, eyes or expression, but the whole space field potential occupied and extended by the characters in the movement.