【正确答案】 A

【答案解析】[解析] 6-11 M1: Today I want to talk about the act of painting, I mean, controlling and manipulating the paint as you apply it. There are several elements that contribute to the ease or difficulty you have in controlling paint as you're brushing it on paper or canvas. One factor is the quality of the liquid material in the paint itself. Another is the nature of the surface to which it's applied. Now, think about the painting surface--the paper or canvas. When you're selecting the right surface to paint on, what should you be considering? Lisa? W: I think you'd want to think about--if you're painting on paper--it seems the type of paper would matter. Is your paper smooth or is it coarse? That would make a difference in how well the paint would stick. M1: Yes, that's a good point. The coarseness of the surface--and this is true for both paper and canvas-- the coarseness is related to how the paint is absorbed. Liquid paints are literally taken from the brush by the coarseness of the surface. On very smooth paper, the low absorbency of the surface causes the paint to flow easily across the surface because the paper doesn't absorb it readily. On coarse papers, on the other hand, your brush drags more because the paper takes the paint thirstily from the brush. The coarse paper literally drinks up all the liquid paint. Each type of paper and each technique of painting has its own special requirements that will ease your control of the paint. Yes, Tom? M2: I just thought of something else. Another important thing is the quality of the brush you use. I found that out the hard way because I used to always use cheap brushes. Then I realized that cheaper brushes just don't apply the paint very well. Some of my brushes would just plop down all the paint at once and leave a big blob in one place. Now I have better brushes. They're expensive, but it's worth it. M1: Tom, you learned a lesson that all artists learn sooner or later. A good brush makes all the difference in the world. All painters--I mean you should all have a supply of the highest-grade brushes you can find. Brushes are one part of your equipment where you shouldn't skimp because poor~luality brushes are a severe handicap to good painting. W: The brushes sold in the university bookstore, are they, uh, in your opinion, are they high quality? M1: Yes. All the brushes in our bookstore are very good. W: But how can you tell that? Can you tell a brush is good by looking? Or is it the price that tells you? M1: You can tell by the brush's appearance. A high- quality oil painting brush is made from the best grades of bleached animal hair: hogs' bristles. You can tell if a brush is good by looking closely at the tips of the hairs. Of course, the quality of the brush will also be reflected in the price. The tip of a high-qauality paintbrush is made up of the natural split ends of the hair or bristle of a hog. The tips are never cut or trimmed. All shaping and trimming is done at the root end, where the bristles are attached to the handle. Hog-bristle brushes hold the paint in the hair's split ends. Poor quality brushes lose their hair, or they don't apply paint properly, as Tom pointed out. Sometimes brush companies trim the bristles excessively so the brush looks good, but without split ends, the brush won't pick up and place paint properly. Bristle brushes come in three major shapes: rounds, flats, and brights. The shape, of course, refers to the shape of the bristles--whether the bristles are round--arranged in a circle--or flat-- arranged in a flat line. Flat brushes are more versatile than round ones, so the flats are much more popular. The third type of brush, the bright, is sometimes confused with the flat brush because the bristles are actually flat, but much shorter. A bright is essentially a shorter version of a flat, with the bristles arranged in a flat line. The brights are designed to give you a little more control, especially with thicker paints. They're the most effective brushes for applying oil paints that have a consistency like butter. The discussion is mainly about factors that influence the application of paint. The professor says: Today I want to talk about the act of painting...controlling and manipulating the paint as you apply it. There are several elements that contribute to the ease or difficulty you have in controlling paint as you're brushing it on paper or canvas.