Color, color, color.
The extremely repetitive and boring work made Tsunamasa Sakai, who had an out-of-touch personality, soon feel that his wrists were sore and his arms were weak, and he could no longer draw.
"What a painter, what a craftsman, that's nice to say. Look at those old guys, don't they become painters and masters themselves, leaving the hardest and most tiring work to me?"
Sakai Tsunamasa muttered secretly.
He turned his head and looked at the group of guys sitting in the shade of the trees in the distance, bored and playing poker on their mobile phones, with a little jealousy.
Not everyone can stick to boring work all the time.
In this project, there are many juniors or students like the Sakai siblings and Gu Weijing who are close to the invited painters, or graduates like Tanaka who came to intern at Tama Art Academy.
There are probably thirty or forty such "young painters" in total.
They do not have a fixed task arrangement. Wherever coloring is required, the staff will assign a small sign with a number on it to work on the corresponding task.
After finishing your first job, if you don’t want to receive it anymore, or if you are tired of working, you can just find a place to stay by yourself.
You can do whatever you want, as long as it doesn't affect other people's painting, no one will care about you at all.
That's what Mr. Cao said: "Get away."
It was only the second day of the project, and many students felt tired.
To put it bluntly, they are originally gold-plated.
Painting is the same as football.
Not all students in football schools want to be Messi, some just want to be a physical education teacher with a job.
The art dog industry is an industry with a lower success rate than football.
Those guys who lie down under the shade of trees have already accepted themselves, and they probably have no hope of becoming famous or starting a family in their lifetime.
These people are either for art school students who want to graduate.
Or else, in order to improve the family's taste and artistic accomplishment, parents who are not short of money forcefully hand over a lot of money to some masters' anonymous names in their studios.
They have a clear positioning of themselves.
If a minor can get into a good art academy with some qualifications, he will be able to afford his parents' money.
Graduates can put a project in collaboration with Mr. Cao on their resume, and then they can find a European art museum, private museum, etc. and start enjoying themselves with an annual salary of US$50,000 to US$80,000.
Anyway, they didn’t plan to go very far on the road of being an artist. They played cards with the staff and swiped TIKTOK, and even if they got the looks of a few old artists, they were a little shameless and got over it happily.
But what is true is that in the art world, most people who have a clear understanding of themselves and understand early on that they have no talent or that they cannot endure the hardships of hard work are doing well.
What scares me the most is the kind of person who clearly can’t do anything, but still doesn’t like this or that.
Fei feels that he is the reincarnation of Van Gogh, a painting saint in the world.
Such a person thinks that all the art critics who criticize him are ignorant, and will cynically classify his failures as the type of jealousy and suppression by his peers.
The result is that it tortures both myself and my family.
Sakai Tsunamasa thinks he still has a future, but this kind of job is really boring.
He looked at the art dogs lying happily in the shade of the trees, and suddenly felt that his arms were so sore that he could not lift his hands.
"Tsunasho?"
Just when Tsunamasa Sakai was fighting between heaven and man, the chubby Uncle Sakai rolled over from nowhere.
Hearing this voice, Tsunamasa Sakai suddenly became alert, straightened his back, and with a flick of his wrist, he almost dropped the entire plate of paint to the ground.
His father Kazunari Sakai is not an uncle with a typical RB personality.
He never wields a stick and scolds harshly, nor does he harshly reprimand boys to have character and perseverance.
But every time Tsunamasa Sakai did something wrong, Kazunari Sakai would look at Katsuko Sakai on the side, then turn his eyes back to his son, and sigh in a very helpless tone.
"well……"
That look was like looking at a loser who should have been shot against the wall in his early years.
This look left an indelible hurt in young Tsuna Chang's heart.
Sometimes it's really not that Tsunamasa Sakai doesn't work hard enough, but that his sister is just too good.
Because they are siblings, no one knows the pain of being shrouded in the halo of genius better than Tsunamasa Sakai.
Just like the previous pen drawings, if it weren't for his sister who was drawing with him, then his drawings would have been amazing enough.
However, under the comparison of Sakai Katsuko, it became Lin Tao's light "not bad".
Uncle Sakai cast his gaze on his son and looked at him carefully.
"Here, here and here..."
Sakai Tsunamasa was glad that he had done a lot of work in the morning, and he quickly pointed out the Buddhist prayer flags that he had finished coloring to show to his father.
"Well, it's okay."
Realizing that his son was not slacking off, Uncle Sakai let out a somewhat satisfied nasal sound.
He turned his gaze elsewhere and casually inspected the other works on mural No. 9.
"Huh? You drew these all, and you never rested all morning."
When Uncle Sakai cast his gaze on the other side of the mural, he suddenly let out a sigh.
Gu Weijing nodded.
"It's great. You work very hard. You can see from the hook that you have always been serious. But why is this place vacant?"
Uncle Sakai looked at an unpainted lotus, and it was obvious that Gu Weijing avoided it.
"Because I didn't understand the paint formula for the color matching on the manuscript here."
Gu Weijing looked through the manuscript in his hand.
He regarded this kind of coloring as an opportunity to learn from experienced painters.
The manuscript in his hand has been carefully marked on how each color area should be processed, what proportion of color should be used, and what kind of brushwork should be used.
It looks really simple, but every time before Gu Weijing writes, he will think about how he should handle it if he draws it himself, and then compare it with the manuscript.
If you are wrong, correct it, and if you are right, encourage yourself.
He took out the manuscript at hand.
"The color scheme written here is, stamens, dyed by technique, off-white (6, 3)."
Learning to paint murals from a master is similar to learning to cook Lanzhou Ramen from a master chef in a restaurant, and there are corresponding formulas.
However, the garnishing formula of Lanzhou Ramen is one clear, two white, three red, four green and five yellow, which refers to coriander, radish, cinnamon...
The formula for painting murals refers to pigments, and the types are much more complicated. Generally speaking, they can be summarized as one red, two light green, three borrowed lotus (purple), four fragrant tea, five orchids, six meters white, seven...
The mark on the manuscript in Gu Weijing's hand is the 6 in the middle, which refers to the off-white color, and the number 3 behind it refers to the depth of the color.
There are up to four numbers.
If there is no mark or the number 1 is marked, it means that the normal color should be used. If it is 3, it means the third level of light white, which is slightly lighter than the normal color.
The stamens in Chinese paintings are sometimes dotted with gold powder. If gold powder is not used, in order to highlight the contrast, colors that are too transparent will not be used.
"If it were me, I would go one shade darker. I don't understand why I would use No. 3 paint, which is such a light color."
"Is that so?"
Uncle Sakai touched his chin.
