Gu Weijing took the brush and made several gestures on the canvas.
Whenever his brush was about to touch the paper, he took it back again.
The paint is still not right.
This was his first time copying a work, so mistakes were inevitable, but he still didn't want to just use inaccurate paint colors.
Think about it again and again,
Gu Weijing thought of a not so clever way.
He took out a clean flat palette again and picked out a dozen paints.
On the palette, the extruded paints are arranged into two triangles of primary colors.
In primary school art class, we learned that red, yellow, and blue make up the three primary colors.
By mixing the three primary colors with each other in different proportions, thousands of different color levels can be produced. The secret of color change lies in it.
In professional oil painting creation, the three primary colors are subdivided into many different hues.
Gu Weijing used ultramarine blue as the peak on the left side of the palette and cadmium yellow and cadmium red as the base to form a warm-toned three primary colors.
In the middle is a small triangle composed of three hues and four different mixed colors.
On the right side, the cooler colors of crimson and lemon yellow are used as the top and phthalocyanine blue as the bottom, forming a cold color triangle of three primary colors and a corresponding mixed color triangle.
The two triangles, one upright and one upside down, form a rhombus shape on the palette.
In theory, with this palette as a basis, Gu Weijing can quickly mix any color he wants with a brush in a few seconds.
After making these basic preparations,
Gu Weijing finally found some toilet paper and blocked his nose first.
Then, he moved his easel just one step away from "Old Church on a Thunderstorm Day" and activated his calligraphy and painting appraisal skills.
An invisible pen appeared in my mind again and began to quickly outline the graphics.
Thunderstorm, church, candlelight.
The difference was that before Gu Weijing started using his skills, he had already made enough mental preparations.
His eyes were no longer attracted by the artistic conception of the entire painting on the light screen in his mind. He ignored all the small brushstrokes expressing details on the painting. He no longer even cared about the church itself. He concentrated on trying to figure out the largest area of the oil painting. Laying out the weather background of a thunderstorm.
"It's not pure black, it has a bit of a purple feel, with white added to increase the brightness... No, this color palette actually feels more like rose red mixed with a little Prussian blue. Hmm... it looks like a little bit of gray is added. Is it black? Would it be better to use lemon yellow? It might still be a bit risky."
Suddenly,
There was a lot of information flowing in Gu Weijing's mind.
This painting "Old Church on a Thunderstorm Day" with exquisite colors and mixed brushwork is like a ball of yarn woven with layers of paint.
It is impossible to find a clue when it is lumped into a ball, but the calligraphy and painting appraisal technique can dismantle it and turn it into independent strokes.
Judging from Gu Weijing's current semi-professional oil painting level, it is much easier to understand.
He also has a great advantage when dealing with restoring these colors.
Gu Weijing really went to the Good Luck Orphanage.
The old church and the surrounding scenery are like corners forgotten by modernity, and they still maintain the same scenery as they did a hundred years ago.
The scene that the female painter Carroll once saw, Gu Weijing also witnessed with his own eyes.
Life experience is a painter's best teacher, and Gu Weijing can therefore better handle and restore the painter's original light and shadow colors.
His brush strokes flew on the palette.
At the moment when the identification spell ended, a small patch of dark but not eerie gray-purple finally appeared in the corner of the palette.
The overflowing luster is just like the sky after lightning flashes across the sky.
I don't know if he was too immersed in it, or the effect of the calligraphy and painting appraisal technique has not completely ended.
When Gu Weijing arranged the colors, he even heard the faint sound of thunder in his mind.
It seems like a dull and damp drumbeat.
"It's done! It's this color."
Gu Weijing resisted the stinging pain and dizziness in his mind, and quickly restored the background color of the thunderstorm on the painting paper.
As his brush falls.
A gray-purple light group appears at the top of the painting, and the dark clouds are dense, like a thunderstorm sealed on the canvas.
…
[The current copying painting - "Old Church on a Thunderstorm Day" has been completed]
More than two hours later, when Gu Weijing set up the easel and placed it in the corridor of Gu's calligraphy and painting shop to dry in the shade. The system in his mind also sent him timely reminders to complete the task.
[The similarity of this copy is 23.7%, you have obtained a primary treasure box]
"Just over 20 percent."
Gu Weijing was not disappointed. He was satisfied if he could reach the passing mark for completing the primary requirements of the task.
To judge the degree of similarity of copied works, the standard is definitely not rigid copying.
There are no two identical oil paintings in the world, and the brushwork of Impressionist painters is ever-changing. Some works are even composed of hundreds of thousands of color dots.
If you find two works that are exactly the same even down to the smallest details, there is no doubt that they must be computer-generated paintings.
This is not because Fa Ge wants to draw dollars.
No normal painter would pursue the one-tenth of a millimeter accuracy of a purely physical brush.
If it is based on this standard, it does not need to be said that it is a copy. If you ask the original artist to paint the same painting on the spot, it is estimated that the similarity will not reach more than 90%.
But if it is an image that is almost the same in the ordinary sense, this standard is too low for a professional painter.
What is a basic image?
Nowadays, there are many oil painting villages all over the world.
These villages make a living by copying oil paintings. Many of the hired workers have never even gone to school. They work three shifts a day, crowded into cramped and stuffy studios with bare arms, and earn a meager salary, copying Van Gogh's self-portraits and the like. famous paintings.
The work process is like factory assembly line management. Some people are responsible for drawing the eyebrows. After drawing the eyebrows, they pass the drawing to the next person to draw the eyes, and then pass it to the next person to draw the nose.
One village alone can produce hundreds of thousands of "Self-Portraits" in a year, accounting for more than 95% of the copies of Van Gogh circulating online worldwide.
These paintings look similar to ordinary people.
But if professional painters only copy works according to this standard, then the aesthetic education they have received will be meaningless.
The so-called copying is a kind of pursuit across time and space, a feeling that seems real and like a dream.
What you are pursuing should be an approximation of temperament.
Not like, but real.
When does a painter feel that the predecessor from a hundred years ago has stepped out of the oil painting frame, stood behind you, held your hand, and painted with you.
When your thoughts, your mood, and your heartbeat become one with the other person.
Then your copying skills will be perfected.
Gu Weijing is still far from this standard.
He felt that this was his first time copying, and he could get a similarity rating of more than 20% this time, thanks to the good basic shape of the sketch.
Relying on the blessing of calligraphy and painting appraisal skills, he figured out some formulas for matching purple and gray background colors like Thunderstorm Day.
As for the detailed main body of the building - the color changes here are more complex and more precise than the large area of purple-gray color tones on thunderstorm days.
Not to mention how much progress can be made by using the calligraphy and painting appraisal technique again.
The aching pain in Gu Wei's temples told him that if he appreciated this second-level master's work of art three times a day, he would probably have to be taken to the hospital by ambulance again.
If it keeps going like this, Gu Weijing is really afraid that he will not be able to hold on mentally, and the master will become a lunatic before he can copy it.
Gu Weijing clicked to receive the primary treasure box.
As the treasure chest opens, a knowledge card pops out.
[Item: "Royal Court Dance Step Chart" - Louis XV]
[Quality: Knowledge Card]
[Special Effect: After obtaining the knowledge card, you will clearly understand its corresponding content. 】
[Equipment requirements: None]
[Introduction: Palace life has always been an important part of oil painting until the twentieth century. Court dances are known for their graceful postures and gorgeous costumes, and have long been the focus of Rococo style oil paintings. Without a good dance foundation, you cannot become a good court painter. 】
[Note: After I die, it won’t matter if the floods are raging... I am not a good emperor, but I am professional at dancing. 】
Painting the human body requires learning anatomy. The artist who painted "The Wrestler" actually fell. When painting professional oil paintings, whether you have a professional foundation or not is a completely different feeling.
Especially when painting a classical dance, the rotation of the ankle muscles and the communication between the characters' eyes are difficult to recreate without actually dancing.
"The ball guide provided by Louis XV is really professional in a sense."
Gu Weijing had to complain about a systematic black humor.
The Emperor Louis XV was a man of many talents and was known for his love of gorgeous balls and beautiful mistresses. He opened countless balls and salons throughout his life, and destroyed the entire Bourbon dynasty.
Even though it was his heirs Louis XVI and Queen Mary who were guillotined, most historians believe that the Bourbon dynasty declined under Louis XV, which can be called the French version of Song Huizong.
However, this emperor who was not doing his job was a prodigal, so Gu Weijing happily accepted the knowledge card.
Painters who can paint professional themes have always been very popular. This kind of knowledge is like Professor Lin Tao's notebook of casually recording painting materials. The more the better.
You may not use it all the time, but when you need to use it, it makes a qualitative difference whether you have it or not.
…
On the morning of the second day of Gu's Book Gallery, three unexpected guests came.
"Hey, Professor Sakai, why are you here?"
Gu Tongxiang, who was looking at the store behind the counter, blinked.
When he put on his reading glasses and confirmed that the object that appeared to be a big meat ball in his home gallery was a person, he immediately walked over in surprise.
He took Uncle Sakai's fat hand and said, "Rare guest, rare guest, welcome."
An artist of this caliber appears in their small gallery, but is as precious as a giant panda.
Even though Uncle Sakai is as fat as a ball,
When he walks into a small gallery anywhere in the world, he attracts more attention than handsome men and beautiful women.
To make an inappropriate metaphor, it is as popular as a talented poet in ancient times entering a brothel.
Whether it's a message or a group photo, even a photo of the other person admiring the paintings in the store, it's a silent sign.
Picasso’s tip notes for coffee shops can sell for hundreds of dollars.
The luckiest one is a hotel in Brazil, which received a random spray painting on the wall by the artist Ligia Clark, the founder of Neo-Concreteism who lived there. This painting is now worth less than $7. One hundred thousand dollars.
Uncle Sakai didn't answer. He stared at a painting on an easel in the gallery, looking like he was in a state of wandering mind.
"Well...this is actually your store."
Uncle Sakai seemed to have finally had enough of the paintings.
He turned his head and looked at Gu Tongxiang, with a playful smile on his face: "So, the person who bought the painting at the painting and calligraphy auction yesterday was Gu Weijing?"
Gu Tongxiang was stunned,
He knew that his grandson spent $2,500 on an oil painting at noon yesterday.
But they didn’t ask about the specific process of buying paintings.
This money was used by Gu Tongxiang to practice for his grandson. Whether he made a profit or a loss on the paintings he bought, he would leave it to his grandson to handle.
On the other hand, his eldest son had a strange look on his face when he came home, as if he was hesitant to speak, but in the end he said nothing.
"My father saw a good piece of fine art at the calligraphy and painting night market in Yangon, but it was bought by a young man who looked like a student."
Tsunamasa Sakai, who was following Professor Sakai, explained in a low voice: "My father came today because he wanted to see that painting again before leaving Yangon."
Sakai Tsunamasa's tone was very complicated. They followed the gallery address that the translator asked the boss Wu who was doing the public bidding, and unexpectedly found Gu's calligraphy and painting shop.
Sakai Katsuko did not speak.
Her whole spirit was attracted by the two oil paintings hanging in the gallery that were drying.
One oil painting is a realistic car model painting. According to Sakai Katsuko, this painting belongs to the category with obvious advantages and disadvantages.
The space in the entire oil painting is well grasped, but the brushwork is inexperienced and the use of colors is mediocre. It may be called good, but Sakai Katsuko has seen so many outstanding painters that it seems inadequate.
The second picture...is very interesting.
This is a very rare Impressionist work with gloomy tones. It uses dark-toned pen and ink, and the overall background is condensed and undisturbed. Especially the background color of the entire painting is very imaginative.
"Do you see what's going on in this painting?"
Uncle Sakai noticed his daughter's gaze and asked softly.
"This is an Impressionist painting. It's really strange why such a deep black tone is used. This is completely incompatible with the concept of Impressionism. Isn't it a classic painting method and using overlay dyeing to enhance the whiteness? Isn’t it better?”
Sakai Tsunamasa looked at the oil painting, rubbed his chin and commented.
"Clouds."
Sakai Katsuko is obviously more to the point.
She had been staring at the painting and thinking.
The foreground and subject of a painting often put more effort into the artist, but this oil painting is completely the opposite.
The shape of the church, the main body of the oil painting, is pretty good, but it is far less brilliant than the thunderclouds in the sky.
The kind of clouds that seem to be flowing...
How did it manifest itself?
This should be the only update today, to adjust the biological clock.
(End of chapter)
