Charcoal curls into conch-like patterns on the eaves' columns.
Gu Weijing quickly continued to add structural details on top of the "scaffolding" he had already built.
With his current second-level professional sketching skills, it can be said that he can draw the internal skeleton proportions of the building to the exact same degree as the drawings produced by professional drafting architects in the 19th century with the help of drawing tools. After the drawing is completed, he can directly take it away. The start of construction is a bit exaggerated.
Both are sketches, and the inherent painting methods pursued and the purposes of painting are not consistent.
However, it is not difficult to make his finished charcoal lines show an orderly beauty on the surface of the linen canvas.
Hanks gradually felt the process of how this beautiful attraction was born in Gu Weijing's writing.
At first he had to resist the urge to comment.
Later, Gu Weijing painted faster and more delicately, but the more Hanks looked, the more silent he became, but his eyes became as bright as two incandescent light bulbs.
Hanks was too surprised to speak.
"His sketching skills... seem to have improved again."
Hanks watched the flowing vertical and horizontal tracks of the charcoal stick on Gu Weijing's fingertips.
He was excited.
His master-level sketching skills are absolutely valued in Mashi Gallery and he is worthy of holding a one-man sketch exhibition.
This kind of painters have extremely fertile farmland, and they are willing to spend marketing resources to water it. It is not surprising that the flowers and fruits will bloom for thousands of miles, but it is strange that no collectors are interested.
Or.
Any painting that reaches the level of a master is a prize in the eyes of the gallery owner.
The so-called 10,000-hour rule means that a painter spends more than ten years or even decades in a certain field before he is qualified to touch the field before he can be called a master.
Unless you're a painter like George Berryman, who spent most of his life studying drawing and human anatomy at the New York Federation of Arts.
It is impossible for ordinary painters to devote only to sketching for such a long time.
If you have the time to study colors, it will be easier to stand out than to stick to boring black and white light and shadow.
Good sketches often make professionals climax, while good oil paintings and watercolors are more likely to attract the attention of ordinary viewers.
Therefore, there may not be more than five real sketch masters in the entire Ma Shi Gallery.
Hanks originally judged that in terms of pure sketching ability, Gu Weijing should rank around 250 in the history of Ma Shi Gallery.
After that are those artists who engage in avant-garde art and a few sculptures.
Now, Hanks reflects on the painters he interacted with inside the gallery.
"The level of sketching in front of me can be considered excellent among the young painters under the age of thirty-three in the gallery." He thought to himself.
Looking at the entire Ma Shi Gallery, it’s not considered a laggard!
Ma Shi Gallery is one of the most famous galleries in the world.
The so-called "not bad" artists represented by Ma Shi Gallery can easily hold the position of sketch professor in a small art university.
"Wonderful."
According to Hanks' habit, he subconsciously flatters others.
It's not exactly flattering, his praise this time is definitely sincere.
When I signed the contract, I had already overestimated Gu Weijing's artistic level as much as possible, but actually I still underestimated it a little.
No wonder Mr. Mas III values this young man so much.
I don’t know how the big boss in Southern France saw that he had unlimited potential in the future.
Before he spoke, Hanks remembered Gu Weijing asking him to be quiet, and forcefully swallowed the words in his mouth.
He was just staring at the canvas painted by Gu Weijing without blinking.
Gu Weijing finally completed the sketch.
He put down the soft charcoal in his hand, compared it with Ms. Carroll's original painting in front of him, and thought about the actual picture of the Good Luck Orphanage in his mind.
"The architectural structure is quite realistic."
Gu Weijing was quite satisfied with the sketch in front of him.
In well-known paintings, watercolors and drawings, the architectural structures that viewers see are usually divided into two categories.
One type is the tilted and twisted buildings commonly seen in Monet's church series and Van Gogh's paintings.
It is a utopian emotional perspective that transcends the real world.
Everyone knows that a twisted church steeple does not conform to the physical structure.
What they draw is not the architecture, but the world they observe in their own eyes.
The painter overlaps his personal intense emotional world with the patterns under his brush.
If your mind is depressed and distorted, the world you write will also be depressed and distorted.
The other type is the realistic style paintings based on the large number of painting manuscripts and architectural plans left by Menzel, Louis Bray and Gaudí, the most famous Spanish architect in history.
Their brains are like sophisticated graphics computers, and the line shapes in their paintings always accurately match the real scenes in the real world.
Whether it is the pattern on the fence, the shape of the wall, or the curvature of the dome, they all perfectly fit the wonderful light and shadow of nature.
Not one more point.
Don't owe a point.
In these famous paintings in art galleries, it seems that the painter has slightly shifted the main axis of the architectural composition, and the audience will be horrified to feel that the entire building in the work will suddenly become unstable, and will tilt down in the next breath, falling into rubble and dust on the ground. .
Their works have a beauty of order, the stability and majesty of physics and Newton's laws.
Even though there are sometimes some wildly fanciful fictitious architectural patterns in such works that are absolutely impossible to realize, collectors will also feel that as long as it takes a sea of construction teams to spend a thousand years, those heaven-like buildings on earth will The fantasy country will really appear in the world.
Ms. Carroll's painting style leans toward the former, while the structure of the entire building leans toward the latter's realism.
Her pen structure is very precise and rigorous, like an architect who is proficient in civil structures.
In the composition of "Old Church on a Thunderstorm Day", the thunderclouds in the distant view are unstable, the candlelight in the close shot is changeable and misty, and the main building of the church is stable and solid.
In the past two months, Gu Weijing gradually felt that--
Ms. Carroll's composition neutralizes the three. The boiling sea of thunder and the candlelight of chants are separated by a majestic religious building. The composition of the picture seems to be shaped into some kind of sealed intense emotion and rebellious pleasure. metaphor.
No matter how majestic the scene is, how majestic the thunderclouds are.
The ultimate image conveyed at the deepest level of the picture is still so warm.
"What kind of person is she?"
Gu Weijing put down the charcoal pencil in his hand.
While taking out the oil paintbrush and soaking it in a tube of turpentine to moisten the bristles, I thought casually.
What kind of life experience must I go through before I can empathize and express these complex inner emotions at the tip of my pen?
Fortunately,
Put aside the metaphors of composition.
After improving his sketching skills, it was not as difficult as Gu Weijing imagined to complete the skeleton drawing of such a complex building.
His spatial structure was already very good, and now his proficiency in sketching has also improved.
Both of them were placed in the Renaissance period. If they did not engage in architectural design such as churches and palaces, it would seem a bit unworthy.
Totally a good candidate for an architect.
"If you want to know more about Ms. Carroll, you still have to wait for the paper to be published in a journal and arouse the interest in the academic community. I don't know if the paper will be lost when it is published, or if there will be some new gains. "
Gu Weijing meditated in front of the sketch for a short while, then put away his random thoughts, bent down and reached for the palette, preparing to adjust the paint with thinner.
His body had just made such an intention.
A palette had been thoughtfully thrust into his hand.
"Well……"
Hanks closed his mouth tightly, pointed to the palette, then pointed to the canvas in front of him, and hummed softly.
Focus on painting!
Just the sketch on the canvas was enough to satisfy him.
Hanks is now like an audience watching the movie gradually reaching its climax, eagerly hoping that Gu Weijing can continue painting quickly.
"It doesn't mean that you can't say a word...forget it, let me draw it for you to see. It's good for us to be quiet like this without disturbing each other."
Gu Weijing complained.
He turned his head and picked up the oil paintbrush.
Gu Weijing began to slowly apply paint to the canvas.
The process of applying paint is to gradually cover the sketch with paint.
At this time, the sketch in front of him, which contains rich information, can save Gu Weijing a lot of trouble.
He only needs to use different strokes of paint to express the changing colors that have been designed in the line sections of the sketch.
He can have more energy to polish the architectural details with oil brushes like a sculptor polishing plaster sculptures.
"A little tight?"
Gu Weijing followed his previous painting habits and painted two strokes of thunder clouds habitually, then stopped painting.
Not limited to line shapes.
The contrast between light and dark in oil painting, the relationship between light and dark surfaces, is no different from the painting method in sketch.
It is nothing more than the ups and downs of shadows, the change in the relationship between light and dark, from black, white and gray to colorful oily mineral pigments.
When making a sketch.
Gu Weijing had already imagined the brightness and color when applying paint.
At this time, Gu Weijing discovered that the color of his paints was not a big problem, but the oily paint he applied to the linen canvas was a bit too thick.
The thunderclouds in front of me felt a little too dark.
Compared with before, after reaching the second level of professional sketching, Gu Weijing's sense of color difference and contrast has become more acute. He is no longer satisfied with this kind of almost the same look and feel.
"Well?"
Hanks couldn't help but whine.
He wondered why Gu Weijing suddenly drew two strokes and then stopped moving again.
Could it be that the sketch was too detailed and too ambitious, and as a result, I couldn't handle such complex details?
Hanks just wasn't too optimistic about Gu Weijing's sketch being so detailed.
No matter how good the architectural drawings are, when the construction team starts work, if they don’t have the construction capabilities, their efforts will not be in vain.
Hanks doesn't show a mocking expression on his face either.
If nothing else, just being able to see this sketch made it worthwhile for him to lick his face and stand beside Gu Weijing while he was drawing.
“The brush is a bit heavy, the paint is a bit thick, and the tone is too dark.”
Gu Weijing explained softly.
So it’s a darker color?
Hanks glanced at Carroll's original painting, then at the canvas in front of Gu Weijing, and shook his head slightly.
The agent is not questioning Gu Weijing's judgment on the picture.
He himself didn't quite know whether Gu Weijing's judgment was correct.
In the end, Hanks only worked as an artist's assistant, not a well-known painter with superb painting skills.
Let him appreciate the overall effect or larger details of the two paintings, and which one is better, Hanks has no problem.
But you have to check whether the two strokes just painted on the canvas are a little thicker.
He just didn't know where to start.
However, if the paint is thick, use a painting knife to remove it and re-paint it.
This is not a pen drawing that cannot be modified. If you make a mistake, it is not a big deal.
The creative process of those oil painting masters often requires making changes.
Gu Weijing picked up the oil painting knife next to him.
He chose an oil painting knife with a shorter blade and a wider blade. After feeling it, he gently pushed the oil painting knife across the surface of the paint that had just been painted and had no oil film on it.
Gu Weijing adopted the flat-pressing knife method of an oil painting knife.
The flat knife technique is not too complicated among oil painting knife techniques. To put it simply, it means to make the oil painting knife parallel to the surface of the canvas and gently peel off a shallow layer of paint.
Gu Weijing made a slight transformation based on this technique.
He pushed the oil painting knife to the end of the pen mark, followed the touch of the flat knife, and gently raised the oil knife to its side.
Following the feeling of Lei Yuntian's brush strokes, he used an oil painting knife to smoothly shape the texture of flowing clouds on the side of the canvas.
When oil painters use oil painting knives to deal with bad brushwork, they usually shovel it away and paint again. Normally, there is no easy way to find a brush with an oil painting knife.
Even if some painters can use an oil painting knife to shape, it is a general feeling.
According to the letters of masters and friends such as James Whistler in history, as well as gossip spread from some studios.
It is said that some experts who are really good at using oil painting knives can clearly judge the thickness of paint they have scraped off.
They can accurately control themselves to scrape off only 1 to 2 millimeters of surface paint.
There are also many painters who think this is just bragging.
After Gu Weijing acquired the legendary knife-drawing technique, he could really do this step, even more accurately.
Apply however you want.
You can cut it as finely as you want.
Gu Wei has experimented.
Now he can even use an oil painting knife to gently rub away the contact between the paint surface and the air, removing the uncondensed layer of oxide film as thin as a cicada, without affecting the brightness of the paint at all.
In the eyes of other painters, anyone who says they can do this is just like joking.
When a skill's proficiency reaches its highest level, the magic power it can unleash will make ordinary people who have not reached the level or may never have the opportunity to experience the ability in this field feel unreal to the point of fantasy.
Historically, the oil pourer in the story about practice makes perfect, and the axe-wielding man in Zhuangzi's story of "The Carpenter's Stone Transporting a Category" who can use a giant ax to cut off the lime on the tip of someone's nose without damaging the skin, all make others find it unbelievable.
Legend is originally an honorific title given to the most outstanding person in a field.
Whether you believe it or not, people can do it.
Compared with the craziness of Gu Weijing's painting of the little prince, using the back of a knife technique to press oil paint to mix colors, a small correction of the overly thick paint is nothing.
"No...this oil painting knife is a little tricky to use."
In Gu Weijing's eyes, the technique is "unremarkable".
Hanks at the side already felt that the scene in front of him seemed like a joke.
"I'm very sorry. But you...do you have a special oil painting knife course in high school?" Hanks finally couldn't keep quiet.
He can accept that if the painting is not good enough, he can use an oil painting knife to shovel it out and repaint it. He can also accept using an oil painting knife to make corrections along the way.
Just this simple and effortless application was unacceptable to Hanks.
Hanks' hair stood on end.
Hanks observed the touch of Gu Weijing's oil painting knife on the canvas. His vision was not enough to fully understand all the benefits of Gu Weijing's oil painting knife. He could only take a rough look.
This is probably already scary.
Impressionists often used the impasto method, using thicker pigments.
However, "thick coating" is a relative concept based on the classical "thin coating method", and it is not about how exaggerated the thickness of the paint is.
It's only a few millimeters thick at most, and it can't compare to the thick, creamy texture you get when painting with a specialized drawing knife.
When Gu Weijing just started writing, he didn't use too thick and shiny paint.
The brushstrokes on the surface of the canvas are just a shallow layer.
In Hanks' eyes, Gu Weijing controlled the oil painting knife in his hand just right. He not only applied a layer of oil paint, but also did not reveal the original color and fiber shading of the canvas at all.
It accurately maintains the range of light that is about to pass through but does not actually transmit light.
If this can be explained by luck, then this young man casually used an oil painting knife to modify the surface of the canvas to create a thundercloud-like delicate and fresh knife touch shape. This is an effect that is completely familiar with the texture of the oil painting knife. .
"I'm just more accustomed to using an oil painting knife."
Gu Weijing said casually.
He didn't have to explain much either.
Gu Weijing dared to paint like this in front of Hanks' eyes, so he wasn't afraid that others would see that he was good with his oil painting knife.
There are not many people in the world who are good at using oil painting knives, and it is not uncommon either.
As for the depth of painting with a legendary painting knife, you can't tell by just swiping it with an oil painting knife twice while painting.
Even if Hanks sees the new version of "The Little Prince" in the future, it will be difficult to connect him with Detective Cat just because of an oil painting knife.
“I really specialize in this bowl of rice.”
Before Hanks closed his mouth again, he couldn't help but click his tongue twice.
The facts are in front of him. Apart from talent, Hanks can't think of any other answer.
Some people are good at math, some people are good at music, and some people are just dexterous with their hands.
There are tens of thousands of people studying art in the world, and the artists who can be represented by Mashi Gallery are actually more or less extraordinary in many ways.
There was an artist in the gallery who was good at painting pointillism with paint on his fingertips.
Hanks also met another painter from the Lehmann Maupin Gallery in New York. He had not received any special training since he was a child, but he could draw patterns equally delicately with his left and right hands.
Now I see another young man in Yangon who is very good at using an oil painting knife, which is not hard to accept.
The more sophisticated old-school art high schools in the world may teach students the shaping skills of the oil painting knife as a branch of painting in oil painting classes.
But practice to such an exquisite level.
Rather than "learning" it, Hanks prefers to believe that it is "born" naturally.
Expert, the level of this oil painting knife is definitely that of an expert! Maybe even if you put it in the Ma Shi Gallery, you will be an expert!
He looked at Gu Weijing with extremely complicated eyes.
Aside from creating some hard metal textures, Hanks actually doesn't see much use in using a good oil painting knife.
Similar to sketching, you can make flowers out of a piece of eraser. It's not useless at all, but it's also a bit useless.
The plates painted with the knife are too small. After all, it is just a second-rate painting method that is difficult to practice and has a narrow road.
The agent of Ma Shi Gallery has never thought about this aspect at all.
He just felt that the Gu Weijing in front of him was really a treasure boy.
Whenever Hanks thought he had a general understanding of him, the other person would always surprise him with something new, just like Doraemon's dimensional pocket.
Hanks looked at Gu Weijing's equally outstanding oil painting techniques and sketches for a short while.
He raised his wrist and glanced at the hands on his watch, then calculated the time difference, and suddenly tiptoed out of the studio.
Hanks really just wanted to watch and appreciate Gu Weijing while he was painting.
It is best to confirm that the fusion paintings and copied oil paintings you have seen before are all the normal and average painting skills of this young man, rather than a sudden inspiration that is difficult to copy.
Hanks' heart is now firmly in his stomach.
However, after experiencing such a "climax" creative process, Hanks couldn't help but have new ideas in his mind.
Hanks walked out of the studio, leaned against the wall, took out his cell phone from his pocket and opened a private phone number he had just saved in his address book.
It's pitiful to think about it,
Lao Yang was able to easily dial the phone numbers to the personal mobile phones of big bosses such as Mas III and Gagosian, and the call was open almost 24 hours a day.
In the past, a serious collateral relative like Hanks who shared the same ancestor would never have been qualified to have the connection method of Ma Shi III.
The phone number in front of me was still inspired by this young Yangon painter. After staying up late in the hotel that day to make work calls, Ma Shi III asked him to keep it.
If there is any new news or new changes about this "Gu Weijing" young man - if necessary, Hanks can directly report to the big boss.
Hanks didn't know what kind of news worthy of the other party's personal attention in the eyes of the patriarch with a net worth of hundreds of millions of euros.
But in his heart,
When Gu Weijing copied oil paintings, he showed that his painting ability was stronger than his original most optimistic estimate. This should be one of such news.
The big boss should be very happy to know this kind of information, right?
"Sir, I have something..." He didn't dare to call to disturb his vacation, so he edited a text message.
(End of chapter)
