Chapter 232: Gestures

The weather in Yangon was perfect in the afternoon, and the windows were opened to the maximum.

The warm wind carried the sunlight pouring in from the outside. The light blue curtains were rolled up by the wind, leaving an unpredictable dark shadow on the white wall, as well as the tall and graceful figure. .

Amidst the commotion of the people,

Sakai Katsuko did not know when she had walked a few meters behind them.

The girl stood by the window, the curve of her hips slightly leaning on the window sill, staring at the classmates who still had mocking smiles on their faces that had not been completely replaced by surprise.

"When jealousy covers the eyes, people will lose the calmness needed to appreciate the beauty of art."

Sakai Katsuko said slowly, word by word.

"Senior Komatsu, I'm sorry but I don't feel any regret about what happened to us. I thank you for your contribution to me, but I also have the right to refuse this kindness. I am ready to bear your You are prepared for your insults and anger towards me, but you cannot accept your insults towards Gu Weijing.”

“Osomatsu Taro, I, Sakai Katsuko, completely and utterly cannot agree with you at all. Opinion."

"You can vent your anger on me."

"But Komatsu-senpai, you are insulting one of the best peers I have ever seen in my life. , I really can’t afford to lose.”

Her clear voice rose and fell with solemnity and determination, like a string of wind chimes hanging on the Zen temple in the Himalayas.

Everyone in the classroom opened their mouths.

If it weren’t for physical limitations, their jaws would have hit the floor neatly.

What the hell is this?

There must be something wrong with the way the world opens today. Everything familiar around us has become incredibly strange.

There is a saying in the art world that there is no need to judge art, people’s eyes will naturally give the answer.

This sentence is only half true at best.

There are a thousand Hamlets in the eyes of a thousand people. Of course, everyone has the right to like or hate a certain painting.

You can love Van Gogh, you can hate Monet. You can think that Andy Warhol was just a first-rate art speculator who tore rare treasures like Picasso's Guernica into pieces worth hundreds of millions of dollars, and then carefully put away the graffiti that the village prince had made when he went to the toilet. Enter Citibank's underground vault.

As long as you have the ownership of the work, have enough financial resources and are willful enough, you can certainly do this.

In the long history of human art, whether it is a marketing trick of hype, or simply the collector himself is more "unrestrained and free".

There are many more outrageous things than these examples.

Every individual has the right to pursue individual and aesthetic differences.

But under the tide of society, art needs to be unifiedevaluation criteria.

Art museums need to know which paintings are not worth mentioning and which paintings are worth collecting in glass display cabinets with constant temperature and humidity, and then hire three old men wearing armbands to watch them in shifts 24 hours a day.

Collectors also need to know which works bought for the price of toilet paper may become Mediterranean yachts and Victoria's Secret supermodels in the future.

What kind of work was bought with the price of a Mediterranean yacht and a Victoria's Secret supermodel, and there is a risk that it will be passed on to the grandson and become toilet paper in the future.

The art world always likes to create an atmosphere for ordinary people, thinking that this evaluation criterion is the beauty or ugliness of artworks.

If the painting is good-looking, it is naturally valuable, and if the artistic value is low, it is naturally worthless.

Of course this is bullshit to fool children.

For painters who engage in classical art that pays attention to technique, there are traces of evaluation methods to follow.

Those avant-garde artists who focus on form and concept are talking nonsense. Why should a tree branch you bring to an exhibition be more noble than my stone? Why should your entire urinal be considered art? I peed in front of a Van Gogh painting and was dragged away by the police

The standard has never been beauty or ugliness.

It is the convincing authority of those who hold aesthetic rights.

In the Qing Dynasty, Emperor Qianlong was the authority. In the world of modern art, the Ileana family’s oil painting magazine is the authority.

At this time in this Dulwich classroom, Taro Komatsu is the absolute authority.

He said that Gu Weijing was rubbish and that his painting skills were so bad that he could not even draw with his toes. Everyone would immediately believe that Gu Weijing’s painting skills were useless, and they would laugh and boo with each other.

Any objections and doubts from students will not only appear to have low emotional intelligence, but will also be easily crushed by the authority of Assistant Professor Komatsu.

Unless

This person is Katsuko Sakai.

Miss Sakai’s father is an internationally renowned artist, and her mother is a professor in the advanced class at Dulwich College. She herself is known as an art genius and has been featured in Japanese local media and some Asian newspapers since she was a child. mentioned.

Such a girl is a fairy in the clouds floating in the sky in the eyes of her classmates.

It is also no less academically authoritative than Taro Komatsu.

So when two academic authorities collide.

When Miss Sakai suddenly jumped out and defended Gu Weijing with a decisive attitude that was almost as if she was protecting religious beliefs or taboos in her heart and was completely unwilling to give in.

These Dulwich students all felt stupid.

"Gu Weijing is the most outstanding young man I have ever seen in my life."

There was a thud.

Mona swept her arm across the stapler on the table and knocked it aside.

The stapler fell from the one-meter-high table and hit the student union president's feet wearing small leather shoes.

In order to facilitate the binding of portfolios,The staplers that Dulwich schools place in classrooms are not lightweight versions that can be held in the palm of your hand, but desktop printers made entirely of cast iron.

One weighs seven or eight kilograms, like a small dumbbell filled with lead.

The impact from such a height immediately left deep marks on Mona’s white instep.

The instep of the student union president immediately became red and swollen, and blood marks could be seen through the thin stockings.

Mona was still unconscious and couldn't feel the pain at all.

She thought that she understood every word of Miss Sakai's words, but the combined meaning was confusing and overwhelming.

Gu Weijing, the young man who raised the most outstanding donkeys she raised

"Sakai Katsuko, please tell me, what was wrong with my comment just now? What?" Komatsu Taro still gritted his teeth and breathed hard.

As soon as he mentioned the wild boy Gu Weijing, he saw Sakai Katsuko raising her head and walking over.

The comments that Komatsu Taro made later were directed at Katsuko Sakai.

It is said that beauty is in the eye of the beholder. He wanted to see if Sakai Katsuko could ignore all the shortcomings he pointed out and praise Gu Weijing. Flowers come and go

Miss Sakai stepped forward gently.

The onlookers at Dulwich College automatically moved back to get out of the way, like the Red Sea being parted by Moses.

Only Miss Sandnu still stood there blankly, as if she had not seen him before.

"These shortcomings do exist. This is not a perfect work."

Sakai Katsuko did not rack his brains to find excuses to defend Gu.

She took the tablet from Komatsu Taro, looked sideways at the paintings on the computer, and shook her head gently.

"Oh, doesn't your mother like to praise him to the sky? It turns out that our Miss Sakai can also see Gu Weijing's rubbish"

Osomatsu Taro's sneer was just halfway through, He was interrupted by Katsuko Sakai.

“But no one can paint a truly perfect work, just like no one can impress every audience in the world just by relying on the beauty of the picture itself. This is the right only God has.”< /p>

"Gu Weijing can't do it, you can't do it, I can't do it, and my father can't do it either."

"All of us painters are just muses As slaves, we can only do our best to paint every picture of ourselves, and try to touch the edge of perfection as much as possible in our long life."

Sakai Katsuko turned her head and looked straight. Looking into Komatsu Taro's eyes.

"So in your eyes, you see that this painting is full of shortcomings, but in my heart, I can see that the surface of this canvas is filled with the serious and persistent brushstrokes of a boy. He painted something He is childish, but has a good sense of space, and his line structure and contours are also very accurate. These are the qualities needed to become a good painter, and they are also Gu Weijing's strengths."

"Traits, hum, what's the use of traits? There are a lot of people with good painting traits in the world. How many of them can really become great painters, and how many of them are qualified? Signed with our Komatsu Gallery.”

Kosatsu Taro is completely disapproving.

Katsuko Sakai held the tablet in her arms and said softly, "Gu Weijing not only possesses the qualities of painting, but he is turning these qualities into beautiful light and shadow under the brush at a miraculous speed. Color."

"Senior Xiaosong, you look down on Gu Weijing, so you have been in Yangon for so long and you have never seriously wanted to understand him. Witnessing Gu Jun's incredible ability to improve, you will be moved by him from the bottom of your heart."

"His brush skills have surpassed yours, and even gradually surpassed mine. If I can continue to make progress at this rate, I might be able to surpass my father one day in the future."

Sakai Katsuko smiled, "I'm looking forward to that day."

"You"

"You may have guessed it from that day on, or maybe you haven't yet. But whether you know it or not, I want to tell you clearly. Gu Weijing , is the reason why I am willing to travel across the ocean to come to Yangon this semester."

Kosatsu Taro

Jerry

Miao Aung Win

Everyone in the classroom had expressions of astonishment on their faces.

Some of them understand Gu Weijing, and some don’t understand Gu Weijing that well.

But when everyone heard Katsuko Sakai describe the thin figure in their eyes with admiration.

There is a sense of absurdity that a good classmate suddenly turns into an X-Men or Spider-Man Peter Parker.

The whole place was in an uproar,

The whole world was shocked.

Among the students at Dulwich College, the most normal one is probably Miao Aung Win.

This is not the first time that Mr. Miao’s world view has been refreshed by Gu Weijing.

Things like shock become familiar again and again. After being shocked, I feel used to it.

No matter how shocking and unacceptable the words from Miss Sakai are, they can still have a more impact on people than Brother Hao when someone holds a gun to his head and pulls the trigger.

Miao Angwen just felt it was a bit outrageous.

tnnd why?

Be it Brother Hao or this beautiful artistic little princess in front of me, they all like it and want to hold Gu Weijing and chew on it like a treasure.

Hey, hey, look here, I am also very persistent and serious in my paintings, okay?

Jerry suddenly and inexplicably felt that he had lost.

He has always been a bit dissatisfied with Gu Weijing. He is handsomer than him, has a better family background than him, has more resources than him, and is bigger and stronger than Gu Weijing.

Jerry canIf you can easily knock Gu Weijing to the ground on the flag football field, you can make a love-themed micro-movie and pin the most advanced Boy Scout badge on your chest. He was so arrogant that all the girls in the school cheered for him.

But when a beautiful girl like Miss Sakai, who is not like a mortal creature, jumps out and defends Gu Weijing like a fairy stepping on colorful clouds.

Jerry still felt for no reason at all that he had failed miserably.

It seemed that he was out of the city to compete in martial arts, eating hot pot and singing songs, and was in high spirits when he was suddenly slapped to the ground by a Tathagata palm.

He glanced at Mona who was standing next to the printer.

Mona still stood there like a marble sculpture, and the delicate facial features on her face remained unchanged from the beginning, as if they were wearing an iron mask.

Jerry could still tell from the clenched fists of the student council president that her mood was definitely not as calm as she appeared.

Mona is still confused.

She looked at Katsuko Sakai and blinked.

She didn’t even know what she should be feeling at the moment.

Mona felt that she should be happy for the outstanding Gu Weijing mentioned by Miss Sakai, but a part of her heart felt that she actually did not want to hear such Gu Weijing.

Ever since childhood, I have always been the more eye-catching of the two.

That’s why she can have a more calm attitude to deal with the relationship between them. If they are separated, she will abandon them if she wants to.

Mona thought it was cool for a while that Katsuko Sakai spoke up for her childhood sweetheart.

There was a little devil roaring deep in her soul, wanting her to rush forward like those little girls in school, tearing Miss Sakai’s clothes to pieces, scratching her pretty face, and then pulling her Her hair called her "bitch".

Hell,

She is the president of the student union, how could she have such an idea?

However, deep down in her heart, she could clearly hear this The sound of a little devil purring and screaming.

She had never felt this way about Kou Kou, whom she had never gotten used to.

So Mona could only stay where she was, motionless like a piece of wood, maintaining an empty facial expression.

Miss Sakai Katsuko stood a few steps in front of Mona, so close that she seemed to be able to smell the strawberry scent on her body.

The warm spring breeze gently blew the pleated skirt at the hem of Miss Sakai's school uniform, revealing the smooth calves in her socks.

The jumping shadows of the curtains are cast on the undulating body of Sakai Katsuko. The scent of grass and spring plants coming from the window floats in the air, blending with the scent of Miss Sakai, setting her off He looked like an elf in the forest.

Even Mona had to admit it.

Wine at this momentMiss Jing is really beautiful.

"Give it back to you."

Sakai Katsuko handed the IAD back to Mona.

"As long as a genius like Gu Jun has enough patience and trust, he will naturally bloom with you a hundred times more brilliantly. You know, Gu Weijing is completing a painting that I think will make the whole of Asia A large painting that attracted the attention of the art world."

"I said that my decision to come to Yangon for Gu Jun was to follow in his footsteps."

"I just hope that when he shines brightly in the future, he will not be thrown too far." Sakai Katsuko smiled.

Miss Sakai said this to Komatsu Taro.

But Mona still felt that she was stabbed in the chest again for no reason.

One of the most influential names of art critics from the 19th century to this day is Giovanni Moleri.

He is an Italian, a fellow countryman of Leonardo da Vinci.

One of the three editors of Oil Painting Magazine when it was first published.

At that time, there was no new general term like visual arts section. There are three editors, one is the main painter of oil paintings, one is the main painter of watercolors, and one is the main painter of sketches. Molery is the chief writer responsible for writing reviews of sketches.

His research found that in the sketches of each master, when describing delicate details such as fingers and ears, the sketches will have a strong personal style.

The sketch lines drawn by the master are freely retractable and densely intertwined.

The precise artistic lines drawn by pencil are as simple as ordinary people's graffiti.

He named this phenomenon "gesture".

In the corner of the classroom, Gu Weijing now felt that he was gradually forming his own strokes.

When he realized this,

his heart beat faster.

Formulating a personal aura-like brushstrokes in sketching is one of the distinguishing features of entering the field of sketching experts.

Just like Dongxia's comments on calligraphy works, he said that the calligrapher has already entered the hall. It is often said that the skeleton of his pen and ink has its own "calligraphy style".

Sketch and calligraphy use different painting tools and paper, but they are both arts that use exquisite pen and ink structures to express style.

So at this point, the evaluation standards of the two are very similar.

Nothing can change without departing from its origin.

This is not the first time that Gu Weijing has felt something like brushstrokes. When using Menzel's basic painting skills, he can feel the strong "brushstrokes".

Menzel's most typical personal style is clear anatomy and bold style.

The brushwork is vivid and expressive.

The old-timer once integrated tools such as hard pencil, soft charcoal, thick chalk, and light and transparent watercolor into his sketches, which produced extraordinary visual effects.

Gu Wei JinghuaWhen I draw colored pencils, I am "stuffed" with this strong personal style.

In the video on Mr. Hyperion’s channel, the judge commented on his creative style and commented that his pen has the feel of Rockwell, the greatest illustrator in American history.

It is not the portrait of Rockwell painted by Gu Weijing.

But Rockwell was a direct disciple of Menzel, and both men painted portraits of Menzel.

But the sketching "gesture" brought by the skill is only a short-term experience card of a few hundred seconds. It's like an old monk giving you a dozen of skills with one breath, and then sucking it away with another breath.

When Kazuma progresses from down-to-earth sketching and feels the hazy feeling at the tip of his pen, the sense of accomplishment in his heart is completely different.

“Accurate.”

When Gu Weijing drew the small grid of sketches issued by Professor Watter, he discovered that the biggest difference between v5 and v4 was still accuracy.

Accuracy is the basic condition for forming a personal "gesture".

Only when you use the pencil on your fingertips as if you were using your arm, can you talk about the painting style on this basis.

The paintings are messy and the big characters are like a dog crawling. As long as you persist in the "ugliness" for a few years, you can also form your own painting style and calligraphy school.

Ugly is also a style.

But of course it would be funny to call such a work "brush style" or "calligraphy style".

Being able to draw beautiful scenes that can be controlled and reproduced is the skill of a sketch expert.

The first-level professional sketching skills are also very accurate when painting small grids.

But after entering the second level of his career, when Gu Weijing started writing, he already had the intention of further improving the rigid precision to the level of "freehand brushwork".

When he was drawing small grids before, he only painted quickly, but he had to concentrate on the edges of the small grids and always control the boundaries of the pen.

When applied to the back, a rigid muscle memory is formed.

If the small grids on Professor Vattle's sketch paper are of different sizes or the side lengths are different, or if Gu Weijing suddenly wants to change the length of the lines, it is inevitable that he will be a little confused, and the handwriting will be out of bounds or left behind on the edges of the grid. white.

It’s different now.

Gu Weijing can handle his lines as he pleases. He can be as fast as he wants, as slow as he wants, as thick as he wants, as shallow as he wants. .

Draw as long as you like.

He can break lines anywhere, and can seamlessly connect lines anywhere, even using fine stacked pens in areas the size of a fingernail.

"It would be boring to continue painting small grids like this."

Gu Weijing liked Professor Vatel's advanced class before.

He is now completely indifferent to things like portfolio format, but the short painting method summarized by Professor WattelThe trick is pretty good.

This kind of small grid practice can not only gain experience points in sketching, but also exercise your ability to polish details with pens.

At this time, he was still painting small grids, which was too unchallenging for Gu Weijing.

He decided to increase the difficulty.

Gu Weijing just thought that he could try to use monochromatic sketches to create three-dimensional complex light and shadow on a square inch of paper.

He first tried to cut the graph paper into four triangular areas by pulling divergent lines from the central point to the four corners of the grid.

Use four different colors of light, shadow and brushwork in four areas to make the painted small squares look like pyramids viewed from a high altitude.

Then there are curves.

Use perfect conch-like polyphonic curves to fill the small square space, and fill the blank spaces in the four corners with smaller curves.

This makes the entire scene look like it is filled with vortices of different sizes. The picture can even make people's eyes out of focus. It looks like coiled snakes swimming end to end or vortexes flowing in the sea, which is a bit unsatisfactory.

After trying the first two painting methods, Gu Weijing tried to use more sharp and difficult to handle polyline segments.

"Shasha"

When he was completely immersed in the world of sketch lines.

Professor Vatel, who used to like to go back to the office to catch fish while the students were doing their homework, held the coffee cup and opened the door again and walked in. Please remember to collect it, the latest and fastest website is free to read without anti-theft