Conch-like patterns are rolled out with charcoal on the pillars of the eaves.
Gu Weijing quickly continued to add structural details on top of the "scaffolding" he had already built.
Based on his current second-level professional sketching skills, it can be said that he can draw the internal skeleton proportions of the building as accurately as the drawings produced by professional drafting architects in the 19th century with the help of drawing tools. It is a bit exaggerated to say that it can be taken directly to start work after completion.
Both are sketches, and the inherent painting methods they pursue are not consistent with the purpose of painting.
However, it is not difficult to make his 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 make comments.
Later, Gu Weijing painted faster and more delicately, while Hanks became more silent as he looked, but his eyes became as bright as two incandescent light bulbs.
Hanks was so surprised that he didn’t want to speak.
"His sketching skills seem to have improved again."
Hanks watched the vertical and horizontal trajectory of the charcoal stick on Gu Weijing's fingertips.
He was excited.
The master-level sketching skills are absolutely valued in Ma Shi Gallery and are worthy of opening a one-person 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 rather.
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 it, and then he can be called a master.
Unless you are a painter like George Berryman who has studied drawing and human anatomy in the New York Art Association for most of his life.
It is impossible for an ordinary painter to study only sketching for such a long time.
Having the time to study colors will make it easier to stand out than using boring black and white light and shadow.
Good sketches can often make professionals climax, while good oil paintings and watercolors can more easily attract the attention of ordinary viewers.
So there may not be more than five real sketch masters in the entire Ma Shi Gallery.
Hanks originally judged that Gu Weijing should be ranked around 250th in the history of Ma Shi Gallery in terms of pure sketching level.
The next ones are those who engage in avant-garde art and a few sculpture artists.
Now, Hanks recalls the general situation of the painters he came into contact 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 is not 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.
"That's great."
According to his habit, Hanks subconsciously flatters him.
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 the words came out of his mouth, 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 is superior to the real world.
Everyone knows that twisted church steeples do 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 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 brain is like a sophisticated graphics computer, and the line shapes in the 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 if the painter slightly shifts the main axis of the architectural composition, 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 kind of orderly beauty, which belongs to the stability and solemnity of physics and Newton's laws.
Even though such worksSometimes there are some wild and fanciful fictitious architectural plans that are absolutely impossible to realize. Collectors also feel that as long as it takes a sea of construction teams to spend a thousand years, those fantasy kingdoms like heaven on earth will be enough. 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 the old church on a thunderstorm day, the thunderclouds in the distant view are unstable, and the candlelight in the close shot is changeable and misty. The main body of the church building is stable and solid.
In the past two months, Gu Weijing gradually felt that through constant copying, the help of calligraphy and painting appraisal techniques, and the discussion process of writing a paper with Sakai Katsuko
Ms. Carroll The three elements are neutralized in the composition. 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 a metaphor for some kind of sealed intense emotion and rebellious pleasure.
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 in his hand.
While taking out the oil paint brush and soaking it in a tube of turpentine to moisten the bristles, I thought casually.
What kind of life experience do you have to go through before you can empathize with and reveal these complex inner emotions at the tip of your pen?
Fortunately,
the metaphor of the composition Set aside.
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.
For both of them, in the Renaissance period, it would be a bit unworthy not to engage in architectural design of churches and palaces.
He is 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 disappear after it is published, or whether it will disappear. What new harvest has come?"
Gu Weijing pondered in front of the sketch for a while, then put away his random thoughts, bent down and reached out to get the palette, ready to use it. Thinner conditions pigments.
His body just made such an intention.
A palette has been thoughtfully thrust into his hand.
"Hmm"
Hanks closed his mouth tightly, pointed at the palette, then pointed at the canvas in front of him, and made two soft moans.
Concentrate on painting
Just the sketch on the canvas was enough to satisfy him.
Hanks is now watching a movie gradually enterThe climaxed audience couldn't wait to hope that Gu Weijing would continue painting quickly.
"It doesn't mean that you can't say a word. I'll tell you, it's nice to be quiet like this without disturbing each other."
Gu Wei I complained a bit.
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 and use oil brushes to polish the details of the building more delicately, just like a sculptor polishing plaster sculptures.
"It's a bit tight"
Gu Weijing followed his previous painting habits and habitually painted two strokes of thunder clouds, then stopped.
Not limited to line shapes.
The contrast between light and dark in oil paintings, and the relationship between light and dark surfaces, are no different from the painting methods in sketches.
It is nothing more than the ups and downs of shadows and the change in the relationship between light and dark, from black, white and gray to colorful oily mineral pigments.
When drawing 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 feel a little too dark.
Compared with before, after reaching the second level of professional sketching, Gu Weijing has a keener sense of color difference and contrast. He is no longer satisfied with this kind of almost the same look and feel.
"Ugh"
Hanks couldn't help but whine.
He wondered why Gu Weijing suddenly drew two strokes and then stopped moving again.
Could it be because the sketch was too detailed and ambitious, and as a result, he couldn’t handle such complex details?
Hanks was not very optimistic about Gu Wei just now I have made such a detailed sketch.
No matter how well the architectural drawings are designed, when the construction team starts work, if they don’t have the construction capabilities, their efforts will not be in vain.
Hanks will not show a mocking expression on his face.
If nothing else, just being able to see this sketch makes 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.
It turns out the color is dark
Hankes glanced at Carroll's original painting, then looked 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 final analysis, 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.
You have to check whether the two strokes just painted on the canvas are a little thicker.
He was a bit at a loss as to what to do.
However, if it is thick, just use a painting knife to remove it and re-apply.
This is not a pen-and-ink drawing that cannot be modified. If you make a mistake, it’s not a big deal.
The creative process of those oil painting masters often requires alterations.
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.
Based on this technique, Gu Weijing made a slight transformation.
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 brushstrokes in painting, 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 repaint it. Normally, there is no paint brush that can be used with oil painting knives.
Even if some painters can use an oil painting knife to shape, it is a general feeling.
According to the letters of master painters 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 were able to accurately control themselves to scrape off only 12 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 was able to really do this step, even more accurately.
You can apply it however you want.
You can cut it as finely as you want.
Gu Wei has experimented.
Now he can even use a 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 an owl, 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 a joke.
When a skill reaches its highest level of proficiency, the magic power it can unleash is such that those who have not reached it may never have the opportunity to experience the ability in this field in their lifetime.Ordinary people find it unreal to the point of fantasy.
Historically, the oil pourer in the story "Practice makes perfect", the axe-wielder in the story of "The Carpenter's Stone Transports a Category" in Zhuangzi's mouth, who can use a giant ax to cut off the lime on the tip of someone's nose without damaging the skin at all, All of this makes 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 the oil paint to mix the colors, a small correction of the overly thick paint is nothing. .
“It’s not that the oil painting knife is a little tricky to use.”
It’s a “mediocre” technique in Gu Weijing’s eyes.
Hanks already felt that the scene in front of him seemed like a joke.
"I'm very sorry. But did your high school offer a special course on oil painting knife?" Hanks finally couldn't keep quiet.
He can accept that if the painting is not good, he can use an oil painting knife to shovel it out and repaint it, and he can accept using an oil painting knife to make corrections on 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 see all the wonderful features 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 paints.
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.
The thickness is only a few millimeters at most, and it cannot compare with the thick cream-like texture when drawing with a special drawing knife.
Gu Weijing did not use too thick and shiny paint when he first started writing.
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, not only applying a layer of oil paint, but also not revealing the original color and fiber shading of the canvas at all.
It accurately maintains the range that is about to transmit light 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 into a delicate and fresh knife-like shape like a thundercloud, which is completely true to the oil painting knife. The texture is extremely familiar.
"I'm just used to using an oil painting knife."
Gu Weijing said casually.
He doesn’t need to explain much.
Gu Weijing dared to paint like this in front of Hanks, so he was not afraid that others would see that he was good at using the 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 the legendary painting knife, it is not just a matter of just taking the oil painting knife and applying it when painting.You can see it in two clicks.
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 eating this bowl of rice.”
Before he closed his mouth again, Hanks couldn’t help but click his tongue twice.
The facts are before us. Apart from talent, Hanks can’t think of any other answer.
Some people are proficient in mathematics, some are proficient in music, and some are just dexterous 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.
There is an artist in the gallery who is good at painting pointillism paintings 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 to practice to such an exquisite level.
Compared with "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 it would be an expert even if it were placed inside the Ma Shi Gallery
He looked at Gu Weijing with extremely complicated eyes.
Except for creating some hard metal textures, Hanks actually doesn’t think there is 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 plate drawn with the knife is 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.
Every time Hanks thought he had a general understanding of him, the other party 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 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 it while Gu Weijing 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 placed in his stomach.
However, after experiencing such a "climax" creative process, Hanks could not suppress the excitement in his mind.A new idea came up.
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 can easily call the phone numbers to the private mobile phones of big guys like Mas III and Gagosian, and the call is open almost 24 hours a day.
As for Hanks, a serious collateral relative with the same ancestor, in the past, he was definitely not qualified to have the connection method of Mas III.
The phone number in front of me is 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 worthy of attention or new changes are necessary about this "Gu Weijing" young man, Hanks can directly report to the big boss.
Hanks doesn’t know what kind of news is worthy of his personal attention in the eyes of this patriarch with a net worth of hundreds of millions of euros.
But in his heart,
Gu Weijing's painting ability when copying oil paintings was stronger than his original most optimistic estimate, which should be the news. A sort of.
The big boss should be very happy to know this kind of information
"Sir, I have something to do" He didn't dare to call to disturb his vacation, but edited a text message. Please remember to collect it, the latest and fastest website is free to read without anti-theft