"Well, uh uh uh, we can start in a few days, okay? I will thank Mr. Chen, um, yes, just watch it for me"
Ah Wang smelled the smell of oil paint, his nose itched and he sneezed when he woke up from the cat's sleeping mat.
It is already afternoon.
Gu Weijing was stirring the oil painting knife in the pen washer with one hand and calling Uncle Alai on his mobile phone with the other hand, concerned about the progress of his children's free clinic project.
"Accept the imperfections in your life and bear all the gifts of fate."
Lao Cao's speech gave Gu Weijing a new understanding of the system panel.
In the past, Gu Weijing always had some inexplicable and complicated emotions. He felt that the gifts given to him by the system were like the glass slippers and pumpkin cart given by the fairy to Cinderella.
There is an uneasy feeling that suddenly disappears when you wake up after a long night of sweet dreams.
Now he has a different feeling.
The artistic perception of neither breaking nor establishing is part of his painting life.
The experience value and improvement in pen proficiency brought by the system are also part of his painting life.
In terms of pure talent, he is definitely not bad.
But it is probably not as good as Shengzi or Tangning, at least in terms of the educational environment he received.
The road to art is sometimes slow one step at a time.
The system gave him a rope ladder to climb to the top of the mountain faster and shorten the gap.
You should make good use of it.
As for the emotional depth of painting, Gu Weijing is proud of himself. Mr. Cao Xuan said that when he was eighteen years old, he could not paint such a layered work.
What reason does he have to belittle himself?
Life has given him such a gift, and he should naturally make good use of these resources and walk on two legs.
Make yourself as strong as possible as quickly as possible.
Next time, he didn’t want to rely on luck to escape from the malicious attacks of people like Sir Brown.
When Gu Weijing was full of confidence, full of expectations and impatient to look forward to the next stage of painting techniques.
Open the panel.
He realized that he was really poor now.
Gu Weijing now has very little free experience left. Even if he wants to use calligraphy and painting appraisal skills on a daily basis, he has to make careful calculations.
The second level of the v5 profession is the last stage before being promoted to the master. The third level of the v6 profession requires the accumulation of a full 10,000 experience points.
And he currently has three second-level painting techniques for his profession.
The sketch is less than 3,000 points, the oil painting is almost 4,000 points, and the highest level of Chinese painting techniques is just over 5,000 points.
In other words.
He is still far from the next stage of the three painting methods.test value.
Converted into an exchange ratio, that is a full 180,000 US dollars.
If Gu Weijing wants to accuse the system of being evil, then he really has no conscience.
Just improving a skill from level 5 to level 6 often requires several years of hard work.
It should be said.
Under normal circumstances, whether an ordinary painter can reach level 6 below the master and above ten thousand people in his lifetime is an extremely small probability event.
Don’t you see, my grandfather is Gu Tongxiang, the teacher of Dulwich College.
Have been painting all your life, but you can’t even touch the second level of the profession. This is the true portrait of the vast majority of art practitioners.
Who said that $180,000 can be worth a lifetime of hard work for many people.
Even if Mr. Gu is so prudent and stingy that he would like to split a penny into two flowers, if he knows such a thing, he has to peck his teeth, touch his bald head, and give a thumbs up. A good deal for a child without any deception.
Gu Weijing is not short of the US$180,000.
Schstic Group’s next payment is already due in the third quarter, but the royalties and shares he has already remitted to his account amount to a small amount of 300,000.
The problem is.
His current financial situation is very embarrassing.
It is still far from being a large-scale private charity foundation with a large-scale systematic operation and hundreds of employees. The normal expenses of one or two local orphanages cannot afford so much. money.
So he hurriedly called and asked about the free children's clinic project planned for him by the Schönbrunn Office in cooperation with the community hospital, which he had not asked much about since leaving it to Uncle Alai.
What stage of development is it at now?
The situation went much smoother than Gu Weijing imagined.
Uncle Alai once described Yangon, with the clouds of unrest hanging overhead, as a smoldering sauna furnace.
When doing things in the hazy water vapor, it always feels like it is cloudy and foggy.
Good people, bad people, bureaucrats, businessmen, gangsters, and politicians are all shrouded in a fog that makes it difficult to see clearly. It is impossible to distinguish between evil and monsters, and it is impossible to distinguish between good and evil.
Doing something completely bad may not be as difficult as many people think.
And doing a truly good deed may not be as easy as many people think.
If you want to spend such a large amount of charity money, there will always be someone who wants to take a bite.
It’s not a big deal.
Those who want to make a profit from it even for two to three hundred thousand US dollars are often not tycoons. Assistants like Uncle Alai or Schönbrunn Palace Office can find ways to deal with it. of.
Either spend money or spend time.
But it’s disgusting anyway. Gu Weijing suffered a loss from that nagging Claire Foundation once, and changed to doing things by himself, just to do it cleanly.thing.
It would be too boring to spend some money to feed the cats and kittens.
So I dragged it slowly.
Gu Weijing was mentally prepared. Before going to Singapore to participate in the art exhibition, it would be great to have feedback on the results and get experience points in hand.
This time he communicated with Alai on the phone and learned that all the difficulties in the matter had been solved.
It was Chen Shenglin who helped.
Since that meeting at the orphanage, Boss Chen has been very curious and helpful to him.
He is the president of the entire Yangon Chamber of Commerce and the honorary chairman of the All Myanmar Charity Association.
After learning about Gu Weijing’s free clinic project from other channels.
The secretary took the initiative to call and said that if he didn't mind, the charity foundations on both sides could cooperate, and Boss Chen could help promote the progress of the project.
The so-called "cooperation" is a way of saying that the secretary has a very high emotional intelligence.
Obviously promoting them.
No matter how poor Yangon is, it is still the king among monkeys. Boss Chen is also the "Monkey King" of Southeast Asia.
Gu Weijing, a junior who has just made a little fortune.
At most, among the kittens, Awang is the one who is more able to show his teeth and claws.
Chan Shenglin may not be as good as the Malaysian shipping king, or maybe not as good as the Elena family, but he is also a member of the serious "biionaire" billionaire club.
His annual donations to the Yangon Charity Chamber of Commerce are in the order of millions or tens of millions of dollars. It is not at all Gu Weijing's "Jasmine Foundation" that is still playing house now. It can touch porcelain.
It is said to be cooperation, but in fact it is just the kindness and cuteness of the big boss who reads Gu Wei Jing, and just takes care of him a little.
A relatively closed society like Yangon.
Those big guys and little guys who want to make money may not be afraid of Schonbrunn, which is mainly engaged in financial investment. Everyone is playing the same thing.
But facing a big man like Chen Shenglin who made a fortune locally and has great connections.
It is really a ghost meeting a life-threatening ghost, and the main thing is to prescribe the right medicine.
I was taken care of in an instant and was very obedient.
Look at this situation.
Maybe in a few weeks, he will be able to get the free experience points rewarded by the system, and even the expected conversion loss of various necessary labor expenses will be almost negligible.
What a beautiful thing.
"It's a pity that the art collection donated by Miss Elena actually has nothing to do with me."
Gu Weijing hung up the phone and sniffed. .
Suddenly, he is likely to have countless top art masters such as Monet, Van Gogh, and Renoir. He will not be able to have it in his lifetime, and he will even have incredible achievements and achievements that he cannot even imagine. A comprehensive large-scale art museum named after itself.
Sadly.
The harsh system will not take the initiative to take this astronomical donation to itself just because the museum is called "Detective Cat".
That’s a full 5 billion U.S. dollars
If you pile up the experience bar to the next level one hundred thousand times, there will be enough left.
Even if he fantasizes about it casually, Gu Weijing feels like he is swaying like he is drunk and his heartbeat is pounding faster.
Even if only a small part can fall into his pocket.
Gu Weijing could also immediately show the shameless face of a krypton gold player to the system, shouting "Sister, I don't want to work hard anymore" and completely lie down.
"But indeed, I really want to thank this Miss Elena, you are right, Awang"
Gu Weijing smiled.
He put his phone on the table aside and lowered his head to look for his cat.
I found out that King Ngawang had already gone out for a walk without showing any dignity.
Awang doesn’t seem to like the smell of unsolidified paint.
It’s not that I don’t like any paint. Water-soluble paint is okay. You can sit on it without any guilt and leave a straight butt pattern on Mr. Gu’s beloved peony picture. It can be seen that she is simply allergic to the smell of linseed oil in oil painting thinner.
So.
When Gu Weijing was painting in a small space like his bedroom.
Awang would often wander out to chase butterflies in disgust.
That’s fine. When Gu Weijing completed the most important painting for The Blazing World, he was not disturbed in any way.
The title of the work is Queen
The painting technique, knife painting and painting are legendary
The emotion and heart feel complete
This is a 2436-inch painting. That is, a large-sized work that is sixty-one centimeters wide and about ninety-one centimeters long.
Compared with Gu Weijing’s previous knife-painting works, the composition accommodates more scenery.
The length is also much larger.
It was a scene of a military port in the rain.
The hazy sea breeze blows from the corners of the scroll to the center, zigzag lightning flashes on the iron-gray sky, the waves are roaring, and the wind is also roaring.
Gu Weijing seems to be an experienced cake decorator.
Using extraordinary patience and unimaginably exquisite cutting techniques, the raging waves were carved out almost foam by foam.
Multi-masted ships rose and fell in the harbor.
Although their sails are all firmly furled.
But even if you just look at the tilt of the warships in the deep-water port, they are rolled up by the waves. Only Kan Gu Weijing drew on the dragging plane lines favored by the American painter Whist of the last century to express the psychedelic night, and used the metal side edge of the oil painting knife full of tension to pull out the twisted feeling of the ship's plank.
Viewers who see this picture can instantly imagine the feeling of those durable, fine and heavy oak keels making a terrible "creaking" friction sound under the squeeze of the tide.
Just cut the rope and lower the sail.
In the next second, these multi-masted warships will disappear into the turbulent and unknown night like bows and arrows.
And what is more eye-catching than the battleship and the storm.
They are the giants of the sea.
Gu Weijing used the mottled and unpredictable skin tones that the painter Rouault, known as the "artist of darkness and death", likes to use to show the appearance of these giants after being devastated by war. What remains are the rough features and appearance that look like centuries-old tree bark.
The temperament of these war giants, the template Gu Weijing imagined in his mind, was actually Uncle Alai.
But when all this is expressed with a knife instead of a brush, it has a different flavor.
Except the giants.
There are also feathered men with human heads and iron wings, and colorful fish monsters. The scene in this painting is like a Western fantasy version of the Classic of Mountains and Seas, or the illustration collection accompanying Ptolemy's map. .
Note: An early map from the Middle Ages marked with a variety of bizarre octopuses, hundred-eyed giants, man-eating krakens and other early human fantasy monsters.
Every kind of scenery.
From the farthest birds to the nearby giants, Gu Weijing put a lot of effort into painting.
I also spent a lot of effort to reconcile the excesses, so that any of these painting methods, which are rare in the field of painting, can be harmoniously unified in the same painting.
If Professor Boggs gets the sketch of this painting.
The other party will definitely be fascinated by it, wishing they could watch it for three days and three nights, holding it in their arms even when they sleep.
He can see Whist, Oulu, Titian, Modigliani, Munch, and countless famous painters throughout the ages in this painting. The shadow of the little techniques used in shaping with an oil painting knife that I prefer when painting.
There are even some alternative expressions of oriental brushwork techniques using oil painting knives that he had never thought of before.
This painting.
It is no different from the compilation of painting knife painting techniques summarized by Jianghu Bai Xiaosheng. There are so many places to play with.
But what Gu Weijing is most proud of is still the shadow on the cliff by the sea.
That is an attempt of shaping that has never been made by any famous painting artist, and it is Gu Weijing’s own unique expression.
It is even a more profound and interesting expression than the text of the story itself.
"Sorry, Duchess of Newcastle, it's a bit arrogant to say this, but you should really be proud of this painting."
Gu Weijing admired the work on the canvas in front of him and mouthed Li muttered something to himself.
Although the cover painting of The Little Prince is "painstaking", Gu Weijing can only say that he tried his best toThe restoration vividly brings the image of the protagonist of the story to life.
But I dare not say it.
Beyond the story of Saint-Exupéry.
However, in this picture of the Queen, Gu Weijing had the confidence to say such a thing. Please remember to collect it, the latest and fastest website is free to read without anti-theft