Almighty painter

Chapter 21

Gu Weijing tried for the first time to configure the pigments recorded in the recipe in "Mojie Notes".

He picked up a small knife on one side and roughly gesticulated on the cinnabar ink ingot, cut off a few small pieces and put them in the mortar on the other side, mashing and grinding them carefully.

After seeing that it almost showed a bright pink color, Gu Weijing put down the porcelain stick in his hand, and added a little bit of diluted gelatin to increase the viscosity.

Logically speaking, the current cinnabar ink should appear as a clear liquid like red ink.

However, Gu Weijing could clearly see that there were many fine and uneven particles like sand at the bottom of the paint.

Precipitation - this is what Gu Weijing was worried about before using the cinnabar mine.

There is a huge gap in properties between the naturally mined ore pigments and modern chemical red pigments, and easy precipitation is one of the significant shortcomings.

Unless the experience is very rich, there will be a problem of adding more water to the noodles, and more noodles from the water.

If you add less water, sand-like particles will appear on the brush, destroying the overall texture of a painting.If too much water is added, the paint will not solidify, and may even drip down on the mural.

There are reasons for the elimination of each pigment, perhaps because the effect of use is not good, or the conditions of use are harsh in the past.

The masters of these mural restoration projects may not have considered the possibility of using cinnabar tones.

However, the conditions for using cinnabar are difficult and the preparation process is complicated, which is an important reason why this natural mineral pigment was not used in the end.

"With warm soup, stir with your fingers until smooth and moist."

In the notes in my mind, a line of notes flashed at this moment.

Gu Weijing was startled, he rolled up his sleeves, tentatively fetched hot water, put his finger into the paint dish, and used it to grind instead of a porcelain rod.

Unexpectedly, this method is surprisingly easy to use!

He could clearly feel the cinnabar powder melting in the hot water through the clear touch of the skin between his fingers.

When he just felt that all the granules disappeared, he immediately stopped adding water.

The paint in the plate immediately turned into just the right color, with a slightly jelly-like feel but absolutely no sticky color.

[Painting experience +7]

[Chinese painting: lv.3 semi-professional (8/1000)]

The virtual panel in front of him indicated that his painting proficiency had increased. This was the first time Gu Weijing hadn't gained experience points while painting after getting the panel.

This unique trick cannot be summed up without having used the pigment cinnabar hundreds of times.

Simple yet incredibly effective.

With warm water, use your fingers to stir the paint.

There are only these two points that are so simple that they can easily solve a problem that has troubled countless Chinese painting artists.

Gu Weijing sighed with emotion. He knew that according to the master's habit, in order to prevent the apprentice from starving to death, this kind of trick is often a magic weapon to keep.

For example, pass on the male but not the female, only pass on the disciples, don't pass on the famous disciples, only pass on the junior disciples, not the big disciples, etc...

The dyeing recipe in the hands of the old cobbler, and the temperature of the fruit wood roast duck in the mouth of the master chef are similar.

If the apprentice dares to steal something, even if he is killed, the master will not say anything.

This is a kind of social experience with local cunning, and it is also the reason why many precious skills are lost.

People keep reinventing the wheel again and again.

Needless to say, he can think of such techniques as using warm water and using fingers.In history, there must have been many masters who were proficient in calligraphy and painting like Wang Wei who invented it, and then gradually lost it, waiting for someone to invent it again.

Gu Weijing is not a sentimental person.

He just sighed a little, and then continued to follow the instructions in the notes, quickly adding items such as mud silver and flower greens one by one, and various corresponding tricks would pop up in the notes from time to time.

When the proficiency of Chinese painting on the panel in front of Gu Weijing reached [Chinese painting: lv.3 semi-professional (35/1000)].

The little puddle of paint in the tray in front of me has turned a lovely, translucent pink-blue.

Like a lotus floating in the water.

Gu Weijing excitedly picked up the paintbrush in his hand, lightly dipped it into the palette,

……

time flies.

Making pigments is not only a technical job, but also a labor-intensive job, especially when modern chemical reagents are separated from the convenient tin tubes and the ancient method of ink mixing is completely used.

But when you watch the mineral pigments of various colors dissolve and infiltrate each other in the palette under your own command, and finally become a color full of texture on the painting scroll, the sense of satisfaction and fulfillment in your heart is also beyond compare. explained in words.

Looking at the pink and red texture of the lotus in the murals, Gu Weijing liked it very much.

This kind of color is really beautiful. Just relying on the unique three-dimensional effect of the paint color under the sunlight, there is a feeling of drawing a three-dimensional space on a two-dimensional plane.

No matter how Gu Weijing looked at it, how satisfied he was, looking at the unused paint in the tray, he even had the urge to lick it with the tip of his tongue.

He finally realized the feeling of Wang Xizhi's little boy eating steamed buns dipped in ink.

Not to mention, this kind of use of five colors and five flavors may really be a form of expression that the ancient literati of the Eastern Xia used texts to convey Taoism and paintings to convey Taoism.

In the "Notes of Mojie" in my mind, there is also a record of Wang Mojie's painting process, using his sense of taste to help him prepare the paint he wanted, and also marked the sweetness and bitterness behind different ores... and so on. describe.

A lot of space has been written in this book in my mind, which records the matching of different paints and related tips, waiting for Gu Weijing to practice and test it. Now he even has the pleasure of opening a treasure chest in an online game.

It is true that Chinese paintings are not as scientific as Western painters in dealing with perspective and texture of characters.

But the so-called freehand charm is precisely in the light and dark of this color, which is unpredictable.

He speeds up his work and can't wait to try out more color combinations.

[Painting experience value +9]

[Painting experience value +7]

[Painting experience value +5]

Gu Weijing finished painting and coloring faster and faster.

His most experience now comes from the process of pigment modulation, which is also a kind of learning about light, shadow and color in painting.

As for the coloring itself, he no longer needs to spend too much time reasoning and thinking against the draft to know how to draw is the best.

As for whether you can draw well, the only way to go is to practice more.

When Gu Weijing finished all the work on the mural in front of him, the time on the watch had only passed for more than half an hour.

He looked at his watch, it was a bit late for dinner at this point.

Gu Weijing was unwilling to wait for everyone to start working together in the afternoon.

He was looking for the next set of tasks assigned to him, and the card Sakai Tsunasho signed before leaving for lunch break was in Gu Weijing's pocket.

It is the wall with the number "No.17".

All the walls to be restored have their own number in Arabic numerals, with the number seventeen further inward.

Gu Weijing walked towards the west side of the Shwedagon Pagoda with his paintbrush and paint tray for a few minutes, crossed several sets of separation lines, and finally came to the NO.17 wall.

He raised his head.

"what?"

This turned out to be an incomplete picture of worshiping the Buddha and protecting the Dharma.

(End of this chapter)