Almighty painter

Chapter 239
Charcoal paints a conch-like pattern on the pillars of the eaves.

Gu Weijing quickly continued to add structural details on the "scaffolding" he had already built.

With his current professional second-level sketching level, it is said that he can draw the internal skeleton proportions of the building in detail, just like the drawings produced by professional drafting architects in the [-]th century with the help of drawing tools, and they can be taken directly after drawing Commencement is a bit exaggerated.

Both are sketches, and the inner painting method pursued is not quite consistent with the purpose of painting itself.

However, it is not too difficult for his charcoal lines to show an orderly beauty on the surface of the linen canvas.

Hanks gradually felt the process of this beautiful attraction being born in Gu Weijing's writing.

At the beginning, he had to resist the urge to make some comments all the time.

Later, Gu Weijing drew faster and faster, and the paintings became more detailed, but the more Hanks watched, the more silent he became, 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 stared at Gu Wei's vertical and horizontal trajectory of the charcoal sticks flowing through his fingertips.

He was excited.

The master-level sketch level is also regarded as an absolute value in Ma Shi Gallery, and it is worthy of a solo sketch exhibition.

This kind of painters are extremely fertile fields, and they are willing to spend marketing resources to water them. It is not surprising that they bloom and bear fruit, and it is strange that no collectors care about them.

Or.

Any painting that reaches the level of a master is a favorite in the eyes of gallery owners.

The so-called [-]-hour rule means that a painter can only be called a master after spending more than ten years or even decades in a certain field before he is qualified to touch it.

Unless a special painter like George Berryman has studied sketches and human anatomy at the New York Federation of Arts for most of his life.

It is impossible for ordinary painters to study only sketches for such a long time.

It is easier to get ahead if you have time to study color than to hold on to the boring black and white light and shadow.

Good sketches can often make professionals orgasm, while good oil paintings and watercolors are more likely to attract the attention of ordinary audiences.

Therefore, there may not be more than five fingers of real sketch masters in the entire Ma Shi gallery.

Hanks originally judged that Gu Weijing should be ranked around 250 in the history of Ma Shi Gallery in terms of pure sketch level.

After that are those who engage in avant-garde art and a few artists who engage in sculpture.

Now, Hanks recalled the general situation of the painters he had contacted in the gallery.

"The level of sketching in front of me can be regarded as excellent among the young painters under the age of 33 in the gallery." He murmured in his heart.

Looking at the entire Mashi Gallery is not a hindrance!

Mashi Gallery is one of the most famous galleries in the world.

The so-called "not bad" among the represented artists of Mashi Gallery can easily hold the position of sketch professor in a small art university.

"great."

According to Hanks' habit, he subconsciously flattered him.

It can't be regarded as flattering, and 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 I still underestimated it a bit.

No wonder Mr. Ma Shi III valued this young man so much.

I don't know how the big boss far away in southern France sees his unlimited potential in the future.

Before the words came out, Hanks remembered that Gu Weijing asked him to be quiet, and forcibly swallowed the words in his mouth.

He just stared at the canvas drawn by Gu Weijing, without blinking his eyes.

Gu Weijing finally completed the sketch.

He put down the soft charcoal in his hand, compared with Ms. Carroll's original painting in front of him, and thought about the real scene of the Lucky Orphanage in his mind.

"The architectural structure is quite realistic."

Gu Weijing was quite satisfied with the sketch draft in front of him.

In the well-known paintings of oil paintings, watercolors and drawings, the architectural structures that the audience sees are usually divided into two categories.

One is the tilted and twisted buildings that are common in Monet's church series paintings and Van Gogh's paintings.

It's a utopian emotional perspective above the real world.

Everyone knows that a twisted church steeple is not a physical structure.

What they paint is not architecture, but the world they observe in their own eyes.

The painter overlaps his intense personal emotional world with the patterns under his brush.

Your mind is depressed and distorted, and the world you describe is also depressed and distorted.

The other category is based on the realistic style of paintings in the large number of drawing manuscripts and architectural visions left by Menzel, Louis Bray and Gaudí, the most famous Spanish architect in history.

Their brains are like a sophisticated graphics computer, and the lines and 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 cent.

In these famous paintings in art museums, it seems that the painter shifted the main axis of the architectural composition a little bit, and the audience will be horrified to feel that the buildings in the whole work suddenly become unstable, and the next breath will tilt down, falling into rubble and dust on the ground .

Their works have a beauty of order that belongs to the stability and majesty of physics and Newton's laws.

Even though there are sometimes some imaginary and imaginary architectural patterns that are absolutely impossible to realize in this kind of works, collectors will feel that as long as it takes 1000 years to hire a construction team like the sea, then those fantasies like heaven on earth The kingdom of heaven will really appear in the world.

Ms. Carroll's painting style tends to the former, while the structure of the whole building tends to the latter's sense of realism.

Her pen structure is very precise and rigorous, like an architect proficient in civil engineering.

In the composition of "The Old Church on a Thunderstorm Day", the thundercloud in the distant view is unstable, the candlelight in the close-up is changeable and ethereal, and the main building of the Dudu Church is stable and solid.

During these two months of continuous copying, help from calligraphy and painting appraisal techniques, and discussions with Sakai Katsuko on writing a thesis, Gu Weijing gradually felt——

In Ms. Carroll's composition, the three are neutralized. The boiling thunder sea and the candlelight of the chant 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 picture is, how thunderclouds roll.

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 into a tube filled with turpentine to moisten the bristles, he thought casually.

What kind of life experience do you have to experience in order to empathize and express every complicated inner emotion at the tip of the pen?

Fortunately,

Toss metaphors of composition aside.

After improving the sketching skills, it is not as difficult as Gu Weijing imagined to complete such a complex architectural skeleton.

His original spatial structure was very good, and now his proficiency in sketching has also improved.

There are two in the Renaissance period, not engaged in architectural design of a church, the palace, both seem a bit inferior.

A perfect seed 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, which will arouse the enthusiasm of the academic community. I don't know if the paper will be published, whether it will disappear or there will be some new harvest. "

Gu Weijing pondered for a while in front of the sketch, then put away his wild thoughts, bent down and reached for a palette, ready to adjust the paint with thinner.

His body had just made such an intention.

A palette has been thoughtfully stuffed into his hand.

"Well……"

Hanks closed his mouth tightly, pointed to the palette, then pointed to the canvas in front of him, and murmured twice.

Concentrate on drawing!

Just this sketch typed on the canvas has already made him feel refreshed.

Hanks is now like an audience watching a movie gradually approaching a climax, and can't wait to hope that Gu Weijing will continue to draw quickly.

"It's not that you can't say a word... Forget it, I'll let you see, it's good to be quiet and not disturb each other."

Gu Weijing complained a bit.

He turned his head and picked up the oil paintbrush.

Gu Weijing began to slowly paint the canvas.

The process of applying paint is the process of gradually covering the sketch with paint.

At this time, the sketch in front of him that contains rich information can save Gu Weijing a lot of trouble.

He only needs to use different brushstrokes and paints to express the designed changing colors in the line sections of the sketch.

He can have more energy to polish the details of the building with oil paint brushes like a sculptor polishing a plaster sculpture.

"A little tight?"

Gu Weijing followed his previous painting habits, habitually painted two strokes of thunder clouds, and then stopped.

Not limited to line shapes.

The contrast between light and shade in oil painting, the relationship between light and dark surfaces, is no different from the painting method in sketches.

It is nothing more than the ups and downs of shadows, the changes in the relationship between light and dark, from black, white, and gray to colorful oily mineral pigments.

When drawing a sketch.

Gu Weijing has already imagined the brightness and color of the paint in his mind.

At this time, Gu Weijing found that the color tone of his paints was not a big problem, but the oily paint he applied on the linen canvas was a bit too thick.

The thundercloud 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 grasping the contrast of color and color difference is more acute, and he is no longer satisfied with this kind of perception that is not bad.

"Well?"

Hanks couldn't help but whimper.

He wondered why Gu Weijing suddenly drew two strokes and then stopped moving again.

Could it be because the sketch draft is too delicate and too ambitious, and as a result, I can't control it and can't handle such complicated details?

Hanks just didn't like Gu Weijing's sketch so detailed.

No matter how well the architectural drawings are designed, when the construction team starts work, it is not in vain if they do not have this architectural ability.

Hanks didn't show a mocking expression on his face either.

Not to mention anything else, just being able to see this sketch is not in vain when he licked his face and stood 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.

Is it the darker tone?
Hanks glanced at Carroll's original painting, then at the canvas in front of Gu Weijing, and shook his head slightly.

The agent did not question Gu Weijing's judgment on the screen.

He himself didn't quite know whether Gu Weijing's judgment was correct.

In the final analysis, Hanks was just an assistant to an artist, not a well-known painter with superb painting skills.

Let him appreciate the overall effect of the two paintings or the larger details, which one is better, Hanks has no problem.

But you have to look at whether the two strokes you just painted on the canvas are a bit thicker.

He was a little helpless.

However, if the paint is thick, use an oil painting knife to scrape it off and repaint it.

This is not a pen drawing that cannot be modified. If you make a mistake, you can shovel it. It is not a big deal.

The creation process of those oil painting masters often needs to be painted and changed.

Gu Weijing picked up the oil painting knife next to him.

He chose an oil painting knife with a short blade and a wide 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.

Gu Weijing adopted the flat pressing knife usage of the oil painting knife.

The flat pressing knife is not complicated in the technique of the oil painting knife. In simple terms, it means to make the oil painting knife parallel to the surface of the canvas, and gently cut off a shallow layer of paint.

Based on this technique, Gu Weijing slightly deformed it.

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 painting Lei Yuntian's brush strokes, he used an oil painting knife to shape the flowing cloud-like lines on the side of the canvas.

When oil painters use an oil painting knife to deal with unfinished brushwork, they usually shovel it away and repaint it. Normally, there is no brush in the oil painting knife.

Even if some painters can use oil paint knife to shape, it is a general feeling.

According to the letters of master knife painters such as James Whistler and friends in history, as well as some studios, there are gossips.

It is said that some masters who really use oil painting knives can clearly judge the thickness of the paint they scraped off.

They can accurately control themselves to only scrape off 1-2 mm thick surface paint.

There are also many painters who think this is just pure bragging.

After Gu Weijing acquired the legendary knife painting technique, he could really do this step, even more precisely.

You can wipe it any way you want.

You can cut as thin as you want.

Gu Wei has experimented.

Now he can even use an oil painting knife to gently wipe off the contact between the surface of the paint and the air, and remove the uncondensed layer of oxide film that is as thin as a cicada's wing, without affecting the brightness of the paint at all.

In the eyes of other painters, whoever says they can do this is just like a joke.

When a technique's proficiency reaches the highest point, the magic power it can bloom is originally to make ordinary people who have not reached it or have no chance to see the ability in this field in their lifetime feel unreal to the point of fantasy.

In history, the oil pourer in the story of practice makes perfect, and the axeman in the story of "Carpenter Shi Yunjin" in Zhuangzi's mouth who can cut off the lime on the tip of other people's nose with a huge ax without hurting the skin, all made others feel unbelievable.

A legend is a title that can only be bestowed on the most outstanding person in a field.

Believe it or not, people can do it.

Compared with Gu Weijing's madness of using the back of a knife to press oil paints to mix colors when he was painting The Little Prince, a small repair of too thick paint is nothing.

"No... this oil painting knife is a bit tricky to use."

In the eyes of Gu Weijing, the "ordinary" technique.

Hanks already felt that the scene in front of him seemed to be joking.

"I'm very sorry. But you... did you have a special course on oil painting knife in your high school?" 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 changes on it.

It's just that this kind of simple smearing and smearing makes Hanks unacceptable.

Hanks' hairs stood on end.

Hanks observed Gu Weijing's oil painting knife touches on the canvas, his vision is not enough to fully see all the beauty of Gu Weijing's oil painting knife, he can only see a general idea.

This is probably already scary.

Impressionists often used impasto, using relatively thick pigments.

However, "thick coating" is a relative concept based on the classical "thin coating method", not how thick the paint is exaggerated.

The thickness is no more than a few millimeters at most, and it cannot compare to the thick creamy texture when painting with a knife.

Gu Weijing did not dip in too thick and oily paint when he first wrote.

The brushstrokes on the surface of the canvas are just that shallow.

In the eyes of Hanks, Gu Weijing controlled the oil painting knife in his hand just right. Not only did the oil paint go down in one layer, but also the original color and fiber shading of the canvas were not exposed at all.

It is accurately maintained at the amplitude that will pass through but not really pass through.

If this can be explained by chance and luck, then this young man casually used an oil painting knife to embellish the surface of the canvas with a thundercloud-like delicate and fresh knife-touch shape, which is completely the effect of being extremely familiar with the texture of the oil painting knife .

"I'm just more used to using oil painting knives."

Gu Weijing said casually.

He doesn't need to explain too much.

Gu Weijing dared to paint like this in front of Hanks, not afraid that others would see his skill with the oil painting knife.

There are not many people who use oil painting knives well in the world, and it is not rare.

As for the depth of the painting with the legendary painting knife, it is not something that can be seen by just rubbing the oil painting knife twice when painting.

Even if Hanks has watched the new version of "The Little Prince" in the future, it will be difficult to connect him with Detective Cat just because of a painting knife.

"It's really just for this bowl of rice."

Hanks closed his mouth again and clicked his tongue in amazement twice.

With the facts in front of him, Hanks couldn't think of any other answer besides talent.

Some people are proficient in mathematics, some people are proficient in rhythm, and some people are just a pair of dexterous hands.

There are tens of thousands of people studying fine arts in the world, and the artists who can be selected by Ma Shi Gallery are actually more or less extraordinary.

There is an artist in the gallery who is good at painting pointillism with paint on his fingertips.

Hanks also met another painter from the Lehmann Maupin Gallery in New York, who had not received any special training since he was a child, but the patterns drawn by his left and right hands were equally delicate.

Now in Yangon, I saw another young man with a good oil painting knife, which is not difficult to accept.

Some old-school art high schools in the world may teach students the shaping skills of oil painting knife as a branch of painting in oil painting class.

But practice to such a delicate level.

Hanks is more willing to believe that this is a natural "birth" than "learning".

Expert, the level of this oil painting knife is definitely an expert!Maybe it is also an expert in Mashi Gallery!

He looked at Gu Weijing with extremely complicated eyes.

Apart from creating some hard metal textures, Hanks doesn't really see much use for a good painters knife.

Similar to drawing a sketch, you can play with a piece of eraser, which is completely useless, but it is really a bit tasteless.

The plate drawn by the painting knife is too small, after all, it is only a second-rate painting method that is difficult to practice and has a narrow path.

The manager of Ma Shi Gallery has never thought about this aspect at all.

He just felt that Gu Weijing in front of him was really a treasure boy.

Whenever Hanks thinks that he already has a general understanding of him, the other party can always surprise himself with new things like Doraemon's dimensional pocket.

Hanks looked at Gu Weijing's equally outstanding oil painting technique and sketch for a while.

He raised his wrist and glanced at the hands on the watch, calculated the time difference, and suddenly tiptoed out of the studio.

Hanks really just wanted to appreciate and identify Gu Weijing when he was painting.

It's best to confirm that the fusion paintings and copied oil paintings I have seen before are all the normal average painting level of this young man, rather than a flash of inspiration that is difficult to replicate.

Hanks' heart is now firmly placed in his stomach.

However, after going through such a creative process that made him "climax after another", Hanks couldn't restrain the emergence of new ideas in his mind.

Hanks walked out of the studio, leaned against the wall, took out his mobile phone from his pocket, and opened a private phone number that had just been saved in the directory.

Poor to think about it,
Lao Yang was able to call the phone number to the personal mobile phones of bigwigs like Ma Shi III and Gagosian, almost 24 hours a day.

And Hanks, a collateral relative of the same ancestor, was absolutely not qualified to have the contact method of Ma Shi III in the past.

The phone number in front of me is still in the light of this young painter in Yangon. 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 that are worth paying attention to about this young man who is "careful" - if necessary, Hanks can directly report to the big boss by skipping a level.

Hanks didn't know what kind of news in the eyes of the patriarch, who was worth hundreds of millions of euros, was worthy of the other party's personal attention.

But in his heart,

When Gu Weijing copied oil paintings, his painting ability was stronger than his original most optimistic estimate, which should belong to 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 interrupt his vacation, but edited a text message.

(End of this chapter)