Almighty painter

Chapter 352 Apple Philosophy
Gu Weijing was in high spirits.

He changed his brush and continued to fill in the manuscript smoothly.

The sky, the trees, the big locust tree and Uncle Alai under the locust tree.

His strokes were short and quick.

Complex where it should be complicated, concise where it should be streamlined, and gorgeous where it should be gorgeous.

Over time, different layers of color are layered on top of each other, gradually filling the linen canvas with vast amounts of detail.

"The layering of the picture was suddenly pulled out, and the depth of field of the entire painting was also highlighted, as if a 3D space was established from a two-dimensional plane!"

Katsuko Sakai held her laptop and walked to her boyfriend.

The lollipop in her mouth had long since melted due to sucking, but Shengzi still couldn't help but bite the plastic stick in her mouth.

"great."

Before she knew it, she had been standing behind Gu Weijing for more than 20 minutes.

At a quarter of an hour before four o'clock, Ms. Sakai had already finished writing a simple reply letter to the editor.

Once you have an outline, your response to the editor will be very templated.

She quietly walked behind Gu Weijing with the computer, hoping to let Gu Jun take a look when he stopped drawing for the time being.

After making sure that he had no objection to his wording, he submitted it to Asian Art.

She can then go on to revise the paper.

As a result, for such a long time, Gu Weijing painted smoothly and in one go, without any intention of taking a break.

Sakai Katsuko also stood not far behind him, showing no intention of moving.

The painting is not finished yet.

Katsuko had already felt that this painting was fundamentally different from the series "Good Luck Orphanage Under the Sun" created by her previous boyfriend.

She felt the extraordinary attraction contained in this painting.

"What attracts me to this painting? Is it the majestic vastness of the distant scenery, or the changeable splendor of the sunset on the horizon? Is it the swaying waves of the layers of branches and leaves on the tree trunks, or the deep wrinkles and wrinkles on the side face of the janitor under the locust tree? A scar that looks like a mysterious witchcraft symbol? Does it make me feel the comfort and tranquility of the afternoon sun, or does it make me feel the distant freshness of spring?"

Sakai Katsuko stood there holding the computer and spent a long time asking herself this question.

At last.

The girl came up with the answer in her heart——

Both.

The biggest difference between this painting being created by Gu Weijing and his previous works is that everything is different.

The same base map, similar painting methods, but a completely different brilliance.

Sakai Shengzi stood there and watched Gu Weijing paint, feeling that he looked very charming now.

Apart from the clichés that beauty is in the eye of the beholder and men who focus on their work are most handsome, simply watching a work that can captivate people's hearts is born under the painter's pen is already an extremely pleasing thing.

This is just like food lovers watching those food bloggers with tens of millions of fans on YouTube patting steaks tenderly.

The girl stood still, watching Gu Weijing imprint the skylight outside the window into the texture of the linen canvas. She could watch it endlessly without feeling tired at all.

It wasn't until Gu Weijing finished drawing the texture on Uncle Alai's body, changed to a new pen, took a half step back, and unconsciously put the pen tip into his mouth again.

The girl frowned unhappily.

……

"Gu Jun, this painting is very different from the previous works."

Gu Weijing heard Shengzi's voice coming from behind him. As soon as his hand was empty, the pen in his mouth was taken away.

"Open your mouth."

Ms. Sakai came over and held out a peeled lollipop, ready to feed it.

"Sorry, I forgot. I won't eat the lollipop. I'll make sure the pen is clean next time." Gu Weijing noticed that Shengzi was next to him and grabbed him.

He could only shake his head in embarrassment.

Gu Weijing always felt that at this age, like Jasmine, eating lollipops seemed a bit childish.

"No, opening your mouth must allow you to form new muscle memory, otherwise you will always get lost in painting and put the uncleaned brush in your mouth."

The stubborn look on Ms. Sakai's face at this moment is quite a bit like her mother's style when she caught Uncle Sakai secretly eating barbecue. She said in an unquestionable tone: "Open your mouth, ah... If you don't like lollipops, I will do it next time." Replace it with fresh lemon, your choice."

"Then it's better to have a lollipop." Seeing that he had no choice, Gu Weijing had no choice but to act obedient.

"Be good. Licking paint can easily cause hair loss. Let's get rid of this bad habit together."

After Sakai Shengzi successfully stuffed the lollipop into Gu Weijing's mouth, she nodded with satisfaction, raised her arm and touched his hair.

"Has the email been written?"

Gu Weijing saw the computer held by Shengzi.

The girl nodded.

"It's not important. We'll talk about this later at dinner. I really shouldn't bother asking you to write a paper with me at noon. You're right, Gu Jun, you are in great condition today and your painting is very good. pretty."

Katsuko looked at the drawings in front of her and said to herself.

"The sun shines down from the diagonal top of the picture, passes through the clouds, flows through the blue sky, and through the shadows of the dancing trees, guides the audience's line of sight to gradually move to the center of the picture, Uncle Alai's Face. Completed the process of getting into the frame.”

"Then he directed Uncle Alai's eyes to the little girl who was washing her hair."

"Finally, through the body movements of Jasmine pointing at the Virgin Mary sculpture, the line of sight returns from the dark part in the shadow on the right side of the picture to the high point of the composition, forming a triangular circular appreciation circuit."

Ms. Sakai stood by the easel, pondered for a moment, nodded and shook her head.

"Gu Jun, I understand your painting ideas. The same is true for those previous drawings. The light in this work is so vibrant. Is it a matter of color mixing? Can you teach me?"

Sakai Katsuko looked full of curiosity.

She discovered the secret of light in this painting at a glance.

Gu Weijing paints fusion paintings, and her painting "Girl Reading Poems to Cats" is a serious and orthodox Impressionist work.

Shengzi felt as if she was being scratched by a cat, which was strange.

Gu Weijing was silent for a moment.He was very happy to share his painting experience with his girlfriend, but his experience was very mysterious. He was thinking about how to express it more accurately.

"I'm drawing an apple."

He thought for a minute and finally gave what he thought was the most accurate summary.

"Draw an apple?"

Shengzi thought she heard wrongly and blinked her eyes several times, looking confused.

"Yes, it's about drawing apples. This is what Professor Lin Tao told me some time ago when he was giving me a class on WeChat."

Gu Weijing nodded seriously.

At first, he just noticed the beautiful change in the sky.

Yuehua.

The more flavors he can think of.

When Professor Lin Tao was in class, he talked about the philosophy of painting. He mentioned that the previous masters once said that governing a big country is like cooking small vegetables, and painting ink landscapes is like painting apples.

"Apple vendors see countless varieties of apples every day, so they can already look at an apple indifferently, no matter how beautiful or ugly it is. A child may swallow his saliva when he sees an apple. If the apple is too green, or There is no way to know whether there are insects or disgust. Only the painter's attitude towards apples is different."

Gu Weijing stared at the easel in front of him, playing with the paint on the palette and slowly decomposing it.

"Katsuko, we study art like this. We have painted a lot of apples in the modeling classes since we were young, right?"

"Yeah. Some are real apples, and more are waxy, plastic fruit models."

Sakai Katsuko nodded. Apples, oranges, wine glasses, etc. can almost be said to be the most familiar things for art students when they practice sketching.

"Professor Lin Tao told me that among all professions, painters have a different mentality when looking at apples when sketching. They don't know how to sell them, so they are like hawkers who care about its variety, but they don't know how to eat them, so they are like greedy people. A child who eats is concerned about whether it is sour or not. When a painter sees an apple, he must look at it seriously. We only care about its own beauty."

"An outstanding painter, even if there is only a rotten apple in front of him, must remain calm, shut out distracting thoughts, and treat it with a humble attitude and a pious attitude as a rare phenomenon that he has never seen before. Observe it, describe it, describe the dust on its branches and leaves, the reflection on the plate, the gradient colors on the insect's eyes, and the immature green texture."

"When you observe the world with microscopic eyes, you can always see the beauty that you have never noticed. When a person is calm enough to find infinite beauty in rotten apples, then the door to the new world will slam open to you. open."

"You will find that the beauty of nature is hidden in every aspect of the world, in apples, in vases of flowers, in yards and fields. The infinite world hides infinite pigments and infinite beauty. This is the case with freehand ink painting."

Gu Weijing looked at the sky outside the window.

"Even if one day you paint the dome of the Sistine Cathedral, you should have the mentality of painting an apple. This is Professor Lin Tao's apple philosophy. Now I begin to understand what Professor Lin Tao is talking about."

"Another point is my painting skills. I can feel the progress of my painting skills. My mentality determines the upper limit of my works, and my painting skills determine the lower limit of my works."

It is indeed difficult to skillfully combine different painting styles from a technical perspective.

unless……

Like Gu Weijing, only when all of them have reached the second level of their profession can they feel relaxed and contented.

The second level of the profession doesn't look very powerful, at least not that powerful.

Tang Ning was already at the level of a master when she was in her twenties, while Katsuko Sakai had no system and her longboard painting techniques still reached this level of evaluation.

On the official website of the Singapore Art Exhibition, there are even second-level professional painters walking around in the selection of previous exhibitions in the master group.

In fact.

This is a classic survivor bias.

Not to mention Tang Ning and Sakai Katsuko, they are both typical examples of cheating in life without cheating in painting.

Who said that if dad and master are top artists, they are not living cheats?
An auxiliary system for painting experience points and a nine-figure fortune for the father after giving birth. Two choices were put online for people to vote for.

To be honest, it’s not necessarily who will win, okay?

With Menzel's sketching skills, wouldn't Gu Weijing also want to earn extra money by selling illustrations for US$10 a piece online part-time?
Whether a painter can become famous depends on technique, but not all.

As for the Singapore International Biennale, a project like the cultural business card of developed countries, saying that second-level careers are not unusual is like talking about how common it is to get a score of 650 in the college entrance examination on a campus in Qingbei. To ordinary people, , unreasonable and arrogant.

Who can hold a work of this level of skill and give it to Gu Tongxiang, who is the backbone of a small gallery opened in a small city, and has wasted half his life on the first-level professional level. If nothing happens, he will continue to stay on the first-level professional level for a long time. Look at the standard of an old painter.

It means that this level is ordinary and you can draw it casually.

Old Man Gu was smiling, but he must have been so angry that he wanted to jump over and bite you on the nose.

So humiliating!
In the entire circle of art students, the second-level career standard is the big filter.

Entry into a career requires hard work, entry into a master depends on talent.

The vast majority of art students who are willing to work hard, as long as they are willing to invest time and energy, will have a chance to reach the Level 4 professional level.

Therefore, first-level professional painters are not uncommon in the world of artists.

Even if Mrs. Sakai doesn’t like Mona’s talent at all.

As long as the President of the Women's Student Union is willing to work hard for a long time, maybe she will be able to reach a professional level by the age of 28 or 35, or [-] or [-].

of course.

In this process, whether you will starve to death because you can't make money, or if you can't persevere, you will change careers early and give up the pure career of being a painter. This is another matter.

To put it perhaps politically incorrectly, the life of an artist is not for the poor.

Among the group of female art lovers in Europe and the United States, a high proportion of housewives from the wealthy class account for them.Since the [-]th century, white ladies from the families of farmers, industrialists, lawyers and doctors have loved painting and have been the main force in the portraits of women consumed by galleries and painting dealers.

Just because they have leisure, time, and money, they don’t really need to make money by painting.

It’s just an artistic hobby that cultivates and cultivates sentiment.

With these three elements, the threshold of art in front of you will be much lower than that of ordinary people.

From the perspective of proficiency in using brushes, these housewives are often not too low, and are even better than many professional painters who engage in avant-garde art. This is often the case.

Mona has long regarded such a life as an ideal, and has a very clear positioning plan for life. She is a typical example of being independent.

The reverse is true for masters. When many art academy professors teach, they like to compare masters with top athletes and tell everyone that they want to cultivate master-level painters.

The key is not how to teach, but how to find him.

If you are born with this talent and this understanding, you can eat this bowl of rice.

Without enough painting talent and creative acumen, just like many people are destined not to have the opportunity to run 9 meters under 6 seconds, you cannot become Usain Bolt, nor can you become a painting master.

(End of this chapter)