Almighty painter

Chapter 443 Guidance on painting and improvement (Thanks to the leader of Budu Yuhun!)

Not winning an award.

But the gold medal for first place.

The gap between level 6 and level 7 on the system panel is like the gap between semi-professional and professional painters, a world of difference.

Works that reach the level of a master.

Even at the Singapore Biennale in the past, we often had to wait several years for one to appear.

With this painting, one of Teacher Vatel's wishes has been fulfilled.

In fact.

This painting was completed much faster than expected.

When the skill was actually used, it was smoother than he expected, and the painting was smoother and smoother.

As a result, Gu Weijing's brush strokes followed the waves and the curves of the covered bridge, from still water to waves, and used a wet brush to finish the last ripples of color that needed to be softened around the museum.

In theory, realism is the strength of oil painting and watercolor, and this is also true.

I don’t even think that it is a piece of art anymore.

Gradually realize the essence of other people's works, and then slowly find the finishing touch and the secret of making flowers come true.

Not to mention watching it every day.

From Emperor Xuanzong of the Tang Dynasty to Li Yu, then to Mi Fu, Huizong of the Song Dynasty, Jia Sidao, and Jietun of the Yuan Dynasty, the Qing Dynasty seal madman Qianlong Emperor Hongli has experienced the appreciation and appreciation of celebrities in all dynasties for thousands of years.

It's a bit like the essence of modern painting methods that "emphasize concept and spirit".

Most people's works are like many Internet celebrity girls on short videos.

I'm so tired of watching it that I'm already numb.

until the end of the 19th century.

After the teacher led the group into the art museum, every time there would be students who got bored after watching it for only five minutes and sneaked to a nearby coffee shop to order an espresso and play Switch.

He looked at the prompt of task progress +1 on the system panel, and for a moment he had an impulse to draw all the semi-finished products hung on the wall by Professor Wattel.

Those who didn’t know better thought it was a calligraphy work and that the small painting next to it was included.

It's really not easy for you to spend two or three hours every day facing her and still feel extraordinarily beautiful and charming.

The requirements for both the level of the painting itself and the art appreciation ability of the audience are very high.

Considered for a moment.

Next to it are various continuations, additions, and continued mentions of words, poems, comments, and seals, and a large volume that is several meters long.

Finished paintings and unfinished paintings are everywhere on the wall.

As long as you use skills, it is almost easy to complete the "color improvement" level of polishing.

Spend an afternoon in the studio one day.

He didn't mean to insult Vettel.

Any work that can be looked at often new and overcome time can be called the highest praise of greatness and excellence.

People in the Tang Dynasty loved its painting colors, people in the Song Dynasty loved its hair and bones, people in the Ming Dynasty liked its divine meaning, and people in the Qing Dynasty returned to appreciating the technique itself.

This systematic task is more about training his grasp of the overall atmosphere and context of the work.

Gu Weijing has been looking at the same watercolor paintings hung on the wall by Professor Wattel every day these days.

Theoretically, all the places where food can be played have been eaten up and wiped clean.

This is a work that has been scrutinized by the top collectors for a thousand years.

The most typical example is Han Gan's famous ink-and-ink line horse picture "White Picture at Night" in the Metropolis.

No need.

This is still an art student.

While painting, I think and understand.

Gu Weijing gave up the idea.

It’s easy to make people’s eyes light up, or to shock you when they pass by.

Techniques are not difficult, but thinking is often difficult.

Dulwich College organizes study tours to places such as London, Paris, and Florence during the spring and autumn holidays.

became part of his work environment.

Gu Weijing's realistic landscape paintings of "Museum Island" are as familiar as the publicity posters on the bus stops or toilet walls that he passes by the school gate every day.

There is still nearly half of the skill time left.

Not in a hurry.

The painting itself is just that.

Gu Weijing makes a judgment.

Western art fields have more scientific and systematic theories of focus transformation and perspective painting, while Chinese painting has developed on another artistic path.

But when it comes to painting horses, realistic painters have had a very famous debate since the Renaissance - Help! When a horse runs, do its legs touch the ground?

It is difficult to draw a willow when it comes to a tree, and it is difficult to draw a horse when it comes to walking.

Objects in motion are the most difficult to express.

The reaction ability of the human eye cannot capture the accurate movement of a horse's legs running at a high speed of up to 60 kilometers per hour, just like you cannot see clearly the hub of a moving wheel.

The mainstream view has always been that.

No matter what moment or movement situation the horse's special bone structure determines, one hoof will always touch the ground.

So go to an art museum and appreciate the early standard animal paintings. They are almost always either a front hoof or a back hoof, and one hoof always falls on the ground.

However, riders who have more contact with horses often express this to the painter.

They didn't know why, but they always felt that the horses on the scroll were unnatural and looked weird.

Some painters began to ask, is it possible for a horse to have all four hooves suspended in the air for a few tenths of a second?

This was considered an impossible fallacy for a long time.

In order to figure out this problem, artists have been struggling for more than a century and even offered rewards in newspapers.

It wasn't until 1872 that Leland Stanford, the governor of California and the wealthy founder of Stanford University, hired a high-speed photographer to complete this study. Through the footage taken by 16 consecutive cameras in half a second, he captured the most accurate picture of a horse running. form.

This is a landmark node in the history of film. 16 photos are played from beginning to end, becoming the first moving lens in human history.

It also brings an end to this century-long artistic debate——

That's right, horses will have their legs dangling in the air when they run.

At this time, scholars once again looked at the famous paintings of horses in world history, and were surprised to find that... Han Gan's horses were painted like this.

Literary and art critics in the past dynasties have commented on Han Gan's horses. They often say that his paintings are divine and have the feeling of soaring into the clouds and riding in the mist. Now I have discovered this after re-study.

That's not flying in the clouds, that's what a horse really looks like when it's running.

He is also the first painter to paint the horse's running "correctly" among all the existing Eastern and Western paintings of galloping horses in the world so far.

Five dynasties and ten centuries have passed since this painter who once said to Emperor Xuanzong of the Tang Dynasty, "I don't want to take humans as my teacher, I only want to take horses as my teacher." A whole thousand years.

Han Gan's horse, Caravaggio's mirror, Isaac Levitan's lake light... they can all be looked at for a hundred or two hundred years, or even a thousand years, and they will still feel mysterious, full of Zen, and... You can continue to play and polish the works that you will never tire of.

They are beyond time.

But it’s unfair to compare this kind of museum-level work with Mr. Wattel.

It's unfair to Han Gan and even more unfair to Vettel.

Don't say it's Walter.

For the painting "Good Luck Orphanage Under the Sun" that Gu Weijing was creating, he knew very well that his best hope was to impress the judges of the organizing committee.

Let their eyes light up and their hearts move.

Off-site, Mashi Gallery paid someone to write two soft articles to help him turn his back.

Finally, award yourself a newcomer award.

He is so contented!

At present, his fusion paintings still focus on the word "new" and the word "odd".

If it hangs in an exhibition for two or three months and is promoted twice, it will no longer be new.

The kind that can become a pillar of a large art museum, whether the exhibition lasts for one month, two months, ten years, twenty years, or hundreds of years.

It will always attract countless audiences, make art judges scratch their heads, and make art students from all over the world line up to hold drawing boards and look at the copied masterpieces.

It is far from a question that a painter with second-level professional skills should consider.

He specializes in the niche painting of knife painting.

Or Ms. Carroll's "Old Church on a Thunderstorm Day", which Gu Weijing copied over a dozen or twenty times over and over again. The more he painted, the more delicate and lovely the techniques became, and the unfathomable "Old Church on a Thunderstorm Day" only had about two or three points of meaning.

In particular, Wattel is engaged in photorealism.

Compared with the freehand brushwork of ink and the impressionism of oil painting, realism pays more attention to solid structure and rational brushwork. It can be regarded as a "science student" in the field of art, pursuing the same precision as mathematics.

The painting is very solid.

However, the rational mathematician's brushwork is not elegant and divergent enough, resulting in it becoming rigid, leaving Gu Weijing without a shocking sense of beauty.

Don't get it wrong.

It’s not that mathematicians are bad at using pens.

From form to thought, mathematics is the most beautiful art in the world, exquisite and grand.

It uses formulas one by one and infinitely expanded digital boundary editing to structure the entire world, just like a painter using a brush to outline all natural phenomena.

Euler believed that accurate mathematical laws must be quite beautiful mathematical formulas when written down.

From form to thought, it is highly artistic.

The best realistic paintings must also be highly mathematical.

Those lights and lines are full of digital symbols dancing underneath them.

The golden ratio of building design, the projective law of visual focus, fractal geometry and picture composition... Of course, Gu Weijing used the tip of his paintbrush to create a cloud-like color, which also cannot escape the refraction and dispersion of optical laws in his brushwork.

Art and science are not opposite ends, but two intertwined ribbons in the hands of the goddess of nature, both expressions of thousands of societies.

Same way.

Realistic painters are like wandering among countless intertwined function maps, using their brushes to find the moth that can gather and coordinate all the messy curves, unify all laws and functions, and reach the origin of the world's most beautiful and absolutely fair.

The moth knows that it will never reach that burning singularity.

I can only keep getting closer, keep getting closer, keep practicing my skills, and run on the peaks and troughs composed of functions, just to get closer to the singularity that exudes endless charm.

That singularity that makes them chase their entire lives like moths to a flame.

It's called "The Real World."

But if Menzel's writing skills were the kind of masters who could become the princes of mathematics such as Fermat, Euler, Newton, and Poincaré.

So the half-baked works that Wattel put on the wall are, at best, as difficult as the penultimate function question in the Dongxia College Entrance Examination.

Not everyone can do it, but... that's about it.

It’s just such a boring and half-toned work that “is just that”.

When Gu Weijing no longer uses the bird's eye view of an audience to criticize artworks, but instead uses the perspective of a teacher to guide painting, and participates in the creation process of this painting from a higher dimension.

He was still figuring out the taste.

How can a half-baked work be elevated to the level of a master just by applying the last layer of dye? How to make a rough work, relying on the clouds in the sky, the fog on the waterside, the mottled shadows, and the ripples on the lake, like polishing the lens bit by bit, to continuously improve the "resolution" of the work.

How can Teacher Vatel spend ten years to infinitely shrink the circle drawn on the complicated function curves, use up all his skills, like a matador tightening his lasso, and strive to approach the "real world" twice? "The edge of the origin?"

Thinking is the source of progress.

Knowledge is the basis of thinking.

In the past, it was useless for Gu Weijing to look at the watercolor frame on the wall and pull his hair out until he was as bald as his grandfather Gu Tongxiang. His improved watercolor skills were at best on par with Wattel's.

The paintings on the wall were not something he could think up just because he wanted to.

System skills provide Gu Weijing with a higher level of thinking dimension.

When he stood at the pinnacle of his watercolor skills, the shy and half-hidden mysteries in Teacher Dewey's works suddenly opened up to him.

There is nowhere to hide.

From cold to warm colors on the palette, calling up a simple color wheel, activating the skill, and finishing the last stroke, it only takes about ten minutes.

Gu Weijing's watercolor experience alone increased by a small five hundred points, and the progress bar was filled to one-tenth.

Oil paintings, Chinese paintings, and even sketches have improved by dozens or hundreds of points.

Compared to when he used Menzel's skills to draw a figure model before, he gained several times more experience points. This was not an improvement brought about by simply using skills.

It is an improvement brought about by the understanding of realistic works.

The emperor does not bear the painstaking people.

It took Vattel ten years to paint this painting. Tens of thousands of hours of hard work were concentrated on the same work. There is no way that the details of the painting techniques are a bit clumsy.

But the overall composition, the tilt angle of the trees, the tilt change of the building from the covered bridge to the museum building, the angle of entry of tourists, the height of the eye level setting... Ten thousand hours of grinding time is enough for a person who has never touched a musical instrument. A person who plays allegro piano music with complex sound patterns like "Hungarian Rhapsody" from beginning to end.

It is enough for any painter to be familiar with a work or a scene so deeply that it becomes part of the soul.

These compositional aspects are related to a painter's talent, but more to do with hard work.

Professor Vattel can be proud to say that every tree, every piece of rubble, and the painting angle chosen in his "Museum Island" have reached a level that can be recorded in textbooks through his countless repeated experiments. .

In addition to techniques, he has already reached the extreme level of realism in areas that can be covered by painting experience.

Even if those landscape masters come here to paint this kind of subject for the first time, the expressiveness of their works may be better than his, but the composition will definitely not be more polished than his.

The so-called Monet copied water lilies throughout his life, but he only copied them for such a long time.

These experiences and understandings were absorbed and absorbed bit by bit by Gu Weijing as he substituted himself into Wattle's perspective to direct the painting.

(End of this chapter)