Almighty painter

Chapter 474: Fighting with pen and ink
Gu Weijing sneered.

He doesn't accept this at all.

He deliberately opened the task panel and took a look.

[Current task content: Learning, improvement, and inheritance are the source of the endless fire of art. They are also the process of a person having a broad mind and embracing all rivers. Gifts of roses, hand a fragrance. Instructing others is also the most effective summary and learning for oneself. Please complete six guidance paintings for other creators, including at least five "color-enhancing" works and one "finishing" level work. 】

Ever since he came out of Mr. Watter's office, Gu Weijing has been thinking about an important question - how to achieve the "finishing finishing touch" guidance effect for a painter.

The introduction on the system task panel is very mysterious.

It implies that two people need to be in tune with each other and have a thorough grasp of the context of the work. Only then can they use this as a foundation to add the finishing touch to the painting and bring life to life with the brush.

That being the case.

Gu Weijing pondered over it and thought that with his current level, he could simply add two strokes at the end of the painting.

It will definitely not work.

It’s because being a painter and teaching others from a high place is different from being locked in a room and painting.

The most unique novel texture of the finger painting method on the painting was painted by Ms. Katsuko.

And grasp the painter's mind?

There is never any shame in stitching up art.

There are no unique ideas that illuminate society like a candle in the darkness.

They also serve their employers, which is why illustrators are often considered not serious enough.

He may now be half as good as Sakai Katsuko in terms of his proficiency in writing and oil painting techniques and experience.

At least when Tang Ning reaches that level, media commentaries will use these requirements to review and judge the content of their works.

Needs vary from person to person.

How can an artist be respected as a "master" and be remembered by the times?
In his painting "Good Luck Orphanage Under the Sun", the biggest highlight in technique came from Castiglione, and the biggest highlight in composition, the backlighting of the Madonna, came from Boss Chen Shenglin.

And using his own artistic philosophy as the skeleton, he perfectly stitched and melted it into a whole under his pen, and it bloomed ten times or a hundred times more brilliantly than the original owner.

Picasso's career is the life of a "Frankenstein" in the art world.

No matter what twists and turns there are on the screen, just slap them over and push them flatly.

It would be best for him to be fully involved in the other person's creative process.

Go beyond the pen and ink.

In terms of the freshness and refinement of the topic, the ingenious composition of the picture, and the interesting and philosophical thinking in the viewing angle, Gu Weijing actually had to set up an easel and paint in the courtyard of the orphanage, which was much better.

Ideas, philosophy, thoughts...these super powerful words are all things that only those who have reached the status of master, or even above the master, and want to leave a name in history and establish a sect need to consider.

The main focus is an excellent suture monster.

But Miss Katsuko has received the top art education since she was a child.

The reason is not Katsuko.

However, even for Picasso, what critics value most and cherish most is his unique "idea philosophy" skeleton. People who don't love him describe it as "unique transformation and tempering", while those who hate him criticize it as a result of his childhood. The artist "plagiarized and exploited" the flesh and blood elements.

of course.

First, you need to fully understand the painting, and even the other artist, before you can talk about making money with one stroke.

At Gu Weijing's current level, or even at the level of a well-known painter who "generally earns a million a year", it is enough for him to paint well, paint beautifully, and have excellent techniques.

Guiding a person must be based on his own painting theory, aesthetic accumulation, and combined with artistic trends and the other party's art style.

Beyond technique.

Only then can we make suggestions for improvement that are most suitable for the other party.

In fact.

Otherwise, it's not just that you are higher than the opponent in terms of experience panel value, so you can definitely make decisions there.

"Girl Reading Poems to Cats", this painting idea is very spiritual and very Zen-like.

Gu Weijing's current creative process still lacks those artistic concepts of his own that are worthy of scrutiny by critics and can withstand the test of time.

The most awesome thing about Picasso is that he has been like a sponge that can never be filled all his life, crazily absorbing different artistic trends and absorbing the ideas and creativity of the painters around him.

To put it mildly.

Miss Sakai has seen more art exhibitions than Gu Weijing has ever painted.

This is the most fundamental thing that distinguishes every art master who can leave his name in the history of art from all other living beings and from "painters" with excellent skills.

But Gu Weijing knew it very well.

First of all, he understands every step of the creation process of this painting very well, and has a 100% grasp of the painter's mind.

Unless it's the dimension-crushing style of Menzel's skill that reduces ten times with one force, overwhelming others with force.

It's hard to find anyone in the world who is a more suitable candidate than Gu Tongxiang.

Gu Weijing naturally set his sights on the old man in his family.

Katsuko Sakai’s knowledge system foundation is very solid, just look at the topic she recently decided to participate in the Singapore Biennale.

Regarding the art philosophy of the school, the aura of painting, and the "painter's way" leading to a great master, Ms. Sakai still has to go further than herself.

This is not inferiority complex.

but facts.

He is proud of Sakai Katsuko’s agility and excited about the challenges ahead.

Gu Weijing is no longer the sensitive and fragile child. A true mountaineer will not be afraid of the towering mountains.

It's just that Gu Weijing, with a level 5 oil painting level, really doesn't have the qualifications to pretend to be a big-tailed wolf. In front of Shengzi's works, he talks about taking the context of painting into his own hands, and his wonderful brushwork is full of flowers.

His theoretical system is still too "rough".

On the contrary, my grandfather was a ready-made candidate who was given to him for him to use the little pointer to train.

In terms of familiarity with each other’s painting style, Gu Tongxiang has been his first art teacher since he was a child.

His and grandpa's writing habits for Chinese and oil paintings came from the same path.

Gu Tongxiang, a professional painter with two swords, is neither high nor low.

Whether it is painting techniques, art concepts, or creative philosophy.

After this period of time, Yi Gu Weijing's vision has been improved and polished, and it is effortless to teach directly.

There is no need to consume precious "real world" skills, which only have a thousand seconds of precious use time every day, like he painted watercolors for Mr. Wattle.

Guessing my grandfather's painting ideas and the trivial details of his thoughts is far more time-consuming and labor-intensive than guessing Mr. Wattle.

It is said that the same "master" teaches disciples.

To win you with one and a half moves is to win all of you.

Now that Gu Weijing has advanced to the second level of his career in all aspects, he can hold Gu Tongxiang perfectly in the palm of his hand and create eighteen different postures at will.

Even if it doesn't involve anything in the task panel.

Gu Tongxiang spent most of his life at the bottleneck of Level 4 professional painters.

The old man lamented that he had never met a wise master all his life.

If you break through the bottleneck, you can teach your grandpa your new insights through words and deeds.

Isn’t it worth it to let grandpa live in his old age, let his old skills blossom, and get to a higher level!

Even better.

Gu Tongxiang lives with him every day. Whenever Gu Weijing gets excited and wants to knock twice, he can knock twice whenever he wants.

He could get up in the morning and after breakfast, he could catch Old Man Gu and practice flat painting.

You can take Gu Tongxiang over to copy two paintings of Castiglione's flowers and birds to practice your new body painting skills before going to collect paintings with Miss Sakai in the afternoon.

In the evening, after I went home from a date with my girlfriend, I invited my grandpa, who was playing chess with Uncle Wu, over to start a small oil painting stove.

Isn’t this 24 hours, no dead ends improvement?

This kind of convenience in time is not available even when teaching Shengzi to draw.

When he discovered this, Gu Weijing could vaguely hear the sound of mission completion in his mind, as if he had seen himself getting the second legendary skill in his life and swaying around the art exhibition.

When Gu Weijing first started teaching the old man to draw, his tone was not so irritable.

But the expectations were so high.

I excitedly taught here all morning and scrutinized the rice paper for a long time. I didn't notice the painting style written in the pen and ink. I could see that the old man wanted to go out and enjoy himself under the shade of the trees with his aunts.

When I thought about how much time I spent on weekends enjoying myself and Miss Sakai under the shade of a tree, I came over to teach Gu Tongxiang how to draw.

Gu Weijing is like a middle-aged parent who has pushed his drunken child to do his homework.

I felt so angry inside.

This old man is not serious! This kind of progress cannot complete the task.

"Snapped!"

He pointed at the rice paper on the table and said with a sneer.

"I'm certainly not Professor Lin Tao, but it doesn't take Professor Lin's level to handle flat color lines. Watch carefully... I'll only demonstrate it to you once, please learn it well."

Gu Tongxiang originally wanted to say something.

But he suddenly stopped talking.

The old man blinked.

Ever since sitting at his desk this morning, Gu Tongxiang felt that the world was unfolding in a wrong way.

He had only thought that he was being disciplined by his grandson, but it was Tiangang's discomfort.

Now, he was finally surprised to find that his grandson seemed to be a little different from what he originally thought.

In my memory, he rarely gave people such a sharp feeling.

His eyes were energetic and confident, and his tone was calm and powerful.

In the past, Gu Tongxiang felt that his grandson was a relatively "boring" person.

Put it nicely.

He is called reserved and gentle, which is a bad thing to say. When we first got in touch with him, many classmates in the school thought he was a bit "wilting" and not cheerful enough.

Gu Tongxiang was in a trance.

At this moment, Gu Weijing beside him gave him the feeling that there was a special temperament in every gesture.

Or more accurately, aura.

That kind of confident temperament that makes people shine, and every word is calm and powerful, making people feel convinced, just like...

Many years ago, when he was having lunch with his grandchildren, there was an animation on TV called "The Little Master of China" where the protagonist, whenever he held a kitchen knife in one hand, was filled with arrogance, blazing fire, and vegetables and fruits flying into the sky. piece.

Ok.

Throwing out blazing filters, fruits and melons flew all over the sky, making the part of Lord Ox's coffin unable to hold down.

Now that Gu Weijing is holding a paintbrush in his hand, the whole feeling in Gu Tongxiang's heart has really become completely different.

The other party's eyes were as bright as the morning light reflected on the Yangon River. From his expression to the brush he picked up from the brush washer, he was firm and determined.

It's as if every stroke he is about to create on the rice paper has been drafted in his mind thousands of times.

Not a moment's hesitation.

When he was jabbering and gesticulating next to him, no matter how right he was, Gu Tongxiang also regarded him as the little grandson who did whatever he said when he was a child.

And when Gu Weijing picked up the brush in his hand.

In an instant, he seemed to become the king of the painting world.

Everyone says so.

Every painter is the king of his own artistic life, but in fact only very few people can develop this confidence in themselves.

Gu Tongxiang may have been a dabbler artist with little achievements in calligraphy and painting all his life.

But Gu Tongxiang is also a businessman who has struggled all his life in the quagmire of chaos.

He thought that his ability to look at people was deeper than his ability to paint.

People who engaged in art in the turbulent social environment of the past were like canaries in a cage. One-third of their life and death fate depended on themselves, and the other half depended on the sky.

People who eat with God’s face always look more like craftsmen than painters. It’s not good for craftsmen who are not their true calling.

It can be said to be one thousand, to ten thousand.

After all, there is a little less, I am the only one, my pen opens up the world, and everyone has the momentum.

Even among the several president-level figures in the official painting association, whom Gu Tongxiang met occasionally during seminars, they rarely displayed the powerful and majestic brushstrokes of a painter, as well as the awe-inspiring aura of a warrior's spear. .

When Gu Tongxiang was selling old oil paintings thirty years ago, a young man once came to the store to look at paintings for a week. Gu Tongxiang couldn't help but walk over and ask him if he wanted to buy a painting.

This is the work of a senior British civil servant stationed in Myanmar during the colonial era. You can't find such fine products in Yangon. If he likes it, the price can be easily negotiated.

The young man was a little embarrassed, smiled and shook his head, saying that he made a business by copying some fake paintings and selling them to foreigners, and he just came here to ponder the brushwork here.

He couldn't afford to open a calligraphy and painting shop, and the price of real paintings was really beyond what he could afford.

Gu Tongxiang was surprised by the other party's frankness and just smiled without chasing him away.

Thirty years old things are like water.

He can no longer remember the other person's face clearly, he only vaguely remembers that the other person had a pair of bright and scary eyes, as bright and sharp as a torch.

It seems that no amount of wind and rain, no amount of poverty, can extinguish it.

after that.

Before and after Gu Weijing was born,

A man named "Brother Hao" began to become famous in the city's underground world, and he seemed to be becoming the godfather of Yangon.

It is said that he is very good at creating mystery, and reporters have never taken photos of him.

Maybe everyone who tried to do this died.

Even in the police files, they are only replaced by nicknames.

When Gu Tongxiang thinks about it occasionally, he always recalls the young man with eyes that were incompatible with his surroundings that he passed by before, and wonders whether he had ever met such a big shot.

just now.

He actually saw a similar shadow in his grandson.

If there is any difference.

That is, that person's eyes are dry, while Gu Weijing's expression is calm.

Like a torch at night.

Just like the waves on the river.

(End of this chapter)