Almighty painter

Chapter 575 Experience Distribution
Gu Weijing prepared the drawing board and palette.

He opened the system panel and took a look at the current data.

[Character: Gu Weijing]

Technique Panel——

[Oil Painting Technique: Level 6, Professional Level 156 (50000/)]

[Sketch technique: Level 5 of lv.9999 profession (10000/). Note: The mission to break through the border is to be completed]

[Chinese painting techniques: Level 5 of lv.9999 profession (10000/). Note: The mission of breaking through the border is yet to be completed. 】

……

Skill Panel——

[Calligraphy and Painting Appraisal: 62 times/1000 times (Upgrade Progress)]

……

Experience value panel——

[Currently available free experience value balance: 10012]

Gu Weijing knew that what he was about to paint would be his final work for the exhibition.

So he is ready to adjust to the best condition he can achieve now.

Leave no regrets.

"Uncle Alai said that good people will have good luck. Will God protect me?"

Gu Weijing thought to himself as he clicked on the Hundred Arts Tree on the side.

Select watering.

A line of text immediately popped up on the system panel.

"Do you choose to water the Art Tree? This watering will cost 1200 free experience points. This watering will increase the probability of the finger painting method from "normal" to "legendary" level by "8.1%."

Gu Weijing chose "yes".

On the system panel, it suddenly started raining again above the small silver tree.

He could hear the same slight beeping sound of plants growing as he had heard last time when watering the plants.

Regrettably.

The system is a cold and harsh existence.

There was no real change in his luck just because he rejected Hao Ge's $300 million invitation.

A one in twelve chance of failing again.

[You have not been able to upgrade Miscellaneous Finger Painting from (Normal) to (Legendary) level.]

[You have obtained an additional 1.8% cumulative success rate! 】

A related prompt appears on the panel.

Gu Weijing tried clicking the watering button again.

as predicted.

The amount of experience points consumed by re-watering has been slightly increased.

"Do you choose to water the Art Tree? This watering will cost 1500 free experience points. This watering will increase the probability of the finger painting method from "normal" to "legendary" level by "9.9%."

He initially decided in his mind that the ratio of main techniques to Hundred Arts Tree should be five to one.

Not going to change now.

One fifth of 10000 experience points.

2000 experience points.

It's just between one and two waterings.

"Well, actually my luck tonight is already good enough. Let's just consider it as accumulating good luck for the future." Gu Weijing smiled calmly.

Just hope for good luck.

no result.

Gu Weijing didn't want to force it.

Like he said, leave it for the future.

Gu Weijing left more than 1000 experience points as a reserve for the expenses of calligraphy and painting appraisal skills that might be used in daily life.

Then allocate all the remaining 7000 experience points to oil painting techniques at once.

Both Chinese painting and sketching techniques are currently stuck at the bottleneck of the second professional level.

Oil painting technique is the only type of painting technique he can use when painting fusion paintings, and he can continue to add some points.

"Do you choose to allocate 7000 free experience points to the "Oil Painting" technique?"

"Yes."

The system panel flashed.

The experience bar in the oil painting column was filled to about one-seventh, becoming "7156/50000".

He stretched out his fingers.

I felt the subtle changes brought about by the improvement of my techniques.

Gu Weijing stood in front of the drawing board.

He did not start writing impulsively, but followed his muscle memory and began to draw the sketches that he had practiced for more than 20 times and had become extremely proficient in.

But thought about it.

Review the composition of the picture in his mind from the beginning.

When Gu Weijing began to design this painting, the first version of "Good Luck Orphanage in the Sun" adopted the most traditional pyramid-style triangular composition method.

The visual focus of the picture gradually narrows and becomes higher from the two sides to the center.

On the left are children playing.

On the right is Uncle Alai who is washing little girl Jasmine's hair under the old locust tree.

In the center of the picture, the highest point of the distant view, where the sunlight is coming from, is the old statue of the Virgin Mary in the orphanage.

After reading his draft, collector Chen Shenglin thought that Gu Weijing's work was too academic.

If you exclude the very interesting writing style.

The composition is so old-fashioned that it looks exactly like the style of Christian salvation teaching paintings of the Pre-Raphaelite school from two hundred years ago.

Myanmar has never been a country saved by the Virgin Mary. Instead, the European colonists were the source of the disaster.

In a place like this, there's nothing like the Christ-savior thing in art.

Since you have abandoned your local characteristics, those who practice traditional oil painting will not recognize you.

Asia is not Asia, Europe is not Europe.

It's neither Eastern nor Western, neither fish nor fowl, and it's not well localized, so foreigners don't like it either.

It is difficult to become a classic work.

When Chen Shenglin talked with Gu Weijing, he said that the painting in his mind was like the works reflecting black issues that can be seen in some art exhibitions and art creative areas in Tokyo, Seoul, and Dongxia in recent years.

Asian painters vigorously discuss the issue of black people at local art exhibitions... It's not that it's not impossible, but it always makes people feel a little strange.

of course.

Do not misunderstand.

If it’s not a black issue, it’s not worth discussing.

But everyone is very clear about it.

Unlike Europe and the United States, the issue of racial survival of black people is definitely not the focus of social conflicts in many parts of Asia.

There is almost no question of any historical original sin of the slave trade.

There's nothing wrong with supporting your black brothers.

However, the focus of this kind of artistic thinking inevitably has the meaning of avoiding those topics that really deserve more attention, and it is definitely suspected of evading the important and focusing on the trivial.

Artists should bravely question the social phenomena around them.

Rather than just pretending to be brave and questioning distant social issues.

The judges know it, and the painter himself knows it.

Even the audience who sees this painting knows it clearly.

Not all of them, but at least a large number of the creators of such works, no matter how much they tear up about racial issues, are eager to rush to the other side of the ocean to cheer for the discriminated black people.

But when he started writing, what he was thinking in his mind was definitely to catch the award-winning trend and strive to win an international award or something.

Honestly.

This kind of thing is understandable.

People are not saints.

Researching award-winning trends is a glorious tradition of art competitions and international art festivals.

Art has always been a highly subjective subject, and it is up to the contestants to most accurately guess the judges' tastes.

From movies to paintings.

In the early days, American literary and artistic judges liked "mild and harmless responses to racial issues" + "topics about people with disabilities."

It tends to be more warm, happy and family-friendly.

When this kind of work comes out, the judges smile knowingly, knowing that it will be awarded.

The Oscars are very representative. "Green Book" and "Forrest Gump", which are close films about black and white people, as well as inspirational biographical films such as "The King's Speech" and "The Theory of Everything", are all the favorites of the organizing committee when voting.

The European literary and art circles are more radical and bold, and pay more attention to issues such as homosexuality and refugees.

Their tolerance for pornography is much greater than that of conservative Americans.

Everyone likes historical themes.

However, when creating works that reflect the theme of massacre, what artistic ethics should be followed? Can the massacre scene be reproduced nakedly in the work, or can it only be portrayed in a hazy way? There are very strong differences in concepts between American society and European society...

In short.

It is a big question about how to select the creative direction that is easy to win awards based on the composition list of different organizing committee members, so as to hit the winning trend.

It is entirely possible to compile a tome that is thicker than the Encyclopedia Britannica.

But Chen Shenglin told him.

Art traditions and painting trends are only tools. It’s okay to paint like this if you want to win awards, but it’s not as good as painting a truly good work.

You can't draw it like this.

At least you must have your own unique ideological connotation.

According to Henry James, an important literary critic in Western history, “All artistic traditions are only truly alive when the creators add something of their own to them. Empty works may earn people a brief smile, but they will be forgotten immediately before they cross the first street to go home.”

Creations that focus solely on winning awards are bound to have problems of not being profound enough.

It does not change because of the painter's skill level, and Gu Weijing cannot escape this.

For example, the drawings for "Burning World" are also very well done.

In the treatment of certain colors, due to practice makes perfect, the technique is even smoother than that of "The Little Prince".

But he was very clear about it when he submitted the manuscript.

"Burning World" is more likely to win an award, which can be attributed to the classic nature of the work and the degree of attention it has received from readers.

Five years. No, let alone five years, even if it is three years, it will definitely not be able to compare with "The Little Prince".

It is not the kind of work that will be remembered by history.

The superiority of the two text contents is not taken into consideration.

From the perspective of illustration alone, this is exactly the case.

The legendary knife painting technique can only change the aesthetic expression level of a painting, but it cannot change its ideological essence.

Saint-Exupéry lives in every illustration of The Little Prince.

But "The Burning World" is just a painting, just a combination of linen canvas and oil paint.

When creating, most of Gu Weijing's drawings could not escape the simple aesthetic accumulation and visual bombardment.

He likes the story of The Little Prince.

The complicated language of a medieval duchess in "The Blazing World" was difficult for him to read.

Maybe only those illustrations about Miss Queen.

These are the few “alive” illustrations.

But it wasn't the Duchess of Newcastle who lived there either.

But it was Miss Elena who impressed him.

Substituting one thing for another.

If we have to make a strict distinction, those are not illustrations for the novel "Burning World", but rather illustrations of the back that he drew for Miss Elena.

In order to avoid this problem in "Good Luck Orphanage in the Sun", Gu Weijing had to add his own elements into the creation of the picture.

Based on the collector's advice, Gu Weijing adjusted the original equilateral triangle composition.

Do the opposite.

He moved the statue of the Virgin Mary to a direction against the light, hiding it in the shadows.

From the source of light to the location of dark shadows, the entire work has changed from the original equilateral triangle composition to a variation of the oblique triangle composition.

The picture suddenly became much more vivid.

Since.

Gu Weijing was overjoyed.

He never changed the general direction of his painting ideas, and continued to paint one picture after another, even making minor adjustments to the canvas at the beginning.

After copying five or six pictures, I became completely familiar with them, and muscle memory slowly replaced all my scrutiny and thinking about the pictures.

Gu Weijing no longer thought about the direction of the composition and focused on studying the details of the brush and ink techniques.

If it weren’t for Miss Shengzi who stopped him.

He will probably continue painting like this until the eve of the exhibition opening.

but now.

When he pulled himself away from the repetitive mechanical practice and stood in front of the drawing board, with the solemn attitude of facing his final entry to be presented to the Biennale judges, with the warmth and clarity left in his heart by the whole day's experience, he just picked up the pen.

Gu Weijing suddenly realized the problem.

This painting - there are more fundamental problems than those brush details he spent so much effort on.

He put down his brush again, walked to the corner of the studio, and took out a painting that was drying, "Good Luck Orphanage in the Sunlight No. 20".

He would scrape off the practice works that he thought were mediocre, had obvious mistakes in brushwork, or did not meet the emotional rating of "feelings in the heart." He would keep the ones he thought were good for future use.

This painting No. 20 is the one that remains, and it is also the best one I have painted so far.

He had thought the painting was as close to perfection as he could yet achieve.

But now I look at it...

"too dark."

Gu Weijing frowned.

The original idea of ​​creating "Good Luck Orphanage in the Sun" was derived to a certain extent from Ms. Carroll's album "Old Church in a Thunderstorm".

Apart from the same background, there is not much connection between the two paintings in terms of techniques and themes.

But the temperament of the two paintings alone is like a control group in a mirror.

I believe Carol is a warm-hearted person.

therefore,

Even though The Old Church was set in a stormy midnight, it is still a very warm painting.

The candlelight is warm, the tones are warm, and the temperament of the whole painting is also warm.

The thunderclouds in the sky are very bright in color.

The dark parts are very rich, with a color texture like flowing liquid.

It is by no means a dark fog, but a flowing light.

The color temperament of his painting is completely reversed, about the treatment of light, about the discussion on the 5% of developed societies, and about the thoughts on the fate of the nation.

This painting is shrouded in a bleak atmosphere.

The sunshine in Yangon is extremely warm.

At noon, the temperature sometimes reaches 40 degrees, and the sun is so bright that even the shadows seem to be evaporated.

But the temperament of this painting is a bit hazy.

(End of this chapter)