Almighty painter

Chapter 612 Emotional Substitution
Who hasn’t met a cute fat kid with a big belly in school or in life since childhood?

No extra special processing is required.

Any cat that is soft and bouncy will look extremely cute if you cleverly show this characteristic on paper.

In the sketchbook.

The design of City Cat Bastof is all black.

Its hair has the same delicate and glossy luster as the mane of a famous horse.

The four little feet are replaced by pink and white pads.

Its appearance features were matched by Gu Weijing according to the original description: "Bastof always wears the most appropriate black tuxedo coat in the world, and white shoe covers on his feet!"

Creatures with black and white panda colors are always cute when drawn.

This cat is also the main character in the play that is most convenient for localizing the plot according to different performance venues.

When it was performed in Australia, it loved to eat South Australian lobster, mangoes and barbecue pies.

When it’s on stage in Japan, you can enjoy sushi and sashimi paired with sake.

The Indian version loves curry, and when performing in Mexico, Bastofor can sing "Taco, Taco my favorite!"

maybe one day.

When on tour in the east summer, this London-born city cat will transform.

It's hard to say whether you have become a "Bai Jing Daye" cat who likes to stroll with his hands behind his back, drink soy milk and eat roast duck with sweet noodle sauce.

Anyway, when arranging.

Just choose a few local delicacies that can match the rhyme of the lyrics, and then put them in like putting together a puzzle.

This most basic stage adaptation cannot be considered very sincere.

However, it is also the most convenient and quickest way to make unfamiliar audiences from any place feel familiar and intimate when they meet a musical for the first time.

"So... the six cats are all finished."

Gu Weijing gave the album to Moli and Budao to look through.

He himself stretched.

These cats are just mockups of the design and will be very different from the final product.

Gu Weijing stood up and wanted Shengzi to give him some advice.

But when you look sideways.

Shengzi was still sitting on the mat by the wall.

The girl placed her hands on the knees of her crossed legs, gentle and calm like a white jade statue.

every day.

She would sit like this for half an hour, either in the orphanage or in the hotel room.

If the condition is good.

I can even maintain this posture for more than an hour, motionless, feeling the passage of time and the gradual shift of sunlight on my body.

Gu Weijing had heard that there were some temples or meditation centers in Myanmar that did not emphasize reading scriptures or discussing the Dharma.

The only thing on the daily schedule is meditation.

The monks and laypeople get up at three in the morning and meditate until three in the afternoon. They spend the remaining hours weeding, eating, washing clothes, doing simple labor, and then go to bed to rest.

Over and over again.

Many European celebrity rock singers, hedge fund directors, entrepreneurs, and young people influenced by the hippie movement of the last century have detailed their stories of coming to the "mysterious East" to practice Zen in their personal biographies and podcasts.

After returning from the Royal Botanic Gardens that day.

Katsuko Sakai recommended that he read some biographical diaries of great painters from the 1960s and 1970s.

They described the feeling as being like placing a chair on the side of the "road" of the soul, sitting on it, quietly watching the cars coming and going on the street, and gazing at the clouds rolling in the sky.

All creative and passionate ideas are like the fiery red Pontiac sports cars passing by the street and the high-powered Cadillacs with shiny oil.

And those annoying obsessions are like old cars with mottled rust on their metal that looks like loess, emitting black smoke.

Thoughts that make us happy are white clouds, and thoughts that make us anxious are black clouds.

But whether it's black clouds or white clouds, whether it's a Pontiac or a tractor covered in mud.

You can't dwell on them too much and be led astray by them.

If you do that, it is what Buddhism calls "not being clear and peaceful" and having obsessions.

Black clouds and white clouds cover the sun.

When people are meditating.

We should be more like spectators on the stage.

Just "aware" these thoughts from afar, watching the cars driving away on the road, watching the clouds being blown away by the wind bit by bit.

finally.

At some point.

All thoughts disappeared.

There are fewer cars on the streets and no more annoying engine noise.

There was not a single cloud in the sky, only the blue sky itself.

When the sun shines on you, you will feel pure joy in the pure peace.

Gu Weijing admires Shengzi's determination very much.

Because he is not a good meditator.

He himself is a person who is quite prone to daydreaming.

He could also sit alone with a book for a whole day. Mr. Cao praised his paintings for their tranquility.

But his "stupidity" and his "quietness" are all based on something.

A kind of total devotion in which one forgets about time because of what is on one's mind.

If he were asked to spend half an hour, an hour, or even half a day or a whole day, just sitting there and emptying his mind.

Don't have any thoughts or think.

It is just observation from a distance.

Observe your own mind as if you were observing a small insect crawling on a flower leaf.

Then Gu Weijing really can't do it.

even.

He secretly felt that if a person spent his entire life living in seclusion in the mountains, spending every day in meditation, he would never change the world for the better.

So what is the meaning of peace of mind?

Everyone has the freedom to choose how they want to spend their life.

Gu Weijing admired those people's indifference and patience, but Gu Weijing himself could not do that.

Compared with Shengzi's "transcendence".

He himself is one of those people who lacks wisdom.

When the young monk from the Shwedagon Pagoda saw Gu Weijing, he said that he was a man "with smoke burning on his body" and felt sorry for him because he might never be able to obtain the absolute peace brought by absolute tranquility in his entire life.

Katsuko Sakai's soul is the rock that carries the flowing water of the lake.

Gu Weijing's soul is like the waves that wash and beat against the rocks, and the flowing clouds that are blown by the wind and filled with rain.

Highly sensitive psychic traits.

Gu Weijing was easily drawn into those emotions, sometimes being thrown high up by the torrent of emotions, and sometimes being pressed into a deep pool by the waves.

He is very much like what the monks say - a person who is obsessed with things and won't let go. Even if he is hit with a big stick and a big bump appears on his head, he still holds on to his own joys and sorrows and is unwilling to let go of the worldly people.

One is to perceive and understand from the outside in. The other is to experience from the inside out.

He and Shengzi have two different ways of thinking about creation.

Apart from the fact that it is easy for me to enter into the characters' world created by my writing and cannot get out of it.

Out of the world and into the world.

When it comes to creation, there is no obvious difference between the two.

Because he has left the world, he is intelligent and detached; because he is involved in the world, he is sentimental and hurt.

The difference in personality between him and Shengzi is more reflected in the different ways they perceive their works when they are creating.

To use the professional terminology of the Hollywood film industry -

It's probably the difference between the two mainstream acting schools: experiential actors who live in the environment of the role they play, "I see madness, so I think I'm crazy too," and method actors who "I see madness, so I try to observe it and understand it."

This is specifically manifested during meditation.

Gu Weijing simply couldn't sit quietly on the street, watching the busy traffic passing by.

He must have been led by the thoughts in his mind. He opened the door of a car at random and drove away with the car beeping.

It makes him feel like a spectator, detached from his body, calmly watching everything that happens on the stage of his mind.

He can't either.

As Gu Weijing watched, he would jump onto the stage uncontrollably, transforming himself from a spectator into an actor playing various roles behind the curtain, and immersing himself in the characters of those spiritual spaces.

Laugh out loud if you want to laugh.

Cry loudly if you want to.

Can't help myself.

For example, now.

Jasmine and Budao looked through the sketches he had drawn.

As soon as Gu Weijing closed his eyes slightly, he could imagine that there were really a group of cats living in his heart.

……

He saw himself sitting on the street.

The afternoon sun shone on its body. It lowered its head and licked its chest and abdomen. Its hair was long and curly, but it was still combed very neatly. Even the curvature of each strand of hair maintained an almost consistent "snow-white neck". It yawned slightly with a little fatigue.

then.

The sheepdog cleverly drove away the bleating and mooing cattle and sheep.

A kitten with its tail raised up ran over quickly, holding a traffic notice that said "Road closed, take a detour" and threw it at the intersection.

He is the old patriarch Cat Dutronomie.

Gu Weijing saw himself again, jumping onto the utility table in the basement, waving the fork in his claws, as if a pastor was directing a group of children in a singing class, training a group of mice sitting in a neat line below to sing.

He is the old lady's cat Jenny Dot.

He also saw himself dragging his big orange tail and patrolling the VIP compartments on the wooden floor of the train with a hawk-like gaze. He jumped onto the flower bed as light as a swallow, stole the bacon and milk placed by the humans by the window, and left without leaving any cat hair. When the little brat next door made a sharp roar, he was already beating a poodle two blocks away.

The middle-aged big cat was drunk in the club, licking the remaining wine in the glass with his tongue.

At the table next to him, a fat cat like a ball was tying a napkin on the collar of his tuxedo and stuffing plates of rice pudding and curry rice balls into his mouth.

……

He is the meticulous Skimposternus, the down-and-out theater cat Gus, and the elusive criminal master Macavity.

Gu Weijing switched the perspective of each cat in his mind.

As different cats encounter and collide with each other, new events are triggered.

One moment he was complaining about Gus's slovenliness.

One moment he was fighting with Macavity and Bastof over a plate of gravy-covered bones in the dining car.

After a few seconds.

He turned into a railway cat who smelled crime on the train, and with his sensitive nose pouting, he poked his head out of the door of the dining car.

Your character can switch freely between the positions of the six cats.

If we rank these six cats in descending order of agility.

Undoubtedly, the painting by the old patriarch cat Dutronomie is the most realistic, and the painting by the mysterious cat Macavity is the most vivid.

These two cats can be classified as "lifelike".

When Mr. Sloth reads poetry to him.

Gu Weijing closed his eyes and imagined that he had really turned into a cat.

The warmth of the sun shining on the fur, the warmth as it licks the hair, the lightness as it jumps onto the windowsill...it all seems so real.

It's like I've been a cat for several lifetimes.

All experiences and emotions are real and exist truly.

When the sun shone on his body, old Dutronomie yawned really sleepily.

When he saw Bastof eating Hesse beside him, the crime lord Macavity could no longer bear it and rushed up to steal the big bone from the other person's plate with his claws.

No poem has ever depicted such a detailed fragment, and no musical has ever had such a vivid performance.

These were all natural impulses that came naturally after Gu Weijing entered the body of a cat.

How can a cat be kept in a cage?
It won’t work if you just “close” it on the drawing paper.

From the moment their image is created, they come alive.

It has a complete soul.

So they would run around and chase each other uncontrollably in Gu Weijing's mind. He only needed to gently push back with his fingers, just like pushing a string of Newton's cradles, to give an initial force.

They will live their own lives freely.

The biggest obstacle restricting the expressiveness of these two cartoon characters on paper has become his painting technique.

Gu Weijing's sketching skills are at level 5 and the lines he draws are realistic enough for the two cats, but not vivid enough.

The "resolution" of the second-order professional realistic ability is still too rough for a truly complete soul.

The lines are still full of damage and magazines.

The two purest cat souls were not portrayed.

The second level is “lively and cute”.

In this film, he has fully captured one or two characteristics of the cat protagonist and endowed them on paper.

Her representative work is the strict yet warm-hearted old lady cat Jenny Dot.

Not to mention being able to live without any constraints in your heart.

But the basic sense of liveliness is not lacking at all.

For the client who commissions the illustration, if the submitted work can cleverly capture these qualities and convey them to the audience, then it can be considered a good painting that will make the client clap his belly and applaud.

The requirements for illustrations are not strict.

A painting that can convey the most representative qualities of the story image is a perfect painting.

City Cat Bastof has a slightly weaker characterization, but is just too cute to be included in this category.

And the last one is the passing work.

The illustration contract was time-sensitive, demanding, and involved many roles. In order to draw cats well, Picasso's friend, cat expert Balthus, locked himself in an apartment and lived with a group of cats for more than ten years.

There is no way to do that in the illustration world.

The world's most classic illustrations include "The Wind in the Willows", the Disney series, and Jane Arnold's masterpiece "Oz".

They have outstanding characters, but also mediocre characters.

(End of this chapter)