Almighty painter

Chapter 87 Color Progression
Gu Weijing took a paintbrush and gestured to the canvas several times.

Whenever his brush was just about to touch the paper, he retracted it again.

The paint is still not right.

This is his first time copying a work, and mistakes are inevitable, but he still doesn't want to just use inaccurate paints for coloring.

think twice,

Gu Weijing thought of a not-so-clever idea.

He retrieved a clean flat palette and picked out a dozen or so paints.

On the palette, the extruded pigments are arranged into two triangles of primary colors.

We learned in the art class in elementary school that red, yellow and blue make up the three primary colors.

By mixing the three primary colors with each other in different proportions, thousands of different color levels can be produced, and the mystery of color changes lies in it.

In professional oil painting creation, the three primary colors are subdivided into many different hues.

Gu Weijing used ultramarine blue as the apex on the left side of the palette, and cadmium yellow and cadmium red as the base, forming a warm-toned three primary colors.

In the middle is a small triangle composed of three hues and four different mixed colors.

On the right side, the colder crimson and lemon yellow are used as the top, and the phthalocyanine blue is used as the base, forming a triangle of three primary colors with cold hues and a corresponding triangle of mixed colors.

These two triangles are upright and upside down, forming a rhombus shape on the palette.

In theory, based on this palette, Gu Weijing can quickly mix any color he wants with a brush in a few seconds.

After completing these basic preparations,

Gu Weijing finally found some toilet paper and blocked his nose first.

Then, he moved the easel to a short distance from "The Old Church in a Thunderstorm", and activated the painting and calligraphy identification technique.

An invisible pen appeared in my mind again, and I began to quickly outline the figure.

Thunderstorms, churches, candlelight.

The difference is that before Gu Weijing started to use his skills, he had already made enough mental preparations.

His sight is no longer attracted by the artistic conception of the whole painting on the light curtain in his mind. He ignores all the small brushstrokes expressing details on the painting, and he doesn't even care about the church itself anymore. The laying out of the background color of the thunderstorm weather.

"It's not pure black, it's a bit purple, and white is added to enhance the brightness... No, this color palette is actually more like rose red mixed with a little Prussian blue. Hmm... It looks like a little gray is added Is it black, is it better to use lemon yellow... Maybe it's still a bit risky."

Suddenly,

A lot of information flowed in Gu Weijing's mind.

This exquisitely colored and intricately painted "Old Church in a Thunderstorm" is like a ball of yarn woven with layers of paint.

It is hard to find a clue when it is in a ball, but the calligraphy and painting identification technique can disassemble it and turn it into individual brushstrokes.

Based on Gu Weijing's current semi-professional oil painting level, it is much easier to understand.

He also has a big advantage when dealing with reproducing these colors.

Gu Weijing had really been to the Lucky Orphanage.

The old church and the surrounding scenery are like corners forgotten by modernization, still maintaining the same scenery as it was a hundred years ago.

Gu Weijing also witnessed the scenes that the female painter Carroll had seen.

Life experience is the best teacher for a painter, so Gu Weijing can better deal with and restore the painter's original light, shadow and color.

He works like a fly on the palette.

At the moment when the effect of the identification technique ended, a small piece of dark but not eerie gray-purple finally appeared in the corner of the palette.

The overflowing luster is like the sky after the lightning has slid across the moment.

I don't know if he was too immersed, or the effect of the painting and calligraphy identification technique has not completely ended.

When Gu Weijing configured the color, he even heard the faint sound of thunder in his mind.

It seemed to be a dull and damp drumbeat.

"It's done! It's this color."

Gu Weijing resisted the tingling and dizziness coming from his mind, and he quickly restored the background color of the thunderstorm in the whole painting on the paper.

With his brush down.

A gray-purple light cluster leaps above the painting, and the clouds are dense, like a thunderstorm sealed on the canvas.

……

[Current copying of the painting - "The Old Church in a Thunderstorm" has been completed]

More than two hours later, when Gu Wei put the easel on the easel and put it in the corridor of Gu's painting and calligraphy shop to dry in the shade.The system in his mind also sent timely reminders for him to complete the task.

[The similarity of copying this time - 23.7%, you have obtained a primary treasure box]

"Just passed 20.00%."

Gu Weijing was not disappointed, he was already satisfied if he could meet the pass line of the primary requirements for completing the task.

The standard for judging the similarity of copied works is definitely not rigid copying.

There are no two identical oil paintings in the world, and the brushwork of Impressionist painters is ever-changing. Some works are even composed of hundreds of thousands of color points.

If you find two works that are exactly the same even in the smallest details, there is no doubt that it must be a computer spray-painted painting.

It's not that Fa Ge wants to draw US dollars.

No normal painter will pursue a purely physical pen with a tenth of a millimeter level of accuracy.

If this standard is met, it is needless to say that it is a copy. If you ask the original artist to draw the same painting on the spot, it is estimated that the similarity of the copy will not reach more than 90.00%.

But if it is a similar image in the ordinary sense, this standard is too low for professional painters.

What is the basic image?
Today, there are many oil painting villages all over the world.

These villages make a living by copying oil paintings. Many hired workers have never even attended school. They work three shifts a day, shirtless and squeezed into a cramped and stuffy studio. They copy Van Gogh's self-portraits with a meager salary. famous paintings.

The workflow is managed like a factory assembly line. Some people are responsible for drawing the eyebrows. After drawing the eyebrows, they pass the painting to the next person to draw the eyes, and then pass it to the next person to draw the nose.

One village alone can draw 10,000+ "Self-Portraits" in a year, accounting for more than 90.00% of the Van Gogh replicas circulating online worldwide.

These paintings, ordinary people also look like.

But if the copying works of professional painters is only this standard, then the aesthetic education they have undergone is meaningless.

The so-called copying is a kind of pursuit across time and space, a feeling that seems like a dream.

What you're after should be an approximation of a temperament.

Not like, but true.

When does a painter feel that the predecessors from a hundred years ago came out of the oil painting frame, stood behind you, held your hand and painted with you.

When your thoughts, your mood, your heartbeat and each other melt into one.

Then your copying skills will be great.

Gu Weijing is still far from this standard.

He felt that he was able to obtain a similarity evaluation of more than 20.00% this time when he copied it for the first time, thanks to the good shape of the sketch.

Relying on the blessing of calligraphy and painting appraisal technique, he found some recipes for the purple-gray background color matching in thunderstorms.

As for the details of the main body of the building-the color changes here are more complicated and more precise than the layout of the large-scale purple-gray color tones in thunderstorms.

Not to mention how much improvement can be made by using the painting and calligraphy identification technique again.

Gu Weijing's aching temple told it that if he appreciates this second-level master's art three times a day, he will probably have to be taken to the hospital by ambulance again.

Always like this, Gu Weijing was really afraid that his spirit would not be able to hold on, and the master would not copy it, and he would become a lunatic first.

Gu Weijing clicked to receive the primary treasure box.

As the treasure chest was opened, a knowledge card jumped out.

[Item: "Royal Court Dance Gait Map" - Louis XV]

[Quality: Knowledge Card]

[Special effect: After obtaining the knowledge card, you will understand the corresponding content clearly. 】

[Equipment requirements: none]

【Introduction: Court life has always been an important part of oil painting until the [-]th century.Known for their graceful posture and ornate costumes, court dances have long been the focus of Rococo oil paintings.Without a good foundation in dance, one cannot be a good court painter. 】

[Remarks: After my death, no matter how terrible the flood is... I am not a good emperor, but dancing, I am a professional. 】

Painting the human body requires learning anatomy. The artist who painted "The Wrestler" has actually fallen. It is really a completely different feeling to paint professional oil paintings with professional themes.

Especially when painting classical balls, the rotation of the ankle muscles and the communication between the eyes of the characters, without actually dancing, it is difficult for you to restore them.

"The prom guide provided by Louis XV is a professional counterpart in a sense."

Gu Weijing had no choice but to complain about systematic black humor.

The Emperor Louis XV was a man of many talents throughout his life, known for his love of gorgeous balls and beautiful mistresses.He held countless balls and salons in his life, which wiped out the Bourbon dynasty.

Even if it was his heirs Louis XVI and Queen Mary who went to the guillotine, most historians believe that the Bourbon dynasty declined after Louis XV, and it can be called the French version of Song Huizong.

However, the prodigal emperor who was not doing his job properly, Gu Weijing still happily accepted this knowledge card,
Painters who can paint professional subjects have always been in demand. This kind of knowledge is like a notebook for Professor Lin Tao to record painting materials casually. The more the better, the better.

You may not be able to use it all the time, but when you need to use it, there is a qualitative difference whether you have it or not.

……

On the morning of the second day in Gu's Book Gallery, three unexpected guests came.

"Hey, Professor Sakai, why are you here?"

Gu Tongxiang, who was watching the store behind the counter, blinked.

When he put on his reading glasses and confirmed that the object that appeared in his gallery was a person, he immediately walked over in surprise.

He took Uncle Sakai's fat hand: "Rare guest, rare guest, welcome."

Artists of this magnitude appear in their small gallery, but they are as precious as giant pandas.

Don't look at Uncle Sakai as fat as a ball,

When he walks into a small gallery that appears in any corner of the world, he is more attractive than handsome men and beautiful women.

To make an inappropriate analogy, it is as popular as ancient poetry talents entering a brothel.

Whether it is a word mention or a group photo, even a photo of the other party admiring the paintings in the store is a silent sign.

Tip notes written by Picasso to coffee shops can sell for hundreds of dollars.

The luckiest thing was a hotel in Brazil, which got a spray painting on the wall created by Ligia Clark, the initiator of Neo-Representationism who lived there. This painting is now worth at least 70 Ten thousand U.S. dollars.

Uncle Sakai didn't answer, he stared at a painting on an easel in the gallery, a picture of a wandering mind.

"Well... this is actually your shop."

Uncle Sakai seems to have finally had enough of seeing paintings.

He turned his head and looked at Gu Tongxiang with a playful smile on his face: "So, the person who bought the paintings on the calligraphy and painting fair yesterday was Gu Weijing?"

Gu Tongxiang was stunned,
He knew that his grandson bought an oil painting for $[-] yesterday at noon.

But he didn't ask about the specific process of buying paintings.

This money was used in Gu Tongxiang's plan for his grandson to practice his skills. Whether the painting he bought was a loss or a profit, it was all left to his grandson to handle.

On the contrary, his eldest son had a strange look on his face after returning home, hesitant to speak, but he didn't say anything in the end.

"My father saw a good quality piece at the calligraphy and painting night market in Yangon, but it was bought by a young student who looked like a student."

Sakai Tsunamasa, who was following Professor Sakai, explained in a low voice: "My father came today because he wanted to see that painting again before leaving Yangon."

Sakai Tsunashang's tone was very complicated. They followed the address of the gallery that the translator asked for from Boss Wu, who opened the market, and they did not expect to find Gu's painting and calligraphy shop.

Sakai Katsuko did not speak,
All her energy was absorbed by the two oil paintings hanging in the gallery drying in the shade.

An oil painting is a realistic car model painting, which belongs to the category with obvious advantages and disadvantages in Sakai Katsuko's opinion.

The space of the whole oil painting is well grasped, but the brushwork is not sophisticated, and the use of colors is also very moderate.It may be called good, but Sakai Katsuko has seen too many excellent painters, so it is not enough.

The second drawing...is very interesting.

This is a very rare Impressionist work with gloomy tones. It uses dark tones of brush and ink, and the overall background is coagulated, especially the background color of the whole painting, which is very imaginative.

"See what's going on in this painting?"

Uncle Sakai noticed his daughter's gaze and asked softly.

"This is an Impressionist painting. It's really strange. Why do you use such a deep black tone? It doesn't match the concept of Impressionism at all. How can it be done in a classical painting method, using over-dyeing and whitening?" Isn't it better?"

Sakai Tsunasho looked at the oil painting, rubbed his chin and commented.

"Clouds."

Katsuko Sakai obviously hit the nail on the head.

She has been staring at the painting in deep thought.

In a painting, the foreground and the subject often put more effort into the painter, but this oil painting is completely reversed.

The shape of the main church in the oil painting is not bad, but it is far less brilliant than the thunderclouds in the sky.

The kind of clouds that seem to flow...

How did it manifest itself?

　Today should be this update, adjust the biological clock.

　　
　
(End of this chapter)