According to Xu Wen's previous design, although these twelve grids are high and low, they are crowded together, and most of them are too small or too flat, or even blocked by other grids.

Such a treasure chest can't hold anything at all, it's just barely completing the task, and it's not useful.

But the chest is used to hold things, and the compartment of the treasure chest is just to make things easier to store and organize. If the compartment in the box squeezes the space for things to be placed, then it is a completely failed design.

Therefore, this time in the design, Xu Wen changed his mind and thought about it first: What is this box used for?

He is now a craftsman, and he is most familiar with all kinds of tools, and it is also this kind of thing that needs to be placed the most.

In addition to large pieces such as planers and saws, they often use small pieces between carving knives and chisels, as well as various materials for bottles and cans such as viscose and lotions.

In the past, most of these tools were placed in fixed burlap knife bags, wrapped layer by layer, and bottles and cans were placed in separate boxes.

Now it seems, can we make a unified treasure chest and put all these things together?

Moreover, can the lattice inside the treasure chest be expanded outwards to increase rather than decrease its storage space?

Xu Wen was so engrossed that after a long time, he picked up the pen again and drew the first line.

The most important thing in design is the idea, and after the idea is clear, all that remains is the technical problem.

In terms of cartography technology, Xu Wen is quite mature.

One by one, the lines are extended, and the most basic shapes are combined, each one is so concise, and each one is so precise.

On one side, the water in the copper kettle made a slight noise and fell, and the waterline in the pot gradually approached the scale he had preset.

When Xu Wen wrote the production plan before, the time left for the design part was actually quite long.

But he scrapped a redrawing of the blueprints, and this part was quite nervous.

It's the middle of September, autumn is getting stronger, and the weather is quite cool.

But the cloth curtain did not cover this space very well, and the long-term focused work made Xu Wen's forehead ooze fine sweat.

His gaze is focused, as if he were unconscious, and the lines of his pen are always as standard and firm as the first.

Finally, when the waterline finally approached the scale and would not be overtimed, Xu Wen took a long breath and straightened up.

He looked at the design in front of him with a critical eye—it was not a single drawing, but an atlas composed of three overall drawings from different angles and more than a dozen decomposed partial drawings.

The small twenty drawings fully express his design ideas, and the scale and specific dimensions are all very formally marked on one side.

With such a set of drawings, even if he doesn't do it himself and hands it over to others, he can complete it without any obstacles - this is how he and Lu Cheng cooperated before.

But now it's an apprenticeship, and he has to do the next steps himself.

Although he has given a lot of practical work to Lu Cheng recently, he has not neglected training for a day.

Now that he actually started to do it, he was as skilled as ever, and he didn't show any sluggishness.

The elm has been peeled, and the next step is to divide it into sections, sawn it into planks, and beat it to its proper size.

Due to the need for carving, the thickness of the planks will be thicker than the final product, but because it has to be fastened in tightly, the dimensions of this part are also very strict, and there is no room for error.

The carved appearance Xu Wen also designed.

Compared with the homework that Lian Tianqing first assigned to Xu Wen, the carving of the exam in front of him can be said to be extremely simple.

Even Tianqing directly handed him the master's work, and at that time, what he had to complete was not only smart and interesting patterns, but also a unique style.

Xu Wen still remembers how much information he checked and how much effort he spent at that time.

But there is no doubt that the assignment also brought him great benefits.

How do you restore the missing parts from a local pattern?

Imagine the style of the existing local pattern, deduce the style and habits of the original creator, and simulate it on this basis.

The simulated pattern may not be the same as the original image—and it may not be exactly the same—but its purpose is to be based on the original image, not to destroy it, but to highlight it.

Xu Wen had already come to a conclusion when he first judged the half-finished treasure chest.

This is an assembly line product.

At the beginning, Master Lu Qingyuan was right, the mass-produced products that came out of the assembly line would be somewhat dull, and there would be less spirituality and personality of the craftsmen themselves.

On the one hand, this is the result of the process of mass production itself, and on the other hand, it is also caused by the demand of mass production itself.

One of the key elements of mass production design is standardization. Draw a standard line for each part, which is reflected in strict data, and the fluctuation cannot exceed the boundary...... This will undoubtedly reduce the opportunities for the craftsman to play freely, but in terms of efficiency, it is far from being comparable to the individual creativity of the craftsman.

This semi-finished treasure chest is the result of standardized manufacturing. Xu Wen even saw some familiar shadows on it, and he couldn't help but think of the proposal given to Zhu Gantang.

However, he didn't pay much attention to this, and soon focused on the style of the carving itself.

After seeing that it was an assembly line product, his second judgment was that it was designed by Sun Boran himself.

In the face of these candidates, his style seems to have changed a little.

It is not as elaborate and ornate as he was in Kyoto, nor is it as light and agile as when he was young, but it is a fusion of the two, with strong ornaments in the taste, beautiful but popular.

It seems that his previous judgment was correct, Sun Boran did not break with his master, nor did he completely abandon the style of his youth, but when he arrived in a different environment, he naturally changed according to the production needs......

In the inner courtyard of the palace, of course, the style required is completely different from the folk tune.

I just don't know what Lian Tianqing will do when he sees this, like it or not?

But this is undoubtedly a good thing for Xu Wen.

Sun Boran is the master craftsman he is most familiar with in this era.

Planks were stacked on top of each other, the tip of the carving knife cutting into the texture of the plank, and ivory-like debris flew out and scattered like fireworks.

The clear carvings appear from shallow to deep, constantly spreading outward.

Yu Mu Qiao is also one of the eighteen coincidences, and in this year and more extensions of Xu Zhai, it has almost been carved into Xu Wen's bone marrow and become a part of his body.

At this point, the carving knife is like a part of his finger, and the elm wood is like his dearest old friend.

Every texture and texture of it is familiar to him to the extreme, and he can turn it into any shape he wants.

The familiarity with the materials, the tools, and the creative style reached a high degree of consistency at this moment, and Xu Wen was completely intoxicated.