As soon as Gu Weijing arrived home, he returned to the studio in the calligraphy and painting shop.

It's better to choose a day than to hit the day,

Now that he has chosen the right work, he wants to copy this oil painting today.

Gu Weijing quickly found the canvas, brushes, palette knives, and palettes in the studio.

He also deliberately took a bottle of chemically synthesized quick-drying medium from the cabinet.

Contrary to what many people think, the paint of oil painting cannot be diluted with water, and must be made with a special dry oil. As the dry oil gradually evaporates, it forms a dry film of oil on the surface of the canvas, which acts as a fixed pigment.

Different formulations of oils dry at different rates when exposed to air.

Some are fast and some are slow,

Formulas with fast drying speed are called "lean oil" in the row, and formulas with slow drying speed and high oil content are called "fat oil" in the industry.

The first important principle that learners learn from any oil painting is the principle of fat cover thinness.

To put it bluntly, the lower the pigment, the faster the formula should dry.

The higher the layer of pigment, the slower the recipe should dry.

If the top pigment dries and shrinks with the bottom pigment first, this will cause the top pigment to harden, and the surface will crack or even slag off.

Painting an oil painting is fast and fast, and slow and slow.

Generally speaking, the classical painting method tends to use the dry painting method.

Gu Weijing's oil painting of the Mercedes-Benz model, in order to wait for each layer of paint to completely dry, it took almost a month just to paint the front and back.

However, the works of the Impressionists are usually thicker pigments, and the brushstrokes are expressive, and they can be covered with wet pigments layer by layer.

Coupled with the chemical quick-drying medium developed by modern oil painting manufacturers, an oil painting can be finished in an afternoon.

Gu Weijing stretched the appropriately sized canvas on the frame and fixed it.

He chose a white canvas covered with chemical acrylic.

Like paint, the white base covered on the surface of the canvas can be adjusted with lithopone, white powder and oneself if you want to pursue perfection.

But this is the first time I have copied this masterpiece.

Gu Weijing knew that he shouldn't be able to draw too well, so there was no need to worry about these details.

It's like taking an exam to score more than 80 points first, and then it makes sense to pursue the score on the paper and whether the handwriting looks good. If you have the time to repaint the canvas, it is better to make more progress than copying a few more times.

Gu Weijing first used a contactless scanner in the gallery to scan the entire painting into an electronic version, and then used a projector to project the electronic photo onto the canvas.

Here's another quick tracing tip.

Gu Weijing has a strong sense of space by nature, which is actually very advantageous when copying artworks. If you slowly use a pencil to type from scratch on the original drawing, Gu Weijing can also draw very accurately, but it is too time-consuming.

Anyway, he will definitely copy this "Old Church on a Thunderstorm" many times over and over again.

The main point of the first copy is to understand the painting process, understand the color principle of the painting, and become familiar with the composition.

Gu Weijing used a projector to project the original painting, which was a clever way to save time.

He adjusted the projector so that the size of the picture coincided with the canvas.

As soon as he started using pencil as a base sketch on the canvas, Gu Weijing noticed the changes he had brought about by his sketching improvement over the past month.

Fluency –

This is Gu Weijing's biggest feeling.

With the help of the projector, the painter can create the large shapes in the oil painting theme faster, but the small shapes still need to be adjusted in the in-depth process.

It's still a test of the ability to sketch with a pen.

This is not without the help of Menzel's skills, Gu Weijing is purely using his own ability to draw.

In the past, he often copied famous paintings under the guidance of the school's art teacher, and his drafts were also very accurate, but the process of copying was very difficult.

Strictly speaking, he felt that he was more drawing than drawing.

And now, under the sketching skills of the first order of the profession, he finally has the feeling that his pen is following him, rather than following the pen.

Gu Weijing pursued his own train of thought, and slowly restored the approximate spatial relationship of the picture with lines as clearly as possible.

At this time, the advantages of on-site sketching of the original work began to be gradually reflected.

Gu Weijing kept stopping his brushes and comparing them with the original sketch in front of him.

Sometimes he just glanced at the original painting in a hurry, other times, Gu Weijing stared at the picture for a long time, and even occasionally he simply put down his brush and walked back and forth in the studio.

He stared at the church on the frame, from far to near, and from near to far.

Having a sufficient sense of communication with the original painting itself is the state that artists crave the most in copying, and it is also something that copying electronic albums cannot do at all.

It's like the difference between listening to an English tape and having a conversation with an English teacher in person.

It is said that a few years ago, a painter suddenly burst into tears while copying Adolf Menzel's masterpiece of realism, "The Steel Factory", which depicts the life of bourgeois workers, in an art museum.

Others asked him why,

The painter replied: "I felt a hellish spark splashing down on me. ”

An oil painting is like a piece of amber that solidifies the painter's spirit, it is alive, and from different angles, it is full of light and shadow changes.

Like Gu Weijing, walking around and observing repeatedly, only by buying the painting home can he have such a good treatment.

As Gu Weijing's pen became faster and faster, dense and complex lines appeared on the canvas.

After about half an hour, Gu Weijing put down the pencil.

It's just a pencil sketch, so there's no need to express the light and shadow in great detail, just have a general shape.

"Well, there are still a lot of imperfections, but that's the rough shape."

He turned off the projector, placed his typed draft next to the original painting, studied it for a few seconds, and generally passed the test.

Gu Weijing's manuscript divides the picture into three parts.

The sky in a thunderstorm is the background color, the architectural structure of the church is the main body, and the two statues of the Virgin Mary in front of the church are in the close-up.

Once the sketch is done, it's time to prepare the undertone.

Gu Weijing began to adjust oil paints.

Soon, he frowned.

"Something isn't right."

Obviously, he hasn't started coloring yet, and Gu Weijing already feels a little nowhere to start at this step.

He glanced at his oil panel, [Oil Painting: Semi-Professional Lv.3 (217/1000)].

Legend has it that the sage's lectures can make mortals have an epiphany, and mud can give birth to lotus.

Looking directly at the works that have been systematically evaluated as painting saints, it seems that there is a similar effect.

Gu Weijing admired the reckless behavior of Lei Arnold's works, although he carried him directly to the hospital.

But after he sobered up, he found that in just a short glance, his oil painting technique had increased a lot out of thin air, and he had reached the Lv.3 semi-professional level.

It's a pity that even if it is a semi-professional level, it is still too far from the level of the second order of the master.

Even if the original painting is right in front of him, Gu Weijing can't restore the original color feeling with the palette.

Although the murals were restored before, the understanding of the pigments of Chinese painting in the "Maha Notes" can make Gu Weijing touch a lot of bypass.

However, in addition to the difference in color between Chinese painting and oil painting, the color palette of impressionist oil painting is originally the most complex type of oil painting.

The Impressionists would choose the right color as the hue of the basic color, and they expressed a feeling when mixing colors, and they did not completely adjust the color on the palette, and changed it as they go.

The background color of this painting is black and brown, and Gu Wei has figured out several blacks and purples on the color palette.

He didn't feel right, it was too rigid and stiff compared to the dark but not gloomy grasp of color in the original painting.

Continue day by day.

(End of chapter)