Gu Weijing took the paintbrush and gestured to the canvas several times.

Whenever his brush was about to touch the paper, he put it back.

The pigment 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 pigments.

Thinking about it again and again,

Gu Weijing thought of a method that was not very smart.

He took out a clean, flat palette and picked out a dozen paints.

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

In elementary school art class, we learned 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 discharged, and the mystery of color change lies in it.

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

Gu Weijing used ultramarine as the apex on the left side of the palette and cadmium yellow and cadmium red as the base to form a warm three primary colors.

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

On the right side, the cooler crimson and lemon yellow are at the top, and the phthalocyanine blue is the bottom, forming a cold hue trilogy triangle and a corresponding mixed color triangle.

The two triangles are upside down and turned upside down, forming a diamond-shaped shape on the palette.

Theoretically, with this palette as a base, Gu Weijing can quickly blend any color he wants with a brush in a matter of seconds.

After these basic preparations,

Gu Weijing finally found a little toilet paper and took the lead in plugging his nose.

Subsequently, he moved his easel to a close distance just one step away from the "Old Church on a Thunderstorm" and launched the calligraphy and painting appraisal technique.

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

Thunderstorms, churches, candles.

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

His eyes were no longer attracted by the artistic conception of the whole painting on the light curtain in his mind, he ignored all the small brushstrokes that expressed the details on the picture, and even no longer cared about the church itself, and concentrated on the background of the thunderstorm on the oil painting, which occupies the largest area.

"It's not pure black, it's a little purple, and white is added to increase the brightness...... No, this color palette feels more like rose red mixed with a little Prussian blue. Well...... It looks like you need to add a little grayscale, is it black, and if you use lemon yellow, wouldn't it be better...... Probably still a bit risky. ”

Suddenly

A large amount of information flowed in Gu Weijing's mind.

This beautifully colored and intricate painting of "The Old Church on a Thunderstorm" is like a ball of yarn woven with layers of paint.

In the case of a group, you can't find a clue, but the calligraphy and painting appraisal technique can disassemble it and turn it into independent brushstrokes.

In terms of Gu Weijing's current semi-professional oil painting level, it is easy to understand a lot.

He also has a great advantage when dealing with the reproduction of these colors.

Gu Weijing really went to the Good Luck Orphanage.

The old church and its surroundings are like forgotten corners of modernity, still in much the same way as they were hundreds of years ago.

The scene that the female painter Carol once saw, Gu Weijing also witnessed with his own eyes.

Life experience is the best teacher of a painter, and Gu Weijing can better deal with and restore the original light and shadow colors of the painter.

He worked on the palette like a fly.

At the end of the Identification Effect, a small patch of dark but not eerie grayish-purple finally appeared in the corner of the palette.

The overflowing luster is like a canopy of lightning sliding through the sky in an instant.

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

When Gu Weijing arranged the colors, he even heard a faint sound of thunder in his mind.

It seems to be a dull and damp drum beat.

"It's done! That's the color. ”

Gu Weijing withstood the tingling pain and dizziness in his mind, and he quickly restored the background color of the whole painting on the painting paper on the thunderstorm day.

As his brushes fell.

Gray-purple light clusters leap above the painting, and dark clouds are thick, like a thunderstorm sealed on the canvas.

……

[The current copy of the painting - "The Old Church on a Thunderstorm" has been completed]

More than two hours later, when Gu Weijing put on his easel and placed it in the corridor of Gu's calligraphy and painting shop to dry. The system in his mind also sent prompts for him to complete the task at the right time.

[Copying similarity - 23.7%, you have obtained a primary treasure chest]

"It's just over 20 percent."

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

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

No two paintings are the same, and the brushstrokes of the Impressionists are even more varied, and some works are even composed of hundreds of thousands of color dots.

If you find two works that are identical down to the smallest detail, there is no doubt that they must be computer-drawn paintings.

It's not like Fa Ge wants to draw dollars.

No normal painter would pursue a tenth-millimeter of pure physical brushwork.

If this is the standard, it is not necessary to say that it is copying, if you ask the original artist to paint the same painting on the spot, it is estimated that it will not reach more than 90% of the similarity of copying.

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

What is the basic likeness?

Nowadays, there are quite a few oil painting villages all over the world.

Many of these villages made a living by copying oil paintings, and many of them worked three shifts a day, crammed into cramped, stuffy studios bare-chested, with a meagre salary, copying famous paintings such as Van Gogh's self-portraits.

The workflow presents a factory assembly line management, some people are responsible for drawing the eyebrows, and after painting the eyebrows, they pass the painting to the next person to draw the eyes, and then pass it to the next person to paint the nose.

In a single village, more than 100,000 self-portraits can be painted a year, accounting for more than 95 percent of Van Gogh's copies circulating on the Internet worldwide.

These paintings look like ordinary people.

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

The so-called copying is a kind of recourse across time and space, a feeling that seems to be real and dreamy.

What you are looking for should be an approximation of temperament.

Not like, but true.

When does a painter feel that his predecessors from a hundred years ago have stepped out of the oil painting frame, standing behind him and holding your hand to paint with you?

When your thoughts, your mood, your heartbeat and the other person merge into one.

Then your copying skills are complete.

Gu Weijing is still far from this standard.

He felt that he could get more than 20% similarity evaluation 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 skills, he found some formulas for the purple and gray background color matching of thunderstorms.

As for the main body of the building, the color changes here are more complex and precise than the spread of large areas of purple-gray hues on a thunderstorm.

Not to mention how much you can improve by using the calligraphy and painting appraisal technique again.

Gu Weijing's faintly aching temples told him that if he appreciated this kind of second-order master's artwork three times a day, it was estimated that he would have to be taken to the hospital by ambulance again.

is always like this, Gu Weijing is really afraid that his spirit will not be able to hold on, and the master did not copy it, so he became a madman first.

Gu Weijing clicked to receive the primary treasure chest.

As the chest opens, a knowledge card pops up.

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

[Quality: Knowledge Card]

[Special Effect: After obtaining the Knowledge Card, you will understand the corresponding content.] 】

[Equipment Requirements: None]

[Introduction: Court life has been an important part of oil painting until the twentieth century. Court dances, known for their graceful posture and ornate costumes, have long been the focus of Rococo painting. Without a good foundation in dance, you can't be a good court painter. 】

[Note: After I die, who cares about the flood...... I'm not a good emperor, but dancing, I'm professional. 】

Painting the human body requires learning anatomy, and the painter who painted "The Wrestler" really fell and painted oil paintings with professional themes, whether he has a professional background or not, is indeed a completely different feeling.

Especially when painting a classical ball, the rotation of the ankle muscles, the eye contact between the characters, without actually dancing, it is difficult for you to restore.

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

Gu Weijing had to complain about the black humor of the system.

The Emperor Louis XV had a man of great fortune throughout his life, and was known for his penchant balls and beautiful mistresses. In his life, he held countless balls and salons, and all the countries of the Bourbon Dynasty were gone.

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

However, this emperor who did not do his job was a loser, and Gu Weijing still happily accepted this knowledge card.

Painters who can paint professional subjects have always been very popular, and this kind of knowledge is like a notebook of painting materials recorded by Professor Lin Tao, the more the merrier.

You may not need it all the time, but when you need to use it, there is a qualitative difference with or without it.

……

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

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

At this time, Gu Tongxiang, who was looking at the store behind the counter, blinked.

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

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

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

Don't look at Uncle Sakai's fat like a ball,

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

To make an inappropriate analogy, it is as popular as an ancient poetic genius entering the Qinglou.

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

Picasso's tip notes for coffee shops can sell for hundreds of dollars.

Most fortunate of all, a Brazilian inn had acquired a random spray painting on the wall by the artist Lygia Clarke, the founder of neo-figurationism who lived there, which is now worth as little as $700,000.

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

"Hmm...... This is actually your shop. ”

Uncle Sakai seems to have finally seen enough paintings.

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

Gu Tongxiang was stunned,

He knew that his grandson had spent $2,500 on an oil painting yesterday at noon.

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

This money was used by Gu Tongxiang in his plan to practice for his grandson, and whether the paintings he bought were lost or earned, he handed them over to his grandson to deal with by himself.

But when his eldest son came home, he had a strange look on his face, and he wanted to say something, but in the end he didn't say anything.

"My father saw a nice piece at the night market in Yangon, but it was bought by a young man who looked like a student."

Professor Sakai Tsunamasa, who was next to him, explained in a whisper: "My father came today to see the painting again before leaving Yangon. ”

Sakai Tsunamasa's tone was very complicated, and they followed the address of the gallery that the translator asked for from the boss Wu who opened the public market, but they didn't expect to find Gu's calligraphy and painting shop.

Katsuko Sakai did not speak,

Her whole spirit was drawn to the two oil paintings hanging in the gallery that were drying in the shade.

An oil painting is a realistic model of a car, and this painting belongs to the category in which Katsuko Sakai sees both advantages and disadvantages as obvious.

The space of the whole oil painting is well grasped, but the use of the brush is not old-fashioned, and the use of colors is also very mediocre. It may be a good name, but Katsuko Sakai has seen too many excellent painters, so it is not enough.

The second picture ...... It's fun.

This is a very rare impressionist work with gloomy tones, using dark tones of brush and ink, the overall background is condensed but not scattered, especially the background color of the whole painting, which is very imaginative.

"Do you see what's going on with this painting?"

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

"It's an impressionist painting. It's really strange, why do you want to use this kind of deep black tone, which is completely out of tune with the concept of impressionism, and wouldn't it be better to use the classical painting method and use over-dye to whiten? ”

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

"Clouds."

Katsuko Sakai is obviously more to the point.

She had been staring at the painting and contemplating.

A painting is often the foreground and the subject matter is often poured into the painter's more effort, but this oil painting is completely reversed.

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

The kind of clouds that seem to be able to flow......

How does it manifest itself?

Today, it should be the end of the update, adjust the biological clock.

(End of chapter)