Gu Weijing chose a moderately elastic mink oil paintbrush, dipped in dark pigments with a darker color as the outline color of the base map.

Before you start writing,

In particular, he used pigments containing heavy metals with only a small amount of turpentine to draw the threads.

Metallic elements such as cobalt, manganese, and lead are often used as chemical driers that allow pigments to dry quickly.

For example, the pigments currently used by Gu Weijing,

It is a quick-drying pigment designed for time-limited exams and live art competitions, and it can almost dry when it is in the wind.

The price is to sacrifice the color of the picture slightly, and the pigment is more toxic.

If Gu Weijing is in a daze, and dares to imitate the ancients Wang Xizhi who dipped in paint and ate steamed buns, he would definitely be sent to the hospital for gastric lavage.

fortunately

In the course of later painting, the basemap will gradually be filled with more complete pigment details, like a house with a roof and a keel covering the deck.

In the end, only a small part of the base art will be displayed on the exterior of the finished painting, and it will not affect the look and feel.

Therefore, it doesn't matter if you sacrifice a little, the faster you dries, the better, and naturally there is no need to wait for two or three days for the base map to dry after painting.

Draw a basemap,

To put it bluntly, it is equivalent to using the fastest time to let the creator himself see the final effect of the painting scroll.

Although the viewer admires the final painting without seeing the original basemap,

But for professional painters, as long as they glance at the base map of a painting, the final appearance of the painting can already be imagined.

The basemap is a rough microcosm of what the artwork will look like in its final form, its original projection on the canvas.

If we compare the process of creating a painting to the process of a little girl growing up.

As the saying goes, three-year-olds look big, and eight-year-olds look old.

The draft is equivalent to the appearance of the painting when it was still a toddler, and it can be called a "beauty blank", or only a "mediocre posture", or a more miserable "hateful face", depending on the quality of the design.

however

After all, the sketch can only show the creator's ability to compose, and at most it will test the painter's sketching line skills.

The future of the work itself is still full of uncertainties, and there is the possibility of the eighteenth change of the female university.

If the technique is crude, even if you take the draft design composition of Raphael's "School of Athens", there are people who finish the painting, and the audience thinks that the painting is a monkey in a meeting.

Similarly

The Mona Lisa, a portrait painted by Leonardo da Vinci based on the pyramid structure of the standard of one board and one eye, can still be painted as a masterpiece without even any compositional creativity.

If you have a deep enough art appreciation,

Whether you're a gallery manager, an art critic, an art curator, or a veteran collector like Chen Shenglin, you're likely to be able to design a good draft.

But it's not possible to have a non-professional painter do the basemap.

The draft tests the design, and when it comes to the base drawing, it begins to test the artist's real painting skills.

The base map does not need to fill in the picture with exquisite and complicated details, but after drawing the base map, in addition to the sketch lines, the modeling structure, the ability to match colors, these most important elements of the work, are also really expressed.

It is equivalent to the age of graduating from junior high school in this painting, and the eyebrows, eyes and facial features have been finalized.

At the moment when the last stroke of the base map is completed, the final look and feel of the painting is basically formed.

Zhong Wuyan can't become Xia Yingchun, and Xia Yingchun can't become Zhong Wuyan.

Art can't do cosmetic surgery.

As long as the painter remains the same, the appearance of the finished product will fluctuate within a range at most, and where the upper and lower limits of the picture are, it can be judged that eight or nine are not far from ten.

Some art agents and gallery agents, after going to the studio to see the artist's semi-finished basemap, can already start to give the artist a formal offer for the acquisition contract at what price it will be sold at what price and what the market expects.

Just because the basemap is a projection of the final finished product,

Therefore, no matter what major shortcomings the final product has, all of them can be reflected when drawing the basemap.

Gu Weijing had previously tried to paint fusion paintings, and when he completed the painting "Good Luck Orphanage in the Sun", the first time he felt a "sense of separation" and "weirdness" appeared when he drew the base map.

The integration of line modeling and sketching techniques in traditional Chinese gongbi painting has different aesthetic methods and brush methods, one is simple and the other is complex.

The color concept of pigments is also different, one is heavy on the spirit, and the other is heavy on the form.

Anyone can say this kind of thing, but it's just a matter of paying lip service.

The objective differences between different cultural systems are like whales and sharks, they look like fish, but they are not the same species at all.

Fusion painting is known as Wu Guanzhong and Zao Wou-ki, a genre of painting that is "exclusive to everyone in art" who can casually sell their works for a small goal. Its difficulty and compulsion are reflected here.

theoretically

Gu Weijing, an art student of this age, wants to complete this kind of high-end painting, just like David challenges the giant Goliath.

His previous works had a terrible look.

However, on the third day of Shibe,

He now has the foundation of hundreds of line sketches, and he has Lang Shining's complete painting ideas.

Just put pen to paper,

Gu Weijing obviously noticed a completely different feeling from before.

Spring returns to the earth, the ice dissolves, and the drizzle washes away the dust and sand.

The hard work of the weeks paid off, all the obstacles were gone, and the dullness and irritability of the pen disappeared completely.

"And it did!"

As soon as he occupied the high point of the canvas and finished the outline of the statue of the Virgin, Gu Weijing's heart turned this thought and was secretly happy.

Be on the right path yourself.

Although Mr. Cao Xuan himself has not set foot in the field of fusion painting, the great master is the great master, and when he points out people, his vision is definitely vicious.

The idea of "line drawing sketch + Lang Shining's new style painting" has no problem at all.

It is indeed a broad road for beginners who want to try to express the concept of connecting China and the West on the canvas.

Line drawing can reduce the uneven changes of the sketch line into the white drawing of the fine brush.

The line drawing chapter of "New Style Painting" can combine the color science of Chinese painting and oil painting, through the combination of dots, lines, and surfaces, visual focus changes and colors, and the charm of Eastern and Western colors.

The pen and ink are in harmony and work as expected.

The tip of Gu Weijing's pen came with a light touch, like a fish returning to the water and a bird rising from the top of the mountain.

It's a whole new realm.

He washed the pen,

With a light dip in pearl white, I began to fill in the most basic tones for the statue of the Virgin.

"Boom!"

The rain knocked on the windows, and the light rain that lasted for a day arrived in the evening, not only did not have the slightest intention of convergence, but turned into a silver thread drifting down.

Zig-shaped lightning bolts rose and died above the head of the old church, and it was dark like a dark piece of iron, and there was no sunset or moonlight in sight.

Gu Weijing lit up a tungsten lamp in the small studio of the orphanage.

When Uncle Alai installed an anti-theft door in this small room, he troubled the construction team to install a portable engineering lamp with a battery to facilitate Gu Weijing's painting.

This is where it comes in handy.

When the first spring thunder rumbled from outside the window, Gu Weijing had just finished the last stroke of the base map.

The white statue of the Virgin, the swarthy janitor, the little children in the courtyard illuminated by the sun......

Gu Weijing's painting is very restrained, every time he finishes sketching the outline with a line drawing, he only lays out the basic chiaroscuro in the main scene, and uses the simplest brushwork to fill in the composition of the picture as much as possible.

But he still didn't draw the sketch quickly, and many lines had to be carefully considered before he put pen to paper.

This high-level painting method of fusion painting is still very complicated for Gu Weijing's experience level as a new professional painter, and he must paint carefully in order to control the collision of Chinese and Western cultures in his brushwork.

"How long has it been?"

He glanced at his watch, and it had taken him about two hours to get a basemap.

For the kind of oil painting village in Guangdong Province, one person can paint 2,000 Van Gogh's "Starry Sky" a year.

In two hours, if you use acrylic, you can paint a complete oil painting, which is framed. The painter of this painting speed is not even worthy of adding a chicken leg to dinner.

Even if it is an ordinary art student, if it is not a huge painting of a few meters, it will only take a few tens of minutes to make a base map on the draft.

Gu Weijing's painting speed is simply slow, like a snail.

But Gu Weijing was not in a hurry at all, he looked at the finished base map, imagined what the final picture would look like, and laughed silently.

The basemap on canvas has a delicate and delicate artistic balance, with the unique charm of the collision of two artistic styles in Eurasia.

If it is said,

His previous painting "Good Luck Orphanage in the Sun" was a tragedy that was shattered by the torrent of two different cultural aesthetics.

Then the manuscript in front of him is like a pair of invisible hands, fusing two ancient souls into a flowing Taiji Yin and Yang fish.

The painting ......

Lived!

Looking at the base map in front of him, Gu Weijing even had a sense of relaxation like a samurai putting his sword back into its sheath.

He looked at the time and sent a text message to his grandfather, Mr. Gu, explaining that he was going to paint and went home late, but he didn't continue to write on the base map.

He simply cleaned up the paint, and after making sure that the thin layer of paint on the manuscript had dried, he gently put on a dark plastic garbage bag to prevent dust from falling.

Then Gu Weijing walked to the window and stared at the scenery outside the window.

"Maybe today is a good opportunity to copy the Old Church on a Thunderstorm." Gu Weijing looked at the heavy rain outside the window, and a thought suddenly popped into his mind,

It rained heavily,

The only light in the heavens and the earth was the occasional lightning bolt that illuminated the earth, and the dark clouds were like flowing black tides, low and heavy overhead.

"That female painter Carol, back then, maybe she saw such a scene."

He thought for a moment, took out his phone, and sent a message. "Miss Katsuko? Why don't you come and paint together at night? ”

……

"That female painter Carol's predecessor, back then, maybe she saw such a scene, right?"

Such a thought crossed Sakai's mind.

She had just finished showering, dried her hair, wrapped in white silk pajamas, and walked out of the bathroom.

After a day of shopping, Mrs. Sakai returned victorious, carrying large bags of jewelry, and although her wallet was not shriveled, her body was clearly tired.

The lady was lying on the sofa bed in the living room of the suite, and the home theater in front of her was playing HBO's hit series "Dragon Family" this year, but the whole person was already asleep.

"Ugh."

Katsuko Sakai swept her mother's long breath and smiled.

The girl walked over and turned off the television, and found a blanket to cover Mrs. Sakai, but she did not feel sleepy.

She walked into her own bedroom and gently opened the window, the curtains swaying, and the cold wind and cool rain poured in through the window.

Katsuko Sakai likes rain, and artists always love rain.

Staring at the dark and rainy night always brings a huge and deep sweet sense of desolation to Miss Sakai.

Thunderstorms are like a unique symphony between heaven and earth, with a fresh breath far from the human track.

She easily unbuttoned her pajamas, opened the window to the maximum, lifted her white chin slightly, and stretched out her arms as if to embrace the rainy night, letting the nature outside the window drown herself.

From the back,

The wind ruffled the silk robes, and the smooth calves and nosebleed white curves loomed in the fleeting lightning.

If Coco sees this scene now, she will definitely feel that the bikini or something is still weak.

Even Paul Rubens, a representative of Baroqueism, who was known for his ability to depict the delicate skin and naked flesh of young girls, may not be able to capture this moment of style.

Katsuko Sakai felt the cold feeling of the wind sliding through the deepest part of her skin, and wanted to touch the feeling of the impressionist woman who bathed in the same wind and rain a hundred and fifty years ago.

Spiritual synaesthesia and soul communication with masters have always been Katsuko Sakai's weaknesses when copying paintings.

"He has very delicate techniques, but he only has pale and empty emotions."

This may be the sequelae of the most professional art skills training that I have experienced since I was born.

Renaissance Rousseau once argued,

The most sublimated state of an artist is to return to the "barbarian" who knows nothing, and to feel the original appearance of nature with a childish and innocent soul.

All the complicated techniques and acquired training will deplete the artist's ability to feel nature.

If it is too coincidental, it is charming, and if it is too complicated, it is vulgar, and there is a similar saying in oriental painting.

Of course, Katsuko Sakai could not and could not forget all the theories of art, and completely return to the mental state of the "noble barbarian" in the mouth of Rousseau, the master of the Enlightenment.

however

She felt that in the process of writing essays and discussing with Gu Weijing, and constantly discussing the aesthetic value and emotional expression of "The Old Church on a Thunderstorm Day",

Katsuko Sakai is increasingly able to withdraw from the cage of books and classes, those formulaic appreciative arguments and art theories, and gradually travel through time and enter the inner world of the female painter Carol.

"This feeling is so good, I don't know if Gu Jun is also watching the rain." She was a little distracted.

Just as Katsuko Sakai felt that she was feeling something, the phone at the bedside vibrated a few times.

(End of chapter)