Charcoal is rolled up in a conch-like pattern on the pillars of the eaves.

Gu Weijing quickly added structural details on top of the "scaffolding" he had already built.

With his current second-order sketching level, it is an exaggeration to say that he can draw the proportions of the internal skeleton of the building in the same way as the drawings produced by professional draftsmen in the 19th century with the help of drawing tools, and can be used directly to start work after painting.

Both are sketches, and the inner painting method pursued and the purpose of painting themselves are not quite the same.

However, it is not too difficult for his charcoal lines to show an orderly beauty on the surface of the linen canvas.

Hanks gradually felt the process of the birth of this beautiful attraction under Gu Weijing's pen.

At first, he had to be patient with the urge to make a comment.

Later, Gu Weijing painted faster and more finely, but the more Hanks looked, the more silent he became, but his eyes became as bright as two incandescent light bulbs.

Hanks was already surprised and didn't want to speak.

"His sketching skills...... It seems to have been raised again. ”

Hanks watched the vertical and horizontal trajectory of Gu Weijing's fingertip charcoal rod.

He was excited.

The master-level sketching level is also a strong person who is absolutely valued in the Mars Gallery and deserves to open a solo sketch exhibition.

This kind of painter is an excellent fertile land, willing to water marketing resources, and it is not strange that the flowers and fruits are fragrant for ten miles, and it is strange that there are no collectors who are interested.

Or rather.

Any painting that reaches the level of a master is a sweet spot in the eyes of the gallerist.

The so-called 10,000-hour rule is a field that a painter can only be called a master if he spends more than ten years or even decades in a certain field to be qualified to touch.

Unless you're a professional painter like George Burriman, who has studied drawing and human anatomy at the New York Art Association for most of his life.

It is impossible for an average painter to specialize in sketching for such a long time.

It's easier to study color than to hold on to boring black and white light and shadow.

Good sketches often make professionals orgasm, while good oil paintings and watercolors are more likely to attract the attention of ordinary audiences.

Therefore, the real master of sketching may not be found in the entire Mars Gallery with more than five fingers.

Hanks originally judged that Gu Weijing should be ranked around 250 in the history of Mars Gallery for pure sketching.

And then there are those who are engaged in avant-garde art and a few artists who are engaged in sculpture.

Now, Hanks recalls the general situation of the painters he came into contact with inside the gallery.

"The level of sketching in front of me can be regarded as excellent among young painters under the age of thirty-three in the gallery." He muttered in his heart.

Looking at the entire Mars Gallery, it's not a lag!

The Mars Gallery is one of the most famous galleries in the world.

The so-called "not bad" among the artists represented by the gallery of Mars can easily handle the position of a drawing professor in a small art university.

"That's great."

According to Hanks's habit, he subconsciously wants to pat himself on the back.

It's not a big sycophant, and his praise this time is definitely sincere.

When I signed the contract, I had already overestimated Gu Weijing's artistic level as much as possible, but I still underestimated it a little.

No wonder Monsieur Mars III thinks so highly of this young man.

I don't know how the big boss in southern France saw that his future potential was unlimited.

Before the words came out, Hanks remembered that Gu Weijing asked him to be quiet, and forcibly swallowed the words back in his mouth.

He was staring at Gu Weijing's canvas from the side, and his eyes didn't blink.

Gu Weijing finally completed the sketch.

He put down the soft charcoal pen in his hand, compared it with the original painting of Ms. Carroll in front of him, and thought about the real picture of the Good Luck Orphanage in his heart.

"The architectural structure is quite realistic."

He was still satisfied with the sketch in front of him.

In well-known paintings of oil, watercolor and drawing, the architectural structures that the viewer sees are usually divided into two categories.

One is the oblique and distorted buildings that are common in Monet's church paintings and Van Gogh's paintings.

It's a utopian emotional perspective that overrides the real world.

Everyone knows that twisted church spires do not conform to the physical structure.

They don't paint buildings, they paint the world as they see it.

The painter overlaps the intense emotional world of the individual with the patterns under the brush.

Your mind is depressed and distorted, and the world you write about is also depressed and distorted.

On the other hand, there are paintings in the realistic style that are based on the large number of manuscripts and architectural visions left behind by Menzel, Louis Buray and Gaudí, the most famous Spanish architect in history.

Their brains are like a sophisticated graphics computer, and the lines in their drawings are always precisely in line with the real world.

Whether it is the pattern on the fence, the shape of the fence, or the curvature of the dome, all of them perfectly match the wonderful light and shadow of nature.

Not a single point more.

Not a single point owed.

In these famous paintings in the museum, it seems that the painter has shifted the main axis of the architectural composition slightly, and the audience will be horrified to feel that the whole building in the work suddenly becomes unstable, and the next breath will tilt down, falling into rubble and dust.

There is an orderly beauty in their works, which belongs to the stability and solemnity of physics and Newton's laws.

Even though there are sometimes some unrealizable and unrealizable imaginary architectural drawings in such works, collectors will feel that if it takes a thousand years to hire a construction team like the sea, then those fantasy kingdoms like heaven on earth will really appear on earth.

Ms. Carroll's style of painting is biased towards the former, while the structure of the entire building is biased towards the latter's realism.

Her brushwork is very precise and rigorous, like an architect who is proficient in civil engineering.

In the composition of "The Old Church on a Thunderstorm", the thunderclouds in the distant background are unstable, the candlelight in the close background is ethereal, and the main body of the building is stable and solid.

Gu Weijing in the past two months, the continuous copying, the help of calligraphy and painting appraisal and the discussion process with Sakai Katsuko to write a thesis, gradually felt-

Ms. Carroll's composition neutralizes the three, with the boiling sea of thunder and the candlelight of the chant divided by a majestic religious building, and the composition seems to be shaped into a metaphor for some kind of sealed intense emotion and rebellious pleasure.

No matter how majestic the picture is, how the thunderclouds roll.

The ultimate image conveyed by the deepest level of the picture is still so warm.

"What kind of person is she?"

Gu Weijing put down the charcoal in his hand.

I thought casually as I took out an oil paintbrush and soaked it in a tube filled with turpentine to moisten the bristles.

What kind of life history do you have to go through in order to empathize with each complex inner emotion at the tip of the pen?

fortunately

Throw aside the metaphor of composition.

After improving his sketching skills, it was not as difficult as Gu Weijing imagined to complete such a complex architectural skeleton drawing.

His original spatial structure was very good, and now his proficiency in sketching has also increased.

There are two places in the Renaissance period, and it seems a bit condescending not to engage in architectural design of churches and palaces.

Completely a good seedling of an architect.

"If you want to know more about Ms. Carroll, you have to wait for the paper to be published in a journal and cause a lot of excitement in the academic community. I don't know if when the paper is published, it will sink into the sea, or if there will be some new harvest. ”

Gu Weijing pondered in front of the sketch for a while, then put away his nonsense, bent down and reached out to bring the palette, ready to adjust the pigment with thinner.

His body had just made such an intention.

A palette had been thoughtfully stuffed into his hand.

"Hmm......"

Hanks closed his mouth tightly and pointed to the palette and then to the canvas in front of him, and sighed softly.

Concentrate on drawing!

Just the sketch on the canvas has already made him look so good.

Hanks is now like an audience watching the movie gradually reach its climax, and can't wait for Gu Weijing to draw it quickly.

"It doesn't mean you can't say a word...... Forget it, I'll draw you to see that it's good for each other to be quiet and not disturb each other. ”

Gu Weijing complained.

He turned his head and picked up the oil paintbrush.

Gu Weijing began to slowly apply paint to the canvas.

The process of applying paint is the process of gradually covering the sketch with paint.

At this time, the sketch in front of him, which contains a lot of information, can save Gu Weijing a lot of trouble.

He only needs to use different brushstrokes and paints to express the changes in the color that have been designed in the lines and sections of the sketch.

He can have more energy, just like a carver polishes a plaster sculpture, and uses an oil brush to polish the details of the building more delicately.

"A little tight?"

Gu Weijing followed his previous painting habits, habitually painted two thunderclouds, and then stopped brushing.

It's not limited to line shapes.

The chiaroscuro in oil paintings, the relationship between light and dark sides, is no different from the painting method in sketches.

It is nothing more than the ups and downs of the shadows, the change of the relationship between light and dark, from black, white and gray to colorful oily mineral pigments.

When drawing a sketch.

Gu Weijing had already imagined in his mind the brightness and color when applying paint.

At this time, Gu Weijing found that the color of his paint tone was not a big problem, but the oil-based paint applied to the linen canvas was a little too thick.

The thunderclouds in front of me felt a little too dark.

Compared with before, after sketching reached the second level of the profession, Gu Weijing's sense of grasping the contrast of color and color difference was more keen, and he was no longer satisfied with this kind of perception.

"Huh?"

Hanks couldn't help but whimper.

He wondered why Gu Weijing suddenly didn't move after drawing two strokes.

Could it be that the sketch is too delicate and too ambitious, and as a result, it can't handle such complex details?

Hanks was not very optimistic about Gu Weijing's sketch sketch so finely just now.

No matter how good the architectural drawing design is, when the construction team starts construction, it is not in vain that there is no such architectural ability.

Hanks, however, did not have a sneering expression on his face.

Not to mention anything else, just by seeing this sketch, it was not in vain that he licked his face and pestle beside him when Gu Weijing was painting.

"The pen is a bit heavy, the paint is a bit thick, and the tone is too dark."

Gu Weijing explained softly.

Is it a dark tone?

Hanks glanced at Carroll's original painting, then at the canvas in front of Gu Weijing, and shook his head slightly.

The agent is not questioning Gu Weijing's judgment of the picture.

He himself didn't quite know whether Gu Weijing's judgment was correct.

After all, Hanks was just an assistant artist, not a well-known painter with exquisite painting skills.

Let him appreciate the overall effect of the two paintings or the larger details, which is better or worse, Hanks has no problem.

But it depends on whether the two strokes that have just been pointed out on the canvas are a little thicker.

He just didn't know where to start.

However, if the coating is thick, use an oil painting knife to shovel it off and re-coat it.

It's not a pen drawing that can't be modified, and it's not a big deal to shovel if you make a mistake.

The process of painting by the masters of oil painting often needs to be altered.

Gu Weijing picked up the oil painting knife next to him.

He chose an oil painting knife with a short knife surface and a wide knife surface, felt it, and gently pushed the oil painting knife over the surface of the paint that had just been painted and had not yet formed an oil film.

Gu Weijing adopted the flat knife usage of oil painting knife.

The flattening knife is not complicated in the technique of oil painting knives, in simple terms, it is to make the oil painting knife parallel to the surface of the canvas, and gently cut off a shallow layer of paint.

On the basis of this technique, Gu Weijing made a slight deformation.

He pushed the oil painting knife to the end of the pen mark, followed the touch of the flat knife, and gently raised the oil knife on its side.

With the feeling of painting the brushstrokes of the thunder clouds, he used an oil painting knife to shape the lines like flowing clouds on the side of the canvas.

When oil painters use oil painting knives to deal with unpainted brushwork, they usually directly shovel away and repaint, normally where the oil painting knife has a brush.

Even if some painters are able to use oil painting knives to shape shapes, it is a general feeling.

According to the letters of James Whistler and friends of the past, as well as the gossip that has circulated in some studios.

It is said that some real masters who use oil painting knives can clearly judge the thickness of the paint they scrape off.

They can accurately control themselves to scrape off only 1~2 mm thick surface pigment.

There are also many painters who think that this is just pure bragging.

After Gu Weijing obtained the legendary knife painting technique, he could really do this step, and even be more accurate.

You can wipe it however you want.

You can cut as fine as you want.

Gu Wei has experimented.

He can now even use an oil painting knife to gently rub away the surface of the paint and the air to remove the layer of oxide film that is as thin as a cicada's wing, and hardly affect the brightness of the paint.

In the eyes of other painters, who said that they could do this, it was like a joke.

When a technique proficiency reaches the highest level, the magic power it can bloom is intended to make ordinary people who have not reached the level of proficiency in this field feel unreal and unreal.

Historically, the oil-pouring man in the story of Practice Makes Perfect, and the axe-bearer in the story of Zhuangzi's mouth, who can cut off the lime on the tip of someone's nose with a giant axe without hurting the skin, all made others feel unbelievable.

Legend is originally the most outstanding leader in a field to be given an honorific title.

Whether you believe it or not, people can do it.

Compared with Gu Weijing's madness when he was painting the little prince, he used the back of the knife to press the oil paint to mix the colors, and a small repair of the overly thick paint was nothing.

"It's not...... This oil painting knife is a bit hanging. ”

Gu Weijing's "mediocre" technique.

Hanks already felt like he was joking.

"I'm very sorry. But you...... Did you ever offer a painting knife course in high school? "Hanks finally couldn't be quiet.

He can accept that he can't draw well, use an oil painting knife to shovel it and repaint, and he can accept that he can use an oil painting knife to make painstaking changes on the way.

It's just that this kind of simple lifting of weights is unacceptable to Hanks.

Hanks' hairs stood on end.

Hanks observed the oil painting knife touch on Gu Weijing's canvas, his vision was not enough to fully see all the wonders of Gu Weijing's oil painting knife, he could only see a rough idea.

This is probably scary enough.

The Impressionists often used impasto, using thicker pigments.

However, "impasto" is a relative concept based on the classical "thin coating method", not how exaggerated the thickness of the pigment is.

At most, it's only a few millimeters thick, and it's not as thick and creamy as when you draw with a knife.

When Gu Weijing first put down the pen, he did not dip it in too viscous and oily paint.

The brushstrokes on the surface of the canvas are only so shallow.

In Hanks's eyes, Gu Weijing's oil painting knife in his hand was just right, not only beating down a layer of oil paint, but also not revealing the primary color and fiber shading of the canvas at all.

It is maintained exactly at the amplitude that will pass through but does not really transmit light.

If this can be explained by chance, then this young man casually used an oil painting knife to decorate the delicate and fresh knife touch shape in the shape of thunderclouds on the surface of the canvas, which is completely familiar with the texture of the oil painting knife.

"I'm just more used to using an oil painting knife."

Gu Weijing said casually.

He didn't need to explain much.

Gu Weijing dared to paint like this in front of Hanks' eyes, and he was not afraid that others would be able to see that he was using a hand for his oil painting knife.

There are not many people in the world who use oil painting knives well, and it is not uncommon.

As for the depth of the legendary painting knife, it is not something that can be seen by wiping it twice with an oil painting knife when painting.

Even if Hanks sees the new version of "The Little Prince" in the future, it will be difficult to associate him with the detective cat because of an oil painting knife.

"It's really special for this bowl of rice."

Hanks closed his mouth again, and let out two uncontrollable snorts.

The facts are in front of him, and Hanks can't think of any other answer than talent.

Some are proficient in mathematics, some are proficient in music, and some are just dexterous hands.

There are thousands of people studying art in the world, and the representative artists who can be selected by Mars Gallery actually have more or less extraordinary places.

There's an artist in the gallery who uses his fingertips to paint pointillism.

Hanks also met another artist at the Standing Wood Gallery in New York, who had grown up without any special training, and whose left and right hands were equally delicate.

Now in Yangon, I see another young man who uses a good oil painting knife, and it is not difficult to accept.

The world's more sophisticated old-school art high schools may teach the shaping skills of the oil painting knife as a branch of painting in the oil painting class.

However, they have practiced to such a subtle level.

Hanks prefers to believe that it is naturally "born" rather than "learned".

Connoisseur, the level of this oil painting knife is definitely a connoisseur! I don't know if it's in the interior of the Mars Gallery, and it's also a connoisseur!

He looked at Gu Weijing with extremely complicated eyes.

Aside from making certain hard metal textures, Hanks didn't really think it was of much use to use a good oil painting knife.

It's like drawing a sketch where you can play with an eraser, it's completely useless, but it's also a bit of a frustration.

The plate drawn with a knife is too small, and after all, it is just a second-rate painting method that is difficult to practice and narrow.

The manager of the Mars Gallery has not thought about this at all.

He just felt that Gu Weijing in front of him was really a treasure boy.

Whenever Hanks thinks he has a general understanding of him, the other party is always like Doraemon's dimensional pocket, and he surprises himself with something new.

Hanks looked at Gu Weijing and sketching for a short while, and the oil painting technique was as outstanding as the sketch.

He raised his wrist to look at the hands on his watch, calculated the jet lag, and suddenly tiptoed out of the studio.

Hanks really just wanted to enjoy and identify Gu Weijing while he was painting.

It is best to make sure that the oil paintings that you have seen before are the normal average level of painting of this young man, and not a flash of inspiration that is difficult to replicate.

Hanks's heart is now firmly in his belly.

However, after experiencing such a "climax" creative process, Hanks could not suppress new ideas in his mind.

Hanks walked out of the studio, leaned against the wall, and pulled his phone out of his pocket to open a private phone number that had just been saved in the access book.

Poor to think about,

Lao Yang can easily call the phone number to the private mobile phones of bigwigs like Mars III and Gagoxuan, and it is almost unimpeded 24 hours a day.

And Hanks, a serious collateral relative of the same ancestor, was absolutely not qualified to have the connection of Mars III in the past.

The phone number in front of him was still stained with the light of this little painter in Yangon, and after staying up late in the hotel that day to make a work call, Mars III asked him to keep it.

If there is any new news or new changes worth paying attention to about this "Gu Weijing" young man - if necessary, Hanks can report directly to the big boss skipping grades.

Hanks didn't know what kind of news was worth the other party's personal attention in the eyes of the patriarch with a net worth of hundreds of millions of euros.

But in his heart,

When Gu Weijing was copying oil paintings, he showed a painting strength that was stronger than his original most optimistic estimate, which should belong to one kind of such news.

The big boss should be more than happy to know this kind of information, right?

"Sir, I have something ......" He didn't dare to call to disturb someone's vacation, but edited a text message.

(End of chapter)