Gu Weijing was in high spirits.

He changed his brush and continued to paint the manuscript in a fluid manner.

The sky, the trees, the big locust tree and Uncle Alai under the locust tree.

The lines he uses to write are short and fast.

The complicated place is complicated, the streamlined is streamlined, and the gorgeous place is gorgeous.

Over time, different layers of color are superimposed on each other, and a great deal of detail is gradually filled on top of the linen canvas.

"The layering of the picture is pulled out at once, and the depth of field of the whole painting is also highlighted, as if a three-dimensional space has been established from a two-dimensional plane!"

Katsuko Sakai hugged her laptop and walked over to her boyfriend.

The lollipop in his mouth had long since been sucked, and Katsuko still couldn't help but gently bite the plastic lollipop in his mouth.

"That's great."

Before she knew it, she had been standing behind Gu Weijing for more than twenty minutes.

By four o'clock, Miss Sakai had already finished writing a simple reply letter to the editor.

Once the outline is listed, the response to the editor is very templated.

She quietly walked behind Gu Weijing with the computer, wanting to wait for Gu Jun to take a look when his painting was temporarily over.

After making sure that he had no problem with his wording, he submitted it to the aspects of Asian Art.

She went ahead and revised her paper.

As a result, for such a long time, Gu Weijing painted smoothly in one go, and there was no move to take a break.

Katsuko Sakai also stood not far behind him, without the intention of moving her steps.

The painting is not yet finished.

Katsuko already felt that this painting was fundamentally different from the series of "Good Luck Orphanage under the Sun" created by her previous boyfriend.

She felt the extraordinary appeal of the painting.

"What is it about this painting that attracts me? Is it the magnificence of the distant scenery, or the ever-changing splendor of the glow on the horizon? Is it the swaying of the layers of foliage on the trunk like waves, or the deep wrinkles and scars on the side of the janitor's face that look like mystical witchcraft symbols? Does it make me feel the comfort and tranquility of the afternoon sun, or can it make me feel the long-lasting freshness of spring? ”

Katsuko Sakai stood there with her computer in her arms and spent a long time, asking herself this question.

At last.

The girl came up with the answer in her heart -

Both.

The biggest difference between Gu Weijing's painting and the previous works is that there are differences everywhere.

The same base map, similar drawing method, but blooming a completely different look.

Sakai Katsuko stood there and watched Gu Weijing paint, feeling that his current appearance was very charming.

In addition to the clichés that the man who focuses on his work is the most handsome, it is already an extremely pleasing thing to watch a work that can penetrate people's hearts be born under the pen of a painter.

It's the same as food lovers, watching those food bloggers with tens of millions of fans on YouTube slap the steak tenderly and sweetly.

The girl stood still, watching Gu Weijing imprint the skylight outside the window into the texture of the linen canvas, never getting tired of looking at it, and not feeling tired at all.

It wasn't until Gu Weijing finished painting the texture on Uncle Alai's body, changed to a new pen, took half a step back, and unconsciously wanted to put the pen in his mouth again.

The girl frowned unhappily.

……

"Gu Jun, this painting is so different from those previous works."

Gu Weijing heard Shengzi's voice behind him, his hand was empty, and the pen in his mouth was taken away.

"Open your mouth."

Miss Sakai walked over and held out a peeled lollipop and prepared to feed it.

"Sorry, I forgot, I won't eat the lollipop, I'll pay attention next time, the pen is clean." Gu Weijing found that Shengzi was next to him and grabbed him.

I had to shake my head embarrassedly.

Gu Weijing always felt that at this age, like Jasmine, eating lollipops seemed a bit naïve.

"No, open your mouth, you have to form a new muscle memory, or you'll always have a good time drawing and take the unwashed brush in it."

Miss Sakai's stubborn look on her face at the moment was quite a bit like the demeanor of her mother when she caught Uncle Sakai secretly eating barbecue, and said in an unquestionable tone: "Open your mouth, ah...... If you don't like lollipops, I'll switch to fresh lemons next time and choose for yourself. ”

"It's still a lollipop." Gu Weijing saw that he had no choice, so he had to be obedient.

"Good. Licking the pigment is easy to fall out of the hair. Let's break this bad habit together. ”

After Katsuko Sakai successfully stuffed the lollipop into Gu Weijing's mouth, she nodded with satisfaction, raised her arm, and touched his hair.

"Is the email ready?"

Gu Weijing looked at the computer that Shengzi was holding.

The girl nodded.

"It doesn't matter, I'll talk about that later, at dinner. I really shouldn't bother to ask you to go with me to write some paper at noon. You're right, Gu Jun, you're in really good shape today, and your paintings are also very beautiful. ”

Katsuko looked at the sketch in front of her and said to herself.

"Sunlight from the diagonal top of the picture, through the clouds, through the blue sky, through the shadows of the trees, directs the viewer's gaze to the face of Uncle Alley in the center of the picture. Completed the process of entering the screen. ”

Then he pointed to the little girl who was washing her hair through Uncle Alay's eyes.

"Finally, through the body movement of Jasmine pointing to the statue of the Virgin, the eye returns from the shadow in the shadow on the right side of the picture to the high point of the composition, forming a triangular circular appreciation loop."

Miss Sakai stood by the easel, pondered for a moment, nodded and shook her head.

"Gu Jun, I know your painting ideas well, and the same is true of those previous drawings, but the light of this work is so vibrant, is it a problem of color grading? Teach me well. ”

Katsuko Sakai has an expression full of curiosity.

She saw the mystery of the light in the painting at a glance.

Gu Weijing's painting is a fusion painting, and her "Girl Reading Poetry for Cats" is a serious orthodox impressionist work.

Katsuko's heart is not itching, as if a cat is scratching, that is strange.

Gu Weijing was silent for a moment.

He is happy to share his painting experience with his girlfriend, but his experience is very mysterious, and he is thinking about how to express it more precisely.

"I'm drawing apples."

He thought for a minute, and finally came up with what he thought was the most accurate generalization.

"Draw apples?"

Thinking that she had misheard, Katsuko blinked her eyes several times with a blank expression.

"That's right, it's to draw apples. This is what Professor Lin Tao told me when I was in class on WeChat some time ago. ”

Gu Weijing nodded seriously.

At first, he just noticed a nice change in the sky.

The more you draw.

The more he figured out the flavor.

When Professor Lin Tao was in class, he talked about the philosophy of painting, and said that the previous master once said that governing a big country is like cooking small fresh, and painting ink landscapes is also like painting apples.

"The apple seller has seen countless apples every day, so when he looks at an apple, whether it is beautiful or ugly, he can already look at it indifferently, and when a child sees an apple, he may swallow his saliva, but if the apple is too green, or it is moth-eaten, he feels disgusted, and it is not known. Only the painter's attitude towards apples is different. ”

Gu Weijing stared at the easel in front of him, slowly decomposing while working on the paint on the palette.

"Katsuko, we studied art like this, and we have drawn a lot of apples in modeling classes since we were young, right?"

"Hmm. Some are real apples, and many more are waxy, plastic fruit models. ”

Katsuko Sakai nodded, apples, oranges, wine glasses and so on, it can almost be said that it is the most familiar thing when art students practice sketching.

"Professor Lin Tao told me that in all professions, painters have a different mentality when they look at apples when they sketch, they don't sell them, so like hawkers who care about its varieties and can't eat it, so like gluttonous children who care about whether it's sour or not. When the painter sees the apple, he should look at it solemnly, and we only care about its own beauty. ”

"An outstanding great painter, even if there is only a rotten apple in front of him, must be calm, distracting thoughts, with a humble attitude, a pious gesture, to observe it as a rare phenomenon that has never been seen before, to describe the dust on its branches and leaves, the reflection on the plate, the gradient color on the insect eye, the immature green texture."

"When you look at the world through a microscopic eye, you can always see beauty that you haven't noticed before. When one is quiet enough to find infinite beauty in a rotten apple, the door to a new world opens to you. ”

"You will find that the beauty of nature is hidden in all aspects of the world, in apples, in vases of flowers, in yards and fields, the infinite world is hidden in infinite pigments, infinite beauty. Ink freehand is like this. ”

Gu Weijing looked at the sky outside the window.

"Even if one day you paint a dome painting for Sistine Cathedral, you should have the mentality of painting an apple, this is Professor Lin Tao's apple philosophy, and I am now beginning to understand what Professor Lin Tao is talking about."

"Another point is that I can feel the progress of my painting skills, my mentality determines the upper limit of my work, and my painting skill determines the lower limit of my work."

It is indeed difficult to skillfully combine different genres of painting from the technical level.

Unless......

Like Gu Weijing, all of them have reached the level of the second level of the profession, and they will feel relaxed and freehand.

The second order of the profession doesn't look very powerful, at least not that powerful.

Tang Ning was already a master when he was in his twenties, while Katsuko Sakai did not have a system, and the longboard in the painting technique still reached this level of evaluation.

In the selection of the past exhibitions of the master group on the official website of the Singapore Art Exhibition, there are even second-order professional painters walking around.

In fact.

This is the classic survivorship bias.

Not to mention Tang Ning and Sakai Katsuko, both belong to the typical example of painting and life.

Who said that if Dad and Master are top artists, they are not living plug-ins?

An auxiliary system for painting experience points and a nine-figure knife for the birth daddy, two choices are placed on the Internet for people to vote for.

Seriously, it's not necessarily who wins, okay!

With Menzel's sketching skills, did Gu Weijing also sell $10 illustrations online part-time to make extra money?

Whether a painter can become famous or not, technique is only a part, not all.

As for the Singapore International Biennale, a project like a cultural business card of a developed country, it is not surprising to say that the second order of the profession is just like talking about the 650 score in the college entrance examination on the campus in Qingbei, which is unreasonable and arrogant for ordinary people.

Whoever holds a work of such a level of skill and gives it to Gu Tongxiang as the backbone of a small gallery opened in a small city, and has spent half his life at the first-order level of his profession, if there is no accident, he will continue to stay at the first-order level of the old painter for a long time.

It means that this level is commonplace, and you can draw it casually.

Old man Gu smiled on his lips, and he must have been so angry in his heart that he wanted to jump over and bite your nose.

It's so humiliating!

In the entire circle of art students, the level line of the second order of the profession is the big filter.

The career entry fights hard, and the master enters to see the talent.

The vast majority of art students who are willing to work hard have a chance as long as they are willing to invest time and energy to reach the level of Lv.4 career level.

Therefore, it is not uncommon for painters of the first order of their profession to be found in the world of artists.

Even Mrs. Sakai doesn't look down on Mona's talent at all.

As long as the president of the girls' student union is willing to work hard for a long time, maybe at the age of twenty-eight or nine, or thirty-five or sixteen, there will always be a day when she can reach the professional level.

Of course.

In this process, whether he starves to death because he can't make money, or can't persevere, he changes careers early and gives up the profession of a pure painter, that's another matter.

To put it mildly, perhaps politically incorrect, the life of an artist is not for the poor.

Among the groups of female art lovers in Europe and the United States, the proportion of housewives in the wealthy class is very high. Since the nineteenth century, white ladies in the families of farmers, industrialists, lawyers, and doctors have not only loved to paint, but also the main force in the portraits of women consumed by galleries and painting tool dealers.

It's because they have leisure, time, and money, and they don't really want to make money by painting.

It's just an artistic hobby that cultivates sentiment.

With these three elements, the threshold of art is much lower than that of ordinary people.

From the point of view of pen proficiency, these housewives are often not too low, and even better than many professional painters engaged in avant-garde art, which is a common thing.

Mona regarded this kind of life as an ideal early on, and she also had a very clear and definite positioning plan for life, which is a typical assertive model.

Masters are the opposite, and when many art academy professors teach, they like to compare masters with top athletes, telling everyone that they want to cultivate master painters.

The key is not how to teach, but how to find him.

If you are born with this talent and this understanding, you will be able to eat this bowl of rice.

If you don't have enough painting talent and creative spirituality, just like many people are destined to not have the opportunity to run 9.6 seconds in the 100 meters, you can't become Bolt, and you can't become a master of painting.

(End of chapter)