Gu Weijing was distracted for a moment before he remembered.

When he meditated.

The time given by the system is still passing by minute and second.

Gu Weijing immediately opened the panel and suspended the active skill.

The skill time in the real-world remarks column is changed to [916s/1000s].

He drew the whole cloud too fast.

At best, it only took about 10 seconds, and the remaining more than a minute was spent in Gu Weijing's shocked taste.

"It's a good skill, but it's a little less time allotted."

Gu Weijing was a little distressed in an instant.

In the past, Menzel's basic painting technique could be used for half an hour every day.

The system claims that this [real skill] is an all-round upper-level coverage of the old skill, but the use time has been reduced by almost half.

1000 seconds of time, if all used to draw sketches.

The length is not too large, and the fingertips of the painting are sparkling, which will be enough.

Art students do not ask for details, they do not ask for facial contours, they do not ask for aesthetic expression, they only ask for grasping thick lips, high cheekbones, and deep eye sockets...... and other main features of the characters.

And put these things together on paper as much as possible to look like a person.

This type of test-taking sketch during school will be strictly required to be limited to 15 minutes.

Art universities all have such entrance exam requirements.

The entrance examination requirements for the Dongxia Art Examination, the AP in North America, and the Tama Art University in Japan are all very different.

Don't think it's easy.

It's time that matters.

Take the art exam as an example.

In some populous provinces in Eastern Xia, there are about 50,000 art candidates per session.

Every year, there are only about 2,000 candidates who can complete this requirement on time, with a total score of 250 points in the three sketch subjects, and an average score of more than 84 points in each subject.

Only 4% of students were able to do so.

Gu Weijing is one of them, his talent is relatively good, and he works hard enough to reach the overall average of outstanding students.

In the past, he would try to give himself an overall margin of one or two minutes in similar exams.

Excluding the delicate expression of the hair, the time spent just drawing the facial features is strictly controlled within 100 seconds.

Replace it with a watercolor painting.

It is not a simple expression of color contrast with colored pencils, but a watercolor painting that truly brings out the strengths and delicate techniques of watercolor.

100 seconds is a joke.

1000 seconds may not be really good at drawing.

The practice time given by the system every day is still a little shabby for watercolor painting.

Watercolor is one of the most serious painting methods commonly used by Western painters, and it is far more convenient than oil painting.

It's even more convenient than acrylic.

It's just that the line drawing requires a little more precision and delicateness.

However, this "fast" is aimed at serious painting methods, which often take two or three days, two or three weeks, two or three months.

How fast can a delicate watercolor painting go?

Legend has it that Andrew Wyth, who was awarded the Medal of Honor by three consecutive U.S. presidents, was a watercolor sketcher in the field, and at his peak he was able to paint an excellent watercolor practice in 35 minutes on average.

He's not the fastest, but he's already a prolific master of the tentacle monster type that people talk about.

And the painting is slow.

That's not the score.

Like Wattle, he is inclined to photographic formalism and loves to paint European cityscapes, so that whenever the Dulwich sketch teacher mentions it, he will see his idol - Charles Villeneuve, a top French watercolor painter, who is a typical example of slow work.

The master of the family will sell five or six pictures through the gallery all year round.

He mentioned in media interviews that each painting is very energy-consuming, and sometimes it takes a whole quarter to polish a painting.

That's the kind of thing you do.

Can listen to half of it.

Gu Weijing quietly felt in his heart that the interview should be a little watery, probably a gimmick to control the amount of market supply.

A pair of oil paintings are painted every day, and it is not surprising that the painting can be painted slowly for a month.

However, watercolor painting is actually a kind of delicate pigment on paper, like a very thin porcelain teacup, beautiful and fragile, difficult to care for, and the oil paint is solid without paste.

Oil paintings are placed in the studio for dozens of days and 100 days, and there is no problem at all.

The watercolor is not carefully handled and maintained, and after a month of placing it on the workbench, the underlying color will crack halfway through the painting.

Again.

How to thicken and weight the watercolor paper, the essence is also paper rather than cloth, every day to brush layer by layer, no matter how expensive the paper can not stand.

It is likely that the master said that it was carefully conceived, changed drafts several times, tried a lot of painting methods, and finally put it in the gallery.

And not really draw time on a piece of paper.

Painting seventy or eighty days is unlikely.

It's not uncommon for a larger-sized watercolor to take seven or eight hours of continuous drawing.

It doesn't have to be shorter than an impasto painting.

Andrew Wyth's watercolor works of dozens of minutes are mostly the kind of watercolor exercise books that are 16 open.

That is, it is a smaller size than A4 paper.

It is a kind of drawing practice and material accumulation at your fingertips.

It's not suitable for real competitions or exhibitions.

Just think about the Mona Lisa.

In fact, the Mona Lisa is a relatively small work, only half a meter wide.

Every year, the Louvre receives a lot of complaints from tourists because the size of the Mona Lisa is so small.

Take the safe distance required by the Louvre and bulletproof glass.

I can't look very closely.

Queue for two hours in front of the dedicated exhibition hall, then stand in front of the small picture frame for three seconds before being confused by the visitors behind you.

But "Mona Lisa" is no matter how small.

The portrait that Leonardo da Vinci sold to Mrs. Florentine was six or seven times larger than the size of a 16-carat watercolor exercise book.

Similar to the Magic City Biennale and other more tolerant, very international art exhibitions.

In principle, they do not have much restriction on the minimum size of the submitted work.

If the exhibitor has absolute confidence in himself, or in the eyesight of the audience and the judges.

It is not impossible for you to make a short and concise "Nuclear Boat Story" with a fingernail cover as a sculpture category creation, and submit it to the organizing committee.

It's one thing to let you not contribute, anyway.

Whether it can be exhibited or won is another matter.

Objectively, large-size works always have an advantage over small-sized works.

People's strange genetic nature is to like all kinds of occasions than size.

Modern Eastern and Western painters are painting bigger and bigger, which is the mainstream trend of the development of the world's art trend.

Since ancient times, Chinese paintings have been valued according to the square foot, and the bigger the size, the more valuable they are.

And the most classic example in the field of auctions.

Monet's "Water Lilies" series was not so high in terms of tone, style, and painting time when it was advertised to collectors, and buyers did not understand it.

Just a simple and rough hard standard that can be used all over the world -

"Uncle, the bigger our size, the harder the price, the better this painting will be, add another 10 million?"

It's not all a trick to fool people into paying for it.

There are difficulties in drawing big and small.

Anyway, the bigger the painting, the more difficult it is for the overall temperament of the painting to be mellow and consistent.

The longer you draw, the more likely you are to go wrong.

Once a master at the top of the Hurun Artist Rich List in Eastern Xia, one of his high-quality large-scale realistic oil paintings worth six million US dollars was painted for a long time, and when it was about to be completed, it was ignored by the students in the studio, and a sneaker big foot stepped on it.

It is not a big problem to be able to draw a big picture.

There is no merit and hard work.

Both the judges and the audience will be more or less inclined to give some impression points.

Naturally, you can't go too far.

Many biennials are worried that some painters want to become famous, and take advantage of this loophole, and there is no requirement for the minimum size of the submitted works, but a requirement for the upper limit.

Do you want to submit a super large painting that is more than 3 meters × 4 meters in size?

Excuse me.

It's not that you won't be allowed to vote, you have to contact the organizing committee separately and ask for consent and permission.

FOR EXAMPLE, THE SINGAPORE BIENNALE AND THE YOKOHAMA TRIENNIAL ART EXHIBITION, THE STARTING REQUIREMENT FOR THE PAINTING CATEGORY IS THAT THE LENGTH AND WIDTH ARE ABOVE 40CM*40CM.

This is the hard bottom line for a large number of public exhibitions.

Below this size, even if it is 16×20 inches, this kind of art students are quite common to come into contact with small-scale oil paintings, sorry, the painting is heaven-shattering, people don't want it at all.

and medium-sized watercolor.

Just to be on the safe side.

If it is completely smooth, it is more appropriate to leave enough time for one and a half to two hours to finish the painting in one go.

Emphasis on finishing the painting in one sitting.

It is also because watercolor and ink freehand painting are representative painting methods using water as the medium in the field of Eastern and Western paintings, respectively.

The connotations and philosophical ideas they express, the principles of perspective, are completely different.

But many things in the underlying techniques also have a slight similarity to the same destination.

Excellent watercolor is quite elaborate and done in one go.

The metaphysical saying is that after painting in the east for a while and painting in the west for a while, the spirit and spirit will be completely broken, like a chopped earthworm, which cannot be smoothly penetrated.

Scattered earthworms can't survive.

The paintings whose spirit and spirit have been cut to pieces have lost their vitality and sense of agility, and they can only fall into the inferior.

A more straightforward explanation is determined by the characteristics of water-soluble pigments, except that because watercolor colors are difficult to serve, and the old paintings are easy to crack when they are dry, dry and wet.

Each blend of pigment is unique, with different humidity on the paper, different pigment combinations and brush strokes, which will form a unique pen mark.

There is no such thing as "one go" in Western painters.

There is a similar term in Dulwich College textbooks called "Magic Timing".

The literal translation is called magic timing, which means that after the first contact with the surface of the water, the surface of the paper is moist enough and does not dry to the point where it is flat (reflective when direct sunlight shines).

This is the moment to make the perfect magic of the paint.

Many titles only have one magic opportunity.

If a sea of clouds is only half smeared, and it has dried up overnight, continue to finish the rest of the painting...... Well, to be reasonable, it's not that mysterious.

To be honest, as long as your drawing skills are good enough to reach a similarity of 90 points, it is not difficult at all to make the average audience almost unrecognizable.

95, 96, 97 points.

You can do it all.

As for whether the humidity of the paper and the feeling of the paint can be achieved by 100 points, it is perfectly integrated into one, without any feeling of condensation.

That's hard to tell.

Most painters, in fact, still hope to paint 100 points.

And Gu Weijing took advantage of the residual ink left by the previous smudging, and took advantage of the situation to coat the pages of the paper with a layer of fluffy and hazy feeling of large vapor particles reflecting the super bullish operation.

It is also extremely important to have the coherence of the whole picture.

Clouds are just a simple example, the surface of the sea of clouds, the bottom of the canopy, the canopy and the buildings, the ripples of the water, the silhouette between the ripples...... In general, the same principle is followed.

Realistic paintings are known as frozen time.

You can't step into the same river with two feet.

Even if you want to freeze and condense all the world's domains into your work in an instant, then you better finish painting in one go, and don't let yourself be out of the state of mind at the very beginning.

And that's just the reason for the overall temperament of the work.

Some of the special brushstrokes of the wet painting method, dip the point to absorb the color, sprinkle the salt method, under the control of a certain pigment humidity, use salt grains to make a unique salt flower texture...... These are simply physical constraints, and it's best to draw them all in one sitting.

Salt, sponge, adhesive tape, white liquid, white night, toothbrush, scissors, oil painting knife, etc.

Some watercolor painting methods are quite complicated in order to create a single brushstroke texture.

Professor Wattel described it as "artistic alchemy", and Gu Weijing, a little alchemist, had a hard time boiling the "potion" with green bubbles in the stove halfway through, coming back to sleep, and waiting for the cooldown time to refresh, and then stretching and yawning to relight the fire.

Then it would no longer be artistic alchemy.

The exquisite chef stews a big bone broth, and no one stews it like that.

"Every inch is every second."

Gu Weijing stared at the numbers on the panel and sighed softly.

The countdown on the system panel is not numbers, but jingle money.

1000 seconds is not enough.

The only good news.

The system also seems to know that this time can be used for watercolor practice, and it is too embarrassing to use it for serious creation.

Therefore, the hard limit of only 30 minutes per 24 hours has been removed, and if Gu Weijing is rich enough, he can redeem it himself.

You can use it for as long as you want.

But when I think of the skill exchange ratio of the Black Heart system.

Gu Weijing's indifference to money is usually a burst of liver trembling.

Experience points and skill exchange time, the system can be a 1:1 exchange ratio.

It's ten dollars a second, six hundred dollars a minute, thirty-six thousand dollars an hour, a million dollars a day, and $320 million a year.

This gold-swallowing speed has successfully surpassed Ronaldo's money-making speed at his peak.

That's an exaggeration.

But even if Gu Weijing only used two extra hours, from the drafting to the completion, to paint a perfect watercolor realistic painting, 72,000 dollars would have been burned.

The time spent on painting watercolor is a fraction of that of oil painting, and the price is also much lower than that of oil painting.

(End of chapter)