Almighty painter

Chapter 926 Gu Weijing's Lines
Write big characters with a big brush.

Use a small pen to write small characters.

When Gu Weijing was a child, he held a pen and heard his grandfather tell him this trick.

When writing at the smallest details, use the force in your fingers, so that every detail is visible. When writing at the smallest details, use the force in your wrist, so that the strokes are smooth. When writing at the largest joints, use the force in your arms, so that the energy flows freely.

He had just been painting on the sand with a branch, outlining the veins of the branches and leaves of plants, and he had the feeling of holding a large brush and writing small characters.

The energy of the whole stroke is scattered and quite uncomfortable.

A true master of art can write small characters with a large brush.

There were also legends in ancient times about calligraphy masters who could hold a brush as big as a rafter and write tiny characters. Their handwriting was graceful and beautiful, and it was obvious that there was a lot of showmanship involved.

The sand is fine and soft, and the soil is sticky and shapeless.

Gu Weijing's pen control level is obviously not enough to use his upper arms to exert great force and still paint flexibly and lightly. Instead, he throws the "pen" down and paints directly with his fingers, using force at his fingertips to capture the delicate lines he wants.

“There’s less variety.”

Gu Weijing stared at the shape of a flower leaf on the sand.

The general shape is drawn.

Lack of spirit.

The unique color style of Impressionism is largely derived from the strong "movement" of the picture. The colors of good Impressionist works are not rigid on the canvas.

It will flow freely.

It has a "breathing feel".

Painters often emphasize the instantaneous nature of their works. Instead of blending colors evenly, they use small brushstrokes to mix them together in parallel, creating a mixed color effect and forming the visual characteristics of colors flowing in the air. For example, when Gu Weijing first attempted to copy "Old Church on a Thunderstorm", he spent a lot of energy trying to restore Carroll's color matching style of depicting the thunderclouds in the sky.

someone said.

The essence of Impressionism lies in color. Learning to observe the color of scenery abstractly and extracting it from its original form is what the Impressionist painters were doing.

Chinese painting is also an extremely dynamic way of painting.

Generation after generation of artists have been tirelessly capturing lines, and have raised their pursuit of the spirit of brushwork to an almost philosophical level.

One of the characteristics of rice paper is that the ink lines used to outline shapes are difficult to be completely covered up by colors.

So there are many situations.

It is not just a simple brushstroke or an ink line, it is also a carrier for describing the "heart".

The ink lines should be light, heavy, fast, slow, vigorous, or delicate.

The variations are endless.

In Gu Weijing's work in front of us, the shape of the leaves is roughly outlined, but the problem is that the painting is very stiff and mechanical.

There is no tension in the brushstrokes.

There is no change in "thick or thin".

It looks like a painting, but it still cannot be called a good work of art.

Sand painting is a specialized technique. You can use your fingers as a brush to draw a good Chinese painting on the sand... This thing itself is a false proposition. There is neither such a demand nor practical necessity.

Waiting to leave the island.

Then just take a pen and paper and start drawing.

Gu Weijing said this to himself in his heart, his eyes still fixed on the leaves on the sand in front of him, and on the shallow grooves in the sand made by his fingers, as if he was staring at a cracked puzzle piece.

Hazy.

He seemed to have caught something.

Tension is found in subtleties.

Drawing on the sand, an essentially meaningless act, brings about a unique aesthetic appeal.

It has no color, only the lines themselves are left.

From copying "Old Church in a Thunderstorm", to "Good Luck Orphanage in the Sunshine", to the painting "Human Noise".

Gu Weijing spent a lot of energy on colors.

How to blend, outline, and match each color tone.

How it should be mixed, how to use the principle of complementary colors, how to create the cotton-like texture of sunlight seeping in through the gaps in the curtains and through the mist.

All of the above are the questions he has thought about.

just now.

The ability to use colors is taken away in this place far away from all painting tools.

All that was presented before him were lines.

On the sand, the simplest and most unsophisticated structures are formed by the simplest and most unsophisticated lines.

There are no brushes, no rice paper, no pine soot ink, lampblack ink, ink sticks or ink.

No gamboge, carmine, titanium white or cyanine.

Nothing at all.

Just the lines themselves.

Gu Weijing seemed to be standing in a vast and empty wilderness, staring at the pattern in front of him in a trance, as if he was staring at the graffiti left by primitive people in the era of slash-and-burn agriculture.

I was in a trance for too long.

All the distracting thoughts in my mind and the lingering headache disappeared together.

He began to examine the lines in front of him with unprecedented calmness.

Only the smoothest, cleanest, clearest and most direct lines can capture the moment when he was holding firewood, standing in the shade of the trees, watching a drop of clear water reflecting the sunlight dripping from the gaps between the palm leaves.

He imagined how it would grow naturally with his breathing, how it would move like a snake, and how it would have the power to penetrate its entire body...

Gu Weijing thought for a moment.

He calmed down again.

He didn't want it to turn into a complete madcap fantasy.

The lines themselves should be full of details.

According to Gu Weijing's self-evaluation, he is talented, but not that talented.

In this line of work, he has at best upper-middle qualifications.

He could not naturally weave outstanding and precise lines in his mind, nor could he grasp the warm temperature like Van Gogh grasped the color simply by intuition.

Gu Weijing once again tried to draw the lines with his fingers, and this time, he drew very slowly.

The young man's fingers rubbed lightly on the sand, carefully controlling his strength.

This time.

At the beginning, his fingers kept shaking. It was the force gathering at his fingertips uncontrollably, and he felt awkward trying to achieve a gentle effect with great force, which was the opposite of the effect he was trying to achieve.

“Don’t feel the colors with your eyes, feel them with your body, with your touch, with your breath.”

suddenly.

He remembered what Ms. Anya from the Fruit Core Gallery had told him in the chat room.

Gu Weijing once specifically asked the other party for the trick of applying paint with fingers.

Don't use visuals.

Use your breath.

He suddenly discovered that this view is also deeply reflected in the techniques of writing with a brush, which is the so-called "qi".

Whether the force comes from the fingers, the wrist, or the arm.

You have to write it in one stroke and in one breath.

Whether you are using brushstrokes to depict colors or using brushstrokes to depict lines, many principles are the same, and many of these principles have already been stated by our predecessors.

The principles that the teacher tells you are just the teacher’s principles.

You need an opportunity.

After a certain moment of enlightenment, it will become your own truth... This is a common saying, but it is difficult to truly understand it.

Gu Weijing breathed softly.

As you exhale.

He slowly released the force from his wrist, allowing it to rotate and letting his fingers move naturally.

then.

The sand that was originally scattered and pushed away slowly became obedient and began to move diagonally along with Gu Weijing's fingers.

Right at this moment.

Gu Weijing heard the prompt on the system panel.

"Ding, congratulations, your painting miscellaneous technique "Finger painting method" has been upgraded from "average" to "excellent"."

Gu Weijing opened the system panel.

On the virtual panel, there are five categories at the top: Chinese painting, sketching, oil painting, gouache, and watercolor. Originally, the miscellaneous list at the bottom only had one item: palette knife painting.

Only when a miscellaneous technique reaches the "excellent" level or above will it be listed separately by the system.

Now, the skill bar for finger painting also appears under the painting knife.

Gu Weijing turned his head again to look at the new lines he had drawn.

not enough.

It's not enough.

The better the painting is, the more it highlights the impurities in the lines, those areas that are not round and perfect.

Gu Weijing's original line was just a pure line.

It was too empty and too boring, so empty that there was not even room for "impurities". Now it had a hint of life and was barely swimming on the sand, which made its crooked swimming even more prominent.

This is still not the line that young people want.

To achieve his goal, Gu Weijing needs more help.

Mortals want to capture the sun.

At least you need a crystal clear water drop to put it in. The sudden system prompt sound reminded Gu Weijing.

Gu Weijing directly opened the classification of Baiyishu.

The silver tree was still bare, with only a large branch painted with a palette knife. The "ordinary" level of finger painting method had originally made it just a young bud on the tree.

Now, it has risen from the "ordinary" level to the "excellent" level. In the eyes of others, it is already a very skilled painting skill. On the skill panel, it has only changed from a bud to a small branch.

It is to the knife-painting technique next to it as the branching willow twigs are to the rafters.

Gu Weijing clicked on the finger smearing method next to it.

"Do you choose to water the Art Tree? This watering will cost 1200 free experience points. The probability of this watering raising the finger painting technique from "Excellent" to "Legendary" is "15.3%"?"
-
Anna sat on the stone.

She took the skirt off the curtain and put it on her body, still thinking about Gu Weijing's exhibition, as if this was not a deserted island on the sea, but the art director's private office on the top floor of Oil Painting magazine, with velvet curtains, a large walnut desk, and a grand upright piano.

It's not the same.

As she sat in the offices of Oil Painting magazine, there were folders on her desk and in her work mailbox containing a hundred different art exhibitions.

There are special art exhibitions in the Metropolitan Museum of Art, large-scale personal exhibitions in the Louvre, and curatorial plans for a European national pavilion at the Venice Biennale...

Dazzling.

Anna usually only has time to browse a small portion of them.

This is related to the fact that she has only been the column manager of Oil Painting for a few months and has to take over a lot of work step by step. However, the most experienced, young and energetic art directors in history who work overtime can only browse a small part of it.

Every exhibition is important and every exhibition is significant.

The question is not which exhibition is more important.

The only question is which brand they want to "flip".

The job of the art director of Oil Painting is like that of a farmer. You have a huge and beautiful farm, but you only have one stomach. She can't pick and eat everything by herself, but the advantage is that she can pick a rose when she wants to, and a tulip when she wants to.

Even in the financial frenzy, when the tulip bubble was booming and tulips were sold at a higher price than gold.

She can also treat tulips as colorful kale, chopping them up and eating them with scrambled eggs.

Anna had never spent so much effort on a single flower or an art exhibition.

She has even thought about the public relations work related to the exhibition.

Public relations activities are an important part of art exhibitions nowadays. For those top exhibitions, relevant public relations activities have been fully launched six months or even before the official opening of the exhibition.

Place advertisements on streaming media, submit exhibition lists to various magazines and important art critics, and start soliciting articles and pages, from some professional art review media to non-professional financial media and even current affairs media.

From the New York Times to the Times, relevant contacts should be made.

Needless to say, Oil Painting magazine is the most important one among them.

Most of the invitations that filled Anna's mailbox came from such public relations teams.

Some more sophisticated people will even make a trailer or interview video specifically for an exhibition.

The intricacies here are very complicated.

Anna reached out and adjusted the sleeve of her skirt, thinking about the doorway in her mind.

The compatibility between the PR team and the exhibition will be the top priority in this process. When a hip-hop singer releases a new song, his agent finds a famous classical music conductor to write a review for you and help you get on the charts... Emm, of course, it doesn't mean that playing classical music is more advanced than playing hip-hop, it's definitely not, but the styles are very mismatched, and vice versa, even if it's good music, it may not satisfy both parties.

This is where the problem lies.

Every PR team, consultancy and marketing office in the art industry has its own exclusive client base.

There is a certain overlap in the customer profiles of classical art, modern art, and contemporary art, but there are also many differences.

"A PR team that fits the style of his work is important. The exhibition is in Abu Dhabi, so how about Alma Claudy's consulting company? I know she was in Dubai before..."

Anna went over the list of contacts in her mind.

Miss Elena always felt that Gu Weijing should continue to paint Impressionist works.

Different from the Ma Shi Gallery.

The Ma Shi Gallery proposed a plan and asked Gu Weijing to think about ideas around this plan.

Anna came up with an idea from Gu Weijing and then perfected the exhibition and related plans based on this idea.

She thought that Impressionism was very suitable for Gu Weijing's ideas, with its strong sense of movement and contrasting light and shadow effects.

"I was born to be an Impressionist," she thought.

And the facts have proved that he will definitely be able to draw very well.

However, it doesn’t matter if Gu Weijing wants to try other painting styles, after all, it is his first solo exhibition with the theme of self.

Simple fact.

A baby is not able to run steadily on the ground the first time he tries to walk.

Some people need half a year or even a year of practice.

For some it takes twenty years.

Anna straightened her clothes, picked up a branch, and walked out slowly.

When the woman walked out with wet hair, Gu Weijing was trying to touch those unique lines with his fingers.

(End of this chapter)