Chapter 19 Mission Completion (Two-in-one)

Author: Apricot and Pear

Chapter 19 Mission Completion (Two-in-one)

"Tangmasa, do you think what he said makes sense?"

Sakai Ichina turned his gaze to his son.

Sakai Tsunata had no idea that there was still something he had about here, and he suddenly became nervous.

“Uh, uh…”

He hesitated.

"I see that all the petals of your lotus have been painted in color. Obviously, Tsunaga, you don't think this is a problem, so why don't you answer his concerns for your companion?"

Uncle Sakai did not let him go because Sakai Tsunamasaki looked very embarrassed.

He asked, "Is Gu Weijing wrong, or is there a problem when designing this draft? Should the painting be color 2 or 3?"

Sakai Tsunamasaki seemed even hesitant.

The work of the whole morning had already brought his brain into a state of mechanical numb assembly line.

He painted the same way he wrote the manuscript. He never thought about the insignificant problem of the color of the lotus stamens.

What dark and light color should the stamen be?

This question has its own opinions.

Perhaps what Gu Weijing said makes sense, but these experienced old painters generally won’t make mistakes.

etc.

He had some impression of the author of this manuscript.

Sakai Tsunamasaki's eyes swept the paper from the corner of Tsunamasaki's eyes and saw the painter's name indicated at the corner of the No.9 mural - Ichisei Sakai.

The draft of this painting was painted by my father, and the paint marks on it were also determined by my father.

Sakai Tsunamasaki immediately felt confident.

My father has the foundation of painting Ukiyo-e.

In the traditional sense, Ukiyo-e originated from the Sui Dynasty. It was popular during the Edo period and was more influenced by Western painting schools than Chinese paintings. In order to ensure the effect of batch copying of woodblock printing, the control of pigments has reached a harsh level.

Although the most original Ukiyo-e school had come to an end in the early 20th century, painters now generally learn from variations and the [Post-Impressionism] school of painting that absorbed some of the essence of Ukiyo-e.

But Ichina Sakai is still famous among his generation of painters for his sensitivity to pigments.

Sakai Tsunamasaki doesn't think his father will have problems with this kind of thing.

“It should be number 3.”

"When you draw lotus stamens normally, you should use number 3 beige?"

Uncle Sakai confirmed.

"Yes, you should use No. 3 beige."

He answered firmly.

"well……"

Hearing the familiar sigh, Tsunamasa Sakai's heart immediately sank.

"You have a sharp eye, right, but also wrong."

Sakai Ichina completely ignored his son and turned his attention to Gu Weijing.

"For better contrast, dark pigments or even gold powder will be used, but..."

"Is this an abnormal situation?"

Gu Weijing captured the aggravated word "normal" in Uncle Sakai's mouth.

Professor Ichise Sakai nodded.

“Because it’s a mural.”

He explained: "The base of the mural here uses chalk earth powder. The white and evil earth powder is relatively weaker than the silk or raw primitive used in Chinese paintings. The water quality is relatively weak, and more importantly, the chalk earth made of chalk earth yellow."

"Well...is it? The adobe on the wall turns yellow and can neutralize light-transmitting pigments."

Gu Weijing nodded in admiration.

As long as you work hard and help these experienced artists, you will always learn new things.

"Come and color this lotus."

Sakai Ichizuki signaled.

Gu Weijing turned his head and looked at Uncle Sakai, and found that the other party had no intention of leaving at all.

"Do you want to give yourself some advice on the spot?"

He was surprised that he could give such an artist himself guidance, but he personally passed on the treatment of his disciples.

Although Uncle Sakai is named at Tama Academy of Fine Arts, this is the same as the signboard of an academician or academic bull in the Polytechnic University.

The school provides such professors with delicious food and drinks, for fear of being snatched away by other art academies.

Whether you want to take a student depends entirely on his personal mood.

The other party is willing to give me some advice here, but I have nothing left to do with the popular knowledge payment projects like the master classes that sell 69998 online.

He immediately adjusted the paint and picked up the pen.

Gu Weijing gently rotated the brush around the color block, sweeping the light pink pigment around the surroundings.

This brushwork is called Oran, because the coloring is darker, and it is usually on the red glow of the cheeks or the back roots of the petals or using this kind of brushwork.

"When you transition to the front end of the lotus petal, it is converted from erotic to silk-tie pulling method."

Sakai Ichizu teaches on the side.

"Silk-tugging method?"

Gu Wei paused for a moment.

The silk-tugging method is often used to deal with the outline of bird feathers, and it is rare on flowers.

"Yes, it's the thread-tugging method."

Sakai Ichizu said, "You will know if you do it in practice."

Gu Weijing gently lifted the pen and changed the position where the pen tip and the wall contacted.

It's indeed different.

He found that compared with the previous large-scale opening and closing style, the color of the dragonfly is slightly more delicate, especially the narrowing of the petals is more advantageous.

【Experience value +5】

【Experience value +7】

【Experience value +9】

A series of tips on the growth of experience are constantly emerging.

Gu Weijing understood a little bit why Sakai Katsuko's painting skills were so exaggerated.

This feeling of being cared for by master artists is indeed obvious to a person's painting skills.

He was really envious.

What Gu Weijing didn't know was that while watching Sakai Ichiseki, he also liked his understanding and hard work.

Artists like students who are attentive and aura.

For example, Gu Weijing's previous confusion about pigments was obviously the result of his careful consideration.

The most important gap between a genius and a mediocre person is just like this.

Sakai Tsunamasaki's talent is not bad at all.

Compared to Shengzi, what he lacks is this patience and meticulousness, and he himself is not aware of it.

Gu Weijing was able to find the problem, but he was already more than a little better than his son. This gap in mentality is more difficult to make up for than the length of his temporary painting skills.

"I wish he was my son."

"well."

He looked at Gu Weijing, then looked at Sakai Tsunata on the side, sighed heavily again, instructed Gu Weijing a few words, and then rolled away to the side.

Looking at the father's back as he was gone, Sakai Tsunamasa, who was ignored, felt even more sore in his arms holding the drawing board.

Soon, after Gu Weijing completed the seventeen petals of this lotus picture, the experience value panel in front of him came to [Chinese Painting: Introduction (100/100)]

Gu Weijing held his breath and carefully used the tip of the pen to draw the last stamen on the wall.

It's like the finishing touch.
To be continued...