The Versatile Master Artist

As expected, achieving this level is definitely not easy.

If the drawing is not done well, the various sketch lines on the final draft will make the picture increasingly chaotic, making it more frustrating once you start painting.

It’s like assembling a LEGO toy, the same Death Star-themed model, one with three hundred pieces, the other with three thousand pieces.

In the eyes of experts, the more pieces there are, the more complex the structure, the more refined and detailed the final effect.

But ordinary people, looking at such a huge pile of tiny parts, would give up and return it, not even having the courage to continue piecing it together.

Forcing it together is a situation of missing a piece here, having one too many there, all in a flurry.

Such intricate sketch drafts are seldom seen in imitation.

Imitation often just requires capturing the general outline, but what Gu Weijing does seems more like completely breaking down the painting in front of him and recreating it from scratch.

Hanks glanced at Gu Weijing.

Is he really that confident in his sketching ability, or is he just trying to show off in front of him?

Hopefully, this won’t turn out to be a case of gilding the lily and messing it up.

Gu Weijing looked at Hanks, reminding him once again, "Please be quiet."

"There won’t be a next time."

Hanks patted his own mouth, seriously staring at the canvas in front of the young man.

No matter how well or poorly Gu Weijing paints next, his curiosity has already been sufficiently piqued by the other.

Gu Weijing continued to focus his attention on the canvas.

This was also his first time creating such a complex draft.

Due to the lack of sketching ability and the attempt to speed up progress.

When Gu Weijing first imitated the Old Church, he liked to use a projector to directly scale the image of "Old Church on a Stormy Day" to the appropriate size and project it onto a blank canvas.

He would then slowly trace some simple curves of the old church from Carol’s painting according to the image, serving as the positioning for applying paint later.

But tracing and painting like this is merely a temporary shortcut, not a long-term plan.

After imitating several of Lady Carol’s works, and gradually familiarizing himself with the structure of the "Old Church," Gu Weijing discarded the "crutch" of the projector and began to attempt manually drawing the brushstroke relationships in Lady Carol’s work.

Previously, when Gu Weijing imitated, the sketch shape would only be roughly outlined before using the oil painting brushes formally.

He would not deliberately pursue how exquisite the drawing was.

With the improvement of sketching techniques, Gu Weijing changed his mind.

Gu Weijing discovered that crucial points about the blending of oil painting techniques and color mixing like storm and candlelight had now made considerable progress.

Only the main building still had many imperfect and uncoordinated places.

Sketching should be able to help him improve this.

Buildings and sketches have been entangled with each other since birth.

Even today, when various electronic graphic modeling software in CFD is so advanced and convenient, sketching courses are still a required course for most architecture majors.

Students admitted to universities from general culture classes also have to learn sketching.

If it is found that there is no artistic talent, if the sketching is not good, many universities used to forcibly change the student’s major.

Looking back to before the 21st century,

sketching and drawing skills were as necessary and professional techniques for architects and cartographers as eating and drinking water.

An architect who cannot sketch is like a soldier who cannot shoot, fundamentally unworthy of being called an architect.

All the outstanding architectural graphics born were all the sketch lines drafted on paper.

A medieval saying goes, the Earth’s gravity and carbon pencil lines are the father and mother of castles, palaces, and churches.

The Painter’s modeling ability supports the linear soul at the core of architectural drawings.

"Sketching Technique: Lv.7 Tier One Grandmaster."

The Calligraphy and Painting Identification Skill’s evaluation of Lady Carol’s ink and brush level, whether in oil painting or sketching, is at a master level.

The use of brushes in oil paintings allows her to capture the bright chaotic thunderclouds and the ethereal candlelight seemingly woven from colored silk threads.

The use of sketching brushes defined the architectural structure and grasped the overall contrast of light and dark ambiance of the scene.

Gu Weijing lifted his head, gazing at the framed painting on the wall.

From the oil canvas in front of him, he can imagine the intricate draft hidden beneath the paint.

He imagines Miss Carol, the female painter with gold-red hair from back then, using misty, layered pencil lines to gradually draw the dome of the church, weaving the fresh-shaped red-walled building onto the canvas.

Gu Weijing’s own hands also began to take action.