The All-Around Painter

This book is really the most complicated book I have read recently. On the one hand, there are very few people writing on the subject of art, and no one writes it well. The author is very professional, and the professional parts are very exciting. It is obvious that his writing skills are not bad. But on the other hand, other plots are like an old lady's smelly and long foot-binding cloth. Most critics can understand the effect the author wants to pursue, but the reality is that it is very poorly done. For example, the character will only be completed by the long speeches of the mentally retarded villain, such as the over-reliance on narration to express psychology, and the problem of reversing priorities when he wrote Mona's painting but was completely unaware that he also committed it. Another example is the gangster who has no meaning to the plot development (temporarily) and takes a long time to write, and another example is the pretentious slap-in-the-face routine that studio-level novels on the best-selling list no longer use. You can say that some newcomers are not mature enough in writing, but most of them are self-righteous and lack "plot aesthetics". One of the tricks that most affects the experience is to always use a very low-cost information gap to promote some meaningless plots. For example, in The Little Prince, Charlie can spot the problem at a glance but he just doesn't look at it. For example, in an art project with such a large scale and high standards in Yangon, an art student from an aristocratic art school no one knows that the protagonist is showing off his skills in it, and therefore brings people from the school to ridicule him because he did not enter the advanced class. This kind of very old-fashioned, vulgar and substandard passages that fill the entire text are the key to our criticism (but in fact it is not difficult to correct). In short, I just want to say that the author should take a look at how the high-quality online articles in recent years can smoothly achieve the effect you want to express, such as the full supporting role image, such as the balance between professional and life, such as the inner activities of the character, instead of just writing in the comment area one by one. The new author will try his best to ask for forgiveness, and then continue to repeat those zero-cost vulgar plots without thinking to fool readers and move them.

How can the protagonist become the greatest painter without dying?

Damn, don't worry about your broken love line, okay? I barely tolerated it in the free chapter. What was written in Chapter Ninety-Six? It's good to leave it for me.

Why is the background set in Southeast Asia? Oriental traditional Chinese painting art has been divided into three categories: Shen, Miao and Neng since ancient times. Zhu Jingxuan, a famous painter in the Tang Dynasty, put forward the concept of "Yipin" in the "Tang Dynasty Famous Paintings", so it was divided into four grades: Yi, Shen, Miao and Neng. One work is "better" than another. What makes it better? It needs to start from the artist's skills, talent, literacy and mind. What matters in painting is not only technique, but also character. Therefore, since ancient times, the more times the times collide, the more the character of an outstanding artist can be reflected. The Wei and Jin eras, the late Ming and early Qing dynasties, and the Anti-Japanese War period. The main plot of the first volume is the story of the protagonist who remains unwavering in the face of evil forces and sticks to his true heart. What are the evil forces? A stable, peaceful and prosperous country will definitely not have an environment like a melting pot of blood and fire. It would be inappropriate to place the story background of traditional Chinese painting in Baghdad and Syria. Vietnam has fought a war with our country, and readers in Cambodia and Laos are not very familiar with it. So there is no better choice in the chaotic environment that readers are most familiar with. Only through the test of life and death can the true heart of an artist be revealed.

The author is great. From the perspective of a reader, I have some suggestions on character creation, hoping it will be helpful to your creation: After reading the latest chapter, I actually don't understand that Gu wants to apprentice with Cao. You wrote that Tang Ning was dissatisfied and even jealous of Gu and wanted to destroy Gu. Of course there is no problem with such a portrayal. However, you then wrote that after hearing about it, Cao only said that what she did was "human nature" and that he was disappointed in her, that's all. Regarding this method of suppressing his fellow disciples, Cao's treatment like this is, it must be said, a very cheerful expression... You may want to say that Gu is not yet a disciple, but Mr. Cao is partial to Tang Ning in his heart. But Mr. Cao took the initiative to accept his disciples. If Mr. Cao really cherished talents and loved them, and knew that Tangning's behavior was "human nature", then it would be impossible not to consider that the senior brothers and sisters who accepted Gu Hougui would be dissatisfied and even suppress him. Under normal circumstances, if there is no support from Mr. Cao, how can Gu, a normal 18-year-old native, maintain his mood in the face of pressure from famous seniors? And what did Cao do? When Cao saw a young painter come to offer paintings for help, he actually brushed off Tang Ning's behavior of ruining people's futures. Instead, he despised Gu Xin's restlessness and embarrassed Da Yong. Then he looked at Gu's good paintings and praised his successors, but did not point out the shortcomings. Instead, he wrote a line to show that he valued... Is this a highly respected senior painter who supports the younger generations? If the upper beam is not straight and the lower beam is crooked, it is not difficult to understand the behavior of his disciples... Cao's willful behavior is undoubtedly making fun of Gu's career, letting Gu use his own career to pursue an elusive discipleship. In Cao's opinion, Gu was a lottery ticket that had not been scratched, and he would not lose any money if he scratched it. He had not considered the future of this young painter at all. If he scratched it out without a prize, he deserved to die. In the description of the relationship between Cao and his apprentice, I did not see any warmth or brilliance in this big family. The dialogue between master and apprentice is stilted, artificial, and depressing. Rather than saying that Cao was recruiting apprentices, it would be better to say that Cao was raising Gu. Cao's method of selecting successors was not inheritance from master to apprentice but gang succession. Several apprentices only wanted to inherit the reputation of Cao's sect in order to gain wealth, rather than inherit painting skills. Tang Ning was able to joke and be favored in front of Cao just because she was the fattest Gu and would inherit Cao's plaque. The senior brothers and sisters did not want to ruin their reputation, so she was so afraid that her position would be replaced and no one would look down on her. That is to say, Gu Mingjian, an ordinary little painter, would have been killed by Cao. What I am talking about is that Cao is not Tang Ning. Tang Ning's actions are vicious at best, and Cao is the culprit. He can ruin a young painter's creative career with just a bad check. Even with such an indifferent attitude toward fame and fortune, he can't help but worry about gains and losses, and feel depressed. I can foresee that if Gu finally goes to serve Cao, it will only cast a shadow on his creation. In a word, Cao gave too little and had too many things to do. With a backer like Sakai, a mentality of continuous improvement, a system, and a legendary level of scratch painting, does Gu need Mr. Cao's ladder to the blue sky? Not that necessary. What is Cao's attraction to Gu? Is it the reputation of being a close disciple? Is it the desire for money? Or should I follow Mr. Cao and get some rare advice and pick up a few words (laughs)? The talent that Gu is most worried about is whether he will be able to grow his talent with Cao Neng (乐)? Gu has many options. He can become a great illustrator who is not short of money, or he can settle down for a few years and use the resources of the Sakai family to make his debut. He can also improve his painting skills with the help of the system and find his own path... But he and Cao had no friendship at all before. Without any reason, Gu was tied up by an old man and a fake master with an insincere condition, and was forced to get involved in the bloody drama of rich families fighting for family property. Even if Gu can make it out of the Singapore Double Exhibition, what awaits him will be a more intense fight. Gu Da can send a bad painting to Mr. Cao and then refuse to become a disciple. It's just a matter of public opinion. Hello, I'm okay, everyone. The author's writing style is very spiritual. I didn't expect that he would not eat fireworks to this extent. It's vicious to ruin someone's future, let alone someone from the same family. But I don't know where Tang Ning is in your eyes, so I won't comment. But Cao's treatment makes me sick. I understand that the author wrote this for the purpose of promoting the main plot. However, your portrayal of Cao only made me see a sanctimonious hypocrite, and I could not see any previous master. The description of Gu is even more infuriating, which will seriously affect the subsequent plot of apprenticeship and learning. On one side is the sect that is clearly in trouble, with a bunch of Mo Zuo brothers, and on the other side is the Sakai family who is clean and innocent. You know who to choose even with your eyes closed. The author could have forced Gu Bai into Cao's sect, but this would be the heaviest damage to the work... The author may have wanted the opportunity to be taught by a famous teacher, which is understandable, but writing such a kneeling lick in the article really affects the perception. Gu is like a submissive trembling mother. Why? From Gu's perspective, breaking things off is already the best choice. The author once said that Eastern culture pays more attention to human cultivation and integrity. Why did such grand words leave nothing but chicken feathers when the time came to write, and only added laughter to the heartache? But in any case, this is the best book I have ever seen in Qidian. It is full of emotions, full of characters, decent expressions, and detailed descriptions. It seems that it really makes people see Gu's life... I still hope that the author can keep reading. I also hope that the author's family is safe and in good health. ps. Everyone throughout the ages has doubted their own level, and there are many people who have devalued their own works as worthless, but Gu has no such concerns, and the painting is over. A master is a master, and a legend is a legend. What an incredible ability this is. Do you still need to look at other people's faces? The author has more skills in writing details but lacks experience. I hope that the author will be more generous in the future, so that he can no longer make Gu so cautious and walk on thin ice, as if one wrong step will lead to catastrophe, and give the character more room for error. Also, as the saying goes, a gentleman thinks about his deeds but not his heart. A person will think about many things in a day. Very few of them are reflected in his appearance and actions, but they are all the most essential part of being a human being. Appropriately delete the psychological description and replace it with action description. This will leave blank space for the character, and can also make the character more three-dimensional and solid, and show the true inner spirit. In general, the pace can be slowed down and relaxed, with fewer minor troubles and more main lines. Don't let Gu get into all kinds of minor troubles again. We must find a way to provide Gu with basic security instead of relying solely on the reputation of the so-called painter. Only in this way can we create an ideal living environment for artists. Also, I sincerely hope that the author can slightly change Cao's character image to be more in line with the character's positioning. Thank you for watching (*^▽^)/★*☆

It can be seen that this is the first time for the author to write a book, because the author does not understand that writing requires subtraction. There are many branches that you think are important to enrich the character, so he spends a lot of time describing them and allows himself to develop them. Little does he know that this is harmful to a book. Just like a conversation between two people, the person who is not talking about the topic will let the topic flow and go further and further when the conversation reaches a certain exciting point. The narrator who is logical and sensible will say "It's going too far, let's get back to our topic" when it is about to lose control. Prune off excess branches to create a healthy trunk. This is your current problem. It seems that you have a lot to write and tell readers. As soon as you write about a certain plot, your thoughts burst out with inspiration. However, this does more harm than good to the main plot of a novel. You can write down a lot of things you want to write and a lot of inspirations, and use them as extras or content to talk about later, instead of stuffing them all into a serialized online novel. The vertical body cannot carry too much horizontal development content.

Other books are like picking fruits from a quagmire, but this book is like picking pearls from a cesspit. The good-looking parts are really good-looking, and he really dares to feed the shit.

I ruthlessly deleted it for a month. When I came back next month, I saw that there were only about thirty chapters. Forget about more than thirty chapters, what progress is there in the plot? The author wouldn't want to write the timeline here in a one-to-one comparison with reality, would he? So do I have to graduate so that I can see him go to college? The so-called coolness is not quite cool at all. The various characters in the book are always stuck in a cycle of questioning-understanding-believing. Then when it is time to break out, others shut up and admit that the protagonist is awesome. Well, okay, the protagonist's continued role has nothing to do with me, and then the next group of people will question it. The atmosphere of the whole book is extremely fragmented. When describing paintings, it is quite spiritual and makes people want to read on. Describing some mentally retarded supporting characters, I have started the urban cool writing routine of the past few years again, and I can jump directly to the next chapter. I don't know how awesome the protagonist is? Do I need you, the supporting characters, who are as hilarious as clowns, to have constant orgasms in your head, so that I can know? It's not Dihua. The most important thing to say is, after finishing pretending and being slapped in the face, he returned to his shell and continued to pretend.

The problem is still the same at the beginning, the pace is too slow, but if the author likes it, just like it. I don't mean to change it, I just express my thoughts. I put aside about 300 chapters and came back to read it. I finished reading the latest chapter in one night. I spent more than 36 yuan to read it. It is very well written, and skipping it does not affect the reading experience at all. It is amazing. I will come back to read it when the author writes another 2.3 Hundred chapters. It is very refreshing. I suggest book friends who think the same as me do this together,

After deleting the gang line, I can give this novel 9 points because of the female characters and art. Unfortunately it cannot be deleted. The gang line is the biggest poisonous point. At the same time, it is exposed that the author's excessive pursuit of the complexity of the characters has led to many contradictory descriptions of the characters due to the inability to control the writing skills, creating a bunch of chimeras. The gangster line has the clowniest guy. The past cannot match the thoughts. The author wanted to portray the darkening of the small character, but also gave the character complexity to a bunch of backgrounds, and then was afraid of the whitewashing effect. The character development was very vulgar. It is in a state of adding more water and more noodles. Backgrounds, behaviors and thoughts cannot match. There is no "other me" character with the protagonist at all. Its only function is to disgust the protagonist. Deleting it will not affect the plot at all. The gangster line has the clowniest boss. The second time someone Lin appeared in the author's writing, I realized that he and Brother Hao were the same person. Because these two people are "important" plot characters in the author's works, a lot of writing is incompatible with the author's dialectical behavior to bring out the complexity, and it is too thin. At the same time, I don't accept any sublimation of the plot when a gangster is being criticized, it's just vulgar. Why should Brother Hao be criticized? Why should he become a big boss if he is criticized? Don't underestimate gangsters😅 . . . . . . . The cliché reversal refers to Brother Hao. A cliche family is difficult to endure. The cliché time, repeatedly emphasizing the time of departure does not give the villain a dramatic effect when he jumps to black, but instead gives him a sense of relief that makes him wet his head. The cliche ending refers to the rhetoric. As long as Brother Hao gets angry and shoots the hero to let him know that the shining soul cannot resist 9mm, I will give it a good review. Basically I guessed the main plot after reading half of it. It has a bit of a 10s beauty. . . . . . . Let it go for now, I regret recommending it to my friends.