Reborn as a great painter, with a system, you can be willful

Chapter 158, Professor Qin's Advice, Oil Painting Creation
Jiang Zhe came to Professor Qin's studio and knocked on the door.

"Please come in."

Hearing the sound, Jiang Zhe pushed open the door and saw Professor Qin sitting in a chair reading a newspaper.

"Hello, Teacher Qin."

Professor Qin turned his head and saw that it was Jiang Zhe, and threw the newspaper on the table. "Come on, sit down and talk."

Jiang Zhe saw that the cup on the table was empty and added water in time.

Professor Qin took off his glasses, waited for Jiang Zhe to sit in the empty seat next to him with a smile, and then said, "Is your class starting to sketch portraits today?"

Jiang Zhe said: "Yes, I just finished the draft."

Professor Qin got straight to the point: "How are the preparations for the college students' joint calligraphy and painting exhibition going?"

Before Jiang Zhe came, he guessed that Professor Qin might ask about this, so he went back to the dormitory and brought his camera. "Teacher Qin, I painted a few watercolors. Please help me choose one."

He had already taken photos of the works he had prepared and stored them in the camera's memory.

Professor Qin is not yet accustomed to the use of these digital cameras.

Jiang Zhe operated the camera, and Professor Qin put on his glasses again and looked at each work carefully.

Jiang Zhe also looks forward to Professor Qin helping him select works for the exhibition, even if it means just pointing out some flaws.

After Professor Qin looked through all the works, he thought for a moment and said to Jiang Zhe, "The paintings are not bad, but when you look at the photos, you get a sense of transparency. This is different from direct painting."

Jiang Zhe said he would bring the painting to school as soon as possible.

Professor Qin asked about the size of the works and said, "There are quite a lot of paintings and they are relatively large, making them inconvenient to move. Why don't I find a time to go to your studio and help you choose some." Because the school attached great importance to this matter, Professor Qin was forced to check the works of every student participating in the exhibition.

"Thank you, Teacher Qin."

"Besides these, do you have any other works prepared?"

Jiang Zhe heard what Professor Qin said and seemed to be dissatisfied with these works, so he had to say: "The finished works have all been photographed."

"I heard that you asked dance students to be models and painted some pastel paintings. Can you let me see?" Professor Qin asked about another topic.

Jiang Zhe’s first reaction was that there were really no secrets in school.

He briefly described what happened.

Professor Qin said: "There's nothing wrong with hiring someone to be a model, as long as nothing else happens."

"Definitely not." Jiang Zhe showed the photos stored in the camera to Professor Qin.

Professor Qin repeatedly looked at two pastel portraits and several sketches of dance movements.

He pointed to a sketch and said, "This is the best. The dancer's movements are very vivid as she is about to jump."

After that, he paused for a moment and motioned Jiang Zhe to put away the camera. "You can consider turning the sketch and the two pastel paintings into oil paintings."

Jiang Zhe said: "I have not systematically studied oil painting materials and techniques. I am still learning on my own, so I am not sure."

He obtained glazing techniques and direct painting methods from system rewards, but he needed a reasonable reason.

Professor Qin said, "Fu Min and Mou Xing from your class are preparing gouache paintings. However, you have a good foundation. As long as you can use oil painting materials to create two pastel paintings, there will be no problem."

Jiang Zhe understood what Professor Qin meant when he heard this. "Teacher Qin, I'll start as soon as possible."

Professor Qin asked him about his recent studies and chatted for a while before letting him go back.

Jiang Zhe has not acquired oil painting techniques for long and has few opportunities to practice, so he seldom exhibits his oil paintings. But when the time comes to paint, he is not afraid of difficulties.

…On Saturday morning, Jiang Zhe was wearing a set of stain-resistant work clothes and preparing paint in the studio.

Making detailed preparations in advance based on the techniques rewarded by the system and his own experience will greatly facilitate the creative process.

He planned to depict the moment when Yuan Xiaohan was stretching. The colors he could use, besides the inherent colors, were several ambient colors.

He estimated the amount of paint to be prepared based on the size of the canvas and the characters, squeezed the paint to the edge of the wooden palette one by one, arranged it in an arc, and then began to mix gray and translucent colors.

Jiang Zhe used ready-made pigments to prepare the colors of clothes, several levels of skin color, floor, and background in advance. He separated a part of these colors and added a small amount of homemade oil to make a translucent color.

On the oval palette, more than a dozen colors are gradually arranged.

After completing the preparations, he adjusted his mood, placed the palette in front of the easel, held a large oil painting brush in his right hand, stood in front of the easel, and observed the draft on the bottom of the oil painting.

Last night, he had enlarged the draft onto canvas based on the pastel painting.

Jiang Zhe thought over the steps of painting and began to paint.

Dip the flat brush in the prepared oil paint and paint on the dark areas of the character's face. Then, expand to the dark areas of the neck and arms, stroke by stroke.

The size and connection of brushstrokes in direct painting are also important modeling methods, and the color arrangement and position of brushstrokes need to be considered in advance.

Jiang Zhe first painted the base color of the character, then painted the base color of the hair and clothes, and finally painted the background.

This base color is very thin, which makes it easier to layer the following colors.

After he finished the first layer of color, he deliberately left blank spaces on the canvas so that the base of the oil painting could be seen.

Jiang Zhe felt that the first pass of color had achieved the preset effect, so he began to shape the light and dark and structure of the character.

The thickness of the paint on the oil brush gradually increases, and the skin color on the character's face appears to be stacked in layers, creating a special aesthetic.

Half an hour later, he drew the changes in light and shade of the characters and the layers of the ground, then stopped again to examine the picture.

At this time, the transition between light and dark on the character's face is still very abrupt, and the overall shape appears very flat.

Jiang Zhe was not in a hurry to continue the in-depth portrayal, but began to depict the wooden floor and background under the character's feet.

The texture and direction of the floor's seams are used to show the depth of the space; the background is used to set off the character's skin color and create an atmosphere, so the shape is not complicated.

It was already noon when Jiang Zhe finished painting the background and floor.

After lunch, he took a short rest and then went back to painting.

Painting the third layer of color is to add details based on the first two layers to make the transition between light and dark and the changes in light and shadow more natural.

Because the first two layers of color have not yet dried, some of the third layer of color is covered, while some is blended to a certain extent with the original color.

As he portrayed more deeply, the characters' faces, arms and other places where skin color was revealed gradually became delicate.

When painting the face, Jiang Zhe pays great attention to the facial features, especially the eyes, and uses subtle changes in the facial features to show the character's expression and demeanor.

After he finished painting the areas where the skin color of the characters was revealed, he began to paint the training clothes and training shoes. The brushstrokes of these parts were simple and concise, and the changes in color were used to show the volume and shape of the characters.

When he has completed everything he had envisioned, he steps back and observes.

In the picture, the dancer's movements are smooth, her expressions are vivid and natural, and her body proportions are accurate and coordinated.

The whole painting is in warm tones, with the darkest color being the hair, followed by the training clothes. The two dark colors still make the dancer's skin the most eye-catching color in the picture.

The blurred background of the picture brings out the vitality of the characters. The overall effect is better than expected.

When examining the picture, Jiang Zhe intuitively realized that the texture formed by the superposition of oil painting colors does have a unique beauty.

(End of this chapter)