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

Chapter 166, Sketching, quietly completed work

Jiang Zhe took a large watercolor brush and decisively dotted a patch of orange-red on the trees in the picture. He extended the brush left and right, allowing the color to spread to the predetermined position.

On the picture, there is an artificial lake and a forest outlined with pencils, and several roads winding through the woods.

He chose the wooded road as the middle ground of the picture, and the lawn and artificial lake as the foreground.

Because I have painted several works with similar compositions, when considering this work, I considered playing with the color tone of the picture.

After depicting the colors of the forest, he casually painted some of the colors reflected in the lake. By strengthening the color contrast between the trees and the water, he weakened or removed some rigid objects, such as the stone edges of the artificial lake and the neat road borders.

When he has laid down most of the color, he steps back and observes the overall effect.

Watercolor paint appears bright and transparent when wet, but its purity decreases as it dries.

Considering the final effect of the picture, he changed to a clear water pen, slightly adjusted the color relationship, and then changed to a small brush and began to add details.

Pedestrians near the scenic spot and students sketching by will stop to watch.

There were also a few people watching behind Jiang Zhe.

Professor Qin and Teacher Hu had to walk around to guide students in their practice.

As they passed through the woods, they happened to see Jiang Zhe and his companions, so they came over to take a look.

Professor Qin looked at the works of several students one after another, walked behind Jiang Zhe to see the effect of the picture, and saw that Jiang Zhe was immersed in painting, so he just nodded and said nothing.

When he went to see other students' works, he said to Teacher Hu, "Seeing Jiang Zhe paint watercolors, I want to paint watercolors too. Let's bring out our tools this afternoon."

After Jiang Zhe finished a watercolor painting, he felt that he had not finished yet. He put the watercolor book aside to dry and began to prepare materials for oil painting.

For his sketching class, he customized a batch of oil painting inner frames of suitable sizes, stretched the canvas and made the base by himself. When painting the third side of the base, he added a small amount of gouache to make the oil painting base a colored base.

He fixed the painting frame on the sketchbox and began to prepare the paint.

While Jiang Zhe was preparing his tools, the number of pedestrians and tourists nearby gradually increased. He also saw a group of people taking wedding photos in the distance.

Students from other majors in the Art Academy also came to the nearby area to select locations.

Lan Xin and several of her classmates also stopped not far away and prepared to start sketching.

When Jiang Zhe saw them, he waved from afar as a greeting.

Lan Xin also responded generously. They sat down on a wisteria corridor and began sketching.

You can use an easel or directly use an album leaf to sketch Chinese paintings. Lan Xin and several classmates would first make quick sketches on draft paper, and only start sketching on rice paper when they were confident.

Jiang Zhe estimated the amount of pigment needed, prepared more than a dozen kinds of pigment, and specially made several translucent colors.

It took him about half an hour to prepare. He looked at his watch and estimated that he should be able to finish a sketch before lunch.

Calm down and start drafting.

The theme of the picture chosen by Jiang Zhe is still the forest in front, but he made great changes to the picture.

He subjectively layered the forest, moving a few tall sycamore trees with strange postures to become the main body, and moving the other trees to the back to serve as the foil.

When considering this painting, he drew on the composition of the Barbizon School painter Corot, using trees as the subject of the painting, while also drawing on the Impressionists' approach to color and light and shadow, striving to make the painting vivid.

He used charcoal pencil to complete the draft and began to lay the first layer of color. This layer of color was very thin and could distinguish several large blocks such as the sky, the ground, and the trees. He tried to generalize it, so it was completed quickly. The process of painting the second layer of color was also the process of perfecting the main image and layers.

He painted the relationship between the trunk and crown of the sycamore tree, depicted the sunlight shining through the trees, and the branches with some leaves fallen off. Then, in one go, he painted the trees that served as a backdrop, as well as the distant sky, the nearby grass and the lake.

Because the color arrangement was considered in advance, the brushstrokes were precise during the depiction process.

Jiang Zhe took two steps back and observed the scene.

The characteristics of oil painting materials are very different from those of watercolors. When viewed from close up, there is a texture of overlapping layers of colors, and when viewed from a distance, there is a visual impact of color and spatial levels.

He noticed some problems and started to make adjustments.

Although I have not created many works with oil painting, thanks to my painting foundation and advance preparation, this painting was completed smoothly.

Jiang Zhe examined the picture again, letting the sycamore tree and part of the bush occupy the main position in the picture. Spots of light were emitted between the branches and leaves, and the leaves seemed to sway gently in the breeze. The colors of the sky and trees were reflected by the lake, and the sun was shining on the lake and the grass.

He felt that the picture was still missing something, and after a little thought, he decided to give the picture more interesting details.

He used a small brush to paint several figures in the foreground and among the trees as embellishments, including pedestrians, people sketching, and a woman teaching a child to walk.

The characters occupy a very small proportion of the picture and are even a little blurry, but they can play a role in livening up the colors and adding to the atmosphere of life.

Jiang Zhe looked at the picture and thought he could stop writing, so he used the system to review the picture. The evaluation he got was that it was an excellent work, but not a masterpiece.

When he was reflecting, he saw Professor Qin turning back, and hurriedly took his work to ask for advice.

Professor Qin asked Jiang Zhe to put the painting back on the shelf. After looking at it for a while, he slowly said, "I just saw your painting from a distance. I felt that there was nothing wrong with the color tone and layers of the whole painting. Judging from the relationship between the sketches, there was no problem either. It looks good overall, but I always feel that it is a bit unfocused."

He turned his gaze to Jiang Zhe. "You have a good foundation and you mastered oil painting materials and techniques quickly, which are all advantages. However, if you think too much and strive for accuracy in every stroke, it will easily appear slick.

I'll give you a few suggestions. Start from the mid-ground, weaken some of the changes, make the color changes more subtle, and when using brushstrokes, reflect some rawness. "

Seeing that Jiang Zhe was thinking, he explained: "I am just suggesting, it may not be correct. You can look at the works of some great painters. Don't be in a hurry, paint slowly."

Jiang Zhe expressed his gratitude to Professor Qin.

Professor Qin went to see other students' paintings.

At this time, students completed their works one after another and began to communicate with each other.

Jiang Zhe saw that it was almost noon, so he packed up his tools, carried his box and walked to the Wisteria Corridor to observe the works of students majoring in traditional Chinese painting.

He saw Lan Xin fixing the felt and rice paper on the drawing board with clips and drawing the outlines with a brush.

Walking closer, you can see clearly that she is painting the same forest, but her approach is closer to landscape painting.

When Lan Xin saw Jiang Zhe coming over, she just looked up and smiled at him, then continued painting.

Fu Min and several classmates were carrying tools and passing by. When they saw Jiang Zhe, they called out, "Jiang Zhe, let's go eat together?"

Jiang Zhe agreed, turned around to say hello to Lan Xin and the others, and went to find a place to eat with a few classmates.

Lan Xin saw Jiang Zhe walking away and reopened her sketchbook. The latest picture was a scene of Jiang Zhe sketching.

(End of this chapter)