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

Chapter 207: Writing skills were praised again

Small canteen.

Jiang Zhe wolfed down his breakfast, while Chen Yan ate very little.

Jiang Zhe looked at the fried spring rolls, tea eggs, sugar cakes, pickles, and soy milk on the table. "These are what you usually like to eat. What's wrong with you today? No appetite? Let me change you something else?"

Chen Yan stared at the food and said, "I seem to have gained a little weight. I need to pay attention to my figure."

Jiang Zhe advised Chen Yan several times, but she refused to listen.

After he was full, he packed some food in a food bag and handed it to Chen Yan: "Take it and eat it when you're hungry in the morning."

Chen Yan said no, but still took the food.

The two of them rushed to the teaching building carrying their painting kits.

To reach Chen Yan’s elective classroom, you have to walk up one more floor.

When they said goodbye in the corridor, she held Jiang Zhe's hand and said, "I have an unfinished homework. Can you help me today? Not much, just one."

Jiang Zhe asked, "What is it?"

“It’s still a costume painting.”

Jiang Zhe hesitated: "Last time I helped, there was a misunderstanding. Are you going again?"

"Just one, okay?" Chen Yan shook Jiang Zhe's arm.

Seeing that Chen Yan was about to act like a spoiled brat, Jiang Zhe could only agree reluctantly.

He walked into the studio carrying his painting box, greeted his familiar classmates, came to his seat, and first checked the rice paper that had been framed yesterday.

After mounting, the paper is flat and smooth after drying. There is a little mica powder on the paper, dotted with stars.

Most students in this elective course choose to mount the paper on 4-page or folio drawing boards.

Each person is spaced far apart to avoid affecting each other.

Teacher Liao walked into the studio carrying a roll of felt and a toolbox in his hand.

When the class time came, he didn't waste any words. "I will demonstrate to you first, and then you can start drawing."

The students gathered around.

Teacher Liao arranged the writing tools such as pens, ink, paper and inkstone according to his own habits.

Because there was no physical projection in the studio, dozens of students could only gather around the teacher's drawing table to watch the demonstration.

Jiang Zhe's drawing table was very close to the teacher, so he chose a good viewing position. In order not to block the view of the students behind him, he was also asked to sit on a stool to watch.

Many students arrived late and the good viewing spots were already full, so they had to stand on chairs and look from above.

Mr. Liao used raw rice paper. Because the paper was not covered with a watch, he repeatedly smoothed the painting with his hands and pressed down the four corners of the paper with a paperweight.

"Yesterday, we talked about composition and painting steps. Today, we will start with the use of pen and ink.

Time is limited, so we won’t talk about how to grind ink, but will demonstrate directly with ink. If you want to grind ink for use, we’ll talk about it separately.”

He first talked about how to choose ink, and then demonstrated the techniques of mixing ink.

Teacher Liao uses a bamboo brush to apply the ink color he mixes each time to one side of the paper. The different levels of ink are very intuitive.

"I like to use this small blue bamboo brush to outline and rub. You can also choose a liner pen. There is no strict requirement on which brush to use. It is a personal habit..." After he finished talking about the ink method, he began to demonstrate the application of the brush technique.

"The green landscape looks very decorative, and the brush strokes used to outline and fill in the colors also have certain requirements..."

Teacher Liao first drew the mountains and rocks, demonstrated how to use the center and side edges of the brush to draw lines, rub and dot, and then talked about the techniques for depicting mountains, rocks, trees, buildings and other elements.

When the demonstration was over, he concluded: "The color of the large green landscape is based on the ink line, with multiple layers of color superimposed. Each layer of color cannot be too thick, and it cannot be done all at once. The small green landscape is based on the ink landscape, with a little rendering. That's all we have demonstrated today. If you encounter specific problems, we will talk about it separately."

Some students dispersed and returned to their seats, but many students did not leave and asked the teacher their questions, including Jiang Zhe.

The students taking the Green Landscape elective course are not students majoring in Chinese painting. Some of the questions they asked were brilliant, while others were simple.

Although Teacher Liao answered the questions, the students only understood them by listening. If they want to truly understand them, they still need to practice.

He advised students to draw boldly and discover problems while drawing.

The students returned to their seats one after another.

Jiang Zhe sat in front of the drawing table, calmed himself, prepared materials, and considered the entire painting process.

Yesterday, he had already drawn the content he wanted to copy with a pencil. At this point, when he closed his eyes, the image he wanted to draw could basically appear in his mind.

In order to copy accurately, he took out the carbon stick and used the lightest strokes to draw the draft on paper. Teacher Liao was patrolling the class and did not say anything after seeing Jiang Zhe's method.

He made a round and clapped his hands to attract everyone's attention. "Some students use charcoal sticks to draw the draft and then outline it with ink. This is a good method. You can put the pencil draft under the paper and trace it, or you can draw the pencil draft on the paper. But be careful, when you use charcoal sticks or pencils to draw, you must weaken the traces."

Many students looked at Jiang Zhe.

Under the teacher's guidance, many students also began to adopt Jiang Zhe's method.

Jiang Zhe was not affected and continued to copy according to his own steps.

Because he was copying the lower half of the model, he chose to remove part of the image near the upper edge of the paper in order to maintain the compositional harmony of the copied work.

After he finished the draft and felt there was no problem, he used a clean cloth to knock off some of the carbon powder and began to draw the lines with a brush dipped in ink.

Taking into account that he might need to re-outline at a later stage, he reduced the ink color by one level and started with the nearest rock.

The brush goes against the wind and enters the paper, runs, turns, continues to run, and then ends. In this way, the outline of half a rock is drawn.

He tried his best to use calligraphy as the method of outlining the image. At this time, the calligraphy skills acquired from the system and the skills of imitating Lan Xin played an important role, allowing him to adapt to the method of outlining with a brush in a very short period of time.

Teacher Liao walked behind Jiang Zhe, looked at him for a while, and silently gave a thumbs up.

In his opinion, although Jiang Zhe's brushwork is a little clumsy, it has just the right charm of being raw and clumsy, and coupled with the rhythm and precision of the lines, it also has a sense of charm.

He knew Jiang Zhe, a student, and his grades. He originally thought that a student who was good at oil painting and watercolor might not be able to learn landscape painting, but after just looking at the outline part, he had a feeling that maybe this student could paint anything well.

Seeing that Jiang Zhe was concentrating on painting, he did not disturb him.

Jiang Zhe has gone from being cautious and accustomed to using a brush to outline shapes, to outlining mountains, rocks, trees, and especially figures, and has begun to appreciate the fun of the changes in lines in Chinese painting.

The teacher suggested that they take a break during class to pull Jiang Zhe out of his painting state.

He took the cup and went to the water room to get hot water.

There were several students from other majors in the class who had heard of Jiang Zhe's reputation and had always been dissatisfied.

A boy with long hair quietly walked to the side of Jiang Zhe's work, observed for a while, went back with his own work, and came to Teacher Liao.

"Teacher, please help me take a look, what's wrong with my painting?"

Teacher Liao put down the cup. "Just now, when you were painting, I watched you. Your brushwork lacked variety, and the lines were a bit rigid.

"I was a little hesitant in the modeling." He pointed to a tree fork in the painting and said, "You don't have confidence in the subtle modeling. There are obvious traces of tracing and smearing. Some lines are drawn little by little, and these lines are very rigid."

These comments are very straightforward; this is how Mr. Liao speaks.

The long-haired student who was criticized looked a little embarrassed when he expressed his gratitude to the teacher.

There was a boy with high cheekbones and big cheeks next to him: "Teacher, I just saw Jiang Zhe's painting, it seems to be similar to this one, which one of them draws better."

Teacher Liao glanced at the boy and asked with a smile, "Are you afraid they won't fight?" He knew that students would compete with each other, especially when their peers achieved good results. However, some people kept it in their hearts, while others said it out loud. Some people were engaged in healthy competition, while others were trying to sow discord.

"No, I just want to know which method is better." The boy who was confronted hurriedly explained.

The long-haired boy glanced at the high cheekbones and walked away without saying a word.

"Come here with your paintings. And you." The teacher asked the two boys to bring their paintings next to Jiang Zhe's work.

The two students had no choice but to put the paintings together.

Teacher Liao pointed out the rocks in the three paintings respectively: "The contents of your paintings are different, but when Jiang Zhe started to write, he kept the center of the brush stable when he went in and moved forward. When approaching the turning point, the tip of the brush moved backward again and turned decisively. When drawing the corners of the rocks, he did not deliberately aim, but relied on the pauses and turns of the brush to let the brush change naturally and complete the shape.

The transition between the center and side peaks, as well as the natural changes in ink color during the movement of the brush tip, are what give rise to the charm of brush and ink.

In order to depict the rocks, you drag the brush little by little in places with many changes. This is rigid, and the resulting lines and ink colors are ugly. "

At this time, many people gathered around, and the two boys felt more and more embarrassed.

Teacher Liao took this opportunity to instruct all students: "If you want to draw casually and get credits, then just draw like this, it's okay, you can pass.

If you want to continue studying in the future, you must pay attention to learning calligraphy and improving the quality of the lines. When copying, it is not only necessary to be similar, but also to understand how the masters use lines, and to integrate the brush and ink into the shape so that people can't feel it. This is a master. "

He paused for a moment, returned to the desk, took a sip of water, and then continued, "It's a little early to talk about this now. Just now, a few people used the posture of holding a pen to draw lines. That's not right. You may not be able to meet the requirements for the time being, but you have to practice slowly."

After the instruction, the students dispersed.

The boy with long hair and high cheekbones took his painting back to its place and left the classroom without looking at each other.

Jiang Zhe came back with the thermos cup, not knowing what had just happened. During the following painting process, he found that some classmates came to see how he drew the lines, which made him feel like he was back in the oil painting classroom.

(End of this chapter)