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

Chapter 287, Members of the Provincial Artists Association, details of the group painting
The lecture hall for the large class was filled with students.

The teacher was summarizing the knowledge points of this semester. Her hoarse voice came from the microphone.

In mid-June, the weather in Binhai became hot and dry. The classroom was filled with the mixed smell of sweat, toilet water and unknown smells. The cicadas' chirping came into the classroom, adding a touch of irritability.

"Snap!" A girl slapped a mosquito to death, and a little mixture of red and black appeared on her white arm.

In such a hot and irritable environment, the girls' casually exposed bodies cannot attract boys.

Most of the students were looking down and taking notes. The desk was filled with books, notebooks, and various drinks and cups.

It was as if I was back in high school.

The bell rang

"get out of class is over!"

With the teacher's voice, the classroom suddenly became noisy.

The students couldn't wait to grab their personal belongings and leave the classroom.

Jiang Zhe closed his notebook, picked up the cup and drank a sip of water. Even though he tried to keep himself calm, the collar of his short-sleeved sweatshirt was already soaked with sweat.

Several familiar classmates invited Jiang Zhe to have dinner together.

Jiang Zhe looked at the time and declined the invitation because Professor Qin had something to ask him.

He picked up his bag, walked out of the classroom and rushed to Professor Qin's office.

Professor Qin saw that Jiang Zhe's hair was wet, and even the collar of his clothes was wet, so he said, "I know you must be very tired after a day of classes. I'll make it short, and you can go back and rest early."

"After the graduation exhibition every year, other grades also have a report exhibition. Think about what works you are going to use. In addition, the Provincial Artists Association has sent your materials to me."

He handed Jiang Zhe a file bag.

Jiang Zhe said thank you, opened the file bag, and saw a certificate and a ID book with a brown leather cover.

He opened the palm-sized ID book and saw his information, photo, and the association's internal number.

Professor Qin waited for Jiang Zhe to put away his credentials and continued, "The Provincial Artists Association is going to hold a joint exhibition with other provincial associations to encourage members to participate. You may consider it."

Jiang Zhe said: "Teacher, I want to use my sketches for the school's report exhibition. In addition, I am currently painting a group of paintings about the mountain villages I sketched outside."

Professor Qin said, "I heard you say you've already started painting? Can you finish it before the exhibition?"

Jiang Zhe said: "I am currently carving it in depth and trying to finish it as soon as possible. If you have time, I would like to ask you to help check it."

"When you've almost finished your painting, I'll go take a look." Professor Qin agreed.

"Thank you, teacher."

After dinner, Jiang Zhe and Chen Yan rushed back to the studio from school.

As the end of the semester approaches, college students are becoming increasingly nervous.

Because Jiang Zhe has never slacked off in his studies, he is not worried about the exams and can squeeze out more time for his creative work.

He sat down at the easel and touched the corners of the copy of "Madonna in the Chair" with his fingers to make sure that the last layer of color was almost dry.

He repeatedly compared the painting sample and thought it was very close to the original.

Jiang Zhe felt that there was currently no place in the painting that could be modified, so he used the system to review it.

The system gave him a good review. He clicked on the semester learning task and chose to submit it. Unfortunately, the task prompted that the semester had not yet ended and could not be submitted.

Seeing that all conditions except time had been met, Jiang Zhe felt relieved and finally completed his study task before the end of the semester.

He put the work aside, freed up the easel, and then looked at the six large oil paintings laid out in sequence next to the workbench.

This set of paintings is about 80% completed, with only some details left.

While preparing materials, Jiang Zhe was thinking about what to draw today.

Because copying and creation are carried out almost simultaneously, some materials can be used interchangeably during the creative process, and what is learned from copying can be applied to the group painting.

In this series of paintings, the techniques of each work are different.

In the draft stage, the transparent shading method is used, but when depicting in depth, some minor contents are almost completed in one go, and Jiang Zhe even uses tempera material to save drying time. This also further enriches the texture effect of the color layer of the picture.

Jiang Zhe moved a painting to the easel.

This painting shows the villagers taking a lunch break in the fields.

He used a small cow-ear hair round-tipped brush dipped in translucent paint to depict a woman's hand.

The color is mixed with thick oil and resin varnish. It is sticky but not sticky to the brush, and it creates the desired effect exactly on the original base color of the oil painting.

Although the area being portrayed is very small, Jiang Zhe is extremely steady when applying the colors each time. Each stroke of color can be blended with the surrounding colors with a little rendering.

There are two main characters in this painting, one is a man who has fallen asleep leaning against a haystack, and the other is a woman who is preparing to rest. The two are a couple.

There are farm tools and tableware for lunch next to the two. The land and fields below them, with plants, show the characteristics of spring.
When Jiang Zhe painted this picture, he used brush and ink to emphasize several wonderful details.

The relaxed posture of the man's hands shows that he is asleep.

The woman was about to fall asleep. Although her eyes were still open, they were dull due to exhaustion. Her sleeves were rolled up, revealing her arms. Due to long-term hard work, veins on her arms were bulging and her palms were rough.

Jiang Zhe carefully painted the dirt and stains on the woman's arms and nails to show the real side of life.

He finished drawing the details of the arm and began to examine the painting.

The clothes worn by the two people in the painting are what villagers often wear when working. These are true portrayals of life. At the same time, the material and style of the clothes also show that their lives are changing.

The color tone of the whole painting is not dull, and the images around the characters are either simple or realistic.

The contrast of light and shadow surrounding the characters indicates that it is noon.

Jiang Zhe found a problem and continued to improve it.

In this painting, some places use indirect painting, such as the faces, arms and clothes of the characters, while some places use direct painting, such as haystacks, plants, fields, etc.

The contrast between realism and simplicity gives the painting an artistic reality, which is different from the meticulousness of photorealism. This reality comes from his observations when sketching and his refinement of art.

Jiang Zhe does not want to show their hard work, but only to show their life and mental state truthfully, and also to imply that the lives of the villagers are undergoing changes and are gradually getting better.

He couldn't remember how many times he examined the painting and put down his brush only when he was satisfied.

Looking at the time, it's almost 10 o'clock in the evening.

Pack up your tools and prepare to rest.

He lay on the bed, estimating that the time until the final exam should be enough for him to complete the painting series.

(End of this chapter)