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

Chapter 305, Calm and Unhurried, Subtle Influence
Behind the podium in the hall sat an old man with slicked-back hair.

He saw Jiang Zhe and his three companions come in, and said to the audience with a smile: "Today, we have invited four professional painters to demonstrate to you. You can intuitively experience the process of oil painting sketching."

The audience's applause never stopped.

Jiang Zhe stopped, faced the audience and bowed.

The other three also saluted in turn.

Because there was no prior rehearsal, the subsequent actions of Jiang Zhe and the other three were completely different.

After Lin Yi finished bowing and heard the applause stop, she immediately turned around and walked towards her favorite seat. She had already seen the model's seat and estimated the position that would suit her.

Yao Jian hesitated for a moment and walked towards the position he liked.

He Chi and Jiang Zhe didn't move.

Jiang Zhe felt that the old man who was giving the lecture should have something else to say.

Sure enough, the teacher in charge of the lecture said: "The works of these four painters are all on display in the exhibition held by our Provincial Artists Association. The exhibition is currently in progress and you can visit the art gallery. Let me introduce these four painters..."

Hearing the old man say this, Lin Yi and Yao Jian, who were about to sit down, had to put down their tools and turn to face the audience.

The reactions of the four people were also seen by everyone.

The older audience remained calm, but the expressions of some of the audience were interesting to ponder.

Several judges sitting in the audience waved to the teacher who was giving the lecture, indicating that he could not introduce himself.

The teacher reacted and tried to smooth things over: "To save time, let's not introduce them first. If you like the works of a certain painter, you can discuss them privately after the lecture."

A young woman walked in. She had long fluffy hair, soft facial features, and was wearing a short-sleeved white shirt and a plaid skirt.

The appearance of the woman attracted most people's attention.

"Please ask the model teacher and several painters to take a seat first." The old man continued to explain: "Dear students, today we are learning how to paint figures in oil paintings. Have you seen..." His explanation was both a course connection and a preparation time for the four people.

The model has taken his place.

Jiang Zhe turned around and saw that there were four easels on the scene, and there were two positions left. To him, it didn't matter which position he was in.

He and He Chi looked at each other, made a gesture of invitation almost at the same time, then smiled at each other and sat down in a random place.

The easel prepared by the Cultural Palace is a simple one that can just hold the oil painting frame. There is a palette and paints next to the easel.

The size of the oil painting frame is about 50×70cm, and it takes one and a half hours to complete the figure sketch, so time is tight.

Jiang Zhe picked up the painting frame, facing the light, and observed the canvas. This kind of canvas has been primed when it was purchased.

The lecturer is very good at taking advantage of opportunities.

“Look, this is to check if the canvas has any pores. If there are pores, color or oil may leak out.

The canvas we prepared today is ready-made. If you want to practice, you can buy a canvas with a pre-painted base, or you can make it yourself..."

Jiang Zhe saw that although there were slight holes in the canvas, it was not a big problem and would not affect the color saturation.

He then checked the pigments. The Cultural Palace had sufficient oil pigments prepared, but they were all ordinary domestically produced oil pigments.

He asked for a few sheets of old newspaper, squeezed the colors that could be used onto the newspaper, and let the newspaper absorb some of the oil.

After checking the tools, Jiang Zhe began to observe the model.

The model's sitting posture is a bit stiff. Jiang Zhe's position is almost facing the model. This position has advantages and disadvantages. The advantage is that more viewers can see the work, but the disadvantage is that it is difficult to draw the front of the character.

Due to time constraints, he made simple drafts in his sketchbook while observing, considering and trying to arrange the composition and the characters' postures to be more beautiful.

After he was confident, he said to the model: "Teacher, you can use the most relaxed posture. If you are tired, you can also move around, just like resting and chatting at home. You don't have to stay motionless."

The model heard what Jiang Zhe said and asked, "Is it okay for me to move around and affect you?"

"No! If you turn around or even change your posture, it will be easier for us to observe." Jiang Zhe's skills are enough to support him to use the model as a reference instead of copying it.

He wanted to make a more comprehensive observation and deliberately increased the difficulty.

Today is not just about sketching and creating on the spot, but more importantly, winning the competition.

Jiang Zhe has considered that in order to win the competition, the work must be appealing to both the elite and the masses. The model's appearance is above average, but he can make his own subjective interpretation based on the similarity in spirit and appearance.

He wanted to show his advantages in depicting characters' expressions, eyes and postures.

Jiang Zhe considered the picture effect and painting process, and began to use charcoal sticks to draft on the canvas.

He was going to paint a bust of the person, using the classic triangular composition.

The model's pose also needs to be changed.

The model he painted was leaning on the back of a chair in a very relaxed posture, with her hands resting on her skirt. The skirt covered her legs, but one could feel the overlapping posture.

This pose can show the curves of the figure, the angles of the long hair and the twisting of the head, as well as the outline of the skirt, forming an overall rhythm and increasing the beauty of youth and calm.

Because Jiang Zhe has been copying the works of Bouguereau, Ingres and Raphael continuously in the past six months, he unconsciously applied the knowledge he learned when he was conceiving.

He stood up several times and even walked to other angles to determine some details of the model.

"Everyone, pay attention." The teacher continued to explain: "These four painters use different drafting methods. Some use paint directly, and some use charcoal pencils or carbon sticks.

You can choose a method based on the actual situation. "

The audience and students sitting in the back row had already stood up to watch. Some people even left their seats and walked to the aisle, which was closer, to watch. Some people followed suit.

As a result, the order at the scene was temporarily disrupted. Several teachers from the Cultural Palace stepped in to make adjustments and the hall became quiet again.

Jiang Zhe quickly finished the draft and began to prepare the colors.

At this time, the area around the paint on the newspaper had been soaked with oil.

Jiang Zhe first makes the oil painting, and then uses the oil painting to blend the colors.

Although he only had an hour and a half to paint, he still tried to prepare the necessary colors in advance.

On the palette, he put the colors that did not need to be blended in one row, and the semi-transparent colors that needed to be blended in the second row.

Many students came over to observe Jiang Zhe's steps in preparing the colors.

At this time, the other three people had already started to lay the colors.

Jiang Zhe was ready to finish, holding the paintbrush in one hand and the palette in the other, he looked at the model again, adjusted his breathing, dipped the largest oil brush in color, blended it, and put the first stroke on the canvas.

Thin layers of color, showing clear brushstrokes on the canvas.

(End of this chapter)