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

Chapter 326, Transcendence, New Ways, Colors

Oil painting classroom.

The discussion between teachers and students was very lively.

Teacher Yan was worried that students would fall into the path of imitation again, so he made several suggestions.

Observation-association: observe the existing objects and further imagine their colors and shapes. Break through their original colors or make bold changes.

No matter what method is used, the final picture effect should be presented.

"I remember when I was a junior, there was a heavy snowfall. I was in the dormitory, looking at the snow outside, and suddenly I didn't want to go to the studio anymore. I just wanted to look at the snow. When I got tired of looking at it, I went to sleep, and when I got enough sleep, I went to the studio.

I saw my classmates working hard on their paintings, but in reality, they were just that good. "

The teacher's relaxed tone made the students laugh.

“My view is that if you want to paint, you either don’t paint at all or if you do, it has to be different.”

Because Teacher Yan told some unconventional but successful cases, he aroused the students' emotions.

Many students can't wait to start creating.

Teacher Yan announced the end of the get out of class and asked the students to find materials and inspiration on their own. Some students stayed in the classroom to ask questions to Teacher Yan, while some students had already carried their painting tools and were ready to go to the library to borrow books or look for inspiration.

Jiang Zhe was also inspired, but soon after leaving the classroom, he calmed down. There is a saying that goes, you can’t sing the song you are taught. No matter how excited you are, no matter how inspiring the teacher’s inspiration is, students will eventually have to solve two problems: what to draw? How to draw?
This is not something that can be done on impulse.

Several students are discussing where to go for sketching.

Someone saw Jiang Zhe and said, "Jiang Zhe, we are planning to go to the beach, do you want to go?" The teacher's words made some students completely relax.

"I'll go to the library first." Jiang Zhe hasn't figured out his creative ideas yet.

The person asking the question waved goodbye to Jiang Zhe.

His painting skills are good, but in the class, he has always been overshadowed by Fu Min and others. He has not been able to attract attention like he did in high school, so he has been working hard quietly.

Now that I have listened to Teacher Yan's class, I feel that I have found my direction. Forget about the previous homework, I can't be better than you in such free creation.

As I walked towards the school gate, I felt happier.

There are more than one person who has similar ideas.

Teacher Yan and the class monitor were the last to leave the classroom.

At this time, a graduate student came to see Teacher Yan.

After the monitor left, the graduate student said, "Teacher, I was here just now. You are getting better and better at mobilizing emotions. I saw many students were very excited when they walked out."

Teacher Yan smiled but said nothing.

The graduate student continued, "I remember the first time I listened to your lecture. I felt very clear while listening, but when I started writing, I seemed confused again."

Teacher Yan said: "Due to limited talent, there are not many people who can really find the right path."

As Jiang Zhe was walking towards the library, Fu Min, Mou Xing, and two other classmates came over one after another.

Several people talked as they walked.

Fu Min said: "When I was listening to the class, I felt that I understood it very well, but after leaving the classroom, I suddenly became confused again. I don't know what to draw?"

Jiang Zhe felt the same way. After leaving the lively classroom, many people gradually calmed down. Teacher Yan's class was very enjoyable, but in the end, one still had to create.

Going to the library is just to find inspiration, not to imitate. Many painters have never found the right direction for their creation, so there are so many strange phenomena and works among painters.

A classmate who was traveling with me said, "I understood it very well when I was listening, but now I feel even more confused. In the past, whether I was imitating or creating something, I had a direction, but now..."

Mou Xing also expressed a similar view.

Jiang Zhe said, "Calm down for a while and read a book. Innovation does not necessarily mean throwing away all your basics. If that doesn't work, we can just do a patchwork and combine things from two or even three schools of thought."

This is what he said and what he thought. Many painters in history succeeded in this way.

Arriving at the library, several people went their separate ways to look for the picture albums they wanted to see.

Jiang Zhe found an album of paintings by French Impressionist painters and began to read and study it.

The topic of this class is to study color. Teacher Yan started with Impressionism and talked about color. In addition, when Jiang Zhe was in Paris, he saw some works of Impressionist painters and had impressions. Therefore, he wanted to learn how these painters changed color.

Jiang Zhe always remembers the importance of emotional expression, so he tries to find subjects that are close to himself and life. Finally, he finds a work by Pissarro - Montmartre Street.

The subject matter of the contemporary city is close to his life. He studied the background and details of the painting and tried to find a method that suits him.

Pissarro created more than a dozen works based on Montmartre Street, showing the city streets at different times.

He pays attention to the changes and interactions between warm and cold colors, and captures the instantaneous light and shadow effects. In the picture, there are particularly delicate expressions and blurred contours.

Jiang Zhe is also concerned about how painters express the prosperity and romance of Paris in their paintings, and how they express the cultural temperament of the city.

He imagined the painter's state of mind when he was creating the work, and thought about how he would handle the same subject matter.

During the thinking process, I vaguely felt a little feeling, but every time I tried to hold this feeling, I couldn't catch it.

He put down the book and prepared to go out for a walk, hoping to find inspiration.

Jiang Zhe drove around and strolled through familiar streets and famous scenic spots. He was very familiar with these scenes and had already painted some of them, but he did not want to repeat his previous creations.

He thought of the Pissarro works he was studying today, all of which were viewed from a higher floor, looking down at the street.

So, I went to several higher observation points to look down at the city and took some photos, but I still felt unsatisfied.

He returned to the car and was thinking about where to go for inspiration next. Suddenly, he saw someone debugging an advertising light box on the street.

The light from the light box is very bright, which changes the shadows of the surrounding trees and railings, and temporarily changes the color of some surrounding objects.

Jiang Zhe suddenly remembered that he had painted night scenes before. Would the street scenes at night have a different effect?
He thought the idea was worth a try, and immediately began looking for places with bright lights at night and observation points.

Soon, he drove into the parking lot of a four-star hotel.

Jiang Zhe came to the front desk and stated his accommodation requirements - to choose the floor himself.

Front desk staff was confused.

Jiang Zhe explained that he wanted to see the night view and could choose a higher-priced room.

The staff confirmed that Jiang Zhe had no other intentions and took him to choose a floor.

From the sixth floor to the tenth floor, Jiang Zhe finally chose the room on the eighth floor which was best for observing the night view.

He booked a room and went back to the studio to move his sketching supplies to the hotel room.

In the evening, Jiang Zhe moved a chair and sat in front of the window in the room, placing his sketchbook and camera at his side.

Observe the changes in light, the various objects on the street, and the subtle changes in color.

He continued to shoot some footage.

As the sunset appeared, the colors of the objects on the street changed significantly from their original colors.

Jiang Zhe quickly recorded his feelings just now.

Around 5:30 in the evening, Jiang Zhe bought dinner as quickly as possible.

At 6pm, the light was getting dim.

Around 6:30 in the evening, some street lights came on.

At 7 o'clock in the evening, street lights, billboards, building lights and residents' indoor lights are lit one after another, replacing natural light and bringing brightness to the city.

As time goes by, nightlife begins, the street lights become more and more abundant, there are more and more pedestrians, and the streets seem more lively.

Jiang Zhe noticed that a snack street was particularly bright, and pedestrians seemed to be walking in a long bright river.

Since there was water on some parts of the road, the lights were reflected, giving the light and colors a flowing feel.

Jiang Zhe watched this scene and felt an urge to create, and vaguely had a direction for his creation.

He picked up the prepared watercolor paper, sketched the scene, and then began to quickly splash paint on the paper.

The first pass of color has a higher purity and, under the effect of water, goes beyond the range of the light and the outline of the pencil draft.

Some colors were flowing, and Jiang Zhe also deliberately controlled them.

He then rendered the gray sky, and this layer of color interacted with the first layer of color to give the sky a blue-gray tendency.

Without waiting for the color to dry, he quickly scraped off some of the gray on the picture with a scraper to reveal the light color, creating a natural building lighting effect. Then, he rendered the third layer of color.

The interaction of colors at this time is close to the effect preset by Jiang Zhe.

Soon, Jiang Zhe stopped writing and examined the picture.

Countless lights showed the busy and bustling streets. The streets gradually extended into the distance and merged into the night.

The relationship between light and color in the painting is exactly the opposite of that in the daytime. Some colors are out of the outline, giving a sense of light scattering. Some images are hazy and a little exaggerated, but the overall color effect is very good.

Jiang Zhe reviewed the creative process. He did not deliberately arrange the tones and levels, but completed the work based on his feelings.

Now I calmed down and felt that some things could be adjusted, so after the adjustments were completed, I used the system to review it. It was evaluated as an excellent work.

Although it was not evaluated as a masterpiece, he was satisfied that an experimental work was evaluated as an excellent work.

This shows that my attempt was right.

Look at the time, it's just past 8pm.

Jiang Zhe changed his angle and looked at another street.

There are many vehicles passing by on this street, and the car lights, street lights and the lights of the overpass next to it are the materials that can be highlighted.

As the creation progressed, Jiang Zhe slowly came up with some ideas.

He compared his own creations with those of famous artists and gained new insights into the expression of natural objects and inner feelings.

Reproduction or expression is a kind of deepening, just the language used by each person is different.

The beauty of color should be able to touch people's hearts.

(End of this chapter)