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

Chapter 342, Sketch Group Portrait Creation, New Goal
Jiang Zhe looked at the requirements of the challenge task and hesitated for a while.

Although the task requires improving sketching skills to a higher level, this level is like a chasm that many people may never be able to cross in their lifetime.

Even with systematic help and the opportunity to study in school, Jiang Zhe was still not sure.

After all, this kind of improvement requires not only learning and accumulation, but also comprehension. If you want to have a qualitative breakthrough, sometimes you need not only talent, but also timing and external promotion, and even a little luck.

However, thinking that there would be no punishment even if he could not break through, he felt much more at ease. The worst that could happen was failure.

Jiang Zhe chose to accept the challenge.

With a goal, the afternoon classes become more attractive.

He returned to his car, set the alarm on his cell phone, rested for 15 minutes, and then returned to the studio.

Some very diligent students are already in the studio sketching or reading books.

At 1:30 pm, several models returned on time.

After the model was in place, Jiang Zhe still did not rush to start drafting.

He observed as he walked, sometimes stopping to sketch and take notes from different angles.

Get as much detail as possible about what you need and what information you might need.

The sketching course lasts for a month, which seems long, but for long-term sketching practice, it is actually very short, and there is not much time for trial and error. Therefore, you must be as thoughtful as possible, especially thinking clearly about what to draw and the direction.

After studying at noon, Jiang Zhe already had an idea.

Teacher Su used Dürer's works as a model painting. Jiang Zhe also obtained Dürer's sketching skills from the system rewards, but he did not want to copy the skills. Although it would be smoother to paint and the effect would be guaranteed. However, he thought that since it was a creation and he wanted to make a breakthrough, he had to have higher requirements and flexibly apply the knowledge and skills obtained from the system to express his own ideas, and perhaps he could make a breakthrough.

Many students saw that Jiang Zhe was always drawing drafts and observing, so they did not rush to start drawing the final draft.

Jiang Zhe has been able to influence some of his classmates without realizing it.

Of course, most of the students studying art have strong personalities, and some have already started creating decisively.

Teacher Su came to the studio and took a look around.

At this time, the students had just started to create, and unless there were particularly obvious problems, he would just watch and not say anything. After looking through it once, he would leave.

During the creation process, other teachers would occasionally stop by to take a look.

No matter who came to watch, Jiang Zhe did not get distracted and focused on his creation.

He put away all the drafts and sat on the drawing stool to rest for a while. After his energy and strength were restored and he sorted out his thoughts, he began to draft on the full-size drawing paper.

Although it is still in the draft stage, I try to make every pencil line as clear as possible and not draw it casually.

Because he used a vertical composition, there were changes based on the original composition considerations.

The positions of the two figures in the painting are intertwined and blocked.

During the drafting stage, Jiang Zhe had already considered some details, such as the sitting and standing postures that the two men had developed due to years of labor. To what extent should this special situation be portrayed?
He drafted very slowly and gradually fell behind most people.

At 4 o'clock in the afternoon, Teacher Su came to the studio again for inspection.

He walked behind Jiang Zhe and stopped to observe his work.
In Jiang Zhe's paintings, there are only the outlines and structures of two characters, as well as simple spatial division.

Although there are few lines, Teacher Su can vaguely feel that the picture already has a sense of space and the dynamics of the characters, and can even generate associations through these lines.

He couldn't help but be surprised. He had seen Jiang Zhe's works before, but he never had this feeling. It seemed that this painting was already very wonderful at the draft stage.

Is this a good state? He knew that if a student could enter a good state, it was a precious opportunity. So, he did not leave in a hurry, but came back from time to time during the inspection.

When the get out of class was about to end, Teacher Su said, "Everyone, please stop writing for a while. I will ask you a few questions."

Seeing all the students' eyes gathered around him, he said, "First, I saw that the students drew a lot of drafts during the drafting stage. This is a good habit.

Second, don't be dominated by your own habits. Think about it, how many lines are drawn according to your previous modeling habits? When you draw too much, do you erase it? Pay attention to correcting it.

I use Dürer's works to explain knowledge. In the future, I will also talk about other painters, but I don't want every one of you to learn one style. This will result in everyone looking the same.

Different painters have their own strengths. You can learn from the works of the painters you admire, but you should not copy them.

These sketches of masters are all artistic experiments based on their artistic expression. They aim to solve their artistic problems and reflect their artistic pursuits.

I just watched and found that some students were able to apply what they learned flexibly, while some students still couldn't do it.

The works that should be there are obviously imitating each other.

You imitate it very well, but it is not your creation.

When you go back, don’t just paint blindly. Look more, understand more, and think carefully before you start painting.”

The class time is over and the teacher lets the students do what they want freely.

After Teacher Su left, most of the students did not rush to move. Some wanted to continue with the feeling they had just had and to complete their predetermined goals, while others started a discussion.

There were only a few people, and they started to pack up and prepare to go to dinner.
Although Jiang Zhe accepted the challenge, he will not rush for success.

He was packing up his painting supplies and leaving the studio, only to see Chen Yan waiting for him outside.

The two of them went to have dinner together.

As soon as she sat down, Chen Yan saw Jiang Zhe start to answer the phone. When the call ended, she asked, "What's the matter?" Jiang Zhe received a message from Wang Zhen that his work was shipped.

Chen Yan listened to Jiang Zhe's explanation of the whole story.

She put a few pieces of beef into Jiang Zhe's bowl.

"Have you told the teachers about this news?"

Jiang Zhe said: "I have already told Professor Qin. But I also ask Professor Qin not to spread this news yet."

Chen Yan said: "Today, I ran into that high school classmate, one of the musicians. She took the initiative to say hello to me today."

Jiang Zhe was surprised: "You won't forget what happened before, right?"

Chen Xin said: "How is that possible? I just responded."

Jiang Zhe said: "It was already unpleasant at the time, and it's useless to make up for it later."

Chen Yan: "I think she wants to mend the relationship."

"Ignore her."

Chen Yan quickly finished her dinner and asked, "When will you let me be your model again?"

"What's wrong? Why are you asking this suddenly?"

Chen Yan said: "I feel uncomfortable when I see you drawing other models."

Jiang Zhe said, "I have explained the reason to you. Those paintings may be sold. It is not appropriate to use you as a model. However, you can paint some paintings for your own collection."

"Okay, when?"

"Let's wait until Saturday." Jiang Zhe thought that he could do some small creation while relaxing on the weekend.

"Okay." Chen Yan was happy.

……

At seven o'clock in the evening, Jiang Zhe returned to his studio and began to look through the sketches of many masters that he had copied.

These works present different artistic features. He read the works of masters, felt the differences in painting language, and hoped to find something useful for himself by comparing their works.

Michelangelo's sketches are powerful, with precise structures, and the images are full of passion and have a grand momentum.

Raphael's sketches are elegant and calm. While looking at his works, you can feel the breath of the Renaissance blowing in your face.

Ingres' sketches are concise and concise, using lines to create shapes, and his works are exquisite and elegant.

Jiang Zhe had already deeply realized in his previous copying that although Ingres's works looked very realistic, they actually generalized and beautified in many aspects. Compared with the works of the masters of the Renaissance, Ingres's paintings were more beautiful.

He put down the album in his hand and began to look through Fei Xin's sketches.

He felt that Fei Xin's growth experience was very instructive. Fei Xin received strict sketching training at the Repin Academy of Fine Arts. Although he started out as a realist, he respected the expressive power of the painting language itself, which made his sketches go beyond the concept of practice.

After reading these picture albums, Jiang Zhe had some ideas.

He found a book of Freud's paintings. He bought it from Shanghai, but only for viewing, and had not had time to copy his works.

He found a sketch of a man's head in the album and began to copy it using the quick sketching technique.

Freud's works are figurative realism paintings, but the sketches start from the structure and everything is subjective. They use abstract refinement and generalization to express the thinking about human nature and present the life and mental state of human beings.

In the process of copying, Jiang Zhe gradually realized the feeling of not pursuing external beauty but focusing on the painting language itself and the inner world.

At the same time, I am also thinking about how to make the most of my strengths.

When I depict scenes from my daily life, I can be accurate and realistic. If I continue to strengthen this advantage and let the audience feel as if they are there, I may be able to enhance the beauty. At the same time, this reality can be a subjective expression.

If you combine your own observation perspective with the techniques of classical sketching, you may be able to break away from the barriers of tradition and realism.

Thinking of this, Jiang Zhe stopped painting.

He stood up and walked around, thinking along the same line of thought.

Artists live in different times, address different issues, and uphold different aesthetic concepts. Therefore, their focus when shaping and expressing objects should be different.

This is not just a difference in style, but a difference in spiritual orientation due to the changing times.

He quickly went to the workbench and wrote down what he thought of on paper.

From the initial idea of ​​fusion to the thoughts on breakthroughs.

During the process, I crossed out a lot, revised it several times, and finally left a few sentences.

“To express the spiritual outlook of modern people, to narrate the psychological activities of modern people, and to add new content to art in line with the times.”

He looked at the few words left on the paper and was very excited.

I found a new direction.

(End of this chapter)