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

Chapter 360: Inspiration from Famous Paintings, Fine Works of Art

studio.

Jiang Zhe stood up, moved his hands while walking, and looked at the clock. It was already past eight o'clock in the evening.

Tonight, he admired many famous landscape paintings, but still couldn't find anything that interested him.

Among them, he had copied many works before, but when sketching on campus, he was unwilling to repeat his previous works, but wanted to draw out different feelings.

I had no inspiration, so I went to wash up. When my brain was clear, I found a few picture books and expanded my reading range. I started with some works of the Hudson River School, and then read the works of Turner and Constable.

These grand scenes are very different from the effects of campus scenes.

He accidentally saw the world-famous "The Hay Wain", which was also a work of Constable, but in a special style.

Although there was no high-definition material, Jiang Zhe was instantly attracted and began to read it carefully.

The painting depicts a typical rural landscape with a creek, big trees, a shallow ford, two horses pulling a hay cart wading through the water, and a puppy looking around.

The clouds in the sky have soft colors, which make the sky rich in layers and soft in colors, and everything is immersed in tranquility.

When looking at this work, it seems as if you can smell the countryside in the air. The whole picture appears real, harmonious and full of vitality.

Jiang Zhe calmed down and analyzed the situation. He concluded that the beautiful feeling of this painting, in addition to the painter's superb skills, there is a more important factor, which should be the painter's sincere feelings for his hometown. Because of true feelings, ordinary scenes such as rivers and streams can be portrayed realistically and poetically, making the audience feel as if they are on the scene.

The painting language of this picture shows the rural scenery in a natural and pure way.

Jiang Zhe thought that his search for materials and appreciation of works of art are a way of feeling the world through his senses. If some common images are given special emotions and processed in a suitable form, such works can entertain oneself and others.

After viewing this work, he vaguely found the direction he wanted to express.

Inspired by this, he then found pictures of the painter Millet's works.

Millet was the painter that Van Gogh admired most.

The painter's works depict French rural life, including shepherdesses, farmers, fields, etc. Whether it is a scene of harvest, labor, homecoming, or rest, the shapes are all simple and plain, full of strong rural flavor.

Some of the details are portrayed to show the warmth of life and are very touching.

Jiang Zhe's favorite work is a farmer returning home with his arms open to his child. His wife comes with the child to greet him, and the moment the child opens his arms and rushes to his father, the picture freezes.

These depictions are vivid, funny, and detailed, and vividly recreate rural life and the warmth and happiness of family.

Millet, a painter, used rural life as his creative subject throughout his life. His observation of the images and details of the peasants' lives enabled him to vividly depict folk customs and the peasants' lifestyle. Such paintings will remain memorable no matter how long they have been painted.

The works of these two painters inspired Jiang Zhe to come up with his own creative direction.

I don't know much about the countryside, but there are some scenes in campus life that I am very familiar with. If I can perform them well, I can still show the warmth and tranquility of campus life.

He even quickly thought of some familiar campus materials, such as the shops selling beverages, cold and hot drinks near the canteen, the tennis courts he often passed by, the entrance of the teaching building, and even the school gate...

These places with large traffic flow were previously neglected, but now, inspired by the works of two great painters, he feels that he can express these materials very brilliantly.

Jiang Zhe thought about where he could go to sketch tomorrow, and even began to imagine and simulate it.

Early Friday morning, Jiang Zhe and Chen Yan had breakfast in the canteen.

Walking out the door, Jiang Zhe looked at the surrounding scenery.

Chen Yan asked: "What are you looking for?"

Jiang Zhe said, "I plan to paint a landscape painting near here this morning."

Chen Yan asked: "Here? What's there to draw?"

Jiang Zhe turned around and pointed at a row of two-story buildings behind him: "The big cafeteria, the small cafeteria, and the shops in the middle, plus some trees around, are enough to make a work of art."

Chen Yan still didn't see the beauty in this place, but he wouldn't object to Xiangzhe's choice. "Okay, I'll come see you at lunch time."

The two parted ways and Chen Yan went to the teaching building.

Jiang Zhe waited for a while, and Teacher Chi began to gather the students and explained the requirements. "... I would like to give you a suggestion. When choosing scenes on campus, don't choose materials that are too complicated, and don't imagine the picture to be too grand. Many students' sketches yesterday did not have a prominent theme."

Finally, he emphasized: "Yesterday, some students were affected because they had to participate in interviews. Everyone must produce good works today."

After the teacher finished his lecture, everyone went their separate ways to sketch.

A classmate saw Jiang Zhe walking towards the cafeteria and asked, "Jiang Zhe, how are you going there?"

Jiang Zhe replied, "I'll go see if there's anything I can paint."

He didn't explain much and walked straight to the open space opposite the canteen.

At this time, there were still students hurrying by on the road outside the big and small canteens. These were students who got up late or were late, bought breakfast, and then went to class.

Jiang Zhe arranged his painting tools and began to observe the scenery. The sunlight at this moment shone obliquely on the two canteens and the shops in the middle, casting different shadows on the concave and convex facades. The windows and doors of the shops were decorated with striped awnings, which had a bit of Western style. He considered the composition and sketched the still life in the sketchbook to complete his idea.

I drew several sketches in succession, picked out the one I was most satisfied with, and colored it with colored pencils and watercolors.

The sunlight around 9 o'clock makes the light and dark relationship of the building even stronger. The trees next to the building, the bushes on one side of the road, and the occasional passers-by make the picture richer.

Jiang Zhe finished the practice quickly and was not very satisfied with the result.

He readjusted the composition, moved some trees, changed the proportion of the buildings, and also considered the warm and cold colors.

Around 10 to 11 o'clock, the sunlight becomes stronger and stronger, making the row of buildings brighter and brighter, forming a stronger contrast with the sky and the road. At that time, this may be the effect you need.

Jiang Zhe had a new idea and started to draw a draft with charcoal on a 40×60 cm canvas.

He quickly finished the draft and after reviewing it, he was quite satisfied with the result. However, at this time, the lighting effect he needed had not yet appeared.

He was not in a hurry and ran to a shop selling cold and hot drinks and bought a cup of ordinary instant coffee.

The waiter had noticed Jiang Zhe sketching not far from the door, and since there were few customers at the time, he took the initiative to strike up a conversation with him.

"Classmate, where are you sketching?"

Jiang Zhe said, “I want to draw the cafeteria and the shops, as well as the surrounding trees.”

"Welcome, please paint our shop as beautifully as possible."

"No problem," Jiang Zhe drank coffee, returned to his seat, slowly prepared the paint, and then waited while sipping coffee.

It was past 10: in the morning, and under the influence of the sun, the row of buildings in the cafeteria became brighter and brighter.

Jiang Zhe found the feeling he wanted and began to paint.

The azure blue sky and softly layered white clouds serve as the background, and a few tall trees enrich the shape of the row of buildings.

The buildings in the middle of the picture appear brighter and simpler than in reality because of the light and the angle of depiction. The shadows of several important doors and windows of the building, especially the shadows under the two awnings, use the color of the sky to echo each other. While maintaining the relationship between light and dark, there is also a transparent effect.

In the close-up of the picture, there is a part of the road and lawn. There are shadows of trees and buildings on the road and lawn.

Jiang Zhe only used a small amount of inherent colors to express the illuminated parts of the road, the shadows, and to embellish the colors of the sky and fallen leaves, making the picture appear lively.

This painting still looks a bit plain, and Jiang Zhe plans to depict a few characters in the painting. These characters will no longer be embellishments, but important parts of the painting.

He wrote down some materials and described them one by one.

First, there are several people coming in and out of the cold drink shop.

Some were carrying backpacks, some were holding books under their arms, and everyone was holding a drink or a cup in their hands.

Through the window, you can vaguely see a few people in the shop.

On both sides of the road, there were several people walking in different directions, some in groups of three or two, and some alone.

People have different demeanors, some are leisurely, some are hurried.

People, buildings, sunshine and sky can show the relaxed, lively and positive atmosphere of campus life.

Jiang Zhe also added an orange cat under the shop window to add to the lively atmosphere.

Teacher Chi saw Jiang Zhe and wondered why he chose this place as the material.

I walked behind Jiang Zhe, took a look, and was immediately attracted by the colors of the picture.

The first impression of this painting is the bright colors. The blue and white layers of the sky, the light yellow walls and earthy red roofs of the buildings, the blue and white striped awnings, and the colors in the shadows are still transparent.

The spatial layers and light-dark relationships of the picture are harmonious, while fully showing the effect of sunlight.

Under the sunshine, everyone lives a very relaxed and comfortable life.

Teacher Chi came closer to the painting, observing and giving instructions: "This painting has a good atmosphere, good colors, and a prominent theme. But there is a small problem. Some of the characters are too detailed. Of course, what I say may not be correct, you should think about it again."

He pointed out several characters in the painting. "For some images, just draw their expressions or movements, don't draw them in too much detail."

"Thank you, teacher." Jiang Zhe thought for a moment and felt that Teacher Chi was right, so he made slight adjustments to a few of the characters to make the images more integrated.

"It's okay. Very good." Teacher Chi said.

Jiang Zhe examined the picture and stopped painting decisively when he felt that he had expressed the atmosphere he wanted.

After Teacher Chi left, I used the system to review the works and received evaluations as excellent.

(End of this chapter)