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

Chapter 370: The difficulty of creating a masterpiece, different opinions
The second day of winter vacation.

Jiang Zhe stood in the center of the studio, looking at two oil paintings placed side by side.

The dimensions of both works are 120×190 cm, and they depict the same content - a pedestrian street.

The painting on the left uses some classical oil painting techniques. It was started before the holiday and is now completed. Unfortunately, the evaluation given by the system is still a fine product.

The work on the right, all using direct painting techniques, is also nearly finished.

Jiang Zhe felt that the painting could be improved. Because he couldn't make up his mind, he wanted to find someone to help him take a look.

After much thought, the most suitable candidate is still Professor Qin.

He called Professor Qin and after confirming that Professor Qin was at home, he immediately drove and invited Professor Qin to his studio.

When Professor Qin came to the studio, he was attracted by two new works.

Jiang Zhe placed the snacks, fruit plates and tea next to Professor Qin, and then waited for Professor Qin's comments.

Professor Qin looked intently at a painting on the left.

It can be seen that in this painting, Jiang Zhe used the shaping method he is best at. The character shaping is rigorous, and the costumes plus the lighting effects make the colors rich and dazzling, creating a magnificent and lively atmosphere. It is a good painting.

He nodded and went to look at another one.

The second painting is obviously much more plain than the first one, but if you look closely, you will feel that this painting is very interesting.

There are several characters nearby, including a young couple, a family of three, and several young friends. At first glance, the portrayal of these characters seems very simple, but if you appreciate it carefully, every stroke is very well done.

The internal changes of the figure's shape are not significant, but the changes and turns of the outer contour lines and the simple brushstrokes contain the rhythm of the shape.

Professor Qin moved closer and distinguished carefully.

No matter they are young or teenage, the faces and hands of each character are not deliberately depicted with traditional light and dark effects, or changes in temperature. However, if you observe from a distance, you can feel the weight, volume, and texture of the characters, including the transition between light and dark.

This wonderful effect, which cannot be found when you are close but can be seen when you are far away, makes Professor Qin like it more and more.

He moved closer and found that the strokes depicting some details were very concise and abstract.

For example, there is a man in profile wearing glasses. From a distance, the effect of the lenses is very vivid, but up close, it seems that there are only a few strokes to highlight the highlights and reflections.

The blush on a woman's face looks very natural from a distance, but if you look closely, you can see the superposition of brushstrokes.

Another woman is wearing a ring inlaid with gemstones. Jiang Zhe used only one or two strokes based on the base color to create a crystal clear feeling.

After looking at all the details, Professor Qin returned to his seat and re-observed the effect of the entire painting.

Jiang Zhe waited patiently.

Professor Qin picked up the teacup, took a sip of tea, and asked first: "How did you come up with these two paintings? Were they painted together, or one before the other?"

Jiang Zhe explained the origins of the two paintings, pointing out which one came first and which one came later.

Professor Qin pointed to the first painting and said, "This painting is good. You have maintained your usual level, but the improvement is not very obvious. If I were to find fault, I think you strive for breakthroughs in color. But you overdo it, and in terms of modeling, you are a little conservative in trying to play to your strengths.

Overall, it's a good painting.

I personally think your second painting is very good.

The overall effect is good.

I counted and found that there were 11 very clear figures in the near distance, more than 20 blurry figures in the distance, and some were completely unclear.

There were so many people, and it seemed that there was no focus, but it was not chaotic. Most of them were vaguely walking in one direction.

In addition, the tone and shape of this painting are more rustic and natural than your first work.

The first work is solid and vivid. This painting seems to use less ink, but this reduction is refined and more simple.

I think this kind of depiction is in line with the charm of using clumsiness to surpass cleverness. This kind of simple flavor is rare.

The breakthrough you made in this painting is very bold and should be maintained.”

Jiang Zhe said, "Teacher, I would like you to give me some advice. I haven't figured out how to end the second painting yet, and I'm a little hesitant."

Professor Qin was silent for a while before he said, "I don't want to give you any suggestions at this time to avoid affecting your thinking. If you must ask me to find a problem, I will only make a small suggestion.

There are many characters, colors, and light sources in this painting, although you have used various methods to coordinate the overall design.

But I think you can try to reduce the number of colors and increase the overall coordination.

I once saw a painting that showed a nighttime battle scene.

In that painting, the colors used are few, but the changes are very subtle. Snow falls in the woods at night, falls on the trees, falls on people, and falls on the ground, showing different color tendencies.

I still remember that there were several patches of cobalt blue in that painting, which had different warm and cold tendencies when placed against different backgrounds.

You can try this method of using one color to create multiple effects.

What I say may not be correct, it’s just a suggestion. Think for yourself.”

Jiang Zhe thought about Professor Qin's suggestions, looked at his own paintings, and decided that it was worth a try.

At this time, Wang Zhen called him and said that he would come over to discuss something.

Jiang Zhe looked at Professor Qin.

Professor Qin heard the conversation between the two and indicated that he didn't mind.

After Jiang Zhe agreed, Wang Zhen said he would be there soon.

Professor Qin waited for Jiang Zhe to finish the call and said, “I think you should often ask Wang Zhen, including some knowledgeable art dealers, to help you look at paintings.

They are very sensitive to the market. Listen to their opinions and don’t work in isolation.”

……

Soon, Wang Zhen arrived.

Jiang Zhe invited Wang Zhen in.

Wang Zhen saw Professor Qin was also there and greeted him with a smile.

Professor Qin said, "Manager Wang, take a look at Jiang Zhe's new work. Please help him find some flaws."

When Wang Zhen came in, he saw several new works in the studio.

She looked through them and said to Jiang Zhe, “These two paintings with the same subject, as well as the one showing the dressing room, are both good.

In my personal opinion, paintings depicting pedestrian streets may be sent abroad for exhibition.

Works depicting dressing rooms can be entered into domestic competitions and may be accepted by more people.”

Professor Qin asked: "Can you tell me your reasons?"

Wang Zhen said: "The work "Dressing Room" uses mirrors to show some indoor scenes and characters. The technique is clever and has a story, so it is easier to be recognized in domestic competitions or auctions.

The painting of the pedestrian street has a weak narrative, but the visual effect is very novel and you can give it a try. "

Jiang Zhe pointed at the unfinished work and said, "Can you point out some faults? This painting is not finished yet."

Wang Zhen thought for a moment and said, "Compared with your previous paintings, this painting is very different. It is a bold attempt. It will either be very successful or not be accepted by the market."

(End of this chapter)