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

Chapter 386, Realistic Techniques, New Discoveries
After listening to Jiang Zhe's words, Professor Qin was speechless for a long time.

Jiang Zhe saw Professor Qin's expression and realized that what he said was a bit exaggerated, so he smiled and tried to make amends: "Teacher, what I just said was just a few thoughts."

Professor Qin smiled and said, "Your goal is too big."

Just now, he recalled his ambition when he was young, which was the same as Jiang Zhe's. Unfortunately, he has not completed it yet.

He looked at Jiang Zhe and said, "First of all, realistic techniques started from the Renaissance, no, they existed before the Renaissance.

So many painters have developed realistic techniques to a very rich level. Now, there are hyperrealism and photorealism. If you want to take a step forward in this area, it is too difficult. It is difficult to just find the direction, let alone do it.

Many people, after thinking hard, still can’t figure out which direction they should take the next step, even half a step.”

He paused and continued, “As for your second idea, many people cannot think of how to follow the path of their predecessors and continue to move forward, so they want to find their own unique way or create a form, think of a new way, and then give it an innovative name.

Why are there so many strange phenomena in the calligraphy and painting circles? No matter what name he gave it, there is actually no other way. He couldn't think of a better way. He didn't want to follow the path of his predecessors, so he just thought of an innovative routine.

If nothing else, our school has it.

Many inexplicable works appear every year.

Of course, it’s good that you have an idea, and you can work towards that direction.”

Professor Qin felt that he should not undermine students' confidence, so he still gave them encouragement.

When Jiang Zhe said goodbye and left, Professor Qin said, "You can try some new ideas in tomorrow's class."

……

Jiang Zhe returned to his studio to prepare materials for his new creation. At the same time, he was also thinking about how to experiment with his new ideas. What he said to Professor Qin was not bragging or irrelevant. With the help of the system, he really had a certain direction.

Apart from other things, it is not impossible to make further progress in realistic techniques. In addition to improving skills, we also need to have ways to create visuals (including illusions).

As for another innovative method, we can think about it slowly.

……

At 8 o'clock on Thursday morning, Jiang Zhe came to the classroom with tools and materials.

It was the first professional class of the new semester, and the students all came to the classroom early to prepare.

Today we have a color class and we will be doing our homework by sketching. Everyone is looking forward to learning something new.

Soon, Professor Qin and Teacher Hu came to the classroom.

The students greeted him one after another.

After the two teachers responded, they started to get busy.

This class was taught by Professor Qin and taught by Teacher Hu.

Each teacher has a different teaching method. Professor Qin prefers a direct and clear method. While fiddling with the projection, he talked to the students about the purpose of this class: to further master the relationship between shape and color and the essentials of the direct painting method of oil painting. To learn a variety of classical oil painting techniques.

When Jiang Zhe heard this, he found that he had already mastered many of the skills, but he still listened attentively.

Teacher Hu wrote the homework requirements for this class on the blackboard.

1. Half-length portrait sketch (direct drawing method) 2 weeks

2. Creation (classical techniques) 3 Professor Zhou Qin saw that Teacher Hu had clearly written the requirements of the assignment and began the formal class.

“Everyone has just heard the purpose and requirements of this class. Let’s start with realistic painting.

One of the origins of art is imitation. Painting is an imitation of natural appearance. Regardless of the result, people can compare, speculate and develop in the process. Imitation itself is interesting.
In terms of technique, the more similar the imitation is, the more difficult it is; if it reaches the point of being indistinguishable from the real thing, it is no longer just fun, but rises to the level of art.

One of the characteristics of fine art is the ability to realistically reproduce natural forms, and this kind of realistic reproduction has a long history..."

Professor Qin used projection to play works from ancient civilizations such as Egypt, West Asia, and Greece, most of which were vivid sculptures.

"In terms of painting, judging from the existing ancient murals, woodcut paintings and pottery paintings, the techniques are mostly linear descriptions and flat color painting, which is still a long way from realism. From the works we can see today, we can see that it was not until the Renaissance that true visual realism appeared."

After the students saw Professor Qin use a projector to play several works by the three great masters of Renaissance art.

Just when everyone thought that the teacher was going to talk about these famous works again, Professor Qin changed to a work that no one was familiar with.

"In the past, we always talked about the works of these familiar masters. Today, we will learn about painters that we don't usually pay much attention to.

There are many good works from the Renaissance.

When we study colors and painting language, we need to look at different places, which may inspire you. "

He talked about several less well-known works in succession. Because the visual effects were different from the well-known masterpieces, the students were also very interested.

In these works, there are no rules of perspective, no objects that are closer are larger than objects that are farther away, and no shadows. The visual effects are rustic, pure, and mysterious.

"The painting schools in different regions of Italy were influenced by Gothic art and Byzantine art. A large number of painters did not use perspective, which is another painting concept that comes from frescoes.

This concept is even older. Its beauty comes from the simplicity of the plane, decoration, pattern, and technique. "

Professor Qin played several more pictures of altarpieces, allowing students to observe as many details as possible.

Jiang Zhe discovered that one of the pictures was a picture from the book he brought back for Professor Qin.

"Realistic techniques are conveyed through vision. When we learn the language of painting, we must pay attention to visual factors. The altarpiece we just saw was originally presented in a church.

500 years ago, the church was only lit by candlelight and a small amount of skylight. I guess people may not be able to see many details of the picture.

People at that time went to churches not to appreciate art but to worship. Therefore, you were not allowed to see the paintings and sculptures clearly. If you couldn't see them clearly, there would be a sense of mystery.

If we look at the details of the picture today from a different angle and under different light, the effect will be different from what people saw hundreds of years ago.

When you think about creating a painting, you must consider the factors of light and vision.”

Jiang Zhe has also been thinking about this aspect recently, so when listening to the class, he wrote down some points of interest and prepared to put them into practice.

Next, Professor Qin gradually talked about some special techniques from the works of the Renaissance period to the Baroque and Rococo periods. In addition to explaining the techniques, he also suggested that students boldly try to apply them.

Professor Qin finished the lecture and took a break while answering students' questions.

In the morning, you can prepare tools and in the afternoon do sketching.

Seeing that Professor Qin was free, Jiang Zhe walked over and asked questions.

While listening to the class, he discovered a lot of doubts, which, if clarified, would be of great help to his future creations.

(End of this chapter)