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

Chapter 387: Pushing Realistic Techniques Forward
During lunch, Jiang Zhe was distracted while holding a spoon. Chen Yan saw it and asked, "What's wrong with you? What happened this morning?"

Jiang Zhe came back to his senses: "It's okay. I was just thinking about the problem I encountered this morning."

During the morning class, Professor Qin talked about the commonly used color techniques and oil painting techniques, and encouraged students to try more and learn different methods.

What Jiang Zhe thought of was to combine what Professor Qin said with his own practice and thinking, and to discover some problems.

For example, both direct painting and classical transparent glazing techniques have reached a peak, even perfection. Only by leaving these norms can a breakthrough be made.

The breakthrough direction is probably to make changes between the modeling effect and the visual effect.

From the perspective of extreme thinking, it is impossible for him to make the existing brush smaller or make the strokes more detailed.

The method of photorealism is to enlarge the picture once and make each stroke smaller to make it as realistic as possible. Jiang Zhe did not want to use this method to avoid repetition.

He wondered if he could make each stroke of paint into the desired shape, and combine different strokes to achieve his own special modeling effect. When the audience observes through light and vision, these shapes can make the audience feel a strong realistic effect, more real than the real object, but they don't know how this effect is created?

That’s the breakthrough he’s thinking about.

He told Professor Qin his thoughts.

After hearing this, Professor Qin replied that it was a good idea, but the range of expression of hand-drawing techniques was limited.

Professor Qin's doubts or suggestions aroused Jiang Zhe's confidence.

The system can help you improve your agility and the dexterity of your hands, so you can try to break through the limitations of hand-drawing.

Thinking of this, he had already figured out what kind of attempt he was going to make during the sketching process in the afternoon.

Chen Yan saw that Jiang Zhe was in a daze again and did not disturb him.

Until Jiang Zhe continued to eat, she asked, "Are you really okay?"

"It's okay, I figured it out."

"If something happens, don't handle it alone."

Jiang Zhe said: "You think too much, I just have a question. From now on, if you see me in a daze, I might be thinking about something."

"Okay? Do you want to take a break?"

Jiang Zhe looked at his watch and said, "After dinner, I'll take a walk, and then I'll go back to the car to rest."

In the afternoon, Jiang Zhe came to the studio. The students were preparing their own materials.

At 1:30 p.m., Teacher Hu led three models into the studio.

The students have automatically divided into three groups.

Jiang Zhe sat on the stool and watched the model walk to his seat and sit down.

The model in his group was a woman in her fifties.

She was wearing an old-fashioned cotton coat, had short hair, and had dark skin with many age spots.

The woman had not been modeling for long. Seeing that the students were all looking at her, she felt a little embarrassed and asked, "Is it okay for me to sit like this?"

The monitor happened to be in Jiang Zhe's group, so he said, "Teacher, please sit down in a comfortable position and relax a little. This will take a long time, and if your posture is not good, you will get tired easily."

"Oh, OK." She unbuttoned her cotton coat, revealing the sweater underneath, then moved a few times, adjusted her posture, and crossed her hands on her abdomen. Her posture was much more relaxed than before.

Seeing that the model has adjusted itself, the students have begun to observe.

Jiang Zhe is in front of the model, slightly to the left. He sketches and simulates the composition and modeling.

He has become familiar with these procedures, his sensitivity has improved, and he can quickly grasp the characteristics of the model.

She is a little overweight, with some white hair in her short hair, which is kept neat with a hairpin.

A square face, wrinkled skin, sagging eyelids and cheeks. Thick wrists and thick knuckles.

After grasping these characteristics, Jiang Zhe considered that this painting should be shaped by direct painting. How to draw the characteristics of the characters? He quickly drew several sketches of the characters' busts. In addition to paying attention to shaping the beauty, he also considered the practice he wanted to carry out, so he also made simple black and white gray renderings on the drafts.

The background is set to light grey, and the two colors of the clothing are darker than the background. The lightness and darkness of the skin color are set between the clothing and the background.

In this way, hair and clothes can set off the skin tone, allowing the skin tone to maintain its original characteristics while highlighting the key points.

After ensuring the basic aesthetic, Jiang Zhe filled in the details and considered the issues he wanted to experiment with.

He quickly painted the character's shape onto the canvas.

This step is much faster than the previous creation.

He plans to use the saved time to experiment with the steps and brushstrokes of oil painting.

For example, what kind of base color is used and what kind of strokes are used to outline the hair; what kind of visual effect is created by the brushstrokes and appearance of each stroke.

In this painting, there are three places that deserve careful depiction: the skin texture and wrinkles on the face; the joints and wrinkles on the hands; and the texture of clothes and costumes.

He finished the manuscript, stood up, and observed from different angles and distances.

The visual effects, also influenced by the distance and position of the image, had to be considered.

After confirming that everything was correct, he made a few small color sketches and began to prepare the paint.

After determining the content of the picture and the overall shape and color, he will consider the issues of specific and in-depth portrayal.

The glazing technique requires patient and repeated rendering, while most direct painting methods require careful painting two or three times to complete.

At present, he needs to experiment and create a unique realistic effect under the conditions of direct painting.

Teacher Hu serves as Professor Qin's assistant, so when Professor Qin is not here, she stays in the studio.

Seeing that all the students were very devoted to painting, he also found a seat and started sketching.

At 2:30 in the afternoon, Professor Qin came to the studio. He walked around the studio and saw that the student's draft was basically completed, so he came behind Jiang Zhe.

Jiang Zhe is squeezing paint onto the palette and then mixing it.

On the palette, there are several blended colors, arranged from dark to light.

Professor Qin looked at it for a while without saying anything, and then went to watch other students paint.

Not long after, he came to see Jiang Zhe painting again.

Jiang Zhe is painting the background base.

This layer of color is thin and flat, which is very different from reality.

Professor Qin knew that it was impossible to be precise in every aspect when painting oil paintings, so he wanted to see the effect of Jiang Zhe's arrangement of the background color.

Jiang Zhe painted the background, clothes, the base colors of the face and hands, made some adjustments, and began to depict the details.

Professor Qin noticed that Jiang Zhe's brushwork began to become rhythmic, with alternating looseness and tightness, and a combination of virtuality and reality.

There are transitions between some strokes, but in some places there is no transition at all.

Every time I see Jiang Zhe move his hand away, I can see that the previous strokes are connected, creating a special effect.
Light and shade, tone, and texture are all painted when the brushstrokes transition.

Professor Qin looked at it for a while and was a little surprised.

In actual painting, both transition and connection need to be considered in detail. In the early stage of in-depth depiction, it is impossible to think about everything so comprehensively and accurately.

He didn't know how Jiang Zhe did it. He was obviously in a relaxed state, but his brushstrokes were precise.

He couldn't help but get closer to watch.

(End of this chapter)