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

Chapter 388: A step towards success, but the gap is too big
Jiang Zhe took a small-sized brush and drew the upper eyeliner of the character's left eye. Then he adjusted the color on the brush and drew the inner corner of the eye.

He leaned back slightly to see the effect of the picture, and then drew the upper eyeliner and inner corner of the character's right eye.

Because of the different positions and differences in light and dark, the color needs to be adjusted after almost every stroke.

The delicacy of direct painting is limited by the number of color layers. During the in-depth carving process, some images need to be completed in one go as much as possible.

This is also the effect that Jiang Zhe wants to experiment with.

When the strokes cannot be further refined and the number of color layers is limited, is it possible to use the outer edge of the strokes, that is, the outline, and the changes in internal color to create a special realistic effect?

If you look closely at this realistic effect, you will find that it is not particularly realistic, and even has certain differences from reality. When you observe it from a farther distance, reaching the most suitable viewing distance, it will form a realistic visual effect.

This effect is different from the blocky brushstrokes used by Impressionist painters.

What Jiang Zhe needs is a more realistic effect than glazing techniques and hyper-realism, so he needs to experiment.

Professor Qin watched for a while and found that Jiang Zhe's painting speed had slowed down and his technique was different from before. It was obvious that he was doing some verification, so he moved closer out of curiosity.

Jiang Zhe noticed that Professor Qin was watching him paint, and he also wanted someone to help him find the problem, so he continued painting.

Professor Qin looked at the tiny bit of color that Jiang Zhe had just applied to the screen.

There is a difference between the extension of the brushstrokes and the image in reality.

The arc formed by the extension lines and several sharp angles. From a close distance, it looks like an irregular piece of color with a slight change inside, but if you observe it from a little further away, it will form a very interesting visual effect, and the effect will be softer if you are further away.

The more he watched, the more interested he became, and he even kept changing his position to observe the effect.

When Jiang Zhe stopped painting and began to rest, he asked, "Is this the realistic technique you are considering?"

Jiang Zhe said: "I want to make the figure more distinctive. Then I want to summarize the changes in the brushstrokes and colors as much as possible and turn them into images that can be expressed by the brush.

By taking both approaches, we hope to achieve better realistic results.”

Professor Qin said: "Yes, this method is very interesting. If you can experiment and get results, you may be able to find your own way."

Just now, he watched Jiang Zhe painting, and he was also inspired. He secretly imitated it, wondering if he could do it if he were asked to paint.

But thinking back carefully, if I hadn't watched Jiang Zhe's painting process, would I have thought of this?

If I ask myself honestly, I probably couldn't have thought of it.

Jiang Zhe took a short break and continued to sketch, as there were still many details that needed to be worked out.

The texture of oil paint itself is relatively thick and viscous. If you want to paint details, you need to use thinner or oil.

But most blenders don't make colors flow as smoothly as water.

Therefore, colorants need to change and techniques must adapt to new changes.

Jiang Zhe chose a method from the techniques acquired from the system and improved it to make the paint more diluted and smooth, borrowing some techniques from classical oil painting.

He didn't remember how long he had been painting before he heard Teacher Hu announce the end of get out of class and let everyone take a break.

Jiang Zhe then stopped writing and looked at the picture. An entire afternoon had passed, and he had only detailed the hair and part of the character's face. There was still a large part of the picture that needed to be detailed.

It seems that the progress is very slow, but with new ideas and practice, no matter how slow the process is, I feel it is fulfilling.

He carefully cleaned his tools, picked up his toolbox, said goodbye to his classmates, and left the studio.

Some students stayed in the studio to continue painting, while others came over to see Jiang Zhe's work.

"Jiang Zhe's paintings seem to be different from before."

"This time we started with a local part and completed the depiction in one go."

"Will it mess up the overall effect if I draw it like this?"

"He has strong painting skills and shouldn't be distracted by too much." At this time, the sky was getting dark and the light in the studio was slowly dimming.

The monitor turned on the lights in the classroom.

A classmate who was looking at Jiang Zhe's works found that after turning on the lights, the carefully portrayed parts of Jiang Zhe's works suddenly became more realistic.

"Squad leader, can you please turn off the lights for a moment?"

"It's so dark, can you still see?" "In a moment, thank you."

"Okay." The squad leader turned off the lights again.

Several classmates heard the conversation and began to observe carefully.

Under the slightly dim light, the detailed depiction on the screen can only be considered realistic.

I turned on the lights in the classroom again. The picture was more vivid under the lights than before. The carefully drawn parts seemed to emerge from the paper.

"How is this done?"

Will lighting make such a big difference in the effect?

Several people started discussing with each other.

Jiang Zhe and Chen Yan had dinner in the small cafeteria. Although he was a little tired after a whole afternoon of creation, he was happy because his thoughts were verified.

Chen Yan also noticed that Jiang Zhe was in a good mood, so she asked, "Is your creation going smoothly, or did you encounter any happy events?"

Jiang Zhe talked about his discovery this afternoon.

Although Chen Yan also passed the art exam and entered the art college, she had not been exposed to painting for a year and a half because of her different major. So she naturally did not understand some of what Jiang Zhe said. However, she was also affected by Jiang Zhe and became happy.

……

After dinner, Teacher Hu took his sketches and went to see Professor Qin.

Professor Qin read the work and pointed out several problems.

Teacher Hu asked: "Teacher, when I was watching Jiang Zhe painting, I thought his new method was good. I also went back and tried it, but it just didn't feel right."

Professor Qin said, "Show me your exercises."

Teacher Hu felt a little embarrassed, but finally handed over the homework.

The exercise is very simple, only part of the character's face is painted with paint.

After reading it, Professor Qin laughed.

The characters in the painting were depicted in detail according to the sketch, and the technique was imitated from Jiang Zhe.

Although she used a similar approach, the characters seemed very stereotyped and were not as good as her previous works.

Professor Qin said: "It's a good thing that you keep learning. There are a few details in Jiang Zhe's method that you didn't notice.

There are subtle changes in the transitions between some of the brushstrokes.”

He pointed to two subtle brushstrokes and said, "When Jiang Zhe draws similar strokes, he gently sweeps the brush to form a natural transition. But some strokes have no transition, which will form lines.

The contact between two brush strokes will produce relatively obvious lines and soft turns, and all these rich changes will form a vivid image.

Because some of the changes in his paintings are so subtle that they can be overlooked if you don't look carefully.

In addition, the same color, when placed in a bright area, becomes a dark color, and when placed in a dark area, becomes a reflective color. You have to experience this carefully.”

Teacher Hu asked a few more questions before leaving.

Professor Qin lamented that Jiang Zhe was growing too fast. Not only had he surpassed his peers, but now even some of his teachers had a gap with him.

Jiang Zhe returned to the studio, flipped through the album, and thought about today's practice.

During the creative process, many people came to watch him paint.

He didn't mind.

To see clearly and to imitate after seeing clearly requires a foundation and talent.

One very important idea in his practice this time is to create more professional works.

Let the audience see the effect, but they don't understand how it was drawn.

(End of this chapter)