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

Chapter 391

While the assistant was busy, Wang Zhen said to Jiang Zhe, "Since you value this work so much, you should think carefully about the name of the work."

Jiang Zhe asked, "Isn't it good to have a pedestrian street during the festival? What do you think is a suitable name?"

"I can't think of one right now, but calling it a festival or a pedestrian street is not appropriate."

"I remember a work by Renoir called Dance at the Moulin Restaurant."

Wang Zhen said: "He is a famous artist, a master. It is better to give your work a nice and memorable name."

Jiang Zhe thought about it and said, "This painting shows the joy of the festival. There are many people on the pedestrian street, so it's called Joy, or Ocean of Joy. What do you think?"

Wang Zhen thought for a moment and said, "Let's call it joy. This kind of emotion can resonate with more people and sounds better than festivals."

"it is good."

Jiang Zhe put down the pen in his hand and shook his wrist.

He has participated in many competitions, but this is the first time he has filled out such detailed information.

Seeing that Wang Zhen and the other person were busy until almost 8 o'clock in the evening, I felt embarrassed.

"I'll treat you to a delicious meal."

Wang Zhen waved his hand. "I really don't have time now. Let's talk about it after this matter is finished."

She left in a hurry with her assistant.

Jiang Zhe saw them off and returned to the studio, wondering in his heart whether Wang Zhen's chance would be successful this time. If this path was successful, then would he not have to participate in the domestic selection?

On Sunday morning, he continued to complete two works.

The two paintings use different techniques and steps, but some detailed portrayals are similar.

Some of the techniques used to depict the old woman's clothes are similar to those used to depict Liu Yifei's clothing, so they can be used as reference for each other.

Immersed in painting, time passed unnoticed. In one day, Jiang Zhe gradually perfected and supplemented his new techniques in the process of depicting the costumes of the characters.

In the new week, from Monday to Wednesday, he would return to the studio every night and insist on creating for two hours.

On Thursday morning, he brought his sketches to the studio. As soon as he put the work on the easel, several classmates came to watch.

Fu Min saw that Jiang Zhe's work was very different from the previous one. Not only was the face of the character very complete, but the effect of the clothes was also already done.

She first noticed the face of the person. Whether it was the eyes, facial features, or skin, the realistic effect was amazing. In some places, you couldn't even see the brushstrokes, only the texture and ups and downs of the skin.

Look more closely at other parts, the hair, hairpins, the texture of the cotton coat and sweater, and even some of the damage can be seen clearly.

Several classmates were amazed at what they saw.

Fu Min asked in a low voice: "Jiang Zhe, how did you draw the texture on the clothes? I feel like I need a magnifying glass to see it clearly."

The painting was slightly smaller than the real person, so she really couldn't understand how such a realistic effect could be achieved by hand-painting.

Jiang Zhe said: "Paint slowly, and use the brush to paint one dot at a time." What he said was correct nonsense.

Everyone knows how to draw like this, but many people tend to draw out of line or not in place when using a brush.

With the help of the system, Jiang Zhe has improved his manual dexterity, so he can use the pen more accurately and complete many strokes in one go.

Teacher Hu brought the models to the studio.

The students continued sketching.

Jiang Zhe looked at the person's hands again.

Today's focus is on depicting the character's hands.

Professor Qin came to the studio and saw Jiang Zhe painting the thumb nail of a character. He saw that Jiang Zhe used only one stroke to paint the dirt in the gap between the nails, which also made the texture of the nail more distinct.

He nodded silently.

During the break, Jiang Zhe found Professor Qin and asked him to help find the problem.

Professor Qin said: "I have seen your sketches several times. First of all, your realistic techniques have indeed improved. You can continue to practice.

Also, I like the gray you used in your painting.

Subtle changes in chroma and hue, coupled with appropriate brushwork, perfectly express the texture of the clothes.

Of course, the modeling of the face and hands is also very good. The expression and the modeling of the hands are simple and very realistic.

The color changes of the entire picture are moderate, forming an overall effect.

In the following depiction, we need to pay attention to the texture of the skin on the fingertips and the back of the hand. How to express dryness and cracking needs to be considered. "

Jiang Zhe expressed his gratitude to Professor Qin.

The students started painting again.

Teacher Hu and Professor Qin are outside the studio, discussing Jiang Zhe's work.

"Teacher, the composition of Jiang Zhe's painting is extremely simple. However, I like those highlights, which are just right and instantly enhance the texture, making it both vivid and realistic."

Professor Qin said: “His composition and background can express the content very clearly, simple but effective.

The background is a large area of ​​light gray, and the changes in the overall relationship create a sense of atmosphere.

The old man's skin color is warm and dark, while the background color is cool and gray, which serves as a foil and creates a peaceful atmosphere.

The brightness of the picture is not high, but it is breathable. Every stroke is very clear, never dragging, precise and in place.

In addition, you will notice that there are several dark spots on the character's clothes. The small dark spots in the picture contrast with the light colors and gray, so that the picture does not appear to be floating.

Many students see his realistic techniques but ignore the color layers and light and shadow in these depictions.

He still has room for improvement when painting now.”

Teacher Hu asked: "Do you think his paintings can be further improved?"

Professor Qin was silent for a moment before he said, “I hope he can go further.

Although I found some problems for him, to be honest, he used the brush to perfection.

The brushstrokes are accurate and thick, creating a rich and luxuriant visual beauty. The dark part is transparent, forming a very harmonious color relationship with the bright part, and even has a sense of musical rhythm.

There are two essential things in visual art: shape and color.

The difference between a talented painter and a mediocre painter is that the things drawn by a talented painter seem to be well-shaped, and they look very natural and have their own beauty.

Jiang Zhe is able to grasp the extremely subtle relationship between shapes and colors, and can make breakthroughs in the direction of realism. This extraordinary artistic feeling is beyond the reach of ordinary people. Even if some people are asked to copy it, they may not be able to copy it.

When you look at his paintings, you first notice their delicate realism, and then, if you appreciate them carefully, you will notice the harmony that has reached the extreme. "

He paused and continued, “This is the wonderful experience that good works of art can bring. A good painter can capture the eternal and fleeting beauty, or the fleeting inspiration, and depict it.

Jiang Zhe captured a very touching moment in life.

When he first entered school, I thought he had a good foundation and good talent. But after observing him for a year and a half, I found that he may not have fully utilized his talent. "

When Teacher Hu heard Professor Qin's high evaluation of Jiang Zhe, he didn't know how to respond for a moment.

(End of this chapter)