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

On Wednesday afternoon, Jiang Zhe walked out of the classroom, took out his cell phone, and saw several missed calls, including one from Wang Zhen.

He walked to a secluded place and dialed Wang Zhen's number first.

Wang Zhen's voice came out, "Hey, Jiang Zhe, is get out of class over?"

Jiang Zhe said: "I was in class just now, so it's not convenient for me to answer the phone. What's the matter?"

"What else could it be? Times Auctions is having its spring sale. Which painting are you going to give away? If there's nothing suitable, just pick one from the works you have in the gallery."

Jiang Zhe said, "I just finished drawing one. Would you like to come and see it?"

Wang Zhen hesitated: "Today?"

"Yes, I can go back to the studio now."

Wang Zhen said, "I can't go back now. I'll go there after dinner."

Jiang Zhe looked at his watch and estimated the time. Even if he had dinner at school, he would still make it in time, so he agreed immediately.

He and Chen Yan had dinner and walked out of the cafeteria.

"No walk today."

"what happened?"

"Wang Zhen is going to my studio. He has a work to send to Time Auction."

"Really? Then you should go back quickly. Drive slowly on the road." Although Chen Yan was reluctant, she knew what was important and what was not.

As soon as Jiang Zhedu's car entered the community, he saw Wang Zhen's car following in.

He got out of the car and waved to Wang Zhen.

Wang Zhen came with the driver.

Back in the studio, Jiang Zhe greeted the two: "Look at the paintings first, I'll prepare tea for you."

"Don't worry, we'll go back soon." Wang Zhen has already seen the work that Jiang Zhe has prepared.

On the easel and next to it, there are two newly revised works. One is a portrait of Luan Yuhui, depicting a dancing moment. The other is a moment when Yuan Xiaohan stands in front of the mirror and Luan Yuhui helps her correct her movements.

Wang Zhenxian was drawn to the narrative scene between two people because of its size and color.

She looks at the overall effect first, then carefully observes the details.

Yuan Xiaohan was looking at the mirror, adjusting his movements. His eyes were focused and there was sweat on his forehead. It was obvious that he had been training for a while.

Luan Yuhui next to her was making specific corrections.

The mirror in front of the two people reflected the scene in the classroom.

Jiang Zhe has adjusted the painting, reducing the image in the mirror. Now, the environment, objects, and windows on the wall can be seen.

Because the light comes from the side, both people are partially in the dark, but Jiang Zhe uses changes in warm and cold to replace some of the light and dark effects, making the dark part breathable.

Jiang Zhe also added some interesting details, such as the wear and tear on Yuan Xiaohan's dance shoes, a few strands of scattered hair, a little damage on Luan Yuhui's clothes, a little stain on the mirror, etc.

The depiction of these life details is vivid and lifelike. At the same time, the parts of the picture that should be simplified, such as the description of the environment in the mirror, appear very general.

Wang Zhen felt that this painting seemed to be an improvement over his previous ones, but he couldn't tell exactly where.

He went to look at another painting.

When I first saw this painting, I felt it was a bit ambiguous.

Her eyes moved back and forth between the two paintings.

The dancing woman in the painting is clearly the teacher who is guiding the students.

It’s just that the environment and clothing have changed, and the atmosphere is completely different.

Luan Yuhui was wearing a pink dance costume with her skirt fluttering. Her dance moves were graceful and her focused eyes revealed a hint of confusion.

The most amazing thing is that Jiang Zhe portrays the characters themselves. Whether it is the face or the limbs, the structure is precise, the expression is vivid, and the texture is realistic.

Because of the flying skirt, the actress's exposed calves, ankles and feet retain the advantages of a woman, and also have the healthy beauty of long-term exercise.

Through the delicate skin, one can feel the movement of the muscles. The whole painting is full of a combination of movement and stillness, a rhythm that is both beautiful and healthy. Wang Zhen pays attention to the changes in the fingers and toes in the painting, which makes the painting wonderful and makes the viewer unable to stop after watching it.

Even Wang Zhen's driver, after noticing the painting, stared at it intently.

After a while, Wang Zhen turned around and said to Jiang Zhe, "Both of these are good. I personally like this one better." She pointed to the single portrait.

"Send this to auction?"

Jiang Zhe said, "I'm still thinking about whether I should change this painting. Let's keep it for now. What do you think of the other one?"

Wang Zhen nodded: "Of course, no problem, this one is also very good. Is it dry?"

Jiang Zhe said, "It's just dry."

Wang Zhen said straightforwardly: "I will frame it as soon as possible and then send it to Time Auctions."

She then said to Jiang Zhe, "I think your technique in portraying characters has changed. In some places, it is more realistic."

Because of her profession, she has a keen sense, but she doesn't know much about specific techniques.

During this month, Jiang Zhe explored realistic techniques and gradually formed his own set.

After he sent Wang Zhen and the other two away, he opened the system first.

The system showed that he had accumulated several financial rewards, but there was no prompt as to whether he could use them for the auction.

If possible, then the auction price this time may continue to set new highs.

On Thursday morning, Jiang Zhe came to the class studio with drawing paper and tools.

Today, I'm going to draw a full-body portrait sketch.

The school arranges the course at this time because the temperature is gradually getting warmer. It is not suitable to be too cold or too hot.

Students who arrived early are preparing their painting supplies.

Jiang Zhe also started to get busy, mounting the neatly-opened drawing paper and adjusting the position of the easel.

As they worked, they chatted about portrait sketching. Everyone knew that when doing human figure sketching, they would not hire models who were too young.

At 8 o'clock, a middle-aged female teacher walked into the studio.

The teacher's surname is Lin and he is responsible for teaching basic courses.

Teacher Lin brought the students to the classroom, played pictures on the projector, and began the lecture.

She started with the proportions of character structure, then talked about the works of French painter Latour, and began to explain the role of light and shadow in sketching.

While recording, Jiang Zhe was also comparing it with his recent gains.

Caravaggio had created a contrast of focused light, somewhat like the current Hollywood lighting model.

Before Caravaggio, Titian added a sense of space to the picture, but when it came to Caravaggio, the main characters in his paintings were illuminated by spotlights.

Latour's focusing, as Professor Lin mentioned, also expanded Caravaggio's technique.

After explaining the requirements for sketching, the teacher assigned tasks.

Complete a full-size portrait sketch within one month.

The students returned to the studio and got ready.

At 10 o'clock, three models came to the studio.

These three are all middle-aged men.

Because I have been a portrait model in college for many years, I am very familiar with the tools and processes.

The models in Jiang Zhe's group took off their clothes, leaned on a wooden stick for support, and stood at the position designated by the teacher.

It was the first time for the students to face such a scene, but they quickly adjusted themselves and entered the state of sketching.

(End of this chapter)