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

"Why are you back so late?" Xu Li heard Jiang Zhe open the door and came out of the kitchen to ask.

Jiang Zhe recounted his experience of presenting his work to the art museum, then washed his hands and, together with his parents, brought the prepared meal to the table.

A family of three sat down to eat.

Jiang Yi asked, "You should have no problem with this selection, right?"

Jiang Zhe replied: "It's really hard to say about this matter."

"Before, you have participated in provincial exhibitions and your works have been collected by the provincial art museum." Jiang Yi is well aware of his son's honor.

"This doesn't prove anything. I can only say that it was an honor in the past. I'm really not sure about this selection." Jiang Zhe didn't dare to say too much. After all, if there is an evaluation, there is a possibility of being eliminated.

"Let's eat quickly." Xu Li said.

After dinner, the family took Xiaoka out for a walk.

"Mom and Dad, I'll be in my studio tomorrow and the day after tomorrow. I'll bring Xiaoka over."

"it is good."

That night, Jiang Zhe took Xiao Ka back to his studio.

Bringing Xiaoka here will make my parents feel more relaxed. I can also accompany Xiaoka to play for two days. In addition, Chen Yan will come to the studio tomorrow, and she hasn't seen Xiaoka for a long time.

On Saturday morning, Jiang Zhe had just finished breakfast when he heard a knock on the door.

Xiao Ka jumped up from the living room, ran to the door, and let out a low bark.

Jiang Zhe opened the door and saw Chen Yan standing outside.

Chen Yan smiled and said, "I was outside and I heard Xiao Ka's voice."

Xiao Ka poked his head out from behind the door.

Chen Yan walked into the room with a smile and held up the small card. "Little thing, how long have I not seen you? Do you miss me?"

Jiang Zhe prepared some fruit for Chen Yan. Seeing her teasing Xiao Ka with great interest, he said, "I haven't asked you to be a model for a long time. Today, you bring Xiao Ka and I will draw a picture for you. How about that?"

"Okay." Chen Yan was very happy. "What clothes should I change into?"

Jiang Zhe thought about it and said, "I'll help you choose."

He chose a dress and a wide-brimmed ladies' hat.

Chen Yan changed her clothes and asked: "Why did you think of asking me to be a model today?"

Jiang Zhe said: "I finished a short practice and wanted to try a new way of painting."

He instructed Chen Yan: "Just sit on the chair and put Xiaoka on your knees."

Xiao Ka was comforted by Chen Yan and lay obediently on her knees.

Jiang Zhe chose the angle and position and prepared the tools.

He planned to use direct painting, so after making a draft with charcoal, he began to depict it with large brushstrokes.

During the drafting stage, he had observed and found Chen Yan's most typical aesthetic, and when conceiving, he simplified the image as much as possible.

Chen Yan was sitting not far from the window, and the left half of her face was in the backlight. Her skin was fair, and the contrast between the backlight and the light was not obvious.

Jiang Zhe planned to give up the detailed portrayal and simplify the character modeling. The skirt he chose for Chen Yan was a plain blue, and the hat was the same color. The blue, the white shirt, and the gray background could make the skin color more transparent.

He had already thought of the general steps when he was drafting, so he used a larger brush to fill and outline the picture, starting with the character's skin color.

Because I had an idea in mind in advance, I could paint very quickly.

After painting the skin color, I didn't rush to paint the facial features. Instead, I used large brush strokes to paint the hat, clothes, and background.

Then change to a smaller pen and start depicting. When depicting, brushstrokes are both a means of coloring and an important factor in shaping.

Because he was painting for the purpose of practicing or venting his emotions, he was relaxed while painting and was not obsessed with the success or failure of a particular part. In this way, every stroke of the brush was brilliant.

He also handles the relationships of light and shade, turning points, etc. for the characters' faces, and tries to make the clothes and hats as flat as possible.

After drawing the light and dark, use the virtual and real methods on the contour line to create a vague three-dimensional effect.

The small card also appears on the screen, covering part of Chen Yan's hand, making the picture more layered.

Jiang Zhe created the image of Xiaoka in a simpler way.

He deliberately chose oil brushes that were more worn and had jagged tips, so that he could simulate the feeling of hair with his brushstrokes.

After making adjustments for the second time and drawing out the facial features of the character, Jiang Zhe said to Chen Yan, "Okay, you can rest now."

Chen Yan looked at the time. It had only taken Jiang Zhe about an hour from the time he started painting till now.

"Why are you drawing so fast today?"

Jiang Zhe said: "Let's see the effect."

Chen Yan put the small card on the ground and came to Jiang Zhe.

In the small painting, I am wearing a blue skirt, the background is gray, the shirt is white, the skin is rosy, and the color of the small card is added.

The originally simple colors appear extremely lively under Jiang Zhe's pen.

The colors are rich, but the feeling is different from that of impressionist paintings.

"Is this painting finished?" Chen Yan asked her question without any reservation.

Jiang Zhe said: “I have been thinking about this question recently.

This painting looks unfinished.

I am now hesitant as to whether I should end it.

This painting is different from the works of ancient masters, whether it is the Renaissance, Baroque, or Neoclassicism.

Painting at that time had certain procedures, rules and requirements.

To put it bluntly, they all accept orders, and have clear requirements on what kind of work is considered completed.

However, current painting is an expression of self-emotion, or in other words, there are no strict requirements on what the painter wants to paint and how to finish it.

You see, many of Cezanne's works don't even fill up the canvas. He said he wanted to return to the balance of Poussin, but he and his paintings are completely different from Poussin's paintings.

Chen Yan seemed to understand what he said, "When I first saw the painting, I thought it was too simple, but when I looked closely, the brushstrokes seemed to be quite charming, and the eyes were also well drawn.

But I always feel it’s a bit simple.”

Jiang Zhe said: "I also need to think about it. If I can't think of a better way, then I will stop for now.

If there are new discoveries, perhaps we will make further changes.”

While chatting with Chen Yan, Jiang Zhe had already been quietly reviewing the work through the system. He hoped that by making such an attempt, he might be able to create a masterpiece of the highest level.

Unfortunately, it is difficult to create a work of masterpiece quality.

The system gave this painting a high-quality evaluation.

Jiang Zhe was not discouraged either.

Today's practice shows that some of my previous guesses were correct.

If you think of a way to break through the original painting method and continue to do so, a new norm will soon be formed, which is equivalent to creating within the new norm. How can you create a classic work that will be passed down through the ages? !
Thinking of this, he gradually understood why many painters spent their entire lives pursuing change. (End of this chapter)