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

"Everyone, it is 10:05 in the morning. There is still some time before lunch, so start sketching." After finishing the lecture, Teacher Yan assigned the requirements for sketching.

The sketching location is still on campus. According to him, the materials on campus are enough to draw a number of famous paintings.

"If there are any problems, we can study them while practicing."

After Teacher Yan finished speaking, he stood up and packed up the slide projector.

The other students walked out of the classroom.

Jiang Zhe followed the crowd out of the classroom.

Fu Min, who was standing next to him, spoke frankly. When the crowd dispersed a little, she asked in a low voice, "Do you understand what Teacher Yan said?"

"It's difficult." Jiang Zhe responded vaguely. If he said he could understand it completely, it would be a bit of a boast.

The teacher talked about the Barbizon School, Impressionism, and Modernism. His purpose was to let students seek changes when sketching, and no longer just depict objects.

However, requirements without direction or clear objectives are difficult for students to understand.

Jiang Zhe saw that many of his classmates had confusion in their eyes.

Mou Xing came over and asked, "Jiang Zhe, where do you want to paint?"

Jiang Zhe said: "Go get the tools first, and then find a location." It would be impossible to come up with any result just by imagining, so we had to look for it on campus.

"Okay, let's go together."

Jiang Zhe went to the parking lot and took out the tools from his car.

Because time was limited in the morning, he only took out the tools for watercolor painting.

Back near the teaching building, many students have already started wandering around, looking for sketching spots.

Fu Min saw Jiang Zhe coming back, carrying a painting box and easel, and said, "The small pavilion over there is not bad. The lotus pond is also OK. Some students have already gone there."

Mou Xing suggested painting Metasequoia and Sycamore forests.

Jiang Zhe turned around and said as he looked at it, "I want to draw a short practice first, and keep the content as simple as possible."

Fu Min was skeptical: "Teacher Yan has said so much. If I draw too simply, I'm afraid I won't pass."

Jiang Zhe said: "The biggest difference between slowly painting in the studio and sketching outdoors is actually time and speed. The scene changes quickly and must be captured quickly.

I think that being able to draw out the charm of sketching is the most important thing." He said as he found materials to express.

Fu Min and the others thought Jiang Zhe's suggestion made sense, but when they looked at the surrounding scenery, it seemed that everything was a bit messy and it was difficult to use it as the theme of the picture.

Jiang Zhe found a step to sit down and looked at an alley next to the teaching building.

The aisle runs east-west, with flower beds and trees on the north side and the south side close to the teaching building.

Because the sunlight in the morning changes gradually, the south side of the alley is in shadow, while the north side is in sunlight, and the contrast between light and dark is particularly strong.

The color and form of this place are relatively monotonous, so no one chooses to depict it. But Jiang Zhe set his sights here. Monotonous scenery is easy to add or subtract, and he wants to highlight the changes in light in this environment.

He took out his sketchbook and charcoal pencils and began to sketch.

The size of the draft should be the same as the watercolor paper you will be working on next.

He was adding and subtracting from the draft when a few students happened to pass by.

He casually drew a few characters in as well.

After confirming the draft, he opened the painting box, drew a simple draft on watercolor paper, and began to render with watercolor. Jiang Zhe wanted to experiment with his new ideas in this painting.

The illuminated parts, including the garden, are designed with cool tones to represent sunlight close to noon; the backlit parts are designed with warmer tones.

He used large watercolors to quickly lay out the strongest contrast on the screen, and then created some subtle changes, such as the details in the shadows of the alley, the reflections, the illuminated parts of the alley and the garden. There are different shapes of objects and warm and cold colors. The changes in the sky are weakened, and the several figures in the painting serve as embellishments.

Teacher Yan patrolled the campus and supervised the students' sketching. During the students' first painting, he rarely made any comments, but only encouraged them to paint boldly.

After seeing Jiang Zhe and his companions, he walked straight over to them.

As usual, he looked at other students' paintings first and then at Jiang Zhe's work. Then, he was attracted by the strong light and shadow effects in the painting.

At this time, only thirty minutes had passed since he started painting, and Jiang Zhe's painting effect was basically complete.

The objects are vivid, and each color is in line with the overall light and shadow effect, and has its own changes. Many colors are different from reality, but they are very harmonious when put together.

Teacher Yan looked at the painting with great interest. After a while, he simply sat down next to him and watched carefully how Jiang Zhe finished the painting.

Jiang Zhe turned around and looked at Teacher Yan, waiting to hear the teacher's opinion.

Teacher Yan said, "No problem, continue drawing yours."

Jiang Zhe turned his head and continued to paint. There was a whole area of ​​green in the painting. Since the colors were similar, he needed to paint a cold and warm tendency, showing both the space and his own image. The shadow cast by the teaching building needed to be hazy, but the changes in it needed to be vaguely visible.

Some of his brushstrokes are used to add to the image, while others are used to erase some unnecessary images. Most of his brushstrokes are different from the real image, but they look particularly vivid.

A few students saw Teacher Yan sit down and gathered around to watch.

When Jiang Zhe finished painting, Teacher Yan asked, "You're not going to paint anymore?"

Jiang Zhe replied: "Teacher, I don't know how to end it, so let's pause first."

Teacher Yan said, "That's enough. Don't change it anymore. If you can't think of how to adjust it, you have to end it decisively. You have seen Cézanne's paintings. There are many works where the canvas is not even filled."

Fu Min had been waiting for a while, holding her own painting, and asked, "Teacher, if you want to change it to a larger draft after drawing it to this extent, should you make the image more detailed or add more content?

Teacher Yan looked at Fu Min's painting and said, "Your painting is very good, but you need to think carefully about changing the sketch into a final draft.

Today we looked at a work by Corot.

Sometimes he would paint two pictures of the same scene, one from outdoor sketching and the other based on the sketch, which he would slowly work out in the studio and paint in more detail.

There are two paintings of the bridge, which are such examples. The small painting was completed on the spot, and the other one is larger, with a changed composition and more detailed depiction, but I personally think it is more like a classical work before the Barbizon School.

We have been talking about Impressionism. Many people talk about the light and color of Impressionist works, but another contribution of Impressionism is that it changed the way and time of painters' painting in the previous hundreds of years.

It may take several months to complete a classical oil painting, but an Impressionist painter may only need half a day or a day to complete it. These paintings are not drafts, but complete works. This change has already occurred in the 19th and 20th centuries. "

Fu Min thought for a while and asked very honestly: "Teacher, is my thinking too conservative, or outdated?"

Her words made the teacher and classmates around her laugh.

Teacher Yan explained: "It cannot be interpreted as outdated, but it is necessary to open your eyes and change your inherent understanding."

He pointed to Kang Cheol's watercolor painting.

"Look. Jiang Zhe's style changes with every draft. Whether it succeeds or not, he is always trying."

(End of this chapter)