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

The scene of the event.

After a guest stood on the stage and gave encouragement to the new members, a new member also came on stage to express how he would create after joining the association.

The first half of the ceremony is considered completed.

In the second half, there will be a gathering of young painters, which is a common part of many activities. There will also be a discussion on the direction of contemporary creation, which will be held simultaneously.

Just when everyone was about to move on to the next stage, a small incident occurred at the scene.

The famous teacher Chen was eager to leave before the event was over. Director Xing, several association representatives, and the event organizers tried their best to keep him.

"Teacher Chen, if you are tired, just take a rest. There is a lounge and a smoking room here."

“Many friends are waiting to hear you speak.”

"Many people come here just for you." Several people said very nice things, and some even said that the event would end soon.

Teacher Chen walked over with a smile and said, "I don't speak well, listen to what I have to say?"

"Wait a minute, these young painters will have a regular meeting. Please give them some pointers on the scene."

"Young people draw better than me. I can't give them random instructions. It's unpleasant to say and makes everyone feel bad, right? Okay, see you later." He walked out without saying anything.

Although the people who tried to dissuade them were very nice, seeing that Teacher Chen was determined, the group had no choice but to send him out.

The conversation between several people was heard by everyone standing nearby, and they felt mixed emotions.

Some people want to attend events; some people hate attending events but have to come. Some people come when they want and leave when they want.

Jiang Zhe heard Zhou Jiayu mutter.

"When can I be so comfortable?"

A teacher nearby took a look and said, "Don't learn from him."

"I know, I know." Zhou Jiayu was not afraid and responded with a smile.

After a while, the people who went to see Teacher Chen off came back. Although they failed to keep him, their mood was not affected at all.

The symposium and writing session began.

The young painters came to a spacious small exhibition hall.

There are three long tables prepared here for everyone to show off their skills.

Those who participated in the calligraphy and painting club included five new members and young painters who were willing to try their hand.

Many people who came to the event did not want to listen to boring seminars, so they came to watch the writing conference.

The exhibition hall was quickly filled with people.

The staff assigned Jiang Zhe and others display locations, so they didn't have to find them themselves.

Jiang Zhe knew he would attend the writers' club, but he didn't make any special preparations.

He looked at the tools prepared here. There were tools for calligraphy, Chinese painting and watercolor, but no tools for oil painting, sculpture and printmaking.

Due to time constraints, this type of pen will not give you too much time. It is usually agreed that you can complete it within one or two hours, just for the sake of showing your appreciation.

Everyone who participated in the competition understood the requirements of this kind of pen drawing, so they were not overly demanding on the tools.

Most people choose a piece of mounted rice paper, or round or fan-shaped rice paper (mounted on cardboard), to create Chinese painting sketches or calligraphy.

Although these people major in different professional fields, they can still show off some watercolor or Chinese painting sketches.

Jiang Zhe felt that it would be boring if he just followed the crowd, so he chose a double-sided watercolor paper, made a drawing board, and quickly sprayed water on the paper to fix the four sides.

While waiting for the paper to dry, use this time to make a rough draft and prepare tools.

People who were watching on the scene saw Jiang Zhe preparing watercolor tools and choosing larger paper, and they all came over to watch.

Many people will draw what they are best at when attending such analogies, that is, the subject that is suitable for performance. They pay attention to being done in one go and looking handsome.

The onlookers come to watch the fun and the performance. If the performance is good, they will be applauded. If it is a failure, then it will be interesting.

Jiang Zhe chose a larger paper size, and wanted to finish it in a short time, which would increase the difficulty.

A sedate painter would not normally make this choice.

Jiang Zhe prepared all the necessary tools including paints and brushes, and tried it with his hands. The watercolor paper was already half dry.

He drew a few long lines on the paper with a pencil to divide the space into blocks, then picked up a large flat brush, dipped it in lemon yellow paint, and began to lay the base color.

The delicate watercolor paint was brushed onto the paper and quickly blurred under the action of water and glue.

Then, several large blocks of color such as blue and brown were also painted on the paper one after another.

When laying the base color, Jiang Zhe used the brush very quickly, and the different colors connected with each other, spread around, and blended.

Experienced people have already seen that Jiang Zhe is preparing to paint an indoor scene, and that is the scene at the entrance of the exhibition hall.

When Jiang Zhe was thinking about it, he couldn't think of what to draw, so he wanted to try to draw the scene he had just seen.

The main space of this painting is the front hall. The distant view is the entrance door and French windows, the middle view is the exhibition hall and walls, and the close view includes people, a long table with gifts, flowers, etc.

Jiang Zhe holds a wide brush in one hand, quickly spreading the color on the paper, and holds a spray can in the other hand, occasionally spraying water on the seal painting. He hardly ever mixes colors, and each time he uses primary colors, relying entirely on the blending of several colors. Some details cannot be drawn in the initial stage, so the current picture is a bit chaotic and blurred, and some colors are too bright. To outsiders, the colors on the paper are getting more and more chaotic and darker.

Some people frowned, some whispered to each other, and some thought that the young man was too pretentious and might get into trouble in the future.

Professor Qin and others have seen Jiang Zhe's watercolor paintings. Although they understand the limitations of the calligraphy club, they believe in Jiang Zhe's level, so they can watch calmly.

A large amount of color was spread out, and Jiang Zhe took a phone card while the picture was still wet, and scraped off some of the color on the paper, sometimes scraping out a block, sometimes scraping out a line or a few dots.

This scraping technique will scrape off the surface color, revealing the color of the paper and a small amount of base color, creating a light color effect that is more natural than simply leaving blank space.

Soon, the effect of sunlight projecting into the exhibition hall and a small amount of lighting appeared on the screen.

These scraped shapes are simple and concise, which brightens the effect of the painting and makes the theme more prominent.

The direction of some lines and surfaces will draw the audience's attention to the center of the picture.

During the scraping process, Jiang Zhe did not let the painting dry naturally. In order to keep the painting moisturized, he would use a spray bottle to add water.

In the past, he would alternate between dry and wet painting, but he wanted to achieve a different effect.

In his conception, as long as the painting is not completely dry, even if it is wrong, it can be repaired.

Jiang Zhe quickly added a second layer of color to the painting. Some shapes were half dry, and some colors quickly blurred.

He did not rush to make changes, but continued to carve.

Some of the original painted effects appear a bit blurry due to color diffusion.

Many people feel sorry when they see this.

Jiang Zhe continued to add colors at his own pace, allowing the colors to spread and occasionally scraping off some paint.

By the time most of the colors have been applied, the picture effect has become apparent.

The indoor light source in the painting comes from the warm light of natural light and the cold light of the room.

The dark floors and wall panels become warm colors in Jiang Zhe's painting, while the light and shadows formed by the characters and other objects become cool colors. The overall tone seems to be slightly darker than the colors in reality.

Jiang Zhe began by using a clean brush dipped in water to weaken some of the colors, and then carefully depicted some of the main objects while highlighting the role of light.

In the painting, some people are visiting an exhibition. The faces of each character are slightly blurred due to the effects of water and color. Only their movements, clothes and general hairstyle can be seen clearly.

Some characters, through their portrayal, can vaguely reveal their age.

At this point, the many onlookers began to see some clues.

Jiang Zhe began to carefully tidy up the picture. Some objects remained blurred, while some images were gradually portrayed clearly.

He would also add some brighter colors to the painting, such as flowers, lights, etc. These colors present a gem-like luster in the whole painting.

The effect of the partial blurring that Jiang Zhe retained can only be seen at this time.

Wait until the surface starts to dry and the effect changes subtly.

The overall tone has become lighter, and the originally blurred areas have magically become warm and transparent under the contrast of the clear objects, and even have a sense of air. The blurred areas in turn set off the main objects.

Some colors that originally had no known purpose just happened to form embellishments or secondary images.

Jiang Zhe stopped writing and observed the picture.

The exhibition hall was crowded with people. The atmosphere created by the combination of lighting and natural light was just right with watercolors.

"Good, well drawn." I don't know who started cheering first, but many people began to praise it.

Some people also began to comment on the technique used to depict a certain object in the painting, and how this method of expression works. Some people also commented on Jiang Zhe's ability to control the picture.

Jiang Zhe was not affected by the comments. He waited until the painting was completely dry and judged for himself that he was quite satisfied with the painting. Although he painted some parts too hastily, he did not deviate from the original idea.

Several familiar teachers came over to comment.

"When you started to paint, everyone was confused. Halfway through, we could see it a little more clearly. It was not until you finished that we could fully understand it." Teacher Wei said. "You have brought out the characteristics of the wet painting method very well."

"When Jiang Zhe started, he considered the arrangement of colors. From the beginning to the end, almost every stroke and every layer of color played a role." A teacher from the Academy of Fine Arts commented. He also pointed out what the students he brought in should pay attention to.

Most of the people present were engaged in calligraphy and painting, and they were still impressed by this skill.

Young painters who had completed the calligraphy and painting exhibition also came over to watch.

After seeing Jiang Zhe's work, Cheng Li said, "I'm really not well prepared today. If I had known that you could create such a wonderful work, I should have taken a video recorder and recorded the process as research material."

"Yes. I'll be more prepared next time."

"I've only seen Jiang Zhe's oil paintings before, but I didn't expect you to be so good at watercolors."

"I think you should focus on watercolor in the future." People around commented.

These are the teachers who came to the writing event after the symposium.

When Director Xing heard that Jiang Zhe had painted a large watercolor, he came over to see what it was.

The moment he saw the painting, his heart was moved. (End of this chapter)