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

Jiang Zhe heard the system prompt sound, but it was not appropriate to check it now, so he could only suppress his curiosity.

He asked Miller, "Do you have any specific requests?"

Miller told Jiang Zhe that in addition to painting the beautiful boy in mythology to look like him, he also had to paint Apollo to look like collector George, his financial sponsor.

He described these detailed requirements in front of Pete and Wang Zhen. Pete and Wang Zhen acted as if they had heard something completely normal.

What made Jiang Zhe feel most awkward was that Miller required him to depict the collector George's appearance in a way that would be recognizable to people familiar with him, but also not too similar and his features could not be too obvious.

When Miller saw Jiang Zhe's expression, he specifically explained that because of George's identity, his appearance in the painting had to be beautified so that people could understand it, but it couldn't be too similar.

Jiang Zhe cursed in his heart, isn't this request similar to the colorful black? Do you want it to be similar or not? What a hypocritical request, do you want people to know or not?
However, since you have accepted the invitation, you cannot give up easily.

He said, “I need to understand this story first.”

Jiang Zhe took the opportunity to flip through the album and opened the system to check.

You accepted the invitation, encountered new challenges, triggered tasks, and completed Miller's customization.

The system will evaluate and give corresponding rewards based on the actual performance of your task completion.

Do you accept the task?

Jiang Zhe did not hesitate. Since he was here, he had to give it a try no matter what.

He used his fingers to draw in the air, as if he was experiencing the works in the album, but in fact he was clicking to accept the task.

Miller saw that Jiang Zhe had been silent for a long time, and said, "If you don't mind, I would like to tell you this story."

Jiang Zhe said: "That's great, thank you very much."

"The beautiful boy Hyacinthus in this story was born in Amycle, a small town near Sparta. He was the sweetheart of Apollo, the god of the sun.

One day, while playing discus throwing in the field, the discus unfortunately hit the boy on the head.

According to Ovid's Metamorphoses, the fallen discus bounced off the ground and hit Hyacinthus.

However, some people believe that this was a jealous prank by Zephyrus, the god of the west wind.

Apollo tried everything but was powerless to save the situation. The blood shed by the beautiful boy dyed the green grass red..."

At this point, Miller's tone began to change, as if with emotion: "But the bloodstains on the ground disappeared, and a flower bloomed, bright in color and shaped like a lily. The strange thing is that this flower is purple, while most lilies are silver.

The sun god bestowed it with greater glory and drew some characters on the petals to express his grief.

This flower, also known as "hyacinth", blooms in spring to commemorate the unfortunate boy's experience and the dead love of Apollo, the sun god.

Later, the story of Hyacinthus was deeply remembered by the people of Sparta, who gave him the highest honor and held a three-day Hyacinthus Festival in midsummer. On the first day, people would mourn the dead, and on the last day, people would celebrate life. "

Jiang Zhe seemed to be attracted by the story, but he was actually complaining.

He saw that in the painting by Italian painter Tiepolo, it was not a discus that hit Hyacinthus, but a tennis ball, with a hyacinth flower painted next to the racket. So he raised this question.

Miller explains: "Generally speaking, in most paintings of the dead boy of Hyacinthus, the two symbols of the discus and the hyacinth appear, along with Cupid, to represent the love between the two. According to this legend, the hyacinth also became a symbol of sadness and the sacrifice of love.

Tiepolo's painting was altered, making it interesting in places and intensifying the dramatic conflict.

For example, Apollo's clothes in the painting are blown up by the west wind, and his rival in love is none other than Philos, the god of the west wind.

He expressed his opinion of the work, and then sighed: "Daphne turned into a laurel tree. Hyacinthus finally turned into a hyacinth. Apollo's road to love was really bumpy." After listening to this, Jiang Zhe was indescribable about the three views in these mythological stories.

Although he couldn't accept it, he still began to think about how to create this painting.

He continued to ask Miller about his detailed requirements for custom works, and slowly formed a preliminary concept.

He said to Miller: "I want to draw a draft first. If you are satisfied, can we continue the work?"

"Of course," Miller agreed.

Wang Zhen has already prepared the painting supplies for Jiang Zhe.

Jiang Zhe selected a piece of drawing paper and started to sketch with a charcoal pencil.

While painting, he asked Miller what other images should appear in the painting, such as surrounding people and other accessories.

“I wanted to minimize or tone down some of the minor characters,” Miller said. “The background is a bit cluttered.”

Jiang Zhe wrote down this information and perfected the sketch.

In his sketch, in order to partially blur Apollo's appearance, he used Tintoretto's method to make Apollo float, creating a moment when he flew over and helped Hyacinthus up.

The painting continues to use a tennis ball instead of a discus.

When creating, he tries his best to use lines to create shapes, fully displaying the beauty of lines, and only uses a small amount of light and dark for rendering.

After he finished the draft, he showed it to Miller.

Miller's eyes lit up. "Very interesting. It seems that I made the right choice. Can you add some color to the painting?"

"Of course." Jiang Zhe chose to use watercolor.

Although watercolor is a transparent color, Jiang Zhe has seen Tiepolo's watercolor paintings and drafts, so he has a lot of confidence. As long as it is well controlled, watercolor can also have a relatively heavy effect.

While Jiang Zhe was painting, Miller, Wang Zhen and Pete tried to speak as quietly as possible so as not to disturb Jiang Zhe.

When Jiang Zhe was painting, not only was he not affected, he also often asked for Miller's opinion, discussing while painting.

An hour later, the color draft was successfully completed.

Miller was very happy when he saw the watercolor draft: "This is the work closest to my imagination. I can't wait to see your official work."

Jiang Zhe suggested that before formal creation, it is necessary to observe Millet carefully and draw a detailed portrait draft.

Miller agreed and treated them to lunch.

He said he prepared a simple meal, but it was very sumptuous.

During meal time, the few of them chatted and gradually got to know each other.

Jiang Zhe also took the opportunity of chatting to observe carefully.

After lunch, several people discussed the next schedule. Jiang Zhe suggested that they draw some detailed drafts here. After confirming that everything was correct, he returned to China to create the official work, and proposed that in order to ensure the quality of the work, there must be ample time for creation.

Miller thought for a while and agreed to Jiang Zhe's proposal.

(End of this chapter)