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

Chapter 9, Color Still Life, Inaccurate Model

Jiang Zhe placed the drawing board and palette on the ground, and used the painting box to support the drawing board, freeing his hands to hold the paintbrush, brush cloth and palette.

The still life he was facing included a glass beer bottle, a blue porcelain bottle, cabbage, onions, several fruits and a dark lining cloth.

After observing and considering the composition, I started to draw the draft directly with a medium-sized horsehair brush dipped in diluted raw umber.

You can draw thin lines by lightly stroking with the brush side, and thick lines by pressing down hard. This way of drawing can better summarize the shape, and the occasional flying white strokes will also enhance the effect of virtual-real contrast.

Yin Shizhen began to walk around the studio.

Most students heard new theories, saw demonstrations that were different from the past, and were trying to understand how to apply them. Of course, some people also insisted on their own painting habits.

Teacher Yin looked at more than a dozen color exercises and sighed silently. Many students are not good at color sketching, mainly because they lack good copying examples and training methods.

When learning portrait sketching, you can directly copy many masters' works, but it is rare to find masters' gouache still life paintings, especially suitable examples for copying.

How to learn color sketching is different in almost every school. Many students who lack guidance can only copy the picture albums of contemporary artists on the market, or even the high-scoring art exam papers published. This kind of copying is harmful rather than helpful.

He has always advocated that learning gouache painting also requires extracting useful nutrients from the works of masters. How to select requires timely guidance from teachers.

After reviewing nearly half of the works, Teacher Yin found that most students in the art class of the seventh high school were good at sketching, but poor at color sketching. The so-called color sketching of these students is basically sketching with colors, focusing on depicting the so-called three-dimensional sense and sense of space; they pay too much attention to the inherent color and lack the use of light and environmental color.

When painting the dark parts of still life, some students simply add dark colors or even blacken the colors, making the boundary between light and dark of the object very unnatural, resulting in a dull picture.

Occasionally, some students use colors boldly, but the colors between still lifes have no connection and are not in harmony at all.

Teacher Yin was looking at the students and pointing out their problems and strengths. Suddenly, he saw a very interesting work.

He stopped, stood behind Jiang Zhe, and observed with interest.

Jiang Zhe finished the draft and began to apply the first layer of color with a large wool brush.

When he was about to complete this step, he said, "Student, please stop for a moment."

When Jiang Zhe was painting, he noticed that Teacher Yin had arrived and stopped immediately.

Teacher Yin pointed at the picture and said to Jiang Zhe: "Your method of drafting is good. The outline of the object is very vivid. You should also maintain this effect when you finish the painting."

After saying that, he motioned for Jiang Zhe to hand the painting to him.

He took the sketchpad and placed it next to the still life table.

Everyone came over and was surprised to see that it was Jiang Zhe's work.

Teacher Yin used Jiang Zhe's painting to say to everyone: "Look, this student is very flexible in handling the outline. He grasped the modeling characteristics of the still life and naturally created changes between reality and illusion when he was drawing.

Handling the virtuality and reality of the contour line well will help to express the three-dimensional sense. I see many students are too careful when drafting. Don’t be too deliberate in drawing, and the things you draw will be very rigid..."

The students vaguely remembered that Jiang Zhe’s paintings were rarely explained as model paintings, and the feeling in their hearts was difficult to describe.

Teacher Yin continued to explain: "This student prepared a cloth to wipe the pen, which is a good habit. Some students use sponges to absorb excess water from the pen.

There are many other uses for pen wipes.

I have a suggestion for everyone. When the color on the pen is used up, don't rush to rinse the pen. Try to use a pen cloth to absorb the excess color, and then use the pen with a small amount of color remaining to continue mixing colors. Maybe, you can mix the color you need..."

The students were skeptical.

Jiang Zhe felt so familiar when he heard this. The method he used was learned from Teacher Yin.

Teacher Yin returned the drawing board to Jiang Zhe.

The students returned to their respective seats. Some of them would occasionally look at Jiang Zhe who was still painting.

In the process of learning painting, it is inevitable that students will compete and compare with each other. Works that are praised or pointed out by teachers will attract more attention.

This is also the advantage of learning painting together, as you can learn from others' strengths as quickly as possible.

Some attentive people gradually discovered that Jiang Zhe's brushwork and picture effects had changed significantly from before.

When he was applying the colors, some of them had already covered the outlines, but he continued to paint without being affected and soon created layers on the picture. Compared with some of his classmates, he was very eye-catching.

In the process of learning to paint, things that make no sense often happen. For example, someone suddenly figures out a problem, or their consciousness changes, and their painting skills suddenly improve.

How does it feel to see classmates who are not as good as you suddenly improve, and this process cannot be replicated?
Jiang Zhe knew that someone would pay attention to him. He adjusted the backlit areas to warmer tones according to his own rhythm, making the whole painting brighter.

In addition to understanding Teacher Yin’s teaching, the more important factor for his change came from the system gift package.

There is a painter in the gift package who likes bright and unexpected colors, and uses the connection of brushstrokes and colors to express the structure. Although there is no deliberate expression of the boundary between light and dark, it can already make people feel the light and texture of objects through colors.

Jiang Zhe likes this style of painting and applies it boldly in practice with very good results.

Teacher Yin walked to Jiang Zhe's side for the second time, his eyes lit up, and he picked up Jiang Zhe's painting again: "Students, look at the color levels of this painting, it is handled very well.

The purest color is orange, followed by other fruits and porcelain, and the lining is the grayest. The colors of each object echo each other.

The original orange was reddish, but it turned into orange-yellow on the screen, making the color tone more harmonious. This is the design tone. Many students’ pictures lack the layered design of color purity. "

He handed the drawing board to Jiang Zhe and gave him some individual instructions. "When you add highlights, don't be too sloppy with your brush. Using the shape, size, and brightness of the highlights well can better express the texture of the porcelain glaze."

"Thank you, Teacher Yin."

Director Lin left for something while Teacher Yin was giving a lecture.

He returned to the studio and happened to hear the second half of Teacher Yin's words, so he came over to take a look at Jiang Zhe's work.

"Jiang Zhe's painting is good. I found the feeling today."

At this time, more students completed their homework and took the initiative to ask the teacher to help find problems.

Teacher Yin also patiently gave instructions to each student one by one.

When he evaluates works, he will unconsciously use colloquial language with his own personal style because he needs to think.

For example, if he thinks a painting is good and acceptable, he will usually say "OK" or "Yeah".

Zhao Zhi waited for a while with his work and finally got his seat.

He first showed his work to Teacher Yin, told him about his considerations when painting, and then asked how to adjust the color tone of his work.

Teacher Yin listened silently, without taking his eyes off the work, and uttered two words slowly: "... OK... OK..."

Zhao Zhi was delighted.

However, Teacher Yin didn’t finish his words: “…the shape is not accurate.”

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(End of this chapter)