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

Jiang Zhe learned from Wang Zhen that some of his friends in the capital had also heard some rumors and thought that he would soon go to the United States to develop.

He had no choice but to ask Wang Zhen to help him dispel the rumors.

After talking about business, Jiang Zhe wondered if these rumors were targeted.

He also told Wang Zhen about his doubts and suspicions.

Wang Zhen thought for a moment and said, "There is no way to trace this kind of rumor. After all, even some people who know you will think you will go out to develop after hearing that you have got this opportunity.

Your choice actually surprised many people.

Don’t be affected, just complete the order as soon as possible.”

Jiang Zhe ended the call and while walking with Chen Yan, several more calls came in from unfamiliar numbers. He simply set his phone to vibrate and refused to answer any unfamiliar calls.

However, when he returned to the villa, his parents called and asked about this matter.
Jiang Zhe didn't know why this rumor spread so widely within one day.

But he also understood, as Wang Zhen said, that it was difficult to tell the truth from the false in these rumors, and there was no way to trace their source.

After talking to his parents on the phone, Jiang Zhe calmed himself down, eliminated all distractions, and began to sketch out the custom work.

The dimensions of this oil painting are required to be 1.7m7. in height and 2.3m in length.

Jiang Zhe prepared a piece of white paper of the same size as the picture frame and drew a sketch first.

The two figures of the sun god and Hyacinthus in the painting are close to life size.

In Jiang Zhe's draft, the main characters are highlighted and other elements are downplayed. However, the sky, plants, buildings, land and minor characters that appear as the background cannot be ignored.

In between painting, Jiang Zhe consulted relevant information and tried his best to avoid common sense errors in all elements of the painting.

For example, the top of the building vaguely appearing in the background involves the Doric columns, their length, thickness, and carved patterns, as well as the triangular tops of ancient Greece in classical-style buildings, and some plants that have special significance in Greek mythology.

Jiang Zhe's requirements for this painting are to pay attention to beauty while avoiding mistakes, and every detail must be carefully considered.

For several days, Jiang Zhe returned to the studio every night to create detailed sketches.

During the creative process, most of the problems regarding the detailed modeling and aesthetics of the work are solved.

Although this painting is a custom work, Jiang Zhe wants to find a balance of beauty in it, that is, the vividness of the shape and the beauty of the color. It continues the pursuit of classical beauty, conforms to some elements of contemporary aesthetics, and also considers the psychological demands of customers.

When he really got into painting, Jiang Zhe gradually forgot the constraints of customization and boldly integrated the various techniques provided by the system.

He combined the modeling techniques of Ingres and Dürer with the dramatic nature of the Baroque style, striving to enrich the objects in the picture.

Three days later, a detailed sketch was completed, and the system gave it a "fine product" rating. Even if it was considered an independent work, it would be fine.

Today happened to be Saturday. When Jiang Zhe heard that Wang Zhen had returned to Binhai, he invited her to his home. The system gave an evaluation, but that was not enough. Because it was a custom painting, he did not invite other painters or teachers to help him evaluate it.

Wang Zhen brought her business manager to Jiang Zhe's villa.

When the two saw the picture, they were immediately shocked by the effect of the sketch.

The gallery's business manager was wearing glasses, and I could only feel the reflection on the lenses as a rough sketch.

They knew Millet's requirements, so they just got to know the Italian painter Tiepolo's "The Death of Hyacinthus".

Many painters have depicted this not-so-novel subject, and many of them are well-known. However, in Jiang Zhe's sketch, this painting is both dramatic and realistic about the lives of ordinary people.

Wang Zhen saw that Apollo in the painting used the fastest posture to lift up Hyacinthus, and the special lighting effect gave people a strong visual impact. Although this was just a sketch, every character in the picture, including the supporting roles, was portrayed vividly.

People's faces have various complex expressions such as surprise, fear, doubt and sympathy. Everyone is a living person.

Wang Zhen even found that some of the supporting characters looked familiar.

After careful analysis, I found that one of the people's projects was very similar to Jack, whom I met in the United States. After further analysis, I found several familiar people, such as Miller's butler.

These people were some of the ones they met in the U.S. They had only met a few of them and had barely spoken to any of them.

She looked at Jiang Zhe in surprise: "How do you remember the faces of so many people? I remember that you didn't draw these people when you were sketching in New York?"

Jiang Zhe smiled without saying anything, knowing that Wang Zhen had seen through the techniques he used in his creation.

The reason why we choose to use real people as supporting characters is not to satirize or imply anything, but to make it real and vivid.

If we use fictional images, we will inevitably be affected by fixed thinking and become formulaic. Using these real people in life as references, we can draw thousands of people with different faces, which can be called vivid.

He did not explain, but said: "When you look at this painting, do you feel attracted to it at first sight?"

"Yes." Wang Zhen said, "The first impression is good, and it seems to become more and more charming the more you look at it."

Jiang Zhe said: "Miller's requirements are actually quite difficult to grasp. This painting must be dramatic and also be hung at home for viewing. Therefore, the visual impact of the work cannot be too intense, and there must be room for slow appreciation. I can only try my best to find a balance."

Wang Zhen said: "This is already very good. Can I take a picture?"

"Okay, send this detailed draft to Miller." Jiang Zhe said.

According to the agreement, photos would be taken and sent to Miller at different stages of the formal creation.

Although it will affect the freedom of creation, Jiang Zhe has not yet reached the level of Picasso.

Wang Zhen took two photos.

One photo shows only the work; the other shows Jiang Zhe standing next to the work, which can be regarded as a silhouette during the creative process. In her words, both are commemorative materials.

Jiang Zhe looked at the photos and thought they were good.

"I will send it to Miller as soon as possible, there shouldn't be any problem." Wang Zhen said.

Jiang Zhe didn't wait long.

The next day, Wang Zhen came to Jiang Zhe's studio again and brought good news.

"Yesterday, I sent the photo over there, and a few hours later, Miller gave a reply." Wang Zhen said: "He is very satisfied with your sketch. Just use it as a reference and create."

"Okay, I'll get started as soon as possible."

"Also, he sent me some photos. Take a look." Wang Zhen asked Jiang Zhe to turn on his computer, open his email, and ask Jiang Zhe for the photos.

The photos show some farm scenery, including typical American country-style wooden houses, pastures, meadows, horses, cattle and sheep, etc.

"Miller said these are some of the scenery from his hometown. You can use these themes to create your own works," said Wang Zhen.

Jiang Zhe said as he looked at the photos: "I don't really have any feelings about these elements. I'll talk about it after the custom draft is completed."

(End of this chapter)