How to paint the bright part of the glazed jar transparently

There are two types of jars: glazed and unglazed. Glazed jars are more affected by the ambient color, while unglazed jars are less affected by the ambient color, and the inherent color is more obvious. Therefore, when expressing such objects, the color purity should be reduced, the color should be as thick as possible, and the pen should be as decisive as possible.

Step 1: Draw the overall outline of the object, find the main turning point of the shape, and draw the shape of the projection.

Step 2: Spread the color relationship, pay attention to the relationship between the cold and warm colors of the light and backlight, and distinguish them.

Step 3: Spread the color of the projection, pay attention to the color relationship between the dark part of the object and the projection, and be accurate and sure.

Step 4: Go deep into the details of the subject object, pay attention to the overall color relationship of the picture, the relationship between virtual reality and space.

In the final stage, it is necessary to pay more attention to the depiction and performance of details, such as the treatment of highlights, and pay attention to its position, shape and size, which plays a very important role in expressing the texture of the main jar. It is also necessary to show the rich color level of the dark parts, especially the detailed performance of the dark reflections. The local shaping and portrayal should be based on the whole, and cannot be separated from the whole, otherwise it will appear scattered and trivial, which will affect the expression of the sense of volume.

The texture of the glaze on the jar needs to be very delicately graded, and it must be rubbed to grind the lead particles engraved into the paper grain. Of course, it is okay not to wipe it, and it is also okay to repeatedly follow the structural line and the light and dark boundary line of each layer to play the tone. It should be noted that anything shiny will have a "turbulence of light and shadow", that is, there will be some large areas of dark colors in the volume that violate the rules of normal sketching, or large areas of bright colors in the dark parts.

At this time, it is possible to find the best picture by making good use of this turbulence and scrutinizing again and again.

In terms of color, you have to use gray to paint this texture, and gray here is not the kind of gray that is between black and white without color saturation. It is a gray with a stable hue, but low brightness but not dirty, and each color object has its own intrinsic and contrasting colors, as well as the presence of ambient light.

Carefully observe the structure of the jar when painting, pay attention to the light, in general, their black, white and gray tones are more clear, especially at the junction of light and dark, the essence can be done very well in the dark, and pay attention to the treatment of the reflective, the highlight of each place in the highlight pay attention to brightening, the sketch in the highlight near the note to pay attention to the tone to be delicate, the appropriate wiping method is also OK, you can especially depict the texture near the highlight in detail, and leave the highlight point to be crisp and neat.

Don't see what color in the color to draw what color, pay attention to a jar is actually composed of many colors, not blindly black or blindly gray, the environmental color has a great impact on the jar, the dark part and the reflection should be carefully used and then carefully observed, and then without losing the inherent color, the environmental color will be integrated into it, so that the still life has vitality.

If you want to make still life vivid, you must pay attention to it, not only the real thing, but also the surrounding color environment.

Whether it is a sketch or a color, the tone or brushstrokes also play a great role in the portrayal of the real thing.

Simply understanding this, I don't know if it can help you. It is suggested that you can copy more of Liu Xiaodong's works, which may be of some help to you.

The glaze texture of the jar is mainly reflected through contrast, one is the black and white contrast is opened, and the other is the texture of the glaze is expressed with enhanced light. What should be heavy should be heavy.

The bright side should be lit up, the dark side should be darkened, and the pen should not be pasted.

You can use a paper towel to wipe that texture, and you should wipe it rhythmically according to the structure and sensitive relationship. There is also the need to pay attention to the highlight part, which should be taken very seriously, which has a lot to do with the texture of the jar. Hope it helps.

Paint more Linmo and learn how to deal with them, the glaze of the jar mainly lies in the richness of the gray and dark parts. The color should be bold in coloring, not to draw what you see, to imagine more, but to pay attention to the integrity of the bright part, the inherent color at the junction of light and dark is relatively obvious, and the dark part can be rich in some environmental colors. Hope that helps, it's my personal experience.

When sketching and painting jars, you can try to use the method of rubbing, especially the texture of the glaze, which is easy to reflect with the method of rubbing, and the luster of the color is contrasted, and so is the sketch.

Look at other people's work and think about it carefully.