How to draw striped interlining cloth in gouache, how to mix red interlining in gouache painting

Isn't that simple?

Can I paint a monochrome interlining?

Would you be able to draw a monochrome jar?

If you can't, please practice first.

If it will. Well on the basis of these.

Replace with a small brush.

Let's start with the jars.

When you draw the jar, you should have already divided the warm and cold side with the light side and the dark side.

Then the above pattern first calls out a corresponding basic, and then fine-tunes the brightness, cold and warm according to the corresponding block surface to which the pattern belongs.

Then it's OK to draw it, and there are too small patterns that don't need to be too depicted.

Then say the interlining.

Interlining is simpler.

Imagine a white interliner with a red line on it. Of course, it is painted according to the fold trend of the cloth, and the cloth is concave and it is concave.

If it is convex, it will also be convex.

Well, then the striped cloth is more concentrated with the color lines.

So it's the same as before.

On the basis of the brightness of the background color.

Draw with a small pen. Darkening the color on the dark side will do the trick.

Remember to draw along the way.

To draw these things, you have to draw the background color first, and then draw the pattern.

Remember

Ignore the pattern stripes first. Because the most important and substantial thing is the volumetric space.

After shaping the original object, use the No. 2 pen to sketch along the volume of the transition to draw the striped pattern at one time, do not drag the mud and water, look at the pen and then pen. (By strengthening the trend of the stripe pattern, it can also play a role in emphasizing the volume turn) so that the stripe pattern is naturally attached to the volume.

Then use the pigment of the striped pattern on the color palette to add the dark, cold, light and warm colors to the dark and bright stripe patterns, so that the depicted pattern can completely belong to the volume it is attached to.

Hope it helps.

It's good that the striped cloth flowers come out, but as far as the test is concerned, you only need to open the light and shade.

If you have a good foundation, when I didn't say it, you only need to depict the key parts of the main object, such as the mouth of the can, and the overall harmony is good.

Lay the background color first, deliberately deepen the stripes, and then gradually deepen the reflection next to the stripes.

The same goes for jars.

Dark part: dark red + bright red + olive green + puran (a small amount).

Highlight: lemon yellow + red green interlining.

Dark: Olive green + emerald green + orange (a small amount).

Highlight: white + cobalt orchid + olive green + pink green.

When painting color, remember not to go overboard when portraying red objects, pure too high has the advantage of becoming a bright spot, provided that there is contrast, the overheated picture looks very **, so it will generally reduce the chroma, let the gray some.

The method is to add blue gray, yellow gray and other methods, and then locally, you can use some high-purity red for the close-up, pay attention to some, not a large area. The cold and warm of the shadow surface needs to be based on the cold and warm of the bright surface, and the blue gray and purple gray are good choices, and it is good to pay attention to the boundary between light and dark.

When painting color, remember not to go overboard when portraying red objects, one of the advantages of being too high is to become a bright spot, provided that there is contrast, the overheated picture looks very good, so it will generally reduce the chroma, let it be gray, the method is that you can add blue gray, yellow gray and other methods, and then partial, close-up you can use some high purity red, pay attention to some, not a large area. The warmth of the shadow side needs to be based on the warmth of your bright side, and the blue gray and purple gray are good choices, and it is good to pay attention to the boundary between light and dark.

It is necessary to pay attention to the control of the position and pull-out, and only by controlling the two details of the position and pull-out can the development space and physical characteristics of the work meet the standard. The content of "in place" includes composition, structure, features, shape, proportion, orientation, rhythm, dynamics, etc., and it is a basic skill and an ability to be in place, which is not exactly the same as the meaning of "accurate" and "realistic" that we usually hear.

"Pulling" is a kind of humanistic quality and a subjective means.

The content of "Pull" includes artistic language, physical characteristics, black, white and gray, primary and secondary, virtual and real, strong and weak, rigid and soft, shade, straight, front and back, sparse, etc., which is a simplification and induction in a higher sense, it is more subjective and free than "in place", it is the spiritual expression of the artist's individual subjective initiative, an important indicator of a successful sketch work, and the main difference between the vulgar and elegant style, the high and low style.

1. Use a pencil to draw a white draft.

The shape and structure of the cloth, zhi

Then the background is paved with monochrome to clarify the relationship between the DAO main body and the background, as shown in the answer below.

2. The color of the canvas in a large area, leaving the bright part, establishes the color relationship of the cloth, as shown in the figure below.

3. Adjust the picture as a whole to make the color relationship and the relationship between light and dark more accurate, as shown in the figure below.

4. Re-outline the structural line of the cloth to lay a solid foundation for the next step of shaping the body, as shown in the figure below.

5. Start from the whole, improve the relationship between each part, pay attention to the transition of the middle tone, pay attention to the edge treatment of the background and the main body, and have to be tight and loose, virtual and real, as shown in the figure below.

Compare with 8b.

To the dark color, then wipe it with self-soft paper, and then pave, then.

After bai, draw the thickness of the interlining, the dark part of the cloth pattern, which needs to be painted deeper, and appropriately clear, that is, the dark part next to the bright spot, you can take the ups and downs of the interlining as an entity. There are also light-receiving surfaces, light-dark junctions, and reflective surfaces. It's just that when you're drawing, you have to be aware that you're drawing the background, and the background is used to set off the still life in front of you.