So here we start out with the jar working it in the same manner is as the lid. I worked it in two independent sections Ö.above and below the black stripe. The white area is large enough that I am comfortable putting it in first without worry of bringing too much of the dark into it while I am blending. This means I am once again working as I am most comfortable Ö.from top left to bottom right. So I change the rules to suit the occasion. It is important to me to work out the shape of the entire jar whether I will see it or not as this helps me keep the proportions correct in my mind
For those of you who donít have access to PhotoShop or some other picture editing program many of the cut, move, resize etc. shortcuts that I use can certainly be done with good old hard copy cutting and pasting or shifting the elements on a tracing table. One of the great features of these programs is to delve into the darkness of a photograph like this one and brighten up these areas to allow us to see what is really happening there. I am a firm believer in knowing just what I am drawing. I donít like to fudge areas that I donít understand. Once I grasp what they contain I might well chose to make light and loose with it but I at least understand what it is I am playing with making it easier to ďfudgeĒ without creating blatant errors. The poor manís tool for this is to take your photograph and hold it directly against your table lamp. All of those little lost details will miraculously appear.
Laying down the blocks of colour once more. These colours in this photo are fairly accurate.
This was taken without a flash so the colours are off but you can see the light gray area above the cherries where some reflected light is going to be happening. Taking the time to seek out and include these wonderful little spots of interest is what gives the painting its realistic qualities even though this area may be barely distinguishable when Iím done.
Blending completed and though it is not readily seen, that light spot contains pinky mauves as it would upon reflection from the cherries.
Iíve outlined the design lightly with a medium gray as some parts of it are going to almost disappear into the glare. The stem shadows are in now also. Once again, I want all of the blending done correctly before I begin adding designs.
The design is worked in various shades of gray to black and some green. The area right down at the bottom in the dark is still obvious to the keep observer and I was able to do it accurately by using the backlit photo to decipher it. Not knowing whether it is simply a design or actual writingÖ.I certainly donít want it saying something untoward.
The crazing of the glaze is done with several pencils beginning with a very light touch using a medium general charcoal. I use this because it is harder and therefore less black and easier to keep sharp. I laid out most of the lines in the shadow with this switching to a softer dark in the very deep shadows and changing to light green in the white areas. It was then a give and take, back and forth with browns greens and mauve to give a natural multi-colored look rather than straight black.
Because of the nature of the glaze, it catches the light along the edges of the dark and in other areas picks up the mauves of the cherries so. Again, the addition of this quirk of the glaze adds one more level of reality to the work but this is best show with mere indications is a few places lest it look overdone.
These are the colours Iíve used in the jar. #1 is the jar colours and #2 is the pencil and stick colours I used just for the glazing.
The jar is complete and I have erased the leafy areas along its left side that will eventually be the pattern in the fabric. Believe it or not, the beginning colour on the cherries is not black but a deep Terry Ludwig maroon.
I will work on the cherries tonight....I hope.