After Hong Lao left, Xiao Zhang pondered Hong Lao's words......

What does this old man mean?

Don't you want to let yourself help identify those Tang Sancai?

No!

He is a group of people with strong theoretical knowledge in Tang Sancai...... It's not enough to actually do it......

This Tang Sancai's theoretical knowledge can be said to be grandmaster-level......

But this firing technique is only a master......

This identification skill is even more zero......

You let Xiao Zhang say that the head of what he can say is the Tao...... You let him see ...... What silver spots, what rust? Where is it? I'm sorry, I don't know! I'm a firing modern Tang Sancai handicrafts, and I don't understand old things......

I really just can just say, I'm the king of the mouth!

Xiao Zhang still decided to do the work he didn't do first, Hong Lao's things are all things that come later, and they are all things that can only be completed after the game is over.

In case you lose the game, all your skills will be withdrawn by the system at that time...... has become a little white man, and he still helps others identify something!

Xiao Zhang opened his raw materials and began to prepare for the configuration of the glaze......

This metal glaze is still very difficult to configure......

In particular, what Xiao Zhang wants to configure now is a metal glaze of various colors.

The problems that need to be considered in Xiao Zhang's configuration of Tang Sancai glaze are completely different from the configuration of Ru porcelain, after all, the glaze color of Ru porcelain is single.

A piece of Ru porcelain is also a color......

The glaze required is the same......

So this Ru porcelain is basically the same......

But none of this Tang Sancai are the same.

Because from this appearance, the glaze color is enough to distinguish each piece of Tang Sancai.

After all, the glaze color of any Tang Sancai cannot be the same.

Tang Sancai's glaze color needs to flow naturally down after the glaze is stained, and each glaze color blends with each other, and then it is not the whole glaze......

The lower part of Tang Sancai in some utensils is unglazed, and some figures, such as the female figurines, are unglazed on their faces......

Leave it directly on the original tire color.

This will make the glaze color of each Tang Sancai finally show is different.

Therefore, it is necessary to consider which colors you want to use before firing......

If you want to configure the glaze of that color, and then choose the corresponding metal raw materials......

And also consider whether the effect is good after the combination between each color......

In case there is no good color sense, it will also make the color after matching appear discordant and abrupt, which is embarrassing.

So the question Xiao Zhang is thinking about now is what color glaze to put on his three pieces of Tang Sancai......

First of all, the first one is also Xiao Zhang's favorite dragon handle elephant head holding pot......

This Tang Sancai work, which can be called the king of pots!

Xiao Zhang's idea was to follow the traditional idea of applying a brown glaze to the entire body of the pot, a white glaze with a little green to the dragon body, and a blue glaze to the elephant head......

This is the best overall effect and the most able to highlight the nobility of this artifact.

The color is also respectful of history, and the degree of restoration is also relatively high.

What is more difficult to reassure Xiao Zhang is that this blue glaze will turn into a blue-purple glaze in Xiao Zhang's hands, but what color will this brown glaze and white glaze become?

This is a question that Xiao Zhang needs to think about very much.

......

This second piece is an aromatherapy burner designed by Xiao Zhang.

The color of the aromatherapy furnace, Xiao Zhang has already made a conclusion in his heart.

If the dragon handle elephant head holding pot Xiao Zhang is still a more traditional glazing method, including the color of the plate area and the transition are very traditional, then this aromatherapy furnace Xiao Zhang is a little more presumptuous.

What Xiao Zhang planned for this diffuser was to splash the glaze on it......

With the glaze itself blended to bind......

Xiao Zhang still knows the basic knowledge of color theory.

This warm color goes well with warm colors, and cool colors go well with cool colors.

Xiao Zhang decided to apply three glaze colors, light yellow, ochre yellow, and light green, to this diffuser as a group......

Then let the colors blend with each other......

Describes a freehand effect that can only be seen in ink painting......

The so-called splash ink painting method is this kind of feeling and presentation effect......

At the very least, Xiao Zhang has not found this glaze application method in any Tang Sancai artifacts.

Of course, Xiao Zhang also had this crazy year after reading Tang Xinghe's works.

If you use Western abstract painting, then I will use Eastern freehand to confront you!

Xiao Zhang began to configure these three glaze colors......

This last third Tang Sancai work is more complicated.

After all, it contains several works, and it is a separate and unified Tang Sancai work.

Xiao Zhang is a little difficult to choose.

Of course, the color of Malaysia is better with blue glaze, but the color of this warrior figurine is relatively cold...... And the color of this figurine is relatively warmer......

But in this case, it will make this Tang Sancai work more than three colors......

Although Tang Sancai does not stipulate that there must be only three colors, even if there is only one color, two colors, or four or five colors, it is okay.

However, Xiao Zhang knew that if there were too many and complex colors on this work of art, if it was not handled well, it would only turn into a collision, a contradiction, and a contradiction in appearance......

After all, the contrast of multiple colors in a work of art, this kind of painting, which is only some Western paintings, I don't know what kind of school of painting, anyway, is said to express the strong mood and emotion of the painter......

But on this Tang Sancai, it definitely won't work.

Xiao Zhang must choose the excesses and contrasts of this color......

In this way, we can better present this Tang Sancai.

Xiao Zhang thought about it for a long time, and finally had a thought.

First of all, since it is a large object, and there are too many small objects involved, it is grouped for glaze color contrast.

Then the whole can be divided into three glaze series......

For example, the overall cool color of this samurai figurine......

The three cool colors are combined with each other on the samurai figurines, and then the main blue glaze on the horse is still ...... This cool color is a color that can be over-matched with the blue glaze.

The carriage after the horse is the color of ochre, although it is dark but the warm color, so that the warm glaze series of the ladies and ladies on the carriage can be well displayed.

Whether it is light yellow or other colors, it can show the charm of the lady to the extreme......

In this case, on the whole, it is an excess of three colors.

And each color system is also an excess of three colors......

This will make this Tang Sancai very perfect and very intriguing......

Xiao Zhang nodded with satisfaction.

The glaze color of the three Tang Sancai artifacts has all been determined.

All that's left is to configure the glaze.

Xiao Zhang looked at the time, this glaze is configured, and it is estimated that the sky will be bright.

I don't need to rest this night.

Just turn around and go to the Ru porcelain site to open the kiln......