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00:00:02

Greetings, my dear creative

00:00:04

friends, today we will paint

00:00:06

a landscape with birch trees.

00:00:08

Please subscribe to my channel Let's draw

00:00:11

together. So, we start with a simple

00:00:14

sketch, divide the sheet

00:00:17

located horizontally into about a

00:00:20

third, and on the lower third we outline a

00:00:22

path going into the distance at

00:00:26

an angle,

00:00:27

further on the left side. we will

00:00:30

have a large tree with such a

00:00:33

lush, very dense crown, I outlined

00:00:36

clumps And on the right side, approximately on the

00:00:41

upper third of our lower third, if I

00:00:44

may say so Yes, I have three

00:00:47

birch trees As you can see, the easiest possible

00:00:51

simple sketch, everything we need we

00:00:54

will depict later with paints I

00:00:58

take it and mix it with white. Please

00:01:02

note that I immediately make a sufficient

00:01:04

amount of shade, a lot of shade, and

00:01:07

starting from the

00:01:09

upper part of the sky, I start with the most

00:01:13

intense tone and the lower I go

00:01:17

to the horizon line, the lighter the shade

00:01:18

becomes, we are

00:01:21

painting clouds today, so there is no

00:01:24

need achieve a smooth, smooth

00:01:27

stretch That is, you can put

00:01:30

various stripes including

00:01:33

lighter and darker gouache because in the

00:01:35

end we are painting a cumulus

00:01:38

cloud and small cirrus clouds

00:01:41

stretching into the distance

00:01:43

towards the horizon Our sky should be

00:01:46

lighter According to the aerial perspective,

00:01:49

also don’t forget, please friends mine

00:01:52

behind the birches we also cover the sky

00:01:55

completely with color because the foliage

00:01:58

will be transparent

00:02:00

my sky is ready Let's outline where

00:02:04

we will have the main mass of the cumulus

00:02:07

cloud I'm picking up clean white, this is a

00:02:11

dozen oval brush Ar quarter

00:02:13

flat and clean white

00:02:18

Natavan up down left and right Namely,

00:02:22

we touch, as if we trample a sheet of paper

00:02:25

with a brush with white, so we

00:02:28

fill these clouds with lighting coming

00:02:33

from the left, respectively, the cloud, the mass of

00:02:35

clouds will be illuminated on the left side and

00:02:39

on the right go into the shadows, that is, on the right

00:02:42

we simply have a more active

00:02:45

blue color. remains the color of the sky And

00:02:48

the closer your cloud comes to the horizon,

00:02:50

the more your movement

00:02:52

becomes horizontal Yes

00:02:54

Imagine that on top you have a

00:02:57

cumulus cloud and more

00:02:59

cirrus such elements go towards the horizon yes As you

00:03:02

work with the cloud your Color will

00:03:05

mix into a bluer one if you

00:03:07

need more whitewash You take

00:03:09

pure whitewash and add

00:03:12

lighting where necessary behind the

00:03:14

birches I, of course, too Lay

00:03:17

some amount of clouds, then I

00:03:20

mix yellow light green dark and

00:03:24

the rest of the paint of the shade remaining from

00:03:27

the sky, it is important that blue is present there,

00:03:30

not only white and I

00:03:36

laying a brush, I took an

00:03:39

oval flat two-piece, again the movement

00:03:44

Natavan passage create And all the trees are the

00:03:48

whole forest at the horizon and immediately in one

00:03:51

big movement Try to make these

00:03:53

small movements as if you were

00:03:56

laying pearls or

00:03:58

beads there with your brush then the mass of

00:04:01

trees in the distance is really

00:04:03

it will turn out to be a varied blue tint,

00:04:06

we added it so that the forest

00:04:09

in the distance fades more softly into the Horizon, I

00:04:12

took more of the green Dark tint and

00:04:15

closer to the junction of the horizon line with the fields they

00:04:20

lay a clean tint creating

00:04:23

shadows, then we mix white and light yellow,

00:04:26

this is such a sunny bright

00:04:30

tint and only according to

00:04:36

[music]

00:04:38

apical

00:04:39

illumination again Try to be

00:04:43

varied Our task with you is not to

00:04:45

draw a fence but to create natural

00:04:49

trees,

00:04:50

so somewhere they laid it somewhere it’s not necessary

00:04:55

I told you that I use the

00:04:57

w pattern and here it is also applicable

00:05:01

and then I I pick up white with a yellow light

00:05:06

and wide flat brush with an oblique, this is a

00:05:08

clean bright shade of ringing

00:05:11

light and I apply it along the horizon line

00:05:15

right under our

00:05:17

trees. I very carefully lay

00:05:20

it out now without touching the trees because

00:05:23

I want to keep this yellow light

00:05:25

shade very very very

00:05:27

clean further As we approach the

00:05:30

viewer towards the foreground, our field

00:05:33

begins to gradually turn

00:05:34

green. I added a green tint from the

00:05:37

palette, which is one of the shades

00:05:40

that I have already mixed, and add a

00:05:43

small amount of this

00:05:45

greenish-yellow tint, then mixed it,

00:05:48

added another green one. Made it a

00:05:51

little darker. Yes, and look with a

00:05:56

flat oblique brush, this is a

00:05:58

four-piece RL synthetic, now I

00:06:02

’m again filling the taps with grass, and

00:06:06

by placing the brush vertically, flat brushes in

00:06:11

this regard, a universal tool gives

00:06:14

us a huge variety of

00:06:16

possibilities for strokes. Next, for the path

00:06:19

going into the distance. Pay attention, there

00:06:22

is grass growing in the middle. Yes, for now.

00:06:24

I

00:06:25

don’t cover this area, I mixed

00:06:28

oh

00:06:30

and they lay out a fairly

00:06:32

light shade, and on the left side the path is

00:06:36

darker, on the right it’s lighter since the

00:06:38

light falls on the left side Yes, I

00:06:43

added a little bit of white and strengthen it

00:06:45

on the right side on the left side a

00:06:48

shadow from the growing grass will fall on the path,

00:06:51

I mix it with a small flat

00:06:55

brush, this is a green tint

00:06:57

quite intense

00:07:00

and with movements imitating grass, with

00:07:03

vertical movements, I lay the

00:07:06

grass in the middle of

00:07:08

the road, then I added white and yellow

00:07:12

light, I got a light shade And

00:07:15

added lighting to this part of

00:07:19

the grass You probably saw such rural

00:07:22

roads have passages on them Kole pona ki with

00:07:26

grass for shadows, so I took a

00:07:31

light purple one, diluted it liquid with

00:07:34

some water, don’t make the shade very directly

00:07:37

intense, but diluted it liquidly with water and

00:07:41

horizontal movements, I applied the

00:07:44

future falling shadows from the left side to the

00:07:48

right grass on our left

00:07:51

there is no side yet, but we already imagine that it is there, that

00:07:53

is, it is more convenient to lay out the shadows when

00:07:55

the grass on the left does

00:07:58

not have rock, it needs to

00:08:02

dry out this time, and secondly, it is necessary

00:08:04

for us to add the remaining elements

00:08:06

to find out whether there is sufficient

00:08:10

lighting and contrast we have created on it

00:08:13

along the path on the right side I

00:08:17

lay grass

00:08:19

and the objects at work really like to be

00:08:23

next to each other. Yes, the lightest part is the

00:08:25

darkest contrast. The brighter

00:08:28

Sunny we create, the more

00:08:31

the contrast intensifies at the junction of light and

00:08:35

shadows, that is, the light part of the path

00:08:38

touching the field here along the illuminated strip

00:08:41

we have a greater contrast with the

00:08:44

grass, then I outline the bush on the left

00:08:48

side on the left side. You remember we

00:08:50

outlined a large kurti. Well, such a tree with a

00:08:54

very lush crown. Therefore, on this

00:08:56

side we have an active shadow here. Sveta

00:08:58

can’t I

00:09:02

lay a new one slightly diluted with

00:09:05

water as well I immediately lay a

00:09:08

shadow under the future

00:09:11

birch trees, a shadow was laid and then

00:09:14

we paint the foreground lighter; in the

00:09:17

foreground we will have

00:09:19

elements of grass and flowers; they will be

00:09:22

painted dark on light, so

00:09:25

we paint the foreground itself with enough light

00:09:29

so that later our grass will look good

00:09:31

visible like this I got

00:09:43

a little hillock on the left side here I

00:09:46

will have the main

00:09:48

flowers very important It’s very important

00:09:51

to keep the foreground of

00:09:59

the day with the warm

00:10:01

sun Let’s paint our

00:10:09

spreading and with a flat

00:10:11

four beveled brush I

00:10:15

outline the main ones Yes woody ones these are the

00:10:18

deciduous ones that we have fall

00:10:22

straight from the left side Give yourself free rein

00:10:26

The tree should turn out really

00:10:27

lush so beautiful radio operators

00:10:31

pleasant this shade can dry out a little in

00:10:34

the meantime I mixed

00:10:37

yellow light white and a little

00:10:40

green just a little green so that

00:10:43

this light green turns out to be a light green

00:10:46

shade Break it up Yes and

00:10:50

I used the same slanting brush to mark the tops of the curtains.

00:10:55

Lay the light. We now have a very

00:10:58

active leucorrhoea, light and still damp. I’m

00:11:03

not speeding up the video. I’m specifically giving you

00:11:06

the opportunity to watch, and while I have

00:11:08

this light shade, it’s wet, I’m

00:11:12

combining two with a small brush.

00:11:16

slightly dried dark

00:11:18

Yes, from the first layer and this is the light

00:11:23

shade that I outlined Light, I

00:11:27

knead them as if with myself directly on paper,

00:11:31

in general, this is a technique that is typical for oil,

00:11:33

gouache, in many ways, oil

00:11:36

repeats the pastiness, so on this

00:11:39

material you and I can perfectly use

00:11:42

oil techniques imitate that is,

00:11:45

we can

00:11:49

train the bushes to paint with

00:11:51

pleasure, you can use the oil according to the same

00:11:54

principle, only there the bottom layer will not

00:11:57

dry out Yes, but also the

00:11:59

dark then light is absolutely laid out

00:12:02

then Look like this Look directly with

00:12:04

point movements I

00:12:07

knead I am already picking up

00:12:11

pure green dark here and there on the brush shade and

00:12:14

laying shadows As you can see, I don’t

00:12:17

use either black paint here or blue

00:12:20

so as not to lose the illumination of this

00:12:24

sunny day, the feeling of precisely the

00:12:27

absence of some

00:12:30

earthy ones is always given to us by cloudy

00:12:33

work, then we outline the three

00:12:37

trunks of a birch tree with clean whitewash. Of course,

00:12:40

it will climb a little

00:12:42

from work Bottom color Yes, the sky

00:12:47

or bushes or grass Try to

00:12:49

wash the brush, wipe it again,

00:12:52

pick up white again, go through it again to

00:12:54

create white

00:12:57

trunks, a lot of white with ocher that

00:13:01

I already had on the palette, they were left over from

00:13:03

the path I

00:13:06

outline the dark one on the birch, and if you

00:13:10

looked at the photographs either you

00:13:12

may have a birch tree growing somewhere near you,

00:13:14

please pay attention. The

00:13:16

lower it goes, the darker it becomes. Yes, and at

00:13:19

the top it is also Dark. That is, it has a

00:13:22

white trunk only in the

00:13:23

middle of the shadow on the birch trunks.

00:13:26

I made sure to take purple light, warm

00:13:30

shadows, make it on this work and

00:13:33

from above when there is already light and shadow on the trunk, the

00:13:36

smallest

00:13:39

work in this composition of ours is the

00:13:42

creation and the

00:13:46

dark birch trees we have small work in

00:13:49

A5 format, respectively, these

00:13:52

dark elements on the birch trunks are

00:13:55

simply microscopic, but here the main thing is

00:13:58

not to overdo it

00:14:01

retest did not climb from the middle ground into the

00:14:04

foreground, our friends my friends

00:14:07

are in the middle ground Despite the

00:14:10

fact that our composition is in many ways

00:14:13

about these birches we

00:14:17

will attract which crowns and not by how

00:14:21

our black bark elements contrast

00:14:25

with white

00:14:26

trunks, so

00:14:29

we are we don’t make them very contrasting. Now I’ve

00:14:33

spread the black color, look at the

00:14:36

joints and in the shadows. I’ll now

00:14:40

lay out

00:14:41

these details of the birch trunks.

00:14:45

Quite clearly, but later we’ll

00:14:48

carefully

00:14:51

soften them. Look. How

00:14:55

bad the cut is,

00:15:01

so it’s important. It’s very important to

00:15:05

soften them later. this moment yes we Put

00:15:08

the light from above thereby

00:15:12

combining the birch trunks such a single

00:15:17

element into one trunk, roughly speaking, yes

00:15:21

black You can use from the shadow

00:15:24

one with the light one in the

00:15:27

same order with white and ocher or with

00:15:31

white and yellow

00:15:33

light black elements of the wall

00:15:38

lighter elements here these

00:15:40

birch trees and on the bright side

00:15:44

Why is it so detailed? I dwell on the

00:15:47

elaboration of the trunks. You know birch trees are

00:15:50

very decorative and I want to paint

00:15:54

snow-white trunks with maximum contrast,

00:15:57

these striped triki, yes. But

00:16:03

if you have a birch trunk that is not in the

00:16:05

foreground of the work, there is a risk

00:16:09

of making them too striking for the viewer's eye,

00:16:13

you and I are painting a complete landscape, our

00:16:15

work is not Botanical painting based on the

00:16:18

image of a single tree, our

00:16:21

birches should be organically integrated into

00:16:24

the landscape, now it is clear that the trunks I have

00:16:26

sufficiently developed light and

00:16:29

shadow and these elements And the black ones on the

00:16:33

bark and I I put white on a brush and on

00:16:37

top, with a thin layer,

00:16:41

I walked a little over the Birch, look, I

00:16:43

still have little black stripes shining through from under the white,

00:16:46

and at the same time they do

00:16:49

n’t hit the eye; the trunks will dry out; I

00:16:53

’ll put even more light on top of them later.

00:16:55

You and I

00:16:57

we'll deal with the crowns

00:16:59

we're not

00:17:05

working on it very schematically

00:17:09

schematically we're laying out now we're laying out

00:17:11

the main kurti of the crowns I'm doing

00:17:14

it with a flat semicircular oval

00:17:17

tassel of two grades art quarter I'm picking up

00:17:20

green dark

00:17:22

openwork we put it Yes openwork and my tassel is

00:17:26

laid on its

00:17:29

side That is, I spank it

00:17:33

[music]

00:17:39

more colorful with since from the branches, in your

00:17:43

opinion, the foliage would hang down, that is, we

00:17:47

pick up the color. I have it thin with some

00:17:50

water, diluted a little so that the gouache

00:17:52

is plastic, and please remember that the

00:17:56

foliage is on the m and

00:18:01

also comes to the foreground, that is, the birch trunk

00:18:04

is covered. That’s why we there

00:18:07

was no need for such active detailed

00:18:10

elaboration of the trunks from above, it is clear that

00:18:13

it is subsequently covered with foliage;

00:18:15

this

00:18:16

part of the

00:18:20

birch gradually formed into a beautiful composition

00:18:23

of three birches. I especially like

00:18:25

the movement of the leftmost birch. Well, this is how

00:18:28

it turned out for me, a little

00:18:30

bent, very beautiful. I am

00:18:33

now mixing all that the same scheme that we had with the

00:18:36

left tree works and on birches

00:18:39

we next mix the brightest

00:18:41

shade, the lightest for the foliage.

00:18:44

This is white plus light yellow plus

00:18:48

just a microscopic amount of

00:18:50

green to get m very Light

00:18:55

such a shade And lettuce and we

00:18:58

also used a brush with a D but this time I

00:19:00

lay it not edgewise but

00:19:03

flat and I work only on the tops of the

00:19:07

curtains which are illuminated by

00:19:10

the sun; we marked the curtains on the first

00:19:13

layer of dark

00:19:16

colorful light; do not rush; again, I

00:19:20

always urge you, my friends; do not paint

00:19:23

the fence; use some such

00:19:27

patterns; keep in my head I was telling

00:19:30

the prototype of the pattern, this is when you move

00:19:32

like a

00:19:34

zigzag, I just use it

00:19:36

everywhere, it has already become for me, you know,

00:19:40

such an automatic simple movement and

00:19:43

then I mix both shades on a brush

00:19:46

on the palette, that is, I add a light one

00:19:51

plus a little dark and somewhere

00:19:55

they soften it, it’s clear that Now I have birch trees

00:19:58

like this, there is not enough contrast in them

00:20:03

while at the initial stage of work,

00:20:06

when we are working on the greenery in

00:20:08

gouache, we lay out the middle color, that

00:20:11

is, it is important to remember this is not the

00:20:13

darkest shade, but the middle color,

00:20:15

then we lay out the light and at the end

00:20:19

we

00:20:20

add strength and the most shadowy

00:20:24

elements are done, I do this with a very thin

00:20:26

brush, this is one Art Quarter, I

00:20:30

take the paint directly from the jar, in general

00:20:33

this would not be very correct in relation to

00:20:36

paints, because there is a risk of putting

00:20:38

other shades in there; colorful in a jar,

00:20:42

I of course prefer to lay out the

00:20:44

shades on palette Well, today I’ll

00:20:47

take it straight from the jar Directly,

00:20:50

as you can see, with the addition of contrasting

00:20:54

dark elements And Dark Green is

00:20:58

really such an active,

00:21:00

rich shade, it can even appear

00:21:03

black in a photograph in oil painting;

00:21:07

its similar shade is Veri

00:21:09

Donova Green, we have already worked with

00:21:12

oil please, if you haven’t seen these

00:21:14

lessons, these master classes on lavender

00:21:17

fields, be sure to take a look, we

00:21:19

wrote there and bushes, including verino

00:21:22

green, there is also a master class in oil painting

00:21:26

on creating a sea landscape,

00:21:28

there is also greenery, we actively

00:21:30

used verino green,

00:21:33

it gives the ability to create deep

00:21:36

foliage without adding black, here in

00:21:38

gouaches such a shade is Dark

00:21:41

Green, I love it very much, I prefer

00:21:45

to use it before other shades of

00:21:47

green in

00:21:49

gouaches, our birches look how

00:21:52

voluminous they turned out with very small

00:21:55

foliage, this is small foliage, it’s right on

00:21:57

top with separate movements, we don’t paint

00:22:00

backwards -forward we touch the paper top top

00:22:04

top top top top Yes Next I take pure

00:22:07

white and only in some places individual

00:22:10

elements, literally two or three

00:22:13

dots. And the foliage in the sun

00:22:15

tends to shine and it is these bright

00:22:18

highlights. They appear white on the foliage, these are the

00:22:21

snow-white highlights I And I added

00:22:24

squirrels Don’t forget the brushes in time

00:22:28

if you feel the white is not taken from you is

00:22:31

not taken white So perhaps

00:22:33

there is a different shade on the brush in my left

00:22:36

hand you can’t see it in the video, but I

00:22:38

always have a fiber cloth clamped in my left hand

00:22:40

which I wipe off, that is,

00:22:43

rinse I wipe the brush constantly,

00:22:45

keep the tool clean, this will give you

00:22:48

the opportunity to use clean,

00:22:50

juicy, sonorous shades in your work. And of course,

00:22:54

change the water. I know how lazy it is.

00:22:56

Believe me, all the water needs to be changed

00:22:59

regularly when working; there is enough light on the

00:23:03

birches. In my opinion, it’s time to

00:23:06

add highlights to the the trunks the trunks are

00:23:09

completely dry, so here and

00:23:11

there you apply clean white directly

00:23:14

in one touch, directly in one

00:23:16

stroke, add a few spots of bright light on the

00:23:19

birch tree, look, there is

00:23:21

enough contrast, enough

00:23:24

black elements on the birches and at the

00:23:26

same time they sit absolutely organically in

00:23:29

this landscape Yes in the middle ground, further

00:23:32

birches grow on the grass, we

00:23:36

go deeper, here is the active green under

00:23:39

them, this is exactly the shadow, I added a

00:23:42

small amount of burnt umber to

00:23:45

make the shade of the grass warmer and darker

00:23:48

and with a small brush, a unified

00:23:52

art quarter, I used vertical movements to

00:23:56

travokur that we have done

00:23:59

enough I have a light-colored background;

00:24:00

individual blades of grass are visible. Yes,

00:24:03

it seems that further on, where our path

00:24:06

goes into the fields, please also

00:24:08

work on it so that it doesn’t

00:24:11

suddenly break somewhere. Yes, but it goes right into the

00:24:14

grass somewhere around the bend; I’ve

00:24:17

already accumulated a

00:24:18

sufficient variety of greens on my palette There are

00:24:21

shades that are lighter and darker, and

00:24:24

even browner ones so that I can, without

00:24:28

mixing additional shades from the

00:24:30

palette, select the ones that suit my

00:24:32

opinion, and also

00:24:37

grass smoker, but in general, make sure

00:24:41

that they don’t destroy yours. The shadow

00:24:43

under the birches, that is, the

00:24:45

horizontal shadow under the birches it should

00:24:47

look like a single whole; our crown is

00:24:49

dense,

00:24:50

so it can’t turn out to be an openwork shadow;

00:24:54

it should be exactly like that,

00:24:56

flowing down; then we laid little white

00:24:59

elements of shiny foliage into the crown of the Birch tree,

00:25:03

of course, we must do the same for

00:25:05

ours; the

00:25:09

spreading amount of shiny white

00:25:11

elements is not

00:25:27

what I really have it turned out to be

00:25:29

short and, in my opinion, quite

00:25:31

uncomplicated with a dark shade I stretch and

00:25:36

from the bottom of the work to the top individual

00:25:38

blades of grass on a light background dark

00:25:41

blades of grass look great and here and there

00:25:44

we will write

00:25:47

lupine you know the

00:25:50

decomposers of lupines on the stems

00:25:53

please mark them right away it’s not worth it

00:25:56

here write down very clearly write out

00:25:58

light shadow the work is small for us yes this is

00:26:01

A format A5 practically we

00:26:04

have written such small detailed miniatures in gouache

00:26:07

with beautiful foliage of small birches

00:26:11

And where do your stems go to a

00:26:15

darker background on top yes

00:26:19

Please type in white and Or with

00:26:22

light -green or with yellow light and

00:26:25

extend the light, that is, where the stems

00:26:28

go up to the darker substrate,

00:26:31

add light endings, it will greatly enliven the

00:26:34

greens, then we will use pure white with you

00:26:38

and we will decorate the umbrellas, they very often grow

00:26:42

in the fields. I think this plant

00:26:44

is called hemlock, not sure

00:26:48

Botanical name I love them very much

00:26:50

they look beautiful and perfectly

00:26:53

convey the feeling of such a summer in a

00:26:58

pub if you are experienced with gouache count

00:27:01

on this work for about half an hour and 45 minutes

00:27:05

if you don’t have

00:27:07

enough experience please count on at

00:27:10

least an hour the work is small but there are

00:27:13

enough small elements here Basically, it’s a

00:27:15

debt due to the fact that we

00:27:17

use small brushes for

00:27:19

detailing, I want to pee on the flowers, it’s

00:27:22

true that

00:27:24

the summer with you is not warm this year,

00:27:40

we’ll indulge in brighter ones, the very left one is

00:27:43

this top lupine, I want it to

00:27:46

go away from me a little further into the

00:27:50

foreground for the rest of the lupins, I take the

00:27:53

paint directly from the violet

00:27:55

light from the jar straight so that it

00:27:58

is very, very bright the wall

00:28:01

lays beautifully, we have the same shade

00:28:04

also present on the paths going into the distance purple

00:28:07

light Yes, we painted the shadow on the trunks of

00:28:09

birch trees so the purple lupins are

00:28:11

ideal

00:28:13

to go here to write lilac lupines

00:28:17

in the distance, be sure to mix the

00:28:20

light purple with white so that we don’t have too

00:28:22

bright lupins jump from the middle ground to the

00:28:24

foreground, yes, that is,

00:28:28

but we don’t work it out very, very directly, and with the

00:28:31

same purple light I

00:28:33

added it directly I

00:28:38

outlined a few dots of small wildflowers in the foreground both on the

00:28:41

right and left to work out the light shadows

00:28:44

on the lupins. I use just a white

00:28:46

tint, which is slowly

00:28:48

mixed in on my brush. Lilac, I add

00:28:52

white from the palette. Look, it’s

00:28:55

almost pure white, but by the end it

00:28:57

turns into The lilac

00:28:59

light lilac

00:29:00

shade of lupines consists of large

00:29:05

flowers. If you don’t know these flowers, you haven’t

00:29:08

seen them, be sure to look at how they

00:29:10

look in real life from photographs so that

00:29:12

you can write them in detail.

00:29:15

It looks like yes, all the movements that I

00:29:18

used in this work are

00:29:21

touching movements. brushes, that is, not to the right to the

00:29:24

left, not up to down, but top top top

00:29:27

touch the paper with a brush, leave

00:29:30

traces of paint in order to create

00:29:33

yellow flowers, also look

00:29:36

carefully, white with a yellow tint,

00:29:38

mix, be sure to add white,

00:29:41

otherwise the yellow will be too

00:29:43

transparent Well, in the end, literally

00:29:46

a little a few elements of light on

00:29:49

the path on the right side, I already

00:29:52

said that the light becomes more

00:29:56

contrasting in contact with the shadow. Yes,

00:30:00

here I just emphasized this contrast.

00:30:03

Place a small strip under the

00:30:05

signature at the bottom right.

00:30:09

Please, my friends, do not forget to sign your

00:30:11

works, carefully remove the tape,

00:30:13

watch out so that he doesn’t rip off your

00:30:17

papers on this, my friends, I’m still waiting for

00:30:20

your finished works, as well as your ideas about

00:30:24

what you would like to write with me

00:30:26

in my VKontakte group, subscribe

00:30:29

to my channel Katya Fedorova was with you and I’ll

00:30:31

draw a channel for everyone

00:30:35

[ music]

00:30:37

good luck

Description:

🌷 Эскиз для этого мастер-класса: ВКонтакт: https://goo.gl/h7vg7B Патреон: https://www.patreon.com/posts/guash-berezy-17775649 👉 Подписка "Тюльпаны" ВКонтакте: https://goo.gl/YPFiuA 👉 Подписка на Патреон: https://www.patreon.com/join/anurisui 🌸 Для работы потребуется: https://www.patreon.com/posts/guash-materialy-19587268 🌸 На этом уроке рисования мы разбираем как нарисовать летний пейзаж с березками, цветами и полями! Мастер-класс по живописи подходит для начинающих и продолжающих осваивать гуашь, акрил, масло! Эти удивительные краски помогут вам раскрыть творческий потенциал, развить воображение, чувство цвета! 🌸 Для работы потребуется: https://www.patreon.com/posts/guash-materialy-19587268 ❤️❤️❤️Поделится работами: ВКонтакт: vk.com/anurisui Патреон: patreon.com/anurisui Facebook: https://www.facebook.com/unsupportedbrowser Instagram: https://www.facebook.com/unsupportedbrowser Music artist: https://twitter.com/NHeidlas 🌸 Меня зовут Катя Федорова, я люблю рисовать и делиться своими знаниями об искусстве! Подпишись на канал, вместе рисовать просто и весело! Живопись - это способ выразить свои мысли на бумаге, сделать свои чувства понятными даже если их не выразить словами!

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