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or rather a hand, a rather complex

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object to draw, but you all

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won’t be able to see how he does it from start to

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finish from some first strokes to the

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final strokes and highlights

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for a sample and myositis photograph is an

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interesting angle

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you can watch a in the lower left

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corner of the screen and we immediately start with

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the composition, mark the key points,

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enter our eyes into certain

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geometric objects, mark the left to

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right and try to find some

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interesting compositional solution in general,

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spend a lot of time on the composition because

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you haven’t drawn even the most

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artificial works of art but

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with a joint in the composition I will raise questions

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from the viewer, so pay close attention

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to this issue, I start painting right away with

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a brush, I spread the helmet quite thinly, I

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use warm colors in the underpainting, is

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it sienna or some kind of brown,

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sometimes I also introduce colors depending

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on what I want to do in this case,

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I have sienna which is quite liquid,

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and after I have made light

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lines,

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I darken the helmet and add details,

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add tonality, I can immediately

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protonate some part, let’s say,

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like now, which goes into the shadow, we

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immediately in general and we designate it as

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shadow with a spot, this all helps us in the

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drawing, we have summarized it like this

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and now we will look for some details and

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so on, plus this method of seeing the work

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immediately allows us to see

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the spot and the mass of objects that we

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depict in a sheet or on a wall and

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it doesn’t matter, but in general for me there are more

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pros than cons here, and if you

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carry out your work competently, you will

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succeed,

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even the most complex subject, we

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should initially imagine it as something simple and

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understandable,

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breaking it down into simple geometric

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shapes, for example, a hand, we can imagine it

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as a flattened rectangle

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that has quite a narrow thickness

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if you look

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on the right side, it’s big, then the dusty

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police mentally indicated this

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thickness of the entire hand and on the left side there

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is also a thickness, but it disappears in

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distortion, we can’t see it so well

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and our hand also

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breaks vertically into three parts, creating such a

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specific new gradation, that is,

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the back of the hand or this

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large body of the hand with

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which the fingers are attached, we have the

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sacred place itself, the light hits it,

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then we have a fracture of the

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knuckles and this is the first phalanx, this is

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our semitone and then one more bend and

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it doesn’t work out for us anymore, so

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we’ve now marked

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this moment and throughout the entire work

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we need to somehow preserve it, not

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break it with color and carry it through the whole

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work, we continue, I’m doing the underpainting,

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as you can see,

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I’m making a colored brush we have a more

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reddish

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white shirt, I took a little

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greenish tint, it looks a little

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sharp, but in fact it is mistakenly

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perceived that way because the

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white spots are still working and they break up,

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so we actually

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try to get rid of them very quickly and with the

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largest possible masks you just

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roll up our brain stylistically, I

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always do this, it’s just the basis of the

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painting we work on,

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remove the canvas as quickly as possible, but

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make a colored underpainting and try to

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leave it and carry it through the entire work,

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you create such an interesting color

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scheme of the underpainting, the colors

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shine through, or rather, the light passes

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through the lining, the white background plays and

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if you all don’t roll around with your underwear, it

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will look very picturesque,

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so also pay very close

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attention to the underpainting, because as you

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do, try to get right into the

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tonality, make it a little darker

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than it actually is, so that by laying out

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all these basics, you’ll work more and

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more parts with saints

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is this such advice or a rule or something,

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well, in general, you can, in principle,

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solve all the work in the underpainting; there is enough

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care and professionalism to

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treat it as soon as we

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have a dark spot in the background and immediately everything

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falls into place and we see that who is

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not so brown you are red and white

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white shadows also fall into place on rollers

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and are different in tonality, we

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also add a little graphics,

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some expressive places and go

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to the lightest place on the hand immediately with

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large masks, I use a large

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flat brush in this in case, it

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fits perfectly somewhere around number 22 in general,

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I have several states in my arsenal, here are

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number 22 number 15 16

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number I ten there is a flat one for us

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it’s synthetic because I like

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how they leave the masks quite

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soft lately I’ve moved away from

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stubble but sometimes and bristles I do something and

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for some graphics I use a round

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five and a very small brush and

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a two

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for some interesting ones at the

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very end when you need to

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emphasize something, make some kind of precise

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thin mask that is effective or

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add color here then I already use the

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smallest brush,

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but you always start working with the

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largest brush in large spots,

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immediately cover the entire volume and do not

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delve into the details at this stage, this

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will always lead you in some

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wrong direction; in general, the meaning is the same

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in all the work: from the general to the specific

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at first you find the overall relationship is large,

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only then you start to split it all up,

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break the chiaroscuro into

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some halftones and details and the following

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some effects are also lower psy, I

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work in contrast with red and

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greenish, that is, you can notice

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that now there is such a peculiar

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playing with my fingers, I laid these

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red masks and somewhere to set them on fire

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I mixed a green color and now I’m slowly

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taking away this rather complex color, but at the

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same time it sets fire to the

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red one we have in our fingers,

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then we’re still getting more active

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red color to emphasize here the

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physicality

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to emphasize those vessels capillaries which are

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exactly the same for our hands

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which shine through the skin in general we

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will further enhance all this as you can

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see I am introducing Svetlana’s shirts Sasha

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we have such spectacular moments

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that the light passes between the fingers

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immediately give us a certain volume, that is, the

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upper part of the hand turns out to be

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lighter than the clothes go to

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the shadow part, and the fingers, on the contrary, are darker, they immediately

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come off us, we already feel the volume

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that immediately appears from which

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we will again work in the future,

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but here we are these moments are like the first

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thing you should work with right away, what you should

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designate and put this right

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in the culmination of things, as I already

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said, I try to leave as much

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underpainting as possible, now you can notice

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how light has appeared on the heads from above and

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we have

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these here warm tennis players have already started playing and at the

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same time sat down in their place, that

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is, again, probably the video doesn’t show it,

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but you are live, be with my

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work or the work of old masters,

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you can observe such a moment that

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the web and shadows are not written through but they

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remain transparent they they glow, illuminated

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on the contrary, very corpus, very powerful and

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the glare is the thickest of your paints that

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you put, if such work is allowed,

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you write on the canvas, you direct it to the

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sunlight and look through the

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gap, as if from the back side, then you

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can notice the effect of someone negative,

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what are the lightest places that are painted with a

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thick layer of clay, paints that are very

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solid, dense, they will be dark,

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the shadows, on the contrary, will shine through, in general, an

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interesting effect to look at, and if

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you have such an opportunity, I

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finally got to a small brush

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to somewhere emphasize these bags,

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introduce more detailed masks, we we walked around

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and added these graphics of falling

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shadows and again we go to a large

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flat brush, we need to soften a little

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this shadow from the shirt that we have on

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foot on top, it is black and this was also done

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in order to sort of remove that

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contrast that is too strong on that

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side and move it to the front of the

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hand, you can also notice that I

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’m going through the colors again, adding

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this goat gradation for which I spoke for

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which I kind of left a deliberate

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possibility, which is very important and we

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have an even more voluminous effect, you

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can read like this here is that new

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gradation, on the left and on the right, and down to the

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fingers, these are the fractures that

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go that are readable and perfectly

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perceived by the eye, I

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softened a little more this shadow from the shirt,

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which is still a little dark,

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and shifted the contrast

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to the front of the arm, well, we made the shirt

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we designate it quite schematically somewhere

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else we run through such spectacular masks

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somewhere we add shadows already with the sea

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some details

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visual effects so that we can identify half a hundred

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and where we need volume where we need to

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emphasize but in general you can notice that

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everything seems to be already coming together everything is in its

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place

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and all we have to do is put the highlights in the

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right places which we already kind of

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understand where they should be and this is

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such a final piece of jewelry work

Description:

Моя on - line школа живописи https://boosty.to/tsirin88 В этом видео я покажу как пишу руки. Вы узнаете как вести работу без карандашного рисунка, начиная сразу кистью. Вы сможете проследить этапы создания работы и выстраивания объема. увидите кисти которые я использую. Работа написана масляными красками.

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