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Channel: Школа Креатива - Обучение рисованию

Правополушарное рисование

Школа креатива

Уроки рисования

Мастеркласс

Как рисовать

как научиться рисовать

школа рисования

портрет

обучение рисованию

рисуем дома

Павел Сивков

Игорь Сахаров

Поталь.

Рисуем золотом

00:00:05

I welcome all drawing lovers with

00:00:08

you again the school of creativity and I am an artist

00:00:11

teacher Valeria Krylova we continue

00:00:14

to master interior techniques continue to

00:00:17

work in mixed media and today is

00:00:20

another lesson on working with gold

00:00:23

leaf

00:00:25

today we have work golden tears or

00:00:28

tears frio frio Scandinavian goddess a

00:00:31

very beautiful legend associated with her

00:00:34

tears,

00:00:35

you can read if anyone is

00:00:37

interested,

00:00:39

the painting itself was painted based on

00:00:42

Gustav Klimt, he is often confused, the work

00:00:47

was painted by a big fan of

00:00:49

Gustav Klimt, a

00:00:51

French artist, and one couple and

00:00:54

Silberman,

00:00:55

and today we will also try

00:00:59

to work in his technique,

00:01:00

get free 50 three hour-long

00:01:04

lessons in different techniques

00:01:06

link below under the video let's see

00:01:10

what you and I will need

00:01:14

today soft brushes as we are drawing a face

00:01:18

shading will be done with soft

00:01:21

brushes palette knives

00:01:22

or even tweezers if someone

00:01:25

wants to work with gold leaf pack 1

00:01:29

point since the work is based on us,

00:01:32

as always, you can use either

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more delicate, calm tones or

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brighter ones that suit your interior on

00:01:41

the Internet, you can find many similar

00:01:44

scenes, each of them is made in its own

00:01:47

style, and I am sure that you, too, will write a

00:01:50

work in your own style specifically for your

00:01:53

interior

00:01:54

in the same way, you can choose the size of the canvas

00:01:57

yourself, I show from

00:02:00

those 30 to 40 for this canvas I have

00:02:06

number 14 flat synthetic sixth number

00:02:10

flat synthetic

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one for details gold and

00:02:18

copper gold leaf, you can use elements of

00:02:21

copper gold leaf and and we will put it aside for now let

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's return to it leather and

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paint white

00:02:38

Neapolitan pink cadmium yellow

00:02:42

medium 2 ocher

00:02:45

light ocher golden ocher very

00:02:50

good golden ocher harmonizes

00:02:53

just with gold leaf dark red

00:02:57

speckled brown color and

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brown colors 2 burnt umber has a

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warmer tint

00:03:06

and natural umber has a

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greenish tint as the

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name itself suggests, a more natural color

00:03:16

here will suit us for the eyes and

00:03:20

a little indigo, whoever wants a brighter job

00:03:24

can accordingly use

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cadmium orange and English red

00:03:31

as you want as a diluent,

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at the moment I don’t have oil,

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but a little later I will add varnish here for

00:03:43

artistic paintings in exactly the

00:03:46

same proportion, so don’t pour a lot of oil

00:03:50

when we add varnish, it will increase the

00:03:54

adhesion a little, our thinner will become

00:03:57

more viscous, this will

00:04:00

contribute to

00:04:01

better gluing of the gold leaf, and

00:04:05

we will start, as always, with a

00:04:07

preliminary drawing when we

00:04:09

are risking a figure or a face, you can even

00:04:13

print it out in front of your eyes, have

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a printout, fold it into many many

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many parts,

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in the same way, divide your canvas,

00:04:30

look at the carbon copy application, which

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can perfectly convert the image to the

00:04:35

size we need,

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look at the transparent screen and using

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the slider, I make images that do not

00:04:47

need to be drawn we took a portrait and

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right through the screen I see my pencil and I

00:04:56

transfer the contours of the image so there is no need to also if I

00:05:00

need to check to register very

00:05:02

small details, then I just enlarge the screen

00:05:06

and the details become visible, you can

00:05:11

draw every little detail by placing the phone on

00:05:16

some object now given moment he is

00:05:19

standing on a glass, it turns out like this,

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directly translated through our

00:05:28

application, now we took a canvas, a

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large canvas 40 by 50, and decided to bring

00:05:36

a landscape, just looking at the monitor, we see how a

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pencil describes the contours we need and

00:05:45

translates, that is, we line it up so we

00:05:49

place the phone at such a distance as

00:05:52

we need a canvas, that is, we have any size,

00:05:55

the maximum size is convenient 60 by 90,

00:05:58

the minimum is a matchbox,

00:06:01

any person, a child, an adult can

00:06:04

translate an image using this

00:06:08

application,

00:06:11

so follow the link under the video

00:06:15

there you will see a link to the application,

00:06:19

you can also use your apple

00:06:22

store or google system play type the word

00:06:24

carbon copy and go to this application

00:06:32

this application will be a good

00:06:34

assistant for both beginning artists

00:06:36

and for professionals to transfer the

00:06:39

contours of an image onto canvas

00:06:41

so go ahead and use it and share

00:06:45

the application with your friends good luck to

00:06:47

you may inspiration be with you

00:06:53

to start I moisten a small brush with

00:06:57

oil I will work with ocher

00:07:03

and oh I will bring the pen to a translucent

00:07:07

state the preliminary drawing should

00:07:13

be visible only to you so there is

00:07:15

no need to draw too much erroneous lines

00:07:20

can be erased immediately so we

00:07:22

always have a napkin on our hands not

00:07:25

only from color to color it helps to

00:07:28

transition when we wipe the brush but also to

00:07:31

clarify some elements in the

00:07:33

work itself, so you and I will outline a little

00:07:43

chin along the lower border of the canvas.

00:07:47

Anyone who took portrait courses with us

00:07:51

can notice that

00:07:54

the execution

00:08:00

on top is a little disproportionate, we have an eyebrow, it extends beyond the

00:08:06

edge of the canvas, here is the edge of the canvas,

00:08:10

accordingly, the eyebrow goes up,

00:08:14

so far there are no exact lines we with you we don’t

00:08:17

depict horizontally, I have 30

00:08:22

centimeters, I’ll try

00:08:25

to divide it into three parts 9 by eye, please divide by

00:08:29

eye the central part is a little

00:08:33

larger the

00:08:35

outer parts are the same the central ones are a

00:08:39

little bit larger and this line can be

00:08:46

extended upward

00:08:59

what I get is approximately

00:09:06

this part Yes, you and I divided it into three

00:09:09

parts 12, the

00:09:11

central one turned out to be larger, this is the

00:09:14

same segment with a ruler, we don’t believe you,

00:09:16

ladies, and this is how we make the notches of the finger,

00:09:20

I put the same amount on the bottom, we have this

00:09:27

length here, we have it here,

00:09:31

it appears here, and we have it on top too let's put the

00:09:36

edge of the canvas away from the eyebrow,

00:10:02

so the line that we drew vertically is

00:10:12

the tip of the nose, you can

00:10:18

now draw it in more detail

00:10:28

here and the wings up, a

00:10:34

slightly stylized image

00:10:38

like this,

00:10:55

this line goes over the even

00:10:58

arc of the line of the nose if we with you, stretch it

00:11:04

higher here, then we go to the fractional

00:11:13

arc, just

00:11:18

smooth lines, look, if you

00:11:23

extend this line here, you and I

00:11:26

remember putting aside one part here,

00:11:29

one part here, one part, and if

00:11:33

this line is where our nose ends with you

00:11:36

we are extending then here we

00:11:43

will have a spoon,

00:11:45

it sticks out from behind the hair just a little bit,

00:11:50

just a little bit sticks out from the x, but here is the line of

00:11:55

the chin and ear, we are

00:12:00

connecting the floater to this way, the butter

00:12:08

helps to slide, we are

00:12:16

connecting this line, the

00:12:31

same parts are in the size of the canvas

00:12:34

you didn’t take the

00:12:36

same part here from

00:12:41

the chin to the wings of the nose, this is such a

00:12:50

large enough brow ridge, there are

00:12:57

extra lines so that you don’t get confused

00:12:59

right away, you and I

00:13:01

erase

00:13:16

the neck, you can paint on it, I’m also

00:13:23

pretty even here by the tip, I’m practically

00:13:29

holding the brush with the

00:13:32

hair here, the gun is

00:13:38

practically covered I hold the brush by the very tip,

00:13:41

you can even turn it between your fingers

00:13:42

so that we have

00:13:47

beautiful order, be sure to include the

00:13:52

movement of the hand,

00:14:58

let's see how we position the lips,

00:15:01

what we have below the nose we divide into

00:15:06

2 parts, even I would lower the chin a

00:15:11

little more two parts this

00:15:20

will be the lower edge of her lips, I’ll now

00:15:25

take a dark red kraplak so that you can

00:15:27

see it better and so I divided the

00:15:31

upper part into two parts into 3 more work

00:15:38

stylized interior work

00:15:40

a little bit of a deviation from the

00:15:42

proportions here, for example, the lips should fall

00:15:48

on the numbers of the eye, but here they are a little

00:15:50

shorter

00:15:54

in half the upper part by another 3, we

00:15:58

get a lip, the upper part of the lip

00:16:01

and the nasolabial fold, the nasolabial

00:16:07

fold, the rest here is covered with gold,

00:16:13

we make a notch and it’s

00:16:21

too far here, you and I, don’t pull to

00:16:25

the center, but you can immediately outline

00:16:30

how the large golden section will go.

00:16:33

so on one

00:16:37

side we have wavy lines of hair

00:16:42

and on the other side there are wavy lines of

00:16:46

gold

00:16:56

and we’ll decide on the eye, let’s decide on

00:17:03

the eye, and you and I raised

00:17:06

the vertical up at an angle to the bridge and here

00:17:11

the eye will begin in height, we

00:17:17

take it here up to this notch from the

00:17:23

chin to the tip of the nose and here

00:17:28

we will have eyelashes approximately

00:17:32

from the tip of the chin to the tip of the nose, I

00:17:36

take this length and lift the same amount from the tip of the

00:17:46

nose up at about this

00:17:48

level, we get eyelashes that we

00:17:55

bend it a little with the eye

00:17:58

down we bend it down classic covered

00:18:09

here we have a ladder

00:18:11

but the upper eyelid is quite voluminous and

00:18:17

large I lift it up

00:18:29

I lift Peppa look here

00:18:32

a little bit floating

00:18:34

and here it’s more smooth we have this

00:18:41

pupil you and I get now we will

00:18:50

remove the extra lines with a napkin

00:18:54

napkin we have in our hand the

00:18:57

extra lines we remove the excess oil we

00:19:00

collect who takes risks with

00:19:02

oil paints the oil sometimes

00:19:06

gets absorbed quickly sometimes for a very long time

00:19:09

it will get in the way when shading

00:19:13

so we erase the excess lines of construction we

00:19:23

erase check that the corner of the lips is

00:19:30

if we raise the vertical upward

00:19:34

then about one third with an eye we

00:19:37

will touch like this on portrait courses to

00:19:44

the middle here there is a slightly

00:19:46

disproportionate picture of facial features

00:19:51

but this picture is based on you can

00:19:57

actually change and the quad is stronger on the

00:20:01

eyelids and complexion hair color lipstick color

00:20:08

of course you can change it

00:20:21

with a napkin I erase the extra lines and

00:20:25

we blot with oil with you whoever decides

00:20:28

to paint with acrylic you have water

00:20:31

as a thinner and the water is most

00:20:34

likely already slowly absorbed into the

00:20:37

tail of the braids on the cardboard it absorbs

00:20:44

faster the canvas on the stretcher is

00:20:48

slower depending on this you

00:20:55

will now see how much you and I

00:20:58

will dilute

00:21:01

our paint oil who draws with oil

00:21:08

one more time, check for me, there is

00:21:11

enough sky here to be one extra

00:21:15

oil, so you can soak it up one more time so

00:21:20

that you don’t wait for it to dry,

00:21:33

so we will start with you flesh color,

00:21:37

flesh color is quite complex, before

00:21:43

starting work we moisten the brush a little,

00:21:45

but so that the white and ocher do not drip

00:21:59

white plus ocher in this color you can above

00:22:06

the eye starts to work

00:22:09

there is Neapolitan yellow you

00:22:11

can basically add it oil we add enough

00:22:15

so that the brush glides well

00:22:24

under the tears you can also put this color on the

00:22:40

nose itself will be lighter

00:22:44

and the light that we are working on now you can

00:22:49

evaluate the nose a little

00:23:03

bit on the bridge of the nose I’ll

00:23:16

add a little pink to the neck with pink, don’t

00:23:19

overdo it

00:23:22

Neapolitan pink, who doesn’t have it

00:23:24

Berlin can mix white mix with

00:23:30

red or with a small drop of

00:23:33

kraplak kraplak very very bright

00:23:35

color and with your finger lightly shade the

00:23:45

skin color a fairly light

00:23:52

white color we will have here with you as for the

00:23:55

main

00:24:11

cheek, I’ll make it a little bit narrower, see

00:24:15

here in the picture how the eye

00:24:18

is running out with you,

00:24:22

the cheek is already running out, so that

00:24:27

our houses don’t turn out to be chubby

00:24:29

a little in the process of adjusting the drawing

00:24:34

in the picture nothing is complete nothing

00:24:38

is final so corrections

00:24:41

are possible during the whole lesson

00:24:45

a little I correct

00:24:50

oil paints, they can easily be

00:24:53

corrected, the covering qualities of

00:24:59

oil paints are quite high,

00:25:01

so don’t be afraid to correct them, and so I

00:25:06

added a little on the chin,

00:25:10

I added a little to the nasolabial folds, a more

00:25:20

pink shade of

00:25:25

oil, we don’t get carried away only if where

00:25:28

because

00:25:52

and there is more white in the light if there is a

00:25:55

lot of brush soaked the paint, then you

00:25:58

can wipe it off, if there are only

00:26:03

remnants of the previous color, then you can

00:26:06

add white right away, we work

00:26:10

only with the tip of the brush, so you do

00:26:13

n’t need to put too much paint on the

00:26:19

metal holder here, you don’t need to

00:26:24

fill in the paint, we practically don’t paint

00:26:28

on this part of the brush

00:26:39

to begin with we need to dial in the general light by

00:26:45

shading with our finger

00:26:48

at the same time check whether we have enough

00:26:51

sliding, shade in different

00:26:58

directions with

00:26:59

soft soft touches so that

00:27:02

in principle it is not noticeable in which

00:27:08

direction we are applying the paint, you

00:27:09

can shade with your

00:27:13

finger, you can use a softer brush, but

00:27:19

the movement should be light light

00:27:21

airy so that you and I have

00:27:28

practically no traces left

00:27:41

on the lower part of the nose with some kind of medium

00:27:43

donut like this pinkish beige paint

00:27:47

first we are with the main

00:27:52

colors with a large brush to a small brush

00:27:56

we move gradually do not start

00:27:58

work please with a small brush

00:28:02

first we with you we will give

00:28:04

you ratings we mix the paint it

00:28:09

also takes a lot of

00:28:12

time to mix

00:28:13

the eye a little browner a little

00:28:17

darker

00:28:26

natural umber slightly greenish

00:28:31

tint has we

00:28:51

work according to the shape

00:28:59

natural umber with the previous

00:29:02

paints white color is present in

00:29:06

sufficient quantities on the brush

00:29:25

here we will have eyelashes to eyelashes It’s

00:29:31

still a long way off, but we’ll also

00:29:35

protonate it with a tonic so that our eyelashes have a

00:29:38

slight shadow, this

00:29:42

natural umber is still with the same

00:29:45

light ones, look down like this, these are not

00:29:50

eyelashes, these are most likely shadows from the eyelashes, I

00:29:55

lower the paint

00:30:07

by shading, shading occurs with an

00:30:10

empty dry brush

00:30:12

if you use it we are the elite, very well,

00:30:14

very well, like this we wipe some

00:30:19

residues inside the brush, it won’t hurt us,

00:30:22

but squeeze the brush very very well several times

00:30:26

at the same time and we’ll even

00:30:29

it out like a spatula and we’ll stroke our eye

00:30:34

in such a way that the main thing is

00:30:40

to create a transition,

00:30:44

I’ll add here now

00:30:46

from the hair, you can even straight away this light here

00:30:50

throw from the hair golden ocher throws

00:30:58

small reflexes on the eyes

00:31:02

add paint a little bit at a

00:31:06

time

00:31:13

on the right side paint over the reflexes

00:31:22

do it to your taste you can add

00:31:28

other colors if you want to create a

00:31:30

brighter work you can give some color to the shadows

00:31:35

with on the other hand, since the eye is

00:31:38

convex, the reef of vocabulary will be and on the

00:31:41

other hand, I directly nod with 7

00:31:46

movements, I put the paint on

00:31:48

and then quietly, with light light

00:31:56

touches, I

00:31:58

shade this paint, no matter how lightly

00:32:08

you touch

00:32:09

the canvases, it will pick up the

00:32:11

previous color, so we always have a napkin

00:32:15

in our hand

00:32:16

if that we are getting rid of the unnecessary

00:32:20

from the purposes

00:32:32

for shading, you can use an

00:32:34

additional brush, you can

00:32:36

shade with a fan brush, here is the

00:32:43

center and now I will work as a

00:32:47

miller and so for years I have been terminating the vocabulary

00:32:53

from our hair,

00:32:59

a little bit of white tread

00:33:02

this path and from right to left literally a

00:33:12

centimeter to the right centimeter to the left of this

00:33:18

path I shade

00:33:31

several unifying movements we have

00:33:35

here a natural sconce natural

00:33:39

golden ocher we brought in and white,

00:33:43

just a few movements

00:33:47

we combine the colors but so that they don’t

00:33:50

change places we do the wrong thing here and there

00:33:53

but walk once and

00:33:59

don’t touch it again I’m clarifying the line

00:34:11

here you can bend more eyelashes, as little as possible there

00:34:15

will be no mistakes here you

00:34:19

do as you like and a little bit

00:34:23

from the team with you

00:34:27

the beginning of the eye I take a little

00:34:32

brown color this is natural umber

00:34:40

since Vladik is closed here we

00:34:42

don’t see the slug but to clarify the eye

00:34:46

where it begins, I

00:34:50

darken it a little here further, it goes under our hair like this,

00:34:55

the line went like this for

00:35:07

centuries, then the fold has

00:35:15

a fold,

00:35:17

you can also use a brown path like this,

00:35:21

I work in Brie, the natural one can be pulled in

00:35:25

a little, and with an empty brush you can

00:35:31

shade the

00:35:47

shadow from the hair you and I have there is also,

00:35:50

therefore, riding hair can not only be

00:35:58

brown and ocher with glasses,

00:36:01

because of the hair lines, let out a small

00:36:05

shadow, our face is, in principle, light, but

00:36:14

the hairs will definitely cast a

00:36:17

small shadow like this

00:36:33

above the edge of the place I also have a

00:36:35

little place left here, I will touch

00:36:37

that I’ll add the same color and more

00:36:42

hair to the hair line, you can already specify

00:37:08

at this stage the varnish, we haven’t

00:37:16

added shading yet, we’ll do it in oil,

00:37:23

we’ll see where we’re missing a little bit, you

00:37:26

can add hair, you can tint it,

00:37:29

since you and I don’t do coloring by numbers,

00:37:32

we work with light

00:37:38

spots we look where we still don’t have enough

00:37:44

color; all the colors we have with a small

00:37:47

reserve on the palette there is a light tank,

00:37:54

then rose wreaths, if there is

00:38:02

too much paint on the brush, shading will be

00:38:04

very difficult so as

00:38:07

not to lose a good color, you can

00:38:11

shade with an additional brush,

00:38:13

the right one or if you have a big job,

00:38:17

then use a soft brush for construction, but if you

00:38:24

pick up paint little by little, then you can

00:38:26

shade it with a

00:38:27

working brush, and don’t forget that

00:38:32

your finger is also a fairly sensitive tool; with your finger, here and

00:38:39

there you

00:38:42

can do shading; you can

00:38:55

also lighten the nose;

00:39:05

you can lighten the edges of the counters,

00:39:11

actually now it will even glow with us

00:39:13

due to the dark you, who we have

00:39:16

not yet put ear to ear, our

00:39:30

chin goes behind the hair more smoothly,

00:39:58

let's see that you and I have

00:40:00

almost no white plastic here, the

00:40:08

outline of the face is white, I'll just

00:40:10

shoot it a little

00:40:11

I drilled out and to contrast with the gold with the

00:40:14

future gold, the neck and let’s

00:40:20

deal with the chin, the protruding

00:40:26

part of the chin is lighter

00:40:37

and now I’ll take a smaller brush and

00:40:40

slightly protonate the colors with brown, you

00:40:44

see that we don’t have enough shadow here yet,

00:40:48

that is, I’ll now

00:40:50

repeat our preliminary drawing with

00:40:53

brown umber paint natural,

00:40:57

I will repeat our preliminary

00:41:00

drawing of paint, I take just a little bit

00:41:03

so that

00:41:04

the diode can be smoothly incorporated into the face color

00:41:08

that we have already created,

00:41:21

this line from the tip of the nose almost to

00:41:28

the eye

00:41:30

will go further into the eyebrow,

00:41:34

so don’t leave it, we wipe the brush,

00:41:38

be sure to flatten it with her

00:41:41

fingers, a napkin, and this outer

00:41:45

contour, we shade the

00:41:53

paint a little far, don’t pull the paint away; we picked up the paint just a little bit

00:43:20

with soft, gentle movements, pulling the outer

00:43:24

contour out

00:43:25

a little, the napkin is

00:43:29

constantly in our hand, be sure to wipe

00:43:37

it as if gently and do not touch the canvas, but

00:43:39

still the paint will be mixed in;

00:43:56

I put the same color above

00:43:59

the chin, here is the protruding part

00:44:02

of the chin, we have a

00:44:18

protruding part of the chin that is white, we

00:44:21

tracked it down a little earlier, but

00:44:25

now you haven’t even added a

00:44:27

small drop of brown

00:44:30

and I’m shading the same

00:44:43

with the nose, we

00:44:45

do the same for the entire nose, light

00:44:51

outline, remove with soft soft with smooth

00:44:55

movements, the

00:44:57

nasolabial fold can be refined; the

00:45:16

nasolabial fold is slightly rounded here

00:45:26

and I refine the contour; I refine the

00:45:35

contour of the lips; a

00:45:58

triangle from the nasolabial folds;

00:46:01

a triangle; the

00:46:06

color is dark red while it is quite

00:46:09

white; it is still mixed in with us

00:46:13

from the background, but so far at this stage we are not at

00:46:18

all comfortable with it. mix up

00:46:40

the color of your lips, you can choose any one

00:46:44

to remove the brightness of such red, you

00:46:47

can take golden ocher a little side by side,

00:46:55

it will soften the brightness of the speckled

00:47:19

medium brush, I work for shading

00:47:24

for more detail, I switched to a

00:47:26

medium brush to a small one, don’t rush to

00:47:30

switch, especially those who work on a

00:47:34

large canvas

00:48:01

and so we continue to add contrast, let’s

00:48:08

clarify the chin,

00:48:15

I add a little bit of brown color,

00:48:18

natural umber has a slightly greenish

00:48:22

tint compared to my wife’s, this is the

00:48:30

line of our chin that goes

00:48:34

right here to the ear

00:48:40

here, then not you and I a little later,

00:48:42

when we add the malak, we’ll go through the

00:48:46

places which we are going to

00:48:47

decorate with gold leaf, we will need to

00:48:51

go over them with varnish while we are working in

00:48:54

oil, I clarified the line and shaded it along the

00:49:04

lower border

00:49:13

a little, shade the

00:49:24

place here enough, you can shade it with your finger

00:49:27

if the line you get is too wide,

00:49:30

you can press it in from above,

00:49:34

remember we had white here color if

00:49:38

you overdid it with the outline, then on top you

00:49:42

can make one more

00:49:48

white white outline and finally

00:49:58

combine it with flesh color

00:50:00

flesh color I filled it with you

00:50:03

hung ocher with dishes

00:50:06

Neapolitan yellow, in principle, you can

00:50:09

take it, but sometimes when mixed with

00:50:12

some colors it gives today we mixed a slightly

00:50:16

dirty grayish tint

00:50:19

with ocher and

00:50:22

on white yellow ocher or light ocher, in some

00:50:32

places we added a pinkish color, we added

00:50:41

pink and with a fold we will continue to work

00:50:48

and so the contour of the tip of the nose repeats it

00:50:54

as if

00:50:56

the lower part of the nose and here the nasolabial

00:51:00

fold is a little more muddy for me in a

00:51:05

triangle we had an

00:51:06

upper lip with a

00:51:10

triangle like this, here we have a

00:51:15

little triangle and we change everything here

00:51:20

on the nuances of color, a very tiny

00:51:25

addition of

00:51:27

brown color, we darken it

00:51:30

a little, corrects it a little, we started with the

00:51:35

general tone of the midtone faces and

00:51:41

slowly we get to complicate the ratings

00:51:54

for contrast, you can stop marking for the

00:51:58

eyebrows I will use a darker

00:52:00

color for the eyebrows the

00:52:02

upper eyelid begins with us and

00:52:07

ends like this, we

00:52:11

also raised it and here we have a place

00:52:19

for the eyebrows

00:52:45

I even out the brown paint is liquid by

00:52:50

itself but if suddenly your paint is

00:52:55

thicker, then you dilute it a little with oil,

00:52:57

look at the situation so that

00:53:05

the eyebrow is even and you can

00:53:07

add a drop of oil

00:53:23

fins, the adapter you and I should

00:53:25

come from white,

00:53:27

darker ones, remember, we worked here with money

00:53:30

from hair,

00:53:33

by the way, if the eyebrow turns out to be thick,

00:53:36

you can do it too in the same way,

00:53:39

pause a little and so with a brush I

00:53:45

smoothly draw, connecting all the colors, that

00:53:52

is, the line of the nose somewhere in the area

00:53:54

of the eye begins to lose its clarity and

00:53:58

goes to the brody

00:54:08

further, we will work with brown color

00:54:15

brown color can be used to model the

00:54:19

folds

00:54:22

there

00:54:23

should be in the hands bend a little

00:54:28

like into curls

00:54:50

if you draw a portrait in the Klimt style,

00:54:56

you can do it in a different

00:54:59

hair color, it will be a wonderful gift if

00:55:02

you do it, for example, from a photograph of

00:55:06

the person to whom you are going to give the

00:55:09

picture, stylizes the image as our goddess

00:55:17

Freya,

00:55:22

the original will be a gift,

00:55:24

we will add brown ones, it will be

00:55:28

out of the way, between the strands of hair between the

00:55:35

beds and, in principle, you can add a

00:55:40

flag to the mass linen, you can add varnish

00:55:49

for artistic painting works for

00:55:55

gold leaf, there is a special glue and in

00:56:01

fact it will stick

00:56:02

to ordinary oil and at home,

00:56:05

when you and I paint, we try to

00:56:10

make do with less smelling ones materials,

00:56:15

glue for gold leaf smells quite strongly,

00:56:20

so

00:56:21

I add little streets when we are working in the

00:56:25

process, when we fall and

00:56:27

glue the unfinished work and those used in

00:56:31

the process of work, then you can use

00:56:35

varnish for artistic paintings,

00:56:39

it gives our thinner viscosity,

00:56:42

if you work with acrylic, then you will not than

00:56:46

you don’t mix the varnish and apply it you

00:56:50

continue to work who works with us with

00:56:52

acrylic continues to work with

00:56:55

acrylic now who works to smear

00:56:58

this now added varnish and you and I

00:57:07

paint over the dark part of the background with

00:57:10

brown and indigo, this brown is

00:57:14

also for quantity you can dial in a

00:57:25

small dark one here section and

00:57:30

further with different different movements,

00:57:36

whoever wants it brighter can actually

00:57:42

add English red and golden ocher here; Holmes’s bright mind is

00:57:46

advised, just don’t overdo it,

00:57:49

because on the far right,

00:57:52

on the far right side, we need you to

00:57:55

get it dark enough so that it

00:57:59

serves as a good shade for gold with

00:58:06

burnt umber, natural indigo,

00:58:11

you can add 2 ocher and even

00:58:16

English red

00:58:29

curls on the top; painting over the curls, we

00:58:34

take risks on the top if you are afraid of

00:58:36

losing them; when you paint them over, immediately

00:58:39

draw them back so that we can easily

00:58:43

find them and in the end the

00:59:06

first layer can be brown and Andy would

00:59:11

work, and without mixing the

00:59:13

paint ran out, took brown,

00:59:16

worked with it, the

00:59:17

paint ran out, connected

00:59:20

indigo without mixing so that you and I

00:59:24

already have

00:59:27

a mosaic of

00:59:29

strokes in the picture; we also perform the strokes in

00:59:32

different different directions so that we have

00:59:34

already started to create flickering. You want

00:59:39

here you can even mastic Chuck

00:59:42

work the first layer I put with a brush

00:59:46

here I have two brown and

00:59:48

indigo and with a palette knife you can add

00:59:57

English reds if someone wants

01:00:00

brighter

01:00:01

golden ocher you can add in

01:00:07

short strokes I take a little bit

01:00:13

and lay it out here with short, fast

01:00:19

movements,

01:00:21

fast enough so that here it’s not on

01:00:24

parallel some touches by creating

01:00:31

flickering with you, we do not repaint the work, we

01:00:34

do not repaint our background

01:00:42

and change the position of the palette knife, the check hand, you and I

01:00:46

should work

01:00:48

the hand, we connect everything in one direction, we

01:00:52

paint over everything, and in different ones, this and that,

01:01:28

the palette knife at different angles glows

01:01:31

in in different ways, after drying, it will

01:01:35

glow creating an

01:01:37

additional shimmer, and of course,

01:01:40

we will achieve even greater shimmer

01:01:43

when we work with gold leaf,

01:01:47

we are already approaching this moment, we have

01:01:50

already added it to the varnish for

01:01:52

artistic paintings,

01:01:55

let’s paint over it with varnish and paint, take

01:02:04

ocher

01:02:09

here is enough

01:02:12

we don’t need to achieve a thick layer, we’ll just protonate this

01:02:14

area so that if the gold

01:02:17

leaf sticks unevenly,

01:02:19

we don’t have a bare tail under the gold leaf,

01:02:23

but a protonated one, so here I

01:02:26

add a little touch, take from one

01:02:31

hook, then touch the other, touch the paint should

01:02:35

not drip, do not drip a slightly more liquid

01:02:39

version

01:02:40

than when you and I pressed than when

01:02:46

we painted with you, for example, the tone of the face is

01:02:50

a little more liquid due to this,

01:02:54

you see how well the paint smears, we

01:03:01

look so that it doesn’t shine stylishly, it doesn’t

01:03:06

run down, we periodically put a picture

01:03:09

so that the paint doesn’t run off, otherwise

01:03:12

it’s gold we will also be glued for a very long time

01:03:14

and somewhere and even the ocher will lead

01:03:22

1x another and we will make this contour with

01:03:32

some interesting brush, we will also clarify a

01:03:37

few turns like here, give it not

01:03:39

quite straight, here is a wavy line that

01:03:42

will argue compositional with the

01:03:45

hairs, but more or less such an

01:03:50

uneven line, you and I are here with our lips,

01:03:53

we cover our chin, we cover it and

01:03:57

leave here, the kshen layer is no longer

01:05:06

mosaic in nature, here we have

01:05:09

strokes, the layer is not liquid so that everything does not

01:05:14

flow down

01:05:15

and we return to hide and seek on the curls of the

01:05:19

hand, please practice one more time

01:05:22

so that we don’t tie the hairs all in

01:05:24

one direction, but so that they

01:05:28

curl smoothly, you can change the brush, then

01:05:32

work with a large brush, then work with a small

01:05:35

small curls for now, don’t work

01:05:38

until you gain the total mass, and here whoever

01:05:43

wants it brighter can add cadmium orange

01:05:45

temple light ocher

01:05:49

golden ocher if desired English

01:05:52

red if desired cadmium yellow or

01:05:55

orange

01:06:09

if you paint a picture as a gift

01:06:13

if you want to achieve accuracy you

01:06:17

can make both a brunette and a blonde to

01:06:21

match the portrait of your

01:06:27

person to whom you want to give this

01:06:31

plot gives a little hand movement

01:06:43

dark we have already put darkness

01:06:46

we have dark they have

01:06:54

this property of disappearing in the process of work they are

01:06:57

a little smeared with light ones, but

01:07:02

if you notice this there and one more

01:07:04

time we will clarify the hair line

01:07:42

and

01:07:46

who works with acrylic, first cover

01:07:49

all areas of the canvas

01:07:52

before moving on to the gold leaf,

01:07:57

do not add catch, continue to work

01:08:02

with water and we for better adhesion

01:08:06

those who will paint with oil for better

01:08:11

adhesion and for faster drying

01:08:16

added a little moisture to the oil for

01:08:22

artistic paintings. If you are

01:08:25

decorating a finished work, you

01:08:29

can use special varnishes and

01:08:31

glue for gold leaf, but as a rule, at

01:08:35

home we try to

01:08:37

make do with a minimum set of

01:08:39

materials. in the process of working on it,

01:08:44

it will stick to the oil, and even more so to the

01:08:51

varnish, under

01:08:58

no circumstances should you start working with

01:09:01

curls with a small brush, first we

01:09:04

paint large areas,

01:09:07

select color combinations, and we do

01:09:11

n’t even mix the paint, we take one

01:09:14

from the palette one at a time the color is

01:09:17

different, please make sure that

01:09:22

the canvas is not visible so that our

01:09:26

wavy movements do not miss

01:09:29

the moment of painting the canvas,

01:09:33

the post-it is painted over and the white

01:09:38

squares of the canvas are not visible; the brush is

01:10:20

either large or medium; we do

01:10:24

not move to one until we clarify the

01:10:35

oval line of the face by starting dark,

01:10:41

and here we are going to golden

01:10:44

we move on with you and now we no longer have white

01:10:47

plastic and then we can start

01:10:51

decorating the work,

01:11:08

you can use gold shades, you can use

01:11:11

copper shades, whichever suits the interior

01:11:14

of the store, you can find large books with

01:11:18

gold leaf, you can find small ones for work on a

01:11:24

canvas 30 by 40 about two -three

01:11:29

leaves like this leave the size of the leaf is

01:11:31

14 by 14 centimeters, there are different shades, there are

01:11:36

aged ones with stains, you

01:11:41

choose your interior shade, you

01:11:45

can only stop at gold,

01:11:48

you can use gold and bronze,

01:12:07

try to keep your hands

01:12:08

clean, because if we are attacked,

01:12:12

the paint gets in until we no longer

01:12:16

have somewhere there, this property will be very

01:12:19

useful, for example, when we see

01:12:24

that it is too even pieces, we

01:12:26

get them, so to speak, tear them with

01:12:30

paint, you can use tweezers and

01:12:39

you can use a palette knife checks so

01:12:41

that you and I have a

01:12:44

little gold leaf tonic,

01:12:54

we tear off random pieces from you, if a

01:13:02

large piece comes off immediately, throw it on the

01:13:07

left side, do not press

01:13:13

each piece, you saw that it stuck to the oil

01:13:19

to the varnish, you can blow on

01:13:22

it, these are very, very thin plates,

01:13:25

much thinner than foil, and here I am

01:13:31

showing under from different angles

01:13:32

you can see how differently the

01:13:38

radiance of our work now shines, we add not

01:13:41

only with the help of a palette knife which, after

01:13:46

drying, gives us luminous haircuts at different angles,

01:13:52

but also the gold leaf, of course, we tear off different

01:13:58

pieces, if now you notice

01:14:00

that you have torn off a small piece of it, you can

01:14:05

will stick onto directly from the

01:14:08

cellulose

01:14:10

larger pieces we place

01:14:15

decorate our background here is a smaller piece

01:14:21

that came off, I throw it on until

01:14:30

if the pieces are very tiny you

01:14:34

can use them on your hair or you can

01:14:39

put them in a jar collecting

01:14:42

gold leaf for example for decorating flowers

01:14:46

it will be gold baby if

01:14:49

you cut off and very tiny ones you

01:14:51

can tear off like this for example

01:14:54

then you can put them in a jar separately

01:14:57

if you want you can also

01:15:00

decorate his hair don’t try to

01:15:04

tear off some piece of the correct

01:15:06

shape and don’t waste energy on pressing you

01:15:13

will now watch as you go

01:15:16

You and I tortured and working, the pieces

01:15:18

will press themselves where you can’t

01:15:20

turn to You and I will press

01:15:24

my check with a palette knife and use a napkin

01:15:26

a little later, I’ll show you how to do this, here’s a

01:15:34

fairly large piece of mine that came off,

01:15:37

throw it on the left side,

01:15:48

here you can combine it with a mixture

01:16:06

if you want to decorate it further hair, these are

01:16:08

small elements we throw here

01:16:12

and pieces of an incomprehensible shape can be used for

01:16:17

tears and so on the right side of

01:16:22

the face we throw these pieces,

01:16:41

tear off a piece, look where it’s good to

01:16:44

go with a

01:16:53

chicco palette knife

01:16:58

with tweezers, the fact that the sloppy pieces are

01:17:03

great to come here for tears with

01:17:08

too English eyes, we don’t go

01:17:10

there first we will draw on the eyelashes, then

01:17:13

we will deal with the

01:17:16

release of tears directly from under

01:17:19

the eye, small elements, especially if

01:17:23

the narrow ones come off, you can throw them on the hair with the

01:17:27

hair, my work is not finished, you

01:17:29

and I will be here to draw more curls,

01:17:34

but this is what we are now

01:17:37

throwing on the hair small pieces

01:17:41

that we are coming off, they can be

01:17:45

made in the form of luminous curls, that

01:17:48

is, between the beds you and I have

01:17:50

dark curls, but you can also make

01:17:53

light ones,

01:18:15

don’t be distracted while

01:18:17

pressing the gold leaf, you see a piece

01:18:20

while it dangles freely, if

01:18:23

you blow on it, it will take root better

01:18:28

to concentrate based on the fact that you and I

01:18:30

are currently throwing pieces on to

01:18:34

work,

01:18:35

when the gold leaf hits the paint,

01:18:38

then it stops shining, so it’s better

01:18:40

not to press each piece, especially

01:18:44

if your hands are dirty with paint,

01:18:54

I’ll show you how to come all at once,

01:19:30

according to legend, the tears of our goddess

01:19:33

seeped into the stone or turning into

01:19:37

gold, so here gold leaf for

01:19:41

decorating this work is

01:19:44

perfect for the world like this,

01:19:51

you can weave hide-and-seeks like

01:20:01

this from different angles, they glow, we wo

01:20:05

n’t decorate the darkness with

01:20:08

black, we have indigo with

01:20:13

brown and a lighter version, that’s

01:20:17

us added

01:20:18

ocher of different shades red yellow

01:20:23

light golden English red

01:20:26

added for darkness this is quite

01:20:29

enough then we work with

01:20:37

acrylic you look if the acrylic is dry then

01:20:44

you cover the places where you are going to walk along the waist with varnish

01:20:49

or glue for gold leaf

01:20:55

if you have just painted over a

01:20:57

piece with acrylic, in the absence of glue and

01:21:01

varnish, by the way, you can do this,

01:21:04

you can use acrylic to refresh it and

01:21:09

then glue a piece onto dry

01:21:12

acrylic; paint, of course, gold leaf will not

01:21:15

stick, just like on dried

01:21:18

oil work, then you will need to refresh the layer

01:21:26

if we don’t use glue with you, then we

01:21:29

we can also

01:21:31

move it, for example, I went to

01:21:34

the chin,

01:21:35

if I had used glue, these two

01:21:38

pieces stuck instantly, but I

01:21:40

worked without glue, so I can

01:21:43

scratch this piece or press it

01:21:50

here into the background

01:21:53

and it doesn’t even come to me to edit here; they

01:22:00

threw on the gold leaf further with a clean palette knife on

01:22:06

checks or just use your finger, see for yourself

01:22:09

which is better for you, you can press it a little like

01:22:14

this, I tap it if you do it,

01:22:19

firstly we will spoil the layer of paint,

01:22:22

secondly, if this layer of paint is

01:22:26

liquid, your gold

01:22:27

will come off, so we are just nodding straight,

01:22:32

wrapping neat pieces for us

01:22:35

here necessary, so you can, in

01:22:37

the process of nodding directly, if you see

01:22:40

some sharp area, because

01:22:43

tears cannot be square; if it blows,

01:22:47

then they should be some kind of streamlined

01:22:50

shape, so at the same time you can

01:22:56

scrape off a little bit, give a slightly more interesting shape

01:23:00

to the background area, you can

01:23:07

tear off the napkin directly and press it like that, not

01:23:12

with your hand, because the sleeves are most likely

01:23:15

dirty and a little oily, well, the second time with the

01:23:18

same napkin, of course, we don’t

01:23:20

apply my other tip, we’ll choose

01:23:40

this way, since the left

01:23:45

side of the court is decorated, now I’ll also add

01:23:54

a little copper shades if it

01:23:57

suits your interior please, you can add them

01:24:12

if we glue gold leaf on gold leaf with an overlap,

01:24:18

then we also add a drop of oil and varnish here

01:24:22

and then it sticks if the

01:24:30

piece is too even, I’ll tear it

01:24:32

a little with a palette knife on my cheeks, specially

01:24:41

with a palette knife, I nod directly, I try not to

01:24:44

scratch it, you

01:25:07

can you can glue everything up, you can leave it

01:25:10

blank, you remember that you and I

01:25:12

have protonated this area, we are not now

01:25:17

gluing the gold leaf onto a bare canvas, it is

01:25:22

protonated with ocher in

01:25:25

different shades of groans,

01:25:29

so you see for yourself, you can glue

01:25:35

everything so that Ukraine can see it, well, in

01:25:40

fact, these cracks also

01:25:41

look quite good interestingly,

01:26:09

I glued a large piece, it now

01:26:12

sticks itself, you can see how it

01:26:15

presses a little to the paint, if it doesn’t

01:26:19

press, if there is an overlap, then a

01:26:23

small, small drop of copa oil

01:26:27

with varnish after drying, after the painting has completely

01:26:35

dried, you can

01:26:39

go over it with a soft brush and peel off everything that is unnecessary, everything

01:26:43

that we don’t have all this is stuck, you can

01:26:47

peel it off

01:27:24

just like a painting, we look from

01:27:27

afar so that we don’t get fragmentation,

01:27:32

just like if we start working

01:27:34

with a small brush, we can get a

01:27:37

feeling of fragmentation, just like if we

01:27:43

compose a composition from very small pieces, it

01:27:47

will also be a little tense

01:27:49

like this I will leave gaps in

01:27:56

small holes and glue them so that like a

01:28:02

mosaic we decorate the set area,

01:28:06

you can see the difference between Mitya and

01:28:09

gold,

01:28:29

interesting cracks can be created if

01:28:33

you glue a piece of paper that is not completely straight,

01:28:37

take a book, turn it over and glue a

01:28:40

whole sheet here

01:28:47

in some scenes, this is what you need to do

01:28:49

today, you can create from the pieces,

01:28:53

create a mosaic

01:29:01

at different angles with the sea from afar, let

01:29:04

’s see how the glow is happening,

01:29:09

plus the contrast will be further enhanced

01:29:12

when we enhance the black here, let’s

01:29:15

draw a little bit and of course draw

01:29:19

eyelashes to the eyelashes of your

01:29:25

own and we move on now by

01:29:30

pressing it with another piece of paper

01:29:35

so as not to press each element separately into

01:29:38

more general pieces, it

01:29:41

will work cleaner, it

01:29:43

will be enough to glow if no paint gets on it,

01:29:49

by the way, if paint does get on it, don’t

01:29:53

try to wash it, it’s better to

01:29:55

glue another piece on top, fresher,

01:30:01

for example, here it’s stained, I take

01:30:05

a little glue,

01:30:09

I dig some glue from love you and me for free and a

01:30:14

fresh piece here limits with a clean

01:30:19

cloth it’s used to wipe off

01:30:27

fingerprints to from paint to or

01:30:30

chemical power if you pressed

01:30:32

it off and it’s better not to try to

01:30:35

put a patch on the battery at night

01:30:40

so let’s work with the eyelashes

01:30:48

we take

01:30:55

indigo I’m

01:30:59

returning the palette frame indigo from the center,

01:31:08

let's do it, let's go in one direction

01:31:13

straight, you can scroll the brush between your fingers

01:31:15

so that all the

01:31:19

planned paint comes off the brush,

01:31:24

here you can make a bend and go in the other

01:31:27

direction, apply

01:31:32

enough paint so that you can

01:31:35

also use it to tighten the palette knife on your cheeks a little,

01:31:38

why did the centers begin so that here in the

01:31:40

center there is more paint, as a rule,

01:31:47

by the time we reach the edges, we already have

01:31:49

less paint for the brush

01:31:56

and palette knife; first, with empty checks, let’s

01:32:06

just give ourselves a direction and stop the paint

01:32:09

that we put with you, someone will

01:32:14

have enough of it, someone may not have enough but

01:32:17

first, with an empty palette knife we give the checks

01:32:29

a little direction now this area and we will

01:32:32

increase the

01:32:43

eyelashes here, as a rule they are short on

01:32:46

this side, here we will not draw

01:32:49

somewhere from here we will start behind that

01:32:56

longer

01:32:59

eyelashes will go up to the middle of

01:33:02

the nose is even lost

01:33:03

when you pulled it out of the paint,

01:33:07

then you can already type on the palette knife

01:33:11

only on the ribs I type not on very

01:33:15

elements chic

01:33:16

lick concentrate clio jump to the blade you

01:33:20

can type black you can indigo you can

01:33:25

brown here why it’s even more convenient to

01:33:29

work with a palette knife so that we can

01:33:34

get results more or less the same thickness of

01:33:40

an eyelash

01:33:41

when you draw with a brush, well, of course, yes, you

01:33:45

can draw carefully, but your hand

01:33:49

can shake at any moment. The bristles of the brush

01:33:52

can give either a thicker or a

01:33:56

thinner stroke. Here we have

01:34:01

about 2 centimeters, whether

01:34:04

the palette knife is level or not, I draw sharply on the cheeks not a fish,

01:34:08

and because the fish is well shaped

01:34:11

on the hair, by the way, I like to use this

01:34:14

quality, but it’s better to draw straight lines with a

01:34:17

palette knife that has a

01:34:21

smooth edge;

01:34:32

you need to pull them out like the

01:34:39

rays of the sun in all directions

01:34:42

here from the central

01:34:46

eyelashes let's go, she went down and

01:34:49

diverge a little but not too much thoughts

01:34:57

Khinchuk please wipe so that

01:34:59

we or the lines are thin there is no need for

01:35:02

too much

01:35:04

namaste henny to accumulate literally 2-3 movements

01:35:07

were made wipe it,

01:35:26

increase the number of eyelashes,

01:35:30

try a couple of times with a brush, make a couple of movements

01:35:33

and with a palette knife, you will also try not

01:35:37

everything with us draws with a palette knife on checks,

01:35:39

unfortunately, do not be afraid, please

01:35:42

use this tool here, it is

01:35:46

only for us as an auxiliary tool, here

01:35:48

we do not have the main work here, the palette knife

01:35:55

simplifies the work because the blade has at

01:35:59

least two centimeters, clean up to 2

01:36:05

centimeters of a smooth straight line, plus

01:36:08

we can extend this line due to the fact

01:36:10

that we will see the areas of the khinchuk down the lines

01:36:14

become thinner, more even,

01:36:18

so please don’t ignore

01:36:22

the palette knife chick here, who hasn’t

01:36:26

started drawing yet, Mr. The Finns have for you a

01:36:29

large selection of master classes

01:36:33

purely on a palette knife

01:36:43

when we drew this dark line from the

01:36:47

eyeliner and it looked as if we could

01:36:50

scratch it, so now we’ll correct it with a

01:36:54

brush, we’ll glue it here a little

01:37:02

bit higher, look if it’s a little

01:37:04

smeared and the same Most of all,

01:37:08

we do the palette knife on the cheeks only with light paint,

01:37:11

with light paint you can use a couple of leads like this,

01:37:27

these are thin lines and now

01:37:30

we will secretly glue

01:37:32

more here, so we

01:37:54

finish here with you and the gold leaf,

01:38:01

we throw more gold leaf where we want on the

01:38:04

hairs on the tears, try to

01:38:12

use such more - less

01:38:14

undefined, longer, just like

01:38:18

hide-and-seek, will fit well on tears of a

01:38:23

more or less undefined,

01:38:25

undefined shape, even for

01:38:34

gluing, you can bend this shape

01:38:37

if suddenly a

01:38:40

part of the gold leaf comes off too neatly and we see the tears are

01:38:49

not going down in a continuous stream, but with

01:38:54

with the passes

01:39:05

here, be careful when you

01:39:07

glue it so that we don’t spoil

01:39:10

our wonderful heresy cake boys,

01:39:38

carefully glue it,

01:39:52

add as much as you want, check

01:39:58

how it shines from different angles, how they

01:40:00

match their arms,

01:40:08

little by little with gold leaf, we finish the longer ones,

01:40:12

if pieces come off, you can

01:40:15

weave tears into the hair, see that they are not

01:40:19

exactly flows, so we

01:40:22

periodically look at different angles, evaluate whether it is

01:40:25

enough or not enough

01:40:46

and continue working in color, we return

01:40:49

with you to the palette

01:41:01

on the sore pen, I returned

01:41:12

and so this line we are clarifying,

01:41:18

we are clarifying it

01:41:19

in the sense that we look where the piece is

01:41:24

Patali clearly goes beyond the boundaries

01:41:27

here the line we have is smooth, I’m wavy, they

01:41:29

took a little scrape

01:41:32

if you use glue, it’s also so easy

01:41:34

you don’t have extra elements to creak and but

01:41:43

here you can work with color if

01:41:46

the piece doesn’t open please yes you do

01:41:49

n’t need to rub it easier paint over

01:41:53

this complexion for those who have run out of it

01:41:57

here it was white with a small amount of

01:42:00

ocher with a small amount of pink,

01:42:03

such pieces that go beyond the boundaries of

01:42:06

what we have outlined are easier

01:42:09

to paint over

01:42:16

here on the chin, for example, for me

01:42:19

it flew a little in the wrong direction, paint over

01:42:27

the line I’ll clarify a little with one

01:42:34

ocher golden ocher now we

01:42:41

’ll need them all with you for the hair so you

01:42:45

can squeeze out another line I’ll clarify the

01:42:49

golden ocher

01:42:52

between the fingers I’m

01:43:02

not scrolling through the whole picture somewhere a piece of

01:43:05

patali is good, for example it borders on the

01:43:09

nose here I won’t circle it

01:43:12

here I’ll leave the

01:43:17

golden ocher uncircled, it goes very well with

01:43:20

gold leaf, estimated gold leaf,

01:43:23

if you take it thicker for this

01:43:26

now, and for vodka, it will add shine,

01:43:31

or rather, in its contrast, the gold leaf will

01:43:36

appear lighter, like this,

01:43:45

if for example you have a

01:43:49

too even piece stuck here, then you look

01:43:52

first option, if

01:43:54

from a distance it looks fractionally too

01:43:57

mosaic, then you glue some piece onto a drop of varnish,

01:44:00

which

01:44:02

combines two or three pieces to

01:44:05

combine, like this, we

01:44:21

’ll return to the sponges, you and I put the first layer,

01:44:24

we painted it with speckled paint, well,

01:44:27

someone wanted, maybe a brighter

01:44:29

lipstick, maybe it was possible to take ping and

01:44:32

chocolate shades or lighter

01:44:35

pink

01:44:36

to suit your taste, but one way or another, you and I

01:44:39

need to use brown to

01:44:42

separate the upper and lower lips, let’s

01:44:46

make this line

01:44:48

not perfectly straight, but just a little here

01:44:55

to the right, we’ll start a bend and give it in the corner of

01:44:59

Google and let's go and let's not make an even sponge,

01:45:09

and of course you can add even

01:45:14

lighter moments of, for example, oh, with a pen,

01:45:21

also

01:45:23

trace

01:45:31

a little to the right side of this

01:45:35

triangle, we have

01:45:39

ocher unifying throughout the whole picture,

01:45:43

if you remember, we also add it from the kraplak

01:45:54

to the lower lip in this the parts where it is

01:45:59

convex, you can also

01:46:01

where it is not only convex, but also

01:46:03

gets a little light if you have a

01:46:09

brighter shade, you want pink,

01:46:11

light pink or pink, then you can

01:46:14

safely highlight with Neapolitan pink

01:46:17

or white, but with brown light,

01:46:23

then the

01:46:25

distance between the upper lip and the bottom

01:46:28

and even this line and they leave, in

01:46:31

principle, you can also darken it a little from this country, make

01:46:47

sure that the corner of the lip

01:46:50

is not

01:46:51

further than the center of the eye; we draw on the nostrils; it is

01:46:58

not necessary to use black; you can

01:47:00

use brown;

01:47:08

teardrop-shaped; this shape is

01:47:15

a little visible here; 2 nostrils are visible

01:47:18

let's start it and it goes to our hand, it's

01:47:26

golden

01:47:51

when shading, if something somewhere has

01:47:54

gone wrong, we correct the line of the eye,

01:47:57

we correct the eyelashes and we will return with you to the

01:48:07

strands of hair

01:48:08

here I already suggest working with a palette knife

01:48:11

to check you, quiet check now I changed it

01:48:16

now I take the fish it’s better to bend that palette knife

01:48:20

onto it along the entire area,

01:48:24

try to pick up paint so that

01:48:29

our pieces melt now decorate with

01:48:33

such wavy movements just like

01:48:37

when we worked carefully with a brush

01:48:48

ocher we have light golden ocher to

01:48:54

your taste, you can use yellow color

01:48:58

orange color for brightness for you mine

01:49:06

we lower

01:49:12

the wave again

01:49:18

so that the hair is voluminous, we

01:49:20

went here today at the beginning

01:49:25

now look if this dark all

01:49:28

evaporated during the work, this is

01:49:30

possible, then you can add a little with a brush

01:49:44

near the face line, add a little

01:49:50

blue, scroll them and use a brush between your

01:49:52

fingers, make sure that this

01:49:58

area We don’t highlight it while we’re

01:50:01

working, but otherwise we

01:50:09

work with the same wavy movements as with a

01:50:11

brush,

01:50:15

we cover the gold leaf by more than half and

01:50:18

it only shimmers between the

01:50:21

hairs and

01:50:25

creates an additional shimmer, and a

01:50:29

piece of gold leaf if it’s square,

01:50:33

if it’s large, straight break it into two by three

01:50:35

segments so that we have the

01:50:39

feeling that it is between the hairs than is

01:50:42

highlighted, so it’s

01:50:46

much smaller on the hair since I’m

01:50:48

now covering the ocher with all the cream and warm shades of

01:50:57

ocher orange, maybe someone will

01:51:02

want to use yellow, let’s

01:51:05

connect the wave

01:51:15

and here in order for the patch to be the right color

01:51:17

to draw

01:51:19

the curls well, I suggest first wiping the

01:51:24

areas there on a piece of wood with a brush, I wrap a

01:51:29

napkin around a piece of wood with a brush

01:51:35

and see where I want to

01:51:38

make a curl, I

01:51:41

first wipe the spot with a napkin

01:51:45

and then I take a thicker paint and

01:51:49

apply paint to this place

01:52:03

on black

01:52:05

lighter curls will look advantageous against the background, so

01:52:07

you can even

01:52:11

add yellow and orange, even pink, with radical white to highlight, we

01:52:15

won’t use pink and yellow enough, we

01:52:20

can mix highlighting with ocher and

01:52:24

show the curls in this way for the

01:52:40

next exercise, again I wipe a

01:52:43

place somewhere like this the purchase has gone well,

01:52:47

it’s already smaller, try, like

01:52:53

painting work of a more classical

01:52:56

execution, to avoid repetitions here, one

01:53:01

curl is larger, one is smaller, and the third

01:53:05

you see even in the other direction, I’ll twist the

01:53:23

third one will be twisted even in the other

01:53:25

direction for it again, wipe the place of

01:53:43

paint, use enough paint so that

01:53:46

it looks like this I'll take the edge of the

01:53:49

brush lying between my fingers,

01:53:52

scroll through

01:54:22

these, the resulting transfers are different

01:54:28

different shades

01:54:32

in combination with a palette knife; we have gold leaf steed

01:54:36

at different angles; not only

01:54:39

will the palette knife shine after drying,

01:54:42

but also our areas treated with gold leaf;

01:54:49

all this, of course, creates a completely

01:54:54

unique work of repetitions very

01:54:59

you will find a lot on the Internet, but they are all very

01:55:01

different because it’s impossible to

01:55:05

put it in the same way, it’s impossible to put it in the same way, that’s how

01:55:10

our work shines,

01:55:18

be sure to send us photos of the

01:55:21

paintings that you get; it’s

01:55:24

always very interesting to observe

01:55:29

that everyone turns out a completely

01:55:31

different unique creative picture and all we

01:55:36

have to do is sign our picture with a

01:55:42

thin brush, we do this with you

01:55:45

in a dark way, by the way, you can

01:55:49

scratch it with a piece of wood from the brush when decorating it in a baguette,

01:55:53

about half a centimeter goes into the

01:55:59

design for

01:56:00

almost all of our gold

01:56:03

paintings,

01:56:06

thin golden frames can fit, but in any

01:56:10

case, about half It takes us a centimeter for a baguette,

01:56:14

so

01:56:18

don’t put your signature in the very corner and

01:56:31

choose the most suitable place for

01:56:34

your painting about a centimeter at a time, so it will glow not

01:56:38

only in different lighting conditions,

01:56:40

but also at

01:56:41

different times of the day, you can

01:56:49

also set additional lighting to shine

01:56:51

our picture and do not forget to send the

01:56:56

works that you get until we

01:57:01

meet again, dear friends, until then you

01:57:04

will receive for free 50 three-hour

01:57:08

lessons in different techniques, the link is

01:57:12

below the video, look at the playlist of

01:57:16

drawing techniques and the playlist of drawing

01:57:19

flowers, click on the round button

01:57:23

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