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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

00:00:00

[music]

00:00:07

good afternoon dear friends,

00:00:10

the school of creativity is here again and I am an artist teacher

00:00:13

Valeria Krylova

00:00:14

we continue to work with gold leaf and

00:00:17

today we have this picture of angels and a

00:00:21

candle you will receive for free 50 three hour

00:00:26

lessons in different techniques

00:00:28

the link is below under the video let's see what we need

00:00:33

today you will need a palette knife and, if

00:00:37

desired, a

00:00:38

set of brushes of different textures and sizes a

00:00:43

large brush for the background medium

00:00:47

round or flat brushes one for details

00:00:52

and a preliminary outline and either a

00:00:55

fan brush or another soft brush

00:00:58

you can even use a squirrel to work

00:01:01

directly with

00:01:04

gold leaf color glasses white Neapolitan yellow

00:01:09

cadmium yellow 2 ocher light ocher and

00:01:15

golden brown ocher you can burnt umber

00:01:19

you can use natural today it doesn’t

00:01:22

matter a little indigo

00:01:26

ultramarine and dark red kraplak

00:01:31

I placed the leaves around the waist approximately

00:01:34

as we will glue them to the canvas

00:01:37

upper left corner we have bronze in the window

00:01:43

we are planning silver and below we have a

00:01:47

golden piece, the pieces are whole, so it will be

00:01:52

more convenient to work today, but for now we are

00:01:56

putting them aside while we are working with the

00:01:59

preliminary drawing, let’s put

00:02:09

aside our nutrition books for a while and

00:02:14

work with the preliminary drawing,

00:02:21

look at the application carbon copy, which

00:02:23

can ideally convert the image to the

00:02:26

size we need,

00:02:28

look transparent screen and with the help of

00:02:33

the slider I make an image that does not

00:02:37

need to be drawn, we took a portrait and

00:02:40

right through the screen I see my pencil and the

00:02:44

contours of the image I transfer them so there is no

00:02:50

need also if I need to check to

00:02:52

write down very small details, then I

00:02:54

just enlarge the screen and the details

00:02:59

become visible you can draw every little detail

00:03:03

by placing the phone on

00:03:07

some object, right now it’s

00:03:10

standing on a glass, so it turns out this is

00:03:14

directly translated through our

00:03:19

application, now we took a canvas, a

00:03:22

large canvas 40 by 50, and decided to bring

00:03:27

a landscape. Having just examined the monitor, we see how the

00:03:31

pencil describes the contours we need and

00:03:36

translates, that is, we line it up so we

00:03:40

put the phone at the distance

00:03:43

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

00:03:46

the maximum size is convenient 60 by 90,

00:03:49

the minimum is a matchbox,

00:03:51

anyone, a child, an adult can

00:03:55

translate the image using this

00:03:59

application,

00:04:03

so follow the link under the video

00:04:06

there you will see a link to the application,

00:04:10

you can also

00:04:13

type the word carbon copy on your apple store or google play system

00:04:15

and go to this application,

00:04:23

this application will be a good

00:04:25

assistant for both beginning artists

00:04:27

and for professionals to transfer the

00:04:29

contours of the image onto the canvas,

00:04:32

so go ahead and use it and share

00:04:35

the application with yours friends, good luck

00:04:38

to you, may inspiration be with you,

00:04:44

take a small brush with you in the

00:04:47

oil dishes now, but I don’t have a

00:04:52

little bit of oil either, because a little later we

00:04:55

will add a little varnish here for

00:04:57

artistic paintings, this

00:05:00

will increase the viscosity and will contribute to

00:05:03

faster gluing of the battle, but

00:05:08

for for the preliminary drawing, I suggest

00:05:10

using only oil; I will make a

00:05:14

preliminary drawing of ocher;

00:05:18

for the preliminary drawing, we choose

00:05:22

some neutral paints that

00:05:24

will fit well into our background into the overall color

00:05:28

scheme, and so with oil, I bring all the lumps to a translucent

00:05:36

state, remove all the lumps, and

00:05:41

hold the brush almost at the very tip

00:05:44

or in the middle in order to

00:05:46

ensure

00:05:47

sliding and provide smoother

00:05:51

lines, you can divide the canvas

00:05:57

approximately in half again in half using a

00:06:05

ruler, no need to draw by eye,

00:06:08

approximately divide the canvas into 4 parts and in the

00:06:12

upper right corner, slightly

00:06:17

offset just to the right, we will draw

00:06:21

a window,

00:06:28

but if there is a window while the thickness you can

00:06:34

draw not the full thickness window

00:06:38

frames

00:06:47

like this window first we all

00:06:51

need to arrange everything with you under the window

00:06:54

we have a candle

00:07:03

this is the glow the area defines the

00:07:08

glow and it stands on the surface

00:07:14

which is decorated with these

00:07:17

wonderful multi-colored squares

00:07:28

and of course that's all attention by our

00:07:30

angel there is no need to go into details now

00:07:34

we don’t need to use very light lines not

00:07:38

on a ruler she eye drew a

00:07:42

window here by hand maybe this is a table

00:07:46

maybe a chest covered with a patchwork

00:07:49

quilt but one way or another we have defined

00:07:54

our corner and of course all the attention by

00:07:58

our angel approximately at the window level

00:08:03

we don’t need the middle here anymore

00:08:06

by the way we need to remove it so you don’t get

00:08:11

confused by the extra lines vertical I’ll remove it

00:08:25

approximately at the window level our

00:08:28

angels start here

00:08:31

like a dome of clothes hanging down and behind it the

00:08:40

second angel

00:08:47

don’t stick out everything in detail because for

00:08:49

example now it’s already for me it was

00:08:51

necessary to move the line too

00:08:55

slowly, neatly draw the line, you don’t need to

00:08:58

hold the brush closer to the tip and the oil,

00:09:03

such a grip of the brush and oil ensures

00:09:07

smooth flowing lines,

00:09:16

so I moved it and by a centimeter I

00:09:19

first moved it and then I’ll

00:09:21

deal with dying out the extra lines I want to

00:09:26

gain a little space for the wing

00:09:30

2 we have an angel behind the first one and

00:09:37

I just have a place for the wings and

00:09:42

now I will remove the excess lines with a napkin

00:09:45

I do this pencil drawing will

00:09:50

almost never be used even if you

00:09:52

draw

00:09:53

this plot with acrylic or gouache you

00:09:58

pencil drawings need sharp

00:10:01

no but here the napkin also

00:10:08

clarifies our less and makes them smoother.

00:10:13

If you decide to make a

00:10:15

preliminary drawing with a pencil, then

00:10:18

you erase all the erroneous lines with an eraser; if the eraser is

00:10:21

too hard, it can sometimes

00:10:23

injure the canvas, so

00:10:26

don’t lift it too much, and the second condition is

00:10:32

when we work with an eraser be sure to

00:10:34

blow up the shavings immediately so that they get into

00:10:38

the paint and under no circumstances get into

00:10:42

these three

00:10:45

semicircles 3 ovals we drew 1

00:10:48

angel 2 angels

00:10:50

and a wing and now let’s look at the

00:10:54

details approximately at the window level we

00:10:56

placed them that is, here is our

00:10:59

initial

00:11:01

not when we we drew the canvas with you into

00:11:05

four parts, it turns out that we raised the tops of

00:11:10

the clothes a little higher, this is as a guide for

00:11:16

us to build next, we will draw

00:11:20

the heads, they are small, but the necks are

00:11:25

quite thin and long,

00:11:29

keep in mind that we also

00:11:32

have this tendency when drawing to

00:11:34

slightly enlarge objects by about a candle

00:11:44

our gaze is directed and the

00:11:50

babosiki

00:12:04

further, we can clarify the line of the neck and

00:12:11

draw the sleeves; the sleeves here are long and

00:12:15

free, so just below our line

00:12:21

we draw a sleeve at the left angel

00:12:27

and approximately to the middle there

00:12:34

will be arms, here is our middle

00:12:37

imaginary line and 2 angels, two

00:12:45

arms are also visible approximately just below our

00:12:52

center line on you, these folds

00:12:57

can be drawn on the skin and 2 and again,

00:13:06

approximately to the middle,

00:13:08

two hands folded together like this in

00:13:17

more detail, we will

00:13:18

understand the color in more detail,

00:13:21

now we will clarify whether everything is well

00:13:24

put together for

00:13:30

us Ghana company, please

00:13:39

note that

00:13:41

we made this line a little at an angle; we already have a

00:13:44

lot of lines that are too even,

00:13:46

1 2 3,

00:13:50

so here we cut for you and the divisions,

00:13:52

firstly, you can give a little asymmetry to the

00:13:55

bottom one and

00:14:01

put it a little at an angle, I’ll

00:14:03

clarify further where we have a candle,

00:14:08

we have enough space under the

00:14:11

window between the edge of the canvas and the beginning of the clothes, there is

00:14:15

enough space like this, this is how

00:14:23

we have a

00:14:29

glow candle, now you can

00:14:33

trim it if you need to check

00:14:37

whether your lines are straight enough, the

00:14:42

extra lines are raw,

00:14:52

erase the lines with which we shared the canvas with you

00:15:09

and whoever draws the oil

00:15:24

must definitely remove excess areas

00:15:31

of the oil if there are any, we diluted it with you

00:15:34

at the beginning for sliding, we

00:15:42

diluted with the oil with you

00:15:45

now these areas can be wiped off so that there is

00:15:49

no accumulation of excess oil.

00:15:51

I painted with acrylic and diluted it with water

00:15:56

accordingly, and the

00:15:58

excess water most likely has already evaporated,

00:16:01

depending on the primer,

00:16:03

the primer of the canvases varies, for

00:16:06

some it’s already dry, for

00:16:08

others it’s not, so we look at

00:16:10

the situation,

00:16:21

so we’ll start with the background now at

00:16:27

this stage you and I add a little

00:16:31

as much oil as we have now

00:16:35

I even pour out the cherries and you don’t need that much I

00:16:41

add temporary oil varnish for

00:16:45

artistic paintings when we

00:16:48

use it in the process of work so we do

00:16:51

n’t glue it to the finished work but in the

00:16:54

process it gives better adhesion It will

00:16:57

help to add varnish to

00:17:01

linseed oil, but

00:17:04

if you are decorating a

00:17:08

finished work, that is, first paint

00:17:10

everything with oil or acrylic, dry it,

00:17:14

and then remove it and add abrasions,

00:17:20

then you and I need to use either

00:17:24

glue for the gold leaf

00:17:26

or go over these areas that

00:17:30

you are going to decorate. on them,

00:17:33

additionally with varnish, for those who don’t have varnish,

00:17:35

paint, we try

00:17:41

to make do with a minimum set of materials in the process of painting a house, which is why

00:17:45

we use that

00:17:48

today in our work, and as in our entire

00:17:50

course, we use gold leaf in our work so

00:17:55

that

00:17:56

it sticks to the paint, so we don’t use

00:18:01

glue and how the cost of materials is

00:18:05

thus reduced and you avoid

00:18:09

odors because, of course, everything

00:18:12

connected with adhesives and varnishes at home

00:18:15

leads to an unnecessary odor; whoever paints with

00:18:21

acrylic here, practically does not

00:18:25

add water because acrylic has a

00:18:27

more liquid consistency than oil;

00:18:30

he paints with oil, he wets the brush a little,

00:18:35

remember we have already given the tank here, the

00:18:39

consistency has become more viscous,

00:18:47

I wet the brush and now, quite quickly,

00:18:54

practically without selecting a color without

00:18:58

selecting a color, I take ocher

00:19:03

and paint in a thin layer

00:19:08

the area on which I will put the

00:19:11

bronze sheet if I try

00:19:17

Glue the bronze leaf in its

00:19:20

original form in the shape of a 14

00:19:24

by 14 book, most often there are

00:19:30

14 by 14 centimeters in square

00:19:33

books, let's try to glue a whole leaf here

00:19:42

on the outline and of course we are not afraid to

00:19:45

notice because the paint

00:19:49

draws well and it is completely up to us to keep some clear

00:19:53

contours not necessarily with

00:19:55

you, and so they

00:20:00

sell gold, silver and bronze books in

00:20:02

secret shades, there are even

00:20:07

leaves slightly framed with

00:20:09

stains here, so for your plus,

00:20:14

please choose a large book, you will

00:20:16

have enough for the whole course, a small book

00:20:22

will be enough for two or three works, format 30

00:20:25

Moscow and so in order to glue it entirely,

00:20:31

you can tear it straight out of the book

00:20:36

together with the paper with your

00:20:39

fingers or tweezers, as you wish,

00:20:44

very very carefully, we arrange it, we are not

00:20:49

afraid now of the perfect hairstyle and we do

00:20:52

n’t pay attention, with a soft brush,

00:21:00

we tinted it a little with you, we didn’t

00:21:03

just work with varnish, we tinted it

00:21:05

a little with golden ocher so if

00:21:09

suddenly it breaks now, it’s not

00:21:13

scary,

00:21:18

it’s not scary, you won’t have a white

00:21:20

canvas there, but it will be slightly protonated

00:21:23

ocher, so don’t be afraid,

00:21:28

we’ll try to blow out the bubbles, we’ll

00:21:35

draw the extra hair on top,

00:21:38

but as for our faces, I I

00:21:42

would like the face, remember, I didn’t cover it with

00:21:45

paint, so the sweat here won’t stick to anything,

00:21:48

and now I’ll try to

00:21:52

scrape it off a little

00:22:12

so that the hair doesn’t interfere with working on the face,

00:22:16

we’ll draw a plate,

00:22:18

if it sticks well, it wo

00:22:22

n’t interfere either, but we’ll try to scrape off the excess

00:22:27

and be sure to have these remnants

00:22:30

either we put them in a jar for the

00:22:32

next work, pieces like these can

00:22:37

come in handy when we draw flowers,

00:22:40

for example, we can

00:22:43

sprinkle

00:22:44

gold crumbs in the middle of a bud so as not to waste a

00:22:47

whole sheet of paper for this; for the entire course,

00:22:50

our course on gold leaf, you can put

00:22:55

these scraps in a separate jar

00:22:57

collect and then you will have it ready for the flower,

00:23:02

for example, golden crumbs will already be ready;

00:23:07

golden okroshka will be served

00:23:09

separately, too,

00:23:11

but if you go through the whole course with us, then

00:23:15

I think that you won’t need to buy

00:23:19

crumbs; they will be

00:23:23

formed in the process of work between the

00:23:30

space between the angels I

00:23:32

glue it with the remnants again I try

00:23:39

not to tie it too tightly on the face

00:23:46

when a large area needs to be

00:23:47

glued there we use a whole sheet and there’s

00:23:50

even no need to

00:23:53

glue it perfectly even.

00:24:10

whoever has what and we place it in the space between the

00:24:14

angels, we tear it off, we look

00:24:19

where this leaf fits better and there

00:24:22

are already component parts, you can assemble it,

00:24:30

it’s not so fundamentally unnecessary,

00:24:35

what doesn’t stick, we remove it

00:24:47

up to the window, I still have space

00:25:00

to cut off an even piece you can

00:25:06

use scissors to cut off a

00:25:10

more or less even piece, cut right away, the

00:25:14

gasket is

00:25:15

so thin, much

00:25:18

thinner than foil, and between them

00:25:23

there are these pink and orange layers when

00:25:27

we work with scissors, you can cut right

00:25:29

away with this layer and then

00:25:36

glue it like this

00:25:52

from the face now again and I will scrape off the

00:25:58

excess

00:26:03

yeah hands are clean if we are still

00:26:06

working with us you can stick them with your fingers

00:26:08

but you hands someone watches our

00:26:14

master classes in a different order so

00:26:18

at our master classes I repeat the

00:26:23

information before for those who it will be a

00:26:25

different order to paint when it

00:26:30

hits the paint, the water stops reaching

00:26:38

so in order to maintain the shine we must

00:26:43

knead with clean fingers, but

00:26:46

somewhere a little later you will see that we

00:26:48

are going through exactly the opposite so that

00:26:51

it does not shine,

00:26:57

but if you really want the area to

00:27:00

shine then you and I have a clean brush for

00:27:05

smoothing the gold leaf, it should be used with

00:27:09

paints; we won’t use it anymore; we

00:27:12

only use it to

00:27:14

smooth, glue

00:27:17

or knock down where we didn’t have paint,

00:27:24

varnish and glue;

00:27:26

of course, the pieces don’t stick to

00:27:30

this area of the face. there was no

00:27:32

varnish with you, so the area of

00:27:40

the face remained untouched, so

00:27:43

we collect all this, sweep it away, and maybe for

00:27:49

flowers we use it all in a jar, we

00:27:54

put it

00:27:58

here, I have a window frame, too, I didn’t

00:28:01

have to apply varnish to the edges while

00:28:10

sweeping it all away later saber jar now

00:28:13

time 30 I’ll be in the window I want to make a

00:28:23

silver light silver glow

00:28:36

in the rose garden

00:28:47

silver glow I’ll walk here in

00:28:52

the picture you see a little greenish

00:28:54

color and for the guilty we have not

00:28:57

bright green but slightly greenish

00:28:59

it will turn out if we

00:29:01

add a little

00:29:05

indigo and a little to Neapolitan yellow ultramarine, a

00:29:19

little bright yellow, I’ll add it,

00:29:24

we’ll find the color that we

00:29:27

’ll go through a little later along the top of

00:29:31

the window to decorate it, even

00:29:34

a little bit of white, you can take it, we don’t

00:29:40

skimp on the thinner, we don’t skimp on the

00:29:45

oil master classes, on the contrary, I ask you

00:29:48

not to add too much butter to one layer,

00:29:51

well but now, on the contrary,

00:29:56

the adhesion will increase if we

00:29:59

add more varnish here,

00:30:30

this does not mean that

00:30:32

the paint with the thinner should shimmer directly here, first of

00:30:37

all, you can see how

00:30:40

it shines differently at different angles,

00:30:43

how to hang a picture, but here is the angle

00:30:46

Now I’m in the dark

00:30:48

and behind the angels everything is glowing, but you

00:30:56

see with what ease my brush

00:30:58

glides, approximately this consistency and I

00:31:05

must glue the leaf here again

00:31:18

if there is a whole one, it’s very good for

00:31:21

today’s lesson

00:31:22

if they kissed. no, it can be

00:31:25

made up from different parts

00:31:34

here, for example, I have a

00:31:36

leaf coming out beyond the border of the tail, I will now

00:31:47

try to move it to the same

00:32:01

consumption of gold, maybe at the initial

00:32:03

stages it will be large since you still need to

00:32:06

be able to

00:32:07

tear off the leaf, but in our course we

00:32:13

learned to tear off the leaves in a more

00:32:16

interesting way and it’s better to see where they

00:32:19

fit, I

00:32:25

’ll add a little more here with scissors,

00:32:28

Lord, or so that

00:32:32

we can work with scissors, you and I can cut right here with

00:32:38

this spacer of ours and then not and

00:32:46

we remove it in accordance with the

00:33:30

rest of the silver, in fact, you can

00:33:34

put it aside for a while, or you can immediately

00:33:37

glue it down here in order to

00:33:40

decorate the clothes later, you can

00:33:46

also go at the bottom with

00:33:53

silver leaf somewhere between the

00:33:56

folds,

00:33:57

but here you can already use the

00:33:58

leftovers, the leftovers can be used like

00:34:08

these uneven ones,

00:34:22

and you can tear them off with sloppy

00:34:26

lines

00:34:27

between the folds, I would add them

00:34:31

to separate them, for example the sleeve from the clothes is

00:34:38

already coming off thicker than the mini,

00:34:42

these are the pieces you may have

00:34:45

left on the bottom of the previous

00:34:47

master classes, they are very good now you can

00:34:50

use them later, we will turn them, cover them a

00:35:01

little with whitewash and turn them from

00:35:05

such for some too neat into

00:35:10

less neat look where we have I do

00:35:14

n’t forget to first paint the folds there

00:35:18

a little in some light

00:35:20

tone or under pinata like this,

00:35:25

when the folds light up we did this with

00:35:29

you in our first lesson on white

00:35:33

flowers in order to

00:35:37

create a golden

00:35:40

installment between the petals with a workshop about the vein now it’s

00:35:45

about the same We’ll do the same thing with you, the

00:35:57

twin has a brush, look, you can

00:36:00

also put a piece of paper under it and

00:36:03

press it like this so that it sticks better

00:36:12

and now we move with you, I’ll light it up with a

00:36:18

candle, we get a

00:36:20

golden color there about the cut, too, you and I

00:36:26

oh pen varnish + ocher

00:36:30

oil varnish and ocher,

00:36:38

if you overdo it with varnish, glue and oil,

00:36:41

if you paint with acrylic,

00:36:45

overdo it with water, then the

00:36:48

leaf will simply stick longer, it

00:36:53

will float, we will have to paint here and there,

00:36:58

but if initially you overdo it

00:37:01

with the pine adhesive thinner in this place, then

00:37:09

it will just be floating is not a mistake, but

00:37:14

you will have to work more carefully with the

00:37:16

paint and so is this where the camera is and

00:37:19

place the leaf with the goal of a

00:37:33

whole leaf of 14 by 14 books of different shades so

00:38:04

that for nothing and a little reach now I’ll

00:38:08

get out and cut the required piece

00:38:16

together with the layer

00:38:56

where we have silver and bronze gold goes into

00:38:59

bronze at some master classes

00:39:03

bridges cavalli these places

00:39:05

who look in a different order we

00:39:09

go a little gold on bronze

00:39:11

bronze on gold so that, as when

00:39:14

shading a color, we have a small overlap of

00:39:18

one shade on this battle, it happens

00:39:28

far

00:39:29

until we remove it if it we will need

00:39:31

we will also use press it is necessary if the

00:39:41

area with a large brush you don’t have to work,

00:39:43

you can do it like this a piece of paper

00:39:47

interview to lie here we didn’t cover

00:39:51

with gold

00:39:52

leaf where the tourist I am the surface is not

00:39:58

covered there we have a glow

00:40:06

now we will remove this area we will separate

00:40:13

these For now, we are putting all the things in a

00:40:16

jar for the next work

00:40:26

palette knife cheeks directly spontaneous work

00:40:29

carefully

00:40:30

first of all, clean them of varnish if

00:40:36

you use glue for gold leaf from quay

00:40:38

cleaned accordingly so as not to

00:40:40

spoil the palette knife cheeks and then work with

00:40:44

color paint secondly did not heed that is,

00:40:49

on the tip with a medal too much so that

00:40:51

they twist very much,

00:40:53

they will no longer be able to work at

00:40:57

painting master classes and so

00:41:06

we remove the excess, a few are very tiny,

00:41:13

then of course we open it if something there

00:41:16

can already be used, we collect the

00:41:18

lid of the jar or they will go under a baguette,

00:41:25

by the way, a thin golden one is suitable for such work

00:41:28

maybe a silver baguette,

00:41:32

you can even use a frame already in the

00:41:35

process of work to adjust the picture

00:41:38

to the shade, you can remove the excess from there after drying, this is the

00:41:51

base you and I have a little

00:41:58

here, I didn’t stick to the pattaya,

00:42:00

I take an extra piece, I take an

00:42:05

extra piece

00:42:21

and the rest is just what I need place it

00:42:27

where we have gold and bronze with debt,

00:42:42

now we will work with the angels

00:42:45

on our base, let it dry a little,

00:42:48

remember we added varnish just so that

00:42:52

drying and

00:42:55

gluing

00:42:56

happens faster if you work with

00:42:59

acrylic, tightly those places that you

00:43:04

decorate additionally after

00:43:06

drying acrylic can be treated with

00:43:09

varnish for artistic

00:43:12

paintings, or if you don’t

00:43:16

waste time right away and immediately after the

00:43:19

paint is applied to the gold leaf, the

00:43:21

gold leaf will stick and

00:43:25

don’t dilute it too much with water, but don’t wait for it to dry,

00:43:28

you’ll have to work a little faster

00:43:31

so as not to use

00:43:34

additional grams and varnish thinners,

00:43:45

now we will work with you with white

00:43:48

paint, while I wipe off this base

00:43:51

because we are now working with clothes, a

00:43:59

decorative painting, but still

00:44:04

there is volume on the clothes, to convey the

00:44:08

volume, you and I need light and shadow light

00:44:12

to white white but in the shadows here it’s

00:44:15

a little brownish a little

00:44:18

greenish something like that we’ve already

00:44:22

used as a base for the edge

00:44:26

we’ll start with white

00:44:29

here we’ve already got the thinner

00:44:36

we’ll dose the thinner and we’ll start from the

00:44:42

sacred places this is our sleeve

00:44:58

about the shape if the folds and here it’s outside 100 and

00:45:01

we’re drawing down from the neck down the arms

00:45:12

in a fairly light area and here’s

00:45:20

a place remember we used gold leaf

00:45:23

from the components here,

00:45:27

of course we might not have guessed correctly with

00:45:31

gold leaf you don’t need to spend the whole book

00:45:35

in order to be able to tear off the right one

00:45:40

glue a piece as it came off and paint over the top, so

00:45:43

to

00:45:47

make a smooth edge of our angel I

00:45:52

paint over it with paint in the picture you

00:45:55

can also see that there is a small amount of vodka

00:45:59

and we will add this a little later if in the

00:46:05

process of how you paint pieces of gold leaf

00:46:08

come off and fall into paint,

00:46:13

then immediately pry them off with a palette knife

00:46:16

and pull them out after the paint has dried, it won’t be possible to do

00:46:20

this anymore, as with

00:46:23

brush hairs, which we have

00:46:25

hairs falling out of the brush, we

00:46:28

tear them off immediately in the process of work

00:46:47

and there is quite a lot of white color from the neck

00:46:56

down all movements let's go

00:47:02

so that the paint doesn't fall into lumps

00:47:04

a little into the spectacle oil and varnish, we have

00:47:08

one to one who paints with acrylic,

00:47:13

acrylic, as I already said, is more liquid,

00:47:17

so it is not diluted too much with water,

00:47:20

and acrylic also paints with us,

00:47:24

if you didn't tear off a

00:47:31

piece of the right shape, it's more likely it’s an accident,

00:47:35

if you get an even one, then

00:47:41

please paint over it, for example,

00:47:43

between one of these it turns out, he will give

00:47:46

us a

00:47:51

triangle, we formed it with

00:47:54

paint, and between

00:48:03

the dress and the wing, we also have

00:48:09

a corner like this in parallel, I see

00:48:16

here a piece wants to come off, it looks like it’s

00:48:19

easier for you to tear it off or a little

00:48:22

I put varnish there and it stuck

00:48:28

after drying, after drying completely,

00:48:31

you can go over it one more time with a soft soft

00:48:34

brush so that the extra pieces all

00:48:37

fall off, but in fact, when you

00:48:40

cover the picture with varnish, these

00:48:43

pieces will stick after drying, as

00:48:46

you know, we work and often cover it with

00:48:49

varnish for durability and so that

00:48:52

some colors without varnish do not shine with

00:48:56

varnish so that they sparkle with new

00:48:58

paints,

00:49:05

now I will paint over almost everything,

00:49:09

then she will add for this, I will

00:49:11

remind you that I added 2 yellow ones

00:49:17

now 2, I will reduce the brightness a little, I

00:49:21

will take only one yellow Neapolitan

00:49:24

a little 7

00:49:28

this is the light greenish tint

00:49:31

we get for halftones, it won’t

00:49:34

match the

00:49:36

completely shady ones with a brown color

00:49:39

we’ll make

00:49:52

here in the folds we glued the pieces with you,

00:49:56

I now we fire on them

00:50:00

and drive the school to go through the paint

00:50:03

so that it remains in a not-so-neat piece

00:50:06

on in the butterfly master class, we

00:50:12

made the edges of the wing

00:50:15

more ragged in this way, so you

00:50:22

can use halftone to limit the fold

00:50:34

under the sleeves

00:50:43

between the arms and paint over it, remember, we didn’t

00:50:51

cover it with varnish, but with tone, so

00:50:54

where we didn’t have gold leaf covering it, we did

00:51:00

n’t have a white canvas sticking out, we

00:51:03

prudently you

00:51:07

walked like a donut lightly lightly

00:51:14

all the shine we have at the top here is just

00:51:17

like a bunch of top and bottom diagonally

00:51:20

silver we get the bottom left

00:51:23

corner and the top right

00:51:44

Neapolitan yellow blue whoever

00:51:47

got it too bright add

00:51:50

a little indigo removes the brightness we

00:52:22

add either brown or indigo lutan and an even greater

00:52:25

separation

00:52:26

to show we have

00:52:29

brown, you see that the gold leaf

00:52:36

continues to guests only where I

00:52:39

didn’t paint, this way

00:52:42

you can maintain the nature of the folds from top

00:52:45

to bottom

00:53:07

and now I’ll take a smaller brush,

00:53:14

smaller indigo

00:53:16

brown can be used for warmth and

00:53:19

the main thing is that thinner who painted acrylic with

00:53:24

fox checks, he looks if there is now it will

00:53:27

glide well, I won’t need to add it,

00:53:29

if it’s bad then add a little bit, and for those who

00:53:33

paint with oil, you definitely need to add

00:53:35

oil + varnish, you and I have a

00:53:45

little bit here to the top so as not to

00:53:49

come back the same way Let's go

00:53:53

trace our preliminary drawing a little

00:53:56

now that we've added some halftones,

00:53:58

it might have gotten lost a little, but we'll

00:54:01

get it back now, so we'll

00:54:07

carefully trace it from the shoulders, I scroll

00:54:13

between my fingers until the

00:54:18

paint runs out, the paint runs out,

00:54:21

then I tear off the

00:54:22

brush, wipe it with a napkin while wiping the brush

00:54:26

sharpening it, that is, I do it like this,

00:54:30

I don’t have to pull the paint out of there,

00:54:32

because now I’m

00:54:34

taking the same paint again, brown color,

00:54:36

black, I’m more likely to have

00:54:40

pieces of sweat that fell off as I

00:54:43

move the brush, I remove and sharpen the

00:54:47

brush from the color I have the same, I’m

00:54:49

picking up again black San Diego and with

00:54:52

a thinner I can even go to a meeting in

00:54:55

the process of work I scroll the brush between my

00:55:01

fingers

00:55:04

so the line turns out to be more lively

00:55:13

the sleeve can be emphasized here he went

00:55:16

here here he went let's look if there is

00:55:24

not enough white we have movable paints

00:55:28

if the line by the way is thick it turned out

00:55:30

too you can use white and you just need to press it like that,

00:55:35

just to make it clear that in your hands it

00:55:37

comes up like this and then it goes

00:55:42

down

00:55:56

brown indigo, whoever runs out,

00:55:59

add brown complements it like degas,

00:56:08

if you take only indigo it will be too

00:56:10

cold, but we agree the candle gives

00:56:12

such a warm warm glow

00:56:15

if you take only brown, it will be

00:56:17

too simple, so

00:56:20

today we will combine it 2nd sleeve, we have

00:56:24

gone all the way, there is no need to lower it there,

00:56:29

firstly, this fold dissipates, and

00:56:32

secondly, visual speculation also needs to be

00:56:36

left something if the line is

00:56:42

too rough, too thick there and and with

00:56:45

this background paint we can tighten it up

00:56:49

a little, the fact

00:56:57

that I hold the brush by the middle or the

00:57:00

tip is that I added a

00:57:03

thinner here that allows you to slide,

00:57:10

scroll between your fingers

00:57:14

until it ends

00:57:31

and you can use light lines to strengthen the border

00:57:40

between the sleeve and the clothes,

00:57:53

if the lines turn out thick then we

00:57:57

With you, we have enough background paint here, we

00:57:59

can shade the border a little

00:58:06

further, here we have a

00:58:16

larger shadow, so you can use a

00:58:19

larger brush to enlarge this line a little,

00:58:23

how to develop a rather large piece of

00:58:25

gold leaf, I decorate it with the same dotted

00:58:28

movements and I will have a

00:58:31

shadow a little larger, it will be clear that

00:58:35

this is the distance between one angel and

00:58:37

another, that they are not stuck together,

00:58:40

but are located at a distance, the shadow has increased

00:58:45

a little,

00:58:49

the same thing then between the wing, and

00:58:52

here we will do with you between the wing

00:58:56

and the angel that his wings are slightly

00:58:59

spread this is how

00:59:03

we have indigo with brown,

00:59:17

returning to one line of the neck until I have

00:59:20

traced, but because first we

00:59:23

need to draw the necks and faces themselves, a

00:59:44

single brown and crush for better

00:59:48

tell me, I don’t continue to trace we have

00:59:52

2 angel and the sleeve went scroll down between

01:00:04

your fingers, if the line

01:00:13

turns out to be too thick, then I

01:00:16

draw your attention once again, we can

01:00:20

press this line, but to

01:00:23

make it thin, you need to work with

01:00:25

the tip of the brush and do not press too hard on the brush,

01:00:29

the harder you press the brush,

01:00:32

the thicker the line will be. the brush is

01:00:38

quite multi-functional, it can

01:00:41

draw very thin lines,

01:00:44

of course, and quite thick ones if

01:00:49

you don’t press very, very hard, and if you work with the tip

01:00:51

vertically to the canvas, then the lines can be

01:00:55

better even thin

01:01:07

between your fingers, I scrolled

01:01:19

the thinner ensures gliding, the

01:01:22

paint is not thick, so it doesn’t clump

01:01:25

lays down and + porridge

01:01:47

like this at different angles if you

01:01:49

turn the picture between the

01:01:51

folds at the bottom the silver

01:01:58

shines harmoniously with the upper part of

01:02:01

the canvas where you and I have

01:02:03

a window now literally a few more

01:02:07

refreshing movements with white paint up the

01:02:15

wing I

01:02:18

’ll highlight it I first noticed it there

01:02:22

that the host is not painted, the unpainted

01:02:28

port can acquire a grayer color over time,

01:02:31

so make sure that

01:02:34

there is paint in the whole picture and the second task is I

01:02:39

make the line thinner

01:02:47

here to the neck I get closer, make sure that

01:02:51

behind the hands everything is

01:02:54

painted well enough on top of the clothes a lighter

01:03:09

tank

01:03:11

and you can also freshen up the sleeve if you want to

01:03:15

work with a palette knife now, this

01:03:17

work can be done with a palette knife using a palette knife,

01:03:34

we have quite a large

01:03:36

selection of master classes, so everyone

01:03:39

will find for themselves what they need who

01:03:45

loves textures q works with a palette knife

01:03:48

with a palette knife there is an opportunity to get

01:03:50

more paint to create even

01:03:53

more and flickering because

01:03:56

after drying the palette knife will already

01:04:00

glow from different angles

01:04:02

and of course in combination with various

01:04:04

shades of gold copper silver

01:04:09

and even the shimmer of the palette knife of course

01:04:14

creates we repeat all the pictures are not similar

01:04:21

to each other it turns out here even

01:04:25

additional flickering is created due

01:04:28

to or at the expense of a palette knife, by the way, do not

01:04:34

forget to send the pictures that you

01:04:36

draw together from the school of creativity to our

01:04:39

mail, we are always very happy about your successes,

01:04:44

our dear students, we have a

01:04:57

similar color on the window

01:05:01

so that the window does

01:05:04

not remain such a silver rectangle, we are with you

01:05:07

a little varnish with a thinner here

01:05:11

I will remind you of yellow Neapolitan

01:05:14

blue and it turns out green to slightly

01:05:18

greenish and you can

01:05:22

tone down the indigo a little if you want,

01:05:28

not in a thick layer so that it doesn’t float from the aiko, you can

01:05:39

see that where I start

01:05:42

working there it stops shining

01:05:46

We don’t want the window to be such a

01:05:49

rectangle that it all shines,

01:05:52

so we can work it out a little with

01:05:56

paint, so the paint goes on at

01:06:02

different angles and the gold leaf stops shining, of

01:06:09

course, we don’t need to decorate it,

01:06:15

we need to throw a bundle of copper,

01:06:18

now we’ll use ocher for these purposes, we

01:06:32

can use a little golden ocher to make

01:06:36

it look subsequently a bunch of silver and

01:06:40

copper, the lower window of the lower rectangle,

01:06:47

go through a little more ocher,

01:07:00

if it’s frosty outside the window, you can

01:07:02

go over it with white, the main thing is that our paint is

01:07:08

not thick, gentle gentle movements so

01:07:14

that the paint doesn’t go off,

01:07:30

if you imagine a frosty pattern outside the window,

01:07:34

then you can use a slightly bluish one

01:07:40

go over the color with a

01:07:51

clean napkin, not dirty, after

01:07:55

all the work, a clean napkin, I remove

01:07:59

the excess and soften it, here you can see

01:08:04

more marks from the brush here marks from the brush with

01:08:07

and the grooves I now use a soft napkin,

01:08:11

not paper, paper,

01:08:13

especially if it is hard, the gold can be

01:08:16

scraped off with a kitchen towel

01:08:20

rag I shift it so that on a

01:08:29

dirty piece then don’t knock on the gold leaf, the

01:08:34

patting motion is simply due to the

01:08:36

fact that the cloth is soft, you don’t hear

01:08:38

these movements, there is no sound, in

01:08:42

fact, tapping, the third layer

01:08:45

has not dried and it will not dry for some time,

01:08:48

it will be movable if we

01:08:50

rub we will shift the gold leaf plates

01:08:55

so we pat and tap

01:09:01

these are the gentle shimmering transitions that are obtained

01:09:05

window glossy glass window when

01:09:09

we paint gloss then

01:09:13

sharp transitions from light to shadow are characteristic

01:09:18

but in reality the desk is at different

01:09:21

angles then merge it in different ways

01:09:24

here you see how there is an area in the shadow,

01:09:27

how much darker it is than the doomed area

01:09:31

with silver, the same thing happens here it is

01:09:36

in the shadow, dark in the light, the picture

01:09:44

will not only glow differently at different angles,

01:09:46

but

01:09:49

additional light can be shot in

01:09:52

daylight in different ways in one way

01:09:54

it will glow under artificial conditions in a

01:09:57

completely different way, all this

01:10:04

combined with the mysticism of our gold leaf makes

01:10:07

your work completely unique, well, you and

01:10:13

I will take a smaller brush or a

01:10:20

worker with a flat brush, people will work on a

01:10:24

smaller area, capturing a smaller frame, and we

01:10:32

’ll make

01:10:34

a piece of it for you and oil, by the way, you don’t need to glue anything else, I’ve

01:10:41

run out of thinner, I

01:10:43

won’t add any more varnish, I’ll continue to work

01:10:47

only with oil since we do

01:10:50

n’t need to ensure accumulations

01:10:56

anymore, we can only continue to work with oil, I’ll

01:10:58

make a window frame for this

01:11:04

we have

01:11:05

ocher we have yellow ocher, we have two, you can

01:11:09

add Neapolitan with the railings,

01:11:12

the main thing is that we make them more or less even,

01:11:16

very carefully, dad, or

01:11:25

we apply just for this purpose the paint is

01:11:29

so translucent by adding a

01:11:31

thinner that it collects under the road along the way,

01:11:38

and if it comes off, we remove it like that ocher

01:12:12

white ocher we have two types of

01:12:16

Neapolitan yellows there is

01:12:30

a window sill here I won’t extend it, I’ve

01:12:34

quite successfully joined the eyebrow with

01:12:36

gold

01:12:37

so the window sill I won’t pay money

01:12:44

for an angel here I

01:12:45

won’t drive away it’s better to do a little

01:12:49

tracing since the work is

01:12:51

decorative, let’s do a little

01:12:56

tracing we have for this,

01:13:00

brown with butter,

01:13:05

circle everything around me, we look where you want to

01:13:09

emphasize the border, well, for example, in the corners, you

01:13:24

can trim the corners, that is, our

01:13:28

task is not to

01:13:31

circle in order to enhance the tone, but

01:13:36

rather to even out,

01:13:42

but here we will have to

01:13:44

use such a border everywhere, both on you jackets in

01:13:47

the future and on us girls you and I

01:13:50

have already made such

01:13:51

an outline, so that our picture

01:13:54

looks harmoniously stylistic and we

01:13:57

also add a little to the window frame

01:14:10

and in addition you can

01:14:14

sharpen the corners in this way for those who did not

01:14:18

get them too sharp, trim the lines

01:14:22

where the hand trembled,

01:14:27

you can congratulate the change with a palette knife if we are on the same level palette

01:14:31

knife let's pick up some brown paint,

01:14:33

then you can trim it this way,

01:14:38

just make sure that the

01:14:41

gold leaf doesn't come off, see who is

01:14:48

more comfortable with the various options, there are

01:14:54

strokes with an even brush, you need to enter everything with a palette knife,

01:14:59

maybe someone will do

01:15:01

without the stroke

01:15:08

[applause]

01:15:42

I need to go back a little on the bromine,

01:15:44

here is a piece I have torn off

01:15:59

into the window, a small piece of silver, I

01:16:03

need to glue it in the process, I came off

01:16:08

a little and I straightened the support frame

01:16:14

with a stroke, but I still need a small

01:16:18

piece of bronze to glue evenly,

01:16:23

now I’ll tear it off

01:16:31

with a drop of oil, like

01:17:38

this I trimmed the window, then you and I

01:17:43

are moving down you can work with

01:17:55

this surface here we either have a

01:17:58

patchwork quilt or a tablecloth covered

01:18:02

100

01:18:04

maybe there is a chest there but one way or another

01:18:07

there is an opportunity for a little

01:18:10

variety in color together you and I have a

01:18:14

yellow

01:18:26

yellow piece it smoothly turns into

01:18:31

ocher

01:18:33

here it’s already traditional our

01:18:36

shading

01:18:38

when between one and another color we

01:18:40

make a good

01:18:41

transition very square ocher I’ll start with

01:18:50

ocher and end with speckled and it will be a

01:18:54

bundle with hair here we have hair

01:18:58

planned to here there we don’t glue

01:19:04

or glue so here the paint is removed

01:19:08

gold leaf is removed here it will be more the

01:19:11

red section, therefore, it is possible to

01:19:13

also give this square here with a chain, I

01:19:17

will make a very speckled piece with

01:19:25

golden fluff, you can continue to

01:19:36

paint this square with the same color,

01:19:40

so we will have the colors

01:19:42

harmoniously matched, this color we

01:19:45

will use for a

01:19:49

dark hairstyle red kraplak and

01:19:52

golden ocher if you want, you can

01:19:55

use English red kraplak, it turns out

01:19:58

more burgundy, and for English red, a

01:20:02

more brick color, whoever likes

01:20:08

Neapolitan

01:20:10

yellow, and if you want brighter white with

01:20:14

cadmium yellow, mix it, it

01:20:16

will have a more lemony tint,

01:20:25

here we have cadmium yellow, if I

01:20:29

mix it, the linen does not it turns out a lemon

01:20:32

color, you can add brightness to the blanket,

01:20:46

you can write more of the same color

01:20:48

because it will go around the

01:20:50

candle

01:20:51

and here, a little for the guilty, I’ll make green,

01:20:59

we have blue + yellow,

01:21:06

it also appeared in our lighter

01:21:09

people on the folds and now it I’m

01:21:14

happy to add here she a blanket,

01:21:24

it’s on our cover somewhere, then I

01:21:30

darken the sash a little more with a

01:21:35

greenish color, remember, I put it on

01:21:38

without bodies and then with a soft cloth

01:21:42

I used tentative movements here,

01:21:45

since everything in our work

01:21:55

should look harmonious,

01:21:58

we’ll throw this trace over on the walnut and folds it

01:22:01

plays with us

01:22:36

and again here we have a stroke of

01:22:42

one

01:22:44

or a palette knife with checks from flat areas

01:22:51

here you can stroke it by

01:22:56

dividing it to make it clearer I

01:23:01

put brown paint on the edges of the palette knife

01:23:04

and with these cutting

01:23:07

movements I will work with

01:23:14

the palette knife and the brush and still

01:23:19

scrolling between the fingers of the leaves to

01:23:23

work I have already shown the news of

01:23:25

the pile I’ll stop in more detail they

01:23:29

only scoop on the ribs if your paint is

01:23:32

quite thick then you can dip the palette knife into the

01:23:34

oil dish additionally and only

01:23:38

on the ribs I scoop up the paint and cut it like a

01:23:45

knife

01:23:58

you can use the palette knife or you can work like

01:24:02

this I just nod using general movements,

01:24:05

catching one stroke after another with you can

01:24:09

draw a line, or you can even make it up from

01:24:11

several segments.

01:24:20

By the way, you can also

01:24:23

decorate the squares themselves with a palette knife if you want.

01:24:43

decorate the squares with

01:24:50

scraps

01:25:04

and you and I have whitewash with yellow color

01:25:07

going here on the candle one more

01:25:09

time I look at what is

01:25:12

not stuck at the moment there is an opportunity to collect it

01:25:16

scrape it off better to do this so as not to

01:25:22

interfere

01:25:30

so we have whitewash and yellow color

01:25:33

cadmium yellow you can start with

01:25:37

Neapolitan yellow, for example, the center,

01:25:42

first paint over the center with Neapolitan yellow

01:25:57

and use your finger to make a rounder light with your

01:26:03

finger Neapolitan yellow

01:26:07

along the edge, you can go yellow +

01:26:11

white

01:26:30

2. the exception was that it was as round as possible,

01:26:34

not oval, so you can even

01:26:38

apply some kind of round object to

01:26:40

outline

01:26:42

and subsequently paint over the light from the candle,

01:26:46

we spread it evenly with you,

01:26:49

so here it will not be an oval, but a

01:26:54

circle with your finger, again you can connect

01:27:00

the Neapolitan yellow and

01:27:09

make the outline if you want with a yellow

01:27:13

thin brush if you want ocher

01:27:24

here we have a stroke like in all the work

01:27:27

to correspond to a certain

01:27:30

style the

01:27:46

light itself in the center one touch of

01:27:55

ocher you can add 1 tbsp I will decide the

01:27:59

yellow

01:28:07

shape of the fire like a drop should be you

01:28:11

can take golden ocher here you can

01:28:19

put a white dot on the heart

01:28:26

warm shades by the way white can be

01:28:30

along the contour you can also put it in to

01:28:37

emphasize the brightness of the light, you can even

01:28:47

close it with a large one and make this white

01:28:51

outline just on one side,

01:28:54

a little small, walked over the glasses, then

01:28:59

shaded it a little according to the shape in a

01:29:02

circle, straight half a finger to the white, half a

01:29:05

finger to the yellow one, and with one literal

01:29:07

movement in a circle, she herself you and I have a candle,

01:29:33

I paint the candle itself strictly in the

01:29:35

center, neither to the right nor to the left, exactly in

01:29:41

the center, you

01:29:50

don’t need to draw a light directly through the radiance, first of all,

01:29:53

we have a similar color, but you

01:30:01

can outline it with the same ocher

01:30:04

as you would outline with a brush, I’ve already shown you

01:30:07

again, I’ll show you how do this with a palette knife

01:30:10

only on the edge, I put paint only

01:30:14

on the edge of the palette knife and for example, either

01:30:21

in sight or from two component strokes,

01:30:27

I hugged

01:30:34

let’s see how the gold leaf shines with you

01:30:43

from different angles, gold, silver and

01:30:47

bronze are perfectly combined due to the

01:30:51

outline of the more textured strokes of the wedge area

01:30:56

due to the color and we are about to begin with

01:31:02

the most difficult part, these are the faces of

01:31:09

our wonderful angels

01:31:11

and our hands. Now I will enlarge

01:31:18

the image a little at this stage. First of all,

01:31:25

you can relax before such an

01:31:27

important task as drawing, and

01:31:31

you can change the palette and apply

01:31:36

oils

01:31:37

because the faces should be clean,

01:31:42

beautiful,

01:31:43

who needs to update the paint, we

01:31:47

will now use light ocher

01:31:51

and golden Neapolitan yellow

01:31:56

perego,

01:31:58

but you can make the hair color any,

01:32:01

here it’s a pretty good combination

01:32:04

because the colors are harmoniously

01:32:07

combined, as I said before, with the

01:32:10

color of the shreds

01:32:13

with the color of the glow and from the window and from the candle

01:32:40

so the matrix is changed to there is no need to water the

01:32:46

pen or clean it come across

01:32:49

[music]

01:32:51

belyaevo

01:32:53

Neapolitan yellow ocher ocher 2 for the

01:33:00

outline brown

01:33:08

brush medium and small and also

01:33:12

please change the napkins

01:33:14

dirty with candies wipe the brush

01:33:18

[music]

01:33:29

we will draw the hair

01:33:31

not first of all in first of all

01:33:33

the face and so in order to get the volumetric

01:33:37

light and shadow you need in color we

01:33:40

stick with the glow from the candle in

01:33:46

color we have the glow from the candle it was

01:33:49

Neapolitan yellow Neapolitan

01:33:55

yellow right from the neck along with the neck the

01:34:01

neck is thin long enough right

01:34:08

now please oil we dose

01:34:11

now there is no need to use a lot of oil

01:34:14

if pieces of gold leaf fall off they are also

01:34:18

removed immediately they fall off in those

01:34:23

places where we did not glue

01:34:25

we did not glue respectively under the

01:34:27

hair and not or on the face we did not

01:34:31

glue from the left angel from the

01:34:35

extreme not I started a little in the profile of

01:34:38

the image and looks somewhere in the

01:34:43

direction of the window

01:34:46

now without oil, the fact that our edges are

01:34:49

now uneven, rough edges is not

01:34:52

scary, we will outline them as we

01:34:57

paid for everywhere with you with oil until you will

01:35:00

outline in the same way, but now we need to

01:35:02

shade the nose protruding slightly

01:35:07

protrudes, but this can actually be left

01:35:12

for a small brush,

01:35:18

so on, oh, I

01:35:21

’ll take a golden handle, whoever wants it

01:35:24

brighter takes a golden crust,

01:35:27

we need to make a little darker under the hair, the

01:35:30

color of the far part of

01:35:36

the neck can be a little, then the thread like

01:35:41

this

01:35:49

when shading, don’t forget anything we use a

01:35:52

brush with an empty hand to shade until

01:35:55

or with a finger such a small volume of chik so

01:36:02

that we get

01:36:13

[music]

01:36:37

a little deeper came out, so here

01:36:40

we also put the color a little

01:36:47

lighter, let’s make the cheek if you want with pink,

01:36:50

take a little Neapolitan

01:36:53

pink, but here it’s more likely to have more white cheeks,

01:36:57

look what I do is I literally put

01:36:59

one dot on the cheek and with my finger and

01:37:02

slam it with the

01:37:20

same brush you can draw a hairstyle

01:37:23

but we had golden

01:37:28

ocher hairstyles planned whoever wants a

01:37:31

redder version takes the brick color

01:37:34

English red or wants a

01:37:38

calmer one you can change it to brown here

01:37:41

By the way, you can use brown color and

01:37:46

go through and immediately determine the shape of the hairstyle,

01:37:55

it fits like this in our

01:37:58

ponytail and ends with a bow at

01:38:08

the narrowing, it

01:38:10

ends with a bow, so you are in the center,

01:38:15

you can already use English

01:38:19

red and golden ocher calves,

01:38:23

add

01:38:39

a border here with the face it doesn’t have to be perfectly

01:38:44

straight,

01:38:57

rounding the hair line like that doesn’t

01:39:00

have to be air, you can start

01:39:04

earlier or

01:39:06

later, so trimming everything with a single

01:39:10

line doesn’t have to be completely further, I

01:39:17

take a small brush and remind you that

01:39:24

I mixed brown with indigo,

01:39:26

but now the only thing for the face is

01:39:28

you can skip the indigo, you can make a stroke

01:39:31

only brown, immediately

01:39:36

mix it in for yourself, trample all the pieces

01:39:43

with thinner, stir all the pieces so that

01:39:47

the consistency is now homogeneous,

01:39:49

so that our pieces don’t get on our

01:39:53

face like our angel, I’ll start

01:39:59

aligning them from the line of the shoulders

01:40:18

and go to the hairstyle, look at the smooth

01:40:20

lines The fewer movements you make, the

01:40:23

better it will be. You don’t need to draw a dotted line with checks. You don’t

01:40:26

need to idly tear off the brush

01:40:30

if there is enough paint on the brush, if there is

01:40:32

slipping.

01:40:43

smoothly from

01:40:50

the neck to connect with the hair, the

01:40:59

same goes to the chin, there is at a

01:41:06

right angle to the canvas,

01:41:09

I don’t so much wipe as

01:41:12

I scroll

01:41:14

to sharpen and collect the excess paint

01:41:17

that we have, maybe pieces

01:41:19

of gold are glued,

01:41:21

see what I do next, approximately in the

01:41:24

middle our nose protrudes like this,

01:41:26

the nose protrudes somewhere in the

01:41:32

middle, but

01:41:33

from here you need to start the chin to the

01:41:38

nose, and on top of the hairline,

01:41:48

just a little bit on the bridge of the nose, make a bend in the mouth, you can make it

01:42:06

red, you can, oh,

01:42:09

put a light button on it with your pen. I

01:42:31

constantly rub the brush between my

01:42:34

fingers in order to sharpen it,

01:42:38

look, literally a few

01:42:40

millimeters are transferred and then

01:42:43

the eye is a triangle because

01:42:46

we are looking at the

01:42:47

profile of the eye, triangular

01:42:57

inside the white

01:43:11

pupil and later we will put it now if the hand

01:43:14

trembled and the abductor lines turned out to be

01:43:17

thick,

01:43:18

maybe your brush is plump you can

01:43:22

assemble these lines while we have live,

01:43:26

moving paints, we can

01:43:28

do whatever we want with the lines, for example, I’m

01:43:33

collecting

01:43:34

this from us, the Neapolitan lies, and you can

01:43:39

even add a chin at this stage, I want to

01:43:46

make it rounder,

01:43:48

a little

01:43:59

white, you can even lighten the nose

01:44:03

a little bit.

01:44:10

We have a slight

01:44:13

curvature to the nose from the logician, ours is a white

01:44:20

color, make sure that we have a cheek

01:44:24

marked, it was designated a little earlier,

01:44:27

and also between the eye and the eyebrow, draw a

01:44:31

small white line as if

01:44:34

the eye is located inside the orbital

01:44:36

socket

01:44:37

before drawing the eyebrow and then already with a

01:44:42

brown color you can draw

01:44:44

the edge,

01:44:45

it’s quite large here and put

01:44:54

the pupil

01:45:02

on the tip of ours

01:45:26

on the second box we have two graphs visible

01:45:29

[music]

01:45:30

as in the first case, you and I first

01:45:34

persistently find it was us

01:45:38

Neapolitan yellow, you can have hair

01:45:42

by the way, here the hair is also pretty

01:45:44

light, so you can paint over the

01:45:48

neck and face and hair with a general color; you

01:46:00

can immediately paint over the neck and face and hair as

01:46:05

you go; we collect more pieces of sweat

01:46:11

that come off

01:46:22

visually; we also look at the table so that

01:46:25

we have a voice and fluffy ones,

01:46:34

then with whitewash, now we’ll highlight mine; of

01:46:37

course, they will be clearly visible, but for now only

01:46:40

we estimate the mass, this is the mass of hair

01:46:55

and I

01:47:11

level the face in a circular motion, I

01:47:17

darken the

01:47:18

golden curls if you want, I usually darken the

01:47:23

border line with the hair, I darken the neck in the

01:47:32

chin area again, not with my fingers

01:47:41

or with a

01:47:44

blending brush I make a smoother

01:47:48

transition

01:47:55

blending brush try not to wash the

01:47:57

oilers, try to just wipe it

01:48:02

with a napkin so that the hairs don’t stick together, I

01:48:20

pick up the brown color with oil, I

01:48:25

start tracing the

01:48:27

necks from the clothes upwards, I collect the brush, I

01:48:37

don’t wipe, or rather, I wipe it, not to

01:48:40

change the color, but to

01:48:45

collect the hairs so that the brush does

01:48:48

n’t stick out in all directions, here you can place your little finger, for

01:48:51

example, on a window frame

01:48:53

It’s not advisable to put your little finger on the search with

01:48:56

gold leaf,

01:48:57

I’ll leave the little finger so that it’s disgusting with your hands

01:49:01

on the area; you don’t need to put gold leaf on it so

01:49:04

as not to spoil

01:49:12

such a round sheep in this place, and

01:49:17

again the cheek and chin can be

01:49:20

lightened with whitewash,

01:49:30

also with whitewash we lighten strands of hair,

01:49:34

here you can even pick up pieces

01:49:36

paint to maintain the texture that

01:49:40

you created with a palette knife on you putnam

01:49:43

a blanket and hopes if you don’t like it when

01:49:48

the paint lies in pieces, do it more

01:49:50

smoothly here, which means paint less,

01:50:02

continue the brown outline,

01:50:05

brown but and finish the hairs

01:50:14

somewhere, a fold is needed, a couple is needed to draw

01:50:17

curls

01:50:31

again, close here, no need here

01:50:34

somewhere you can leave it without a stroke, and

01:50:37

some around August,

01:50:54

you can by the way even put a bang here

01:50:56

right on the face

01:50:58

if you want a clear border and earlier on

01:51:05

some further away from the face we’ll take a little bit of

01:51:14

white paint, almost in

01:51:16

a piece, and somewhere in the center we’ll find a nose and

01:51:20

look somewhere, we lead once to the right and

01:51:25

left to the formation

01:51:34

again with thin subtle movements

01:51:38

here the eyebrow comes from the bridge of the nose

01:51:43

goes straight away now maybe there is a group

01:51:45

I will show, but the main thing is that you see this line

01:51:48

in the drawing now

01:51:51

it may look rough, but my task is

01:51:54

for you to see where on your work,

01:51:58

place this line, outlined the nose, immediately

01:52:01

went into the eyebrow, you could only draw it right away,

01:52:09

you can find the mouth, find the slit between the

01:52:15

lips, it turns out that here we have the tip of

01:52:21

the nose a little bit lighter, just

01:52:23

put a dot in this place, but on the

01:52:31

left side, on the contrary, you can even make a

01:52:33

couple of bridges on the bridge of the nose

01:52:39

emphasize like this and then in the

01:52:45

resulting spaces we need to

01:52:47

put the eyes, the caresses are located inside the

01:52:50

orbital socket, so they do not

01:52:53

glare,

01:52:54

you can even specially paint the orbital

01:52:58

sockets with

01:52:59

ocher like this,

01:53:06

and then here it will be more convenient to

01:53:11

actually draw the white

01:53:13

pupil first, then introduce it with thin lines

01:53:19

here we have a traditional shape since the

01:53:25

first angel

01:53:26

was in profile there we

01:53:29

drew an eye with a triangle here with a

01:53:30

turnip fish and first the pupils and then

01:53:36

try as much as possible to get the eyes thin and thin,

01:53:46

you can even use a handy

01:53:49

tool here, for example, with a toothpick,

01:53:51

draw thin lines here, the

01:54:03

center of the pupils and position and if If you want,

01:54:11

you can make your lips a little red too.

01:54:28

As for the handles, here in the same way,

01:54:33

we first paint your

01:54:36

hands with Neapolitan yellow in the

01:54:43

direction of your fingers, if you

01:54:47

take the paint thicker, then traces

01:54:52

of the paint may remain and imitate it

01:54:54

yourself, and you may not

01:54:57

even have to

01:54:58

trace your fingers in brown color from under the

01:55:04

sleeves until our arms protrude

01:55:07

here folded arms

01:55:19

are folded and here too 2 folded on

01:55:23

just the second hand is not visible here only

01:55:25

one arm is visible

01:55:34

and in brown with a thin brush we

01:55:37

outline with you

01:55:40

see where they are clearly visible, for example

01:55:44

here

01:55:45

the sleeve Pinsk is visible well, I won’t trace it,

01:55:48

but I won’t outline the patch on the finger as

01:55:50

a division, I’ll give it a little brown

01:55:57

paint, I’m doing it here instead, the hand against a

01:56:01

white background is visible well, I wo

01:56:04

n’t make unnecessary movements there, I’ll

01:56:06

just give a separation between the fingers,

01:56:12

don’t tear off the brush, please, I’ll check the

01:56:15

dotted line and with a general movement from the

01:56:19

tip of the finger to the end of the finger

01:56:30

brown paint with thinner, these are the

01:56:45

kind of angels you and I have that are

01:56:48

wonderful, Leo’s

01:56:53

angel has a tie in red, you can

01:57:00

make a tie black and red kraplak

01:57:06

with

01:57:19

Baltic Minsk oil,

01:57:24

no need to draw it, perfectly even

01:57:26

turns, you may have noticed kopecks

01:57:28

vibrates a little hand

01:57:42

where I put the finger on the fulcrum there

01:57:46

I adjust it be sure to remember

01:57:49

to adjust the helmet in these places these are such

01:57:56

wonderful kind luminous angels

01:58:01

we get this is how golden

01:58:05

silver and copper leaf glows

01:58:08

look if it doesn’t glow then a

01:58:10

fairly dark colorful background is created

01:58:13

for ours white clothes, the

01:58:18

white color plays well against the glossy background

01:58:24

if in the process of work the

01:58:27

white color on the clothes has deteriorated a little, palette

01:58:32

knife checks, add paint, add

01:58:35

paint here along the folds here

01:58:39

down down down or for example in

01:58:43

order to create the texture of the folds or in

01:58:47

order to additionally whiten, depending on

01:58:52

who is pursuing what task with white, it

01:58:57

often happens that the white in the process of

01:58:59

work becomes washed out

01:59:00

a little, becomes duller if

01:59:04

you accidentally touch both the white and from the

01:59:09

hangers down, this contour of the collars

01:59:13

can be worked out

01:59:14

additionally

01:59:22

either to add white or to

01:59:26

create the texture of folds for you and me

01:59:30

All that remains is to sign our work,

01:59:34

by the way, you can do this on a dark surface,

01:59:39

scratch the donut with a palette

01:59:45

knife with a toothpick or a

01:59:48

sharp brush when applying it to the wound, about a

01:59:53

centimeter apart, they

01:59:56

go under the baguette depending on the package,

02:00:03

so please do not put your signature in the very corner,

02:00:17

choose a suitable place for our

02:00:20

work so that on the light fell on it so

02:00:26

that our golden shades of

02:00:29

gold and silver bronze

02:00:32

copper so that they glow at

02:00:36

different angles at different times of the day under

02:00:39

different lighting in different ways,

02:00:45

send us photographs of your works

02:00:48

that you draw together with the school of

02:00:51

creativity,

02:00:52

share your ideas and the teachers of the school

02:00:56

creativity will always help you realize your

02:00:59

ideas until we meet again dear friends

02:01:04

Valeria Krylo was with you in bye bye

02:01:07

get a free watch atla or

02:01:10

three hour lesson alania in different techniques

02:01:13

or sheet draw maps below under the video

02:01:16

click on the round button subscribe to the

02:01:19

channel

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