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Channel: Zartschool - школа живописи Татьяны Зубовой

живопись

маслом

художник

Алексей

Епишин

мастер-класс

как

достичь

тональная

цельность

научиться

рисовать

холст

краски

кисти

веерные

природа

пейзаж

лес

дорога

Oil

painting

how

to

achieve

tonal

wholeness

00:00:01

[music]

00:00:10

hello friends today I will be

00:00:13

painting a forest and in this work you will see

00:00:16

many different elements of landscapes such

00:00:19

details as individual branches of

00:00:22

clusters of branches tree trunks

00:00:26

spatial plans a lot of things and here’s

00:00:30

how not to get confused in all this abundance of

00:00:32

landscape elements how to

00:00:36

maintain the integrity of the canvas the integrity of

00:00:39

painting

00:00:41

Understanding tone, what it is and what the

00:00:45

tonal integrity of painting is,

00:00:48

we will talk about this in more detail today,

00:00:50

but I will write at this time the

00:01:08

initial drawing, I outline it with

00:01:10

a brush and you see it consists of

00:01:15

such fragments of

00:01:17

landscapes as individual branches, individual

00:01:22

groups of leaves, trunks trees,

00:01:29

certain areas of the ground, that is, I kind

00:01:34

of break the drawing into certain areas

00:01:37

and

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each of these areas will be

00:01:43

lit differently,

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they will have their own chiaroscuro, that is,

00:01:53

for me this is how different

00:01:57

objects turn out, although it may be foliage that

00:02:00

belongs to one and the same besides, a tree is like

00:02:02

such a common mass, but I divide it into

00:02:06

some separate zones and for me they are

00:02:08

like separate objects and in order to collect

00:02:12

this entire landscape into a single whole

00:02:14

so that it does not crumble into these different

00:02:18

separate parts here you need to

00:02:22

try very hard when artists,

00:02:26

for example, are working on a still life,

00:02:29

well, it’s more or less clear, there’s one

00:02:32

object, 2 objects, a third object, there’s a

00:02:36

large medium small plane of the table,

00:02:40

walls, some kind of drapery, too, here they are

00:02:44

objects, but here I’m not dividing the landscape

00:02:48

into

00:02:50

trees, there’s one tree, a second tree,

00:02:53

there’s a third tree 4 there’s a forest there, for example, I’m looking for

00:02:58

something, there are certain zones into which

00:03:03

I conventionally divided the

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same tree, for example, or from, but

00:03:08

this is a strip of forest or the same

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clearing, and for me these are certain

00:03:14

objects that need to be given

00:03:17

the shape that is needed shed

00:03:21

daylight to create air to create

00:03:26

space to create an atmosphere of

00:03:29

volume and so on and so on and so on to

00:03:34

do all this to create a

00:03:38

landscape environment this light airy

00:03:43

environment as artists say for this you

00:03:47

need to understand the role of tones tone

00:03:51

is a very, very important aspect in

00:03:55

painting and this a separate very big

00:04:00

topic for conversation, for example, there was such a

00:04:05

wonderful artist teacher Nikolai

00:04:08

Petrovich Krymov,

00:04:11

if I’m not mistaken at the beginning of the twentieth

00:04:13

century, he worked as a teacher and he

00:04:17

developed such a very interesting theory of

00:04:19

tone, I have an article on this website

00:04:24

dedicated to this issue, if anyone is

00:04:27

interested, go to the tutorial section

00:04:29

there you will find what

00:04:33

is called a tuning fork in painting,

00:04:35

so the essence of this theory comes down to the fact

00:04:38

that the same tree, for example, or the

00:04:41

same clearing, it has a different

00:04:44

tonality depending on the time of

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day, for example, in the

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early morning this is one tonality, then at

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noon this is a different tonality in the evening

00:04:58

third tonality, well at night,

00:05:00

respectively, 4th tonality, that is,

00:05:03

although a tree has its own

00:05:05

color, its own color, but it is different

00:05:10

in tone depending on the time of day,

00:05:13

that is, the general illumination of the landscape by

00:05:18

sunlight, it greatly affects the

00:05:21

tonality of each individual

00:05:23

object in the landscape and how to determine this

00:05:28

tonality in general what is tom, well,

00:05:31

it is the degree of illumination, that is, the color

00:05:35

is the color yellow orange beige

00:05:39

brown and so on and so on and so on and so on and there is

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tom, that is, dark and light average

00:05:46

lighter darker, that is, it is the illumination

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how light or dark the object is and

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how to what extent it is lighter or

00:05:56

darker than

00:05:57

its neighbor, another object; landscapes,

00:06:02

for example, the

00:06:03

tone changes depending on the

00:06:08

lighting and the general nature of the

00:06:12

lighting, that is, local lighting, for

00:06:15

example, a ray of sun fell on a tree and

00:06:17

illuminated it and general lighting, that is,

00:06:21

how light is it in general during the day when

00:06:26

the sun is at its zenith one degree of

00:06:28

illumination when the sun goes below the

00:06:31

horizon, the time of sunset in the evening is

00:06:35

another degree of illumination, so to

00:06:38

see this difference here you need a kind of

00:06:42

operation, but for some kind of reference, for

00:06:46

some kind of

00:06:47

coupon and Nikolai Petrovich Krymov, he

00:06:53

saw fire as such a standard for himself,

00:06:57

that is accidentally died noticed and came to the

00:07:02

conclusion that here is fire and that is, a standard

00:07:06

comparable to white on the palette,

00:07:08

that is, well, artists

00:07:11

don’t have anything brighter than white in our arsenal; up to the paints,

00:07:16

white is the brightest paint, the

00:07:19

lightest,

00:07:21

so comparable in aperture

00:07:26

will be fire or the light of the sun

00:07:33

there, the light of a light bulb, the light of a fire, that is,

00:07:38

this will be a standard comparable to

00:07:41

whitewash, that is, of course, there is no need for

00:07:49

x there, and maybe there is no need to

00:07:53

shine a flashlight there until in order to compare the

00:07:57

tonality of some object in the landscape

00:08:01

with the aperture ratio of a flashlight, you don’t need to do that

00:08:05

approach this issue literally,

00:08:08

shine a flashlight there, do something else, but

00:08:15

just the principle itself is

00:08:17

to understand how much darker all the other

00:08:22

objects are, that is, even the whitest ones, well, I don’t

00:08:25

know, for example, there is

00:08:29

some kind of white limestone stone, here it lies on

00:08:31

there, I don’t know where the beach is then a

00:08:34

ray of sun falls on it, it is very bright, but it is

00:08:38

still a little darker than the sun itself, the

00:08:41

sun itself is the first source of light and,

00:08:45

accordingly, does not act as the

00:08:48

lightest spot in the landscape, that is, the light of a

00:08:53

lamp there is a fire, the sun is from such a

00:08:56

landmark with which you can do this compare

00:09:02

the tonality of an object and proceed from this,

00:09:05

of course, white is

00:09:10

not the purest white paint, it

00:09:13

cannot be compared in terms of brightness with the sun

00:09:17

there or with a light bulb, it’s still a darker

00:09:23

[music]

00:09:25

dark substance compared to

00:09:28

literal light, but since

00:09:32

there is nothing brighter than artists at hand, we

00:09:36

will conditionally assume that this is

00:09:39

comparable to the aperture of a sun fire lamp,

00:09:45

and so on, based on this

00:09:52

theory, we analyze how dense

00:09:57

or dark the paint should be there, all

00:10:01

these trees due to these grasses and forest and

00:10:04

clearing, so on and so forth Well, the

00:10:09

illumination is local illumination, that

00:10:12

is, light is a shadow on an object, the same

00:10:18

tree trunk is displaced differently, it is somewhere

00:10:20

hiding in the shadow, somewhere it comes out into the light of the

00:10:23

crown of a tree, it is also like how students draw a

00:10:30

plaster ball on it there is light partial shade

00:10:33

tiene reflex also the crown of a tree is

00:10:35

consecrated according to this principle, therefore, in addition to the

00:10:39

general tonality of landscapes, you also need to

00:10:42

think about the local, that is, not that is,

00:10:46

find light, shadow, and

00:10:50

compare how much lighter one object is

00:10:53

than another, that is, one branch,

00:10:57

for example, green and 2 turns of green, I’m

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between not myself, that’s myself poleshko is given

00:11:07

tree only two answers with foliage and here is the

00:11:12

foliage 1 green 2 green how

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green is it how much is one branch lighter than the

00:11:21

other and this comparison helps the

00:11:25

artist not to get lost in all this

00:11:29

variety of objects in the picture

00:11:34

well, there is a famous artist Surikov

00:11:41

was an artist in the past like this and many people

00:11:45

know his canvases, he worked on so

00:11:48

many shaped compositions, he painted

00:11:51

large canvases so as not to get confused with the

00:11:55

tonality in such canvases, you need

00:11:58

to have great skill in the landscape, at

00:12:01

first glance it seems there are fewer

00:12:03

objects there, but there are no 50 figures,

00:12:08

fifty hundred people, but they don’t stand where -

00:12:13

in the square there are only some trees,

00:12:16

in fact there are also many objects here

00:12:19

that are lit differently and now you

00:12:22

see on the screen after I

00:12:25

laid out the underpainting the main masses

00:12:29

determined the color tone in general now I am

00:12:33

starting to paint

00:12:35

small leaves in the foreground and

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look how much brighter they are than the

00:12:43

green one behind this, this is explained by the fact

00:12:49

that this tree branch goes to the

00:12:54

side and diffused daylight falls on it;

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during

00:13:00

such cloudy weather, the gray sky

00:13:05

is characterized by blurriness, softness, absent-mindedness,

00:13:09

that is, there are no clear

00:13:11

contours of shadows

00:13:13

everything is very blurry and

00:13:16

the branch seems to smoothly float out of the

00:13:19

shadow of the tree itself, well, as if under an

00:13:24

umbrella there is this whole green

00:13:27

foliage and yes, under the umbrella, a

00:13:29

shaped umbrella, the tree is

00:13:32

blocking the light and this branch,

00:13:35

being in the shadow, comes out into the light

00:13:38

smoothly and softly and it becomes lighter

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lighter lighter therefore the upper

00:13:44

part of the

00:13:45

foliage can where and we are closer to the trunk to the

00:13:49

inner part of the tree there I

00:13:52

take the green color darker and below the branch

00:13:56

comes out and it is brighter, lighter

00:14:00

and accordingly the green color is

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lighter, also due to this a

00:14:06

kind of paw is formed, a v-shaped

00:14:11

paw, that is, a tree branch that you seem to have

00:14:14

floated up from

00:14:17

such a deep shadow and we see

00:14:21

how alive it is, but this is only the beginning of the work,

00:14:24

that is, further on I will write the whole thing, I’m

00:14:27

just pointing out that in the

00:14:32

tree itself, several zones that

00:14:34

face are illuminated differently, that

00:14:40

is, one area of foliage in very deep

00:14:44

shadow is generally dark there, some

00:14:47

area is also in the shadow but a little lighter,

00:14:50

some area in the middle zone

00:14:55

is some area of greenery that

00:14:57

has surfaced In general, the light is very bright and

00:15:00

some fragment of green foliage, and here, for

00:15:03

example, on the right,

00:15:09

the sun or daylight shines through it and

00:15:12

we see the foliage in the light from here, what a

00:15:16

ringing color the color of the greenery is, that is, it’s not

00:15:20

just the light falling on the foliage, the foliage

00:15:23

shines through

00:15:28

it there is light passing through the foliage and we

00:15:32

see the leaves as if in the light, this is a

00:15:36

different tonality, that is, you can already see

00:15:38

how many tones we have collected on just one

00:15:41

tree in the forest, there are a lot of trees and we

00:15:45

see in the landscape not only individual

00:15:49

trees, individual silhouettes, but we see

00:15:52

masses of intertwined trees there can

00:15:55

be tens and hundreds of them that

00:15:58

are combined into some groups of mass, we

00:16:02

see this total mass,

00:16:04

and each of these groups is also illuminated

00:16:08

differently, so in a landscape it is also difficult to

00:16:11

organize all the painting so that tonally it

00:16:15

all lies in its place

00:16:18

lies on in its place because if

00:16:25

you forget about the

00:16:26

tonal integrity, then it’s like a puzzle; the

00:16:31

overall picture won’t work out, and it won’t

00:16:34

work out, not according to the drawing, not according to the form, but

00:16:36

then we will see the

00:16:40

unrealism of the artificiality of the painting,

00:16:43

as if some kind of decorativeness, somewhere

00:16:46

flatness,

00:16:47

but if we define it correctly the tone of each

00:16:52

individual fragment, then we will see the

00:16:55

air in the light and we will see the reality of

00:17:00

the landscape, what in general you attract the viewer in

00:17:04

landscape painting, now I wrote with a

00:17:09

fan brush, as if a hint of individual

00:17:14

leaves in this large green

00:17:17

mass, so I am gradually bringing the

00:17:21

green spot from this generalized

00:17:25

state to a more

00:17:28

detailed state in view of it, that is, I

00:17:31

bring it to such a completed stage, here

00:17:36

we are, while this is still an intermediate stage,

00:17:38

the work is not finished, the painting section is not finished,

00:17:42

I began to paint

00:17:48

white violet in this color, somewhere in

00:17:52

white-blue sulfur blue, that is, in this

00:17:59

light color I I started writing in the space

00:18:03

between the leaves, that is, where

00:18:05

the sky is visible, these gaps

00:18:09

between the trees between the leaves, and here,

00:18:15

too, there are many nuances,

00:18:17

but the main principle here is that you need to

00:18:21

follow the rhythm, maybe not so much

00:18:23

to copy nature,

00:18:26

I generally try not to copy it,

00:18:29

to convey the image the main essence

00:18:35

so much to copy with it and how much to convey, the

00:18:39

rhythm and these spaces

00:18:43

between the leaves are interesting,

00:18:45

that is, a large spot smaller in size a

00:18:49

spot even smaller medium small very

00:18:52

small so that they don’t look

00:18:54

the same if they are the same they

00:18:56

won’t look like something else I don’t know what are

00:18:59

snowflakes, that is, the

00:19:01

space between the leaves and they are all different

00:19:04

in size somewhere around 1. somewhere around 20.

00:19:07

united in a group

00:19:09

and this way we see that the sky

00:19:14

peeks through the foliage and will

00:19:19

look close to nature, as in

00:19:23

fact, I now use

00:19:29

different types of brushes in my work,

00:19:32

usually I didn’t work with a fan brush, I decided to

00:19:36

try it because poking a small

00:19:41

brush a million times is kind of tiring a

00:19:43

fan brush and it gives

00:19:45

several points at once in one touch, the

00:19:49

only thing you need to make sure is that these

00:19:51

points are varied, that is, you can

00:19:55

work with the edge of the corner of the

00:19:59

fan brush, you can work with the end part, you can

00:20:04

work with a plane over the

00:20:07

concept, and so on and so forth, I

00:20:10

mainly touch the canvas with the corner this

00:20:13

gives you several

00:20:16

skeins of such microscopic ones at once in one

00:20:19

touch, this speeds up the work, but the

00:20:23

masks are still a little monotonous no

00:20:26

matter how you look at it, so

00:20:33

I still go through it with a thin brush, making additional adjustments and

00:20:37

adding additions to bring the illusion of

00:20:40

foliage to this final state,

00:20:46

so it felt more realistic

00:20:49

now I I’m making a darker area of

00:20:52

foliage,

00:20:54

pay attention to this leg of the branch, it

00:20:57

came forward into the light,

00:21:00

then the side

00:21:03

inside it goes inside the tree and

00:21:06

becomes darker than the green on the right, that

00:21:10

is, the foliage is

00:21:12

illuminated there in the light, but this edge is

00:21:15

illuminated branches, what’s in front in the

00:21:20

center that back edge is in the shade,

00:21:23

this green is a little darker than the

00:21:26

green in the neighboring green areas, that’s why

00:21:31

even inside this

00:21:34

crown, the tonality of the green color is

00:21:40

constantly changing, very changeable, and the

00:21:44

less similarity, the fewer hits

00:21:48

in the tone, the better the notes are composed because

00:21:53

this is such a big puzzle that it’s difficult to

00:21:56

put everything together, besides here, in addition to

00:22:00

color, you need to think about I’m sorry,

00:22:05

besides a ton you need to think about color here

00:22:08

green is not just green,

00:22:12

it changes, for example, in the light of this green,

00:22:16

I added

00:22:17

blue in addition to white and it turned out like this

00:22:22

such a cold light

00:22:27

green bluish color

00:22:29

somewhere green it is more ringing warm

00:22:33

so yellow-green then I mean, in

00:22:37

the browser bottom green in mixtures with

00:22:40

yellow somewhere I mixed emerald green

00:22:43

yellow mixing in a little bit of kraplak

00:22:49

just so that it doesn’t turn

00:22:50

brown that’s where - I added purple to the greens,

00:22:54

purple

00:22:58

closer to this

00:23:01

purple closer to the scarf, so the greens

00:23:05

turned out different in color everywhere, this

00:23:09

gives a certain color

00:23:13

dynamics and liveliness to this landscape, and

00:23:18

indeed in painting in reality,

00:23:21

more precisely in a landscape in nature, the color

00:23:24

changes where -it’s warmer somewhere

00:23:27

colder warmer colder because at

00:23:29

first glance maybe if you

00:23:32

don’t look closely the landscape

00:23:34

seems all so simple green but it’s

00:23:37

not just I say there are many complex mixtures of

00:23:41

shades of this green color two trunks

00:23:46

2 two trunks of the tree that I’m writing

00:23:51

they are on at different distances, one is

00:23:56

closer to each other and further away and, accordingly,

00:24:00

their tonality is also slightly different,

00:24:02

although they are very close to Paton, but

00:24:07

nevertheless, if they are written absolutely the same,

00:24:10

then this will deprive this

00:24:17

type of spatiality

00:24:19

and make it a little flat, so

00:24:24

even if in reality it is these two the

00:24:27

trees are very, very close in shades of

00:24:29

gray, I make them a little different

00:24:33

by the way, I paint the path purely in the underpainting,

00:24:38

see how I blur the paint with a small

00:24:43

brush, I catch up with this liquid

00:24:46

diluted paint, a layer of underpainting so that it

00:24:49

softly spreads and such soft

00:24:53

blurry airy falling shadows are formed, but

00:24:58

in the future anyway, I’ll have to

00:25:01

rewrite this because

00:25:05

the paint didn’t go quite as well as I would like, so I

00:25:08

’ll have to go on top and also or paint with an

00:25:11

impasto layer of paint. Now I’m increasing the

00:25:17

light on this protruding branch on the

00:25:21

leaves,

00:25:22

and pay attention to the back of some of the foliage, I’m

00:25:26

immersing it in the shadows,

00:25:28

increasing the darkness green paint and

00:25:34

from this the effect that the foliage seems to

00:25:39

protrude forward from this the effect is

00:25:42

enhanced therefore chiaroscuro in this

00:25:46

case is

00:25:48

very important and somewhere and you can neglect

00:25:51

there they are fundamental issues on

00:25:54

some background plans here this is essentially the

00:25:57

compositional center so I try to

00:26:01

convey it all more accurately somewhere,

00:26:04

maybe even enhance the lighting effect,

00:26:08

emphasize something, the

00:26:15

tree bark is also a whole separate topic

00:26:18

for conversation, I already wrote it, you

00:26:28

saw that somewhere with a small brush I

00:26:30

literally literally wrote everything down in detail,

00:26:33

somewhere I generalized it a little, and so

00:26:35

due to this different approach,

00:26:41

an illusion is formed if you just

00:26:44

write everything down every crack

00:26:46

in the bark of a tree, it will also be well,

00:26:50

artificially, not quite sent, the

00:26:54

combination

00:26:55

of generalization and detail creates the

00:26:58

illusion of such an interesting impression of

00:27:05

nature,

00:27:06

but I have already talked about this more than once in

00:27:08

my previous works,

00:27:12

don’t linger too much I will be on this topic

00:27:19

gradually the painting seems to be stretched out,

00:27:25

but in the sense that from such a

00:27:27

generalized mixture of a hodgepodge of colors it

00:27:32

takes on a more recognizable look and I am

00:27:37

gradually clarifying it, specifying it in detail,

00:27:42

although I

00:27:44

do not follow the sequence of individuals, as is customary in the

00:27:48

classics, for me now this is not so

00:27:54

important, this is important in at the initial stage

00:27:58

you are learning only the first steps you are

00:28:01

now taking other tasks that

00:28:04

I am working on which are also difficult,

00:28:07

not everything works out here I

00:28:12

tried to write the background very generally,

00:28:16

pay attention there is a forest of spruce

00:28:19

and it is quite dark, these two

00:28:24

large trees near the path they are closer towards

00:28:29

the light they are

00:28:30

lighter, that is, their greens are brighter and the

00:28:33

greens and ate it there in the distance it is darker

00:28:37

and the color is not just green, it is closer to

00:28:40

gray-violet about this and

00:28:44

two plans are formed 2 in the distance and 1 here for the

00:28:50

trees,

00:28:51

here is the first one in more detail I write down

00:28:55

each individual leaf somewhere

00:28:57

and the background is very wide there, literally with

00:29:00

the plane of the brush, as if rubbing it, so

00:29:09

somewhere I even slap the paint, I rub

00:29:12

the paint, and all this creates the illusion of the illusion of

00:29:15

gaps between the trees

00:29:18

between the trunks, the

00:29:21

illusion that there is an illuminated

00:29:24

area somewhere the forests between the trees, grandfather, he’s so

00:29:28

shadows here, it’s just masks, it’s cool,

00:29:31

I’m laying out paint masks and, in principle, it’s already

00:29:34

recognized that this is a forest, that is, such a

00:29:36

generalized approach is enough if the

00:29:40

second plan is also described in detail as the

00:29:43

first, then the illusion of space

00:29:46

will no longer be the same, by the way, the feeling from the

00:29:53

tree on the left, now I’m

00:29:55

starting to write a very wide letter with a large

00:29:59

flat brush, you can now see

00:30:02

on the screen I’ve zoomed in on the image of how the

00:30:06

strokes of paint were laid down, that is, from afar,

00:30:11

these transitions from one stroke

00:30:13

to another, they create a feeling of clumsiness. in

00:30:21

more detail,

00:30:23

delicately, less brush, but

00:30:26

look at this tree on the left, it’s written very broadly

00:30:29

and, in principle, this played a

00:30:33

role, but in the end it looks normal, that

00:30:36

is, an illusion is created from large

00:30:39

wide strokes, the illusion of clumsiness of the

00:30:47

surface of the trunk,

00:30:50

well, of course I won’t leave it like that that is,

00:30:53

I will still add some

00:30:55

small details there, but they will already

00:30:58

fit into this big batch of

00:31:01

such rough broad strokes.

00:31:07

Plan 2 is now supplemented with a second layer of paint,

00:31:11

they also write with thinly diluted paint,

00:31:17

that is, it turns out something like

00:31:19

glazing, although this is not glaze

00:31:22

writing, but some kind of similarity, that is, an

00:31:25

underpainting from when liquid paint

00:31:28

dries in the first layer and the undermining is painted

00:31:31

impasto with the second third layer, and

00:31:33

glaze is when it is written with such

00:31:37

translucent layers of paint in

00:31:39

several layers, this paint

00:31:43

is laid down liquid transparently the

00:31:46

first layer,

00:31:47

it dried then the second layer prescribed it has dried the

00:31:50

third layer prescribed high due to

00:31:53

this the transparency of the paint is formed the

00:31:56

red layer seems to be so airy a

00:32:00

very clear

00:32:03

ringing color it turns out that is, this

00:32:06

has its advantages but I don’t write like the

00:32:09

classics I use it as well as

00:32:11

fragmentary that’s where it turned out

00:32:15

two -three transparent layers, something like

00:32:17

glazing, and somewhere I write

00:32:19

almost like Olya Prim, that is, the goal and

00:32:22

with the mother translates as, well, in one step, it’s

00:32:25

quickly written, and now I’ve made

00:32:30

a few strokes of the cabinet on the bark of this

00:32:35

tree, what’s on the left is these big wide ones

00:32:40

strokes I

00:32:41

added a few little boys to it,

00:32:44

like strokes like this, the tree trunk,

00:32:47

look how it immediately transformed, that

00:32:50

is, up close

00:32:51

the daub, roughly speaking, from afar it

00:32:54

creates the illusion of some kind of hollow,

00:32:57

some kind of cracks, clumsiness, unevenness on the

00:33:03

surface of the

00:33:04

tree trunk, but this fragment is

00:33:07

the opposite more

00:33:10

literally conveyed there with a simple

00:33:13

small brush chirp chirp chirp

00:33:16

laid out such strokes of paint and here it is

00:33:19

written more broadly an illusion is created,

00:33:24

that is, it’s not a literal letter I’m writing now there are

00:33:36

ferns there greenery he to me here on the

00:33:40

left side of the road what’s

00:33:44

quite an interesting place here is a real place

00:33:48

I’m describing there was

00:33:50

a photograph taken once 2 I decided to

00:33:53

return to this and, holding it down, describe it,

00:33:56

look at how the illuminated

00:34:00

part of the earth softly transitions to the one in the shadows, that is, there in the

00:34:05

background there are smears of

00:34:08

green, light and bright, and here,

00:34:13

closer to us, down to the tree where

00:34:17

the tree grows from there the greenery is darker,

00:34:20

it goes into the shadows, but here, now

00:34:23

I’m painting a fern in the very foreground,

00:34:27

close in the left corner, this fern is

00:34:31

very light, that is, you see there

00:34:33

almost an underpainting, light green

00:34:37

transparent paint is not just green, there

00:34:41

are also blue shades.

00:34:46

roughly speaking, green color has been added in general,

00:34:49

look how bright it is, that

00:34:51

is, if you are that

00:34:55

fern, it is very light, and then there is a

00:35:01

shadow on the ground on the grass, that is, a

00:35:05

shadow falls from the trees and the ground goes

00:35:09

softly into the shadow and then again, as if

00:35:11

softly floats up like that smoothly into the light and as a

00:35:15

result, interesting

00:35:18

spatial plans are formed inside the forest,

00:35:21

now I’m already writing in detail each

00:35:25

leaf of the fern, so

00:35:28

let’s focus on this somewhere, but

00:35:33

I’m trying to literally convey each of

00:35:37

this branch of the

00:35:39

fern, and somewhere, just a set of

00:35:42

strokes creates a kind of jumbled illusion

00:35:47

of some kind of then there are grass leaves there, I don’t

00:35:50

know, maybe there are burdocks, I don’t remember exactly,

00:35:53

there in the photograph it wasn’t very

00:35:55

visible, that’s why I kind of took a

00:35:59

different approach to working on this

00:36:02

fragment

00:36:04

between the leaves in the space there in the dark,

00:36:09

not

00:36:10

then using a dark color, but in

00:36:13

the light they naturally light, so I

00:36:16

alternate masks, dark masks, light, but in

00:36:19

general this piece, now I have reduced

00:36:23

the image on the screen as a whole, this

00:36:26

piece is light and look how

00:36:31

this piece has emerged, as if from the shadows of the forest, and

00:36:35

due to which it has emerged, due to the transfer of

00:36:39

tone, the light piece then grows the ground, the

00:36:43

grass goes into the shadows and then in the

00:36:45

background

00:36:47

in the background it comes out into the

00:36:49

light again, but the light in the distant light close up is

00:36:52

two different lights up close so in the park it’s

00:36:57

brighter, that is, this color is brighter than that section of

00:37:03

grass and mosses that are in the distance also in the

00:37:06

light that light is a little darker than the

00:37:12

poet's, this is a little bit, this is a very

00:37:16

important role in the

00:37:17

transfer of tone and light-air environment,

00:37:21

this is a little bit, that's the whole point, but in order

00:37:25

not to make mistakes you need to

00:37:27

work a lot to observe nature, that

00:37:30

is, like artists, put your eye on it

00:37:34

there is a tonal difference to be seen in the area of

00:37:40

grass that I am now painting, it’s quite

00:37:42

interesting that there are also ferns here, but they,

00:37:45

that is, their leaves, they seem to be

00:37:48

lined up in one direction, and I write,

00:37:53

well, quite generally, just with masks,

00:37:56

but I alternate a stroke, a light stroke, a dark

00:37:59

stroke of a medium tone,

00:38:01

that is, roughly speaking tritone, although there is of

00:38:04

course more tonality, but for

00:38:06

simplicity we will consider three different tones of

00:38:09

green light green

00:38:12

dark green average villain and even

00:38:15

if you take 3 tons like that, you get

00:38:18

leaves and ferns with different degrees of

00:38:22

illumination and they all settle down and

00:38:25

a feeling is formed, well the grass looks like it’s

00:38:29

alive due to again, it’s correct

00:38:34

to convey that it’s there where there’s a

00:38:37

mistake in tone, that’s where the problems begin, the

00:38:43

individual leaves of the fern in the light are

00:38:47

just not the brightest, well here, probably

00:38:51

not 3 tones 5 somewhere, pay attention to

00:39:03

how it looked up close as it does now from afar

00:39:06

close up we see masks and

00:39:10

from afar we see ferns, that is, an

00:39:12

illusion is created and painting needs to be

00:39:16

looked at from afar, as you know, a wheelbarrow is

00:39:21

raining, in essence it is, in a figurative

00:39:26

sense, a magician-illusionist, that’s why

00:39:28

if you have enough

00:39:34

experience, in principle, yes, that is, artists

00:39:38

create an illusion into the illusion of reality

00:39:47

After the paint has dried with a cassette,

00:39:52

I start painting in several stages, I just

00:39:55

now combined all the video recordings

00:39:59

into one film, so it looks

00:40:02

like I wrote it in one go, so I

00:40:04

worked in several stages and when the paint was

00:40:08

dry, the smallest tiny

00:40:13

branches with a

00:40:14

small thin brush of the first

00:40:17

My numbers are synthetic,

00:40:20

okay, in principle, they’re normal, too, you can

00:40:24

work,

00:40:25

and so delicately I try to

00:40:29

draw some individual branches directly, but

00:40:33

you can’t get carried away here because if you

00:40:36

overdo it, draw branches

00:40:39

everywhere, everywhere, everywhere, then it will be the same

00:40:41

overkill and the painting will not work to be

00:40:44

perceived as realistic, you need

00:40:47

to make a selection, that is, where you need to

00:40:50

draw the details, here are the branches, and where you

00:40:54

can generalize them or not do them at all,

00:40:57

or convey them too generally,

00:41:02

that is, well, alternate on

00:41:04

and for this artist you have to

00:41:09

come up while working to think about

00:41:13

comprehend, I probably spend more time

00:41:16

for the process of analysis, that is, I wrote,

00:41:19

I walked away, I thought, I made conclusions, I worked

00:41:24

on the mistakes, I decided what

00:41:27

to fix, what to redo, what to leave,

00:41:30

what to work on next, in this you need to

00:41:34

give yourself time to contemplate what you

00:41:36

did in order to determine the further

00:41:40

plan of action on the site, the nature of the bending of

00:41:46

branches in different trees he has different fir trees,

00:41:51

one for pine, another for

00:41:53

leggings, a third for oak, 4 birches, 5 that is,

00:41:58

each plant has its own character and this

00:42:04

is manifested not only in the shape of the crown, not

00:42:08

only in the shape of the trunks but also in the shape of the

00:42:10

branches themselves, that is, how they bend with their

00:42:14

trunk in a semicircle formed somewhere years

00:42:20

there is a hop or a break, that is, the branch grows,

00:42:23

grows in a circle, then once and at an

00:42:27

angle it begins to grow, that is, where are these angles and

00:42:31

evil and or smooth

00:42:33

bends, this character must

00:42:38

also be conveyed, and for this you need to

00:42:44

observe nature,

00:42:46

that is, you can study it be

00:42:49

sketches and sketches from nature, even

00:42:52

just if you take photographs, study these

00:42:55

pictures, it also helps to just

00:42:59

take a walk in nature,

00:43:02

observe the shape of

00:43:05

certain plants, all this

00:43:08

helps the artist later in his work,

00:43:12

now on the left side of the canvas where I’m painting

00:43:16

a branch, now I’ve made it several of

00:43:20

these bright

00:43:21

light milks imitating leaves

00:43:24

that are in the light

00:43:26

and the other part of the foliage I painted so

00:43:32

generalized, leaving the old layer of

00:43:35

green paint, so it turned out that

00:43:38

the brightness or

00:43:40

tons of this green is also different, that is, the

00:43:43

illuminated part of the foliage

00:43:46

is illuminated in different ways somewhere very bright

00:43:49

where - it’s a little darker, but in general these are all

00:43:51

light zones, a light section of the

00:43:55

tree crown, and behind the tree there in the

00:44:00

background there is already a whole wall of a forest of fir trees

00:44:05

which is quite dark,

00:44:09

not due to this, it was formed as there was

00:44:12

a space inside the forest and

00:44:19

daylight seems to penetrate through the forest from above

00:44:23

this feeling of such a smooth

00:44:27

soft flow of light from above,

00:44:30

in general, this is the trick, so to speak, of

00:44:34

this landscape, there are

00:44:43

works that are less successful, some that are

00:44:45

more successful,

00:44:48

but in principle this is how it should be, it does

00:44:50

n’t happen, so everything always works out, it doesn’t

00:44:53

happen such that nothing ever

00:44:56

works out, that’s why every

00:45:01

artist has more successful works,

00:45:05

less successful ones, and I have this

00:45:09

work, as if it seems to me that there are

00:45:13

more positive aspects in it, there are,

00:45:19

of course, some things that I would

00:45:23

call erroneous, but there are fewer of them than for

00:45:26

example in other works I return

00:45:37

to the underpainting, which depicts a path, a

00:45:41

road into the forest, please note that this is

00:45:45

quite cold in color,

00:45:48

it’s not just gray, it’s a gray-violet

00:45:51

color, and now I’m adding complex paint,

00:45:55

that is, on top of the underpainting, that’s because

00:46:00

I need to create the desired border the shadows

00:46:07

need these transitions from light to shadow, the

00:46:11

required degree of

00:46:13

smoothness of this transition, which is why

00:46:18

I have to write it even more impasto, but I was

00:46:22

a little mistaken here in the color, it

00:46:27

used to be more of a discord and

00:46:31

purple-pink gray, but now

00:46:34

it’s closer to the

00:46:36

blue gray color here but in the future I

00:46:40

will correct this and then see in the distance there

00:46:48

lies a large cobblestone overgrown with moss, that’s why

00:46:53

it seems to create an overall dark

00:46:57

silhouette,

00:46:59

but there are some illuminated edges on it, that’s why I

00:47:05

also paint it with different

00:47:14

masks in an attempt to create chiaroscuro

00:47:18

illumination in this cobblestone it

00:47:21

shouldn’t stand out too much, it’s there in

00:47:23

the background, so you shouldn’t get too

00:47:27

carried away with it, the

00:47:40

shadows are falling, they’re quite

00:47:45

scattered, they’re blurred, soft,

00:47:51

but when you apply the second layer of paint, it says that a

00:47:54

well, pasty layer is formed and it deprives the

00:48:00

paint of that transparency and

00:48:05

airiness or something, that’s why I

00:48:09

laid impasto paint on top of the underpainting and

00:48:11

then wiped it off a little with a rag so that the

00:48:14

grains of the canvas appeared through

00:48:18

this paste of my wife’s opaque paint in order

00:48:22

to create depth when the

00:48:25

canvas

00:48:26

shines through the paint

00:48:28

some kind of depth is formed and people and then

00:48:32

just

00:48:33

opaque impasto paints written

00:48:36

rubbed,

00:48:38

it’s too smoothed, too

00:48:42

opaque without texture, it

00:48:45

turns out to be a kind of soapiness, that’s what I’m having

00:48:49

now, or that’s exactly what happened to us,

00:48:52

so I’ve also been tormenting

00:48:56

over this fragment for quite a long time, somewhere I erase it

00:49:01

with a rag somewhere I rub it with my finger to

00:49:04

make a blur

00:49:06

the area is too blurry, it also

00:49:10

looks too artificial, the sharp

00:49:14

coffin of the transition is also bad, this is the right

00:49:17

golden mean

00:49:20

should be found, it’s not so easy,

00:49:31

besides what I already wrote,

00:49:35

I’m slightly finalizing 2 to the desired

00:49:41

state

00:49:46

there in the distance in this darkness of fir trees in the forest

00:49:51

there too There are areas of the forest where

00:49:55

light penetrates, so between the

00:49:57

tree trunks I introduce

00:49:59

light areas, but they are not as

00:50:02

light as, for example, the

00:50:05

illuminated greenery in front

00:50:07

where there is open space, that is, one

00:50:13

light, another light, 3 light from all these

00:50:16

illuminated areas of greenery, they are

00:50:18

lit differently and all these lights are different in the

00:50:22

degree of illumination, so this is

00:50:26

the exact rendering of tone, it is very important, in

00:50:30

those I return again to where I started to the

00:50:33

correct rendering of tons, this is exactly

00:50:38

what you can use to assemble a painting

00:50:42

from all these fragments so that the painting

00:50:46

is whole and does not fall apart into

00:50:49

different separate ones part of how

00:51:00

the landscape has become integral can be clearly seen

00:51:04

by comparing the image up close and from afar,

00:51:08

so I’m using our camera so that we can

00:51:11

compare the hotel didn’t

00:51:14

work out and analyzing it myself and I

00:51:19

hope it will be interesting for you to see

00:51:22

now I’m returning to the path as I

00:51:26

said before I was a little mistaken the color

00:51:30

is this gray,

00:51:32

it turned out to be gray, the color of the path is too

00:51:36

cold, that is, such a gray-blue

00:51:39

tint has formed, I need there to

00:51:42

be more purple and

00:51:44

pinkish colors, so after

00:51:48

all these paints have dried, I will now

00:51:52

lay a glaze layer, this is what you

00:51:57

need to know how to light and he will correct this

00:52:01

error and the shade will be exactly the one

00:52:03

I need, that is,

00:52:06

this is a mixture of speckled with blue and this

00:52:12

purple

00:52:14

reddish tint, it will now

00:52:17

smoothly spread, this layer of

00:52:20

liquid paint will form an even film that

00:52:25

will be evenly applied to the

00:52:30

canvas, now I am laying it like this

00:52:33

droplets are visible in pieces, like a liquid

00:52:38

spreads for later, when it

00:52:40

[the music]

00:52:42

completely spreads across the canvas there will be a

00:52:45

uniform layer of paint and it will just

00:52:48

correct and give it Christya polka dots

00:52:52

the color I need now when I

00:52:57

zoom in, it’s probably better to see how the

00:53:00

paint layer looks, that is, somewhere

00:53:03

I there I was wiping off the paint with a rag

00:53:09

and removing the grains of the canvas

00:53:11

through the impasto opaque paint

00:53:15

somewhere in the form of a glaze layer somewhere

00:53:18

this impasto paint and the combination of these

00:53:21

different layers of paint

00:53:25

forms a very interesting texture, that’s why

00:53:30

when you look at the painting

00:53:32

live up close it is of course much more

00:53:36

It’s better perceived than from the screen of a

00:53:40

TV monitor,

00:53:47

well, for an

00:53:49

hour the light seems to be black and it looks

00:53:55

better, then the paint will dry and everything will be

00:54:02

fine, I’m trying to deliberately

00:54:11

somewhere make some kind of unevenness rough

00:54:13

because, well, the path is not

00:54:16

perfectly smooth, that’s the formation

00:54:21

like asphalt, concrete, somewhere there is a tubercle, a

00:54:27

pebble of

00:54:29

some kind of depression, so I’m trying to

00:54:33

convey these natural unevennesses with the help of paint stains, that’s why I

00:54:41

also don’t really want

00:54:46

everything to be smooth, the paint has spread,

00:54:48

because some kind of middle must

00:54:51

be there for the hungry, I’m looking for this the middle so far, of

00:54:57

course, I’m not entirely satisfied with how this

00:54:59

fragment turned out, as if in general it sat

00:55:04

normally in this landscape, but I’m not

00:55:09

completely satisfied with the result,

00:55:13

okay, this is

00:55:20

the effect of the space, we

00:55:25

see an airy shadow on the path,

00:55:32

blurred, airy, soft, and the path

00:55:39

comes out into the light and goes into the shadow then

00:55:42

comes out into the light again and an

00:55:45

interesting, diffused light

00:55:48

landscape is formed, as I already said, in general, the

00:55:52

trick of this work is not exactly that

00:55:54

I wanted to convey such diffused light,

00:55:58

well, friends, come to my channel,

00:56:00

if you want to subscribe, don’t forget to

00:56:04

click on the bell so as not to

00:56:06

miss the new painting,

00:56:10

good luck to everyone creatively

Description:

- Учебные пособия по изобразительному искусству на моём сайте: http://zaholstom.ru/ - Мастер-класс посвящён тональной цельности живописи. Что такое тон? В чём смысл теории тона Н.П.Крымова? Как передать светотень? Как организовать световоздушную среду? На эти вопросы я отвечаю во время работы над живописью маслом. - Oil painting: how to achieve tonal wholeness?

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