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Channel: Milan Burg

анурисуй

anurisui

урок рисования

рисование

обучение

урок

мастер класс

для начинающих

живопись

мастер-класс

начать рисовать

как научиться рисовать

творчество

туториал

tutorial

how to draw

простые рисунки

просто

легкие рисунки

акварель

акварелью

цветы акварелью

гвоздики

гвоздика

букет гвоздик

1 мая

9 мая

9 мая открытка

9 мая рисунки

красные гвоздики

красная гвоздика

как рисовать акварелью

как писать акварелью

акварель по мокрому

аспарагус

лессировка

цветы

мастеркласс

пейзаж

гуашь

натюрморт

00:00:02

I welcome you my dear creative

00:00:04

friends, today Fedorova Katya is with you and you will

00:00:06

draw a channel. Today we will write

00:00:08

carnations, first we will decide on the

00:00:11

position in the central carnation,

00:00:13

open to the viewer, as you can see, I

00:00:15

use the inside of a

00:00:17

roll from a pile of which I usually attach a

00:00:20

sheet of paper and on the left side

00:00:22

there is a distance left a little smaller than the

00:00:25

same circle inner from the roll a little to

00:00:29

the left of the central flower to the left and below I

00:00:33

outlined another circle this is the future carnation

00:00:37

located on the sides of the viewer and another

00:00:40

similar circle please pay

00:00:42

attention not where in my area they do not

00:00:44

abut the edge of the sheet everywhere because

00:00:46

the distance is further we are building 2 Vladika,

00:00:50

which is located with the sides facing

00:00:52

the viewer, about one centimeter,

00:00:56

you step back from the circle outward and

00:01:00

extend the base of the flower there, as

00:01:06

you can see, I always outline the stem, that

00:01:09

is, I don’t just draw this

00:01:11

characteristic base of the flower of a carnation,

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but I also immediately extend it like it It’s growing to me

00:01:19

so that it doesn’t seem like an

00:01:20

artificially attached flower stem;

00:01:23

we have a single flower;

00:01:27

stem; base and open flower;

00:01:31

today

00:01:34

we won’t do any drawing of leaves in watercolor; in

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many ways, it’s useless; especially since

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today we’ll use a special brush,

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which in itself

00:01:43

helps a lot with while writing the

00:01:46

petals

00:01:47

of this flower, I also draw your

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attention, my friends, to a few

00:01:53

points, the

00:01:54

first is the obligatory use of

00:01:56

good quality watercolor paper, the

00:01:58

second is, don’t press too hard on

00:02:00

the pencil, now I’m marking 2

00:02:03

buds using for this an

00:02:04

auxiliary piece of a sheet of paper,

00:02:07

measuring the same distance and the same

00:02:11

We draw the size of the buds without

00:02:16

pressing too hard, and since if you

00:02:19

press too much, it will later be visible

00:02:22

when pouring watercolors, also

00:02:25

choose a pencil that is soft enough,

00:02:27

firstly, it should be easily removed

00:02:29

with an eraser called here it is, and secondly, if you

00:02:31

work with a singing pencil,

00:02:34

these dents are very hard again -

00:02:36

later, when working with watercolors,

00:02:39

my friends will definitely show themselves, I

00:02:41

showed how to build a sketch, but now I’m

00:02:45

deleting it to such an extent that it is

00:02:48

visible only to me, so I see all the details

00:02:51

because I also want to get a

00:02:53

beautiful finished work, for this it is necessary

00:02:57

not to be very we see and we had ours,

00:03:01

these pencil lines,

00:03:03

I remind you that all the sketches can be taken from

00:03:06

me on Patreon, the parcels we pass through the

00:03:09

rural area from our master classes

00:03:11

lie there, welcome further, I

00:03:14

wet the middle of the sheet with a flat

00:03:16

synthetic brush,

00:03:18

it didn’t reach the edges and I draw your

00:03:21

attention to the fact that the water that I just

00:03:24

used to wet the sheet on is

00:03:26

absolutely clean now I mix two

00:03:29

shades this is green and also cadmium

00:03:33

lemon diluted quite significantly

00:03:36

with water look how light the

00:03:38

shade is with a

00:03:39

watercolor brush in spots I pour the

00:03:43

color onto a sheet of paper while trying not to

00:03:47

go too much into those areas

00:03:49

which we have set aside for future

00:03:52

flowers, yes, of course, it’s green, go there even,

00:03:55

and still, after all, it’s a special one, not

00:03:58

Lisa, they also don’t reach, please, with this fill, to the

00:04:02

edge of the

00:04:05

wet area, let the green

00:04:09

light watercolor spread, but it won’t have a

00:04:13

sharp edge for this you

00:04:16

pour it into the center of the wet area but

00:04:20

don’t bring it to the very edges,

00:04:22

I added a little more green, diluted it

00:04:27

with less water and a more intense

00:04:29

shade and again poured it in spots,

00:04:34

mostly of course shading the areas that

00:04:37

come closer to the flowers

00:04:39

in the future I added a little more

00:04:43

green this time the shade

00:04:46

turned out darker now it doesn’t really matter,

00:04:51

firstly because the colors spread and

00:04:54

mix freely, and secondly, the colors

00:04:57

will fade and lighten significantly after drying.

00:05:03

If you are interested in the specific

00:05:05

watercolor colors

00:05:06

that I’m currently working on, you can

00:05:08

see the coloring of this box on my channel

00:05:11

watercolors and see exactly

00:05:14

what colors we are now using

00:05:17

next for these flowers, I really love the

00:05:21

combination of carnations and asparagus,

00:05:24

I am going to

00:05:27

include sprigs of delicate asparagus in the composition,

00:05:31

please pay attention at the

00:05:33

moment it is not dry, I am starting with a dry

00:05:37

area, a thin brush here here is

00:05:44

dry paper and then I place an

00:05:48

asparagus branch on the wet area, letting it

00:05:52

flow there completely calmly,

00:05:56

thus creating a smooth transition somewhere the

00:05:58

branches will fall on absolutely

00:06:01

dry areas, like here below for

00:06:03

example, where they will fall and of

00:06:07

course on very wet areas,

00:06:13

well, I start dry and gradually

00:06:16

move onto the wet paper, here the

00:06:19

paper was all wet and here it’s

00:06:23

all completely dry, the shade at the

00:06:27

moment is pure green,

00:06:35

then I take a hairdryer and gently

00:06:39

dry the whole thing until it’s completely dry,

00:06:41

look how much

00:06:44

our green background has brightened now I take all the same

00:06:47

green, arrange it with water, let's

00:06:50

see, I'll add a little bit for myself, just

00:06:54

a little bit, you can adjust both the

00:06:57

amount of water and the amount of

00:06:59

different shades, try it on paper

00:07:02

and then look what I'm doing, I'm

00:07:05

not starting at the very top where I started from this

00:07:08

sprig of asparagus

00:07:09

starting approximately from the middle where my

00:07:12

twig begins to approach the green

00:07:16

background and I draw and now it’s

00:07:21

dry here, for example, my

00:07:29

asparagus has almost completely

00:07:31

blurred, I don’t duplicate it, I

00:07:34

just paint on top, it seems to me that I was

00:07:37

a little greedy with the watercolor, the

00:07:40

fish and water were spilled excessively

00:07:43

In general, the

00:07:46

asparagus that you are drawing now does not look contrasting enough; the

00:07:48

second layer should be darker and darker than

00:07:53

the one we painted with the

00:07:56

entry into the wet comte.

00:07:59

Now it seems to me that it’s

00:08:02

good enough that the second part of the second layer of

00:08:09

these delicate asparagus branches

00:08:11

contrasts it is darker than the background behind

00:08:15

it and thus we completely

00:08:18

work out the

00:08:21

entire green area, the entire background

00:08:26

should be gradually kneaded, of course,

00:08:29

add green, add water, do not

00:08:33

forget, please, ask us

00:08:35

here for not a new thermonuclear green color,

00:08:37

let it be so noble in

00:08:39

places with a brownish sprig of asparagus

00:08:46

they Of course, there are even thinner ones

00:08:49

and different varieties are thicker and thinner.

00:08:53

I chose the thicker one

00:08:56

solely based on the size of the brush, with a

00:08:58

single brush, that is, these are

00:09:00

not very thin, tiny branches. I grew

00:09:03

such a plant at home

00:09:06

from time to time. I could

00:09:08

cut some beauty from it so that

00:09:11

add their bouquet and do this, it

00:09:14

happened, and when he communicated it was in

00:09:16

florist shops and when in

00:09:18

many ways you often made a bouquet from

00:09:21

yourself, so my asparagus is ready,

00:09:24

as you can see, it’s so very delicate, very

00:09:27

cute, I’m now starting to eye the

00:09:29

background is absolutely dry, and the kind of dry

00:09:32

color that I’m now using this

00:09:35

carmine and you can try the

00:09:38

dilution on paper

00:09:39

as you can see the dilution is quite strong and

00:09:43

light light carmine and

00:09:47

zigzag try please not to

00:09:50

allow even petals these are not roses

00:09:53

these are carnations and carnations and the petals

00:09:56

have a very characteristic jagged

00:09:59

structure at the ends and leaves and we are

00:10:03

now in general and in general we are planning

00:10:06

only the shape, now the next one I

00:10:08

took, we also develop it with

00:10:11

water and fill the second half of the flower with

00:10:16

the speck, again, jagged,

00:10:20

uneven petals, then again I will

00:10:23

return to Armin,

00:10:27

do not try to fill it smoothly,

00:10:30

moreover, practically forbid

00:10:33

yourself to fill this one smoothly here is the first

00:10:37

layer intended for flowers, let it

00:10:40

be uneven, let there be

00:10:42

a gap somewhere and on white paper somewhere the watercolor will

00:10:45

not lie very well, here

00:10:47

the petal will not bend and it will be large

00:10:52

and at the moment I will repeat I define the

00:10:55

main area,

00:10:56

again on the left I took more carmina

00:10:59

on the right is more kraplak,

00:11:05

then on my right side,

00:11:09

all kraplak are used to a greater extent,

00:11:10

respectively, the flower that comes off on

00:11:14

the right will be completely done

00:11:16

with kraplak,

00:11:19

everything is the same, zigzag-shaped large

00:11:23

petals, weak dilution of watercolor and

00:11:30

rather carelessly and filling

00:11:32

the middle of the flower, we will be with you today It’s a

00:11:35

very interesting brush to work with, I’ve already

00:11:38

shown it several times in my

00:11:40

works, it’s ideal for painting

00:11:44

exactly these colors, look, we

00:11:47

start from the edge,

00:11:49

apply the brush and lightly stretch the

00:11:53

selected shade, now it’s kraplak,

00:11:57

it’s a little mixed with carmine and

00:11:59

then with a watercolor brush, still wet

00:12:03

watercolor I drag it in depth and

00:12:07

put the petals with a damp brush,

00:12:11

spread the watercolor in depth, let's

00:12:17

take a little scarlet exceptional in

00:12:20

order to diversify the shades of

00:12:22

red that we use, the

00:12:25

warmer substrate we used is on the

00:12:27

right side, respectively, here we

00:12:30

will add scarlet petals, put it with a

00:12:35

clean watercolor brush, stretched it out

00:12:38

again, put it like you see,

00:12:41

I have some petals and some on the sides,

00:12:46

only the very literal beginning

00:12:49

of the petals are the brush marks

00:12:56

turned at various angles and

00:12:59

then I draw the color deep into the intended

00:13:02

petal with a watercolor brush, which has a very neat

00:13:06

shape, it

00:13:09

holds a lot of water and a lot of color and at the same time

00:13:12

it has the thin tip

00:13:14

allows you to work very, very carefully

00:13:17

in detail

00:13:18

exactly in the place where you

00:13:21

currently need to see the rich

00:13:24

color, then petal by petal we

00:13:30

work,

00:13:33

I decorated the edges of the petal with a

00:13:37

serrated brush and then carefully

00:13:40

stretched the color to the corner

00:13:44

between the petals, please leave

00:13:47

light space appears has a

00:13:52

rather complex structure, it is all full of

00:13:55

twisted jagged petals and my

00:13:59

friends, you and I are not setting ourselves the task of

00:14:02

drawing the petal and [ __ ]

00:14:05

right here in detail and exactly,

00:14:10

first of all we want to convey with the help of

00:14:13

watercolor the character of the flower, this is a

00:14:16

mass of jagged petals which

00:14:19

fall apart in various ways into this

00:14:22

fluffy pom-pom and, accordingly, eesti

00:14:26

profiles will make your work very, very easy.

00:14:29

Next, as you can see, I take a

00:14:32

denser, rich color, less

00:14:34

dilution, and a very thin brush,

00:14:37

not a lerochka brush,

00:14:38

I add color only along the very edge of the

00:14:42

nail coloring that I chose for

00:14:45

today master class, but we also

00:14:48

love it very much, and this light base of

00:14:51

each petal is saturated and even

00:14:55

comes with stripes, the

00:14:56

endings are jagged, as you can see, now

00:14:59

I create

00:15:00

and shade it a little stupid and the petals

00:15:04

I chose just such a vadika, it’s no

00:15:07

coincidence that it’s easier to write,

00:15:11

there are carnations in which the

00:15:15

base of each petal is more densely colored and

00:15:18

at the same time the tips are lighter, writing such

00:15:22

carnations is much more difficult,

00:15:25

choosing an easier option for

00:15:28

writing is important because, firstly,

00:15:31

if you are preparing a work as a gift,

00:15:34

these are the carnations, they are simply

00:15:36

written faster, but if you are a beginner artist,

00:15:39

then with this the work will be easier for you

00:15:42

to cope with, as you can see now I

00:15:46

have extinguished

00:15:47

the petals in

00:15:49

general in places and in general in this work we

00:15:52

follow the rule on the left side the

00:15:54

darker ones on the right side are

00:15:57

lighter now that I have

00:16:00

petals formed with a jagged brush, it is

00:16:02

much easier for me to work with those

00:16:05

forms that I got it

00:16:09

next, we move on to the flower open

00:16:14

on us and I highly advise you and the left

00:16:18

side to start with lighter shades,

00:16:21

yes, this is a cold carmen, we do the same

00:16:27

thing when we form a jagged

00:16:29

edge using a special brush and then with a

00:16:31

watercolor brush we distribute the watercolor into the

00:16:34

depths of the petal but look, my

00:16:37

shade is not saturated, there is quite a lot of

00:16:39

water,

00:16:44

they formed a jagged edge,

00:16:46

they dragged the petal inside,

00:16:52

I periodically mix kraplak with

00:16:55

carmine, sometimes I use pure carmen,

00:16:59

I really like this color for this

00:17:02

combination, green, since this flower

00:17:04

is turned towards the viewer, we will very often

00:17:06

see only the edge and

00:17:09

please don’t stretch the

00:17:10

petals too long here we don’t

00:17:14

see the base of the petals they go

00:17:16

deep into the flower but we see only

00:17:20

these dark jagged edges turned towards us

00:17:23

and they wrap around the

00:17:30

circumference

00:17:34

[music]

00:17:37

if on the left side I used

00:17:39

watercolors in a more

00:17:40

liquid dilution it is very light then on the

00:17:45

right side look my

00:17:47

petals are becoming more and more

00:17:49

saturated

00:17:50

here I have two flowers very closely

00:17:54

adjacent to each other so I

00:17:58

wanted to distinguish them from each other

00:18:01

the flower located behind the front one was made

00:18:06

lighter in its left part

00:18:10

so we have 20k are perfectly separated from each

00:18:13

other at the moment, now

00:18:21

I put zero

00:18:24

speckle on the brush and only the very edges of the tips of the

00:18:29

teeth of the petals I frame with a very

00:18:34

rich speckle, there is no

00:18:40

shading with a wet brush

00:18:44

[music]

00:18:47

only the thinnest teeth,

00:18:51

I repeat, the teeth were formed with

00:18:53

a brush jagged,

00:18:56

this is how we have

00:18:59

a flower open on us, outstretched petals

00:19:03

located along the perimeter and in the center,

00:19:06

only the most

00:19:08

jagged edges, since now it is already

00:19:14

clear the color saturation on the edges of an

00:19:17

open flower, you can add exactly the same

00:19:20

edges in places to the flower

00:19:24

located in the foreground,

00:19:26

turned to the viewer sideways here I

00:19:29

want to make it a little softer and peace points

00:19:32

here are located in a different angle they are

00:19:36

turned sideways towards us we see their

00:19:39

oblong shape more and of course

00:19:43

we see more softly these contrasting thin

00:19:48

dark teeth here and there, don’t add

00:19:59

these everywhere [music] two flowers are ready, let's finish

00:20:04

flower 3 large in this work,

00:20:07

the work is exactly the same, absolutely

00:20:10

the same type, it consists of two stages of

00:20:13

forming the jagged part of the petal and

00:20:19

drawing the watercolor into the depths, let's

00:20:22

again stretch the jagged edge with the watercolor,

00:20:32

please remember that not everywhere the petals

00:20:35

are open on us somewhere they will be

00:20:37

narrower of course, my friends, I foresee

00:20:41

questions about what to do if you don’t have a brush like

00:20:44

this with a jagged edge, I have two pieces of advice for you, the

00:20:48

first is, of course, buy a brush, this

00:20:52

brush is included in the set that I

00:20:55

reviewed on my channel, these are brushes of

00:20:57

various shapes and with you have already worked with them

00:21:00

and, in fact, even the watercolor

00:21:03

brush that I am working on today is

00:21:05

from this set. I

00:21:09

always very often emphasize in my

00:21:11

master classes the need for a good,

00:21:14

correct profile tool.

00:21:22

having

00:21:24

watercolor brushes, so

00:21:29

please consider purchasing

00:21:31

jagged brushes, the

00:21:34

second option that I have is

00:21:37

you can paint the jagged edges of these

00:21:41

flowers with my

00:21:42

zero brushes, drawing this one

00:21:45

at 4

00:21:46

edge deductions the edge yourself, however,

00:21:51

man I want to warn you, man

00:21:54

always strives for that to create

00:21:57

neat edges, if the brush

00:22:00

itself is equipped with such a

00:22:03

rather chaotic edge and it helps

00:22:06

us achieve a natural shape, then if you

00:22:09

paint tooth by tooth

00:22:12

on your own, there is always a risk of falling off,

00:22:16

as our teacher called it in

00:22:18

drawing a fence when you have an

00:22:21

edge of a natural object in this

00:22:24

case, a flower, it will be so even

00:22:27

as if written out on a ruler, well, this is how

00:22:29

my hand works, friends, it tends

00:22:32

to make the same movements, as you can see

00:22:36

now, I have already worked on this flower,

00:22:41

first with a jagged brush and a watercolor

00:22:44

brush, creating the main petals, now

00:22:46

I am creating more contrasting ones the edges are

00:22:50

like the edges of a petal, so

00:22:53

chaotic, somewhere in the center, both flowers

00:22:59

located in our profile on the sides are

00:23:02

written the same, look

00:23:04

how different they turned out and I assure

00:23:07

you, no matter how many times you write

00:23:11

carnations in this way, you will get them every time

00:23:14

different if you want to paint a large

00:23:16

bouquet you can also create 5-10-15

00:23:20

carnations and each of them will turn out

00:23:24

differently by itself the brush itself, reading it

00:23:28

gives a wide variety of prints, I have

00:23:31

now outlined 2 bu.

00:23:35

everything is the same in a light dilution of the

00:23:38

watercolor base, the first layer

00:23:40

was absorbed almost immediately,

00:23:42

nothing particularly flows here and then with a

00:23:45

serrated brush they formed the edge, they formed it

00:23:54

neatly with a watercolor

00:23:58

brush, they distributed a darker shade

00:24:00

deep into the petals and with a very thin brush

00:24:06

in a thick thick dilution of the kraplak

00:24:10

to see how rich it is

00:24:12

very dark in some places we draw all the

00:24:16

very stripes or as I

00:24:18

called h3 spikes in childhood I don’t know why and

00:24:21

our petals are ready the next stage these are the

00:24:26

finishing touches of the final detail we

00:24:32

write with you at the base of the flowers the color I

00:24:36

use cleaning green nothing

00:24:39

further and in some places maybe They generally like it to leak until it’s

00:24:41

red, especially

00:24:43

on the floor of raw buds,

00:24:48

so I won’t clean anything there.

00:24:51

We do the same with the flowers

00:24:56

that are visible to us sideways.

00:25:01

Here, of course, we have to be careful.

00:25:15

about our carnations, please do not try to

00:25:20

dial in the tone immediately at full

00:25:23

strength and you need to make them very dark,

00:25:25

otherwise it will be difficult for us to work on

00:25:28

clarifying details,

00:25:30

then in several layers, now I took a

00:25:33

thinner brush of one, you can

00:25:37

look at the photos or if you

00:25:39

have flowers standing at home and now in

00:25:43

Vladik they will very often appear

00:25:46

in our homes because ahead of both May 1

00:25:50

and May 9,

00:25:51

it is carnations, red carnations, that often

00:25:55

decorate our interior these days, if

00:26:00

you have the opportunity,

00:26:02

please consider in detail how it is attached, how the

00:26:05

attachment of

00:26:09

the stem

00:26:11

to the bud and then the

00:26:15

characteristic articulations of

00:26:17

individual parts of the stems with the thicknesses and

00:26:21

formations of light thin elongated

00:26:24

leaves, then I will start drawing the

00:26:28

details light and shadow color of course from above

00:26:35

shading from below

00:26:39

I now have these flowers on the table I

00:26:44

also see a small stripe on

00:26:47

this

00:26:48

green one details of the flower and small

00:26:52

scales

00:26:54

supporting the flower at the point of attachment

00:26:56

to the stem, I’ll take a thin and well ribbon and

00:27:00

carefully add these stripes of

00:27:03

veins that I see on part of the flower, I

00:27:10

work with the same color, this is pure

00:27:13

green, the only thing is that

00:27:14

its dilution is different, I started very weak and

00:27:18

more and more I’m taking a rich shade,

00:27:24

let’s add a shadow and with a thinner

00:27:31

brush, add veins,

00:27:39

come out with it, a thin leaf, watercolor

00:27:43

brushes, they are literally created

00:27:45

to paint flowers, look, literally

00:27:49

in one movement, you can pull out such

00:27:52

sharp beautiful leaves,

00:27:55

please remember what you need

00:27:57

imagine roughly how

00:28:01

the stem itself stretches, it should not

00:28:03

have

00:28:04

any strong breaks, this is not

00:28:07

typical for carnations, the stem itself is quite

00:28:12

strong, the

00:28:13

flowers are stable, my eyes are

00:28:17

large and of course the stem must

00:28:21

withstand the weight of such

00:28:23

large buds and is sufficient large

00:28:26

flowers I am now working on drawing the

00:28:29

next flower

00:28:30

scales in the knowledge of the

00:28:37

shadow from below

00:28:47

and again roughly imagined

00:28:53

how this stem would go for me,

00:29:01

continued it of course in my mind I don’t draw it

00:29:05

across the red carnation continued and

00:29:10

added to the edge of the sheet

00:29:12

[music]

00:29:15

let’s do this flower’s

00:29:20

shadow too on the left there

00:29:28

are scales orally of war, of course, under

00:29:32

the flowers themselves there will also be an active shadow with those

00:29:40

those miles down with a

00:29:43

thinner brush but with a herringbone

00:29:46

we add lived glasses

00:29:54

please look as the color dries it is clear

00:29:57

that I do not use green very

00:29:59

much there is dilution there is always enough

00:30:02

water so the clarifying details look

00:30:05

very tender and let’s add a little stretch

00:30:10

and the leaves are very useful, my friends,

00:30:14

step away from work and what is called a

00:30:17

fresh look at what

00:30:20

you have done already at this stage, I

00:30:23

have now moved away and it seems to me that in

00:30:25

this part I do not have enough shading

00:30:30

in the area where the scales are attached This green

00:30:34

part of the flower, of course, I want to

00:30:38

straighten out the shape somewhere; pay

00:30:43

attention to how soft the

00:30:46

pair of love began to look when we added

00:30:49

contrasting dark green stems from

00:30:53

our carnations

00:31:16

[music]

00:31:23

let’s correct the scale here, it

00:31:27

should still protrude a little to

00:31:32

form there is such a small protrusion in

00:31:35

this place and perhaps I am quite happy with

00:31:40

this area, I paint carnations in

00:31:43

A4 format and for such a volume of work I would

00:31:48

advise taking at least 45 minutes; the

00:31:51

painting work itself is not

00:31:54

difficult, however, you should remember that we

00:31:57

had in the process wiretapping the background if you do

00:32:01

n’t want to hear it with a hairdryer, then of course you should

00:32:04

set aside time for drying,

00:32:07

I can also tell you that it is possible to

00:32:09

do this work without a background at all

00:32:12

on a white background, then you skip the whole

00:32:16

part where we wrote the green

00:32:18

background and asparagus and immediately then start

00:32:22

writing the gulags themselves, it

00:32:25

seems to me that working with a gentle sail in

00:32:29

the background looks more interesting and more

00:32:32

complete, I used almost the

00:32:37

same green look for the

00:32:39

asparagus with a small amount of

00:32:42

degree and for the green stems and

00:32:47

details about it arose and in in the end, these

00:32:52

green ones don’t argue with each other at all,

00:32:55

it looks like a single composition, like a

00:32:58

whole bouquet. Of course, I don’t

00:33:02

recommend using a large amount of

00:33:04

lemon cadmium for the background; it’s important to withstand the work;

00:33:10

that’s the goal; we have the keys;

00:33:24

let’s finish this section tomorrow;

00:33:28

I’m very attentive to details. always

00:33:31

especially when I paint flowers and like this it’s

00:33:34

quite large, it’s in such a format,

00:33:36

naturally, as you can see, there is an opportunity to

00:33:39

very clearly work out these flowers, they are

00:33:43

very detailed, very detailed, and here

00:33:49

we can literally

00:33:51

go into full force until you see

00:33:54

their rays and scales here. asparagus leaves

00:33:57

background let's sign the work, our

00:34:01

card is ready

00:34:07

and as the final part

00:34:10

we need to remove the paper mounting tape with

00:34:13

which I secured the work, I heat

00:34:16

it up with a hairdryer carefully, quite hot

00:34:20

glue on the adhesive tape softens and

00:34:24

look, it is completely easily removed

00:34:27

without catching the paper, this way

00:34:32

you get very very neat

00:34:35

week, tattered edge,

00:34:40

carefully take everything off, it’s important to take

00:34:44

your time, don’t jerk it off,

00:34:46

then

00:34:48

you can really damage the paper, and that’s where our

00:34:51

work is finished, my friends,

00:34:53

I’m waiting for your work on Patreon, as well as in the

00:34:57

contact and Facebook groups, all links to

00:34:59

materials

00:35:00

and where you can you will find the work posted

00:35:02

under this video and also

00:35:05

welcome to me on patreon there you

00:35:07

can find all the sketches from my

00:35:09

master classes with you was Fedorova Katya

00:35:11

and channels and draw everyone bye bye

00:35:16

[music]

Description:

🌷 Эскиз для этого мастер-класса: ВКонтакт: https://goo.gl/ZeGNQ7 Патреон: https://www.patreon.com/posts/akvarel-gvozdiki-18405537 👉 Подписка "Тюльпаны" ВКонтакте: https://goo.gl/YPFiuA 👉 Подписка на Патреон: https://www.patreon.com/join/anurisui 🌸 Пишем красные гвоздики акварелью! Прекрасная открытка для 1 мая, 9 мая и Дня Матери! Сложный цветок с обилием деталей... Трудно? Вовсе нет! Ведь на помощь нам приходят кисти разных форм! Какую выбрать, как и когда применить - подробно в этом мастер-классе! 🌸 Для работы потребуется: https://www.patreon.com/posts/akvarel-dlia-so-19616861 ❤️❤️❤️Поделится работами: ВКонтакт: vk.com/anurisui Патреон: patreon.com/anurisui Facebook: https://www.facebook.com/unsupportedbrowser Instagram: https://www.facebook.com/unsupportedbrowser 🌸 Меня зовут Катя Федорова, я люблю рисовать и делиться своими знаниями об искусстве! Подпишись на канал, вместе рисовать просто и весело! Живопись - это способ выразить свои мысли на бумаге, сделать свои чувства понятными даже если их не выразить словами! Music artist: https://twitter.com/NHeidlas

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