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Рисуем Бриллиант 💎 Масляная живопись. Пошаговое объяснение.

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Channel: Art Parfilo

Как легко и просто написать "Корабль в море"маслом!часть#1подмалевок

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«КАК РИСОВАТЬ ШЕСТИГРАННУЮ ПИРАМИДУ?» Цикл уроков от Дениса Чернова | Урок №2 | Akademika

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Channel: akademika

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00:00:02

on my channel again, which means that we

00:00:05

will talk about a portrait,

00:00:07

this will be a slightly unusual lesson, the fact is

00:00:10

that today I will show you how to paint a

00:00:12

copy from a portrait of the famous French

00:00:14

artist William Bugrov, the full version

00:00:18

of this lesson, which lasts 3 hours is already

00:00:20

available for downloading my site in the

00:00:23

full version, I'm starting to rock by

00:00:25

showing how to stretch a canvas onto a

00:00:27

stretcher, now we'll see the

00:00:29

short version there, I start with a drawing,

00:00:33

then move on to the underpainting and finish the

00:00:35

work in sand, of course, don't forget

00:00:38

that copying is a very important part

00:00:40

of learning process without copying it will be

00:00:43

impossible to master realistic

00:00:45

painting, portraits and also drawing,

00:00:47

be sure to subscribe to my channel,

00:00:49

share this video on social networks,

00:00:52

comment and of course download the

00:00:54

full version of this lesson,

00:00:56

it’s interesting, so let’s begin the first part of

00:01:00

this video lesson is devoted to drawing, we

00:01:05

perform the preparatory drawing for painting in the usual way

00:01:08

charcoal, it is very easy to wipe off with a rag,

00:01:11

you can make some changes in the

00:01:13

process without using an eraser, the

00:01:15

main task now is composition and

00:01:19

proportion, remember that the head should

00:01:22

be too large or too small,

00:01:25

otherwise it will either protrude from the canvas

00:01:26

visually or simply sink into the empty

00:01:29

space of the profile in the image

00:01:32

it is better to place it close to the center;

00:01:36

first we start with light lines;

00:01:39

we outline the composition; a large silhouette

00:01:41

of the head;

00:01:57

over large forms,

00:02:00

as a base we use canvas

00:02:03

stretched on a stretcher, the size is small

00:02:06

30 by 30 centimeters, the canvas is

00:02:10

Belgian linen from the MS class company

00:02:12

with a very smooth and even texture,

00:02:15

which is ideal for portraits,

00:02:17

for copies, and in general for detailed

00:02:20

painting and in the first part of the full video

00:02:23

lesson I’m showing you how to

00:02:25

stretch canvas onto a stretcher yourself, I’m talking about

00:02:28

all the nuances,

00:02:31

you can also

00:02:32

stretch canvas onto a stretcher yourself, you can

00:02:35

buy a ready-made one,

00:02:36

but I think that an artist, especially a

00:02:38

professional artist, needs to be able to

00:02:40

stretch a canvas onto a

00:02:42

stretcher on his own and understand a little about the

00:02:44

features of the canvas, so you see

00:02:47

what... then the changes can be made very

00:02:49

easily using just a rag to brush off

00:02:52

the coal and then we continue to draw,

00:02:55

clarifying the proportions, similarity, character of

00:02:59

the form, and so on, now we can

00:03:02

devote a little more time to

00:03:04

the details, but still I remind you that this is more of a

00:03:07

sketch for painting, this is not an

00:03:09

independent drawing, there

00:03:11

will be no tonal analysis here

00:03:13

according to us, we just have to correctly

00:03:15

compose this drawing, this is a portrait, and

00:03:18

only then move on to the next stage,

00:03:20

working on the light and simply clarifying

00:03:23

this drawing,

00:03:24

but if now at the first stage you

00:03:26

have errors in the composition in proportions,

00:03:29

then later it will be very difficult

00:03:30

to correct them,

00:03:31

especially since concerns the composition, so

00:03:35

now we are trying to outline the portrait very

00:03:37

precisely, we are trying to leave enough

00:03:40

empty space around, although not

00:03:43

too much,

00:03:45

I remind you that the camera shoots from above and

00:03:48

from the side, so you see the portrait with

00:03:51

some perspective distortions,

00:03:53

proportional distortions, of course,

00:03:56

when you draw it yourself, then

00:03:58

base it primarily on the original,

00:04:01

this is the first a copy

00:04:03

from a series of lessons dedicated to copying, there are

00:04:05

two more lessons on painting hillocks ahead

00:04:08

and we are starting from simple to complex,

00:04:12

this is a fairly simple

00:04:13

profile portrait in the next lessons we will

00:04:16

perform more complex copies with more

00:04:19

details and a greater degree of

00:04:21

completeness, the

00:04:23

first lesson will be quite simple

00:04:40

[music]

00:04:45

and so you gradually finish the sketch

00:04:48

and the next stage after completing

00:04:49

the sketch is fixing the charcoal, if we

00:04:53

just write on the charcoal, a crowd of first we

00:04:55

will knock down this drawing and secondly the charcoal

00:04:58

will mix with the paint creating

00:05:00

dirt, so you need to fix

00:05:02

it on the canvas,

00:05:04

you can do this in different ways

00:05:06

for example, buy a fixative varnish, some people

00:05:09

just use hairspray,

00:05:11

but the easiest way is to outline the

00:05:14

main lines with oil paint, so

00:05:17

we add paint to the palette, add

00:05:20

a little odorless pinero firm in chains,

00:05:22

I will use two colors, this is the paint from the

00:05:27

company Michael h1 burnt umber

00:05:30

and another paint from the company old holland

00:05:34

which is very similar to Mars

00:05:37

orange transparent Mars brown

00:05:39

transparency with such a reddish tint

00:05:42

we dilute the paint very thinly on

00:05:44

the palette, take a thin brush, you can use a

00:05:47

synthetic one and outline the main lines of the

00:05:52

construction line, we don’t need it, we outline it

00:05:59

very thinly on the pinin pinin, it will dry

00:06:01

very quickly and the next day we

00:06:03

will be able to work on the underpainting and we

00:06:07

will also be able to remove the remaining

00:06:09

coal with a rag simply by swiping to the left

00:06:13

when in the

00:06:15

sun someone somewhere can and clarify it if

00:06:18

you see any inaccuracies then of course

00:06:20

make the necessary corrections,

00:06:24

this is enough, you see that we have

00:06:27

fixed the main lines of the

00:06:28

silhouette of the head and the coals can be

00:06:31

simply brushed off with a rag and rubbed even with your finger,

00:06:34

but first let’s leave it to dry the

00:06:37

next day ihnen the paint will be

00:06:39

dry, it will dry and we can proceed to the

00:06:42

next stage, which is called

00:06:43

underpainting; we will also do it with the

00:06:47

same paints from the company Old Holland &

00:06:50

Michael h 1 underpainting You can do it

00:06:53

in different ways using one paint with two or all

00:06:57

paints from the palette, we’ll talk about this

00:06:59

a little later. We’ll

00:07:02

use Belt Light thinners from the company

00:07:06

com as a thinner. Damn, it dries quickly, in general, you can

00:07:11

use regular pinin,

00:07:13

it also dries quite quickly, but

00:07:16

I took a different thinner because it

00:07:18

it won’t collapse very much,

00:07:24

you see that we have the main lines

00:07:26

fixed, but there is some charcoal left

00:07:28

on the canvas, it will disturb us a little,

00:07:31

so you can take a rag and just

00:07:33

brush it off with light movements without

00:07:36

any effort on my part, if you were

00:07:40

using a graphite pencil, then this

00:07:42

would be done it didn’t work, so we remove

00:07:46

this coal and we are left with a very clean

00:07:48

image, a

00:07:49

clean canvas and a few basic lines,

00:07:53

we take flat bristles, a little thinner

00:07:56

and on the palette I mix such a fairly

00:07:59

dense hair color, we use two

00:08:02

paints, you can use one paint, but

00:08:05

in my opinion, adding such a transparent

00:08:08

shade of reddish shade we make

00:08:11

our pie more interesting and picturesque it is best to

00:08:17

work in stages like this

00:08:19

showing especially when you are working

00:08:21

on copies and that’s when we start

00:08:23

working on the underpainting mta we work

00:08:27

starting with large 57 a large spot is for

00:08:30

example a spot of hair if you look

00:08:32

at the original in a portrait photograph abu

00:08:35

grotto you will see that there is a large

00:08:36

spot there, a dark spot of hair and a light spot,

00:08:40

this is the portrait itself, we of course have a

00:08:42

section of the background,

00:08:44

it starts better with dark spots, it’s

00:08:46

easier to take them with the eye, it’s better to see the dark

00:08:49

spots and just flat until at first it’s

00:08:52

quite flat, we paint over such a

00:08:55

dark spot of hair gradually we begin

00:08:59

to clarify the character of the silhouette, we highlight the

00:09:02

light there, we highlight the shadow too much on the

00:09:07

volume, we don’t work on the volume, the thing is that this

00:09:10

will be the subject of the next part of the first

00:09:12

registration and 2nd registration, the main task in

00:09:16

underpainting is to establish tonal

00:09:17

relationships,

00:09:18

again I repeat that it was possible to perform the

00:09:21

roller in different ways and with different degree of

00:09:23

completeness, some make it very

00:09:25

detailed,

00:09:26

some simply tint the canvas and sometimes

00:09:29

highlight the light

00:09:31

in this situation, I would use

00:09:34

only 2 paints goes under the paint,

00:09:36

quite roughly simple,

00:09:37

again, I will repeat this is the first copy of a

00:09:40

series of copies, so we will not complicate

00:09:43

our task from the very beginning, it is made

00:09:45

quite simple and clear underpainting

00:09:47

highlight the light and shadow

00:09:52

about the wings the spot of hair we move on to the shadows

00:09:55

on the face I work first with the shadows within a

00:09:59

fairly large shadow of our own shadow

00:10:01

on the forehead on the front area of the face of

00:10:05

the eye socket and we just work on these

00:10:10

shadows compare the darkest spot

00:10:13

is the hair and the shadows on the hair remember that

00:10:16

they will not be different, they will not be the same in

00:10:19

tons, somewhere they will be light, somewhere they

00:10:22

will be darker, but they will always be

00:10:24

denser than the light, this is a very basic

00:10:26

rule, remember it, it is always

00:10:28

applicable to painting and in drawing,

00:10:32

after working on the shadows, we move on to dense

00:10:35

the floor is very liquid, we just

00:10:38

warm up these planes,

00:10:42

especially there is no point in drawing now

00:10:45

to reveal the volume we will have for this

00:10:48

next part, in

00:10:52

other words, underpainting, we must

00:10:55

figure out for ourselves where the light will be, the

00:10:57

money will be the lightest part, where the

00:10:59

darkest the lightest is

00:11:02

exactly the area of the cheekbone and somewhere the bright colors

00:11:06

on the tip of the nose of the neck

00:11:07

will be denser; the forehead will be denser,

00:11:10

that is, the shape, as it moves away from the

00:11:12

light source, will become

00:11:14

denser in tone; darker;

00:11:22

very easy to connect the background; you will see that

00:11:25

the background is not completely recorded, but only a piece of

00:11:29

the background in front of the head; the rest of the background

00:11:33

leave it white for now, after

00:11:36

doing the underpainting, let it

00:11:38

dry for one day, we used a

00:11:40

quick-drying thinner, the

00:11:42

paint will dry in thin layers without hitting

00:11:44

very quickly and move on to registration

00:11:47

registration is the first part and we will

00:11:49

work with color using the entire palette

00:11:51

I will use Michael Hayden paints

00:11:54

you can use those that you

00:11:55

are used to, do not forget to check the list of

00:11:58

materials,

00:11:59

it is given in the description for this video lesson

00:12:01

and a complete list is also attached in the

00:12:03

full video tutorials,

00:12:10

we take a brush, we use the same

00:12:12

bristles

00:12:13

and synthetics, the brushes are all small in size

00:12:16

because you have a small sketch,

00:12:18

we add the same the thinnest

00:12:21

oil can

00:12:32

[music]

00:12:33

and then let's add some paints

00:12:36

to the palette a little white, use

00:12:41

titanium white then add a little

00:12:47

yellow I use a paint

00:12:49

called yellow lake but you can

00:12:51

use the yellow you

00:12:52

are used to, maybe cadmium yellow

00:12:54

medium Komi lemon from trance new this is

00:12:58

unprincipled more o'hara this is

00:13:00

yellow ocher under ondulin red this is

00:13:03

scarlett lake you can use

00:13:06

some other red cadmium red

00:13:08

dark if purple and add some

00:13:11

dark paints this is to remove the wives and

00:13:14

ultramarine I recommend adding

00:13:16

be sure to add

00:13:19

not a lot of paint this is a copy of the work

00:13:23

it is carried out quite restrainedly without any

00:13:25

pasty strokes, you see that the

00:13:28

underpainting is completely dry, you can

00:13:31

check it with your hand using pinin, it will

00:13:33

also dry very quickly, let's

00:13:37

pick up a paint like this for the dense

00:13:39

platone on the forehead, take a lot of yellow

00:13:42

red ultramarine and white

00:13:46

mix this quite a cool

00:13:49

shade in reality in fact, you can start

00:13:52

from essentially any area, since we already have

00:13:54

the underpainting, we have already figured out where the

00:13:57

light and dark shades will be,

00:13:59

I recommend starting either on the wall and

00:14:02

either just with halftones that are very

00:14:05

dense, approximately somewhere on the forehead, in my

00:14:10

opinion there is no point in starting now wall

00:14:11

because we took almost full

00:14:13

force to the underpainting and we can just

00:14:17

temporarily leave them as they are

00:14:19

[music]

00:14:21

if you look at the original of the

00:14:23

grotto boo there are a lot of cold shades

00:14:26

and in general the painting of the hillock is different in

00:14:28

that there are a lot small

00:14:30

coolish pinkish purple

00:14:33

shades somewhere, so let's add a little

00:14:35

ultramarine and a little yellow, we'll

00:14:38

get a fairly dense,

00:14:39

slightly olive undertone and let's

00:14:43

put this point where it is

00:14:45

needed, look at the original, we'll see a

00:14:49

dense undertone and put this

00:14:51

coolish greenish undertone then into

00:14:54

it we will fuse in lighter

00:14:56

cold shades,

00:15:10

let's add a little white, a little red, it

00:15:12

turns out to be such a cold pink and

00:15:15

now we add its light part of

00:15:18

the portrait, the area of the cheekbones avi, we

00:15:21

clarify this is a cold pluto, we work

00:15:24

while using

00:15:25

synthetics we outline the main spots and

00:15:30

also until we think about completeness,

00:15:33

the main thing is to outline the main

00:15:34

colors spots we work along the entire

00:15:38

plane of the canvas we connect the neck and do not

00:15:40

forget about the shoulder girdle we

00:15:45

also outline the light on our mind it is very light and

00:15:48

cold although it is a little further

00:15:51

from the light source most likely the

00:15:54

strongest lights will be our necklace

00:16:01

until we think about completeness and just

00:16:04

go through everything over the entire plane of the canvas,

00:16:08

trying not to think about the details

00:16:21

[music]

00:16:30

when you paint the nose, don’t forget that there

00:16:32

is both light and shadow, you see now that

00:16:35

there is a fairly thin narrow area of

00:16:37

shadow on the back of the nose and it is very necessary

00:16:41

to show highlight,

00:16:42

otherwise the nose will be flat, as if

00:16:44

cut out this shadow will help us with nifty

00:16:47

kisses and show that it wraps up

00:16:49

and continues even where we don’t see

00:16:51

the form

00:16:58

now at this stage we will

00:17:01

establish great color

00:17:03

relationships and then we will send the work to

00:17:06

dry after which we will move on to the second

00:17:09

registration where we will finish

00:17:11

the work and talk about details

00:17:15

about some nuances now, after all, we are

00:17:18

working on large masses, remember the

00:17:21

light source is cold, so all

00:17:25

the planes that are turned towards the light

00:17:27

will be quite cold, the shadows will be

00:17:29

warmer,

00:17:40

we wrote a little on the head, move on to the neck,

00:17:43

outline a dense pluto and shadow there I remember

00:17:48

that they will not always be darker than the saint and

00:17:50

somewhere we even connect a tight bolt, it’s

00:17:53

on the shoulder girdle

00:18:00

when we have established approximately the general

00:18:04

and tonal color relationships, you can

00:18:06

take a harder brush, for example bristles,

00:18:08

and load the colors somewhere I remind you that

00:18:12

the neck will be generally denser than the portrait

00:18:14

of the head

00:18:15

but nevertheless, it is in a fairly

00:18:17

strong light, even of course there will be Nabokov’s scientific

00:18:20

council, the charms of the head in the area of the cheekbones of

00:18:23

her cheeks,

00:18:24

so we add quite

00:18:26

large impasto masks there,

00:18:30

I recommend doing as much as possible

00:18:33

during the first registration, working even

00:18:37

a little with details so that later when we

00:18:40

send this work to dry, we could

00:18:43

simply return to the registration and finish the

00:18:46

details without making big changes

00:18:48

to the portrait itself, so now we are trying to

00:18:51

do as much as possible in one session

00:19:04

[music] we

00:19:16

begin to work a little on the similarity,

00:19:19

we clarify the nature of the shape, we look at the length of the

00:19:22

nose, the tilt of the head as a whole and forget

00:19:26

that all the details will also tilt

00:19:28

along with the head, this also applies to the eyes and

00:19:32

lips and nostrils

00:19:37

when we are working on a portrait and

00:19:40

still think not only about color but also about the

00:19:42

overall similarity of the design, proportions and so

00:19:45

on, although of course we did

00:19:47

the thanking or drawing first parts and

00:19:50

have already worked on the proportions,

00:19:53

however, in the process the proportions often get

00:19:54

confused, especially when we write when the

00:19:57

process becomes a little more

00:19:58

emotional, so sometimes

00:20:01

we return to the proportions of a large

00:20:03

silhouette and check now the work may

00:20:09

look a little more picturesque, it

00:20:11

may be some random shades,

00:20:13

it’s not It’s scary even the advantages of

00:20:17

working in the initial stages, then in

00:20:19

the process

00:20:20

it will all be described softened and is

00:20:23

already as close as possible to the original.

00:20:28

In general, copying is a very important stage

00:20:30

in the learning process, if you want to

00:20:33

learn how to paint a portrait, do it

00:20:35

well, realistically, correctly, then you cannot

00:20:38

avoid copying, copying

00:20:41

very often and We are constantly

00:20:50

gradually approaching the completion of this

00:20:52

part,

00:20:55

remember that in full form the lessons

00:20:57

last more than three hours, of

00:20:59

course I speak in as much detail as possible about

00:21:01

each part, this is still a review

00:21:05

version, we soften the boundaries, soften the

00:21:11

transitions of halftones and leave this

00:21:14

work to dry as it takes

00:21:17

several days depending depending on the conditions,

00:21:20

I recommend listening, but at least

00:21:22

3-4 days, when the work is completely dry,

00:21:26

we must do a very important process

00:21:28

called interlayer processing, which is

00:21:32

that we need to destroy

00:21:35

the film that forms oil; oil

00:21:37

paint, upon drying, this film does not allow the

00:21:41

first and second layers to bond and

00:21:44

as a result, peeling is possible, so

00:21:48

we just take an ordinary razor quite

00:21:51

confidently, although without unnecessary pressure we go through

00:21:55

the portrait and destroy this oil film,

00:21:59

then we take two components: pinin and

00:22:04

compacted linseed oil, the thing is that you

00:22:07

can use just compacted

00:22:10

oil, but it is very thick,

00:22:11

especially if you take good ones

00:22:13

imported oil will be very difficult to

00:22:15

apply in an even layer on the canvas,

00:22:18

so we need to dilute it a little

00:22:20

back to us and then

00:22:23

coat this work quite thickly using this

00:22:26

mixture of compacted or other oil and

00:22:29

pinene, look against the light and master

00:22:33

some matte spots, then also

00:22:35

cover them oil can also be used with

00:22:38

ordinary linseed oil, although compacted of

00:22:40

course will be better, let the work absorb the

00:22:45

oil for 50 minutes, I remind you that

00:22:49

the layer should be very thick, tightly the

00:22:53

required amount has been absorbed,

00:22:56

we simply remove the residue with an ordinary soft rag,

00:22:59

now the work is ready from the

00:23:02

next stage to completing the details and connecting the

00:23:05

layers it will be much stronger and so this is the 2nd

00:23:09

registration, the last part we will

00:23:11

work on the details, but this is not

00:23:13

glazing, this is also the body layer of

00:23:15

the painting, we will just take it for

00:23:17

clarification and rewrite the work, we

00:23:21

will no longer do it, of course there will need to be

00:23:24

certain adjustments, work on the

00:23:27

halftones, clarifies the similarity of the characters of

00:23:29

the form the proportions are even somewhere,

00:23:31

so now we’ll do this, mix a

00:23:34

cool shade, a fairly

00:23:36

light shade, in a not very thick layer and

00:23:40

without a thinner, and start working

00:23:44

somewhere in the midtones and softening them, for

00:23:47

example, the lower jaw, the

00:23:48

corner of the lower jaw needs to be softened a little,

00:23:50

this is the whole area united by

00:23:52

bright light,

00:23:54

there were no hard transitions, there will be a

00:23:57

difference in tone and color, but there won’t

00:24:00

be such a linear hard boundary,

00:24:02

so we soften this area, we work

00:24:07

literally in a wipe,

00:24:10

but without a thinner in general, all those

00:24:17

changes that I will now wear are

00:24:19

quite difficult; it can be a catcher on the

00:24:21

camera there are lessons in the video,

00:24:24

but they are necessary; they bring our

00:24:28

work closer to the original;

00:24:29

somewhere we soften the transitions; where we

00:24:32

add a little color; in general, it does

00:24:36

n’t seem very significant, but

00:24:38

believe me, it’s necessary;

00:24:46

tea, a little bit of this edge of the shadow in the

00:24:48

eye socket area, then we return to the lips;

00:24:51

soften the skin around the lips Let’s clarify a little the

00:24:55

position of the corner of the mouth. In general,

00:24:57

the position of the corner of the mouth is very important because

00:25:00

it can change the facial expression,

00:25:02

so always check the position of the corner of the

00:25:05

mouth in relation to the roll of the nose and generally

00:25:10

check the height of this corner of the mouth, how

00:25:12

high or low it will be located;

00:25:17

the leg is also working on the upper eye area

00:25:20

eyelids of the lower eyelid, that is, in

00:25:24

general, we work along the entire plane of the canvas,

00:25:27

as a rule, we work to soften it, also

00:25:31

in the first part in the first registration, we

00:25:33

usually work on large

00:25:34

planes and you don’t always have time to

00:25:37

soften the transition between them. It’s

00:25:41

necessary to do this so that the work looks

00:25:44

forward to the scene. what came out was a large

00:25:47

volume, a large shape of the head,

00:25:48

they have some transitions, it is very important

00:25:52

to make a soft transition from the front of

00:25:54

the face to the side, which is in

00:25:58

strong light, there is a tonal difference

00:26:00

and a color difference, but there is no hard

00:26:03

boundary

00:26:14

[music]

00:26:21

tired of how we made all these clarifications at the

00:26:23

very end, I decided to tint the canvas a little

00:26:28

because now you are white light of the canvas

00:26:31

primer and it is somewhat breaking out of

00:26:33

the relationship, we take pinin a little bit of my wife’s umber

00:26:36

and just lightly cover the area of the

00:26:39

canvas and then level it with a soft

00:26:41

rag tons of holes has practically not

00:26:47

changed, it just became a little darker

00:26:49

in tone and this no longer interferes visually with

00:26:55

such a copy, you can

00:26:59

pick up some kind of frame, I had a

00:27:00

working one or a workshop,

00:27:03

of course it’s better to choose the one that

00:27:05

suits this particular job, you can

00:27:09

look at the work up close

00:27:11

from afar, and with this we end this

00:27:17

video lesson,

00:27:21

and thank you all for watching,

00:27:23

be sure leave your comments,

00:27:25

like, share on social networks and with

00:27:27

your friends, subscribe to my

00:27:30

channel and my social networks, do not forget

00:27:32

to download the full version of the video lesson is

00:27:34

available on my website via the link in the description

00:27:36

under this video, thank you all for watching,

00:27:39

I hope it was interesting and useful,

00:27:42

good luck and creative success and see you

00:27:44

on this channel

Description:

✅ Полная версия видео урока /скачать/ https://sergeygusev.gumroad.com/l/bouguereau-1 ✅ instagram https://www.instagram.com/sergey_gusev_artist/ ✅ facebook https://www.facebook.com/sergey.gusev.fineart/?ref=settings Мои Материалы: Часть 1. Натяжка холста. ⦁ подрамник 30х30 см, ⦁ холст (бельгийский лён Claessens, Extra Fine, масляный грунт) Часть 2. Рисунок. ⦁ древесный уголь, ⦁ краска масляная Burnt Umber ( Michael Harding), ⦁ краска масляная Transparent Red-Oxide Lake (Old Holland), ⦁ пинен без запаха Gamsol (Gamblin), ⦁ кисть синтетика №1 (острый кончик) Часть 3. Подмалевок. ⦁ краска масляная Burnt Umber ( Michael Harding), ⦁ краска масляная Transparent Red-Oxide Lake (Old Holland), ⦁ разбавитель Galkyd Lite (Gamblin), ⦁ кисти синтетика плоская (небольшие номера, 2,4,6), любой производитель. ⦁ кисти щетина плоская Daler&Rowney (средние номера 4,6,8). Часть 4-5. Первая прописка/Вторая прописка. ⦁ краска масляная ( Michael Harding) 1. titanium white (белила титановые), 2. yellow lake (желтый лимонный, кадмий лимонный, стронциановая желтая), 3. scarlet lake (кадмий красный темный, кадмий пурпурный), 4. yellow ochre (охра желтая, золотистая, светлая), 5. burnt umber (жженая умбра), 6. ultramarine (ультрамарин) ⦁ разбавитель Galkyd Lite (Gamblin), ⦁ кисти синтетика плоская, ⦁ кисти щетина плоская.

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