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00:00:02

I greet you, my dear creative

00:00:04

friends, welcome to the channel,

00:00:06

she draws with you the wise Katya,

00:00:09

today we are painting a spring landscape, despite the

00:00:12

fact that winter has not yet receded, I already

00:00:14

want spring in my soul, and today I took

00:00:16

a topic that I was going to take a long, long time ago,

00:00:18

namely,

00:00:20

doing work for the master class, this

00:00:23

version is an accelerated

00:00:25

review version, it gives you the opportunity to quickly

00:00:28

get acquainted with this master class and

00:00:30

decide whether you want to perform it in its full

00:00:32

version without acceleration in the full version, we

00:00:36

discuss in detail the techniques that

00:00:38

we use color mixing as well as the nuances of the

00:00:40

chosen topic for discussion

00:00:43

master version real-time classes

00:00:44

are available to my subscribers on Patreon and

00:00:47

also in the VKontakte group for all

00:00:48

levels of subscription for roses Alen and

00:00:51

tulips in the description under this video you

00:00:54

can find links to the patreon in the

00:00:57

VKontakte group as well as to the materials that I

00:01:00

use to create the work the theme of

00:01:03

this master -class, namely

00:01:05

performing work on video,

00:01:08

I chose at the request of which

00:01:12

too many had already accumulated so much that I

00:01:14

could not leave them without attention.

00:01:16

As an original for performing this

00:01:19

master class, I chose the work of

00:01:22

Kane Achilles landscape with a spring rose

00:01:26

tree and what The specificity of

00:01:30

performing work using video master classes is,

00:01:33

firstly, this is, of course, not an opportunity to

00:01:36

personally communicate with the artist,

00:01:39

so this time gap

00:01:42

between the questions asked and the

00:01:45

answer received, it can be very long,

00:01:47

most often we don’t have the

00:01:49

patience to wait for this

00:01:51

sometimes it’s simply impossible to get some answers,

00:01:53

for example, if you and I take

00:01:54

Bob Ross’s master classes and thus

00:01:58

we have to determine for ourselves very

00:02:00

many important aspects, the

00:02:02

first and most important thing is the choice of size

00:02:06

and material for a reason, today

00:02:10

I took the landscape of a large one as a basis format,

00:02:12

painted in

00:02:13

oil on canvas, please look,

00:02:16

I chose the paper, but what kind of paper is it an

00:02:20

imitation of the texture of the canvas,

00:02:22

today I took the maximum

00:02:24

budget option, this paper from the

00:02:27

palazzo gluing album is called

00:02:31

rose garden for watercolors, but I don’t like this paper for watercolors

00:02:34

because the density is

00:02:36

only 200-200 grams, in my

00:02:40

opinion, such paper still has

00:02:42

insufficient density

00:02:44

to do high-quality

00:02:46

watercolors, but for gouache

00:02:48

and acrylic it is good enough and the

00:02:53

advantage is its availability, it is

00:02:55

sold almost everywhere, unlike

00:02:58

daler-rowney or hanami or which I

00:03:01

I took it in previous times

00:03:02

and also this paper has a canvas-like texture,

00:03:06

but it’s not very pronounced, it’s

00:03:08

very delicate, textured like canvas,

00:03:12

but even this texture is enough to

00:03:16

achieve an imitation of canvas, so even

00:03:19

when choosing a budget option,

00:03:21

we didn’t choose canvas on a stretcher,

00:03:23

we we chose this

00:03:25

educational version of paper and still

00:03:27

approach it, my friends, thoughtfully, if you

00:03:30

see that the work you want to

00:03:32

do, but it could be just

00:03:34

a photo from the Internet,

00:03:36

try to find out what it was done on,

00:03:38

if the base is canvas and you want to write on

00:03:40

paper, please option

00:03:42

textured paper if you want

00:03:44

canvas a more budget option than a

00:03:47

stretcher is canvas on cardboard

00:03:50

the second important aspect is the choice

00:03:53

of material if you have a video master class

00:03:56

most often a description of the materials used is given for it

00:03:58

if this is a

00:04:01

picture from the Internet or a work

00:04:03

that you liked and you want

00:04:05

to repeat it is important to determine at least

00:04:08

try with what material it is painted

00:04:10

if the material is impasto it is most likely

00:04:13

either oils or acrylic

00:04:15

for learning impasto painting I

00:04:17

prefer acrylic

00:04:18

it does not smell and it is also

00:04:20

multifunctional you can try to

00:04:24

master the techniques designed for post

00:04:26

this material is similar to a donkey and at the same time At the same

00:04:29

time, these same paints can be used to paint using

00:04:31

watercolor techniques, since acrylic

00:04:33

dissolves perfectly in shade, you can

00:04:36

achieve transparency by

00:04:38

adding water, so we have

00:04:41

mediums that maintain the consistency of

00:04:43

acrylic, and accordingly, we have water.

00:04:46

Today I paint with the use of

00:04:48

water, you can achieve transparency

00:04:51

in watercolor, one material and there are so many

00:04:55

opportunities to work with it, also in terms of

00:04:58

hiding power, gouache is similar to oil,

00:05:02

and if you and I see that the work is

00:05:05

written and oil, we can also choose

00:05:08

gouache, this work, this master class

00:05:10

can be done and yours, what

00:05:16

next we we must take steps with you on

00:05:17

how we are moving

00:05:20

if this is a video master class, we carefully

00:05:22

monitor the tools, we try to

00:05:26

analyze the shapes of the brushes, in the full

00:05:29

versions of the master class that are available on

00:05:31

VKontakte or on Patreon, I

00:05:33

always comment on which brush of which

00:05:36

type, what can be replaced if it is not there, if

00:05:40

a palette knife then what form is what is

00:05:42

preferable for performing this

00:05:44

type of work

00:05:45

if you come across a master class and it

00:05:48

is accompanied only by music and either in a

00:05:51

foreign language that not everyone speaks,

00:05:53

so we carefully look at what kind of

00:05:55

brushes are and how the artist

00:05:57

holds them what knives such nuances

00:06:00

greatly influence the final

00:06:03

the result that we get on

00:06:06

paper,

00:06:07

then it is important to remember about the size of the work,

00:06:11

you can see that this size of

00:06:14

this original is quite large,

00:06:17

either 50 by 60 or larger, so

00:06:20

such a large size of

00:06:23

its body makes it possible to work out

00:06:25

the details efficiently,

00:06:28

illuminate the bushes everywhere, write out small ones in detail

00:06:30

foreground flowers

00:06:32

small format that we take

00:06:35

for educational work A4 format does

00:06:38

not give such an opportunity, so we learn

00:06:41

to discard details that are impossible to

00:06:44

perform in a smaller format, most

00:06:48

often this is, unfortunately, the beauty of the

00:06:51

foreground, you and I had

00:06:53

master classes on the channel where we you and I learned how

00:06:55

to detail the foreground, we

00:06:58

wrote a quiet backwater where asoka is detailed in great

00:07:00

detail, including a discussion of

00:07:04

the tools that are able to give us

00:07:07

this very imitation of visual high-

00:07:10

quality elaboration, as well as the

00:07:13

tools that actually

00:07:14

do this, these are primarily bristle brushes

00:07:17

and brushes and mains and are able

00:07:20

to hold a lot of paint and at the same time

00:07:24

are able to give a very precise brushstroke,

00:07:27

well, I have created the basis of the landscape from

00:07:32

some shades, I refused the full

00:07:34

version, I also comment on why and then

00:07:37

we outline the foreground elements, these are the

00:07:40

trees, Keren Hill chose a pink

00:07:43

tree and I will also follow the main

00:07:47

idea of the master class, however, on

00:07:49

the eve of February 14, Valentine's Day, I

00:07:53

would like to make one significant

00:07:55

change, namely to give the tree a

00:07:58

heart shape, as you can see here

00:08:01

the tree spreads the trunk in two directions

00:08:05

to the right, thereby forming a v-

00:08:09

shape, it is around this shape that

00:08:11

we will with you in the master class

00:08:13

to build the shape of a heart, of course, I would

00:08:17

highly recommend

00:08:19

considering at least an accelerated version of the

00:08:21

master class where we painted a

00:08:23

large bush in the center of the landscape and discussed in detail the

00:08:27

features of writing

00:08:32

bushes; they have not just a round

00:08:35

shape; they have under the crowns, smaller

00:08:38

segments of the crown, which in turn

00:08:40

have lighting, light, shadow and Luton, the experience of

00:08:44

previous

00:08:45

master classes will help you a lot

00:08:48

if you take on your next job,

00:08:50

also a big important point

00:08:53

is that almost all

00:08:56

master classes are designed for you to

00:08:59

repeat several times, also a very

00:09:02

interesting point is that

00:09:05

the work is done more competently if at

00:09:08

the beginning you watched the ri and at least the

00:09:10

accelerated version, for example, youtube makes it

00:09:13

possible to speed up the video twice, but

00:09:16

you lose the opportunity to listen to

00:09:18

comments qualitatively, you lose

00:09:21

the opportunity to track some little details and

00:09:23

details details,

00:09:24

but you already have an idea of how

00:09:27

the work as a whole goes from start to finish,

00:09:30

you can already predict where you can

00:09:34

save on elaboration because in the

00:09:36

foreground there will subsequently be details

00:09:38

or

00:09:39

elements that cover the background,

00:09:41

there is no point in working on and spending a lot of

00:09:44

time on the middle or back in this

00:09:46

place and you also

00:09:49

clearly imagine the finale that you are moving in this

00:09:53

way, by watching first and then

00:09:55

performing it in real time, you

00:09:58

have a clear idea of the main

00:10:01

points of the work if you perform the

00:10:04

master class again or for the third time, you

00:10:07

can thereby evaluate not only the

00:10:09

master class itself, and the tone, how

00:10:11

well did you get the moments in your head

00:10:13

and also the techniques used

00:10:16

very rarely, my friends, and in my

00:10:19

master classes I use absolutely

00:10:21

new techniques, they are found in one form or another in

00:10:24

every master class here you

00:10:27

can see also the stuffing, hard brushes

00:10:31

that I love so much, they create a

00:10:33

wonderful feeling of weightless early

00:10:37

greenery when the

00:10:40

branches shine through so clearly, you can still

00:10:42

see the

00:10:43

brushes we have larger ones for stuffing

00:10:46

and smaller ones, despite the fact that they are

00:10:48

made from the same

00:10:50

bristles by the manufacturer, that is, the bunch itself

00:10:53

is the same stiffness and hair, but at the

00:10:57

same time its very shape gives a different

00:10:59

imprint, we worked on stuffing in

00:11:01

great detail; the

00:11:03

winter master class was on landscapes and,

00:11:05

again, a quiet creek

00:11:06

there we created trees in large

00:11:09

quantities using the same technique,

00:11:11

another important factor When performing

00:11:14

work on a photo painting or video

00:11:17

master class, the task you set

00:11:20

for yourself is first of all, you

00:11:22

need to decide for yourself what you

00:11:26

want to write, whether it will be an exact

00:11:28

copy, whether you are striving for an absolutely

00:11:31

identical result when comparing

00:11:34

it with the original, or whether you want to

00:11:37

create a work based on motives or for

00:11:39

practice and techniques are presented in the

00:11:42

master class

00:11:43

if the task is a complete copy

00:11:46

when it is also necessary to resolve the issue of the

00:11:49

selection of materials it should be

00:11:51

identical to those that you see in the

00:11:55

original

00:11:56

if we copied the work of

00:11:58

Kevin and Hilo we would certainly have to

00:12:01

take a canvas on a stretcher,

00:12:04

try to choose the same shades,

00:12:06

carefully watch how the master works

00:12:10

and use the same materials, that

00:12:15

is, to create a copy, I would of course

00:12:17

take oil, no matter how similar acrylic is,

00:12:21

let’s say it’s more accessible in creativity at

00:12:24

home due to the lack of smell and here it is

00:12:26

such rich properties, but at the

00:12:29

same time, oil has unique

00:12:32

characteristics that

00:12:33

can be imitated and but not repeated

00:12:37

exactly when using acrylic,

00:12:40

this is, of course, primarily

00:12:42

due to the difference in the base, acrylic has a water

00:12:46

base, oil has a correspondingly

00:12:48

oily base, they are stewed in different ways and

00:12:51

of course the oil does not lose any

00:12:53

volume, so if you

00:12:55

used a more pasty textured

00:12:57

Moscow foreground in order to

00:12:59

more expressively write some

00:13:00

flowers or gay elements,

00:13:04

they will not lose any interesting details when the

00:13:07

oil dries in the volume of

00:13:11

acrylic we live without the use of

00:13:12

additional textured pastes or

00:13:15

thickeners, and acrylic after drying

00:13:18

will become flat, that is, the water evaporates,

00:13:20

the film approximately becomes flat, in

00:13:24

acrylic there is a difference in materials, of course, there is a difference

00:13:27

in copying works, there is also

00:13:30

a lot of useful information, first of all, we

00:13:33

learn to analyze the techniques that

00:13:35

we used the author as well as the tools and

00:13:38

materials that are used in the work

00:13:39

and we learn to paint using the same techniques

00:13:43

so that the final result exactly

00:13:46

corresponds to the original. If you and I had

00:13:49

undertaken to copy a Dutch

00:13:52

still life, we would have had to master 7-

00:13:54

layer oil painting;

00:14:01

called from very ancient times and

00:14:04

still exists, we all know about

00:14:07

masterly when a great artist

00:14:09

opened a workshop, recruited

00:14:11

apprentices and they often carried out a

00:14:13

significant part of his work, the master

00:14:16

made his final touches and put his

00:14:18

signature, thus the apprentices for many

00:14:22

years watching the work of their master

00:14:25

had the opportunity learn to copy both

00:14:27

style and techniques,

00:14:29

you and I, my friends, most often

00:14:32

set the task to create a work based on

00:14:35

or similar to an image

00:14:38

that we liked

00:14:39

or repeating any master class,

00:14:42

of course, to master techniques that help us to

00:14:49

reproduce some effects without them

00:14:51

however, when creating a work based on motifs, you and

00:14:54

I are free to make any changes, and

00:14:57

this detail I can honestly

00:15:01

tell you is very to my liking, I love to see

00:15:03

your relationship to the master class, your

00:15:06

individual ideas, the details that

00:15:09

you add, thereby giving the

00:15:12

works created based on the master class

00:15:16

individual features

00:15:17

and for this particular work, despite the

00:15:21

fact that it was created based on the work of

00:15:23

Kirin Khilaya, I decided to change the shape of the

00:15:26

tree crown and on the eve of February 14,

00:15:29

look here we have a

00:15:31

charming pink heart blooming,

00:15:35

it is not very obvious now and here

00:15:37

again I leave it on your discretion,

00:15:39

you can make the shape more obvious,

00:15:42

more with such a sharp ending, you

00:15:45

can make it more of a hint,

00:15:49

visually creating 2 crowns reminiscent

00:15:53

from afar but not clearly considered as a

00:15:57

heart shape, here we can

00:16:01

tell you such an interesting

00:16:03

technique and we discuss it in more detail in

00:16:05

full version,

00:16:07

if you want to create a crown more

00:16:09

densely, you stuff the flowers on top of

00:16:14

the branches, of course, before; however, if

00:16:17

after stuffing you want to return the openwork to the tree,

00:16:19

more lightness and transparency, you must

00:16:22

then draw the branches on top of the crown

00:16:24

again with a very thin brush,

00:16:28

thereby allowing your viewer

00:16:32

or your eyes to see more

00:16:34

branches,

00:16:35

thereby you make it clear that the

00:16:38

tree is not completely

00:16:40

densely strewn with flowers, that it is openwork

00:16:43

airy,

00:16:44

because you and I see a lot of branches,

00:16:47

look, as soon as thin

00:16:49

branches were added, there was a feeling of greater

00:16:53

lightness of the tree; we use the same technique

00:16:56

on the green trees there now

00:17:00

the stuffing is drying out, we filled it with green

00:17:04

young foliage like this, but of course

00:17:06

in the finale I returned it to greater transparency using

00:17:10

such interesting techniques, that is,

00:17:14

by duplicating the branches, the more we

00:17:17

see them, the correspondingly we perceive the

00:17:20

tree as less covered with foliage,

00:17:22

also here next to the heart-shaped tree

00:17:25

I have grown 2 divided by

00:17:28

a green one, it seems to me that the proximity of a

00:17:30

green tree allows the

00:17:33

heart-shaped pink tree to fit more

00:17:36

organically into the landscape due to the

00:17:38

fact that somewhere between the pink flowers the

00:17:42

greenery of the tree that

00:17:45

grew behind it shines through, otherwise it would be

00:17:49

very lonely for a pink tree to stand like that I will also

00:17:53

add to this landscape a small

00:17:56

rose bush

00:17:57

growing on the right side of the landscape.

00:18:00

Using overlapping shades

00:18:03

to paint different areas of different

00:18:06

details in the landscape ultimately gives us a more

00:18:08

harmonious image. The

00:18:10

same technique can be used in still life

00:18:14

and portraits, you can even add

00:18:17

a small detail and but repeating

00:18:19

some bright drop-out color and it

00:18:22

will visually shrink

00:18:24

better, we don’t lose volume when working on the crown,

00:18:27

look please, I have a

00:18:30

very fluffy tree here, to

00:18:32

give it a cold spring light, I

00:18:35

added a large amount of highlights on the

00:18:39

foliage

00:18:40

on the left side for detailing crowns we have

00:18:44

like this, come on, the

00:18:45

crown is the most eye-catching,

00:18:46

of course, first of all due to

00:18:48

the color, but also due to the fact that for

00:18:51

detailing we used several

00:18:53

techniques based on the padding, of course, but

00:18:57

to work out the sharp glare of

00:19:00

light playing on the petals of flowers, I

00:19:04

used a larger one the brush

00:19:06

gives a dense brushstroke, it is better visible

00:19:10

and it seems that somewhere a

00:19:12

turned petal really flashed.

00:19:15

Please note that

00:19:17

I did not work on the second smaller tree with the

00:19:19

same care since they

00:19:23

are on the same plane

00:19:25

and with the same degree of detail a

00:19:27

small tree can easily we will

00:19:30

have volume and you can also pay

00:19:32

attention to the fact that it is the tree in the shape of a heart that

00:19:35

has the greatest contrast, that is, the

00:19:38

difference between light and shadow. Next, I

00:19:42

will use another technique for the splashes of vanilla, and

00:19:44

we have also

00:19:46

used it many times: a fan brush in work and

00:19:49

this is also a detail that I would like

00:19:51

to add in the original work, this

00:19:54

technique is not used and there are

00:19:56

no flying petals in the work when you

00:20:00

approach the final stage of the work, it is

00:20:04

very important to leave your work and

00:20:07

perceive it separately in isolation from the

00:20:10

master class if you are creating a work based on

00:20:13

because it is important to evaluate

00:20:15

exactly what you currently

00:20:17

have on paper or on canvas,

00:20:20

and it is important for this particular work

00:20:24

to be balanced and whether there is a lack of

00:20:26

contrast somewhere, perhaps somewhere there is

00:20:29

excessive

00:20:30

or, on the contrary, insufficient elaboration, but

00:20:33

we resolve such issues

00:20:36

based on what we have achieved by

00:20:39

the end of the master class or

00:20:42

image, thereby we gain

00:20:45

experience and develop imagination in self-criticism

00:20:47

because all the

00:20:50

amendments we make must

00:20:52

first be presented and only then

00:20:54

implemented if we decide that they

00:20:56

benefit the

00:20:58

work if Do you have any

00:21:00

doubts

00:21:01

about your work? For my subscribers at the level of

00:21:04

anemone and rose, I offer help in

00:21:07

analyzing the work and also in

00:21:10

deciding what changes are required and

00:21:12

whether they are required through personal messages,

00:21:16

we can resolve such issues with you,

00:21:20

well, master class my is coming to an end

00:21:22

my friends today little little at all

00:21:25

discussed some techniques in the demo version

00:21:27

stages of execution talked to you a lot

00:21:30

about how the work on the master class is carried out in general

00:21:34

if you have any questions,

00:21:37

welcome to me on patreon and also in the

00:21:39

VKontakte group in the full version of this

00:21:41

master class, we also discuss in detail the

00:21:43

techniques of color mixing and the

00:21:46

tools necessary in the process of

00:21:49

completing the work, all that remains is

00:21:52

to dry it, and only after complete

00:21:55

drying we have the opportunity to delete the

00:21:58

tape, you can share your works

00:22:01

through my VKontakte group

00:22:02

patreon facebook and also instagram do not

00:22:05

forget please hashtags she draws

00:22:07

all links to social networks are also

00:22:10

available and in the description with you was

00:22:12

Fedorova Yako Tii channel draws I wish you a

00:22:15

romantic Valentine's Day bye

00:22:17

bye everyone

Description:

👉 Видео в реальном времени и эскиз Спонср: https://sponsr.ru/anurisui/80/Cvetushchaya_vesna_Peizaj_AKRIL_Masterklass_v_realnom_vremeni_1_chas_36_minut/ 👉 Видео в реальном времени и эскиз ВКонтакт: https://goo.gl/NypzKn 🖍️Для работы потребуется: https://sponsr.ru/anurisui/43/AKRIL_Materialy_dlya_masterklassov_so_ssylkami/ 👉 Видео в реальном времени и эскиз Патреон: https://www.patreon.com/posts/tsvetushchaia-na-24562893 * эскиз Патреон: https://www.patreon.com/posts/24557166 🌸 В этом мастер-классе мы пишем акрилом на бумаге! Мы разбираем материалы, последовательность и техники этого пейзажа, но не только! Выполняя работу по видео мы с вами осваиваем техники дистанционно. Как же написать работу по видео мастер-классу с максимальной пользой, на какие детали обратить внимание, как выбрать или заменить материалы, какие цели поставить и как оценить результат? Эти вопросы поступали и продолжают поступать от вас, друзья мои! Я постаралась систематизировать и ответить на них подробно! 🌸 Для наглядного разбора этих вопросов в мастер-классе за основу был взят пейзаж Кевина Хилла. Оригинал вы можете найти в ATTACHMENT. Так же по этой ссылке на YouTUBE доступен демо мастер-класс автора по оригиналу работы: https://www.youtube.com/watch?v=QQik7wgTn7s&ab_channel=KevinOilPainting Если вы не нашли ответов на свои вопросы в мастер-классе - задавайте их в комментариях! Я постараюсь ответить на них максимально подробно! 🌸 Для работы потребуется: https://www.patreon.com/posts/akril-na-kholste-19650407 ❤️❤️❤️Поделиться работами: Спонср: https://sponsr.ru/anurisui/ ВКонтакт: https://www.vk.com/anurisui Патреон: https://www.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! ✉️Mail: [email protected] Music artist: https://twitter.com/NHeidlas

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