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00:00:02

[music]

00:00:11

Hello friends It’s me Vitaly Tkachenko and the

00:00:14

school of creativity Today I want

00:00:16

to show you how to paint such a

00:00:19

magnificent lilac with oil paints, this is a

00:00:24

lilac, I guarantee that absolutely

00:00:26

everyone will succeed if you listen to me

00:00:28

carefully and follow Well, all my

00:00:32

recommendations mean that we You will

00:00:36

need it. By the way, Who wants to paint

00:00:38

this

00:00:40

lilac with acrylic or gouache, you can

00:00:43

safely use gouache acrylic You can also

00:00:47

write on paper on cardboard, you can write

00:00:50

quite calmly, so the main thing here is

00:00:54

desire and materials I’ll tell you now

00:00:57

what you will need if

00:01:00

the speed is too fast You can in

00:01:03

the settings, lower the speed a little I

00:01:06

mean about

00:01:08

the comments and it might be easier, which

00:01:11

means the brushes that I will

00:01:15

use, well, the brushes I roughly

00:01:18

show what will be and what

00:01:23

will not be. We’ll put these in a moment, here’s an example, you

00:01:28

can navigate, you can change the

00:01:31

brushes and if not, let’s like this there, it’s

00:01:36

okay, you can absolutely

00:01:38

vary it, plus or minus, just The main thing is

00:01:41

that there are large brushes for the background,

00:01:43

medium ones, some bristles,

00:01:45

synthetic ones would be good Well, a couple of

00:01:48

round ones like that for this

00:01:52

picture, plus minus, this

00:01:55

set is small, not enough great small

00:01:59

medium large BC and you are quite comfortable with this

00:02:02

five brushes will be enough it

00:02:05

will be right behind my eyes I have the canvas stretched

00:02:08

on cardboard I will paint in oil I will repeat

00:02:12

and this picture will be divided

00:02:15

into two stages get ready for the fact that

00:02:18

here you will need to wait for the moment of

00:02:21

drying

00:02:27

background You probably noticed that

00:02:30

the painting on a black background was painted by the

00:02:33

series itself Directly and with a vase, so

00:02:36

here I will first cover the entire

00:02:39

background with black oil, so I squeezed out

00:02:42

one Black oil paint and I will paint it

00:02:46

now the entire canvas in o tone I

00:02:49

will need to wait for it it doesn’t get dirty

00:02:52

so that it doesn’t smear; this will

00:02:55

probably take 3-4 days; if you

00:02:59

write thinners, it can

00:03:02

even dry in a day near the radiator. Well,

00:03:04

dry it out

00:03:06

already, that

00:03:07

’s why you’ll need to do it here with a break, which

00:03:13

means, well, based on the materials, I told you everything about the

00:03:15

paints a little

00:03:17

later. I also I’ll show you they will be in

00:03:22

the descriptions in full the whole set for now I

00:03:25

need black paint and a large brush,

00:03:27

which means as I already said

00:03:30

I’ll just paint it in one color, by the way

00:03:33

you can if you have the color Indigo

00:03:36

if you have Black you can choose one of the two

00:03:38

absolutely calmly take

00:03:41

either Indigo or gas black soot,

00:03:43

any black paint Well, Indigo is

00:03:45

a little blue, but although it

00:03:47

will also work, I take a black

00:03:53

color with a large brush and for the first

00:03:58

stage I will have to

00:04:01

simply

00:04:02

carefully paint over the entire

00:04:05

canvas, I have stained the entire canvas

00:04:09

evenly without

00:04:12

Prosvetov and the guys, the main thing is to apply a thin layer of

00:04:17

paint. Here you will want to make sure

00:04:22

that

00:04:25

you do not apply the paint greasyly, if

00:04:28

you apply the paint greasyly, then it will take a

00:04:30

very, very long time to dry. Therefore, just try to

00:04:35

carefully

00:04:37

paint over, let’s say,

00:04:38

our entire Black square. Well, I don’t have a

00:04:42

square evenly with a thin

00:04:46

layer You may have to

00:04:49

paint it once and then again after. Well,

00:04:52

look there if there are any gaps

00:04:54

left with a second layer right away, you can and

00:04:57

let it dry,

00:05:00

it will take more than one

00:05:02

day, most likely more than one day,

00:05:05

maybe for someone the paint will take

00:05:10

longer to dry, that is first we paint, let it

00:05:15

dry and then

00:05:17

we work on a dry surface, it

00:05:21

will be much much

00:05:26

easier, so I’m

00:05:28

going

00:05:30

over the entire

00:05:31

canvas Now I’ll carefully

00:05:38

cover it here It would be good if

00:05:43

you had a big

00:05:47

brush, it doesn’t matter what kind of

00:05:50

brush it is, smooth or hard bristles

00:05:54

the main thing is to

00:05:56

paint over it and wait for it to dry,

00:06:28

and

00:06:35

we remove any puddles of paint, shade them,

00:06:59

remove them. Well, if it’s in the middle where it will be,

00:07:02

let’s say our lilac is of course. It

00:07:04

doesn’t matter at all about being painted. But

00:07:06

where we have the background left, try to

00:07:14

cover it all up, well, black paint in

00:07:18

general, in Africa they

00:07:21

took the black paint and

00:07:24

closed it up. Like

00:07:26

this and

00:07:32

like this, we can leave it now

00:07:35

for several days. Maybe even

00:07:36

more, I’ll look. Well, most

00:07:42

likely it will

00:07:45

dry for two or three days for sure. And after that,

00:07:49

we let’s

00:07:51

say we meet again and

00:07:57

continue Well, friends,

00:07:59

several days have passed, I’ve

00:08:02

had 2 and a half days, well, roughly speaking,

00:08:05

three, you can say, and my canvas has dried, it’s

00:08:09

absolutely dry and you can already work on it,

00:08:13

so if you have it in the

00:08:16

same condition like mine So you and

00:08:18

I are ready to start marking and in

00:08:21

general, in principle, painting lilac

00:08:24

So I have a palette of

00:08:27

colors that I’ll show you right now and

00:08:30

read the whole list which, plus or minus,

00:08:33

again, is not super mega mandatory, so

00:08:36

to speak, but you can focus on the

00:08:39

tonality of my palette is not in the name

00:08:43

So the first thing I took was white, I took

00:08:46

this bright bright green for

00:08:48

the leaves, I took this marsh color.

00:08:51

It’s called natural umber, but

00:08:54

any marsh color would be suitable, or

00:08:56

some kind of brownish color would also

00:08:58

be suitable. I took lemon yellow like

00:09:00

this

00:09:01

dark red dark dark dark dark

00:09:04

dark blue But this is Indigo instead of

00:09:06

black, so I took it, let's call

00:09:09

it black as usual dark purple

00:09:11

dark pink

00:09:15

FC if you start stirring it turns out

00:09:17

blue paint this is blue means

00:09:20

any dark blue the paint, in general,

00:09:23

can also be replaced in principle, the

00:09:27

entire palette will be in the

00:09:29

video, so we can get started, the canvas

00:09:32

is dry, I take the brush. By the way, don’t

00:09:36

forget that you will need

00:09:39

napkins and napkins, we will help you

00:09:43

make the brush cleaner and the paint will be and

00:09:47

the picture will be cleaner napkins

00:09:49

I will definitely paint on linseed

00:09:51

oil You can, in principle, paint on

00:09:53

any other thinners also on

00:09:55

artistic

00:09:56

linseed oil Well, let's

00:09:59

go, let's paint a little brush in oil and

00:10:03

I'll need the color of the markings, I'll take

00:10:06

white and take a little

00:10:09

Indigo for me you will need a

00:10:11

light gray shade like this, a

00:10:13

light gray shade, a lot of mixture, no

00:10:15

need for oil,

00:10:18

dilutes

00:10:20

the color so that the outline can be seen, we

00:10:23

will now make markings with chalk on a black board.

00:10:26

So, friends, let’s look at

00:10:30

the composition and the comparison, how

00:10:32

can we compare

00:10:33

the proportions in

00:10:35

our our bouquet of lilacs

00:10:38

means a vase Look at the vase at the size of the

00:10:42

vase and at the size of the overall bouquet, the vase is

00:10:46

very, very small in

00:10:48

size If you look, it

00:10:51

will be really small in our canvas, although

00:10:55

bright, although bright, but quite

00:10:56

small in size, it stands exactly in the

00:11:00

center of the canvas with confidence You can put it in the center

00:11:03

and its size will be like this. I’ll

00:11:07

now make marks right in the middle, a

00:11:11

dot up and down, so we draw a

00:11:16

vase, the neck is marked and the bottom

00:11:21

means this is the segment you can look at. You

00:11:25

can safely Yes, look at the bottom

00:11:28

part, how much will be left from the

00:11:29

bottom parts of 6 centimeters from the edge, that

00:11:33

is, too close down, don’t move

00:11:37

this segment, we should fit

00:11:40

exactly two

00:11:42

times, even three three times. If we take Here,

00:11:46

let’s

00:11:49

measure the carbon copy application which

00:11:51

can ideally translate the image into the

00:11:56

size we need

00:11:57

on the screen and with the help slider, I make

00:12:04

an image that I need to draw,

00:12:06

we took

00:12:07

a portrait and right through the screen I see my

00:12:11

pencil and I

00:12:14

transfer the contours of the image

00:12:16

as I need it; also, if I

00:12:19

need to write down very small details, then I

00:12:22

just

00:12:23

enlarge the screen

00:12:26

and the details become visible,

00:12:29

you can draw every little detail

00:12:33

by setting phone on

00:12:36

some object now at the moment

00:12:38

it is standing on a

00:12:40

glass Here it turns out,

00:12:44

directly translated

00:12:45

through our

00:12:48

application, now we took a canvas, a

00:12:50

large canvas 40 by

00:12:53

50 And we decided to translate the landscape directly

00:12:57

looking at the monitor, we see how the pencil

00:13:01

describes the contours we need

00:13:03

and

00:13:06

translates it yes we line it up so we

00:13:09

place the phone At such a distance as

00:13:11

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

00:13:14

maximum size is convenient 60 by 90,

00:13:17

the minimum is a matchbox.

00:13:20

Anyone, a child, an adult can

00:13:23

translate an image using this

00:13:27

application,

00:13:32

so follow the link under the video

00:13:35

there you will see a link to

00:13:37

the application You can also type the word carbon copy in your

00:13:40

Apple Store or Google Play system

00:13:46

and go to this

00:13:50

application. This application will be a

00:13:53

good assistant for both beginning

00:13:55

artists and professionals for

00:13:57

transferring the contours of an image onto

00:14:00

canvas. So go ahead, use and

00:14:04

share the application with your friends

00:14:06

good luck to you May inspiration come to you

00:14:12

three times along with its

00:14:15

own size one

00:14:18

two times that is, here we will

00:14:22

end up with the very, very top part of the

00:14:25

lilac branch, that is, in general, from the

00:14:28

lowest to the highest point

00:14:31

it fits three times and in the siren two times that is,

00:14:34

this

00:14:35

segment marks us exactly the

00:14:38

height of our bouquet, that is,

00:14:40

relative to the entire bouquet,

00:14:43

the vase itself is completely small.

00:14:45

So, in this case, when

00:14:52

half of the vase is covered with shadow, we may

00:14:56

not draw the entire vase with you

00:14:59

But I think that you and I can

00:15:02

draw the middle so that it has a

00:15:04

symmetrical axis. It would be nice to

00:15:07

outline it. I take the middle, connect two

00:15:11

points, put it. The widest

00:15:15

place is like

00:15:18

this, where his side is near the vase. Yes, if

00:15:21

you look at his belly enough,

00:15:24

you can make it a little wider and we’ll narrow it down. we can

00:15:28

visually connect these points with you,

00:15:31

we can even mark

00:15:33

the necks, that is, the neck is already

00:15:36

wider The sides are wider and the bottom is again narrower, that is, these are the

00:15:40

proportions narrow wide narrow And

00:15:44

now we take with you and just

00:15:49

take this silhouette and outline it Connect it here

00:15:52

these points, that is, before drawing

00:15:55

with your hands, draw with your

00:15:57

eyes,

00:16:00

in principle, not with your hands, but First, we

00:16:06

project the projection and then just

00:16:09

connect your hands, so I take and

00:16:13

mark these

00:16:15

points.

00:16:18

So, and here is the part

00:16:23

of the bottom, the sweat is round, let’s

00:16:30

say this

00:16:32

part this part, yes, it may

00:16:35

not even outline this, this is the shadow side of

00:16:39

our vase, it will be closed, painted over.

00:16:42

Therefore, this part of our vase will be

00:16:45

illuminated, so round And it will be in the

00:16:47

shadows, but I made it so easy, so

00:16:51

easy for you to understand that here,

00:16:54

too,

00:16:55

there is a

00:16:56

vase, part of a vase,

00:16:59

then you and I outline the bouquet and

00:17:03

not everything, outline the most

00:17:06

important thing, then I

00:17:09

outline it already, which means the first branch

00:17:13

that needs to be outlined is the closest

00:17:16

branch to us Look where it comes from,

00:17:18

it starts somewhere for us

00:17:23

here in this place it is quite

00:17:27

large and

00:17:30

you may even be surprised at its size, but it is

00:17:36

almost equal to the size of the vase. That is, if you

00:17:39

take this segment from the edge of the vase to the

00:17:43

tip from the edge of the branch. Yes, and compare it with a

00:17:47

vase, it will be about the same thing, that

00:17:49

is, here look, the main thing is just start

00:17:51

it above the vase. Yes, look where it

00:17:54

starts and here it sags, then

00:17:59

we outline another branch of

00:18:01

about the same size, it is

00:18:03

quite large, it will

00:18:05

end somewhere. In this

00:18:07

place it may be even further. Here we

00:18:11

outline

00:18:13

You can use another branch like this in an uneven line

00:18:16

so that you can immediately feel

00:18:19

the shape so that we don’t have geometric

00:18:21

shapes like this, I take it and

00:18:24

outline it. Pay attention to the shape of

00:18:26

the branch towards the tip, it is narrower

00:18:29

towards the base than it is

00:18:31

wider. It’s

00:18:38

like we already have three or four branches that are close to each other, we have

00:18:40

three or four branches that are

00:18:43

sitting close to each other here, well, let’s say

00:18:48

the middle point. I would put it somewhere

00:18:50

here, that is, if you look at the

00:18:52

most vertical one, it’s in

00:18:54

partial shade. Yes, here it’s vertical and there’s

00:18:58

such a pile of lilac branches, so

00:19:01

we’ll outline them, as if as a whole, in their

00:19:06

entirety. This is

00:19:09

how

00:19:12

we’ll outline such a

00:19:15

pile

00:19:19

of

00:19:23

lilac branches, and then we can

00:19:26

divide them a little for understanding,

00:19:32

let’s say one second, here Pay attention to the

00:19:35

place where I’m now they outline

00:19:38

a pile-up like this, you see 1 2 three

00:19:41

balls, roughly speaking, then you can divide them

00:19:45

here and then we will have those

00:19:48

that are shadow

00:19:50

secondary, these branches are not so

00:19:52

important to us, much more unimportant than this

00:19:55

place, this And this, that is, this

00:19:58

part of for us, the main thing is that

00:20:01

we have outlined it, and we will make the rest in the

00:20:04

process

00:20:06

leaves a leaf that lies on the table,

00:20:09

all sorts of details in the form of these

00:20:11

inflorescence petals are also

00:20:13

not worth outlining at all, this

00:20:15

composition is the most important and then we

00:20:19

will work with

00:20:23

color Well, let's start with the fact that let's

00:20:27

fill the

00:20:29

blue vase. To do this, we need

00:20:32

blue

00:20:33

color and a little

00:20:35

white and a drop of

00:20:40

oil. I showed this color on the screen for you and

00:20:43

you can use it

00:20:44

directly as a guide; bring your mixed color to the

00:20:46

screen to the monitor and compare the color

00:20:49

blue and a little

00:20:51

white, we get such a bright saturated

00:20:54

color a little bit of

00:20:57

oil

00:21:00

and

00:21:02

partially fill our

00:21:10

vase with a mixture, so I

00:21:14

take it and just start filling it from

00:21:19

the light That’s what

00:21:29

I need to paint over I need to

00:21:31

paint over exactly as much as is

00:21:34

illuminated on our

00:21:37

vase, running deep into the shadow there is

00:21:41

absolutely no

00:21:43

need, so I

00:21:46

take it and

00:21:49

here it is about this much, even a little

00:21:51

less than the reference,

00:21:57

it’s possible where it goes to the bottom, you can and does

00:22:01

n’t

00:22:05

paint over it,

00:22:06

it turns out the next one is just one blue

00:22:09

color in such a thin thin layer,

00:22:11

not at all thick, a very smooth

00:22:16

edge

00:22:18

turned out distinct, you can

00:22:21

even it out And the next shade I I’m making it

00:22:26

darker, the thing is that our lighting

00:22:29

is positioned in such a way that first

00:22:31

it goes light blue,

00:22:33

dark blue, and then to

00:22:36

black, then I

00:22:42

take it and find blue

00:22:46

again, and I take just

00:22:49

blue, you can take it without white at all, I

00:22:52

just take blue, a drop of

00:22:55

butter,

00:22:59

and

00:23:10

paint, pay attention to the shape Yes, it’s

00:23:13

a little semicircular, it’s uneven,

00:23:16

small, as if

00:23:21

light, literally a few centimeters of

00:23:24

the border

00:23:26

are painted

00:23:31

paint over my step, I take the brush, wipe it dry,

00:23:34

carefully, on a napkin, and with a

00:23:37

dry brush I begin to rub

00:23:40

this

00:23:44

border right here [music] I’m removing it like

00:23:48

this, smearing it,

00:23:51

smearing it

00:23:53

[music]

00:23:56

smearing it

00:24:03

and I’ll smear it a little, as if with black,

00:24:06

here’s the outline so that there are no

00:24:10

borders, that’s how

00:24:19

we get this silhouette, the bottom

00:24:23

border will also be smeared like this, so

00:24:28

that there are smooth smooth

00:24:30

transitions in different

00:24:34

directions,

00:24:36

great, my next step I need to

00:24:39

add a little volume, I go to white,

00:24:41

take white, wipe the brush and go

00:24:46

here to the convex place of our our

00:24:49

vase, just take

00:24:53

white, it’s not a highlight yet, it’s like the light

00:24:56

part is stitched like this, going a little

00:24:59

into the

00:25:01

dark blue

00:25:07

here, you can also add a little

00:25:10

put a little bit of

00:25:17

white below, now I take a dry brush and

00:25:19

put two of these spots and with a dry

00:25:22

brush I begin to

00:25:24

shade these borders again, remember the

00:25:27

Golden rule of

00:25:28

oil, put the paint and stretch the paint, you

00:25:32

immediately see what happens, it

00:25:34

turns out, the gradient brush is constantly

00:25:37

wiped, that is, no, not there should be

00:25:40

some feeling that we have

00:25:42

hard

00:25:56

joints.

00:26:02

So I’ll take a little more white and

00:26:05

send it straight to the squirrel right along the very edge

00:26:13

here. A little more

00:26:16

white and stretching

00:26:19

the inside of the vase not outwards. Of course, you’ll only

00:26:25

have to do this inward several times

00:26:29

to carefully lighten the very edge And

00:26:32

smear it thoroughly from the inside. That is,

00:26:35

we get the neck a little

00:26:39

darker and the side inflated part is

00:26:42

a little

00:26:44

lighter, due to this we get

00:26:51

volume like

00:26:54

this. Well, if there’s a

00:26:57

bit too much light in this place, let’s say, but

00:27:00

from below you can always take a napkin

00:27:02

and just napkins a little bit, as if to

00:27:05

remove the excess, take the napkin on your

00:27:07

finger and put it on and just like that,

00:27:12

you can quite calmly just

00:27:14

scrape off the excess

00:27:18

paint and it

00:27:32

turned out great, it turned out like such a

00:27:35

cool voluminous vase so that

00:27:37

it becomes

00:27:39

absolutely brilliant, I take a small brush

00:27:45

thick white

00:27:47

paint and put this slightly

00:27:50

convex

00:27:51

curved large

00:27:55

highlight, wipe

00:27:59

the brush, take another

00:28:02

white one and

00:28:04

put another highlight, the edges of the highlights can be

00:28:09

smeared a little, this is how

00:28:14

we get a

00:28:26

super-volume effect.

00:28:32

Well, in order to

00:28:34

make the neck voluminous, here is the drain Yes,

00:28:38

here I am I take a little bit of

00:28:40

Indigo You can mix a little bit of blue

00:28:44

Indigo with blue, the darkest color and here

00:28:48

I add a little bit of

00:28:54

shadow like

00:28:56

this

00:28:58

and smear it a little downwards That’s

00:29:04

all,

00:29:15

now I take a little more white and

00:29:19

I’ll make even the neck shine with this

00:29:23

little torn highlight

00:29:29

and below we have the same story, a very

00:29:31

thin

00:29:33

rim below shines a little like

00:29:40

this in one place of a very thin line, so

00:29:46

we got that very

00:29:50

desired volume. Well, if your

00:29:56

line of the side of the shadow glows a little, you

00:30:00

can simply remove it with your finger. But if

00:30:02

it doesn’t interfere if it’s basically not

00:30:03

visible, you can leave it Well, let’s move

00:30:09

on Well, let’s work with

00:30:13

lilac, I find purple paint We

00:30:15

now need to mix a

00:30:18

dark purple color with you, I take

00:30:21

purple, add a little bit of white to it, a

00:30:25

very small amount,

00:30:27

very, very little -a little bit of

00:30:29

oil, very, very little, just a drop of

00:30:32

paint should be enough. Sukhov’s is

00:30:34

such a dark purple color, a drop of

00:30:39

white, I showed the color on the screen for you, and

00:30:41

we can use this color,

00:30:43

so we take some kind of

00:30:45

brush and start working with

00:30:49

lilacs like this.

00:30:54

I take shaggy parts

00:30:59

and immediately

00:31:03

begin to apply rags like these under the

00:31:08

Malek But we

00:31:11

won’t completely paint over the lilac, I just take it and with

00:31:13

such dipping movements, but

00:31:15

ragged enough as you see, so that it

00:31:19

turns out to be a kind of structural

00:31:26

shape, the branch should not be too

00:31:28

geometric, try

00:31:30

to feel that she is so

00:31:32

shaggy a

00:31:33

little, I take this purple

00:31:36

color and

00:31:39

apply it like

00:31:51

this, in principle, you can even

00:31:55

do without white, just purple is very

00:31:57

good, partially from the side of the shadow I

00:32:00

apply

00:32:03

white, such a ragged outline, I

00:32:10

leave it there where will the Light

00:32:12

part be, you and I will still

00:32:14

work further, I

00:32:19

go to another

00:32:22

branch,

00:32:26

here we knock a little,

00:32:29

you can straight stretch it,

00:32:31

smear it between them, I leave

00:32:33

a small

00:32:47

gap, I go to the next

00:32:55

branch, you and I need to make a base for

00:32:58

Malvo like

00:33:12

this, yeah,

00:33:14

one more

00:33:18

spot a little I step back here, here are

00:33:23

two halves so

00:33:25

darkened perfectly

00:33:37

and

00:33:44

partially painted over another branch with the same paint. You ca

00:33:48

n’t even move the edges too closely. You can

00:33:53

leave a little gaps.

00:33:56

You’ll understand a little later why

00:34:00

I do this partially like this with a very thin

00:34:04

layer with a very thin layer, I’m

00:34:14

good for it, you can mute these

00:34:23

shades like this with the color I'll add

00:34:29

a little different pink we'll add with

00:34:31

you Now I'll display it on your

00:34:34

screen it will be This

00:34:40

color is more

00:34:50

pink and it will be a little lighter

00:34:54

Here it is for this we again

00:34:57

have pink Dark paint please we

00:35:01

'll take it pink

00:35:04

paint Here we mix it a little bit with

00:35:07

white carefully a little bit of

00:35:11

oil very modestly very

00:35:15

little very

00:35:18

little just like that let’s

00:35:23

mix it and

00:35:25

partially I’m starting These are the

00:35:28

rags I’ll

00:35:30

partially repeat for white because

00:35:34

we have white Yes, speckled white

00:35:37

flowers

00:35:39

they are very illuminated, you don’t have to

00:35:43

paint over them, attention, as if

00:35:47

partially like

00:35:55

this

00:35:57

[music] Yeah,

00:36:00

I mix the outline a little with

00:36:04

purple, you see, that is, not that, I

00:36:06

go pink on

00:36:11

purple, I also take pink and

00:36:18

white, a thin layer

00:36:21

of paint now partially

00:36:24

goes where

00:36:27

to the next

00:36:29

branch, just partially look

00:36:34

the creation of a

00:36:36

twig is already underway Yes, here

00:36:40

it is,

00:36:51

clap clap clap like this,

00:36:54

on the canvas a little bit, mix

00:36:57

this color a little

00:37:00

lighter like

00:37:04

this Well, of course, it turns

00:37:08

pink, I

00:37:13

send the same pink

00:37:25

here

00:37:29

Well, and

00:37:55

partially here Here

00:38:06

Uh-huh Well, and then we let's switch to

00:38:12

white, this is straight white light, white color, I

00:38:17

'll show it to you too, just in case,

00:38:19

now we're working with just

00:38:25

white,

00:38:29

this is a white color so that you

00:38:31

understand, everyone take white

00:38:36

paint. There should be a brush, carefully

00:38:41

pick

00:38:43

the brush and we'll work with white paint.

00:38:47

But there is one One small one. let's say

00:38:53

this is a correction for the fact that it is white, but at the

00:38:57

same time we will allow the white paint

00:38:59

to mix with pink and

00:39:01

purple, that is, this is

00:39:04

the maneuver we will do with you: take the brush,

00:39:06

clean it if someone does not know how to clean the

00:39:08

brush We completely bathe it in oil

00:39:10

she doesn’t need to chat there, just dip it

00:39:12

completely and completely a couple of times and

00:39:15

wipe it well several times, I

00:39:17

’ll go to the

00:39:19

white brush a little bit, I’ll take

00:39:25

white paint and I’ll work now with white

00:39:28

paint and at the same time I’ll let it,

00:39:33

see what happens, I’ll let it

00:39:35

mix That is I put it

00:39:38

on the pink and I let it mix I let it

00:39:42

mix a little bit It turns out that it

00:39:45

turns out light light pink It just

00:39:48

mixes right here on the spot That's how I

00:39:51

wipe the brush I take a little more

00:39:55

white to the

00:39:58

streets of the brush I try to apply poppies in a

00:40:00

not thick layer I also add

00:40:03

a little white right along the edge and

00:40:07

a little more

00:40:08

white, I let it blend a little, I

00:40:11

go into the shadow a little bit, the

00:40:16

border blurs a little, it goes without saying.

00:40:19

It’s so uneven, but look

00:40:22

how light the light

00:40:23

turned out to be very light. I

00:40:32

move on. I go back to

00:40:37

white again and let it blend. and let

00:40:42

it mix because I’m going for pink,

00:40:45

I’m constantly thinking about making sure the contour is

00:40:48

uneven, watch how it mixes, it

00:40:51

turns out light pink,

00:40:52

light purple, three shades, here in the

00:40:57

lilac version, I take white again, I move

00:41:00

on, it’s already a little bit lighter because

00:41:02

it’s fresh And good and a little bit

00:41:04

I go in a little bit I go in on the siren

00:41:08

here inside

00:41:11

oh

00:41:14

oh the outline is a little curly fluffy like

00:41:22

this I wipe the brush and a little more White

00:41:26

but here on this branch it’s no longer

00:41:29

not on the edge as if it’s already like somehow

00:41:32

somewhere closer to the middle

00:41:35

here it’s located a little more I’ll take a little more

00:41:39

Let’s mix the paint brushes let it mix

00:41:43

a little don’t

00:41:45

take a lot if you take a lot of paint there

00:41:49

will be problems it’s just that everything will get in the way

00:41:52

it will just be

00:41:55

superfluous that’s the

00:41:57

point one more

00:42:02

time next

00:42:04

branch now we are already beginning to understand Yes,

00:42:07

what branches are where? What are we doing?

00:42:10

We

00:42:22

separated the brush perfectly,

00:42:25

wipe it and

00:42:28

mix it, mix it right on the spot,

00:42:32

mix it. That’s

00:42:42

great,

00:42:44

Voila, our preparations are ready. And now we

00:42:50

will make the branches that we

00:42:52

have located

00:42:54

around the top of these. We, of course, also

00:42:59

let's go back Well, now we're going with

00:43:02

you again to dark purple

00:43:04

paint, I showed it to you on the screen, it's

00:43:08

purple and you can even add a

00:43:10

little pink to it, no white,

00:43:13

no

00:43:14

light color there, you don't need to add

00:43:17

just purple and add a little pink

00:43:20

and we'll do it with

00:43:23

you a branch of lilac that is located

00:43:27

on top I take a brush a little

00:43:29

smaller

00:43:30

Well, you can continue in principle the same and

00:43:34

that branch that we have in such

00:43:36

twilight is barely illuminated, I begin to

00:43:40

do it with these

00:43:54

dipped movements, look, there are gaps

00:43:59

between our petals

00:44:05

You can’t take a lot of paint right here I don’t recommend it, and about

00:44:08

nuts with such small small little mazos I

00:44:12

put such a barely noticeable branch,

00:44:15

it’s practically

00:44:16

invisible, it’s very

00:44:23

invisible, and we’ll make another part for you

00:44:28

right here right

00:44:31

next to it with such small

00:44:34

movements so that it shines through between them

00:44:36

from the background, look, I make strokes in the form of

00:44:39

such small petals, they are

00:44:41

located very

00:44:44

chaotically in such

00:44:47

twilight, we want with you a voluminous

00:44:50

bouquet of lilacs correctly. Therefore, you and I

00:44:51

need to repeat the

00:44:54

movement with a small

00:44:59

brush. Well, preferably

00:45:04

a small one.

00:45:07

You can even leave a small

00:45:09

black border between these

00:45:13

I’m now making the

00:45:17

lightest branches the lightest. We have

00:45:19

these 1 2 3 four branches and

00:45:24

we have everything else. That’s

00:45:37

it, and another one of exactly the same color, we’ll

00:45:41

place it with such a

00:45:44

significant distance. That’s about how much I’m

00:45:47

retreating. You see there we have such a hole in the shadow, be

00:45:49

sure to step back

00:45:52

and make a twig that looks into the

00:45:55

corner of the upper right

00:45:58

corner like this,

00:46:16

look how it smoothly smoothly

00:46:18

smoothly disappears into the shadow with such scribbles with

00:46:23

small

00:46:24

strokes, full of holes, definitely

00:46:27

full of holes, I

00:46:29

make another twig

00:46:32

like this,

00:46:41

yes there we have in the shadows are still in

00:46:44

this place But they are so invisible

00:46:46

that, in principle, I wouldn’t even

00:46:49

do them so that you don’t spoil your

00:46:54

picture Well, now we leave the

00:46:58

top branches that we just

00:47:00

made to rest and switch again to the

00:47:02

most important ones here for me

00:47:04

you will need a round synthetic

00:47:06

brush Well, preferably, this is the one

00:47:09

I was just working on and

00:47:10

you will need white-white

00:47:13

paint, just white, purple color, I

00:47:16

can already

00:47:19

remove it and now

00:47:24

the processing will begin, I take thick white paint with

00:47:27

a little

00:47:28

oil and start Already in

00:47:31

principle, let’s say,

00:47:36

sculpt this the very best

00:47:42

petals, now I take them and begin. With

00:47:45

these movements, in small small

00:47:48

strokes, process them, add

00:47:51

exclusively white paint, you can even

00:47:54

put it thicker. Pay attention to

00:47:57

the shape of the petals, they stick out in different

00:48:00

directions; they need to be placed here in the same way;

00:48:05

go out, be sure to put it a little on the background

00:48:09

These petals are larger,

00:48:12

but in general they are quite

00:48:16

small and we need to treat

00:48:19

such white petals with such light paint

00:48:22

only in the Light, and we have already understood the light

00:48:25

where

00:48:27

partially, look. That is, this does not need to be

00:48:28

done

00:48:34

everywhere, of course, the paint sometimes

00:48:37

mixes with pink somewhere with purple and

00:48:39

we get exactly what we need. Well,

00:48:43

periodically we wipe the brush, don’t

00:48:45

forget about

00:48:46

it and look at what cool holey

00:48:50

contours it has, this is also

00:48:54

important by the way

00:49:05

and let’s move on to all the light places,

00:49:09

whitening them

00:49:11

again like this, let it mix a little,

00:49:15

it’s not It’s

00:49:17

scary to go a little into the background so that

00:49:22

you get such holes

00:49:24

daughters like this,

00:49:26

the main thing is that this color is a

00:49:29

little lighter than the

00:49:34

lightest one, wipe the brush

00:49:38

and lighten this central one well, the

00:49:51

thickness should be a little

00:49:54

thick with

00:50:00

butter like

00:50:07

this, you can change the shape a little, you can change it

00:50:10

a little come out so that it doesn’t

00:50:11

turn out to be too

00:50:20

correct, here you and I still

00:50:23

have this kind of light

00:50:37

[music]

00:50:52

Uh-huh, a little bit. Here,

00:50:58

here I’ll let

00:51:01

it mix a little so that it turns out to be a

00:51:04

light pink

00:51:10

paint,

00:51:12

perfect what grandma

00:51:20

prescribed or the

00:51:23

doctor from above,

00:51:27

be sure to come out a little too,

00:51:30

especially here in this place, look how you

00:51:33

can come out beautifully with a small stroke a little

00:51:35

bit on the

00:51:42

background, you don’t need to press hard on the

00:51:51

brush somewhere. You can even form

00:51:53

just a flower, just like 1 2

00:51:56

3 4 four-leafed, like this, you can

00:52:00

put some

00:52:01

four-leafed

00:52:23

spots like this somewhere the border should

00:52:25

be mixed with white and purple with a dry

00:52:28

brush. I added a little bit too, by the way, an

00:52:31

important

00:52:51

factor. That’s how we get a

00:52:55

beautiful

00:53:07

gray one, it would be more careful in fact.

00:53:10

But you can take, say, a pink color

00:53:14

and pure pink, try

00:53:17

adding it a little from the shadow side here it

00:53:20

really

00:53:21

enhances some bright spots.

00:53:24

Exactly from the shadow side, a little bit,

00:53:27

very, very much. It’s correct to

00:53:30

add quite a bit. You can also

00:53:34

add a little dark red, in

00:53:37

principle, here we see

00:53:39

some

00:53:46

tints, I take and go through a little with

00:53:50

you see such reddish specks,

00:53:52

that’s why I didn’t squeeze out a lot of red.

00:53:54

You, too, can not squeeze out a lot of it, but take a

00:53:57

little pink red,

00:54:01

in the form of

00:54:02

blurry, very correct,

00:54:05

small, as

00:54:08

if

00:54:11

manifestations on a

00:54:13

siren from the direction of the light, we can

00:54:17

detect quite a bit of this shade,

00:54:19

but it it should be quite blurry. Here's

00:54:23

pink red.

00:54:26

You can add a little bit of it, but here it's

00:54:28

extremely

00:54:30

careful because this is already a process,

00:54:33

such wet paint on wet, so I

00:54:50

add a little bit. Well, you need to

00:54:53

stop in time, that is,

00:54:57

we don't add a lot; a little bit so

00:55:00

some holes become brighter you can

00:55:02

add about nuts with this color Well,

00:55:04

actually, it turns out juicier with this

00:55:07

color like this Well, again,

00:55:24

a little carefully,

00:55:34

and now we

00:55:39

will lighten them a little, they are very, very pale,

00:55:43

we need to go over them a little with

00:55:46

light lilac paint You

00:55:49

can mix this light purple

00:55:52

color, but it is very,

00:55:56

well, light, but compared to the

00:55:59

rest it is very insignificant, such a

00:56:03

barely noticeable shade should be Well,

00:56:05

I take purple a little white and

00:56:09

extremely extremely You see, it was purple

00:56:12

and it became purple That is, I

00:56:15

can show you the difference even now so that you

00:56:18

understand, let

00:56:20

’s say we had this underpainting

00:56:26

[music]

00:56:35

and now we’ll let it be like this. We

00:56:40

need it. You see the

00:56:44

top one was dark. And now

00:56:49

we’re making it a little bit lighter, very slightly,

00:56:53

and a

00:56:55

little bit lighter, also with holey

00:57:00

movements here and there in the Light

00:57:05

we will slightly develop the light so that they become a little bit

00:57:09

object-wise a little

00:57:26

bit object-wise

00:57:55

such

00:58:14

petals once again take a little more

00:58:18

lighter light very, very

00:58:20

much

00:58:22

lighter But the main thing is not white and this

00:58:27

place once again carefully highlight I

00:58:30

want to notice one important thing the moment

00:58:34

that all the shades and all the petals

00:58:37

look at each other smoothly into each other,

00:58:40

as if they flow smoothly, that is, there is no

00:58:45

tin between them, and that is, clear

00:58:47

boundaries. That is, they are all blurred with

00:58:50

each other, each shade is slightly shifted

00:58:53

into each other and this effect is obtained

00:58:56

volume, if there is a clear border, then it wo

00:59:01

n’t be very good, it will be immediately

00:59:02

clear that they are quite

00:59:04

chopped up. Well, in any case, try to

00:59:06

make

00:59:15

half of this

00:59:20

[music]

00:59:22

gnawing problems with the form You can

00:59:26

use black paint, it’s acceptable, but I

00:59:30

advise you to use Indigo and Indigo color

00:59:34

look, you can add some kind of

00:59:36

additional shadow, so I take

00:59:38

Indigo and just go a little bit from the

00:59:41

side of the shadow and make some

00:59:43

additional holes, so you can

00:59:45

take it and go straight to the branch itself

00:59:49

and, as it were, make such holes there,

00:59:58

well, it turns out even better like its

01:00:00

own shadow

01:00:02

on the branch itself, but nevertheless it

01:00:05

becomes more voluminous

01:00:09

You can mix a little dark with purple

01:00:11

But the main thing is that the color is very

01:00:13

dark, well, look, it turns out such a

01:00:16

volume volume volume right here the nose

01:00:18

can be made darker here

01:00:53

K

01:01:06

Beauty I’ll make it a little darker here

01:01:12

I liked mixing dark blue with

01:01:15

purple, or rather Indigo with

01:01:18

purple, here too, I

01:01:20

’ll go a little bit from below, as if I’ll add something like this,

01:01:24

but also a very

01:01:27

little bit a little bit.

01:01:30

Everything needs a

01:01:49

measure, here a little bit

01:01:55

we make the shape, as if we

01:01:58

bring it to mind and I’ll give it some kind of

01:02:03

silhouette that’s more interesting, more

01:02:07

lively Well, now we’ll make

01:02:10

leaves for the leaves, we’ll

01:02:15

need them. If you’re not

01:02:18

sure about making leaves, then don’t do it.

01:02:22

Well, make a couple and that’s enough, if it’s

01:02:25

just the first time for someone, then you can do without

01:02:27

them get by And if the burning desire

01:02:32

overcomes you, I advise you to take

01:02:35

this bright green color, you can

01:02:38

add a little more of it just like that, just a

01:02:40

little bit, and

01:02:45

draw the leaves, we draw the leaves with a simple,

01:02:49

very simple form, which means

01:02:52

Look at how I make the leaves, I take a

01:02:54

thin

01:02:56

brush and bring it This is how I draw this

01:03:02

shape,

01:03:04

smoothly very

01:03:06

smoothly I apply a

01:03:10

leaf that looks down, it has a

01:03:14

sharp sharp tip,

01:03:21

look where it is located, this is

01:03:23

approximately you can move it a little to the left,

01:03:25

you can enlarge it a little

01:03:28

If you want like this, but it turns out to be

01:03:31

two halves on top Like this and downwards

01:03:34

it bends like this, that is, it

01:03:37

looks as if

01:03:43

downward. You can even add a little white

01:03:46

to make it even lighter and

01:03:51

brighter, let’s say we can add one more leaf.

01:03:54

I simplify them a little, here’s the

01:04:08

tip of the

01:04:12

op,

01:04:20

still curved, one

01:04:25

here, well, it looks as if between

01:04:28

them. so just half of it she’s

01:04:32

hiding there like this squiggle

01:04:41

draw here we have

01:04:47

one looking up like

01:04:53

this there’s

01:05:06

also a light one at the top

01:05:12

Well a piece of a leaf is literally

01:05:15

like a small piece of a leaf

01:05:18

illuminated coming out like this once starting

01:05:26

and a little smearing the piece it’s bigger

01:05:29

overall Of course, it’s just that

01:05:31

it’s

01:05:34

not

01:05:36

fully illuminated. Well, the rest can

01:05:39

be made darker, I take

01:05:41

green and add a little bit of Swamp

01:05:43

paint. You can add brown

01:05:45

if you don’t have one, we get a

01:05:47

darker green and let’s say in this

01:05:50

place we’ll also add something like this. Sliding

01:05:54

barely noticeable ones here.

01:05:56

so the darker, barely noticeable gliding

01:06:01

light gives us the feeling that the

01:06:05

leaves there are dimly lit But nevertheless,

01:06:08

they are there, I’ll

01:06:12

put them here, if you put a

01:06:16

leaf on a fresh lilac, then take

01:06:20

a lot more paint. So,

01:06:34

I take it here once And this is the

01:06:39

half that sticks out look right

01:06:41

half like this here

01:06:50

op those that we have in the depths they are darker

01:06:54

green a little darker let’s say

01:06:58

between our lilacs

01:07:01

here just half of the

01:07:05

leaf I paint half and the other

01:07:09

half like this, smearing it with a dry

01:07:11

brush that is, one half is

01:07:12

just in the shadow to no goes just like that

01:07:15

into the shadows in

01:07:25

illuminated tenshou and even they shouldn’t be

01:07:28

attached to something

01:07:33

just like

01:07:38

that. Well, to get the light

01:07:41

parts on the leaves, you take white yellow

01:07:44

and some of the leaves can be lightened a little, take

01:07:47

white yellow and

01:07:49

let’s say that so

01:07:51

one half is lightened a little,

01:07:56

it is lightened, it turns out to be just a super bright

01:07:58

light, yellow and

01:08:00

white,

01:08:02

we take it and put

01:08:04

it in And

01:08:09

lighten it a little like

01:08:14

this Well, now let’s make

01:08:19

a table, in order to make a table you can

01:08:22

take any large brush like this,

01:08:24

let’s say a hard one, you can take a flat

01:08:28

synthetic one any

01:08:31

kind and we will need such a swamp

01:08:42

shade, it is best, in my opinion,

01:08:46

to do it like this Swamp

01:08:50

paint umber natural berthe umber

01:08:52

natural in not a little whitewash just a

01:08:59

little absolutely a drop of oil very

01:09:03

little And where we have a table

01:09:08

with lighting I take and like this, well, it’s

01:09:11

even possible without oil, like this

01:09:14

horizontally without pressing on the brush, that is,

01:09:17

don’t even think about

01:09:20

pressing

01:09:22

horizontally, I’m painting with this kind of

01:09:27

light, you can even

01:09:31

vary the paint. That is, you can make it a little

01:09:33

darker, a little lighter, then you’ll

01:09:34

succeed the wood is just natural,

01:09:36

like that,

01:09:39

very little paint on the brush, this is important,

01:09:44

and just here and there with a

01:09:48

semi-dry

01:09:51

brush, I paint this

01:09:55

color, notice where I do it and where I don’t

01:10:00

do it.

01:10:04

Yes, you can even paint the edge of the table a little bit. Well,

01:10:08

these are already like that. I’m just

01:10:22

getting rid of myself.

01:10:27

what you see is such a different tone, it turned out

01:10:31

beautiful with a semi-dry brush, it turns out that

01:10:34

we have a dark one that shines through and it looks

01:10:38

like a shadow there, notice where I

01:10:42

didn’t make light Of course, from the side of the shadow of the

01:10:45

vase, of course, there is no need for a shadow under the

01:10:47

vase there, too.

01:10:49

We have spilled water there in the dark

01:10:52

we can see it on the reference there, so it’s dark on

01:10:57

the table And

01:11:00

of course, if anyone has a desire, you can

01:11:03

also put a leaf Well,

01:11:07

this is a small but nice

01:11:11

detail, very small next

01:11:15

to

01:11:17

our

01:11:20

jug, take the light green paint again

01:11:29

and draw

01:11:34

a leaf, I first draw a

01:11:38

small petal like this such a lying one, of course, at

01:11:42

the bottom,

01:11:43

evenly, and on the other edge,

01:11:47

I step back, I draw a stripe like this, I

01:11:52

draw an uneven stripe, and with a dry brush

01:11:56

I just stretch it into the middle, and I stretch it out like this with a dry

01:12:00

brush. What

01:12:04

we get is a leaf with a

01:12:08

shadow with a hollow in the middle. Yes, here

01:12:15

it is, you

01:12:19

can give it a shape like that there if

01:12:22

you want

01:12:29

we get a

01:12:38

Leaf like this Well, of course, you can use the

01:12:41

thinnest brush that you

01:12:47

have to add

01:12:52

a tail

01:13:03

and even put a little white on top so

01:13:05

that it

01:13:07

turns out to be a very light tail. So you

01:13:14

can lighten the edge of the leaf here, so we get

01:13:22

the volume

01:13:25

Well and under the leaf you can

01:13:27

draw a little shadow with black paint, but this is

01:13:30

absolutely not necessary there and so

01:13:32

everything is in the shadows, so see

01:13:36

for yourself. I would also add

01:13:39

dark purple paint at the end, of course.

01:13:41

Remember, we have dark purple with

01:13:43

pink without any

01:13:45

white, you can put a

01:13:49

couple of fallen flowers next

01:13:54

to

01:13:55

our vase like this. Here's a hat, a tail

01:13:59

and two two petals, side

01:14:03

by side, a couple more flowers

01:14:06

in the distance.

01:14:12

I first paint them with dark

01:14:17

paint

01:14:20

here and then apply

01:14:23

a little

01:14:25

white, take

01:14:28

white and apply a little

01:14:33

white and

01:14:36

I get these flowers lying there.

01:14:39

They seem to mix

01:14:43

on the spot and it turns out somewhere lighter,

01:14:46

somewhere darker and it turns out as if they are

01:14:50

lying like this.

01:14:54

Well,

01:14:56

just to make it super-mega beautiful, I take a

01:15:00

medium-sized dry brush and a dry

01:15:03

brush like this, slightly smearing the lower part of the

01:15:08

flower, not all of it, of course. And like this,

01:15:11

one can get it as if this is a

01:15:18

reflection, if anyone without experience,

01:15:22

this is not possible,

01:15:23

this is not

01:15:26

necessary, and the tail is whiter like

01:15:32

this. Well, in my opinion

01:15:36

it turned out very well not bad at all Well, all I

01:15:40

have to do is try on the frame and don’t forget

01:15:42

to put a signature on your

01:15:45

paintings, we’ll measure the frame at the

01:15:48

end

01:16:01

That’s

01:16:02

it and don’t forget to step away and

01:16:05

look at your painting from a distance

01:16:08

so that you can fully appreciate the scale of your

01:16:10

work, you can turn the picture over in

01:16:12

order to understand the tonal spots of

01:16:15

the relationship This also

01:16:17

helps in the

01:16:19

finals, absolutely at

01:16:22

will, where we have an empty space left.

01:16:24

Yes, but here at will, I don’t

01:16:27

recommend it to everyone. If you have no experience, you can

01:16:29

add dark dark purple paint,

01:16:32

so dark dark dark so that it’s

01:16:34

almost unnoticeable, it’s important that it

01:16:38

’s completely completely unnoticeable, here

01:16:41

you can apply in the twilight with a

01:16:44

semi-dry

01:16:46

brush

01:16:49

here, as it

01:16:52

were, such a twig that is barely noticeable,

01:16:55

but nevertheless our eyes can figure out that

01:16:58

there is a full bouquet,

01:17:02

voluminous, full-fledged,

01:17:04

just like that, very little Paint I

01:17:07

’ll take it if someone does it, then there’s

01:17:11

enough paint here such a

01:17:13

twig with holes, they gave it a little, it’s the

01:17:16

most unlit,

01:17:19

here it might

01:17:22

suddenly come in

01:17:25

handy for someone Well,

01:17:27

friends, that was all Vitaly

01:17:30

Tkachenko and the school of creativity Until we meet again

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