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Video tags
Subtitles
Russian
00:00:00
Hello friends, Tatyana Zubovo is here00:00:03
and today we will talk about how to write with00:00:05
oil paints on paper. I00:00:08
will show you how you can prime00:00:11
any paper surface in00:00:13
order to work on it with oil paints.00:00:14
Now on your screen is a sketchbook which00:00:18
I cover with masking tape00:00:20
so that it is convenient surface00:00:23
for priming,00:00:26
I am preparing this spread for two sketches,00:00:29
so we also glue between the pages,00:00:31
check that your00:00:33
page is well tensioned, and if they00:00:36
are poorly tensioned, the paper will00:00:39
warp more for priming, I take00:00:42
regular black and white primer and I want to00:00:45
demonstrate this option as well and both00:00:48
1 and 2 options, wide brush,00:00:51
glue your synthetics,00:00:52
dip the brush in the primer and immediately00:00:55
prime without any dilution, you don’t00:00:58
need to dilute it with anything and use light00:01:01
horizontal and vertical movements,00:01:04
we start priming, do the same00:01:08
and apply black primer00:01:11
onto the brush without any water and begin using00:01:14
horizontal and vertical00:01:15
movements to prime from side to00:01:18
side, do not use a lot of primer if00:01:21
you apply a thin layer it will be00:01:24
better, I have a thick enough layer here00:01:26
so the paper will seriously lead00:01:29
further, listen with a hairdryer on a cold00:01:32
setting if you dry with a00:01:34
hot hairdryer, then the masking tape will come off00:01:37
and come off, by the way, here’s00:01:39
a hint: if your masking tape does not00:01:41
peel off well from the paper, this can00:01:45
happen when working with anything, watercolor or00:01:47
gouache, anything, if the masking tape00:01:51
does not peel off well, then blow on it with a00:01:53
hot hairdryer, then the tape is very easy00:01:58
comes off from my sketchbook and we see a00:02:01
good surface. Now I’ll show you00:02:03
how you can also prime it with00:02:06
acrylic paint, not with primer, check00:02:08
that the sheet is well stretched, first of00:02:11
all in the middle, then00:02:12
you pull the holes, the same00:02:14
absolutely the same strategy in this00:02:17
case, I pulled it, and then only half a00:02:20
sheet half a spread and we will00:02:23
prime only one sheet I take00:02:25
acrylic paint but I found it directly on a00:02:28
piece of paper and I begin to00:02:30
distribute the paint well I do not use water and00:02:33
this paint is already quite liquid00:02:36
look into the juice when wet it00:02:39
begins to distort a little the paper is00:02:42
slightly led but this is not scary00:02:45
because when it dries00:02:46
it will level out and become straight, it is very00:02:49
important that you stretch the sheet00:02:51
well before stretching so00:02:53
that it is tightly stretched with a00:02:56
hairdryer, I remind you again with cold00:02:59
air so that it does not come off, the masking tape comes off00:03:02
because with hot air you00:03:05
will melt the glue into the masking tape tape and it00:03:07
will lag behind the paper, so00:03:09
we dried our paper well and00:03:13
look, it’s not so crooked anymore, if there are00:03:16
some slight crooked sti,00:03:19
then it’s absolutely not scary, in general the00:03:21
paper is absolutely smooth and you can work well on it,00:03:23
it’s acrylic with a matte finish00:03:26
The surface is acrylic with a glossy00:03:28
surface. For such work I use00:03:31
elastic synthetic brushes or brushes00:03:33
made of natural bristles, both of which in00:03:36
my case are very elastic and relatively00:03:39
hard on paper. I recommend that you00:03:42
write with hard synthetics or00:03:46
do not use soft synthetics, just because with a00:03:48
bristle brush It will not be00:03:50
comfortable to work on such a surface at all.00:03:53
Now we will paint a sketch with oil00:03:56
paints. I have titanium white cadmium00:03:59
lemon cadmium yellow medium00:04:02
ocher yellow cadmium red then blue00:04:06
ultramarine blue pc and00:04:09
vera bottom and green we have a00:04:12
preliminary layer for painting,00:04:15
this primer layer is already dried, of00:04:17
course, and we can start working with00:04:19
oil paint.00:04:20
By the way, with these colored00:04:23
motors, you can help yourself00:04:25
in your work if you immediately make a substrate of the00:04:28
desired shade, then this can00:04:31
even simplify your work and such blanks00:04:34
can be prepared for some00:04:37
approximate work so that in nature we don’t have to00:04:40
bother with preparing canvas or00:04:43
paper for any surface, but start working right away00:04:45
because nature changes00:04:47
quickly, and we00:04:48
also need to work quickly, we also outline the00:04:51
main00:04:52
clouds, here we will have a cloudy00:04:55
state, we work with light strokes,00:04:59
you can’t press hard on the brush, the paper00:05:02
allows us to create such works, in addition,00:05:04
if you have a substrate, you00:05:07
can also not try very hard to00:05:10
apply the paint tightly,00:05:11
the main thing is that the initial00:05:15
shade for the painting is chosen correctly and with00:05:20
such light movements we begin00:05:22
to form the00:05:23
main clouds of paint, I00:05:27
mainly use white, plus red for the light parts of the00:05:31
clouds and drops of ocher from the light00:05:35
part of the clouds are00:05:36
warm for the shadow areas I use00:05:40
purple shades,00:05:42
these are different blues plus reds in different00:05:45
compositions and since on the brush I00:05:47
somehow have a shade of lightness left, an00:05:50
ocher shade of00:05:52
cream, then those shades of purple00:05:55
that I use fade a little00:05:57
under the influence of the others00:06:00
shades, then we apply the grass part,00:06:05
I use verida new green with a00:06:07
small amount of ocher and a red00:06:09
tint, I add warm red,00:06:12
then I begin to outline the trees, they gave a00:06:19
cold plan of the trees, we use more00:06:22
blue paint, you can make it even a00:06:25
little lighter, a little more stupid, but overall00:06:28
it’s like this birch tay shade 700:06:32
with darkness I designate the00:06:34
lower part of the trees where the sun00:06:38
penetrates00:06:39
less, they are less illuminated and therefore they are00:06:41
darker,00:06:43
then we outline the horizontal plane of00:06:46
the background we designate with colder,00:06:50
lighter green paint there is a sufficiently00:06:53
illuminated area we use bluish-green00:06:57
and the closer to us the more00:07:01
we use already reddish shades about the crosses,00:07:03
but for now, without going overboard, we form a00:07:08
tree, we form a whole area of00:07:12
trees,00:07:13
we mark their dark places, we can00:07:16
mark several bushes nearby in the00:07:20
dark places, we use green, red00:07:23
and blue, and in the mixture they give a very,00:07:27
very dense black shade for00:07:30
sacred places. I use green already with00:07:34
red from ocher and the tree on the farthest left,00:07:37
I used more blue00:07:40
shades and green blue shades,00:07:46
approximately you can already outline a00:07:49
certain path for the trunk00:07:51
and return to the background, let’s00:07:58
still not talk about the group anymore00:08:00
because this is just a00:08:02
training exercise like that our experiment with you00:08:04
and first of all we are00:08:06
interested in one way or another preparing the00:08:08
paper for working with oil paint, what00:08:11
can I say about this, look in00:08:15
my work the paints dry quite quickly,00:08:17
this means that the oil from the paints00:08:20
one way or another quickly goes into the paper with00:08:23
acrylic paint It’s not enough00:08:26
to prime the paper so that it does00:08:27
n’t stick and stick and you get some kind00:08:31
of gouache effect, the paint00:08:33
dries relatively quickly and we get00:08:36
but practically gouache and I could00:08:39
note that acrylic can be different, it can have a00:08:42
glossy surface, it can have a00:08:45
matte surface, it’s00:08:47
certainly more convenient to work on a matte surface,00:08:49
but and look, the paint00:08:52
begins to dry quite quickly, so here,00:08:55
too, there’s such a double impression; in00:08:57
general, it’s natural, absolutely natural,00:09:00
such work, or rather, such00:09:03
surface preparation is absolutely not intended00:09:06
for good professional work, and this is00:09:08
only for working on00:09:10
some sketches, doing various00:09:13
exercises, quick sketches and so on,00:09:15
this painting is short-lived and therefore we00:09:19
use such things in order to00:09:21
practice, maybe00:09:23
do some experiments, especially if you00:09:26
need something like that quickly and do it,00:09:28
you can prepare a00:09:30
few pieces of paper in advance and00:09:34
practice doing some sketches with00:09:37
cooking and so on, that is, just00:09:39
try out a brush, some masks, something else,00:09:41
something else, on such pieces of00:09:44
paper, it is very convenient to do for00:09:47
serious work, of course, for oil00:09:49
paint, use canvas, this is the00:09:51
best surface for working with oil00:09:53
paint, there is also acrylic with a glossy00:09:57
surface, I also tried to write on00:10:00
such a surface and I can say that00:10:02
perhaps it is not as comfortable as writing00:10:05
on a matte canvas because on00:10:08
glossy acrylic on glossy acrylic00:10:11
the paint seems to roll off, we can00:10:14
observe the effect as if we were writing on00:10:16
film with pva glue something but when00:10:19
you write on glossy films it’s00:10:21
inconvenient; the brushes can leave some00:10:24
grooves, but at the same time the effect00:10:27
turned out to be much better than in00:10:30
this case because the oil paint was00:10:32
not absorbed so well, it was possible to00:10:36
work with it longer and easier and the result was a00:10:39
glossy picture not matte, but now00:10:42
Pavel and I will get with you one way or another a00:10:44
more matte picture, but because the00:10:46
oil from the oil paint will pull on the00:10:49
surface on which we are working, but00:10:52
these are the conclusions we are drawing,00:10:54
besides, I will show you later at the end of the lesson00:10:56
how to the situation with the00:11:00
impregnation of the00:11:01
sheet itself, but now let's00:11:03
return to our sketch, we have already typed in00:11:06
Sally all the main details and our weirdo is00:11:09
almost ready, it turned out to be a00:11:12
sunny summer day, a quick sketch,00:11:16
experimental, this is the plot,00:11:18
very simple,00:11:19
I recommend that you do sketches more often00:11:23
and this It will be a wonderful exercise in00:11:26
mixing and working out the00:11:29
details that don’t turn out well, and in general it’s very useful00:11:33
to do such things more often, that’s00:11:36
all, our sketch is ready and we’re ready to00:11:40
peel off the canvas, by the way, we can00:11:44
leave it to dry right in this00:11:46
form, but then after drying it’s a little more00:11:49
difficult will peel off the masking tape00:11:51
if you peel off while it’s wet, then this00:11:53
can be done absolutely simply, but of00:11:57
course there are papers that you can’t00:12:00
just take and stick with masking tape00:12:02
because the tape will peel off00:12:04
along with the paper. I have here the paper is00:12:07
quite thick, so it00:12:09
can withstand masking tape very well and I would00:12:13
like to give one more little advice on00:12:16
priming for priming which00:12:19
surface is better to use a soft00:12:22
synthetic brush look at what00:12:24
movements I’m doing now without00:12:27
using the primer I’ll repeat water again apply a00:12:30
thin layer of primer in this case I’m already00:12:34
applying the second layer 2 layers it’s very00:12:38
good the paint will be absorbed less and00:12:40
will be very comfortable to work with, so00:12:42
let’s draw conclusions: it’s better to prime the grant00:12:46
very very thinly in two layers with00:12:50
such soft gentle movements and00:12:53
then level it horizontally and00:12:55
vertically with primer, it’s still better00:12:58
to work naturally than with acrylic00:13:01
paint and00:13:02
and the better you initially fix the00:13:05
sheet, pull it, the less it00:13:08
will warp. In today's video, I00:13:11
used a regular primer like this from00:13:13
Saratov, it is sold in both white and00:13:16
black, you can take absolutely00:13:19
acrylic primer, but now after the00:13:22
primer layer has dried, we begin to00:13:26
study and here I write in a00:13:30
sketchbook, this is a small size again00:13:35
as a thinner, and in the first and00:13:37
second cases we used their00:13:39
odorless turpentine, nothing else to00:13:42
it without adding a sketch, it’s better to write on00:13:45
quick-drying thinners, I still00:13:48
work with a flat00:13:50
synthetic brush and you and I will00:13:56
create such a lake we work quickly,00:14:03
mix the paint immediately on the wet upper00:14:09
part,00:14:10
the celestial part, I marked it with such a00:14:13
slight gradient from pinkish to00:14:16
more violet, now we designate the00:14:19
trees in the background, all this00:14:22
is indicated by absolutely general masks,00:14:25
general movements, with a more violet00:14:30
tint, I lower the reflection,00:14:32
by the way, to the initial batch concert00:14:35
I I added another drop of magenta,00:14:38
you can just take regular kraplak in00:14:40
order to get more purple and00:14:43
pink, more saturated shades. Now00:14:46
we mix ocher and we will indicate00:14:49
the sun directly with our finger. We constantly00:14:53
wipe the finger and with such00:14:54
horizontal movements, using the entire00:14:57
surface of the finger,00:14:59
we distribute this yellowish color with the entire large surface of the finger.00:15:05
It’s better not to use a yellow glow in this case, it’s00:15:07
better to take a circle so as not to get an00:15:09
unpleasant green field, then with ocher, already00:15:13
with magenta00:15:14
and white, we will create such a00:15:18
reddish reflection in the water with a brush,00:15:22
we will shade what we reflected00:15:28
and we can even add some stream of clouds00:15:31
to the sky Next, let's take a small00:15:41
brush, distribute the yellowish paint and00:15:46
designate the sun, then00:15:51
we reflect the sun and in the foreground00:15:57
in the near background we will have very00:15:59
contrasting dark ones, like grass gives you00:16:03
goosebumps, I took a gray veil to00:16:06
create all the dark areas, you00:16:09
can take black paint, but please00:16:11
work with it very carefully00:16:13
because now, as you can see, I00:16:16
get dark shades of gray with black00:16:19
paint, we can get such dead00:16:22
black ones,00:16:23
then I took the liner and with long,00:16:26
wide movements I begin to outline the00:16:29
sticks on which all00:16:32
these00:16:33
vegetation will be based, with the stamens we begin to00:16:38
collect the00:16:39
vegetation itself, sometimes more red00:16:42
layer sometimes magenta you sometimes have a little00:16:46
more orange but overall it’s all00:16:48
very black very dark and this is how00:16:52
we get a foggy00:16:56
foggy lake in a small format we00:17:00
wrote I remind you on a two-layer00:17:04
primer with00:17:05
regular acrylic primer everything is quick and00:17:12
the sketch is ready let’s start peeling off and00:17:15
let’s look what we got00:17:17
by the way, there are different types of masking tapes,00:17:20
there are very soft ones that can be00:17:23
used even on delicate paper,00:17:25
there are stiffer ones, harder ones,00:17:27
try to find the right00:17:31
paper and masking tape for you so that there is no00:17:34
residue left on the tape, today we00:17:38
wrote two fast and weird00:17:41
on the A5 and A6 formats and let's see00:17:46
what happened, we are especially interested in the00:17:49
reverse side of the drawing, here I remind you of00:17:52
the work on acrylic and you can see how much the00:17:55
layer of paint began to appear on the reverse00:17:59
side, look at this work, nothing00:18:03
sticks out on the ground, the surface remains00:18:06
absolutely perfect, but on acrylic00:18:09
the surface bleeds through very well,00:18:11
so either do several layers00:18:14
of primer or use glossy00:18:16
acrylic,00:18:17
but in any case00:18:19
the work shouldn’t show through, look, we primed it00:18:21
with primer today, the far side is00:18:24
clean, and this work that I00:18:27
did00:18:28
on glossy acrylic, now it will be it’s00:18:31
visible, look, it doesn’t00:18:33
shine through at all, but it’s a glossy cream,00:18:36
I remind you of the work itself, it’s also00:18:40
glossy, it glows and the far side of00:18:44
the sheet, the back side of the sheet doesn’t shine through that00:18:47
friends, good luck with your work, good00:18:50
mood and see you in the next videos00:18:53
[music]Description:
🔴 До 14.01.2023 скидка 50% на все мастер-классы школы! - https://zartschool.ru/classes/ 🟢 Также советуем посмотреть новинку от нашей школы - подписку на мастер-классы, по которой вы получаете сразу же 50 мастер-классов и 1 новый урок бесплатно каждую неделю! - https://zartschool.ru/classes_sub/ ____________________________________ 🟣 Сайт школы - https://zartschool.ru/ В этом видео я расскажу о том, можно ли писать масляными красками по бумаге и как нужно загрунтовать бумагу, чтобы масляные краски ложились ровным слоем и не впитывались в поверхность бумаги. Внимание! Такой способ работы подходит только для учебных, тренировочных работ. *********** По вопросам сотрудничества пишите на [email protected] *********** Индивидуальные занятия с Татьяной Зубовой - пишите на [email protected] *********** Если вам нравятся наши видеоуроки, вы можете поддержать нас финансово любой суммой. Сейчас мы собираем средства на видеокамеру, чтобы наши уроки стали технически еще более качественными. Ссылка на донаты (пожертвования) https://www.donationalerts.com/r/zartschool Либо Яндекс-деньги 410015699620881 Карта Сбербанк 4276540030801611 Карта Альфа-Банк 4154812017915780 PayPal [email protected] Сайт школы ZArtSchool https://zartschool.ru/ При регистрации на сайте вы получаете 6 мастер-классов в подарок! 👉Регистрация по ссылке https://lp.zartschool.ru/cms/system/login Учитесь рисовать с нами! Индивидуальные и групповые занятия по живописи и рисунку. Записаться на занятия в Праге +420737877089 Узнать об индивидуальных онлайн-занятиях из любой точки мира [email protected] Мы в соцсетях: Вконтакте https://vk.com/zartschool Facebook https://www.facebook.com/unsupportedbrowser Instagram https://www.facebook.com/unsupportedbrowser
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