Download "Мастер-класс от Ольги Базановой - "Фотореализм" по художнику Roy Hodrien"

"videoThumbnail Мастер-класс от Ольги Базановой - "Фотореализм" по художнику Roy Hodrien

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художник

масло

холст

живопись

краски

искусство

art

artist

картина

фотореализм

реализм

рисование

кисти

гиперреализм

репин

шишкин

айвазовский

photorealism

hodrien

курсы по живописи

обучение живописи

курсы рисования

живопись для начинающих

как научиться рисовать

учимся рисовать

холст масло

00:00:01

[music]

00:00:19

hello dear friends my name is

00:00:22

Olga Bazanova Olga Bazanova’s painting studio

00:00:25

and now we will paint a beautiful

00:00:28

still life in the style and technique of photorealism

00:00:32

in this and we are painting a picture that

00:00:36

clearly shows photorealism,

00:00:39

this is a picture that we can’t distinguish

00:00:44

from a photograph right now I’ll start with the fact

00:00:48

that I’ll make the markings photorealism, it’s better to

00:00:50

transfer even through

00:00:52

tracing paper, and so on, that is,

00:00:55

using a projector is very important, the accuracy of

00:00:58

applying everything here is exactly a third, we have

00:01:02

a table top, I’ll mark it with such a

00:01:05

brownish yellowish tint, the

00:01:07

warm gamma is mainly for black 3

00:01:11

is responsible for the cold our

00:01:14

answer is simply black, then we need to

00:01:16

make markings and here, that is, we

00:01:19

look at how much we have here in our minds.

00:01:25

after that, I set the future

00:01:34

lemons, for example, here is a lemon,

00:01:36

we need to see how much higher it is than the line,

00:01:41

it has become so stretched out and there is still

00:01:46

a peel on it, the

00:01:52

next thing I would like to

00:01:55

outline with a brownish color is this in the background, and

00:01:57

now our lemon seems to be shining through, we

00:01:59

need to decide that it is

00:02:01

shining through then we’ll give it the

00:02:03

feeling that it’s shining through

00:02:05

and I’ll put a vertical somewhere, our

00:02:11

little jug is now one two just

00:02:16

below the third of the canvas, that is, if we

00:02:18

divide the canvas horizontally into three

00:02:21

parts, then this is where our little jug will

00:02:24

end up like this, we’ll use

00:02:30

a knife here the leg we get is still

00:02:35

like ay and taya made an extra line

00:02:38

lower below this edge of the ovals

00:02:43

the higher the oval from the line became the theme it

00:02:48

becomes flatter cue that is

00:02:50

not at the bottom he has such a smile

00:02:55

on the horizon line our horizon line is

00:02:58

higher by the way than this glass is just

00:03:00

telling the horizon line this is the place

00:03:02

where I pulled it forward into a piece of paper

00:03:05

and where is your eye line and so

00:03:07

our eye line is above this glass,

00:03:10

that is, we are a little higher, we are here,

00:03:12

so everything and the waters will be open and that

00:03:15

is, we will see what is there It’s

00:03:16

poured inside, well, they practically didn’t [ __ ] it, but if

00:03:20

they poured it there and you saw something poured in the saucer,

00:03:22

all the ovals when they tend

00:03:25

to the horizon line they turn into such an

00:03:29

inert face, well, if you look at

00:03:32

when the horizon line is here, and

00:03:35

this nickname is the line of the table top that

00:03:38

is, the horizon line is a separate line

00:03:40

which for us is our line of sight,

00:03:43

then on the horizon line if we

00:03:47

drew a smiley face we would have something like

00:03:49

this, look, an indifferent smiley face and

00:03:52

all the ovals below would be

00:03:55

smiling, that is, we would see them and how

00:03:58

the lower the oval, the wider his smile, and the

00:04:02

higher the oval, the sadder he is, I

00:04:04

mean, we see only the upper part of

00:04:07

this roll, if it were above the

00:04:10

horizon line, there are no such ovals, it’s

00:04:14

easier, of course, to depict a still life when

00:04:18

we have all the shafts below, but there are still lifes

00:04:24

where the tabletop is standing and we don’t see it

00:04:26

from above,

00:04:27

but we see xiao wang and vice versa, the reverse,

00:04:30

this is what we also need to remember the following: I have to

00:04:34

make a marking where we

00:04:37

will have this little belly and I’m making such and such a roll,

00:04:41

look, I have this

00:04:44

oval line, I’ll make it the next thing I'm

00:04:48

doing is this circle,

00:04:50

look, we're making it like a snowman, we

00:05:07

get this elongated one, the

00:05:14

next handle is attached, then it goes like

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this, then it goes here and

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it will also be covered with our glass, here

00:05:26

we have very simple everything to make such a

00:05:29

complex line is necessary first make an

00:05:31

oval, a simple simple oval, let's do it,

00:05:35

look, here it is like this,

00:05:37

for example, now we

00:05:40

will do something from this oval, that is, first we will

00:05:43

make a spout that will go down like this, bend the

00:05:49

bend of the body, make it bend like this,

00:05:53

up like this, you see it goes down and then you can

00:05:57

still see the detail here we

00:06:05

also see such a raised edge and

00:06:08

here is a lower one so what we will get in the

00:06:13

future is that we are making a reflection of the

00:06:16

window as you see the inverted window

00:06:20

lemon some don’t see here the artist

00:06:23

can be seen drawn here his easel is standing a

00:06:26

human portrait there, that is,

00:06:29

everything in this picture shows such

00:06:31

photorealism, that is, the following

00:06:36

here we have a little lemon or urine, by the way, the tank

00:06:38

is reflected in this in the barrel, and

00:06:45

here it is made through an oval and then

00:06:49

this little thing is

00:06:54

located higher than our bottom of

00:06:59

the glass is made glass, that is, an

00:07:02

oval is made first, an oval is

00:07:05

identical to this lower oval, the

00:07:08

hidden pair of this oval is the

00:07:10

next one, I will leave a little bit of work,

00:07:14

we divide this little lemon, not hell, the parts are

00:07:17

bigger, this is the smaller

00:07:19

part, then we make this oval like this,

00:07:40

look interesting, definitely

00:07:44

the core so that not to leave there wasn’t so

00:07:47

that the squint would be visible otherwise and

00:07:54

we look up how many relative times

00:07:57

two three 4 5 six by six parts means

00:08:02

I divide by 2 and also like that oh what a

00:08:12

glass on a glass of cabbage soup it turns out that

00:08:18

even here we have a canvas

00:08:26

just outlines the outlines of the future glass,

00:08:29

even on ios a little bit lower,

00:08:35

probably yes, but here I just have a

00:08:37

more elongated canvas, that’s what’s the matter,

00:08:39

a little more elongated, let’s move on

00:08:42

to writing the main spots, I’ll start how

00:08:46

unexpectedly it will look,

00:08:49

maybe with black on the nickname, strokes of seals I

00:08:56

’ll take black paint, in this case

00:08:59

a little indigo with brown and like this with

00:09:04

brown I’ll cover it with a thinner

00:09:08

canvas

00:09:11

I have for a handsome guy like this it’s squeezed out for

00:09:14

Athos indigo mars brown dark

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here I have a pink kraplak yellow this is

00:09:21

lemon or trench countries you can take

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cadmium yellow medium cadmium red

00:09:27

light here is a small amount of

00:09:29

blue c g of the care mixture in green,

00:09:37

our task is to paint the canvas with

00:09:41

this paint, this is indigo with the

00:09:46

addition of mars brown, if mars doesn’t have

00:09:51

brown, you can add just

00:09:54

red paint now you’ll probably be

00:09:58

surprised, but the glasses count no, it’s like that

00:10:02

now I like a magician, I’ll close the ball in

00:10:05

a glass because it’s written

00:10:08

accordingly a little more dryly,

00:10:11

we need to have black primer to

00:10:14

write it and also a pen, we’ll

00:10:19

write this too later, we can rub it under it,

00:10:22

of course, but in principle, later, we have one

00:10:46

like this here color scheme, here are some

00:11:04

more spots, and of course, there are

00:11:08

also spots here, these dark ones, it’s better

00:11:12

to cover them up more, that is, if by chance

00:11:14

someone runs into our beautiful

00:11:18

glasses and our beautiful jug, this is

00:11:21

only a plus for

00:11:39

an hour, not that the muscles will rest for shading,

00:11:43

well, the artist must be pumped up on

00:11:52

one because, well, on one the hand

00:11:56

is held in static tension like

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this, we are slowly moving away from any

00:12:06

background, we are shading like this, well, if

00:12:23

you have a dishwashing sponge or

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something else, use it because it

00:12:27

will be faster to paint over everything and evenly,

00:12:30

but the only one then go through it again with a

00:12:34

brush so that the canvas doesn’t stick out

00:12:37

because it all depends on the ground,

00:12:39

if the ground pulls 100 unfortunately

00:12:42

then it won’t work out,

00:12:44

it needs to be done so that the ground doesn’t pull up like

00:13:02

this

00:13:04

dark such a dark background the next thing I

00:13:07

’ll take I’ll take another brush because it takes a

00:13:09

very long time to wash black, I’ll take

00:13:13

some kind of brand new brush, for example, and

00:13:17

now I’ll make something like this underpainting,

00:13:21

here’s a lemon, it’s just a flat ribbon shape, as

00:13:30

you can see, the

00:13:32

underpainting is quite flat,

00:13:40

even now it won’t turn green, it won’t be

00:13:41

scary, then it will be scary, it will be

00:13:49

beautiful later that is, greens and we, I

00:13:54

accidentally rushed greens, it’s not scary

00:13:56

here, the same thing, the same thing, this green

00:14:00

ears, well, firstly, yellow, a little

00:14:05

red, here it is, yellow-red, yellow-red,

00:14:09

yellow-red, and here, too,

00:14:16

a little yellow, it will be then

00:14:19

the grapes, well, we don’t need them yet,

00:14:21

while we are making the background background, I take brown,

00:14:25

a little bit of yellow, and like this, I

00:14:29

started the business with Renji,

00:14:31

I just pour it like this in a

00:14:34

solvent on a stump, this part is

00:14:40

brown cadmium red, a little yellow

00:14:45

to write photorealism you need to

00:14:50

print it, a mandatory

00:14:53

prerequisite is to print several

00:14:54

photographs, not just one, but preferably 3.

00:14:58

You divide 1 photo into squares into

00:15:00

sectors and transfer it completely, or you

00:15:04

have a projector with you, that is, with

00:15:07

the projector you completely transfer

00:15:09

the image from a digital medium and then

00:15:15

adjust it to your canvas and then do so circled, but this seems to be

00:15:18

one of the simpler methods, but

00:15:21

more expensive, and

00:15:24

I move the projectors on my object in parts,

00:15:29

but not even in squares, since my

00:15:32

eye has already darted in many people when it hasn’t

00:15:36

darted yet, then it’s very

00:15:38

convenient to do it in squares divided into

00:15:41

parts by sectors, this is how I show only into

00:15:43

squares directly from the picture from the

00:15:45

photograph, divide it like this into

00:15:47

parts into squares and transfer it so

00:15:50

that the square corresponds to the

00:15:51

square the

00:15:52

following condition so that the canvas

00:15:56

must be the same in size and the

00:16:00

same proportions because if for example you

00:16:02

are transferring the Mona Lisa or someone else and

00:16:05

imagine you are transferring it onto a square

00:16:07

frame of analysis to get better, that’s why you

00:16:10

need to transfer the

00:16:14

same format or add a background,

00:16:16

the next important component is

00:16:19

to use the photograph as a palette, that

00:16:21

is, you took a mixed paint, you don’t know

00:16:24

what color you took on They threw the photo in and

00:16:27

looked at it, oh yes, this is that color,

00:16:29

I’m great, and if it’s not great,

00:16:32

they mixed it again and again on this color and

00:16:34

then you’ll really get

00:16:36

exactly a clear color, well, here’s the 3rd photo,

00:16:40

which you won’t get dirty, but

00:16:42

will draw from it so 3

00:16:43

photos

00:16:44

from the format 21 by 15 gloss, print it is

00:16:50

very convenient, I also take mars

00:16:53

brown, here it is a little in the way,

00:16:55

san degan, I’m

00:16:56

not afraid, I’ll take it like this and

00:17:00

carry it back and forth with this color, look, it gives

00:17:02

exactly the lens that you need we need

00:17:05

composition and zelentsov

00:17:07

next I wipe the

00:17:09

brush with a damp cloth and again take the color yellow

00:17:13

with white

00:17:14

and a little cadmium red but

00:17:17

mostly yellow about snoring then itself so

00:17:21

ocher shades will emerge when we

00:17:26

apply the shadows like this we carry the

00:17:30

whole this paint in the underpainting,

00:17:45

now I’m taking cadmium red cadmium

00:17:48

red, together with indigo it will give us the

00:17:50

desired brownish tint, now I’m

00:17:57

taking brown, just pure brown,

00:18:00

and I’ll use

00:18:05

scratches of cheese like this with bullets to apply

00:18:09

approximately the color to the background,

00:18:13

detailing will be a little later, then I’ll

00:18:19

take white paint on a brush which I don’t

00:18:21

rinse too much, and here I’ll put my hand

00:18:28

on the easel and my hand here, in view

00:18:33

of the easel,

00:18:35

and even a horizontal line is usually

00:18:38

more difficult to draw than a vertical line,

00:18:40

so for those who find it difficult to

00:18:42

turn the host over, put it like this, or

00:18:45

vice versa, and put your little finger like this and

00:18:48

to draw a line it always turns out smoother

00:18:51

when you draw a

00:18:53

horizontal line it can

00:18:55

move a little and the vertical one

00:18:57

eats up less

00:19:03

I took mars brown to convey the

00:19:08

shade on the tabletop

00:19:11

the next thing I would like to do here

00:19:13

with the jug is I would like to take it yellow

00:19:18

with indigo and add a little bit of

00:19:22

red paint there, I'll get a

00:19:26

grayish color, this is just the basics, and

00:19:34

then it will be white, that is, we will

00:19:37

take it and make the horns, wipe this

00:19:39

little jug, and then it will be beautiful,

00:19:43

for now it will be a gray speck, a flat

00:19:46

gray cat with a small amount of

00:19:48

paint on it that is, it is very important to have a

00:19:51

small amount of paint on a gray

00:19:54

speck back in black, if somewhere

00:20:16

they stopped for something for this, we needed

00:20:18

this brush that we didn’t wash, so we

00:20:24

roughly threw on the

00:20:27

next one, I take the yellow one with

00:20:30

the red one and just like that, carefully here with

00:20:42

I throw a red-yellow quim over the

00:20:48

brown ones, well, here’s a basting

00:20:56

until we don’t even see the glass, but we see

00:20:59

all these areas, the next thing I’ll

00:21:02

do is I’ll take brown and indigo and

00:21:04

bring down this color

00:21:15

shadow q

00:21:21

through brown and red

00:21:56

a little bit black a little bit but this is

00:22:02

indica, of course, black, we begin to make

00:22:07

these sectors, here we see at the

00:22:10

edge, also such a sector, I take indigo

00:22:16

with a little

00:22:18

with a small addition of red and make

00:22:29

this kind of deflection here, a small one

00:22:31

and with black we also remove if anything

00:22:35

the edge is

00:22:40

generally a piece done now I take

00:22:43

black and one more time here bleachers

00:22:49

here it’s so interesting we see like two

00:22:53

reflections of

00:22:54

one upside down or else there are two artists

00:22:56

one here and the other here so interesting

00:23:00

yes that is the upper part reflects one

00:23:02

part of the objects

00:23:03

and the lower part the other how cool

00:23:13

[music ]

00:23:14

but the general thing is interesting, well, and

00:23:21

accordingly the window will reflect attacks on

00:23:24

will be through the brownish-red,

00:23:27

this is first the layer where we connect the

00:23:34

top and bottom through the brownish

00:23:37

reddish, then we see the corner of the window itself

00:23:43

in the reflection and of course here we

00:23:48

also have a corner I see here the curtains

00:23:53

and the edge are so

00:23:57

blackish through indigo, the

00:24:04

whole edge goes

00:24:06

further, I take a little bit of whitewash, a little

00:24:10

yellow, but it’s almost a little bit and I make a

00:24:16

crooked line, but it’s really

00:24:18

crooked, I’m like this here from the roller, I’ll have to

00:24:25

look again then to equalize the

00:24:27

cooks, I turn them on one side and

00:24:32

also on the other side we

00:24:35

also have a little bit of this line

00:24:42

through the yellow tint

00:24:54

here on top, here it goes and here I

00:25:03

will now

00:25:05

outline the future of the window for this

00:25:09

I just need to wipe the canvas in those

00:25:11

areas where we have light

00:25:14

spots all the highlights usually go according to the shape of the

00:25:29

objects, that is, if the dry formula of the

00:25:32

objects has a belly, then, accordingly, the

00:25:37

highlight goes along the belly,

00:25:41

I take white and a little white there,

00:25:48

so in a solvent, the rest goes

00:25:52

through grayish shades,

00:25:55

it’s around that we pick up the color, such an

00:26:01

interesting thing, we ourselves we picked him up and

00:26:03

he helped us mix it into the right ones in the right

00:26:06

shade,

00:26:12

even look, I don’t take anything,

00:26:15

I just pick up all the color myself, he draws

00:26:26

something else on the window

00:26:41

and also with white down down here on

00:26:48

the solvent, of course,

00:26:52

we also add these two windows with white paint as if as if

00:26:57

intertwined to imagine how interesting

00:26:58

how an hourglass

00:27:00

turns out a little bit of darkness,

00:27:27

how interesting the windows are, and how amazing it is reflected,

00:27:30

and here, that is,

00:27:33

photorealism, it’s like you need to believe in

00:27:36

what you see because photorealism

00:27:40

can be done by the person who

00:27:43

will really convey

00:27:45

I didn’t think of what he sees, namely, how to

00:27:50

see him, it’s not ok through the window, for example, I

00:27:54

see here the window is upside down in the form of

00:27:57

such an incomprehensible trapezoid, and then

00:28:00

you draw a trapezoid, so

00:28:17

I now take the red one and

00:28:22

shade it like this with the red one, little by little

00:28:27

he goes here to yellow

00:28:28

to yellow-black to whom with a little, too, well,

00:28:36

everything is on these flowers on reddish

00:28:38

greenish nine on such

00:28:41

further I take yellow with white than and

00:28:43

a little bit and more even yellow yellow

00:28:49

red and white whose and just like that,

00:28:52

neatly this piece is healed lived the

00:29:01

body

00:29:02

lived drowned a little about and here, too,

00:29:07

these legs are beige like this, light

00:29:15

light like this thousand like

00:29:19

this highlight, but it

00:29:23

turns out so light beige, that is, you

00:29:25

only need to use these

00:29:27

paint colors that we have

00:29:31

initially with which we paint a little bit

00:29:34

white,

00:29:38

by the way, I put my little finger on the canvas, too,

00:29:42

then I’ll correct it for what if

00:29:43

suddenly I

00:29:45

did something wrong somewhere, then I’ll correct it

00:29:57

darker, then red, I take it as if on

00:30:05

the contrary, I thereby red in ours in

00:30:11

lemon then there is a lemon, I have such a

00:30:14

crucian carp, no, on this side it turns

00:30:17

brown and red since we have

00:30:19

indigo everywhere,

00:30:20

it attracts this color and will be very

00:30:23

good in the base, as if this color

00:30:25

is good in the base, if we had one shadow,

00:30:33

red and a little black, then I’ll take

00:30:53

white and indigo because I need to

00:30:59

add a light shade here, such a light

00:31:17

yellow lemon, here we

00:31:25

will also have a lemon and in this place, for

00:31:27

example, here is an inverted lemon, a

00:31:30

reflection of a lemon

00:31:32

there, too, some kind of a reflection of a lemon here,

00:31:36

well, how would you see here there is

00:31:40

also a reflection of a lemon, yellow-lemony, and

00:31:42

like this, neatly neatly,

00:31:44

it’s like this, like this, the

00:31:47

little lemon went like this from above and down according to the shape of

00:31:57

the object, the shape of the object is like this,

00:32:00

flowing down smoothly in a drop also

00:32:03

flows down in a drop and the reflection in it in this

00:32:07

in this container said like a the container in

00:32:13

this container also drains the image of

00:32:16

lemongrass, there is a

00:32:40

lot of paint until you don’t need this one,

00:32:44

through yellow-orange reddish even

00:32:54

whitewash with yellow, we will have a glass of an artist,

00:33:02

as if everything is beautiful, an

00:33:06

empty glass, and it’s as if there is the same

00:33:26

yellow one at the top and I take the whitewash

00:33:34

and This is how I carefully

00:33:37

form this edge and inside it,

00:33:40

of course, through the kraplak and whitewash, this is the

00:33:46

only place where I want to

00:33:47

push the kraplak, and here,

00:33:49

literally just a little bit in the reflection through the

00:34:01

indigo,

00:34:02

its work is almost invisible, it’s such a kraplak,

00:34:06

just a little bit, it just gives off a shimmer white and

00:34:19

here also white with korra crying com they

00:34:22

just kind of hammer in

00:34:25

indigo well and a little bit of cadmium so that the

00:34:32

too purple mustache doesn’t go away

00:34:38

all the volumes of glare will create a

00:34:44

really amazing feeling

00:34:46

but that’s a little later here there are

00:34:59

brownish all this through of course goes

00:35:03

through red yellow this tabletop in

00:35:11

this place can you imagine how far it was

00:35:13

reflected I now take the solvent and the

00:35:17

white

00:35:18

actually need to take a smaller brush

00:35:20

I’ll do that I’ll take a brush

00:35:23

but no it’s gone from us I think this is the

00:35:29

white

00:35:30

here a little bit I’ll take this one and just a little bit like this

00:35:34

once and whitewashed it, well,

00:35:41

then it lived with bodies, it will be a little bit

00:35:44

like whitewash lived with bodies, so around

00:35:47

this blackish there’s a little bit of a structure, as if a

00:35:54

yellowish yellowish and even

00:35:59

reddish structure appears all around, so

00:36:08

what else would I do here? while the whitewash and

00:36:14

the edge can already be transferred here

00:36:19

in front of the shadow of the light

00:36:23

here a little bit of light

00:36:28

and a

00:36:58

slightly yellowish theme is pale then the

00:37:15

whitewash and here we have such clear

00:37:24

highlights of the yolks nicks on this side brown

00:37:48

black and red

00:38:03

black and red here too, by the way, this will be

00:38:10

later the color now I think it’s a bit dark for

00:38:13

my elephant,

00:38:14

in the future it will

00:38:16

fit well with a yellow color. I’ll add some

00:38:19

darkening to it and remove the excess paint underneath, this

00:38:23

will help us in the future to make a

00:38:25

beautiful glass out of it.

00:38:28

I’ll also depict it here on the

00:38:33

inside of our glass

00:38:41

somehow. it’s reflected there,

00:38:53

and you can even see the door there; the

00:38:57

door in the background is reflected;

00:39:15

you can actually draw

00:39:18

whatever you want; it does

00:39:19

n’t necessarily reflect everything; you

00:39:21

can make a joke here and depict

00:39:23

anything at all; anyone loves anything, even peonies,

00:39:28

even daffodils;

00:39:33

couple you can

00:39:42

do everything as you like in this glass

00:39:45

oh in this in this little thing maybe there is

00:39:49

a model there maybe an artist is painting there,

00:39:52

well, that is, anything and it will be more

00:39:55

interesting even than if the

00:39:58

image that we

00:40:00

see of reality is simply reflected then you

00:40:02

will get surrealism

00:40:05

if you write photorealism and add

00:40:10

your own plot to it, how to come up with it in advance,

00:40:15

you will get surrealism, you know, as you know, an

00:40:19

image from dreams, there’s an artist, and it’s

00:40:29

as if a man is sitting here, clearly

00:40:32

drawing, but I can say that since I’m

00:40:35

through tick now I’m depicting everything - still

00:40:38

on myself there with a ponytail, well, and I’m

00:40:42

sitting today wearing

00:40:43

aprons in a black dress, this is what I’ll be

00:40:47

there, I’ll take whitewash and this is where they

00:40:52

were, whitened with glasses,

00:41:00

carefully in

00:41:22

the future, when the canvas dries a little,

00:41:25

it will be very convenient to work with

00:41:27

all this, especially with a glass you can

00:41:30

now make a mark on the sides, that is, for

00:41:33

example, I see that I have

00:41:35

the edge of the glass going right here through indigo,

00:41:40

but it is advisable to add yellow

00:41:42

because the color will just

00:41:45

refract to give the color of such a

00:41:46

greenish light tint of glass,

00:42:04

you mix it with the one that will come, mixing it with the

00:42:07

previous color of white and yellow

00:42:27

glass it is completely reflected from everyone,

00:42:31

and at the same time the glass is amazingly in

00:42:35

love with the glass they love it, well, in short, but it loves it, it

00:42:42

shows what is behind it, so the entire background is

00:42:45

usually visible to the glass, that is, you can even

00:42:50

write it at the end, that is, the connection is to

00:42:52

write everything and put more glass on top,

00:42:55

but it happens Of course you know, a dirty jar of

00:42:58

pickled cucumbers, for example, with

00:43:01

lactic acid accumulated on the edges,

00:43:05

then it won’t be so transparent, well,

00:43:07

that’s only there, and either colored

00:43:09

glass is also a very cool topic, colored

00:43:14

glass is a must, by the way, I think we should

00:43:18

write down colored glass, there’s so

00:43:21

much beauty - a lot of colored glass

00:43:26

Laika beauty is generally always chic

00:43:30

and on this side

00:43:39

here we see such ovals,

00:43:44

ovals

00:43:45

and fellers, and here anti ovals,

00:43:50

that is, they are like smiley faces down

00:44:02

well, and here it’s like you should have

00:44:05

a ruler to help you, but it’s completely

00:44:10

reasonable to take a ruler this time, and

00:44:13

as if using a ruler, or a finger

00:44:19

feof Alex with a ruler, I recommend a ruler and

00:44:24

a finger to outline the future, our

00:44:30

green glass has crawled too much, but this is due to the

00:44:33

fact that the background is so dry, we

00:44:36

advise you to finish it all in a dry way,

00:44:38

wait a little while Stage 2 to write

00:44:42

all this in two stages so that one part

00:44:44

dries a little and then the

00:44:46

next part fits easily, it’s already beautiful and convenient, the

00:44:51

next moment here we have

00:44:53

a window, it’s directly

00:44:56

reflected beautifully in the glass, I take whitewash and so

00:44:59

carefully, here’s the piece of glass here

00:45:04

our window window sill there all the things will be

00:45:07

visible the window sill there is something about us on

00:45:13

the windowsill there are some flowers there

00:45:16

all this is visible

00:45:26

but it’s kind of the other way around of course here it

00:45:29

will be white then now there’s no point it won’t

00:45:32

stick then the paint is good here too our

00:45:36

window is reflected here we have black, so it turns

00:45:40

out that the glass is written in this way,

00:45:43

light came from the left side from the window,

00:45:45

pierces right through our glass, and in the

00:45:49

place where in other opaque vessels

00:45:53

there is a

00:45:54

reflex in this place, usually in the glass, it’s as if

00:46:00

black is shining on this

00:46:05

side too and from this side it’s as if it’s

00:46:10

glowing there, and from below, too, here, also

00:46:35

through grayish shades, a

00:46:49

red grayish

00:47:16

lemon now I’m moving on to the lemon,

00:47:20

so I want to make it a little wider, I

00:47:24

take a little yellow one, even it will

00:47:27

turn red with cadmium red, maybe just like

00:47:30

that, neatly I beat the paint

00:47:33

very carefully, of course, it’s not

00:47:36

very neat to straighten everything out,

00:47:39

but just like that, carefully in our this

00:47:42

color and this dark

00:47:49

darkness and these dark shades, I’m

00:47:51

also

00:47:53

spreading it out just like that, the next moment, I’ll now

00:47:57

outline our future berries, I’m just I’ll

00:48:00

just wipe it with a damp napkin, I won’t

00:48:02

wipe off the paint completely

00:48:04

just to understand where they

00:48:06

will be, here are the circles, here they are, the circles, here

00:48:10

they are where ours are in the whole small one,

00:48:13

here’s a bigger one, there’s

00:48:16

also a beautiful pod behind it,

00:48:19

it’s located closer to the edge if we

00:48:21

pay attention closer to the lid so that it

00:48:24

lights up, I first take a lemon glasses

00:48:29

there lemon glasses here lemon glasses here

00:48:37

lemon glasses here lemon glasses

00:48:49

after that I take a dark dark

00:48:53

green

00:48:54

yellow-red this color is closer, you

00:48:58

probably even know, so I’ll add a

00:49:01

blue pc with yellow and a little red you

00:49:05

will get me like a muted,

00:49:09

not very bright green, but to

00:49:11

make it brighter I take blue pc and

00:49:15

lemon

00:49:16

and here I have some kind of

00:49:21

green color formed stay the

00:49:26

same with other shades, also here

00:49:32

greenish yellow-green with brown

00:49:37

heat and here yellow-green with redness and

00:49:45

here it’s the same thing, like this at first

00:49:50

the spot doesn’t even look like anything yet,

00:49:54

just spots on one side the spots are

00:49:57

light lemon and on the other they are not

00:49:59

dark, so as soon as we have

00:50:03

these spots formed I take additional yellow

00:50:06

and green and yellow and

00:50:10

indeco, they are already mixing, the doctor pairs

00:50:14

turn into green and I do

00:50:18

hugs like this with adding red

00:50:22

a little bit like this,

00:50:26

hugs with this

00:50:37

color like this and shade the paint

00:50:40

and here we’ll add some lemon and now

00:50:44

I’ll add some lemon with a cleaner

00:50:46

paint like this a purer

00:50:49

color is obtained, here comes a

00:50:52

lighter one, so saturated, then white is taken

00:50:56

and blue blue pc nobel is

00:51:00

naturally more than

00:51:02

blue and carefully touching like this,

00:51:08

barely shaded with paint with

00:51:15

holes holes such a dusting of dust that

00:51:20

immediately appears the sensations of

00:51:23

a grape, which we have without seeds,

00:51:28

judging in all respects, since nothing inside is

00:51:30

visible to us, but at the same time she is

00:51:35

in a shoe in some kind of sweaty

00:51:40

grape that has not yet been touched by her hands, the

00:51:46

next thing is this moment, this line

00:51:51

should be almost invisible to us further

00:51:57

so that this grape

00:51:58

is still not in in the air,

00:52:02

a little brownish Andy is added here

00:52:06

again,

00:52:07

of course, it mixes with the background,

00:52:13

I add reddish

00:52:16

and just like that, they go through like this,

00:52:21

smoothly goes here so that we can

00:52:27

form a medium and the grape appears

00:52:30

three-dimensional, we need to understand that the light

00:52:33

falls on the most convex area and here it’s

00:52:38

only white then it turns out that the color

00:52:42

comes to us here and the light doesn’t go away,

00:52:48

so it turns out bright due to this, so with

00:52:55

each one there will be some grapes, some will be

00:52:57

redder, some will be

00:52:59

darker, and we’ll probably

00:53:03

raise our glass a little, and now I’ll

00:53:07

move on to the underpainting and prescribing

00:53:12

our lemons

00:53:16

like this, here's a little lemon here, too, here's a little lemon,

00:53:20

I'll outline the

00:53:21

orange you and the shades of this, I added a

00:53:28

little reddish corrugation with an Indian one, this is

00:53:32

down here, then the shadow will go further,

00:53:39

we'll have a little white light one, I'll

00:53:42

take this and I'll wipe it like this

00:54:04

light I'll wipe it

00:54:14

and here on the contrary from here the pale one

00:54:20

from here the darker one on top I will also

00:54:23

cover the Indians a little with indigo indigo

00:54:28

color I take white and just like that I

00:54:32

carefully put the edge on the future one

00:54:42

then it will all be dry

00:54:46

the detailing of each each skein

00:54:53

the pulp

00:55:00

here will light up very beautifully as if a

00:55:03

lemon is like glass with exactly as if

00:55:06

shining through it will look very good in the future,

00:55:08

but even on this I

00:55:12

think we need to wait until

00:55:15

the canvas dries, as soon as it dries we can

00:55:19

complete such a photo-realistic

00:55:21

picture, detail it more accurately, it’s

00:55:33

always good that it is on land

00:55:37

for future strokes and there is an opportunity for

00:55:41

us to prescribe some then more subtle and

00:55:45

clear details, here the picture

00:55:52

has dried out a little, just a little, that is,

00:55:53

it is still damp, but

00:55:55

that is, it still needs to be painted, but it

00:55:57

has dried out a little, quite

00:55:59

literally in one day, here we have

00:56:03

paints, titanium white, yellowish

00:56:05

light orange yellowish

00:56:08

average cadmium red kraplak

00:56:10

indeco blue fc here at the bottom there

00:56:13

is a little bit of brown and but

00:56:16

we are unlikely to need it just in case in

00:56:18

order to convey the

00:56:19

shadow on the lemon I take white and

00:56:22

pimen solvent there is no need to cover the picture with anything

00:56:26

because many people ask whether it is

00:56:29

necessary about covering the painting, but you don’t

00:56:31

need to cover it with anything because the painting is already

00:56:33

kind of damp, and I gently

00:56:37

gently touch

00:56:40

my little finger with my little finger and leave it on the canvas

00:56:44

since it has already dried a little,

00:56:56

here I see several of these

00:57:00

elements, as if the window was also

00:57:02

reflected here according to the previous one paint

00:57:09

layer that has already stood a little bit and the

00:57:11

clutch paint has been received, you can put the

00:57:15

next layer,

00:57:49

by the way, you can depict a cat on the window there

00:57:51

if you are not there, you can

00:57:54

invent a cat there, but this is up to the thought,

00:57:58

so we try to do exactly

00:58:00

what is in the photo, after all,

00:58:15

the solvent is

00:58:28

squirrel

00:58:29

and so little by little I add

00:58:39

white, it turns out that we are, as it were,

00:58:43

another window depicting excess paint, you

00:58:50

can always remove it, especially since the previous

00:58:53

paint layer has already gained a little of its

00:58:55

adhesion,

00:58:57

dark, these jumpers on the windows, I will

00:59:00

definitely put

00:59:10

brown, I add with Indian and

00:59:13

white it

00:59:17

turns out like this grayish tint,

00:59:22

all the curtains are put, harmful

00:59:28

white spots are visible here, too,

00:59:43

white is white and at the very edge

01:00:01

now I will take another wet napkin,

01:00:28

excess paint runs off, I also remove with a damp

01:00:33

napkin, I make an oval at the bottom

01:00:52

right of the glass, black glass,

01:00:57

everything is written through the highlights on one side

01:01:12

and on the other, these the glare they are so

01:01:21

active, there are a lot of them and they create such

01:01:31

clarity, yes, as if you are now answering,

01:01:35

and so I take the indigo and there the indigo is so

01:01:42

neat, it is

01:01:51

above the window, here is such a cross, I

01:01:55

see here we have a little man sitting at an

01:01:58

easel, I see the

01:02:02

same story also with its reflection of the

01:02:05

same easel and here also

01:02:19

the table here also has grayish shades,

01:02:34

I also want to reflect here a lemon, it’s

01:02:42

yellow, here it will also come here,

01:02:49

white and the very edge on

01:02:58

the right through the lemon one, it

01:03:07

has a shade of lemon here and here it has a

01:03:09

shade of

01:03:10

lemon

01:03:25

further kraplak with indigo and a little

01:03:32

yellow

01:03:33

for this transition it will turn brown now

01:03:37

I’m starting to work with orange and yellow

01:03:39

and just like that, carefully this orange

01:03:43

yellow in this leg,

01:03:45

as it were, it’s necessary because but glass

01:03:53

it refracts the vision of objects if you

01:03:56

put a spoon in a glass it’s as if

01:03:58

the spoon broke there are cups of water

01:04:00

and so in the glass the same story

01:04:03

happens here like this it happened

01:04:06

now I take the lemon I do I take the yellow

01:04:09

orange heat and I start

01:04:15

laying the lemon through the orange-yellow ones

01:04:19

and that’s what I’m doing I took brown so

01:04:23

that now I can

01:04:24

use it in very small

01:04:26

quantities, in very tiny

01:04:28

quantities, use brown

01:04:54

[music]

01:05:05

here this little brown thing is grinding out

01:05:09

and now there are

01:05:27

brown Kees orange flying

01:05:30

picture with such circles of pilot

01:05:41

things and we move on to the yellow

01:05:45

tint, but first I will do something like this

01:05:49

the effect of shading on a solvent

01:05:55

and so you know, cellulite is a little

01:05:59

lemony, cellulite is like it

01:06:05

can be syphilitic in nature on orange

01:06:10

and here on limoni, the

01:06:22

irregularities are right there, this is good, the

01:06:25

irregularities

01:06:26

then I take the yellow ones and start

01:06:29

doing these, but poke as if until with a

01:06:35

smooth transition into darker areas

01:06:52

poke the necessary color

01:06:56

transitions in both light and dark so that there are smooth transitions from

01:06:59

dark to light with

01:07:01

pure yellow without any bill until the

01:07:04

whitewash starts very soon very soon just right now

01:07:07

this is a little whitewash to

01:07:10

yellow with such dots a

01:07:17

round brush in one direction

01:07:21

dots

01:07:22

also in another that we were alone

01:07:25

but in the same mode,

01:07:29

here a little yellowish little

01:07:57

brown

01:08:09

[music]

01:08:25

on the tail itself

01:08:38

and a

01:08:59

little bit of brown and red

01:09:13

went through a little

01:09:16

dark brownish red

01:09:34

again brownish red for this

01:09:37

hour of dots that is, in such

01:09:40

photo realism you need every little

01:09:43

detail in a personal write down the smallest detail on

01:09:53

that side, some kind of reflex may be

01:09:55

reflected from something for some reason, the lemon

01:09:58

in this place is light, you can trust

01:10:04

the photo and do it as it

01:10:07

shows a couple more lighter dots,

01:10:31

then I take white, of course I

01:10:37

dilute it very strongly with a solvent

01:10:53

I put the whitewash like this and of course I put

01:10:58

the whitewash on this side so now I take the

01:11:06

whitewash again from under this on the bottom

01:11:10

side on the right with light, it’s permeated with light, as

01:11:14

if

01:11:16

the glass is permeated with light and the whitewash is in the

01:11:21

opposite direction to the light, I put the

01:11:26

whitewash so that it turns out contrasting, you can

01:11:33

add whitewash carefully on a large

01:11:41

amount of solvent

01:11:43

[music] like

01:11:48

this, especially with dots, the

01:11:51

cut of the lemon will be like these dots,

01:11:56

photorealism is of course beautiful

01:12:01

[music]

01:12:14

also this shoulder here will have a

01:12:18

lot of glare on a large amount of

01:12:21

solvent, the grapes fit very well

01:12:42

so it will light up right now,

01:12:53

now I’ll take dark brown and

01:12:57

indigo two colors together, well, brown

01:13:00

will dominate to create a dark leg,

01:13:03

this is the detail, I put my

01:13:07

little finger on

01:13:09

the canvas and it turns out that the little finger is

01:13:13

sort of fixed on the canvas and the line

01:13:17

comes out more evenly and for those who find it difficult to

01:13:22

take a ruler, a

01:13:24

ruler generally helps very well and on the

01:13:35

other hand the sides are also brownish shades

01:13:38

skill dark but also brown

01:13:44

we transfer photo realism everything that we see

01:13:49

everything that seems to us and somewhere there is a dark

01:13:52

stripe like this neatly and

01:13:55

we transfer it we make a very clear

01:13:58

image

01:14:14

smooth transitions so that the metal

01:14:17

plays we will need to do

01:14:19

contrast now I’m doing creating

01:14:22

this contrast now the metal will

01:14:26

play, there is a reflection there, we have

01:14:28

grapes and even the same

01:14:36

pod,

01:14:38

each small detail carefully

01:14:42

through indigo, I outline the

01:14:45

peeled lemon in the background,

01:14:51

it is visible through yellow-brown shades so that it is

01:14:55

not bright, too, it is still a reflection

01:14:57

refracts in this beautiful jug

01:15:01

and because of this it seems darker

01:15:12

shadow here the shadow is actually

01:15:17

lemon most likely lemon I shadow

01:15:24

roughness

01:15:25

can also convey the feeling through

01:15:30

orange and yellow this is

01:15:36

the contrast of

01:15:37

shades the glaze is smooth and the yellow

01:15:45

beautiful edge

01:15:52

here is already cellulite with this one, the

01:15:54

reflection

01:16:00

on all curves will not be visible; the

01:16:06

light areas of the glare will work more actively

01:16:09

here, for example, there will be a slightly

01:16:14

yellowish color here, I put a dot here

01:16:21

and it is erased,

01:16:23

now I take yellow-orange

01:16:27

with white and just like that, carefully

01:16:33

the very edge

01:16:35

here here

01:16:50

and here the transitions are smooth here on

01:17:23

metal through yellowish through

01:17:31

some dark contrasting shades

01:17:50

and now I take indigo and this is how I approach

01:17:56

our beauty, this one carefully

01:17:58

through indigo

01:17:59

on a solvent I take indeco

01:18:03

and carefully carefully outline

01:18:49

[music]

01:18:59

further translation folded space

01:19:03

here too, so interesting here too

01:19:05

again, lemon through reddish and then

01:19:09

through white and yellow, I also give him the same

01:19:13

crust here, here I pass the

01:19:32

white crust, and here are

01:19:42

the grapes, and I thought that here that

01:19:45

time here are the grapes,

01:19:50

I add darkness through dark brown with indigo,

01:19:55

but of course you need a solvent a lot for

01:19:57

the paint to lay down because if the

01:19:59

solvents are small the paint sometimes doesn’t

01:20:02

stick well and com repent on the canvas

01:20:10

by adding even red yellow a

01:20:16

little bit with brownish tints

01:20:20

it turns out here now I depicted the thickness of the

01:20:24

jug itself the thickness of the edge

01:20:31

[music]

01:20:38

[music]

01:20:52

a little dark shades of black here

01:20:57

I will have a man sitting here, that

01:21:02

man who is reflected, paints a picture

01:21:18

in blue clothes,

01:21:20

he has a personal message

01:21:29

written through yellow and red,

01:21:34

well, naturally with squirrels, since I

01:21:45

did it myself, then I still probably if I

01:21:48

make myself tremble

01:21:49

a little brown glass, I

01:21:54

certainly don’t like it I put it there, I look in

01:21:58

the reflection for some reason,

01:21:59

and here, too, in the reflection, it should be

01:22:26

reddish-brown shades, shadow

01:22:30

parts, here is red Skyrim with such a little

01:22:35

black, I wanted to say brown,

01:22:38

I changed my mind

01:22:41

[music]

01:22:48

well, of course, behind the lemon, everything is a little bit

01:22:58

darker, now I move on to

01:23:05

our little lemon in the foreground and

01:23:08

also here, I haven’t finished the thickness of the

01:23:10

metal in one place

01:23:25

and I move on to the lemon here it

01:23:28

should glow, glow like a lemon

01:23:32

with whites, as if the light penetrates right

01:23:39

through and it glows on the right

01:23:42

and here it glows from this side

01:23:44

on the left further down he has little

01:23:53

white ones like this, very small very

01:23:58

small shiny things, the juice

01:24:02

flows like juice to get

01:24:09

this one up, I thinly, thinly on

01:24:12

the solvent, a

01:24:13

lot of solvent to

01:24:15

dissolve the white, but you need a lot of

01:24:17

solvent for them to lay down well,

01:24:20

just like that, neatly

01:24:42

now I I take orange with yellow,

01:24:49

add a little brown, just a little bit, just a little bit,

01:24:53

well, it’s very little, and here I

01:24:56

add a little darkness,

01:24:57

I also add the same

01:25:00

brownish

01:25:02

orange color here on the edge and start

01:25:09

adding this color, darkening it,

01:25:11

continuing to make these cells with the

01:25:18

addition of veins yellowish smooth

01:25:22

transitions and here on the left the part

01:25:28

also continues further a little

01:25:40

with lemon with the same dark paint

01:25:55

and now it’s

01:25:58

brownish like this in the background like some

01:26:09

water now I take white and just like

01:26:12

that, carefully with the theme I

01:26:17

mix vodka and it turns out kind of dark

01:26:19

such a slight

01:26:20

shade of brown, it’s even grayish, even grayish, and

01:26:24

that’s good, in fact, there’s a little

01:26:27

lemon here, and this grayish white

01:26:31

because in the shadows it’s not white,

01:26:33

it’s in the shadows, shady, shady shadows, here’s an

01:26:41

uneven skin,

01:26:43

yellow with whites, and just like that,

01:26:47

the edges are neatly covered with pimples like this

01:26:54

the song there were even

01:26:55

powders, there were chips and what it was

01:27:01

neatly on, these little white

01:27:06

areas here you have it, ours so

01:27:15

that it stands out later, I’ll show you I’ll

01:27:19

have to circle it with indigo on top,

01:27:23

this will turn brown a little at the very

01:27:26

edge, it’s like the skin is drying out or

01:27:30

something it is known that Steve happened here,

01:27:33

here we have a

01:27:35

light yellow on this part, I am forming it,

01:27:41

making it a more correct shape because

01:27:43

last time I pulled it too tight, but

01:27:45

this time I want to unload it,

01:27:47

so there are a little bit of yellowish yellow

01:27:52

shades like that, cadmium yellow there like

01:27:58

this and on the right I start adding brown with

01:28:01

orange, more orange

01:28:16

now I take yellow with another yellow

01:28:19

and of course I

01:28:31

add lemon there in this place and

01:28:39

here white with yellow white yellow

01:28:44

literally a couple of strokes of light on these

01:28:48

sticking out things that I go over again to

01:28:57

the yellow with orange-brown on the other

01:29:08

side it is darker, I take brown with even

01:29:14

the addition of indigo and just like this I outline

01:29:19

our

01:29:20

lemon lemon our lemon so that it is

01:29:26

more contrasting, I take red-brown

01:29:30

marks and on that side

01:29:34

I outline our lemon with red-brown

01:29:38

paint but what these are external in appearance and in

01:29:41

the area, that is, there is a

01:29:44

large amount of solvent on the background and just

01:29:48

like that I form this background,

01:29:57

almost watercolor on a

01:30:05

darker paint, some kind of

01:30:10

brownish veins in extra places, you can

01:30:17

see how convenient it is on dry somewhere,

01:30:19

they made the extra ones, they

01:30:21

removed these veins glasses on this

01:30:24

side we have our own shadow and I

01:30:35

’ll add a little red to

01:30:39

make the shadow darker and brown with indigo then I’ll add

01:30:48

this area around the lemon, the

01:31:12

edge of the table,

01:31:14

I’ll move it down a little bit literally

01:31:19

a millimeter and 2 probably yes, I want

01:31:28

to move the edge here a little bit literally

01:31:33

just a little bit

01:31:35

this will make the lemon more contrasting,

01:31:39

then I take red and

01:31:42

orange and stop the edge of this one so that

01:31:44

it is not very clear after all, this is a

01:31:47

long shot and look, since I

01:31:50

did it like this, it turns out and here I

01:31:52

also see a piece of it up to 9 degrees piece one more

01:32:11

time with red line I want it to

01:32:16

be more even now indigo here is

01:32:25

a photo of realism such contrast

01:32:28

can be like now I’m making indigo

01:32:34

just so sharp indiglo the

01:32:38

color is thrown of course the shadow

01:33:00

now our shadow goes under that is on the

01:33:06

very stem of the glass brown and

01:33:19

indigo white they will give the grayish

01:33:24

shade we need since we have lemon

01:33:38

reflected there I also add yellow from the stem

01:33:42

of the glass on this side to the stem of the glass

01:33:44

yellow from this side I also add

01:33:49

yellow with reddish-orange

01:34:11

white on the very edge here to

01:34:14

steal them here I move on to the grape

01:34:18

the grape turns red with enough

01:34:22

glaze to do it like this here

01:34:25

a little then take a little yellow lemon

01:34:36

with whitewash I take a little bit of blue white

01:34:47

the brush was dirty it turned out

01:34:49

greenish I need it one more time even a

01:34:55

little cry added so that

01:34:57

this doesn’t happen because it’s kraplak

01:34:58

the green one removes and just like that, neatly,

01:35:05

neatly, I take the little blue one, this

01:35:10

is the white blue one, and starting to

01:35:14

shade like this without covering everything,

01:35:23

just like that, carefully

01:35:25

shade the

01:35:46

white-blue

01:35:47

and then I put here such a single

01:35:50

bleach og clear

01:36:10

it turns out the next one, move on to the

01:36:13

next grapes

01:36:14

again the same the color is light, the same

01:36:19

on the speck of dust there is also

01:36:28

bleach og the next grape we

01:36:37

take again we make white bluish shades

01:36:43

even with reddish

01:36:55

and shoulder and on the right side there is a little bit of

01:37:03

orange as if the berry is glowing

01:37:19

here again there are white and blue areas

01:37:25

here this area is white bluish

01:37:47

and now I take whitewash and just like that,

01:38:01

neatly whitewash here and another

01:38:08

small grape right here, I

01:38:14

take white with bluish greenish, this is

01:38:24

indigo and yellow and translucent lemon,

01:38:37

here is the lemon color, as if the

01:38:43

berry is glowing once again, spraying this is bleach

01:38:57

og

01:39:02

dark spots and a little I closed it a little by accident

01:39:05

and that’s why I’m returning them

01:39:07

again

01:39:09

now I have to outline them from below through

01:39:13

yellow-black, I’ll

01:39:26

even add a little bit of

01:39:29

orange

01:39:31

so that the light becomes more complex

01:39:36

brownish and you can add red here,

01:39:43

it’s necessary here it’s very important

01:39:47

because there are shadows the berry will immediately come out of

01:39:53

the darkness and in the background it is reddish

01:40:04

green and here we shade it, add

01:40:21

indigo

01:40:32

and red color, you can do

01:40:43

watercolor enough, that is, right on the previous

01:40:46

layer the paint goes well, there is

01:41:13

also such a pod such a

01:41:17

pod

01:41:18

on which the pod is attached here went

01:41:23

here the pod from the berries it is

01:41:33

first done through the dark and then

01:41:36

a little yellow is added and a little red

01:42:06

to make it exaggerate some

01:42:09

parts to make them more saturated

01:42:11

bright, you can add, look, they

01:42:14

added glaze and now this berry

01:42:19

sounds more ringing

01:42:22

and because we added shadows

01:42:25

and here we’ll add red, for example, dash,

01:42:31

orange, you go up and the berry will become

01:42:35

ruddy down, of course it will be a little yellower,

01:42:47

here I

01:43:04

’m going back and forth like this and it’s very interesting here, so there

01:43:09

are roughnesses through the brown,

01:43:16

here through the brown there are two teens in a

01:43:21

piece of wood somewhere there’s a

01:43:27

hole in some piece of wood and also

01:43:36

on the lemon, here are the jumpers in

01:43:39

the reflection, now I take the opposite

01:43:51

white one and here the dimple

01:43:55

here, on the contrary light, I’ll go through the white

01:44:02

edge of the table,

01:44:06

as if it had worn off, hewn

01:44:18

so brown and orange,

01:44:24

two colors so brown, orange

01:44:29

brown again, and clear marks of

01:44:38

black

01:44:40

to pull out the hole here as much as possible

01:44:49

for example,

01:45:10

some elements like this,

01:45:14

you can carefully take a building

01:45:16

brush, orange and brown, and just like that,

01:45:20

a little bit, that’s all that was

01:45:22

called so neatly, and I noticed

01:45:25

that I have another berry hanging,

01:45:27

the last one is with it and I add a berry

01:45:33

with shadows where we touched on something like this, you can

01:45:45

walk through this little black one, and

01:45:48

here I’ll also walk through the little black one for a little lemon so that

01:45:51

behind this little lemon there is

01:45:55

nothing else that

01:45:57

could distract us from the background, then here the background

01:46:03

needs to be completed, here’s a

01:46:14

piece of the background a little red

01:46:17

so that there are fins fins transition and

01:46:21

this is where I finish this picture, so

01:46:24

good luck with writing this picture,

01:46:41

this is the picture I got using the

01:46:43

photorealism technique, I invite you to take

01:46:45

part in a series of webinars on the topic of

01:46:48

photorealism, write with me a few

01:46:50

pictures, link to the webinar and below you can

01:46:56

register and write these with me

01:46:59

great work

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