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Video tags
Subtitles
Russian
00:00:02
I greet everyone who has gathered today00:00:04
screen00:00:05
everyone who was ready to describe along with00:00:08
by us by sea so let's do it as usual00:00:11
paint thinner and basic brushes00:00:15
working tools brushes three pieces00:00:22
large trail stubble small flat00:00:25
bristles and flat synthetics and so the palette00:00:31
the standard does not change in principle00:00:33
titanium white cadmium yellow medium00:00:36
cadmium orange kraplak pink durable00:00:40
blue fc00:00:41
green vc by the way wrote in the chat00:00:43
They asked if it was possible with emerald ones00:00:45
instead of blue you can use ultramarine00:00:47
indigo is not scary at all00:00:49
umbro Leningradskaya natural and sienna00:00:53
burnt 9 colors thinner tee00:00:58
let's start as usual, start with00:01:05
markings, we can divide the camera into a picture00:01:12
picture in three parts vertically00:01:15
side we check that the third00:01:18
matched 3 large third00:01:24
especially in the central and lower parts00:01:26
It is advisable to immediately divide into small00:01:28
We will divide it into three more parts00:01:32
let’s immediately find for ourselves where our main00:01:34
lines of the main waves of the horizon and so on00:01:37
like this will be so I'm starting00:01:38
marking the sauce into three parts line00:01:48
horizon central third large00:01:53
The horizon line is divided into three parts00:01:57
the top little third hits here00:02:00
this is where it starts, I'll take the second one right away00:02:04
brush and use it throughout the work00:02:06
I'm making marks for myself00:02:12
I draw a horizontal line00:02:17
water and air separated00:02:20
the main line was made next line00:02:24
this is based on this wave00:02:28
which with foam we have a little bit00:02:30
diagonal is on the left side it00:02:33
a little lower on the right and she's taller00:02:36
respectively for three more small ones00:02:43
I’ll share a part and here it starts with00:02:49
the lower small third, that is, the big one00:02:53
third big third by three small00:02:56
divided by those same bottom small00:02:58
is divisible by 3 and starts from there00:03:03
the base of the wave is now the same00:03:04
Now I'll check what's on the left side00:03:07
on the left it is one small third higher00:03:10
that is, if I take you here it will come00:03:14
diagonally shadows of large restaurants00:03:22
base line of a large wave00:03:26
Now you need to find its height, that is00:03:29
the scale is slightly larger than00:03:34
lower small third and diagonally00:03:39
rushes almost to the middle00:03:41
the canvas continues to explode like this00:03:46
with a beautiful explosion of foam we have so00:03:51
checking the foam takes us 1 200:03:55
almost a third of the long canvas occupies00:04:01
Ben so-and-so00:04:03
outlined, shown, that is, this is it00:04:07
we will have it all00:04:08
main wave foam00:04:13
here about in the middle like this00:04:16
goes like this now on the surf line00:04:24
practical near wave which is on00:04:25
the shore rolls out, we find this line again00:04:31
into three parts the lower third00:04:33
and it turns out almost in the middle00:04:40
these thirds of us begin with00:04:48
on the right side it is higher, the main thing is so00:04:52
now for a second she is taller than this one00:04:55
the third comes, we take it as a basis00:04:58
this is the part just above it00:05:02
measure, put it on the right side and00:05:05
draw a straight line, look at the lines00:05:08
we all have these long bases00:05:12
straight here is this line we have a straight line here00:05:15
this straight line here in the picture is fan-shaped00:05:18
perspective horizon line it is straight00:05:21
horizontally and the following lines00:05:22
based on this wave under a small00:05:24
angle rushes 3 lower fault still under00:05:28
rises upward at a large angle to the right00:05:30
now we need to show the scale shape00:05:34
this wave that we noted00:05:38
in height it is almost almost00:05:41
here it is a third, it’s a little lower than 3, that is00:05:44
we'll take it somewhere like this00:05:45
and now you can show it raggedly, here’s how not to00:05:51
straight line a00:06:01
so now we have central stones00:06:09
the nearby stone starts straight00:06:12
middle of the canvas and goes to the right here along00:06:16
in scale it is quite a bit larger than00:06:19
foam and00:06:24
we build on the base of the stone in perspective00:06:27
look tilt here a little and here so that he goes to00:06:31
we were moving forward getting a little closer00:06:35
inside this club there is another foam00:06:42
the stone starts from the base of the wave00:06:45
down here from here00:06:47
will be partially hiding in the foam00:06:50
this is the shape on the right side00:06:55
two more small stones, one cuts00:06:59
time the base of the wave will be in the foam00:07:03
hidden by the near part and even further to the right00:07:08
a little more pebble00:07:14
so we can note one more point00:07:17
if you look closely at the left00:07:21
side of work almost at the line00:07:23
horizon, you can barely see the blue sea00:07:26
in the distance that goes that is a green wave00:07:29
then the blue sea is here00:07:31
a little from the horizon line00:07:33
diagonal q can be drawn here here00:07:35
will be blue and the same in half00:07:40
dividing this line between the horizon00:07:44
and the first wave00:07:45
but here there will also be a middle ground wave00:07:50
so there is still a moment to do it right away00:07:54
let's celebrate00:07:56
shadow inside this large area00:07:59
foam that is what we actually have00:08:02
the bulk of this foam will be occupied00:08:04
shadow color and only slightly around the edges00:08:07
there will be sunshine, that is, this piece and00:08:09
its special now in pink00:08:11
I'll cover it, we'll all have shadow, everything, everything00:08:14
everything everything everything everything it will be in the shadows00:08:17
we will have a piece of white00:08:19
just a little here here on this00:08:21
just a piece00:08:22
otherwise we won’t have a bright picture00:08:24
Let's start glowing, little by little00:08:30
paint over the sky00:08:33
Almost everything we have is monolithic00:08:36
blue, maybe more of one color00:08:40
knead it consists of whitewash immediately00:08:47
I take more, not a big blue canvas00:08:52
should not be light, that is, white on00:08:55
it should glow brightly accordingly00:08:58
we try to make it tonal00:09:01
quite rich00:09:09
we are often afraid of darkening colors00:09:14
turn the colors on and make them light later00:09:19
in the picture we don’t get the brightness that00:09:21
required just like that it arises00:09:24
due to the fact that we have lighter colors00:09:26
done when it comes to lighting00:09:28
the white guy just doesn't play them00:09:32
size consistency something akin to00:09:36
thin thin sour cream will paint00:09:40
thick will be difficult to apply to canvas00:09:43
it will be hard to do it will be bad00:09:45
to blend I add a little bit00:09:48
green so that the sky is slightly, slightly off00:09:51
appreciated with turquoise that we are starting00:09:54
paint it dark enough00:09:57
light on white canvas good enough00:09:59
visible and you can safely paint over it00:10:09
I apply the paint and immediately take out large bristles00:10:13
and to avoid that here00:10:15
a thick layer of bristles has formed00:10:18
distributing the remaining paint on the canvas00:10:22
I push it with the fall of the horizon, look00:10:25
as far as it goes00:10:30
applied paints how good it is00:10:33
stretched00:10:39
if anyone has any questions right away00:10:42
write to the chat and we will leave00:10:46
how to answer them00:11:02
put the paint on the canvas bristles and00:11:07
shading00:11:19
there is such an interesting effect in the picture00:11:21
there is now I'll rub everything a little00:11:25
I'll tell you about him00:11:37
good shading workout00:11:39
red color is just the same00:11:42
work with the bristles for another minute and we have00:11:48
the sky is painted over00:11:56
By the way, maybe a little tonally00:11:59
make the top a little darker00:12:02
that is, add that blue one to the composition00:12:05
the paint that was carried upstairs00:13:14
just a little more and we'll be done00:13:23
corners, I hope everyone can keep up with me00:13:28
I can’t make it even smoother, I’ll be slower00:13:36
tassel work00:14:02
big picture big scope00:14:12
Well the sky has been painted over00:14:17
if you look closely at the picture00:14:21
It will be exactly the same on the monitor.00:14:24
look closer to the water there is a feeling that00:14:27
the sky is lighter from above it is darker00:14:31
the effect occurs due to the fact that water00:14:33
very dark works for us if00:14:35
cover the water immediately weakens the effect00:14:37
brightness melts into difference00:14:40
colors above and below, as it were00:14:42
sometimes we look at something very light00:14:45
it seems to us if there is something dark nearby00:14:48
it means it's just an optical illusion00:14:51
effects nothing more there are questions00:14:57
let's get ready to answer, so let's get started00:15:01
in order00:15:02
by composition, can this picture00:15:05
be a sailboat and where if possible and what kind00:15:08
heights00:15:09
you know, like a sailboat most likely00:15:13
it will simply be redundant00:15:15
either or very, very far away and better00:15:17
then on the right side it’s as if completely00:15:19
a little because on the right side00:15:21
we can just see the sea a little deep00:15:25
and there you can put something00:15:28
bright white too, but very neat00:15:30
big by no means next00:15:33
question color of the sky what colors00:15:36
used blue fc and white00:15:39
titanium and very very neat00:15:42
green cricket and is it possible to00:15:46
composition on write with acrylics00:15:49
can it be used with acrylic paints?00:15:52
because there's quite a bit here00:15:54
shading that is, and you right away00:15:55
we take some basic colors and almost00:15:59
working with basic colors one more00:16:01
question about the July closed webinar00:16:04
approximately when it will be on Tuesday00:16:07
It'll be Tuesday, my dear, let's do it already00:16:10
Let's not continue to rush slowly00:16:15
the blue one we had for the sky00:16:18
adding a ticket to it just to00:16:19
increase the amount of paint00:16:21
and then I take it00:16:24
I add a lot of blue, I make enough00:16:27
dark so blue has a deep blue color00:16:30
very cloud00:16:32
so that he strives for them in the dark00:16:36
I specially do it in blue which was00:16:39
so you can see how different it is from00:16:41
I add a little color and tone to the sky00:16:45
red just a little bit00:16:50
slightly-slightly siri appeared00:17:00
the darker it is, the better I don’t know00:17:03
that not quite black turned out great00:17:12
you need to add a little red00:17:14
enough from Syria on the 9th a little bit00:17:18
pink ones for one will give him an extra one00:17:21
darkness is water in the distance00:17:23
look at our horizon line00:17:28
on this side we have such a triangle00:17:30
small it turns out consisting of this00:17:35
colors and then all of us are here00:17:39
the distance is the horizon line to the line00:17:47
which I spent here I divide in half00:17:48
distance between green wave00:17:51
the horizon line is extinguishing us.00:17:56
and now I take a big bristle and like this00:18:02
I'm just passing along gently00:18:05
horizon line, the faster the movement, the00:18:09
the line will be smoother and at the same time slightly00:18:11
the far part will blur00:18:15
but I and the sky will soften00:18:22
look how bright this one has become00:18:25
a piece of heaven that is, as soon as we00:18:26
darkness was added to immediately take00:18:28
lordship appeared00:18:37
and just as dark00:18:44
bluish lilac color needed00:18:47
add because he loves where because we have00:18:49
lie here like this00:18:59
we go around the shape of the stones, then maybe00:19:03
a little bit under this is the color and here00:19:07
here at the base00:19:09
above the line that was drawn00:19:21
We’ll also add it here on the left on00:19:26
one third of the height above the foam00:19:34
we have questions we have a question about canvas00:19:40
what to do if the primer is on canvas00:19:42
slips and does not hold paint perfectly00:19:48
of course perry prime the canvas00:19:51
cover with a layer of soil on top, but I00:19:56
I understand if they started writing them now lol00:19:58
he behaves like this no longer has anything to do with him00:20:00
you will do00:20:01
ideally covered in one layer00:20:03
oil paint00:20:04
it doesn’t matter anymore, just something is being done00:20:06
underpainting and let the paint dry00:20:09
about this already in the second layer when on it00:20:11
working on the paint will apply normally00:20:13
this is glass seconds and the so-called00:20:15
what canvases do you recommend for00:20:18
for beginners and those who have been around for a long time00:20:20
draws we work like in Italian00:20:23
napkins and on your own canvas00:20:25
already in production00:20:27
specially like us for our equipment00:20:30
by its properties, that is, by00:20:32
absorbency according to the texture of the canvas, as it were00:20:35
Ghibli canvas can be found here in00:20:37
online store but brick continue00:20:42
so with blue paint we're done for now00:20:46
we've worked hard, let's leave her alone00:20:50
Today, by the way, we have a picture by color00:20:52
enough00:20:54
simple in form in principle too00:20:57
minimum colors green vc white we do00:21:09
green color who has emerald emerald00:21:13
we also need something dark enough to make it00:21:18
again I deliberately interfere next to00:21:20
blue so you can see the tonality00:21:24
paints00:21:40
maybe partially in some piece of this00:21:44
colors add dark blue which00:21:48
used 7 blue-green turns out00:21:50
dark color and00:22:11
here we leave a stripe under more00:22:13
we put the dark color here00:22:16
the greenery is again not the full width00:22:19
we leave the stripes a little more for more00:22:24
dark and just a little bit here00:22:29
a little bit at all00:22:39
and we still have quite a lot of this color00:22:41
lies you here in the foreground in front of00:22:44
foam00:22:46
here are the lines of the base of the wave to come here to me00:22:50
and along the water there are 3 foams, this one is all00:22:55
we try to cover the piece completely00:23:01
so that the layer thickness is small00:23:03
small so that later it’s easy enough00:23:06
we had to work from above00:23:24
dear friends, if you don’t have time, write00:23:28
I don’t have time, they will put a minus00:23:32
slow down a little00:23:34
opportunity to work with us00:23:39
Now I’m adding a little to this color00:23:45
Bochkarev's indigo we have more like this00:23:55
the colder ones are not yet getting darker00:23:59
we have to watch it connects via00:24:04
the color of the previous one and the tone00:24:07
fill in the fragment on the left side00:24:12
completely fill in the fragment on the right00:24:16
side of the top, this piece is all00:24:24
this dark greenish bluish00:24:28
delicate color00:24:36
let's put a little camera on the picture who00:24:39
can not get in time00:24:40
and I’ll just answer the question so it’s00:24:44
you can see what and how we have since we00:24:49
touched on the topic of canvases, questions went00:24:52
accordingly plowed for us, will they be in00:24:56
sale of gallery stretched canvases will be00:25:00
I can’t say anything for sure about the timing yet.00:25:03
Can00:25:04
besides the online store where are these easels00:25:07
can still be purchased in our group at00:25:09
contact school of seascape as it were00:25:11
there is either in the studio in Moscow00:25:14
ours on Marshal Turquoise00:25:17
here and there but ideally all the same00:25:20
order in online stores00:25:21
and there is something else besides canvases there in00:25:25
Internet is great, you can also do all the videos00:25:27
lessons that00:25:28
with my participation brush and paints00:25:31
art materials oni tsu00:25:35
I will announce the address of the online store again in00:25:39
at the easel.00:25:47
so the girls in the studio keep up with00:25:51
me who work at least for00:25:54
they have already done the same thing as I have already done00:25:57
and it's up to the little ones00:26:00
shade the Komi that I still have00:26:01
didn't show they haven't even started yet00:26:04
noticed what needs to be done so I00:26:10
Now I’m shading the same moment that I don’t00:26:13
we will shade and slowly00:26:17
close further look from the left00:26:20
on our side we have this piece from00:26:24
blue to green horizontally everything00:26:26
all movements are strictly horizontal00:26:28
horizontal paint no00:26:30
we show torsion in the wave so that00:26:32
us from one color to another was00:26:34
simply the perfect transition00:26:42
We asked here just to check00:26:43
I'll go through the thickness and here we have00:26:52
it turns out there are two waves that are more distant00:26:54
closer ones00:26:55
for a distant wave I’ll take a small one00:26:57
a brush because that place is smaller00:27:03
on the left side here00:27:12
the top wave of green should be almost non-existent00:27:15
feel that is there more with00:27:17
we have blue, but the near part can be00:27:22
leave the top of the wave greenish and00:27:26
take the blue one that is below and00:27:29
reach up to the top00:27:38
at the same time Potasheva and all the little ones00:27:41
unpainted areas that remain on the canvas00:28:00
I'm trimming the wave now we're still00:28:06
preparing the fixed assets for work then00:28:08
don't worry too much00:28:10
calmly tint later in the process00:28:14
somewhere something will still be darkened00:28:16
change shade color tons we will eat00:28:19
work00:28:31
We are just a little bit behind00:28:33
keep up with almost everything and how to count00:28:36
knows more there are two more questions for00:28:38
Is it possible for little ones to write this sentence?00:28:40
job so why not she00:28:44
really it's like00:28:45
because it has a minimum of transitions00:28:49
color she ballet shoes stained made it00:28:52
absolutely calmly you can and God's00:28:55
The question is how often should you wipe your brush?00:28:58
shading and not too much parting00:29:02
standing here it looks like this if painted00:29:06
there's a lot on canvas, it's better to wipe it off00:29:07
more often because she's so easy to brush00:29:09
takes away excess paint from the canvas we00:29:11
remove it with a brush and return to00:29:13
canvas and remove the excess paint again00:29:17
on the canvas at least as if at all00:29:19
it’s not worth wiping because you’re00:29:22
takes the paint as if from the canvas and with what00:29:24
the more often we wipe, the more likely it is00:29:26
that we will not leave paint on the canvas00:29:28
trying with a brush, there are still a couple00:29:31
questions if you need to continue writing00:29:34
unfinished painting six months later00:29:37
wrote in basic oil00:29:39
what to process and what to write on further and00:29:43
Usually in such cases I do it simply00:29:45
I wipe it very quickly00:29:47
with a cloth soaked in acetone and then00:29:50
I’m writing, I generally work on a tee on00:29:53
olive oil they work as if on pure dirt00:29:56
fundamental importance after wiping00:29:58
like the top fatty fatty one00:30:00
layer which film is formed from00:30:02
oil he groans and leaves very00:30:05
paint has good adhesion00:30:07
It's enough just to wipe with a groan00:30:11
one question began to plow00:30:13
what are the canvases primed with?00:30:15
easels sold in the online store00:30:18
.00:30:19
but this is generally an emulsion primer00:30:21
technology no matter how it is destroyed00:30:25
this is something that is not under our control00:30:32
let's continue now the shadow parts00:30:35
we'll give foam so that we already have the upper part00:30:38
was a completely closed tassel00:30:42
wiping and I have a lot of questions00:30:50
Today someone writes with me who has never been with me before00:30:51
I wrote and try it for the first time if there is one00:30:53
please put pluses like this00:30:58
you can use white on the palette00:31:02
blue color which was nearby00:31:08
lilac00:31:09
add enough red photon00:31:15
dark ones are again acceptable for00:31:19
In comparison it shouldn't be much lighter00:31:21
be there that light green one00:31:23
there were enough of us regarding him00:31:30
dark ones too00:31:32
then it turns out to heaven only if the sky is00:31:36
there were more of us bluish here00:31:39
lilac purple those shadows that I00:31:43
noted, let's start painting00:31:47
you can get out into the sky a little somewhere00:32:11
We don’t go through the entire shaft00:32:18
a thin thin strip on top can be00:32:21
leave it light00:32:30
just don’t paint over the stone here00:32:32
at the end there is a large bristle, I smooth out the excess00:32:42
thickness immediately00:32:43
if it works out and slightly, slightly00:32:52
immediately along the lower part, also shepherd's00:33:00
here you are on the right side completely00:33:02
let's leave it here a little bit00:33:04
sunny there will be a splash of foam here she is00:33:10
will fly up sharply and again00:33:17
Now we make the color a little darker and00:33:19
let's completely paint over this piece00:33:21
near foreground waves00:33:29
its red is quite a bit darker00:33:32
made our foreground brighter than00:33:37
average00:33:41
you can also first along the line00:33:44
walk to the stone00:33:51
I'll add a little more red, it's not enough00:33:57
white stripe on top required00:33:59
leave the bristles again and the bristles00:34:04
rubbed the compartment and the plane of the canvas so that00:34:08
there was no extra thickness than we had thinner00:34:13
now a layer of paint will be all the easier for us00:34:15
then it will just be the brightness of the lighting00:34:17
lay and dial in the volume of foam and here00:34:20
the thicker the network we put the paint king will be00:34:23
heavier in the extreme almost to the very top and00:34:30
I do00:34:41
and immediately this dark color00:34:43
you can add one more thing just give00:34:50
more shade about us00:35:07
here we'll make a little more foam00:35:15
and our leader stones comes to this00:35:27
and here by the pebble we still have it00:35:29
It's already getting dark so I'm strengthening it again00:35:33
I make the blue red darker and this one00:35:36
zone00:35:37
even brighter00:35:53
natural sienna they zone used00:35:56
what can be replaced if there is no john00:35:58
dick naturally the number is a little bit darker00:36:02
in terms of color it’s actually possible00:36:05
will just add a little pink00:36:07
into her and00:36:08
to clarify, it’s not particularly scary yet00:36:22
again please tell me where it is possible00:36:24
buy canvas in the online store00:36:28
Magarych00:36:32
let's see the internet address, can I have it?00:36:36
increase00:36:37
Canvases can be found at this address00:36:48
about the group seascape school in00:36:51
VKontakte contacts are actually there00:36:53
the group also needs holston00:36:55
there are all the addresses and passwords for everyone00:36:58
everyone who is interested also in the group00:37:01
VKontakte has all the information there00:37:04
Well, can we use brown Mars?00:37:12
it's possible, so let's paint it over00:37:19
last cool down people1200:37:24
wow cool camera on canvas to00:37:28
calmly everyone who watched for the first time00:37:32
by color, that is, we even have foam from00:37:34
see if we take from us somewhere00:37:37
lighter00:37:38
somewhere even darker in hue00:37:41
purple is different so watch out00:37:45
If you have any questions, write me00:37:49
but now we go to the shore and paint it over00:37:52
after that we give the stones again00:37:55
an opportunity for those who write to catch up with those who don’t00:37:59
succeeds00:38:00
and so we wipe the brush thoroughly00:38:02
after purple and then we work sienna00:38:10
burnt00:38:13
slightly whitewashed it00:38:15
I work on the palette with a separate spot like this00:38:19
there can be quite a lot of it there00:38:20
stir it and we have half the shore00:38:23
it will suit our lighter part00:38:28
which will be located here00:38:30
from below, that is, almost in half00:38:32
straight line can be cut in half00:38:36
the shore is like this, what’s at the bottom of the canvas like00:38:42
since we will have these colors we need00:38:45
let's add a little splash00:38:47
from blushing00:38:59
and paint over all movements as desired00:39:02
horizontal in general we try and00:39:04
we work with water and some flat ones00:39:06
Olya Shore surface works00:39:10
horizontally now I’ll add it to this color00:39:13
umber so that it darkens with us and the remains00:39:17
here is a little spotty for me to go to00:39:20
the feeling of the volume of the relief was essentially00:39:27
a little lighter a little darker color without separation00:39:32
brushes00:39:42
closing specially started with more00:39:50
light so that later the top00:39:52
we have a part between the water and this00:39:54
sand will be even darker00:39:58
let's look a little bit pink00:40:01
added a bluish tint00:40:34
the lower part was closed and the upper part was closed00:40:37
will be darker here we take also00:40:41
slightly whitened why almost in00:40:44
Each batch uses white white00:40:48
practically the only ones of these paints00:40:50
which are really very thin00:40:52
the opaque indigo layer also seems not00:40:55
transparent color but quite liquid00:40:57
divorced surgeon from his canvas00:40:59
illuminated with a thin layer00:41:01
that's why whitewash is used as a blocker00:41:03
transparency of the whiteness of the canvas from below and that's all00:41:07
the rest of the colors are already added with00:41:08
whitewash replacing color and tone00:41:13
this allows us to put it just like that00:41:16
paint a thin layer an hour until we are clean00:41:18
some paints were used00:41:20
you need a thick enough layer on top of the sauce00:41:22
lay them so that they are opaque00:41:27
and your color to the maximum currencies when00:41:30
so white and so umbro a lot much00:41:37
darker color than the front one00:41:41
plan and kraplak we add there00:41:51
customized it can be a little indigo00:41:56
adding will also give the depth of the dark to00:42:00
how many kraplak sunda indigo is no longer there00:42:03
connect and the shade of green will not allow00:42:05
this is such a dark color, look we have it00:42:10
will lie, leave the strip on one00:42:14
a quarter there from the height of the empty canvas00:42:18
under the wave there we will have dark ones00:42:20
grayish lilac color wave shadow00:42:23
which she throws here to the front00:42:25
red plan more follow00:42:33
paint consistency so that you don't00:42:35
it turned out that one paint 100:42:37
consistency is different, different there, let's say00:42:40
1 more liquid the other more thick more00:42:42
thick lays a denser layer on00:42:45
canvas more liquid less thick layer00:42:49
respectively when mixing paints00:42:52
so which one eats up that paint more?00:42:55
which is smaller and accordingly00:42:58
it's not two colors combined00:43:02
between each other and one color that ate everything00:43:04
adjacent lying next to each other00:43:19
and this color can be a little now00:43:23
run down00:43:32
connecting00:43:48
better than us so the swelling picture at the initial00:43:51
stage go to me than perry brighten00:43:53
because it often happens to lighten00:43:56
much easier than reinforcing00:43:59
darkness on canvas00:44:01
so don't be afraid if you succeed00:44:03
darker than it is so now we have 1 stone00:44:10
2 3 4 hour we will cover the stones right at00:44:17
take more of the remaining color that was used00:44:19
indigo and more kraplak that is00:44:22
it will look like black and purple00:44:26
tint color00:44:44
stone inside foam00:44:52
then the little one that lies here00:44:56
a little further to the right00:45:04
even further to the right00:45:23
I'm leveling it, hooked the lilac and not00:45:28
disappears and remains in the foreground00:45:33
the stone will not all be the same color00:45:35
that is, if we painted all these three in00:45:38
one tone then we will have this stone from00:45:42
two tones, look, we do the crown like this00:45:49
lines here and triangle00:45:56
this is the edge that lies parallel to this one00:45:59
the lines are edges can be drawn just a little00:46:05
like this and the darkness a little like this00:46:09
stripes00:46:11
make this form00:46:15
and now I take sienna00:46:19
I mix the confusion and a little and00:46:24
painting the remains with sienna plus color00:46:29
umbro00:46:33
look I work only in the direction00:46:36
tilt towards me to climb at an angle of degrees00:46:38
45 will immediately create a feeling00:46:42
plane I’ll add a little kraplak to00:46:45
sienna and00:46:58
initial preparation for the stone00:47:03
left with us00:47:06
space for some foam, let's do it again00:47:12
now the camera is on the picture like this00:47:18
all those who write should look like this00:47:23
add pluses in the chat so that00:47:26
continue further let's continue the topic00:47:30
canvases that I was very interested in00:47:33
our colleagues writing with us00:47:37
beautiful sea is delivery possible for00:47:40
abroad abroad no abroad exactly00:47:44
delivery is not possible except00:47:46
probably only Minsk where we are00:47:47
we go there periodically we can00:47:49
reflect these in Minsk and when is the nearest00:47:53
master class in Minsk most likely00:47:55
the next one will be after the new year00:47:56
master class not earlier because we have00:47:59
the schedule is very planned until the new year00:48:01
hard we wander around different different00:48:06
regions of us toner forose is planned00:48:09
now literally three weeks later00:48:11
opening00:48:12
simultaneously in the direction of Foros we charge in00:48:17
Samara after Foros we also still have00:48:21
additional Yalta week of master classes00:48:23
then Rostov Voronezh00:48:28
Cherepovets and then further St. Petersburg00:48:31
Moscow basically until the new year00:48:35
more information about the studios that take place00:48:39
master classes00:48:43
Well, our studio is already like this00:48:48
well known, let's say already in our studio00:48:51
This is where Vugar Mamedov conducts classes00:48:53
coming as if it will be soon00:48:56
take more Seraphim Kalinin and00:48:58
be sure to pass Denis Nikonov00:49:00
Olga Buttona, you are also planning classes00:49:03
divided by Orlova and where can I watch00:49:07
schedule how to sign up00:49:09
You can see the schedule for our group00:49:11
in contact the school of seascape there00:49:13
almost completely now00:49:15
information we post periodically00:49:17
we put the dough on the wall00:49:19
we always have it in our feed and in topics00:49:24
community so and about more00:49:28
online store here the question is why00:49:33
only one type of paint is sold at00:49:37
I mean the master class there00:49:39
master class Ladoga there is gradually00:49:41
the range will expand so well00:49:44
Apparently not everyone made it in time for the last one00:49:47
webinar what brushes do you use00:49:49
show me again please00:49:51
just just one second just now00:49:53
can you get really close?00:49:57
flat synthetic flutes are like this00:50:05
large Fritz stubble five centimeters00:50:10
fluffy refusal and little stubble for00:50:17
small details well 11 and let's00:50:23
about the palette00:50:25
from a technical point of view, the topic is00:50:27
covered why is our palette so convenient00:50:30
can you even show it from above when00:50:31
palette palette we have00:50:34
plywood base on easel00:50:36
specially made for convenience00:50:38
covered with regular cling film at the bottom00:50:41
lining with the name of the colors is like00:50:44
just for those who are attending master classes00:50:46
first time they come for him everything is new00:50:49
here, as a hint, there is a palette00:50:53
us almost constantly it's not her00:50:55
changes, that is, the colors of the paints do not00:50:57
has been changing for quite some time00:50:59
just the basic ones have been specially collected00:51:02
enough colors that allow00:51:05
for mixing get 90 percent there00:51:07
all shades in the main ones as for00:51:09
for beginners this is not enough00:51:12
it makes sense to use some already there00:51:14
it just gives ready-made colors00:51:17
development for color mixing with things00:51:21
beggar, why don't you wait and sit down with us?00:51:24
a lot of questions about the schedule00:51:26
master classes so I will allow myself00:51:28
literally a minute to voice yes then00:51:30
let's do this St. Petersburg 2 3 400:51:36
September Samara 10 September 11 Rostov 2800:51:41
29 30 October Voronezh 4 5 6 November00:51:46
Cherepovets 11 12 13 November and Moscow 16 1800:51:53
19 further traditionally Moscow-Petersburg00:51:55
thank you all in a week, let's do it00:52:03
let's look at the girls for a second00:52:07
let's see what happens, this is exactly what happens00:52:09
I can't say that there are a lot of them00:52:13
they write didn’t say that they don’t write much00:52:15
just drawing for fun00:52:18
c plus what comes out as if especially from00:52:22
what I have on canvas now is nothing00:52:25
not different a little bit somewhere maybe00:52:28
I literally wanted to be there00:52:29
shore a little lighter the very foreground00:52:32
and everything is possible at both jobs00:52:34
lighten up and everything is fine and I hope00:52:36
just as great for those who are now00:52:38
writes independently and today at00:52:43
ten he saw ready in front of him00:52:46
work for everyone like me cool00:52:49
closed let's continue I'm already lilac00:52:57
there is a brush before this was just00:52:59
stained in the brown color of the shore00:53:03
I anointed it there and added whitewash there00:53:05
added a little blue added00:53:07
a little red turns purple00:53:12
most important blue add last00:53:14
first red is added then by the way00:53:17
such an interesting moment, what if we want00:53:20
get warm and slightly lukewarm00:53:24
purple color is very important00:53:26
paint mixing sequence00:53:28
yes, he does have an influence here00:53:31
sequence of colors that we00:53:33
knead with each other, that is, first00:53:35
must go red and blue00:53:38
color and only then can it be added00:53:40
something brown or orange00:53:42
if we allow00:53:43
Let's take orange first and then add00:53:46
blue and we’ll immediately go green instead00:53:48
violet we get brown color like this00:53:52
we select we select here he is here00:53:55
turned out great a little lighter with everything00:53:59
I'll make it a little lighter00:54:03
such a gray-violet color on00:54:08
the border between the foam and the shore is a shadow00:54:15
from the wave that rose and here00:54:19
we will have it running along the entire length00:54:35
and then an even darker color is possible00:54:38
let's mix it, let's take indigo and kraplak00:54:40
almost black violet does not turn out00:54:45
apply and00:54:46
the very base between the foam and the shadow of the foam00:54:53
we lay the answer dark for us, as it were00:54:57
will cut the shadow00:55:03
so, by the way, you can also use dark ones00:55:06
where is that shore so add a little bit00:55:09
just speckles00:55:13
you need a sharp boundary between light and00:55:16
dark emphasize dry sand and wet00:55:20
sand00:55:24
I’ll take the bristles now and gently, gently00:55:28
I'll pass00:55:32
I'll clean it up00:55:34
unpainted areas, the main thing is not to00:55:37
lose and just soften a little00:55:39
stroke the paint loves to be stroked00:55:57
You can give it a good wipe now00:55:59
brush now we will work light00:56:01
I press flowers, I need to get wet in00:56:08
thinner survive once again00:56:17
Wipe with a clean cloth00:56:25
Well, almost the last remnants of the empty00:56:30
canvas now we will be closed here00:56:33
a little pack and it’s perfectly white00:56:35
color is not needed, you can use it even slightly00:56:36
slightly, slightly, slightly, slightly curl00:56:39
very, very, very slightly, that is, not00:56:42
pure white right here next to the white one00:56:45
this is how it looks slightly grayish00:56:49
tassels whether the bug got out bring in00:56:51
brown white and and of course00:56:54
the paint is completely washed out00:56:57
there's no white crook left, so let's take it00:57:04
somewhere more, somewhere less you just need00:57:12
put pressure on the brush like this00:57:21
the top is conditionally flat until almost all of it00:57:23
light down a little bit white somewhere00:57:26
let's run the same thing here00:57:29
to the right of the pebble a little above it00:57:36
the paint should not be thick again00:57:38
the paint is liquid in the same way00:57:40
a small layer will be a large layer of congress00:57:44
We're all white and there won't be a feeling00:57:48
volume in foam higher-lower higher-lower00:57:53
so that this is the internal line00:57:56
there was also a paint layout00:57:57
zigzag somewhere above the shadow somewhere00:58:02
the light is lower to the edge, we try to keep it to a minimum00:58:06
light leave it the same00:58:09
do it from the top wave00:58:18
first fill the top line00:58:27
I first emphasized the top line in00:58:30
this is a little bit down from this one00:58:33
I'm going down the lines, preferably these00:58:39
the descent was uneven00:58:41
unequal in shape than more varied00:58:43
the form will be here, the more interesting it will be00:58:46
foam that now this piece is here00:58:51
you can already beat it and you can even color it00:58:54
add a little yellow to it00:58:56
very carefully just a drop00:58:59
it turns out that Zelentsova will be so easy00:59:02
cast gray gray Zelentsov and you can00:59:08
look around the edges I pass00:59:19
gets dirty, get a cleaner color again00:59:23
perfect white color for now00:59:25
there's no need for that00:59:34
the line is exactly the same somewhere in the shadow00:59:37
took the brush dry00:59:40
took the shadow, went into the light, light of the day00:59:43
let's alternate a little let's 000:59:57
added a little here somewhere here00:59:59
there will be schools one small question01:00:03
let's can we take the purple one to01:00:06
don't mix too many colors please01:00:08
if if too lazy to interfere01:00:11
take purple but it’s also like01:00:15
Saken with glasses, it is desirable that he be somewhere01:00:16
lighter and darker a little more01:00:18
red a little more blue purple01:00:20
we are different this cobalt violet01:00:23
let's say purple kraplak is not01:00:25
differ therefore purple common01:00:26
the name is quite average01:00:30
nice one big one he came and01:00:34
wipe our large bristles01:00:38
brown was stained now I'm away01:00:41
I cleaned the brown one and I really need it01:00:45
gently smooth and lightly01:00:48
blur the boundaries with the sky and inside the foam01:00:51
that is, we create a little haze so that01:00:57
the foam has turned into such a fog around the edges01:01:02
you can also do it inside if you have the right one01:01:06
the consistency of the paint is small, that is, not01:01:09
thick layer and no brush marks01:01:14
will leave it and very gently wash it all away01:01:17
fluffing here you can do this in the direction01:01:21
from how the foam explodes immediately01:01:23
easy dynamics to put into motion01:01:26
brushes01:01:37
big deal let's go along01:01:40
look at this line inside the foam01:01:42
work and in no case yet01:01:44
I get out along the contour softly, softly01:01:48
I wash it away, I don’t rub it completely so that they01:01:52
mixed completely softening01:02:00
I do the same on the lower section01:02:03
do not touch the foam borders above and below01:02:06
only01:02:19
Well, prepare a question, now we're back01:02:21
literally we'll show you for about five minutes01:02:24
picture01:02:25
so that everyone who writes does what01:02:30
it is necessary who does not have time, waiting for yours01:02:36
questions01:02:38
this is how we get it01:02:41
We will turn it on periodically now01:02:42
girls will see how it turns out01:02:44
we are already almost 70 percent of them01:02:49
the main part of the work is the main thing01:02:51
done, that is, we laid the main01:02:54
colors of the form where what we will have01:02:56
we will continue to be and the like01:02:57
just check01:02:59
where additional contrast is needed and01:03:02
already splashing01:03:03
small waves of brightness and the like01:03:06
finish it, dear friends now01:03:09
the main colors were all applied in the correct shape01:03:12
applied colors partially matched yes01:03:16
moments that now need01:03:18
this period is very darkening us01:03:20
it turned out light then it’s impossible01:03:22
It'll be a little dark here01:03:23
strengthen and this part of the sea is also like01:03:26
I'd like to make it a little darker01:03:29
yes now we will send moments01:03:32
which according to our key layout01:03:35
I will glorify the blue fc, you can now work01:03:43
without white because we have white on the bottom01:03:45
there is a blue one01:03:48
indigo kraplak do dark dark01:03:50
purple color almost black and starting01:03:53
from this wave01:03:55
I carefully pass over the white here01:03:58
the paint is liquid enough to make it thick01:04:01
no need01:04:06
they're shading, I'm leaving this piece for now01:04:13
let's go to the right side here01:04:15
add darkness to the top and so on, just don’t01:04:18
to the very horizon, but it’s literally necessary01:04:21
waves01:04:27
soft soft horizontal01:04:29
shading here try to work01:04:30
perfectly horizontal lines01:04:32
movements more accurately so as not to disturb01:04:35
the plane can only be any stroke along01:04:37
diagonals can create the illusion that01:04:39
water flows out of the canvas in the same color01:04:44
running plus blue01:04:47
so I’ll add her green fc now01:04:52
so that the color inside turns green01:04:55
a little bit of this wave01:04:58
also when they darken this is the average which is01:05:06
we get transparency too01:05:10
slightly slightly weaken the gnat more01:05:15
in a dark tone01:05:20
the same thing here on the basis of this one01:05:22
waves now and some of the water around the stone01:05:25
We also darken indigo, by the way, in indigo01:05:31
Now I’m adding indigo and01:05:33
add burnt sienna it will be light01:05:36
shade01:05:37
greenery inside, that is, essentially paint01:05:39
dark black but will have a slight sheen01:05:43
greenish tint, that is, almost in tone01:05:46
the stone turns out but right away01:05:51
this wave becomes brighter and more transparent01:05:54
how much we added dark contrast01:05:57
intensified and what was not very bright01:06:00
became brighter, wipe periodically01:06:08
soft shading a little into this color01:06:17
I add yellow and it becomes01:06:20
dark green this dark warm01:06:23
green here in this wave01:06:25
I put it in the middle and you can go straight01:06:33
take a big brush and this wave01:06:35
gently blend it blend it over01:06:38
horizontal color is laid according to01:06:39
horizontal shading movement along01:06:41
horizontal01:06:52
so that we have01:06:54
the gradation in the transitions was imperceptible and01:07:04
We still have this light one from John01:07:06
especially here under the wave here01:07:08
pieces now we also tint a couple of them for01:07:13
This is why we need a cool green color01:07:14
green green bluish green vc01:07:19
the dark ones remained a little blue01:07:21
I add there you can buy them without whitewash01:07:25
since we have white paint we can01:07:27
make it liquid enough so that it01:07:29
mixed well slightly more liquid01:07:31
than usual for the first layer01:07:34
so it mixed well with the lower ones01:07:37
with flowers like this he somewhere grates it with them01:07:49
You can apply it in an uneven motion01:07:51
also the smile is so long01:08:04
the picture has gained contrast01:08:06
now, thanks to the dark, here it is again01:08:09
you can take this line with a large brush01:08:10
and soften the water connection line01:08:16
a little foam will still be possible in places01:08:22
to enhance the darkness I add a little indigo01:08:24
in this color and individual pieces at01:08:30
darker01:08:38
contrast increases again01:08:54
now here you can have purple01:08:57
also deepen a little into the base of the wave01:09:00
to a darker tone is also possible without01:09:05
whitewashed blue crab lachik01:09:15
so let's rub it in01:09:23
Krasnova01:09:45
stones can cast a shadow01:09:51
dim while you work on the dark ones01:09:53
sometimes the question is whether it can be done immediately01:09:56
It’s possible to go darker right away, but not always01:10:00
it turns out to guess that limit of darkness and01:10:02
which is necessary, that is, it becomes01:10:04
understandable when we contrast01:10:06
we select light and dark as if already01:10:09
Ideally, of course, it’s better to go change I01:10:11
I didn’t risk giving places at all01:10:14
dark shades, that is, a little better01:10:17
to shade and everything seems to be but not01:10:21
globally here it turned out to be braids01:10:24
they did a little bit everywhere to the kurta01:10:26
where necessary, that is, we are local01:10:29
I'm exaggerating, let's just say not everything that was needed01:10:31
Not everything is great, only in some places it’s very good01:10:38
there was a lot of chats asking whether we would01:10:41
we are there and there about Krasnodar and beyond01:10:44
if there is an organizer who01:10:47
the state will organize a studio and01:10:51
set of people in Krasnodar we are with a huge01:10:53
We will actually be happy to visit this01:10:57
the city is practically the capital of my homeland01:11:01
my region where I was born on the way from01:11:06
Cherepovets why not take a look at01:11:08
Vladimir is glad only for01:11:15
so if there are active citizens01:11:17
who are ready to organize01:11:19
master classes please just personal01:11:21
Contact us via message and discuss01:11:24
questions about conducting classes, let's01:11:29
a little detail now01:11:34
synthetics dry whitewash clean along01:11:41
the borders of the shadow here we have it01:11:43
bright enough01:11:45
white stripe literally coastal01:11:48
we begin to lay and eat01:11:50
periodically wipe as we01:11:52
we run the paint over the dark, it gets dirty01:11:59
let's put this brightness towards the end01:12:02
work and and01:12:04
We weaken and do not complete the same01:12:06
there's no stone in this direction01:12:10
it's worth doing a little here01:12:17
uneven so the bristles are crushed01:12:23
you can bring the bottom one closer01:12:26
the border of this we are. light01:12:28
I start and just move along01:12:31
you can rotate the brush slightly01:12:38
hands so that the lower one01:12:41
the top line was slightly uneven01:12:48
I blur the border slightly, slightly under the shadow01:13:07
impact movement and along along along01:13:10
along the individual somewhere you need01:13:13
raise it a little higher01:13:24
Now I'm picking up foam on the bristles01:13:27
little white beauty and01:13:31
I add the tops of what I did on top01:13:36
already brighter white01:13:39
I also crush it slightly with a brush01:13:46
brush periodically a pack of or rather01:13:48
paint gets dirty on caetana's brush01:13:51
wipe the brush often and renew it01:13:56
paint01:14:00
so that there is no rhythm somewhere we do01:14:03
somewhere there is no synthetic, we take it and add it01:14:12
blue add red lilac color01:14:14
do need to show done lilac01:14:20
without thinner also see we put01:14:23
brush with a small gap between dark01:14:27
from the foam and make such downward strokes01:14:29
be sure to have a thin strip of foam01:14:34
not foam, but shadows under the foam were preserved01:14:39
somewhere you need more, somewhere less01:14:41
This is how we made vertical masks01:14:43
down about it by wiping the brush quickly01:14:47
blur with a horizontal movement01:14:51
laying a slight reflection slightly01:14:55
I crush the shadow line so that it is uneven01:15:00
it turned out evenly and not01:15:02
naturally somewhere just under the foam01:15:07
a little bit of lordship here and pawning01:15:11
the result is blurriness and sensation01:15:14
reflection of foam in water01:15:21
so along the entire line where you can01:15:23
vertical do that is do01:15:26
reflection of the foam on the sand, you don’t want them01:15:29
were not uniform with the same01:15:32
periods and length height01:15:36
such a little coastline now01:15:43
Let's work on this part, let's lay down the rex01:15:46
and small waves are also white01:15:49
synthetics01:15:55
masks almost in a straight line01:15:59
a small amplitude of deflection and that’s all01:16:02
eat, periodically wipe, take fresh01:16:04
paint because it gets dirty and the top01:16:08
border of the light mask slightly, slightly01:16:10
blur it out and take the white one without touching it01:16:13
lower limit light we . this01:16:16
once we pull off the white one that was01:16:20
laid out01:16:37
works almost without interruption as01:16:41
approaching approaching edge we supply01:16:44
brightness do not make bright edges pressure01:16:52
somewhere turning white, somewhere on the contrary, as if in that01:16:56
gave it to them to slightly-slightly form01:16:58
only saved and don’t do much01:17:04
white if you look closely01:17:05
I only have a little bit of white01:17:07
only the bright remains, as if pure01:17:09
white everything else 2 on the color green01:17:15
you can even take somewhere with a slight blue01:17:19
the color of the sky reflection will be very01:17:24
such a beautiful effect will be obtained01:17:27
not the remains of the color of the sky there is an hour I take them and01:17:30
I add it just at the edge of the canvas01:17:33
it's better to approach this one01:17:34
the bluish color of the sky they brighten01:17:39
white01:17:47
such a rash on the water from small scraps in front01:17:53
big01:17:59
so now let's do it on the left side01:18:03
first let's finish then we'll move on to the right01:18:05
again white color and along the border here01:18:09
these green waves we have01:18:10
big we carry out the white one01:18:17
preferably uneven again01:18:19
stripe as needed01:18:22
approaching the foam weaker and weaker and weaker01:18:25
and we hint after that we take stubble01:18:28
here I've gone overboard with the brightness and01:18:31
Now I’ll immediately invite the lower part here01:18:34
this white mask slightly, slightly01:18:38
smashing01:18:42
you even need to eat a little like that somewhere01:18:44
put it a quarter turn slightly01:18:48
twist it to show what's going on there01:18:53
foam01:18:59
the next wave is coming01:19:06
now very carefully another line01:19:09
horizon here I like what01:19:12
it turned out crooked a little straight01:19:18
horizontal movements are desirable again01:19:21
it's quick like that01:19:30
let's move to the right side here we have01:19:33
the result is a wave of 1 point by 2 a little01:19:37
plane here in the area under the wave and01:19:40
there will be very subtle hints of water01:19:43
in the background let's start from the very01:19:48
look at the middle one again, white01:19:50
with a brush we squeeze out the canvas a little bit01:19:52
In some places the thickness is uneven01:19:55
this light stripe gets here somewhere01:19:56
it turns out thick somewhere I'm completely01:19:58
ease the pressure thin again01:20:03
brightness of white until the end of the canvas01:20:05
we bring it, that is, literally just a little bit01:20:07
what's left is stopped, I'm taking the blue one01:20:15
the heavenly color and distant waves are no longer01:20:20
white and blue so they don't fall out01:20:22
its brightness and contrast on01:20:25
the foreground of our bison is very dark01:20:27
if we use white color01:20:29
us long shot you will back away01:20:32
forward so that it doesn't stick out any more01:20:36
dark colors01:20:37
there are hints of blue to the foam even more01:20:43
distant waves01:20:46
we try to approach the corner01:20:48
also not very contrasting at first glance01:20:51
it will be easy in this place to run away with01:20:53
don’t linger on the picture for long01:20:57
will01:21:01
I wipe the brush and there it is behind01:21:04
horizontal like Morse code01:21:07
stripes showing what is there in the distance too01:21:10
the water is a little agitated and so is the wave01:21:19
this is in the foreground01:21:21
bristles and you can also lightly lightly01:21:25
foam softly blending the lower border01:21:31
light mask01:21:39
I soften the middle louna a little01:21:50
and we still have this piece here01:21:53
here too the color blue is the color of the sky01:21:56
bright is not needed here because the zone01:21:58
again, it’s very contrasting if we do it01:22:01
there's a lot of light here, we even have this one01:22:03
the foam will go out01:22:05
horizontal stripes just like with01:22:09
left side with white arrived here01:22:11
blue show turnips01:22:21
maybe a little blue on the stone01:22:27
outlined the border of the stone a little01:22:35
gave him a light, light, voluminous form01:22:38
due to a lighter upper plane01:22:40
and showed a rounding here01:22:47
If you have any questions I'm ready to answer01:22:50
because again, everyone who writes01:22:53
now let him slowly catch up01:22:58
question Dmitry01:23:01
I wrote with you the sea is starting storms three01:23:04
a month ago I didn’t complete the painting a bit01:23:06
the paint has dried and faded a little01:23:09
now add it, cover it with retouch varnish01:23:12
there is a special rag varnish01:23:14
intermediate so-called varnish all01:23:17
colors01:23:18
back to again01:23:20
to the primary state, that is, it will be gained and01:23:22
tonality and gloss will appear01:23:25
small, that is, they will even out after01:23:27
this can be easily added and01:23:29
at the same time with retouch varnish as01:23:31
intermediate interlayer varnish is just01:23:33
they also degrease the surfaces01:23:35
allows you to work from above01:23:36
with the restoration of all those who passed away in mind01:23:40
drying and dullness of shades of color and01:23:44
tone one more question about01:23:47
master classes as they usually take place01:23:50
everyone paints the same picture or the same01:23:52
no we haven’t been practicing for quite some time01:23:54
everyone paints the same picture differently01:23:57
this makes it possible01:23:59
look completely different01:24:02
the neighbor has a different story, as it were01:24:04
much more knowledge and information01:24:06
we get exactly the same at the master class01:24:09
due to the fact that these are different pictures01:24:11
once upon a time when everything was just beginning01:24:14
many years ago when little at all01:24:17
who was familiar with oil when there was no01:24:19
such webinars, seminars of all kinds01:24:22
master classes and the like then01:24:24
wrote one paper because often01:24:26
at the master class all participants were01:24:28
absolute beginners who have never01:24:30
didn’t even hold a brush in their hands and01:24:33
We only saw the colors at school and now01:24:35
already the bulk of people coming to01:24:37
master classes anyway already at least once01:24:39
somewhere we encountered paints already in01:24:40
in any case it’s easier and we’re here01:24:43
turned around01:24:45
not a discussion to already a whole struggle01:24:49
about finishing the boat or01:24:53
let's see a bird or an albatross01:24:57
the first time we will have her01:25:00
end01:25:02
yes, at least a submarine, come on01:25:10
a little bit of the picture now01:25:13
You can catch up in addition to webinars01:25:20
learn your technique somehow01:25:23
writing about the sea there are recordings of webinars01:25:30
there are just master classes on individual01:25:34
the work that was done again, everything01:25:36
this can be obtained both electronically01:25:38
option like this01:25:40
on 9 discs we have all this in our group01:25:44
VKontakte in the seascape field is01:25:47
You can also find them in their online store01:25:50
quite a large number of lessons01:25:52
Well, dear friends, I understand that01:25:56
everyone is chanting in the chat then everyone is now01:25:59
we'll move on to foam and then01:26:05
detailing pebbles and small things01:26:11
big stubble like this01:26:14
we put paint on the tip, how to put it on and01:26:17
literally how much paint to get01:26:19
just a little bit of retina corner and so on01:26:22
so that it lies crushed not like a computer01:26:23
on bristles and on a separate hair each01:26:26
was well, then onto the canvas and let’s begin01:26:32
look01:26:34
as soon as the paint gets dirty, immediately brush01:26:37
wipe and re-type as needed01:26:42
pull the leftover paint for the holiday01:26:44
these splashes are so bold in Brussels even now01:26:48
slowly gaining over and over again01:26:50
a little white paint will be added01:26:53
the brightness of this central us01:26:54
piece of foam, first we work clean01:26:58
white and then whitened the inside01:27:00
add a pale white-yellow color01:27:04
we seal all those places with white that01:27:07
the brightest colors can be separated01:27:12
output so that there is dynamics01:27:16
you need to offer the canvas to eat and so sharply01:27:18
move it in the required direction01:27:21
movement then there will be an effect of the fact that she01:27:25
really exploded and flies into pieces01:27:28
different sides here, the main thing is not to rush01:27:32
just the same rush here can lead to01:27:35
let's cut something and add it01:27:39
excessively thick layer of paint which01:27:45
it will be easy01:27:46
interfere with working quietly without haste01:27:52
filling the space it will take us01:27:58
time01:27:59
quite a bit01:28:22
Don't know01:28:34
around the stone01:28:43
actually white is not the brightest color01:28:46
the brightest color is when wearing white01:28:48
a little bit white and yellow now it's01:28:52
testing in progress creating splashes01:28:57
illuminated times are already white in the sun01:29:01
then a little bit of sunny love in them01:29:04
Sveta01:29:06
the main thing is not to rush and we are better for sure01:29:09
We also support the picture01:29:10
a little bit of doctors01:29:21
hit them with checks just like that01:29:30
and try not to kill the shadow, that is01:29:34
there was only time for bright things to happen01:29:36
add foam01:29:37
don't add it in large quantities01:29:40
already in the shadow areas as soon as01:29:43
will immediately shatter with brightness and will go out01:29:46
so don't rush slowly01:29:50
The main thing is not to overdo the amount of white01:30:05
here we are literally walking along the border itself01:30:07
we don’t take away all the foam from the top wave01:30:16
just a little bit by a couple of millimeters01:30:18
we move away from this line under no circumstances01:30:27
let's not sink below the base of this one01:30:30
the wave lines are also white if that's what it is01:30:33
it came out right away01:30:34
erase, remove and shade01:30:46
you can immediately use the reverse side01:30:50
brushes combine white with shadow with01:30:59
additional volumes will be01:31:00
then be formed, that is, we will have01:31:02
not only white and01:31:04
medium purple not even lighter01:31:08
shades01:31:10
which will enhance the volume effect01:31:27
probably one of the most such stages01:31:29
who scares everyone don't be afraid01:31:35
gradually periodically even better01:31:38
go away and see what happens01:31:40
work because only from a distance01:31:42
you can evaluate what is happening here01:31:44
questions and just questions about foam01:31:50
Can I add more foam in the morning? Is it necessary?01:31:54
should I write it right away or is it better to leave it aside?01:31:56
let it dry for a week then you know01:31:59
in fact, this is the stage that I do01:32:01
now it’s better to do it right here01:32:04
some invoices will appear due to01:32:06
white paint01:32:07
again, not even pure white, but that01:32:09
which it falls is mixed equally01:32:11
no matter how hard we try there is very little white01:32:13
it still catches the lower colors and01:32:16
let’s just say a little bit and it turns gray ideally01:32:20
on him on dry then pale pale01:32:24
white yellow and pure white paint go through01:32:26
enhance the effect that is, when we work01:32:30
It doesn’t always work out in one go01:32:32
create white limit frequency01:32:35
no matter how others fall into it01:32:37
paints that look like they're next door01:32:39
are located or below and the picture is white not01:32:43
gains the necessary brightness, that is01:32:45
people are ideally better off dry, of course01:32:46
work further on top for foam01:32:50
we dilute the paint or just work01:32:52
we work in thick paint without01:32:54
thinner if we are now01:32:56
add paint thinner01:32:58
becomes liquid and accordingly01:33:00
actively mix with the bottom layer then01:33:02
eat to discharge it01:33:03
and take into yourself therefore only thick01:33:07
paint and under no circumstances add01:33:10
thinner, well, let's continue to work01:33:20
a ray of sun passed here along the edge of the foam01:33:28
got here and here01:33:36
unfolded the reverse side of the tassels and01:33:42
here we will also add yellowish ones01:33:45
slight shade of greenish01:33:46
transparency a little mystery ask but01:33:48
that's later now let's go down to the front01:33:52
Ken's ground and foreground are exactly the same01:33:56
we are working on01:34:12
the main part of the picture is actually01:34:14
such a plan is written in two passes through01:34:17
drying, that is, some effect is very01:34:20
difficult to get in one go or work01:34:23
fully lined up by numbers as01:34:25
it is said to each section separately01:34:28
marked with a pencil and not included01:34:31
we climb when we work with one01:34:37
on the other hand it's quite simple01:34:39
sides and there is enough for beginners01:34:42
there are many pitfalls present01:34:47
the wrong form is given because01:34:51
work begins on a scale according to some01:34:54
change the shape and pull it out to the end01:35:08
the light goes low enough01:35:11
lay it down and you can look at it a little01:35:15
a quarter turn somewhere you like01:35:18
I'll paint red with a brush for two nights01:35:20
so that there is a feeling that it is spinning01:35:22
foam look I try the brightest01:35:30
put white near the darkest color01:35:34
thereby achieving maximum01:35:36
contrast and yes that is when white01:35:38
is in the dark zone it looks01:35:40
much brighter than when he was there01:35:42
mid tone zone now we move to01:35:47
right side 0 or rather01:36:04
archipenko around the stone a little she even01:36:08
here you can show how she gets so numb01:36:12
the reverse side softens the shadows01:36:15
strengthening and moving to the left again01:36:22
we don't rise high within limits01:36:27
very small ones we work from what we have01:36:30
we were done01:36:35
with the side of the brush I take away the white but from me01:36:37
clean let's say it allows a little01:36:40
easy to stretch01:36:42
direction of movement of the pins01:36:51
at least sometimes you can do this by accident because01:36:54
which is often the most interesting01:36:56
you get socks that are made01:36:58
chaotic randomly the more rhythmic we are01:37:01
we lay it out more correctly01:37:05
and it doesn’t always look more advantageous01:37:07
Job01:37:26
everything unnecessary that came across then so what01:37:29
give us five minutes for those who01:37:33
deals with foam quite brightly with us01:37:38
it works out so well01:37:39
can we show what the girls have with us?01:37:45
it turns out that basically nothing01:37:47
there is nothing super difficult in this work01:37:51
we all have colors01:37:59
we all are different from her01:38:00
differ a little, even cost 1001:38:03
side by side each has its own shade01:38:06
every color was a bit brown01:38:09
a little stronger01:38:10
bluer therefore even if we have something01:38:13
There is no difference in color, that's why01:38:17
worry about01:38:23
Well, there must have been some questions there01:38:26
Can I have a few questions, a couple?01:38:29
questions: is it possible to paint this picture?01:38:32
oil for the first time if I had only painted before01:38:35
acrylic yes not just you can even need it01:38:37
probably try because the process01:38:39
very interesting work indeed01:38:42
not complicated, just some nuances01:38:46
moments yes something may not work out01:38:48
be afraid to try to steal01:38:50
I try to01:38:51
our open webinars give work01:38:55
that even beginners can do01:38:57
how many webinars have we already held?01:38:59
often at first glance the work seems01:39:02
complex there people 70100 then01:39:04
posts photos where they really are01:39:06
very interesting good and beautiful01:39:08
it turns out that it’s just an algorithm like this01:39:11
which is impossible01:39:13
them write her up maybe she will01:39:15
differ in some respects01:39:17
nuances, something else is needed in any case01:39:19
it will work out, but where is the best place to study?01:39:23
webinars01:39:24
or still come to master classes01:39:27
for those who are just starting a webinar and01:39:30
good because you can try it01:39:32
chat in a relaxed home environment01:39:35
with paints01:39:36
live master classes naturally from this01:39:39
very different here and there01:39:41
I explain as much as possible I tell you I approach01:39:43
I show sometimes I get in from time to time01:39:46
I'm correcting something at work, explaining that01:39:48
It's not done that way, there's some confusion there01:39:51
flowers, something else naturally alive01:39:53
the master class is much more informative01:39:55
than a webinar because the quantity01:39:58
questions you can ask01:39:59
cram time much more you01:40:02
responses are correspondingly more lively01:40:06
communication is a live communication online webinar01:40:10
or some kind of lesson there is acceptable not only01:40:13
webinars but by the way there are still differences between01:40:15
directly online webinars and01:40:18
master classes video master classes then01:40:20
often found in video master classes01:40:22
more work01:40:23
prophet worked out go because there01:40:26
not limited by time to quantity01:40:29
master classes accordingly01:40:31
details are written in more depth on01:40:33
what takes a lot of time is the difference01:40:36
still between open but online webinars and01:40:41
just lessons01:40:43
recorded01:40:45
on the video there is another technical one01:40:49
question after how long01:40:51
Can a painting be coated with varnish and what kind?01:40:54
better preferable actually anyway01:40:56
stand for at least two to three months01:41:00
work to get it dry is minimal01:41:02
quantity01:41:03
It’s better to coat acrylic with washing varnish01:41:07
or at home you can use varnish with aerosols01:41:11
there are quite a lot of good ones now01:41:13
aerosol painterly varnishes01:41:15
artistic as if before artistic01:41:16
work needs to be covered with them, so what?01:41:19
we return to work with us if01:41:22
take a close look at the foam there01:41:23
there are places that are green and01:41:27
the lungs are cast with the transparency of water on01:41:30
the sun lets rays pass through the water01:41:33
and illuminate and now took the blue green01:41:38
vc added a little yellow01:41:40
it turns out so light from white01:41:43
I'll try the greenish color now01:41:45
just how it will look next01:41:47
need to choose the tonality very much01:41:50
it turned out light, add blue01:41:53
orange yellow make it darker01:41:58
here it fits perfectly then here01:42:01
here are some borders01:42:05
as straight as possible01:42:09
how to lay the rays and take the big one01:42:14
The white bristles are wiped thoroughly01:42:17
slightly in the area where we have foam with white01:42:21
I nod, the Yakuts connect chaotically with01:42:25
foam and inside the lilac I ask01:42:29
direction of movement01:42:45
take off covered me01:42:55
somewhere the same color can be inside01:42:58
volume chicks add explodes quina01:43:08
got hooked on me, how about I by the way01:43:12
make the tone of the foam blue even darker01:43:19
red and right along the border of the stone01:43:23
Climbing onto it a little, I pass and01:43:27
be careful now the bristles are this color01:43:30
blend into foam01:43:42
uneven it is possible then so for01:43:44
splashing it here is very good01:43:48
you can increase the volume of foam01:44:06
do it a little01:44:14
will go bright01:44:21
white + green more or colder make01:44:24
you give it your all, we’ll defend examples01:44:28
for the cable01:44:34
and again now I’ll walk through the bright white01:44:38
the border of the shadow that he laid01:44:49
explosions happen like this01:44:53
you can fix the brush and up01:44:55
permissible or in the direction of movement01:44:57
which we need to rotate the brush already01:45:02
around its axis because if everything is in01:45:04
do the same strokes at the same rhythm01:45:06
it turns out that if you rotate the brush around01:45:09
of its axis, then accordingly these are01:45:12
splashes of foam will look enough01:45:16
chaotically softening01:45:44
I lighten this area a little so that01:45:48
this foam turned out to be darker01:45:50
the far one is lighter on the brush01:45:59
I dial dark lilac and kill it01:46:03
here so that there are splashes inside01:46:10
lilac and chaotic so periodically01:46:16
let's go see the warbler01:46:19
the lumen of the body is all in this place01:46:26
very neat on top01:46:30
I report densely white color so that01:46:33
there was more brightness on the canvas texture01:46:39
is formed which will then allow01:46:41
caught white yellow on top slightly01:46:44
wipe lightly and it will glow01:46:48
sunlight01:47:10
it turns out because the light is diagonal01:47:14
pass and01:47:15
it can shine through like this01:47:17
close-close bring the piece right01:47:18
show what the waves look like in this place01:47:23
By the way, by the way, by the way, here we are01:47:33
she looks like weight up close01:47:36
distance 1 effects near01:47:38
masks brands paint paint paint paint01:47:41
I'll add a little more at my work01:47:44
splashes on the main wave now01:47:47
photoshop looked very closely here and there01:47:50
some places are simply missing because of this01:47:52
the brightness has stopped glowing you here there01:47:56
I’ll do a little bit on the edge of the jar01:48:06
somewhere in the middle just not white but01:48:10
I'll pick a gray color that's a little bit01:48:15
different from the greenery that is here01:48:19
different from violet pale01:48:22
measured violet and literally a frog01:48:25
splashes create a feeling that is not01:48:29
bump a large number of such rude01:48:33
dots and here's a little bit of a little bit of this01:48:36
space detail then splashes01:48:46
so that the inside of the foam can also be felt01:48:50
droplets of water after that I'm now01:48:58
I'll fix the stone that got into my head01:49:03
the shadow is pure indigo and just an outline01:49:07
I sum things up dark01:49:15
As for the shape of the stones, any01:49:18
don't be afraid to write stones01:49:22
the level of darkness has become greater here01:49:25
nuts you can go to this stone on01:49:28
foreground indigo plus big01:49:32
amount of paint to make it01:49:35
black purple and me now01:49:39
I'll lay it out01:49:42
structure stones relief01:49:52
I’m working so tight enough now01:49:55
dry paint clear faceted texture01:50:02
turned out at the stone01:50:09
if you don't need to hack a little01:50:13
fraction01:50:19
kill and draw a triangle like this01:50:21
darkness01:50:25
the triangle from above is taken away by the dark one and01:50:28
down pulling towards from the base let's go01:50:36
where is that thin stripe somewhere is plump01:50:41
we still have it on top01:50:44
lighting so sienna I add a little01:50:53
whitewash and add kraplak add01:50:58
orange works ethics thick paint01:51:03
Now I start almost without thinner01:51:07
pads with01:51:14
the paint got dirty and took a new one01:51:16
little by little01:51:23
this is from above almost from the very beginning01:51:27
but the main brightness is at the center01:51:29
have to01:51:40
practically the directions of the lines under01:51:43
small corners of everything01:51:45
changes and thus the texture is obtained01:51:49
various stones01:51:52
dachshund here, I'll take the edge of the ledge01:51:56
lilac color because in the shade and here01:52:00
I walk along this one and highlight it01:52:06
the border of the stone which turned out to be in the shadow and01:52:08
a little bit of this color here01:52:11
didn’t disappear under direct lighting but that’s all01:52:16
we see the invoice, that is, we have it01:52:18
there's a pebble lined up right here now01:52:22
a little foam on splashing01:52:30
a small brush is needed by the way01:52:37
pick up the water from the side of the stone and01:52:40
lightly-slightly on the fireplace and pull it up as01:52:44
like he's feeling a little overwhelmed now01:52:50
I'll take it01:52:52
lilac color here we have it01:52:55
the shadow side of the stone casts a shadow01:52:58
and I make the foam here slightly bluish01:53:05
a little bit01:53:10
sands I will make such light, light hints01:53:13
gray paint i.e. violet01:53:16
dirty here I stayed laid out01:53:18
I use white to make it liquid and uneven01:53:26
horizontal stripes01:53:29
zigzag01:53:36
we lay it somewhere here on the shore01:53:40
we have zones that are lighter and darker01:53:42
Now I’m slightly brightening up the shore of us there01:53:49
such a pinkish-brown weaned tomato01:53:53
brown this light light color01:53:55
let's say here01:54:10
let's go back to the picture now01:54:17
At the same time, I guess you have some questions, let's01:54:19
I’ll answer questions and while someone writes01:54:23
pull yourself up01:54:30
in what proportions is the tee mixed?01:54:34
In general, it's every man for himself01:54:37
often makes it himself because01:54:42
the tee is such an interesting thinners it01:54:45
allows you to make the paint more viscous01:54:48
mini fluid01:54:53
sometimes it sticks more and when it sticks more01:54:56
the amount of varnish is added than the total01:54:58
the rest if you add more01:54:59
turpentine it is much more liquid but in01:55:02
at the same time it will be plastic in general01:55:04
the usual tee proportion is one01:55:07
Part01:55:08
linseed oil one part turpentine and01:55:12
one part of the domar is covered and then it’s already in01:55:14
depending on the task you are on01:55:17
you decide on the consistency of the paint and01:55:19
and the plasticity you want01:55:21
get started experimenting01:55:23
thinner paint requires more01:55:26
we use turpentine in the composition as if01:55:28
we want to get more glue cola paint01:55:31
just add more varnish and oil01:55:34
increases paint fluidity without01:55:37
turpentine makes the most powerful paint01:55:40
current let's say oils medium varnish01:55:43
glues together a very strong dependence on01:55:46
that there will be more taxi colors and01:55:48
will lead on canvas so next01:55:51
the question is how to convey the structure of sand01:55:54
grains of sand differ in color and01:55:56
size apart actually01:55:58
you can smear it with different colors and then here it is01:56:01
so you can do it for half a glass of minutes01:56:03
close-up of the chip here we have01:56:05
a certain fund subscriber gradually comes to me01:56:10
pulled up this lordship01:56:13
appeared like this I don’t know, I can see it now01:56:19
the dark has passed01:56:20
not very visible and fine grained01:56:24
the canvas appears lightness and joy01:56:27
textures as if they came from light01:56:30
to the dark this is like one of the options, what are these when01:56:34
look, the palette knife went through and the shine01:56:41
so after all, brilliance and precision appeared, she and01:56:44
creates the illusion of sand no, principle01:56:46
use a small brush to apply evenly01:56:48
it would take a long time01:56:49
write down grains of sand even though you think01:56:52
there is no particular need for this, we need it01:56:55
more feeling of sand often01:56:57
where is the barkhanchak on the plan if on01:57:02
look at the picture we have it and gives01:57:04
feeling of sand01:57:05
a set of small pebbles, some dots01:57:09
nothing more, there is something else01:57:15
Questions: how much will this painting cost?01:57:21
haven't decided yet01:57:27
so another question with such a big wave01:57:32
wind is expected and possible01:57:35
in that case, what is there in heaven?01:57:37
clouds in general, in fact, how will it be on this01:57:40
the presence is not determined at all01:57:43
wind01:57:44
the wind is only partly the driver of the wave01:57:47
the engine seems to be underwater01:57:50
currents01:57:52
physics is not particularly hard to hit photo01:57:56
there is an upper current a lower current water01:57:59
moves constantly so it's not far01:58:01
It's always the wind that drives you away again01:58:04
let’s allow such a moment in a quiet moment01:58:06
ocean on the coasts01:58:09
especially very flat long elongated ones01:58:11
then I was on Lake Peipus near St. Petersburg01:58:13
do you know what a flat bottom is when01:58:15
you walk 300 meters and you are up to your knees01:58:18
so the ocean just pushes out the will01:58:21
there is a surf with a certain01:58:22
periodicity on an absolutely smooth01:58:24
ocean01:58:25
they go out there every 100 meters01:58:27
wave 3 meters high, no wind, nothing01:58:30
wave is, that is, wind is not determining01:58:33
like waves01:58:34
so again not necessarily01:58:37
absence of clouds in this situation01:58:40
a huge amount of foam does not occupy us01:58:43
what would happen if we added white ones too?01:58:46
clouds they will merge together and01:58:47
will plunder attention accordingly01:58:50
will distract attention from the wave and take away01:58:53
pay attention to the clouds in the distance maybe01:58:55
anything you want is always possible01:58:57
release some kind of light haze01:59:00
hint there but relatively so01:59:02
I don't do this particular job01:59:04
I really recommend it very much01:59:05
laconic and at the same time very very01:59:08
so contrasting thanks to its brevity01:59:11
so one more question is it possible to write on01:59:13
double linseed oil plus isn't01:59:15
thinner what are the advantages and not then better01:59:18
just write in pure oil, as it were01:59:20
again01:59:22
There are different types of thinners: pinene01:59:25
like one of them is white spirit01:59:28
he is01:59:32
again turpentine which is different01:59:34
that’s why no it’s not worth any higher01:59:38
in oil then paint will be true01:59:40
more liquid, that is, there is still a01:59:43
lack of tees she ties paint01:59:46
allows for a slightly thicker layer and01:59:49
lay out but thanks to this just01:59:52
we can shade it well if01:59:54
we will work on pure thinner there01:59:56
also also pineng let's say so good01:59:59
it will not be possible to combine the paint02:00:01
leave brush marks on the white canvas and02:00:03
like that a little bit of contrast on02:00:07
shore02:00:08
to revive him a little, otherwise he02:00:10
us a bit empty if you look at02:00:13
the picture with which we paint there we have there02:00:16
the ears have something similar to algae02:00:18
there's a little bit of sand lying around here02:00:20
light and the like we start with02:00:23
dark indigo umbro02:00:25
and such torn mask my02:00:29
uneven somewhere you can just02:00:31
press harder on the hand and loosen somewhere02:00:33
pressure creating a certain relief on02:00:37
shore because the sand is often not ideal02:00:40
eye smooth wave hit tomatoes02:00:43
fluffed it up and I need to get it somewhere02:00:58
dotted with small dots02:01:01
uneven small pebbles02:01:05
there are more pebbles lying down for everyone02:01:13
there are more pebbles02:01:23
smaller because it lies round02:01:26
more than02:01:35
there are algae scattered in the corner here02:01:38
such ribbons on very light02:01:44
the zigzag fits well, this kind of pulled02:02:03
[applause]02:02:05
where is the lightest with the darkest even02:02:10
poems turned out to be the upper limit of the texture02:02:17
remove paint from canvas02:02:19
it brightened us up a little now02:02:28
I'll add more light to this02:02:30
orange with white02:02:31
I'll add a little pink mushrooms to the counter02:02:40
sandy here02:02:47
Nabokov slightly02:03:01
and I take it02:03:05
chicken a little dark the best shower02:03:10
more specks of specks02:03:15
[applause]02:03:19
1 speckled with indigo, these are the frogs02:03:25
yes it is quite possible if we02:03:28
look at the picture without leaving it02:03:31
some masks will look rough either02:03:34
nothing like even a small one02:03:36
distance immediately turn them with02:03:39
we understand storks on the sand have something02:03:43
here it's even darker here you are02:03:46
I love you now02:03:48
umbro indigo red I use thanks02:03:54
of this value, it is desirable for us that everything02:04:00
it was like that02:04:06
boogers like worms of whose grandson02:04:11
Name02:04:15
[applause]02:04:22
amount here02:04:32
you can highlight the pebble a little02:04:48
You can also have a little light on the shore02:04:59
put more spots of light02:05:10
water more wine for the heat good place02:05:17
between the pebbles here is the lighting for living02:05:22
at the moment it's just or you02:05:28
effects02:05:34
if considered from the point of view02:05:37
impressionism then the picture we have02:05:39
almost ready if we want02:05:41
hyperrealism is an underpainting for02:05:43
paintings in the style of hyperrealism02:05:47
it depends on the moment at which we want02:05:52
stop because you need to show02:05:57
in general images you can each individual02:06:02
it's time to paint the image so that the picture02:06:07
could be seen up close02:06:14
for those who are just starting out or02:06:17
I recently started painting02:06:22
at the initial stage you should not climb02:06:25
far into super realism because02:06:29
too many nuances and subtleties on02:06:32
which are very easy to make mistakes and thus02:06:35
You can't spoil the picture by yourself02:06:39
pleasure if at the initial stage we02:06:42
we remain within the same framework as we would02:06:45
at least we understand where we are flat02:06:47
light planes they are how to create shape and02:06:50
the like that is, if we02:06:53
hyperrealism did then we should02:06:55
write down every drop of light and shadow02:06:57
shaped like droplets here02:06:59
million and a half02:07:00
we would spend a huge amount on each02:07:04
amount of time just me02:07:13
grabbing02:07:24
[applause]02:07:25
now he'll try a little bit02:07:27
add white and yellow if it doesn’t work02:07:30
will mix it will be very bright02:07:34
dry white, I want a little yellow02:07:38
a little .02:07:41
if the iron let's foam completely, completely it02:07:44
It’s a little better, of course, to do all this02:07:51
dry in yellow in this situation it is02:07:53
the color of sunlight and if it's here02:07:57
we will have a picture right away02:07:59
It will get significantly warmer and there will be a feeling that02:08:02
the sun shines more clearly defined02:08:05
sensations are visible or not in the picture02:08:21
here it's normal to be a little yellow02:08:25
doesn't mix I'll add it02:08:27
and slightly in the direction of movement02:08:41
I'll take it with a clean brush and still white02:08:52
a little bit yellow just a little bit02:08:56
yellow-white color should be white02:08:58
yellow and white just a little bit02:09:02
yellowish02:09:18
you even some places went out after02:09:21
this02:09:29
the color is so bright02:09:35
dear friends penny questions02:09:37
ask quickly, or rather, don’t save up, but02:09:38
ask quickly, we're almost there02:09:40
We're approaching the finish line02:09:45
if you have any questions with02:09:49
I’ll be happy to answer them right away02:09:53
I don’t know how much brighter it became on the monitor02:09:57
this effect is transmitted as if by02:10:00
at least in the picture it is very clearly visible02:10:06
By the way, you can show the girls what they have02:10:10
it turned out because I think that everyone02:10:15
this point will be interesting for beginners02:10:18
how easy it really is to write02:10:24
each of the girls is behind him02:10:27
maybe not ten paintings anymore maybe02:10:31
be 20 paintings, like, well, even small02:10:35
experience allows you to do a lot02:10:49
saving up saving up saving up questions kolpin I will02:10:55
probably ready to answer little by little02:10:57
We'll wrap it up after the questions02:11:00
already having tea, let's finish by02:11:06
thinner here there is a question about02:11:09
thinner number four02:11:11
you know, it seems like it's already been years02:11:13
twenty I use tees very rarely02:11:17
I use it02:11:19
other thinners, tell you especially02:11:24
I can’t do anything about this, but he02:11:25
again it is too liquid, that is02:11:28
if you work again only with them02:11:30
shading which is obtained with02:11:33
you simply won’t have a tee02:11:35
the paint will behave differently02:11:43
with a small brush Venus as one02:11:50
just a second now I'll grab a brush02:11:51
I’ll show you a small one what kind of brush it is02:11:58
literally one second usually glitter on02:12:07
in water I make a small brush like this02:12:10
called plein air liner also called02:12:14
rigging brush has many names02:12:17
she's so small and thin02:12:20
close up show here and and even02:12:23
now in the dark you can see how thin it is02:12:27
I have such a long long pile she wants for02:12:30
no about two or two centimeters02:12:32
half02:12:33
thanks to this she has enough02:12:37
high degree of elasticity and if02:12:42
now give it close to the canvas and02:12:44
I'll show you how to use a little sparkle on the water02:12:47
anyway02:12:48
so easy 202:12:50
me paint thick brush movement02:12:56
light semicircle semi-oval and where is the paint02:13:01
stuck to the canvas there are three liters02:13:04
Naturally, I try to measure the movement02:13:06
system the waves that already lie with me02:13:09
forms it is desirable that you get02:13:13
from there they appear like this02:13:16
sparkles on the water - all this is of course possible02:13:19
do it carefully with the same column02:13:22
small writing but always high02:13:25
the likelihood that you will get02:13:27
certain rhythmicity02:13:28
here is the degree of these points, how are they02:13:33
are delivered on canvas randomly over02:13:38
or less02:13:39
and when we work how to be more careful02:13:42
methodically we move quickly enough02:13:44
to the rhythm02:13:45
and it turns out that we are the same02:13:47
uniformity does not affect the picture02:13:50
best way so the next question is how02:13:54
you can learn proportion02:14:03
task: let's say we learn proportions02:14:10
seascapes02:14:12
when we started making this picture we02:14:15
made markings, crushed them into thirds02:14:20
in principle, ideally it can be done at all02:14:22
net yourself02:14:23
definitely consisting of squares02:14:27
a certain size the more precise you are02:14:30
want to see the direction of movement02:14:32
main lines their size shape themes02:14:35
the mesh should be finer if we want02:14:37
see only the main lines of the grid02:14:39
can be big big enough02:14:43
took the photo and drew it02:14:46
on the line and you will see within02:14:50
what place do they pass or under what02:14:53
angle relative to a straight line there02:14:55
the main construction lines pass through02:14:58
work like a pencil drawing02:15:03
contours through the mesh02:15:05
will just train02:15:08
cultivate this feeling02:15:09
proportions the next question is also in02:15:14
in principle close to the proportions if02:15:17
would it be nice to reduce the height of the foam?02:15:20
this question is always on the level02:15:24
try the experiment if you like02:15:28
feeling that size 1 foam that you02:15:32
you will suit your feelings02:15:34
you will like what you did02:15:36
you can leave less, not everything is the same02:15:41
would be implied precisely in terms of02:15:42
proportions are more of a question02:15:45
compositions than proportions when that is02:15:48
proportion is the ratio of objects02:15:50
construction as if on what plane02:15:52
proportion02:15:53
perspective at what angle the object is standing02:15:57
relative to the plane at this place and you02:16:00
as for the amount of foam it is more02:16:02
is compositionally decided, that is, how much02:16:04
this place dominates there or02:16:07
on the contrary, it fades into the background02:16:08
fits into the job or doesn't fit in02:16:12
is it necessary to make shadows from stones on the shore02:16:16
here is enough of such a moment02:16:19
debatable as if the sun shines enough02:16:22
at a large angle on this side02:16:26
here, as it were, yes, that is, it’s not from there02:16:28
comes and just like that a little bit02:16:30
along almost goes accordingly02:16:32
let's say here here for a stone there02:16:34
maybe a little darkness here and there02:16:37
we have strengthened more and more shadows from nowhere02:16:39
whatever is seen will not be seen02:16:41
there is foam casting a shadow here02:16:43
covering this pebble there from the sun02:16:45
this one is in the shadow of the foam itself02:16:47
seems to be somewhere here for me02:16:49
why is this the one on the right02:16:51
some of the work is not highlighted02:16:53
small waves just like on the left because02:16:56
foam covers almost them from02:16:59
light exposure how can I sign up for02:17:03
live master class below you master class02:17:05
You can enroll in our school group02:17:07
seascape VKontakte also in any02:17:13
search engine type maritime school02:17:15
Google and Yandex landscapes don’t matter02:17:17
almost always throws us out02:17:20
in the search engine in the first rows therefore02:17:22
it wouldn't be difficult to find us if you wanted02:17:25
school of seascape is enough as it were02:17:28
for Dmitry's search engines you have all yours02:17:32
Is it possible to sell the paintings?02:17:34
difficulties with02:17:35
you have known the paintings for quite a long time02:17:38
I don’t sell practically only rarely02:17:40
rarely-rarely as it were02:17:42
what they write at master classes and webinars02:17:45
this is minimal at the time when I02:17:48
painted paintings for sale, no problems02:17:50
I can not02:17:53
next question from Lyudmila Dorokhova how02:17:56
explain this picture from the point of view02:17:58
I won’t even use the golden ratio02:18:02
trying this makes sense so let's go02:18:08
then let's go back to02:18:11
to discuss the staff, what little things for02:18:14
animations here can be added to your02:18:16
look without spoiling the composition and not02:18:18
distracting attention from the main character02:18:20
wave pictures are actually possible02:18:23
it is enough to specify in detail the front02:18:26
plan to register this stone again02:18:29
it is possible to express it more clearly even somewhere02:18:32
water to drain from it02:18:34
show revive this way02:18:38
work a little with the front foam02:18:41
the waves are there somewhere to deepen the shadows02:18:43
somewhere to write down such a plan02:18:47
you can add seagulls let's go to work02:18:53
as if it would be interesting there too02:18:56
a pebble can be planted and is not worth it02:18:58
maybe a few small things somewhere02:19:00
according to the picture they will not interfere at the same time02:19:04
will not burden there are jobs that02:19:08
so minimal minimalistic at02:19:11
are full of this and should not be violated sometimes02:19:14
them with something additional, that is, any02:19:17
extra here is always on the level02:19:19
experiments are written and or will not fit02:19:21
will overload the work or not02:19:23
as it were, this is the question itself02:19:25
always open, just sort through02:19:28
somewhere the tonality should be made darker02:19:32
something brighter already work will change as02:19:34
I'd like to add something, I'd like to add something02:19:38
you can always, but again you have to02:19:39
see how it fits in02:19:41
own feelings of min level02:19:44
assumptions about how this will change and to02:19:47
level of the fact that we inserted it there and02:19:49
see if it fits or not02:19:52
so if you draw a figure in the photo and and02:19:55
no how to determine the size of this02:19:57
figures02:20:00
you know, maybe something small like that02:20:03
draw the number of skyscrapers here02:20:05
and then there will be an end as big as possible02:20:15
put a figure and then all this02:20:18
will turn into a reduced one, that is,02:20:21
it all depends on what scale we are02:20:23
let's ask something tangible and what we02:20:26
accustomed to laying the foundation02:20:28
scaling human figure has02:20:31
certain growth accordingly02:20:32
regarding her everything will immediately acquire02:20:35
bird scale although the bird is much smaller02:20:38
allows for scaling02:20:40
cormorant he is huge titmouse she is small02:20:44
therefore, accordingly, as if in02:20:45
depending on what will change and02:20:48
general feeling like this and one more02:20:55
last question Dima where did you study02:20:57
turned on somewhere drew drew02:21:03
I was drawing and still everyone is asking for at least some tea02:21:07
let's add a little man here02:21:12
here we have a dark zone, you can02:21:14
a little02:21:34
a seagull flies towards the sea there are many02:21:38
fish02:21:44
this one was added and I immediately want more02:21:47
add a little more here02:21:51
let's make it a little smaller, still small02:21:59
By the way, this is how it shows02:22:02
Let's say there's a big one in the foreground02:22:05
bird further reduce their depth02:22:09
the picture increases immediately, that is02:22:11
the feeling of distance arises just like that02:22:14
scaling project who spoke02:22:17
this is one of those tricks02:22:19
when we are the same birds there02:22:23
approximately in form according to content02:22:25
show in different scales appears02:22:27
depth02:22:30
any questions02:22:35
here he’s asking for a sailboat, don’t give it02:22:39
We’ll definitely get by practically on it02:22:41
without sailboats it's not worth the money personally02:22:44
let's say they don't make any sense at all02:22:46
I see therefore excuse me please not02:22:50
he just fits into the work here02:22:52
there will be an additional distracting spot02:22:54
bright attention on the water that will be02:22:56
argue with foam, especially ozone and02:22:58
the contrast ratio will be high everywhere02:23:02
let's see what happened02:23:06
girls how much they are in the same rhythm02:23:13
how did you cope with the work and02:23:32
it turns out that I think that everyone02:23:37
today described tomorrow who will write02:23:39
it will definitely be almost the main thing02:23:42
try don't be afraid02:23:44
write well, dear friends, we will02:23:48
here I promised to show more02:23:51
let's have studio baskets on the walls exactly02:23:54
walls this is our studio studio is located02:23:56
in Moscow we spend ours here02:23:59
master classes and not only we write here02:24:03
and we have several artists coming02:24:08
also writes, can I show you the printer?02:24:10
show the paintings hanging for an hour really02:24:14
sketchbooks easels choose which one02:24:19
what kind of sailboat is up there or02:24:22
blue green this one please here02:24:26
showing this and by the way this is the previous one02:24:30
webinar on just in frames is stored here02:24:35
to fill the workshop02:24:36
so that there is no emptiness on the walls02:24:42
there's another big green one behind02:24:45
construction is not visible, by the way, if anything02:24:51
we have this opportunity02:24:53
the studio is also open on normal days02:24:56
master class outside the parish does not take place02:24:58
different artists can come02:25:00
draw yourself if someone has02:25:02
there is no such opportunity to sit at home02:25:04
write pink family loved ones the smell of paint02:25:08
and I like it or want company02:25:10
some kind so that no one can write02:25:13
Calmly sign up Recording is underway02:25:16
also in our maritime school group02:25:17
landscape, come and enter the studio, so what?02:25:22
dear friends, we will say goodbye to you02:25:27
thank you all for your attention and questions02:25:30
it was a pleasure to work for you all02:25:34
good creative success happiness02:25:36
of all things by virtue of all the very best02:25:39
goodbye seascape school with02:25:42
says goodbye to youDescription:
На бесплатном вебинаре в "прямом эфире" написали картину "Прибой". Отличный подарок любимым и близким. Повторяйте за мной и результат Вас порадует. Поделитесь этим видео с другими любителями живописи! ------------------------------ Приобрести другие уроки и курсы по написанию картин с морским пейзажем можно на нашем новом сайте: https://molbertich.ru/ __________________ Список необходимых материалов: https://drive.google.com/file/d/1qcJtgbBW7EDZzA7uzN-9-wJDGUzN9Zua/view?usp=sharing Холст лучше брать горизонтальный на видео - 40*60 Скачайте референс: https://yadi.sk/showcaptcha?cc=1&mt=21229A2B316C1966242BB6863033ADD6B9FCDC928975823907B8086561255ACC3B21C1978530C7C29F2276891815E2183FA1F9D758EFF89F24E14C556B98BAEE4E89102C5EC5684B470F1EEA1338188177BE2FF7074CE49981B36328D7A1EDE0A2233BF6B9ABBBEA47FBB8481F3A29697F431A2FCFE587C8D2B31F0C1483654090DEE04E85269A5472BFCB63E2AE6A88238D862151B1DD798A5D226EA7476A2C3D9834B0D713B82913401870E7FEFD342484D9E4F15B1B908C6B4282631AD7D5B9D0799870A76BEBB5BB9FB6E2868BE6A505B4357FCB65F6311FD1D5DD&retpath=aHR0cHM6Ly95YWRpLnNrL2kveC13Tms0UlBBZ2NsY3c__1f417b2d9342aee4cc7f8e0dac32dc0b&t=2/1708414161/63d02238712bbd99ee968323b14f3de5&u=a9ceed11-9ea3e9e7-9d804116-32a1d55d&s=d3cee6b4e41203a79f0476e444791ed7 _______________ Магазин https://molbertich.ru/ Наша группа в ВКонтакте: https://vk.com/izomore Подпишитесь на полезную рассылку, чтобы не пропустить новые вебинары: https://vk.com/app5898182_-12514400#s... Мы в Facebook: https://www.facebook.com/unsupportedbrowser Дмитрий Роза в Instagram: https://www.facebook.com/unsupportedbrowser
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