Elena Stepanova

Saved 5/28/19 2:08 PM from Drawing for beginners

"Осенний лес. Пейзаж", как нарисовать 🎨ГУАШЬ! ДЕМО Мастер-класс  See details »

 
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  • 00:00: I greet you my dear creative friends today with you Fedorov Kate and channel draw the full version of this master class you can find on my patreone or in the vkontakte group all links i I'll leave for you under this video given master class is available for subscribers level tulips anemones and roses friends my today we are writing very easy aerial autumn landscape I plan to master the series on the channel
  • 00:30: classes dedicated to the theme of autumn and this is the first one we write with you sunny warm early autumn is very light rather light and tender than saturated and bright so we are with you this master class will focus precisely on the transmission of lightness and airiness for our landscape start working with past sketch friends
  • 01:03: my sketch of course there is ready on patreone and already vkontakte we him with you transfer to paper I strongly advise for This master class paper is plump and 200 and higher I took it for him gave an equal with embossed under the bush we start with the far plan with sky and here i created sky not uniform stretching like you and me
  • 01:34: very often do before when separate pull the mask seen in section sky Milks varied and also what not typical for the summer here in the shade of the sky used including shade bright green combined with azure green combined with the azure gives here such Here is a very delicate shade what is called the first of the first cold breeze when you and I will not write out summer
  • 02:07: such a blue we can use and ultramarine somewhere up in some places here, on the contrary, we are leaving such greens and in my opinion on my look here is a combination of green azure also gives extra airiness please note the color of the sky not bright bright it's more of a haze and closer to the horizon it changes to a combination Ukraine yellow and powder in the distance we will
  • 02:39: write also forest but while working with you on foreground here also need a diverse brush forms above all this brush zigzag cut to the edges with whom we write weed with you here I would like you that called completely manifested themselves here wrote this autumn which you associate with the concept
  • 03:11: light earlier transparent to me early autumn is above all the abundance of green so here in the foreground you can see it would seem so juicy from the first look weed but as soon as we are with you mixing green red this green is juicy and rich turns to brown with shades rather brownish than juicy greens and how
  • 03:43: see I added enough red to the fore to give a feeling of autumn trawls that are still green but already gradually becoming brown and not juicy please pay attention to the center of this work weed in depth and forest far plan which is now scheduled
  • 04:13: here is such an indistinct yellow haze stays very very light again I repeat my friends not work light so important almost main topic and everything from color combinations ending with masks that we are with you we will lay in the process of writing you should be green tracery further we schedule a track here very interesting combination in the track i I usually do not advise you to use a mixture
  • 04:45: green and red even here you can see when I wrote weed I rather laid green and red next rather than knead them on a palette on a palette they at me is not currently are connecting and here in order to write a track I red green kneaded well together right on the palette can be seen despite the fact that it would seem a certain gray tint there is no gram lichke black it it is a combination
  • 05:16: green green dark and scarlet together they give a dirty grayish greenish hue which in my opinion fits perfectly sits here in this the composition of the grass goes away and she of course, too, brightens the palette transparent our wonderful assistants in color matching and here is the palette transparent if you have friends my take without hesitation will help you very much strongly picking up the shades of foliage which
  • 05:49: we write the same I urge you please pass those shades mix those combinations that he has you are associated with the concept of earlier autumn if you work write more birches please observe the nature around myself birch is primarily a combination green and yellow if added other types of trees this is reddish foliage bulldog bright red here I probably use
  • 06:19: red all the same it seems to me that the landscape will look more interesting saturated not only green live nominal reddish shades and most importantly the light do not forget center numbers work also remains still transparent and not bright so such a bright light bright brushes terrible brushes from natural
  • 06:51: bristles we worked a lot once we wrote with them and winter in Last year those who are with me on the channel for a long time probably remember a master class on creating winter landscape with the help of such parts and such smaller than my favorite on upholstery however from the same set and literally our previous stream when we wrote landscape with a lake my brush flew off then have both points flown off the pole
  • 07:23: You know, I just left her I am now so short and very very convenient to write exactly stuffing is what I told you try to write do not completely fill the light with light and leave the skylight and sky autumn trees are starting to lose their foliage and gradually trees are becoming more transparent
  • 07:55: fishnet more light penetrates to the foot of the trees and the crowns themselves starting to look very very transparent just like the lace that's how we are we fill our foliage shades what is called to your taste my friends i here I am going from red to die from umber in green separated in yellow middle yellow middle during christ and detail a combination of how to knead them which
  • 08:28: okay i chose for this master class can be seen in full versions of this master class as well no acceleration in real time write this work with me when you work try catch sensations yes and pass them on paper helps me for this more often
  • 08:58: leave work i mean i happen just pushing there half a meter on meter not getting up from the workplace happens and I remove the work from the table substituting away squinting necessary squinting eyes inspection did it fail to pass on paper into what you feel like you wanted this autumn mood pass another stage working when we
  • 09:29: use the combination of green and red kneading in one shade i added some more brownish shades most important my friends in this work contrast and he not very strong much light really a lot and the farther away from us the trees you see so they are bright in in general proceeding from this main rule than farther the lighter we gradually
  • 10:01: barrel by barrel create already despite the fact that It is written to FER grass travushka it created written foliage openwork gentle and with you we start to work the trunks it is very important to alternate brushes sensibly try to listen to your own sensations if you can't handle to brush go wider down size take a brush
  • 10:33: try a smaller width work not long strokes if let's say you have not very firm hands and unsure lead long lines try to work more with equality on more accurately control the smear then there is also a form that you create not so long ago received a question one by one from my previous workshops on about just such a brush that is a brush used recommended by me but to her
  • 11:06: can't work i advise to go to decrease in size usually because maybe that is it is very likely if not enough ownership experience especially since new brush shapes maybe it will be for you more successful option to go to the side decrease in order to better feel character mask you know it at all deceptive feeling that with decreasing
  • 11:37: size with you will be easier enough to try heaven to write brush null and we'll go what not always reduction in size leads to improvement side let's say it is rather a greater feeling comfort and confidence because it is impossible to mess up everything at once the more you write the more in confidence you will gain more than
  • 12:07: various tools in their work you will use the more experience and skill you get say of them look how often i change brushes it and elongated one stroke this is null and one and flat straight somewhere flat oval brush each of them gives a unique imprint for weed zigzag for stuffing hard of natural bristle
  • 12:41: no matter how hard we try to write such foliage brush zero my friends it's just impossible not only need to know a tool that you have of course but also experiment then that is run past the shops past some kind of your favorite places where you buy art materials take a minute to run to see maybe something will attract your gaze and you will understand just such a brush tried many tools and shapes
  • 13:14: brushes came into my tools it is through the experiment some forms I was surprised by the example of a brush the book is shaped like a zigzag edge on Now I just can not imagine work on the grass without it is the same applies to some other forms of brushes and my friends, please do not be afraid new brushes what is called to take their hands of them explore work using them It works first, they certainly will not work
  • 13:44: perfect but sometimes new tool which you get whom you learn to work he gives so much powerful push certainly the basis for this is experience then that is how much time are you up to this spent on studying and mixing shades of colors and work with some gouache material is it acrylic in summer when this also adds a new one tool
  • 14:15: sometimes a new paper that's how we today use embossed paper under canvas look like a tracery gently on her look birch trees I assure you on another paper given work will look different yes that is Here is such an interesting moment much depends on the surface on which we work once again where my versions I have the opportunity be distracted by some moments which I would like to discuss with you as in full version of master classes in real
  • 14:47: time I believe all the time in dedicated a master class there to sort out with you what shades how to mix which brushes where I exactly I recommend alternating for this master class so if you need detailed instructions welcome to patreon welcome contact me as possible subscribe annual and either for a shorter period so one-time access exactly to that
  • 15:18: master class that you are interested in and of course write with me along with detailed instructions and also if you need need to get my advice find out opinion on the finished work through the group VKontakte or through the wall on 3 st to final final part of this works which strangely you know that's very easy to spoil the final details almost already
  • 15:50: work in which moods are caught feathers detailing so excessive foreground detailing here is very important yourself stop on time the more this theme is autumn leaves which we write directly one by one enhancing the foreground with these small leaves trembling important here firstly keep all the same lightness and delicacy purity of color in largely because these are front parts
  • 16:22: plan here and want to write just like amber sparkles sparks of individual leaves here we are of course we can already detail them consider unlike foliage and on trees and repeat once again important here rather not get than put them an excessively large amount on this landscape is generally ready to set signature
  • 16:55: and my friends do not forget what to remove mounting tape is very easy and simple You can use the hair dryer, I showed this Reception many times I hope that you them use and thereby retain their work neat even after they are fully ready to be eager wait for your work on this master class in my vkontakte and facebook group I'll be glad to see how your looks early sunny autumn was with you Fedorov Kate and channel'm drawing all while
  • 17:26: until [music]