Bas-relief "Road to the Gazebo" Lesson 1

Good afternoon, and in this video I will tell you How to create a similar picture. Here we already have an example. This is a painting in the Provençal style. Here, I'm using gypsum board as the base. I have one gypsum board drawing here. Here I will show you step by step how we will proceed. Here, as you can see, I'm already involved here finish plaster, dry gypsum finish mix I mixed it according to proportions. One glass of water, two glasses of plaster. Mastikhinova. I have three different types of mastikhini here. Mastihins of Penov's firm. No. 10-22, 10-15, and 10-27. Why did I choose them? Because that's just who they are. They are more flexible and comfortable to work with. I have a trowel here to make the background. You can take a slightly wider spatula. to make the background. It is desirable to apply putty in different directions. so that our background becomes smoother. It's always better to apply the putty with a surplus. so there would be something to work on, because we're in the process We won't be removing excess plaster unnecessarily. Now I will be portraying the pavilion itself here. I'll post the picture here; it won't fit here for me. We first of all create the sky. Now we will build a gazebo. Then we'll make the fence itself. Here, as I showed you, A thicker putty like this. Why did I finish the thick plaster? Since I can immediately give it volume, the volume I need, the thickness I need And it won't slip off me. Please note, this is a gazebo. It can be seen from the picture that it is a round gazebo in itself. Thus, we will give it the same volume here. Don't press down, don't press anything. Take it easy, just smooth it out into shape. Thus, calmly and that's it. At the very end, we'll cut off and remove everything unnecessary. And most importantly, when you are doing it, Prepare this background right away, so as not to have to fiddle with it later Therefore, it is advisable to prepare the background right away. After that, we will also take, There, in the background, we will depict these columns. Those poles are in the background like this. And we will remove this part with the reference points, to also highlight the rear columns in volume. And please note, I am the pillars, I draw the gazebo here as shown. The thickness here is about one and a half centimeters. I gently guide it under the base. that is, under the gypsum board. I'll also highlight this cardboard here as well. Look here, I have a gazebo. This upper part is the arch. I'll cut it out in a semicircle too. You can do this only at certain moments. When will your plaster set? It's even bigger here, even for me. I can carefully trim all these parts. I also take it, always keep water nearby. I moisten the brush and send it off. I'm rolling it out on the drywall. All these points are calmly cut. When we moisten the mahlstick, Why do I prefer this Mastiff? since even the putty, once it has set, I can reach difficult-to-access places in this way. Enter and remove the excess plaster excess plaster and that's it. That's why I like them. They are so thin and sharp, you can cut with them. Therefore, I prefer them. They are the most convenient. This is all unnecessary—I remove it right away. If this putty of yours didn't go quite as planned, This can all be fixed. Don't worry, take it carefully, calmly, And continue smoothing it further. If the nest was given one and a half centimeters, at most two Here we'll give about three centimeters. About three centimeters. Also, as I was telling you about visual space, I'm here exactly on these columns, and I'll show you. Here we also take the putty, We're not afraid; let's take more putty. Notice how I'm holding her. Not from here, not from here, not like that. I take it, I take it from this side, Thus, I take the putty. I carry it, take it, and apply it this way. See? That's all. Here, right now, a gazebo was beginning to take shape. From the middle of the pavilion, the painting itself began. Even if I show her right here. That's all. Same for this part. This is a fence, and we slightly bring it down to zero. Here we have a layer of about four to five millimeters. Here we will also take, As I showed Let's make some slightly visual process. You see, I applied putty to the gazebo, Crawled in, but that's all we did quietly, We'll cut out the excess later. when only she freezes. The main thing is that you don't lose your bearings. Where is she coming from? You can see from here, in the middle, even slightly below the pergola the middle of the gazebo is slightly lower, and thus we derive all of this. And how do we do all of this? Well, everyone can see how our painting looks in itself. Our fence goes in this manner, even curved semi-circularly. If we keep smoothing this fence, We won't stroke him so smoothly; instead, we'll stroke her lengthwise. I mean the width of this back side here, We iron it like this. We just take it and thus already conduct it. Here I have a larger layer, Here less. Here is where it will begin for me just paving stones, Here I have a millimeter layer. Millimeter, at most one and a half. Here we add, making about five millimeters. Four to five millimeters. We do the same too. We input to zero, also at an angle, Not straight, but slightly at an angle. Why are we doing this? Thus, when we have light, Even this will be illuminated by us. the fence itself. You see, I'll lead him so calmly. We will do the same thing here as well. with this part. I'll remove the excess here. These are all pure surplus. This task is suitable for me right now. How to make this turn at the top of the plate. We do the same, put it in place as well. How would we smooth it out if we were making it? for example, if she were ours We also took her, we stroked her, Unpacked her, That's how we unpack it. Straight up, smooth as glass. All our blocks are arranged horizontally. We hold her by the elements, slightly tilt and slightly Smooth out this shape, do it. Then we will remove everything unnecessary from here, Carefully cut out, remove. Likewise from this side, We'll just carefully clean the edge. At the same angle as well Also run along the side panel, Please note, I also have her He was smoothing it against the wall, and she turns out to be ours too. Vertically, just like this is how our form proceeds. We take it as well, and press it against the wall. And we proceed like this. Take it as well, smooth it out, shape it properly. And that's all. It would be just like a live trick. How would we iron her, pass through her in form, in the form of this element. Do the same if you are hosting us. It seems to me, then, We remove all these excesses from here. We also remove these surplus items from here. This can all be diluted at once. Even if you do this part, while it's still raw with you, Where you have the tiles, it will be even better. since later, when it hardens, It will be very difficult for you to fix all these elements. Therefore, we will immediately proceed with this part. If somewhere on the piece Some matter, or some part is empty, It will be difficult for you to give it later. Therefore, it is advisable to do it right away. Here, you see, the gypsum board is visible. This should not be. You need to remove the layer everywhere so that you have There was no such thing as gypsum board with you. It shows through. Always carry reserves. Your minimum layer should be 1 mm. Not less. Here, maybe I took just a little bit. added more, so that right here we have such a visual space was created, about whom I am telling you. That's it. How do we smooth it out? I cleaned the mastichin, I soaked it. And that was it—I calmly went to iron my uniform. And that's it, I just smooth it out by its shape. I won't iron it. How would we iron, if we had Such a 3D picture on the table, We would have caressed her too, both in shape and in texture. We do the same to her and iron her the same way. That's it, let's go in. output The side panels slowly, edges Where should we add it? We're adding it. Here we are right now We will still be adding more putty. Right here. If we have a thicker layer here, We're here a little bit Let's add more putty. The same thing. Here we have a depression. Add more putty. Also, we have a larger layer here. And most importantly, it's slipping away beneath our feet. Accordingly, here, where we begin angle here the same as me Earlier I said, Otherwise, we'll have no filler, and that's it. It looks even more unnatural this way, so we need to add filler to give it shape, so that it doesn't just go straight here, but continues and curves further. Because of this, we'll make it slightly... Please note, my plane is not going straight; it's going exactly at 90 degrees, I mean. It's going into the shape, I turned it, then twisted it a little further there, slightly twisted it, and did the same everywhere. If the shape is slightly curved, it won't be so obvious that it's just a patch of plaster, and the clean, sharp edge will appear much more vivid in the painting. That is why we practically do these things everywhere. What are we going to depict? We're drawing a tree, slightly rounding the shape, not making it perfectly straight, but slightly curved, so that there's a sense of space around the tree. We do it everywhere, we do it here too, with this barrier, where we do it. Everywhere, so that our picture becomes more vivid. So that it doesn't turn out to be just some soulless drawing, but rather a more lively one. Here we'll add a bit more joint compound so that our turn comes out higher quality. Please note, I'm adding a margin of spare filler all around here. I'm adding a little bit everywhere; the most important thing here is to select the right plane. All of this is unnecessary; we will carefully cut out all of this unnecessary part. This entire thing is a part; this is all we have here, and we will carefully cut it out later. The most important thing, we'll split it in half. Here's the point—how do you make a step? The step is visible there; this is the upper part, and the next part goes lower. What can we do? We can take it, and if we're going down a step, just let it go a little lower and keep moving forward. Nothing else is needed; we'll enter the form since the step has gone down and we have the lower part. Thus, we have adjusted the step, and it can also be further fine-tuned. We'll slightly tuck everything unnecessary underneath. Here, too, the surface is uneven; it needs to be made flat. Now you'll notice, the filler is already setting, but it's still soft. The entire surface here, even here I have a protrusion; I'll adjust it slightly here too. Now she is firmer, more flexible. It will soon be completely frozen. Right now, what we can do is take a more detailed look. If we need to elaborate on something in more detail somewhere, we take it up and do everything properly. Not so bad. Take it simply, keep the same shape as we said, from here, like this. Same here, these long moustaches, just like these. We can make them even longer if needed somewhere; just adjust these mastihines accordingly. That's it; we'll remove this extra part now. We'll cut this out now and remove everything. And here too, we'll remove this extra part. How am I going to cut it? I'm not going to just grab it right now and cut it straight away. I'll just take it by the shape, carefully, and moisten the brush. The edge of the mastix. I cleaned him, soaked him. And carefully, I can remove this entire section, carefully cut it out. Here I cut precisely. We continue in the same manner. Not at such angles that you'd understand; you see how he's walking. Thus, we slightly guide it; from there, we cut further in this manner. This is all unnecessary; we remove it from here. And thus we cut everything. Pay attention to this part. Please, increase this part. Increased. And now we carefully remove all of this from here. Carefully remove everything unnecessary. It's precisely at this moment that you shouldn't roll this putty back and forth unnecessarily. You see, I don't have such a sharp angle. I won't do it all, I'll keep it all on the rats. Thus, calmly, I'll remove all the excess with the mastichines and chop it up. Here you can also take it and carefully adjust it. We will thoroughly work through all of this with the cutters later. Now we take the same from here, into this section. It's the same here too. Besides cutting her like this, I'll also need to take this corner, accordingly. I'll also take the mastichin, clean it, moisten it, and remove all this extra stuff according to the shape. Here, you can also visually expand it slightly, as I showed here. so that our angle continues not exactly at 95 degrees of distance, slightly swerving toward the fountains. It will be much clearer from here, so I'll also adjust my shot a little bit from this angle. so that it doesn't curve like this, but instead enters with a slight turn over there. Here, too, the distance from that turnout is about two millimeters. Here I have it from the base, beyond that it already turns inward by two millimeters. All this is extra; I'm removing it. It's more detailed already, and when it's fully set, I'll handle it. I will work out everything else in greater detail later. Here, I'll also moisten the mastichin and I'll just guide the mastichin right along this angle. so that I don't go beyond this line. I apply it just as carefully. At this moment, the plaster is more pliable. Therefore, if you are using some other type of plaster, First, take it and try practicing on something. Track the drying time of the putty so that you already know it yourself. Here, the putty has just started setting, and dark spots have appeared here. This is already hardened plaster. This is already hardened filler; you can remove any burrs like this using this putty knife. Mastikhin is sharp enough by itself, and then these tiny little burrs, If there are any excess parts somewhere, you can calmly cut them with a knife. And that is why they are convenient. Here, you can also neatly cut it like this. Just dampen it with a sponge so the filler doesn't show through, that's all. And here, please note, we have a decorative border here. Well, I mean the curb, that little step. But we'll take it the same way here too. That's why I drew these lines, you see, right in the center. Right now, you see, this countertop here continues, and I'm going to cut it like this. I don't cut it like this; I cut it differently. so that some kind of visual space would emerge there for me. Thus, I carefully carry out all of this. You will also need to moisten it once more in the hearth. And once again, lightly sprinkle it, and everything will come off calmly—you'll be able to remove it. It is now solidifying as it cools completely. We make such a cut. And all of this is extra; we'll carefully remove everything later. And with this mastikhin as well. That's it; then, once it sets, carefully remove it, and that's it—she will already be ready. That's why these guys don't like me—they find it easier to work without me. They can also be involved in the more detailed refinement process. You can use this mastichina to draw a picture. All excesses can be removed like this using this mahlstick. I won't do this right now; I'll clean it up later when everything has solidified. Now, about these lines, you see, I wanted to say... Now I'm making a cut line here, like this, thus here, I'll also redirect this line here to the center. You see, this line of mine also goes right here. Here you can still trim, file, and cut it like a mastiff. That's it; this line also goes here. Beyond this point, the line goes here, to the center. This is where the line goes. Thus, you see, none of our lines are skewed anywhere. They are all marching in perfect formation. Here too, all around. All lines are directed toward the center; this also needs to be taken into account. Likewise, those lines that extend from this circle. We also make cuts like these. All these lines go to the center. Here is the main transfer point. Here we get exactly this, Here we specifically made this step. Even can retreat here. How do you do it on this flat surface? Yes, here we immediately cut it out, We also have the same opportunity here. I'll handle it carefully. We will also cut it exactly according to the shape, and not like that. Exactly like this, because we have upper plates here. All these lines turn out to be vertical for us. It's the same here too. You see, we must cut just as vertically, Not there, not sideways, not to the left, not to the right, But just hold the knife vertically and straight. Thus, make a cut like this, And carefully, smoothly take and remove. And here we shoot from, But all this is unnecessary; we remove this filth from here. Likewise, from here, at the back, in shape and appearance, We also cut off the shackle in the same way. Also, here I must put on something else, to reduce the width of these handrails. We calmly cut off these mastichines. Now she'll sit by herself, more compliant. She cuts calmly, and that's it. We will fine-tune this in more detail later. Let's take another shkaklevka, If we need to correct or add something somewhere, We will do all of this. Once the second shakleaving has been completed, when we have already worked out everything in greater detail, if there won't be any shkaklevki available anywhere We will already remove it and put the mask back on. At the moment, the main point was, Remove all of this unnecessary stuff. Here, please note that these are also already depicted in my case. We will remove these stones, these thicknesses, in the same way as well. Right at this corner, carefully These masts can be passed through. We also take this perspective itself into account. because what is closer to the eye appears larger what's a bit further away, a bit smaller so that this perspective is also present Thus, our picture will become more vivid. Well, I've run out of courage here already. I've left all that behind; we'll be portraying a vase here already. Plus, add this column as well, Then we will take all these points here, We'll fix it again. We will also cut out all the excess from these arches now. I will mark it right away and show it to you, How do I work all this? At first, right here, you see, here Here, a step like this appears. So these are the curbstones we end up with. We'll take it slightly like this, Please note, there, We make a slight, gentle indentation like this, Here, my plaster has already dried up. because there is just a slightly thin layer there, Here it's a bit thicker for me. Therefore, it dries here slightly more slowly. but you see, how I phrase it The lighting hits it clearly, visible in sharp detail. And that's it. Well, in this way, we have, when we depict this vertically And cut all these lines to the center as well, Here, please take note, We have such ones, well, this effect isn't present right now. It will be here shortly, I'll clear everything up now. And you will see how it will look with us. That's it—all of it is still not set yet. Well, wait until it sets. That's all, that's all, I'm making a depression here, Please note this, I have something like this, a plate is shown like this, Here, you see, it's of large size. I have a shorter one here, and most importantly, so that they are also the same size for you Even this will require effort. You also take the perspective into account in the same way, what you'll have here will be a thicker line, a bit smaller here, even smaller here, thus, that is, if we take into account please note, we How do our blocks look like? And I will also carefully cut out this incision. and even these blocks, You see, these very stones, I don't cut them inward. I cut them out against the background, This is how you need to cut according to the shape, when you cut it according to the shape, They will look more natural. It will need to be depicted correctly. so that we don't end up with one higher than the other, the other below, We will already mark everything, And that's it; at this level we will already be there, You see, the distance here is very small. The same distance here, We will already be depicting the details. every arch, Also here, There's still some distance there, The most important thing is, so that we have these vertical lines, They were exactly, perpendicular to perpendicular, yes simultaneously parallel to these lines, and thus, if somewhere we are lacking, Nothing to worry about, The most important thing is, depict in greater detail Where will we be? So that you know, The rest still works for us. These steps should have been made. Don't bring your skin here. We will already be adjusting all the processes. and go further already, roller, road roller, And so we'll periodically mix up some shkurlavki. to refine some figure and doing stuff, to refine some figure and doing stuff, And we'll work in this mode. to paint a picture The same applies to the wall. We made some shape, immediately refined it while it was still pliable, before it fully hardened, because once it's completely set, it will start drying out and will become very difficult to cut. Now, while I can still grab a stationery knife, I'll feel it because it's so sharp and thin—it'll easily cut through her. Be careful with it too. Don't pull out most of it; just pull out the short part, and that'll be quite enough. Slowly and calmly hold it, don't grip it tightly—just take it carefully. First, go along the boundary everywhere where your boundary passage is located, along the edge. If it's difficult for you like this, take a spatula, apply it across the entire piece of clay, just as evenly, so that it doesn't crack. Mastikhin, that's why this Mastikhin is so convenient—see, you can neatly lift it up and remove all the excess from here. Carefully make the cut. Here, please note that I've created a corner, a slope. As you can see, we will also cut this slope in this manner. And you will see, I will now create such a visual atmosphere, and you will see how it will look. I'm doing it carefully here too, in thin layers; don't try to cut off a large portion all at once—see, just a little bit at a time. Little by little, little by little, until you fully know your putty—how it behaves, when it cracks, when it splits. Because not everyone can have a satetek; someone might end up working with claffs. Therefore, at the beginning, if something doesn't work out for you, it's nothing to worry about—you can take it back, clean it up, fix it, and start all over again. You have such an opportunity. And that's it—I can carefully clean all these spots with a mastichine. Even, as you can see, slightly trim them. Right now I'll also carefully cut this slope here. One angle, you see. Also, the inner part of the corner needs to be depicted. Also make a similar process, but make it more lively. Therefore, this can also be noted here. The same distance as here, so that we have it. And shoot the rest of it at the same angle. Here, as you can see, this is how it turned out with us. Let's look at the picture. You see, here some part is protruding, a column. We will highlight it as well. Thus, take and mark it. Take and mark here and also here. We will now fully outline everything. We will refine this gazebo in greater detail. We will also install a fence. We will also depict each boundary in greater detail, showing how it runs in our case. In the end, when we further refine this in greater detail, We are already replacing the plaster and will continue refining it. Something's missing here, somewhere. For example, here we ran out of plaster. Please note. We'll fix all these shortcomings, make the necessary adjustments. And we will already have this part and this part ready. Accordingly, we will now continue with the sidewalk section itself. Let's make the sidewalk part of the step as shown in the picture here. Please note, we also end up with a column here. Here, what matters most is that we also have exactly the same. There were no distortions, but we had very distorted conditions. This can all be fixed; it can be corrected. Here, what matters most is that we... Here it turns out to be a long shot, then. Therefore, we won't be making such large volumes here, as they are here. And there we'll just slightly highlight it, so it's already visible. Also, here I will indicate. I mean a clear edge, corner, side panel. We will highlight this thickness here as well. Here we have, accordingly, a long shot. We'll make it a bit smaller. The one that's closer is already a bit bigger. Trowels. And with a careful, precise motion. Therefore, when we apply the plaster with a slight surplus, when we have something to work on, We take this part as well and make a slight incision. Same here, around. Carefully. We will continue as well.