Bas-relief "Road to the Gazebo" Lesson 3

Now we will portray stones, trees, a vase We are making stones now The stones are here too. We won't try to take or imitate anything exactly right now. But here, as you can see, we even have shrubs, bushes. Now we will depict it in the same way We are also stones, as I showed you earlier As I said earlier, we We allocate in this manner so that we have Beyond the stones, the space lay It didn't work out that way Here we have the corner and that's all. We ended up with an angle here It would look unnatural. When we create something like this As if there's still some space beyond the stones See? It will look much more effective I'll say it this way, it will be lively Our painting will be more vibrant. Here too, where our tree will be, slightly With such strokes I will highlight When we have thick putty, it's much easier to work with the mold. Here, before making the vase You will already need to take and portray Draw a vase as it would appear to you. And then rehearse now I'll do it right away The vase too, as you can see What shape does it have on the side, do you see? What is the shape on the side? Also, it should go here with us, in the same form Because it's round, it turns out even everywhere. So what volume will we make here? Such a volume should also be here Likewise, this semicircle We must see him in his entirety. Not by chance, either And off she went exactly And a full semicircle Because we will see complete enclosure He must be fully functional with us Alright, I just took a glass of water Mastikhin And I'm gradually smoothing it out already Shaping After she freezes up with us We will refine it in greater detail shortly. I have a little extra putty here. Do you see how she is smoothing it out? When we have a pure mastiff And we moisten it. With us, this kind of plaster won't work. And can we now elaborate in greater detail? I'll leave this part for now, in principle While it dries Then we'll remove all the excess later. Now we will draw a tree Here's how we have it here For example Make it large in size Here we will already be working on it To paint on the wall We will already take it this way If we need finer branches We'll take a smaller amount of plaster If we need more joint compound We'll take more putty. That will be when you are eating, who will be doing, for example A large-sized tree is already on the wall— who will make it? Otherwise, here we will depict everything not with a machinist's tool, but with a syringe. Here I have a syringe, and we will use the syringe for this. Do everything. As you can see, I have a regular medical syringe. So, what are we doing? First of all, we prepare a slightly liquid plaster. Why not too thick? Because if the putty is too thick, we won't be able to Call her. Before typing all this, we moisten it. What for? As usual, to prevent the plaster from sticking. And thus we accumulate. For some reason, it didn't come out properly, but now we're And the syringe itself isn't new either, since the filler is bound to be old. Wear and tear will make it so, and it's already almost that way. as new. Therefore, syringes also have no resources. Used it for a while, but you see, it's already inside. Worn out and no longer working well. What are we doing? We're taking it, well, we won't just try to force it Do it exactly right, just like one to one, we'll do it his own business You can't see it well now; we'll adjust it so it becomes visible. To make it thicker, we will slowly display If it's thicker, we take it, quickly pull it through. for example Where it needs to be thicker, we can go again later. Among the decorations, depict branches. Even here, somewhere, if you'd like it a bit thicker Make it, we can also add branches here, and on this wall as well We do it. Not so straight, we make them round, they're on many They look like nonsense, so here you can make them round Add a little bit more. All these imperfections are carefully smoothed out and adjusted. The rest we will do with a putty knife, using the edge of the putty knife, taking a small amount of spackle, and in this way, using this method, we will create a leaf burn effect. But before doing all this, it would be advisable to moisten it first, because the putty we are applying is very thin, and if we don't, it might get washed away. We'll moisten it first, and even after completing the work, we'll periodically keep it moist. so that it sticks better and doesn't come off during painting, when we paint it. We'll leave it like this for now. That's all. We'll also take it in this direction so that this edge doesn't become slightly rounded; we'll take it in this direction as well. Now we'll work on the vase. Also, here these stones—we don't just need them, we need each stone to be clearly visible on its own, that's how it works. You see, so that we can depict each stone in greater detail. Sketching, making productive rough drafts of each stone, and continuing in the same manner. And just slightly like this, so that they're not too large for us. I'll also roughen it up here, in some places, because I need a more pronounced texture. Here, as you can see, there's a bit more density, so I'm just lightly applying it like this, and then I'll continue in this manner, using slight strokes like this. and we'll get a more interesting texture like this Therefore, you can also walk through here in places. I also take it, I dip the putty itself so that the foliage itself appears in the distant background See? Here I even make the texture a bit thicker in places. I'll go over this with a brush too. and then right here on the stones I'll start adjusting the database. There are even such forms like these. It's all sandpaper; they also come in different types. There are small ones, in a fine fraction They are rough; she's already dirty on all the plastering. You see this foam? It's soft, but slightly dense. The form supports, do you see which forms? The angle is right, 45 degrees probably around 130 or so there different angles here and with this sponge we will already be able to What are we doing here? We initially apply it with a slight excess. Just slightly apply because we will all be making corrections We will also be doing this upper part of the plane above all in this manner and the side panel I'll take these marks purely granite I'll make them smoother, more rectangular ones so that they turn out right for me And in this way, I will already have such buildings. Here I will already have a tree You see, it also slips out from under this one for me It does not extend beyond these limits. It goes out from under this thus I end up with As if she were already on the other side you or however she is called I don't know, there are many different kinds Oh, trees come in various types here, respectively Somewhere from the point we'll take it slightly We'll make such an effect. so that our vegetation held on just a little better We'll depict it slightly somewhere on this side As if she were hanging right here with us to avoid getting dirty You need to take it, moisten it, and load the putty. We just moisten it. The plaster is not sticking. Do you see how everything is so clean? And such a situation can happen Our filler is too thick when we have it It's a bit hard to get it going. Therefore, a little bit needs to be done. Do you see the putty? I'm not holding the syringe sideways the right way I barely keep him under my foot. to press against the base, to remove so that the putty itself presses better so that it holds well This moment also needs to be studied. You can add something from yourself somewhere something to enter, for example changes This bristle penetrates this plaster better. And such an interesting effect is obtained. And so let's continue I'm just holding this little packet. I'm going to slowly squeeze it out now And I will be the source of the image. And here too, I'm not putting it either. The hole came out slightly larger than intended. It doesn't matter, it worked out. And thus we shall continue Now we will already be taking and coat with lacquer We will grout it before covering. Before priming, we removed all the graphite a damp sponge We need to wet it, wring out all the water from here and thus clean the entire graphite what's left with us here You can take the brush. But I won't take the brush I'll take this sprayer. and in this manner I will cover it completely and evenly. with a soft brush, and at moments like these Apply evenly so that we don't have leaks Why am I using a soft brush? because we do have such moments where our cover will not be so strong and there, apply it carefully since the lacquer itself is also It becomes quite strong when dried. I've already completely coated it with varnish. We're waiting for about 10-15 minutes now. How will it dry? I've already added the pigment to the lacquer. and you will already see how I will cover her And what will happen to the painting? Let's continue; my varnish is already dry. I used these pigments What should one address? when we mix the lacquer The most important thing Don't overdo the paint Not take too much Use toothpicks and add drop by drop Take some paint and add drop by drop The most important thing is that it shouldn't turn out too dark for you. There's nothing scary about it here. Our lacquer is already applied. Even if it turned out a bit dark We can calmly take the surplus and remove it A damp sponge, we'll do the same thing Here, you see, it's this color. Here I also used the same Beige color, Ukhra, a little bit of black a drop of green to achieve such a neutral color Why don't I use one? because if you use one tone It will be too bright a tone So I add a little bit of black. a tiny drop of green and the resulting color is like this I will also use it in the same way now take, apply already on top The lacquer won't soak in immediately; you can apply it calmly. Then we'll remove the excess paint. You can now apply it boldly, without fear, in relatively large amounts. Somewhere, a little. It won't have time to soak in with us. If you want it darker, you can just go ahead and walk through Make it darker somewhere else again. I won't do this, considering that moment is also needed the one that might still lighten upon drying. I'll paint the sky onto the sky in this manner, so that It became lighter in the sky than anywhere else. You will see the final result. You can also take some elements and clear the field. light ones, so that the protruding areas and everything become more prominent. Alright, let's continue. The painting here has already dried; I just took some mother-of-pearl and added it. water so that there isn't too much mother-of-pearl on the canvas, because we will be applying it slightly. If, however, we apply a large amount of mother-of-pearl, then upon illumination It will burn too intensely, so I'll add a little water. added because it will be hard to remove later when we have a lot of mother-of-pearl, easier to apply the second layer than Then remove this paddle that we applied so much. That's why I added water here. What are we going to do? Now I'll show you an example; you won't be able to see it. But under lighting, I'll show it from a different angle. I slightly apply mother-of-pearl around the gazebo. Thus, my gazebo will stand out. Also, here these points, here the back part, carefully Just the same here. Thus, we slightly highlight it. What should you pay attention to here? This is how we applied only the pearl essence; that's what we need to take. Turn the sponge back and gently rub it to avoid such marks. There was nothing left under the brush. They can be so inconspicuous, but under lighting, under certain conditions at an angle they will be noticeable, so that they are smooth transitions were Similarly, the contour of the mountains, also neatly around like this And the horizon, the boundary between sky and earth, is also like that. slightly so Under no circumstances step onto the mountain, otherwise these will happen. pearl shimmer, because everything will be very Notably. It was also applied in the hall, at a certain angle is sometimes noticeable, so when you are painting At an angle, look how all this can appear. Similarly here, to pull out the fifth fence around it, slightly, we also slightly take it to the distant background, slightly pearl, so that it also gets hit. Pull out these stones, as these stones are in front of us. It turns out, slightly, just like here, this fence We'll get it out; right now you won't notice, but I'll show you later I'll show you how all of this will look from a certain angle. to look The most important thing is to rub the swelling, so that There was not much saturated lacquer. You can also slightly apply it to the mountains as well, to Our mountains have also receded; let's not forget the clap, everyone to shoot (a film, video, etc.) Here you can also slightly apply it like this this part, to pull out these, this fence here, A little fence, or whatever it's called, also slightly like that, can be done Also do it around the trunk so that our trunk stands out for example, the trunk will come into the foreground, whereas here It's foliage, so to speak—leaves, they're already moving away from us. We paint it the same way horizontally as well, because What if we paint it like this? Then everything will be noticeable and will stand out. Look not very good. That's about it in principle; here's where it could have been applied. And I will apply it; I'll take a photo of the final result for you.