Математика цвета.Курс для визажистов. Людмила Тараканова
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CreativityTranscript
00:00 The girl is a representative of a warm color, so she has a warm red.
00:14 Most often it is either cold pink or even pink-purple.
00:20 And this green, which we found and said that this is most often in the correctors, it is just the opposite of this red color.
00:30 And here I get the opposite color, and the opposite would be much yellower.
00:40 And what happens when I mix a colder green-blue with a colder pink-purple?
00:52 The correctors often have burgundy-purple.
00:55 It turns out green-blue, red-blue.
00:59 As a result, blue and as a result of the blue pigment, blue remains the most.
01:07 A small percentage of green neutralizes a small percentage of red, and blue dominates both.
01:13 And it turns out that with this corrector I try to neutralize these problems and a bruise appears.
01:20 It often happens that you add a corrector to the problem, and a new problem arises in the form of a bruise.
01:30 You remove the corrector, the redness, you add a corrector, the feeling of such a corporeal stain, too cold.
01:39 And more correctors, less correctors do not solve the problem.
01:44 And the problem is solved if I take a much yellower corrector.
01:49 But there are few such color correctors.
01:54 Such a warm green-blue, warm green, yes, olive, now, thank God, began to appear.
02:01 But on light skin, even on olive, it will not work.
02:05 Because I also need to use, in addition to neutralization, the level of shade.
02:11 So what color correctors do I need?
02:14 Warmer, more yellow, yes.
02:17 But still someone more light, someone darker.
02:21 Such poisonous warm green-blue, you can rarely find.
02:27 - Where did you find it? Did you buy it?
02:31 - Well, it's not a problem to mix. It's not a problem to mix yellow with green.
02:35 - Yes, I also.
02:37 - That is, such colors are rarely found, but they can be found.
02:40 And often they are in cheap Chinese sets of correctors.
02:46 There is blue, orange, and lilac.
02:49 Of course, it holds badly, but how it holds.
02:51 But it neutralizes well.
02:53 - For photo-essence.
02:55 - Yes, even in thin, thin application, it already works.
02:59 So what do I need? I need a much warmer, yellower color.
03:05 But I took both light and dark now.
03:09 - For smugglers.
03:11 - Yes, for example, this one is like a more smuggled level.
03:16 But, for example, Atelier CV2, it is just darker.
03:22 Just in the Mac Pro, this olive adjuster, it is medium.
03:26 It is easy to make it darker and lighter because it is medium.
03:31 But it is exactly the warmest yellow-green.
03:35 They also have a compact, very similar to this color.
03:40 Here is such a color they have, a compact corrector, warm, lilac.
03:45 But it is not a problem to mix green with yellow.
03:49 Here is the same familiar, if you even have a green corrector,
03:54 and mix it with some light beige-yellow, which is there.
04:02 Well, if it is there, under the eyes, or ...
04:06 Very often such a universal trick happens.
04:11 It is necessary to mix with the tone.
04:15 Well, like a corrector mixing with the tone neutralizes better.
04:18 Why? Because in the tone there are all colors.
04:20 Firstly, and the density is different.
04:22 So it will work much faster if I mix not with the tone, but with the right yellow.
04:28 This yellow, maybe, in fact, will never be used,
04:31 but it will always be added either in peach or in green
04:36 in order to add this warmth and lightness at the same time.
04:41 - And the yellow one, where is it? - Well, it is generally in the corrector.
04:44 We have it in order to neutralize the bruises.
04:47 There is yellow.
04:49 Just such a light-light-lilac-lemon,
04:52 and through green, blue, purple.
04:56 - In theory, the same. - In theory, the same, yes.
04:59 Without the idea, too, the same.
05:01 If the colors are opposite each other,
05:06 then the movement in this direction or in this direction is the same speed of movement.
05:12 It's just that someone thinks that it's faster here, someone thinks that it's faster here.
05:18 The speed is the same.
05:20 Just like if I want to combine some dark cherry with pale green.
05:25 I will move in this direction, and in this direction, capturing a large number of shades.
05:31 The speed is the same.
05:33 Let's say we disassemble the same pair of yellow and purple.
05:37 Let's say we decided that I should have the inner corner of the eye yellow-gold,
05:43 and the outer corner dark purple.
05:47 I want from here to here.
05:49 What is the maximum number of colors that I put there?
05:55 - The area of the eye. - It depends a lot.
05:58 For example, if from the inner to the outer,
06:01 this distance is clearly a little more than from the crease to the eyebrow.
06:05 But I can't put the same number of colors here as here.
06:11 Because this area is a little longer.
06:15 Someone has a larger area, someone has a smaller area.
06:18 I look at the size of the eye, the area under the eyebrow is large or small.
06:22 The smaller the area, the more restrictions we have.
06:25 I can't fit yellow-orange, orange, red-orange, pink.
06:30 So much is not enough.
06:32 The base and eyebrows are already called.
06:34 The place is over.
06:36 What else depends on the number of colors, except the area?
06:40 What other restraining factors can you have?
06:43 - That it's not a weight, it's not a pressure. - Active protein.
06:46 - What is the contrast? - You have a half-color circle anyway.
06:49 No matter how many colors you put here,
06:52 anyway, from the fact that I take three oranges or one orange,
06:56 it will not become less or more contrasting.
07:00 I still have yellow, orange, pink.
07:03 They will still be there.
07:05 What else can restrain you, except the area?
07:08 Is this the only thing that restrains you? The number of colors.
07:12 - I can't draw. - You don't have them.
07:15 You could, but you only have one orange.
07:19 This is a restraining factor, right?
07:21 The presence of cosmetics as such is a restraining factor.
07:24 What else can restrain?
07:26 Time is also a restraining factor.
07:29 You have 20 minutes or 1.5 hours.
07:32 It depends on whether you put 20 colors or 4 or 3 colors.
07:38 The area, the presence of cosmetics and time are our restraining factors.
07:45 The rest is a matter of convenience.
07:48 Do you need it or not?
07:50 Put 35 colors there.
07:52 If this does not restrain me in any way,
07:55 then everything else is just a sport.
07:57 Sports makeup.
07:59 How many colors would you put? I'm 38.
08:01 Well done. And I'm 27.
08:03 And I'm only 7.
08:05 But it will still be half a color circle.
08:10 The rest is the smoothness of the shading.
08:13 We are least interested in the maximum.
08:16 Except for sports, it does not give you anything.
08:19 Any competition is sports makeup.
08:21 Not everyone does sports makeup.
08:24 It doesn't matter to someone.
08:26 How many minimums do you need to connect this?
08:29 We should be much more interested in the minimum than in the maximum.
08:33 Yellow, red.
08:35 If I want to connect this pale yellow with this dark purple,
08:40 not counting neither yellow nor purple,
08:43 how many additional shades do I need to take?
08:46 Two, three.
08:48 Name.
08:50 Yellow, orange.
08:52 I don't count them.
08:54 I need to take more.
08:56 Two.
08:58 Orange and pink.
09:00 Pink mixed with red raspberry.
09:03 Orange will work out anyway.
09:05 So, only raspberry.
09:07 So, one. Only raspberry.
09:09 Not one, any.
09:11 Namely, raspberry.
09:13 It cannot be missed.
09:15 From the fact that I put five colors here,
09:17 it does not exclude the need to take pink or raspberry.
09:20 If I even take four orange,
09:24 but I don't take this color at all
09:26 and immediately shade it in purple,
09:29 it will still be dirty.
09:31 And if I don't take orange at all,
09:34 but take the primary color,
09:36 then this one will work out directly in the shading.
09:41 And what about this side?
09:43 What color do you need?
09:45 One.
09:47 Exactly the same. One.
09:49 Blue or blue.
09:51 One.
09:53 I want to shade with yellow, purple.
09:55 I need one blue.
09:58 And the darkness of blue,
10:00 or the brightness of blue,
10:02 or the lightness of blue,
10:04 what will it depend on?
10:06 I want to shade in purple.
10:08 But it depends on what kind of purple I have.
10:11 I can have light-purple,
10:13 bright-purple, dark-purple.
10:15 Or depending on where it is.
10:17 This transition.
10:19 What I want to create with depth.
10:21 Volume or depth.
10:24 Depth.
10:26 Also, for example, here.
10:28 From yellow to purple.
10:30 I can use dark cherry, bright raspberry,
10:32 and I can use pale pink.
10:34 Yellow to pale pink,
10:36 and pink to purple.
10:38 It can be quite a transition.
10:40 Or yellow to dark red raspberry,
10:43 and only then purple.
10:45 So it will be brighter and darker,
10:47 and there will be more depth.
10:49 Through pink it will be much softer.
10:53 So we can take a lighter color.
10:56 You can take a lighter blue.
11:00 For example, if I will combine these two colors.
11:06 These two colors.
11:08 Through this blue.
11:10 I will have a smooth transition in shape.
11:14 If I take a blue here,
11:17 darker.
11:19 The transition is smooth,
11:22 but the area of the dark will increase.
11:25 And green will appear.
11:28 A brighter green.
11:30 And if I take a light blue.
11:33 Then there will be a fairly clean shade here.
11:38 I have a purple, blue,
11:40 and here a shade will appear.
11:43 Not a light green, but a more mint color.
11:47 And a shade will appear.
11:50 And what changes from this?
11:53 Volume.
11:55 I have more volume or failure.
11:58 From what I took for the transition.
12:01 Primary blue sector,
12:04 but darker, brighter or lighter.
12:07 This changes the volume,
12:10 because the area of the dark or light changes in percentage.
12:15 I either increase the area of light or dark.
12:19 The darker, the deeper, the lighter, the more volume.
12:23 Depending on where you have this transition.
12:26 And what to do with the eye.
12:29 But the most important thing is that combining these two colors,
12:33 at least one primary through which you can not step over.
12:37 And everything else is in the presence of area, time and cosmetics.
12:43 That is, in any case, without the primary you can not do without.
12:47 Still, you need to have them.
12:49 If you want to combine these two colors,
12:52 then you still depend on the primacy of shades.
12:55 Well, the donuts brought you?
12:58 We have a new topic today.
13:01 How smoothly the colors turn into gray and brown.
13:05 Yesterday we analyzed how they turn into white and black.
13:09 And in one case and another there were their difficulties.
13:12 We have a new circle.
13:14 The transition to brown and gray.
13:16 Here is the central circle,
13:18 where the colors are absolutely clean,
13:20 without adding anything.
13:22 Neither white, nor black, nor gray, nor brown.
13:25 At the same time, the primary colors are highlighted separately.
13:28 To the center - the transition to brown, to the edge - the transition to gray.
13:32 What is common in these two shades?
13:34 In brown and black.
13:36 And both colors are dull, dirty.
13:39 The general understanding is that if white brightens, black darkens,
13:44 then these colors lose brightness and purity of color.
13:49 Both kill it.
13:51 Brightness and purity.
13:53 Due to this, this central circle,
13:56 the feeling that it is the most dull.
13:59 The feeling that here the volume goes to the center,
14:03 in the pressure in the middle of the circle,
14:06 and again in the pressure from the edge of the circle.
14:09 This is already visible even on the print itself.
14:12 What does it mean?
14:14 That both due to the fact that brightness and purity of color are lost,
14:18 remove, deepen the volume.
14:21 This is very suitable for makeup.
14:24 Because yesterday, doing the layout through black,
14:27 I repeated several times that black is very bright,
14:30 very impulsive, very contrasting.
14:33 And with the same color code through gray or brown,
14:36 I can achieve the same depth,
14:38 the same failure, the same distance,
14:41 also remove the problem,
14:43 but at the same time not jump over the contrast of the girl.
14:47 That is, given her own contrast,
14:50 her color code,
14:53 I can achieve the same effect of solving the problem,
14:56 but not overshadowing.
14:59 This is a huge plus of both gray and brown.
15:02 That is, the general characteristics of gray and brown,
15:05 both colors lose brightness.
15:08 They kill the brightness and purity of color.
15:11 Due to the loss of brightness and purity,
15:14 there is a deepening.
15:17 That is, we change the volume,
15:20 we remove it,
15:23 we can remove all kinds of problems
15:26 and build a good shape.
15:29 This is the general thing.
15:32 Now, what is the difference between them?
15:35 Gray and brown.
15:38 Gray is initially a de-brightening.
15:41 That is, we leave the color,
15:44 lowering its purity.
15:47 This is how you switch to the mode of the Chibi on the phone.
15:50 Smoothly.
15:53 Smoothly, we switch first to the Sepia,
15:56 then to black and white.
15:59 And brown is a saturation of other colors.
16:02 Because black and white
16:05 in combination gives gray.
16:08 Gray is a mixture of black and white.
16:11 But there is no other shade.
16:14 That is, gray does not enter the color wheel at all.
16:17 And brown is a saturation of other colors.
16:20 That is, black and white is a mixture of black and white.
16:23 And brown contains all three colors.
16:26 Therefore, it is more colorful
16:29 and has more to do with the color wheel
16:32 than gray.
16:35 If gray is a loss of color,
16:38 then brown is the acquisition of another shade.
16:41 This is an addition of color.
16:44 I do not take away the color,
16:47 but add another.
16:50 You need to feel this difference.
16:53 Because it is colossal.
16:56 Due to this, many people confuse
16:59 that if you mix all the colors,
17:02 there will be gray.
17:05 No, there will be no gray.
17:08 If you mix all the colors, there will be brown.
17:11 There is a huge difference between gray and brown.
17:14 Gray is much cleaner and colder than brown.
17:17 Gray is more bright than brown.
17:20 Just compared to brown.
17:23 Of course, compared to pink or green,
17:26 gray loses.
17:29 Brown is the deepest color
17:32 due to the fact that it is more dirty.
17:35 It turns out that by adding gray,
17:38 I take any color into the cold.
17:41 Any color becomes colder and more muted.
17:44 By adding brown,
17:47 I make any color dirtier and warmer.
17:50 By adding brown,
17:53 I make any color dirtier and warmer.
17:56 By making a transition through gray
17:59 or brown, I get different effects.
18:02 If I take two warm colors,
18:05 warm light green and warm pink-peach,
18:08 but I will shade them through gray,
18:11 there will be a feeling of softer,
18:14 pastel, but cold makeup.
18:17 Or if I take cold colors,
18:20 even cold purple with cold green,
18:23 but I will shade them through brown,
18:26 there will be a feeling of dirtier and warmer makeup.
18:29 By adding brown or adding black or gray.
18:32 Both remove and deepen,
18:35 but in different ways.
18:38 Black will give maximum contrast,
18:41 gray will not give such a strong contrast,
18:44 but will make more pastel,
18:47 muted, cold.
18:50 Brown will make more dirty,
18:53 warm, soft.
18:56 And we can make a choice
18:59 due to the type of color the girl is,
19:02 whether she is warm or cold.
19:05 In adult makeup, only warm shades are needed,
19:08 because cold shades cannot be added to the skin.
19:11 I should finish with warm colors,
19:14 and inside, maybe even gray.
19:17 It will still be just distant.
19:20 If she is an adult, but at the same time
19:23 she is clearly gray,
19:26 it is quite possible to transition through gray.
19:29 But it does not mean that I will add gray to the skin.
19:32 It is better to shade directly into the skin.
19:35 Just take and shade,
19:38 because when it is tightly laid, it lies beautifully.
19:41 When it is shaded into the skin,
19:44 it turns out excessive grayness of the skin itself.
19:47 This is what we want to get rid of,
19:50 from excessive grayness and disease.
19:53 And here, when shading into the skin,
19:56 we give a colder, more painful shade to the skin.
19:59 The makeup can look very beautiful,
20:02 but for this we need gray-pink,
20:05 gray-peach, gray-orange shades,
20:08 which we can finish the makeup with.
20:11 Let's say, gray in the crease,
20:14 and in the temporal part I took a more muted shade.
20:17 I have a blouse now, what color is it?
20:20 It is an orange shade, but light gray.
20:23 The original color is very warm,
20:26 but it is with a white-gray highlight.
20:29 Both white and gray make it colder.
20:32 And with this color I can finish
20:35 both warm and cold makeup.
20:38 I can take warm into this color
20:41 and transfer it to the skin tone,
20:44 if the skin tone is cold.
20:47 And I can transfer gray-cold color to this color
20:50 and transfer it to the skin tone, if the skin is warm.
20:53 It depends on what you polish and polish.
20:56 What else?
20:59 Gray color is a combination of white and black.
21:02 And we said yesterday that white makes it colder,
21:05 black does not make every color colder or warmer,
21:08 but some colors make them warmer,
21:11 and some colors make them colder.
21:14 Let's say black, how did it affect yellow?
21:17 Colder, grayer, dirtier.
21:20 Orange is even dirtier and warmer.
21:23 Blue is warmer,
21:26 but it is not so much warmer than black.
21:29 Gray contains both black and white.
21:32 And we remember what we said yesterday
21:35 that black contains blue pigment.
21:38 Accordingly, gray also contains it.
21:41 So gray affects any color
21:44 as well as black will affect it.
21:47 And blue, too.
21:50 So yellow will turn gray
21:53 and turn green.
21:56 And it will turn green even more than black.
21:59 This gray-green shade is much colder.
22:02 Yellow turns gray and turns gray-green.
22:05 And of course, orange,
22:08 when it turns gray,
22:11 will be muted,
22:14 as if beige-brown.
22:17 Many people ask,
22:20 what is gray-orange?
22:23 It is beige, but in fact it will be beige,
22:26 because when it turns gray,
22:29 it starts to get dirty.
22:32 It is difficult to imagine how gray-orange,
22:35 gray-red, gray-yellow look like.
22:38 It is much easier to imagine how gray-blue,
22:41 gray-orange, gray-blue look like.
22:44 They are cold colors
22:47 and they are easy to get cold.
22:50 They are close to blue.
22:53 You can imagine gray-blue
22:56 or gray-orange much faster.
22:59 And the opposite situation is with brown.
23:02 Brown is, on the contrary,
23:05 saturation of color.
23:08 Brown is a warm color.
23:11 It is easier to imagine warm shades
23:14 when brown is used.
23:17 For example, yellow-brown,
23:20 red-brown, orange-brown
23:23 is easier to imagine than purple-brown
23:26 or blue-brown.
23:29 It is very difficult to understand
23:32 how blue-brown shade looks like.
23:35 It is logical that gray contains blue
23:38 just like blue.
23:41 What else is there in brown shade?
23:44 How can we imagine it?
23:47 Brown is a mixture of all three
23:50 or addition of the opposite color.
23:53 How does the color go smoothly in brown?
23:56 It is when the opposite color
23:59 begins to gradually enter.
24:02 For example, green.
24:05 This is the same green with red pigment.
24:08 It has not yet become brown,
24:11 but it has become more brownish.
24:14 This is an addition of color.
24:17 Even more brownish.
24:20 And then it will go more neutral brown,
24:23 and then it will go red.
24:26 Brown shade.
24:29 Red with brown pigment
24:32 is not pure red,
24:35 but red, which contains
24:38 part of green-red with brown.
24:41 How can we make brown stain?
24:44 We will now collect gray.
24:47 Gray is not an addition of the opposite color.
24:50 On the contrary, we remove the color,
24:53 reduce its brightness and add gray.
24:56 The opposite pigment does not enter there,
24:59 but the brightness of the color comes out.
25:02 And at the same time,
25:05 we need to remember that
25:08 all the gray shades are cold,
25:11 all are muted, dusty, pastel,
25:14 powder, they can be called in different ways.
25:17 Ash.
25:20 Let's say I have gray colors.
25:23 This color.
25:26 It is easiest to determine which one.
25:29 Gray-blue.
25:32 It is much faster to distinguish.
25:35 This is already gray-green.
25:38 But which green from the color wheel?
25:41 The first impression is that it is just green.
25:44 But in fact, it is green,
25:47 which is much warmer.
25:50 It is almost yellow.
25:53 You need to remember that
25:56 it seems to you that it is pink-purple,
25:59 but it will be just pink.
26:02 But due to gray, it became much colder.
26:05 It is not this green.
26:08 It is clear that it has more yellow.
26:11 If I introduce this color into gray,
26:14 I understand that it will become more green.
26:17 But it is clear that it goes in blue.
26:20 The same confusion.
26:23 Let's say these colors.
26:26 Let's say gray-pink.
26:29 Someone may think
26:32 that this pink is more lilac.
26:35 The first impression is cold pink.
26:38 Cold due to gray.
26:41 This pink is not from here.
26:44 It is much higher.
26:47 This pink is closer to coral,
26:50 to pink, to red.
26:53 Higher.
26:56 The more gray, the more it feels like
26:59 it is yellow.
27:02 I put it on gray and it is clear that it is yellow.
27:05 I introduce it here.
27:08 It is in this sector.
27:11 It is a warm color.
27:14 Warm red.
27:17 Red with orange.
27:20 If you make it white, it will be coral.
27:23 That's all, Maxim.
27:26 Try to find a complex color
27:29 of gray-orange for me.
27:32 It will be more dirty,
27:35 because in gray there is a lot of gray.
27:38 And in black there is blue.
27:41 It will be a beige-brown shade.
27:44 You took the yellow-orange one.
27:47 While we have a minute,
27:50 the question is why the yesterday's broadcast
27:53 is not open to the address.
27:56 Although, in fact, we do not know why.
27:59 And when there will be sales,
28:02 the color circles and where they will be
28:05 on the website of Ludovic Brushes.
28:08 They will be necessary.
28:11 I hope that soon enough
28:14 they will be in a large format,
28:17 small and possibly electronic.
28:20 It is.
28:23 Only now you have typed more yellow-orange.
28:26 This is more like.
28:29 You typed brown, not gray.
28:32 This is more gray-orange.
28:35 These two are closest.
28:38 Tell the client that it is orange.
28:41 Do not tell, why?
28:44 And it is with this color
28:47 that it is very easy to connect gray with leather.
28:50 And it is very easy to connect gray with leather.
28:53 And it is very easy to connect gray with leather.
28:56 And it is very easy to connect gray with leather.
28:59 To avoid getting dirt.
29:02 You did gray makeup,
29:05 took one of these colors
29:08 and stained them in the skin.
29:11 Because the color itself is very complex
29:14 and very soft will not enter the skin
29:17 these gray dirty spots.
29:20 But you will not finish orange in the skin,
29:23 if you have a very soft orange.
29:26 Orange is gray.
29:29 And it is easier to buy this color
29:32 to which you will connect.
29:35 It looks like 22, right?
29:38 It looks like 22, but it is very soft,
29:41 not quite gray.
29:44 It looks like 22, but it is very soft,
29:47 not quite gray.
29:50 And it is very easy to connect.
29:53 And it is very easy to connect.
29:56 And it is very easy to connect.
29:59 And it is very easy to connect.
30:02 And it is very easy to connect.
30:05 And it is very easy to connect.
30:08 And it is very easy to connect.
30:11 And it is very easy to connect.
30:14 And it is very easy to connect.
30:17 And if the yellow color does not go away,
30:20 then it is already a yellow-orange sector.
30:23 And if the yellow color does not go away,
30:26 then it is already a yellow-orange sector.
30:29 And if the yellow color does not go away,
30:32 then it is already a yellow-orange sector.
30:35 And if the yellow color does not go away,
30:38 then it is already a yellow-orange sector.
30:41 And if the yellow color does not go away,
30:44 then it is already a yellow-orange sector.
30:47 And if the yellow color does not go away,
30:50 then it is already a yellow-orange sector.
30:53 And if the yellow color does not go away,
30:56 then it is already a yellow-orange sector.
30:59 And if the yellow color does not go away,
31:02 then it is already a yellow-orange sector.
31:05 And if the yellow color does not go away,
31:08 then it is already a yellow-orange sector.
31:11 And if the yellow color does not go away,
31:14 then it is already a yellow-orange sector.
31:17 And if the yellow color does not go away,
31:20 then it is already a yellow-orange sector.
31:23 And if the yellow color does not go away,
31:26 then it is already a yellow-orange sector.
31:29 And if the yellow color does not go away,
31:32 then it is already a yellow-orange sector.
31:35 And if the yellow color does not go away,
31:38 then it is already a yellow-purple sector.
31:41 What is it? It is gold.
31:44 It is gold in purple purple through silver.
31:47 It is difficult to imagine how it is possible
31:50 to dye gold in silver.
31:53 It is easy.
31:56 Gold dyed in silver looks very beautiful.
31:59 It is necessary to understand how it will affect.
32:02 Silver, going into purple, looks quite clear.
32:05 Silver, going into gold, looks quite clear.
32:08 Silver, going into gold, looks quite clear.
32:11 The combination of yellow with silver
32:14 will be a greenish pigment.
32:17 It will be a cold white-green gold.
32:20 It will be a cold white-green gold.
32:23 It turns out that warm gold
32:26 will have a cold green-golden tint.
32:29 And cold purple, a smooth transition.
32:32 And the gray in the middle will not be visible.
32:35 It will remain cold,
32:38 but the effect will be a metal-transferring.
32:41 It will be a feeling that these are very fashionable shadows
32:44 that are so beautifully transferred from incomprehensible
32:47 greenish gold to lilac.
32:50 But in fact, you just put silver between them
32:53 on a moving wick.
32:56 Of course, this can be built and poured.
32:59 But it is necessary to pour silver into the fold.
33:02 Although now it is done in a fashionable way.
33:05 Think about it, Vika,
33:08 it's okay.
33:11 Thank you.
33:14 .
33:17 .
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