Oil Painting tips and BIG ANNOUCEMENT! Yay!

[Music] welcome to this new video today I have put  together a video that I originally filmed for my   patreon that's patreon.com if you want to check  out my other content there but I made a video   recently that I posted there that I thought you  know what you know what my YouTube audience might   like to see this it's a short sweet video where I  went to the Appleton Museum in Okala Florida and   I took pictures of and filmed a bugaro painting  that's William bugaro Billy Boo and it's one of   my favorite paintings of all time one of my  favorite bugaro paintings in fact and I saw   it 20 years ago and it really inspired me it's one  of the big Inspirations for me to pursue this kind   of art making so I went again just a month ago 20  years later and I saw it again in all of its glory   and I took some images went home opened it up in  Photoshop and did a little bit of an analysis of   some of the things bugaro might be thinking about  as he made his paintings and these are things that   directly influence decisions I try to make when I  do my lowly attempt at a bugaro esque painting So   this might be of use to some of you I thought  it was interesting some of the feedback I got   was that people found it helpful so I thought I  would put it on YouTube For Better or For Worse   now because it was made for patreon the format's  a little bit different you don't get to see my   face throughout that might be a benefit some  of you might like this video already knowing   that this will disappear in just a few moments  but nevertheless the information the content   is there so I hope you like it but before I get  into the video I have a few announcements number   one I have a workshop coming up in 2024 I have a  couple but the first one is in March and it will   be March 18th you want to know where it's at  Edinburgh Scotland at the Edinburgh atellier   of Fine Art that's right I'm going to Scot  Scott's going to Scotland so you guys should   come you should join me we'll do some painting  together it's a Six-Day Workshop again that's   March 18th 2024 and for those of you that want  to just do traditional portrait painting talk   about natural flesh tones mixing all the things  you can take this Workshop we'll have two live   models you can do all of that with me but if you  go to the link in the description down below to   check out their website to check out information  and possibly sign up for this Workshop you will   see that we will also have the option of painting  the figure painting the portrait in fantasy attire   there is a certain inspiration that influenced  this Workshop a certain Space Opera from 1977   that I won't mention that I've done paintings  of even officially for books and you will have   the option of using your imagination we'll talk  about Concepts where you can observe the model   and change adapt and invent things from your  imagination so you can do a traditional portrait   or you can do one that's more fantasy oriented  and we'll do all of that together now I want to   mention and I'm not trying to sell the workshop I  get paid either way but they do sell out because I   don't do very many and spots are very very limited  you really the capacity is like 15 and a half   people if you're wondering about that half person  that final person to sign up has to stand halfway   outside the doorway I don't know what that means  but spots are limited there really isn't a half   person and I don't know what the capacity is but  it might sell out so please if you're interested   check out that link down below sign up sooner than  later that's the Edinburgh atellier of Fine Art   March 18th 20124 it's going to sell out quick so  please join me there I think we'll have a lot of   fun and if you don't want to go to Scotland you  can just you know I don't know why you don't want   to go but if you don't want to go you can go to  my website scotwood Elin art.com you can sign up   for online classes and just stay home and study  with me or you can get some of my downloadable   tutorials or again go to patreon.com which is the  origin point of this video enough sales pitch I'm   going to stop watch the video today I'm going  to take a close look at this boaro painting now   I actually just saw this in real life uh last  weekend and here's a video hopefully I have a   video that came out well I didn't check all the  footage but here's a video hopefully of this   painting it's at the Appleton Museum in Okala  Florida which is a random place to have such a   incredible bugaro painting not that they shouldn't  have it in Ocala but it's a forest essentially and   a very small town near the forest and there's this  Museum the Appleton uh which I saw this painting   the first time maybe 20 a little bit more than 20  years ago maybe really in one of the big things   that inspired me to take painting seriously and I  just went back and finally saw it again and it's   incredible and bugaro one of these artists that  just continues to amaze me uh the more I learn   and the more experience I get with painting I feel  like there's just a bigger and bigger gap between   what I can do and what I want to do and uh what he  uh did over and over and over again on what seems   like eight gajillion paintings but I thought we  could take a close look because if youve watched   my videos you know the things I try to achieve  and he captures all of those things that I try   so hard to do and he does it in a more subtle more  profound and More Beautiful way and I thought we   could look at it now this is true of any painting  and this is maybe more commentary on just you know   photographing paintings but you can sort of see  these different photos like this is a little bit   more what it actually looks like in terms of the  warmth and smoothness uh but when I zoom in I lose   some of that Clarity so I want to use this image  here which is a little bit more Stark and I was   just trying different settings on my camera you  know whether it was uh the sort of speed or the   uh exposure the balancing the white balancing  and everything this one has a little bit more   sharpness but this one captured the look a little  bit more so just know that it looks more like   this in terms of the warmth this might be a little  warmer than it actually appears but the smoothness   uh is in this image as well but this is one where  I thought we could this image is one where we   could kind of talk about the different things so  let's kind of look at the eye here and I didn't   really you know write a script or anything we're  just going to kind of talk about this casually   so first and formost the thing that captivates me  most is that uh the surrounding forms of the eye   are really really solid like this eye is built in  structure here's this form of the brow and it's   nice and full works up from here to around to this  side so this part under the eyebrow is conceived   as a part of that overall form up to this Shadow  edge here turns around to this dark light almost   Shadow here which this by the way feels relatively  plainer you have a cash shadow on the eyelid below   but you have sort of a lost found quality where  here's a chunk of cash Shadow here's a chunk of   cash Shadow and it becomes more subtle here so  you have it like really tuck in there becomes a   little bit more even here and then really tuck in  right there all extremely structural and extremely   satisfying I also just love the difference between  this and how this is a sharper turn and turns into   this more accented area here these are things that  I'm constantly pointing out in my critiques they   are things I'm constantly focusing on as I paint  and this is really where bugaro simplifies the   complexity of what he's seeing to these key form  elements and his Attunement to the light is so   profound that you can see here the very uh subtle  eyebrow just slightly darker in local value gets   a little darker here but then turns with the form  here you can see that the direction of the toughs   go this way and then change directions here then  widens out to this other shape here I do videos   sometimes on eyebrows and the different toughs  of hair and how they follow the form how they   follow uh the drop off of light and he does this  incredibly incredibly well and consistently and   he's always been really my main teacher for a lot  of that kind of thing he also really captures the   difference in how this form is shaped inside  here so this is relatively flat here and then   this bevels out also look how this one's different  right here this sort of conical shape is different   than this cylinder one and they slightly overlap  and how the ey tucks into it is different based   on that sort of interpretation then I love how he  see see see that edge right there see how that's   different and how this one tucks in there then  look how it gives way right here and you have   the way this turns right here is different than  the way it turns right here same thing with this   eyelid you have this part here and then you have  the fatter part right here right so there's a   difference between this and this he's feeling and  conceptualizing that difference color-wise we see   you know big differences here there's the higher  chrom in here I'd be painting that with a lizar   not sure what he would have used there we can  see a higher chroma right there than right here   so you have this shape of eyelashes you have the  shape of form turning in there and then you have   that cast Shadow from that over top the tear duct  look how simple he keeps that tear duct almost One   Tone he does the same thing here in this whole  area it's essentially the same you have the cast   Shadow and you have the Highlight these things are  incredibly uh simple clear and he was obviously   looking for those things as he painted we can feel  that eyeball underneath the surface obviously it's   bigger than that but the edges that we do see we  can clearly see it we see this part here all sort   of facing more towards the light and it turns back  look at the neutral versus the yellow versus the   slightly more pink though he doesn't go as Pink  as I often do but we can see the yellow areas and   we can see the neutral areas he is responding to  those things like crazy he also does that other   thing that I always talk about where he tries to  keep the actual edge of the iris relatively clear   but then he has that Outer Perimeter that's  a little bit softer and blurs into the white   of the eye he does something more than I'm ever  willing to he does his Iris texture he uh has it   go out in these sort of spokes you can sort of  see it uh he kind of has a Jitter to his tones   that he puts down that portrays that uh and he  also does something I do factor in when I try to   paint which is the outer perimeter of the pupil so  he does keep the pupil Edge sharp but then he puts   an outer perimeter of value that he softens into  it he might actually add that and then turn that   into the spokes that I just mentioned a moment ago  now he has the uh eyelid come up very very sharp   and clear against the eyeball I always try to do  that and then vary the gradiation within it so   here it's the fatter part and it gets redder here  it's sharper and then here it Scoops up catches a   little bit more light light but that highlight  right there sits above that edge right so you   have it as like this little bevel of moisture on  the eyeball right before that edge and he paints   that discreetly clearly and sharply another thing  he does is something else I try to do as well and   he does this you can see it on both eyes he uses  a staccato or broken highlight pattern here and   a little bit here to portray hairs that he's not  actually physically painting the most he paints   lower eyelash hair is right here there Thin  Line right there and what can maybe be looked   at as a cluster of hair right when it comes to  the upper eyelid he has this denser uh piece of   eyelash hair this piece right here it gets dark  right here it stays relatively sharp he loses it   right there and then he has a tough right there  here we see the darkness behind then we see this   part catching light we have a broken area right  there then we have a shape of eyelash right there   incredibly subtle it's very different than just  highly detailed sort of photo realism right but   it's meaningful you see even this tone underneath  on this lower eyelid that's more red because of   the transmitting light coming through he even has  a little Jitter right there on it let's see if he   has it over here a little Jitter right there  probably harder for me to make that argument   on that side but that also implies maybe there's a  hair follicule right here and you give the you get   the feeling of natural flesh you get the feeling  of eyelashes without without that being there now   look how he specifically paints this form he turns  right here there's an area right there where it   turns and then right here he stops that form and  then he has the transitional area out of it then   it gets a little convex again and then it comes  up to that edge very clear sequence of things   happening up to edges that are relatively clear  but he always does the intermediate part out of   it look how it joins right here look how it gets  more yellow he paints this form the inner tube   around that tear duct so unbelievably clearly  and it feels round all the way up to that edge   even though the value doesn't change a lot here's  another thing I'm always talking about and trying   to do on a much more primitive level than bugaro  but look how he has this value in this form ends   right there then he has it broken right there  and then he has the trace of an edge right here   and then he has this Edge right here gets a little  broken right there these things right there point   to this point to this point to this point to  this he's building an eye socket he's building   an eye socket right he's building it and you can  take it for granted but these tones all point to   each other they feel subtle because this highlight  washes over here this highlight washes over here   you have other little directional things happening  to a strokes but there's a conceptual structural   through line right this Crescent shape right  here right there he's building an eye socket each   and every time even when he gets textured he's  following the direction of the form look at that   how it follows there and he kind of glazes that  over scumbled it over this ruddier part right here   that has its own pattern so it's not just smooth  nauseating form which I tend to do rotated around   uh rolling around there it's stitched together  now look at this interplay here you get this   neutral right here you get this pink you get this  yellow and you get this more neutral highlight on   top of that this is the real color structure that  I often talk about you get the yellow you get the   pink you get the neutral and it's repeated over  and over again look at these little things look   at the little directional changes he follows the  cheek here he follows the ruddiness he follows   the cheek he follows the ruddiness one two one two  interesting pattern those are actually just cracks   right there in the painting look at how this  is conveyed look at how the filtrum is conveyed   he's actually pretty sharp right there but he's  following across the form there look how he'll   have a moment of a hard Edge there hard Edge there  but then an intermediate tone right there so there   it's more subtle we see that intermediate tone  right there look at that edge quality right there   look how specific that is is and yet it's this  that's soft so I'm always trying to look for that   sometimes in things that ostensibly seem soft just  they seem soft The Edge some edges are actually   still quite sharp in there and then the area just  above it might be what's uh softly Blended uh into   the rest of the form sharp clear this is what's  soft right here you can pick out the shadow shape   and those tones always clearly sharper here  Blended up this way lost the Highlight right   there comes back into play here so it's a game  of sort of seeing how things unify together and   then breaking them up but having that sort of  structure sort of underpinning it all the way throughout here for example look at this  he has this and then he has this so that   this and this like they don't meet exactly and  they don't connect but there's this feeling of   it squashing into the trapezius back there  look at how he controls his penumbra he has   it sharper here and then it gets softer here  the further this gets away from the casting   form look how he has this little diple of Shadow  right here separate from that with this little   space between gives it that texture everything  you can kind of feel like is kind of going with   these angles right like little angle changes like  The Strokes are uh sort of warping to the surface   look at the structure here of the clavicular  end of the sternal clom mastoid coming down   here you have this clear part here and then  this part here everything tracks anatomically perfect look how he's keeping this incredibly  neutral here it's got that sort of cool almost   greenish look against the warmer flesh tones in  anticipation of the hair which really arguably   doesn't start till there so there's this field  of anticipation before this hair here and it   makes it look so much more natural when he needs  a hard hair Edge he does it right he paints this   on top of it he has some of these kind of come in  a little bit harder over top but areas like this   are incredibly incredibly soft look at this little  Edge right there that points to this and creates   that that Bell shape that is mirrored on that side  the structure is just such an incredible part of   it and his tonal compression is so incredibly  tight so he doesn't respond to these things in   any kind of contrasty way but you can see the  mental through line of it structure everything   is connected in this deeply meaningful way and  so when I see this it just it blows me away   because I can track the thought process now just  because I've copied his paintings but also I've   attempted these things so much on my own and again  I look at his painting and it's the most humbling   experience humanly possible Right to look at this  and just see it so masterfully done over and over   and over again in a way that still adds up to  this painting that has impact across the room   like when you walk into the room you just it's  crazy the feeling it gives you from across the   room uh and that's something I really struggle  with you know I feel like some of these things   I'm talking about right now I can kind of touch  a little bit sort of in my own primitive way and   I I have moments of it but not to the degree he  does and they don't add up and hold up against   the room now I'm okay with how my work looks  you know and I try and I certainly feel like   I'm competent enough to teach or I wouldn't do  it because I feel like I have some ideas over   you know many years of doing this but I just need  to look at this painting I just need to track what   he's doing and it's a uh it's a it has a dual  purpose it's incredibly inspiring puts a lot   of fuel in my tank but it's also very humbling  and uh well gosh you just can't have an ego if   you're sharing the world with bugaro paintings  so anyway I hope that was kind of insightful I   know it's kind of a short episode but I thought  that it was kind of interesting to look at this   painting again after so many years and after the  experience I've had in those years and to sort of   see and Marvel at these things that just nail  what it is I try to do and I try to teach and   I thought it'd be really cool for all of you  to see some of those things with me so maybe   I'll do episodes like this again I've been going  to a lot of museums a lot more and so maybe more   things like this will emerge you know from other  artists as well and from other subject matters   than just portrait so hope this was useful  and I'll see you in the next video thanks bye

Channel: waddellwebisodes

Views: 15,880

Keywords: Painting, oil painting, how to oil paint, painting tips, old master painting, old paintings, traditional painting, bouguereau, bouguereau painting, 19th century painting, european painting, french painters, art museum, appleton museum, florida museum, how to paint portraits, portrait painting, painting faces, painting realistic faces, art, arte, art tips, art tutorial, painting tutorial, art lesson, scott waddell

Id: eYDG211dYDg

Length: 20min 32sec (1232 seconds)

Published: Thu Nov 30 2023