Seascape Oil Painting with Stuart Davies

[Music] hello and welcome to my video uh i haven't started without you the reason i've got this paint on here is um to stop my camera going in and out of focus now i know people have said all you have to do is set it to manual focus um now this camera um is quite well it's it's a big sort of new sony thing and it's got lots of buttons and pulleys and knobs on it and whistles and um quite frankly i've figured out how to do them it sounds silly doesn't it i haven't figured out quite yet how to do the manual settings so um but the fact that i've got this on here should mean that that will stay in focus so let's hope so anyway what i've got here is some of this this is payne's gray royal blue paint gray there's some phthalo blue there which i haven't used yet and there's down the bottom here there's um red ochre and alkyd i like alkyd at the moment so what i'm going to do is paint a seascape um something sort of from my mind but i have to admit that i do like turner william turner he knew a thing or two about seascapes now i have painted seascapes before when i was much younger i painted a few for a company which produced legal fakes for people who had a lot of money and wanted something on their walls i guess it was in yuppie time when everyone was dot-com millionaires that sort of stuff so i would paint um realistic dutch seascapes i'll stick one on the screen in a moment so you can see the sort of thing the sea that you'll notice in the picture is like a mirror it's dead flat i'm not a big c painter i'll have a go on this one see what happens but um it could be interesting anyway so it's a it's a little bit freehand well it's all freehand isn't it really um i i want to produce something that gives the feeling of a turner type sky and basically he was when he painted skies he just let rip he just did what he wanted you know sort of all the colors under the sun and um he would put yellow in the sky and he would put reds now the problem with putting yellow in the sky when you have blue you've got to be a little bit careful because you'll make guess what green and um as much as i like green i don't particularly want too much in my skies so i'm going to i'm going to put something i'm going to put a shape here of some kind of cliff very rough at the moment so it's a sort of it's it's going to be a little bit um tempestuous i suppose because that's what i like i don't like flat paintings that don't have any feeling in them i mean if you're just going to record a seascape or you know whatever mountain lake scene um quite foreboding i want to get more foreboding in a minute let's have a little bit of something there who knows what it is don't know it's just a bump it's a bump at the moment until it becomes something else so there's a roughly horizontal line about horizontal as i'm going to get it and it can always be changed and adjusted as you go along so this is this is really just getting a feel for what might happen as i said i like i like turner i think i've looked at pretty well most of the turners that were ever painted and believe me there are lots thousands and thousands and um they all you can tell a turner because he's because of his skies they're just so monumental and majestic it's difficult not to know um and the reason he got the way he got that effect is i think is a lot of it is to do with a he was he knew he was doing obviously and b he he was a fast worker he probably painted in explosive sort of gestures which to my way of thinking works if you if you pick a way at a painting you know tickle tickle tickle here tickle there you're going to end up with a painting that looks tickled it's not going to have the sort of it's not going to have the pizzazz and the drama that you would want in a in a turner type painting i'm going to put a bit of color here which will represent the beach now it won't stay this color because as i said i don't want just a plain old sandy beach looks a bit plain old and sandy at the moment but we'll change that um the water i think let's have it so the water is going to come across this way but it's going to eat into there as well so let's just get some just get some tones on this going by the amount of turner paintings i've looked at if you don't if you don't know who i'm talking about by the way it's william um turner um he um i'll give you his full name in the on the screen uh it's worth looking at his work you may like there may be some of it you don't like and then maybe something you really think is really amazing what i find interesting is how his style changed as he got older it went from tight to and dramatic obviously very dramatic it went from tight to interesting uh to exciting as he had the um as he aged and has as his style matured just gonna soften this line here just a little bit it's good right and i think i'm going to put a little bit more sorry about the floor creaking i live in a very old french house and um it creaks i'm going to put some dark in the beach here if you put the dark in at the beginning of the painting then you can add the light as you work through so for instance if i let this area here dry with these dark bits later i can add light bits to them when it's dried off and it won't get um too disgusting and muddy and you really don't want a disgusting and muddy painting um the other thing i might i might do is just a little bit of red ochre in there as well because you get stuff you get stuff on beaches but you might get a line of discoloration as it comes across here which could be it could be seaweed who knows but anyway whatever it is i'm going to put some of it there i'll i'll look up whatever it is later on google now then um so that's got some nice interesting tones and textures okay so back to the sky my favorite part i'm just going to get my brusher wipe in case you're new to my channel i don't use turpentine i'll use the same brush pretty well all the way through up to a point i'll only use two brushes and um to clean it i just wipe it to get the paint off i don't mind if i leave some of the color on there because it will get lost it'll get absorbed in the um other colors and actually it's it adds patina to the which is if you can look up the word patina you'll understand it adds an interesting texture and color variation to your painting so i've got a piece of paper here and i'm going to start poking around on this like for instance if i want drama in the sky there's no point having this and this color next to it without any variation so what i would probably do is get a bit of light just there you see what happens it starts to um starts to excite the eye now some of you may not think that this is exciting everyone has their own definition of exciting some people may say if you think that's exciting you need to get out more well i can only agree on that but i think we'd all like to do that at the moment all right i'm going to push some color along there they've got a little bit of white there i quite like that i'll leave it for now i'm sure i can use that later on up here is just white board and i'm probably going to um i'm going to have to think about how how much drama and mayhem i want to get into this picture so i'm going to i'm going to sort of just be a bit bold now a lot of people think i'm crazy when i do this but red ochre which is basically brown who would put brown in the sky well i would because quite frankly it's a reddish brown let's have something over there and just push it into the color near the horizon don't forget if you're looking up turner or i've looked up turner in the last few minutes you'll understand why i'm doing this there we are nice bit of red there i see i've got a little bit of flair from my lights so i might just adjust the light quickly well i've adjusted the light a little bit um i have to point out something here i live in a as i said a little well it's actually not that little but a french an old french house and it is i have to say the hardest house to light if you're photographing something or painting something it is not an easy house to light um because of small windows south facing so when the sun comes in the window it absolutely belts through here so i've got the shutters closed um and i've got a i've got a light over that side there which is uh an led thing um and they're quite ferocious you can turn it up and down a bit but it's a very as i said a very difficult house to light so um bear with me if you've borne with me up to now thanks uh right let's carry on then let's see what we can do i've got um this is the alkyd that i'm using almost through this bottle wonderful stuff really like it and it is it there are if you look it up on the um on the web it's it can be toxic if you don't uh ventilate your room a little bit but then i think that goes to pretty well everything okay so this is as i said this is brown putting brown in the sky i am obviously completely nuts and how we're doing here let's have a look so the sea right here we have a rock i'm going to put some texture in the rock there we have the sort of beach type thing which i'll be working on it's maybe a two-parter i'm not sure really i've been doing quite a lot of two-part videos lately and i'm not sure that people really like them that much i get i get uh people saying oh yes i'll come back and look at part two but i don't know i think it's more of a satisfying experience for people to see everything from start finish i'm just going to lift that line a little bit there it was drooping and i don't want a drooping line a drooping line on the edge of a picture will make the eye literally follow it and drop off and i don't want that so anyway um okay what else should we put in here tell you what i might try i wasn't planning on doing this but as you as you'll hear especially for you i'm just gonna try and negotiate getting over all my wires to get to my table where the um where the paints are this is not something i use much i don't mean the table i mean this color just doing a bit of a balancing act here okay this color this is um primary yellow and uh i'm not a big yellow fan however that light is driving me nuts let me see what i can do right that's much better why didn't i do that in the beginning oh well okay so yellow you see now yellow is not a color that i am naturally drawn to however turner did put it in his skies and if it's good enough for old bill i'm gonna have a go and if it goes wrong as i'm sure you know by now if you are one of my followers it doesn't matter this is one of the things that makes people paint well get this get the right attitude if you're into um detail fine that's okay be careful obviously you would have to and i've done it in the past i've done i've done enough detailed work in the past to know this and uh i don't want to do any more that was all part of my previous existence as a commercial artist some of the detailed stuff i've had to do has been painful so this is why now that i'm of a certain age living in france painting landscapes for you that's um painting is my joy and i like to do it the way i want rather than as a commercial artist having to do what other people want this is i've mentioned this before actually and it's absolutely true you know i i just want to in fact i'll tell you what this is interesting because people say oh will you do a commission for me well no no i don't do commissions anymore when you're a commercial artist you are spending your life basically doing commissions because you're doing what everyone else wants and um it's just not for me being there done that got the t-shirt so i'm going to um do as i like now so um what i was saying earlier about using just two brushes this is the other brush that i'm going to use this is my big sky brush and you'll see what happens when i use that in a moment although i have got another one of these spare sitting here just in case i want to do anything with some white so this is my main brush the one i started with that's what all this has been done with so i'll keep that there this is just for as i said tickling a bit of white and this one is the one that gives the magic effect which i'm going to show you now because i want to flatten some of the sky down a bit at the moment it's covered in brush marks now that wouldn't have that wouldn't particularly worried william turner but um it worries me a little bit i quite like brush marks but i don't want too many so all you do is you just skim this brush that way so this is the bit that's contacting the side so i use this then i turn completely and use that side don't use the tip the only time i'll use the tip is to smudge something and then go over it if there's something that looks too strong then i'll smudge it with the corner and then then blend it with the side so here i'm just going to soften that a little bit not too many swipes and then a wipe and more paper and along here just from there at the moment up and basically i'm doing all different directions i'm doing like a cross and then diagonals so i go like that like that like that like this and you sort of get into the rhythm and you can produce some very interesting skies doing this you notice possibly how i'm being very crafty here i said that i'm actually painting a seascape but i have to admit to this what i'm really doing have i started the camera again maybe i'll just double check this oh yes it says it's recording what i'm actually doing is um painting clouds with a bit of sea underneath because my main passion i guess in painting is painting clouds i absolutely love clouds say something if you're really into clouds i mean not just i don't just like clouds i absolutely adore clouds i always have done and i'll tell you what i'm going to say is it takes a lot of discipline to actually drive my car properly without ending up in a field one of the really good things about france is that um if you go into the you know i mean i live in the rural area here it's very rural uh to the point where you can go for a drive and not see a car for 10 or 15 miles it's just uh just empty roads so you can actually use that to your advantage what i usually do though if i see something really nice is just get out the car and look at it okay so what i'm doing here i'm gonna start texturizing the cliff in a minute but i'm gonna i'm using this just to wipe out a few little bits of paint because i'm gonna be adding white to the sea and when i do i want to i don't want to be putting the white on a pile of paint what i want to do is actually knock it back so that i've got some this is just a stain here now that light bit but that's perfectly acceptable in a painting another thing i've said before is if you are painting a picture you don't have to have a mountain of paint you can in fact just have a stain literally just a tint it's still a painting it doesn't it doesn't sort of um it's not like cheating at all every artist in history has done this pretty well if it looks good keep it now in a minute when i get the scene however before i get the scene i'm going to do a little bit of work on the sky again but when i do get the cn what i'll do is to get perspective i will pull the sea it's going to be very calm no no crashing waves here maybe a hint of a crashing wave but it's just going to be lines to draw you in i'll use the line thin line of foam here just to lead you into the picture i want people to go here in fact i'm going to just explain something to you there are different compositions the main interest point usually in a painting above center to the right i could actually put the sun in there hiding behind the clouds okay that gives you one point to get you to that point and although you may not need it because it'll be if i do it it'll be bright is you have lines that lead you to that part of the painting so when i put my line of phone here that will lead you that way it can't lead you any other way because the c is over there it's going to lead you to the c so i want one point two points and then three points this will be another point here so bright bright line composition is fascinating not to everyone i'm sure that if i stood here and talked about composition for an entire video several people would pass out there would be snoring amongst you okay now here i'm using paper and the reason i'm doing that is because i want some shapes and lines that look like cliffory i want to show a bit of cliff so to show cliff you've got to show clifford and you can give the illusion of rocks quite well this is all done in a bit of shade here but i can i can just using my fingernail through the paper i can do things like this to get the effect turner would have done things like this they know this for a fact you look at his paintings it's not all brush marks some of it is like he's used horse hair or cloth all kinds of stuff they even apparently he used to use snuff if you don't know what snuff is if you're very very young snuff is ground up tobacco and people used to put it on their hand i think it was somewhere around here and then they would sniff it they'd snort this powdered tobacco and i think it made people sneeze i can imagine that it would actually um let's just have a bit more light there and snuff um is basically the same color as sort of yellow ochre this color here now i know that from first hand experience because when i was about seven or six years old somewhere around there i had a an aunt and she had a friend an old lady so this is going back a bit so this woman would have been born in victorian times certainly in the late 18 you think she would have been probably born in about 1880 1890 and i remember her using snuff anyway so turner used snuff it was very fashionable back then and um to get some colors he used to spit snuff onto his painting and rub it in to try and get the color that he was after because of course things in those days were a little bit different from now you know we can go and we can go to the shop we can buy paint in a very convenient tube ready made all you gotta do is take the top off squirt it and off you go you know in the old days they had to make all their own colors they had to grind up the pigment and add it to oil and uh add any other things to it to to actually make it dry so they would put things in like um i think shellac was one thing or gum arabic all kinds of things and uh so yeah he he would do that so luckily i don't need to just a little bit of info there about turner i'm thinking of them in the future people have asked me about painting portraits now um i've painted lots of portraits and i've drawn more than i've painted um but i suppose in my entire life since i left college uh i i'm up to about 300 i think i used to really enjoy portraits but not so much now i'm you know more into landscape but i might have a go at doing a portrait or two there's one particular artist which some of you may have heard of and that's edgar degas french impressionist known for painting ballet dancers and racehorses and he was around the same time as van gogh and renoir and all the others got that bit of light looking right i think okay but his portraits if you again look up him on the internet they got d-e-g-a-s and look at some of his portraits that he painted they're really quite stunning and i think he um he never really wanted to paint portraits he wanted to paint ballet dancers and racehorses but of course when he started he had to do what made money and painting portraits was the thing you were wealthy photography was around then but if you were wealthy and you wanted a family portrait um you went off to a painter and you got painted whereas um of course now it's different you get a photograph unless the painter is extremely um well known it seems to be working in a circle and that's going back okay so i'm going to do a little bit of c work here not keen on that line there yet a little bit um a little bit i'm not sure you know it's a little bit and me how do i sometimes you can't explain things that you feel like this and this is going to sound really silly this is a little bit you know and i want it to be more wow you know have a bit of a bump to it so i'm going to get my umph brush this is my umpf brush a little bit of yellow on the corner then i'm just going to put in something there just to catch the light a little bit more yeah that's better okay right so beyond the c in a minute before i get there then i'm going to do a little bit of work just here where the beach and the cliff come together what you don't want is a hard line because there aren't any in nature you don't often get hard lines you might get a streak of light on the sea in the distance that look like a hard line but over here this sort of thing it's always good to sort of scumble the edge a bit put in some shapes there that the eye can interpret anyway well the brain can interpret in any way it wants if you do it if you do it reasonably slickly you can you can do things like this that don't require too much work it's just a touch and a little bit of movement with your hand and you can get a feeling of something happening in those dark dark bits there okay now then a bit more cliff work still not quite happy so i'm going to put i think we need something like that bear in mind that i don't want these to be these are not cuddly cliffs these are these are davis cliffs so they're going to be a little bit a little bit doomy as you can see this is them had it now going to just show you something here just to get into the sea a little bit so you get an idea what's coming later so i'm i'm really down to my last few plastic pallets i'm not throwing this away obviously this has still got paint on it that's viable so i'm going to just put that to the side for a minute and i'm going to get a palette knife this one and i'm going to get some white paint i'm going to start working through there to bring these three elements together sky water earth with a bit of a wave and i'm going to get some white paint okay white paint the color that is used mostly by pretty well all artists we all get through a lot of white and lovely stuff i mean look at that you could eat that i don't recommend it by the way don't eat it but it just looks delicious anyway so um here we go i'm going to do a breaker a distant breaker coming in from the sea the sea is going to be light and dark over here there's going to be a sort of wave thing across there i'm going to put some color there before i put the breaker on but i just want to sort of show you how how you can do this just a little hint of water just over there in the distance now if you're doing this and the palette knife gets to be in that sort of condition that dark bit down the edge it actually renders most of the paint on there as useless but i've just seen somewhere where i can use it and it's quite obvious really i'm just going to smear that on there because all i'm doing all i'm going to do here this is going to be very shallow water there so more clean paint it's on one edge of the thing it's not right across it's just on what will be the top edge so if i turn that around that way and use it it's on the top edge okay got that good and um let's see what we can do with this i think i think some of the water could be broken just here so it's just coming inland a little bit further like so almost invisible so again now i've got defiled paint so i'm going to put some more defiled paint on here nothing goes to waste okay i'm hoping that this will help the people who um see a seascape as you know maybe a cliff sky beach i mean all the usual components but they there's this thing where people do this curling rolling wave that's breaking onto the beach it is one of the hardest things to paint and if you start off thinking right that's what i'm going to do there's two ways it can go you can either be a bit of a natural and you'll just do it and it'll look great or you will find that you are struggling with something that will put you off painting for life so don't get into it too soon take your time i think find a find us a way of painting the sea that isn't quite so taxing do you know i don't like i don't like that flat top but i've got a thing about flat topped cliffs i'll be changing that in a moment in fact um i'll be doing it quite soon but i just want to get in my head what i'm going to do to the c and i think okay first of all before i go on c doesn't have to be blue you tend to get a blue c when the sky is blue it's obviously because there's a reflection now you're not going to get much of a reflection from that even though it's quite strong colors you may get some of this effect on the water and i won't put that in until the end but what i will do is just get a tone here again if you look at some of turner's seeds the last thing that he will use is blue he won't he just didn't do it um he wanted to get over the feeling of this of the sea being quite threatening so a lot of his seascapes funnily enough were painted so that they look as though they're done at night now i'm going to use payne's gray same as i used in the sky and royal blue and i'm just going to put in a dark c now how much am i getting in the way i may have to get in the way but i'll try and zoom in to that area after i've um started painting i'll do that digitally so that um i don't have to move the camera so one of the things about this video editor i've got you can just pick an area and then just zoom in now is that too bumpy on the top yeah it's a little bit bumpy i may smudge it down so that it's so stormy that you can't really see where the horizon is not sure yet that's quite a useful little trick you see i'm standing over on the on the left hand side of the painting i can't go over there because as i said the house is too small um but i need to be able to get to in a position where i can get this line without it being too bumpy okay that's reasonably flat for now okay so i'm just going to put some textures here and these textures are for me to cover in white i might stick a little bit of phthalo a little bit of phthalo blue in it nothing much just something to change the tones a little bit so this thing this cliff thing um same brush oh before i get to the cliff i just have another go with this thing here the um palette knife and i'm going to just demonstrate something how i can draw you in to that area and that is by putting a like a line along there notice how that sort of leads you up it's one of the oldest tricks in the book if you look at classical paintings there are certain things that artists seem to understand from way back for instance if you have a painting that has just lots of horizontals it's very calming if you have vertical lines you get a feeling of majesty sort of power if you have diagonals uh particularly you look at battle scenes uh classical paintings or you know the type of thing where you've got roman gods nymphs and naked ladies prancing about all over the place they have this angle which leads you into one and make helps the thing flow and it gives a feeling of drama so if you want drama diagonals you want majesty straight lines if you want calm horizontals don't overdo it though because it can look a bit um a bit contrived eventually you'll do it without realizing you're doing it now this this line here i want to strengthen that a little bit i want to strengthen there where it connects to that wave okay and then rather than just keep going if i just keep going there with that white by the time i get to here it will be gray and you won't see it so you've got to keep it clean so if you can see the palette knife there it's got gray paint on it i don't want that what i want is white so i'm going to clean it when i find so i'm going to put that brush okay clean palette nice bit of white and the waves could also could be some residue left here which comes down there now i'm keeping my eye on what's happening to the paint and it's still maintaining its color strength so i think that there could be okay now if i leave this although i won't because that's i want a bit more light here if i leave it soon and go and do something else or even come back tomorrow i can then add the odd twinkly bit of intense light in those toned down parts i hope that makes sense i'll try and do one here now so i've got um just check where we are okay so here we've got some nice toned down bits of color so if i just add the odd spot like that i hope hopefully i'll be able to zoom in and you'll be to see this so the odd little bit of intense white just there it may not come over very well but maybe you'll see it i want to connect this this line to this line now to do that i'm going to need some white and i'm just going to do some general that's not enough bit more i'm just going to do a little bit in there what's that looking when i pause and say how's that looking i'm not asking you i'm asking myself i'm looking in the viewfinder of the camera to see what what it looks like in the video because it's always slightly different than the actual painting the video tends to um enhance the um lights and darks of it all i have to say what i'm seeing in the camera is actually very like the painting so yeah that's good accurate representation now my mind is telling me the last time i saw a beach like this i could tell you exactly where this could be actually this could be south wales along the gower what's called the gower peninsula i have a memory of this place going back a long time i spent um i spent six weeks there when i was a very young man in 1976 england had i don't know whether it was the hottest summer they've ever had in since records began or certainly one of the hottest anyway it had a drought a severe drought the um pub ran out with lager and um anyway uh and i think a truck came around with some water i was staying with uh some relatives of mine um in a place called this is welsh okay clan to it major it's not doesn't sound very well except the land twit bit it looks like land twit but it's spelt double l a n t w i t maybe two t's i'm not sure but in welsh the welsh language when you have two l's together it tends to be pronounced as so slant with major and it was delightful it was i've enjoyed it and um one of those things i've never forgotten so there is a place uh down there it may have been it may have been a beach called boverton beach that rings about boveton beach it's a long time ago anyway but i remember there was this cliff like this which is why i've done that it's you know not exactly like this but um very similar i'm just gonna do a few little bits of something there i'm just scraping the paint at the moment now this flat top here let's see what we can do with that i don't know whether any of you out there have made your own painting videos like this but it's an interesting experience i normally when i paint i just have loud music playing and i talk to myself curse myself when it goes wrong sometimes not too much but uh it's quite strange painting and talking to a camera it's a bit weird actually i have to say okay so i want to change the top of this now the thing is about how things relate to each other this would be values you know if you have a window that's got a lot of light coming through it and you have a piece of white paper as the light hits the paper the paper's white if you hold the paper there with the light behind it white becomes black and this is what happens here if we have a bit of light sky behind this dark cliff you may see some detail down here but as it comes to the top like this it will appear to get darker because it's fighting against the light your eye can only do so much and you get this you get that effect and it's worth remembering that when you paint something so if there was green at the top of this in other words there's trees and foliage growing up there if you have a strong enough light behind them they're not going to look green they're going to look black or so so dark um it'll give the illusion of it being black doesn't mean say it is i'm sure most of you know that so yeah if i wasn't talking to you now i'd be i'd have music on some of it would be could be construed as lift music but i don't care i like whatever it is to be playing that evokes some kind of emotion even if it makes me sad i don't care because it's the it's the fact that it brings out something and um has has an effect while i'm painting let's put a few mysterious bits along the top edge of that rather than it just being a slope let's just put some bumpy bits yeah this is a technical phrase in painting if something looks boring add bumpy bits it's always good there we are that's been bumpy bitted right down to the where it disappears okay now right back to the c i think i've got my lines i'm gonna i'm gonna try and do something in here i will probably do a few more things to the cliff i just don't know what yet and i might leave it at this sort of level of finished for this video because i know for a fact this has been going on a long time and it takes it takes a month of sundays to upload to youtube i think the internet here in rural france is run on gas it is so slow on certain things i know that down the end of the road a couple hundred meters away they've laid fiber fibre optics so maybe one day if we get connected here maybe there'll be a faster internet but this one definitely runs on gas and if the pilot light goes out you're totally screwed so um but then again doesn't matter okay so there we are we've got a nice sort of foreboding bit of clifford the water what shall we do with the water well oh and i'll be going back to the sky in a minute but i wanna just get the water sorted out first how am i gonna do this well i've got my dark tones already in there i've got these light bits here i've got my bit of you know foamy stuff along the edge i might just break that a little bit and pull some of them back into the ocean just a little bit i want it to look mechanical so i'm going to pull that there and there okay that's sort of effective i suppose so same deal again palette knife bit of paint just on one edge don't want too much and over here let's just see what we can do let me have a little think how am i going to do it i've got to visualize crashing waves what do crash well they're not going to be crashing they're going to be gentle waves coming in okay that's the sort of sea that i tend to like so let's just put in a few bits here looks so wet i suppose feel what you're painting get the image in your head if you have to use a photograph do but don't just reproduce the photograph because i don't know how do i explain it if i painted a picture and somebody said to me oh it looks just like a photograph i would be mildly ticked off i think because that's the last thing i want i don't want to paint a photograph now i'm going to use my i did say beginning only two brushes but three i'm using this because i want just uh nothing on it all i want to do is just that but i want to do that with a clean brush not with a dirty brush if i decide to add some of these colors it won't be in this sitting because that needs to dry off before i do it for me not all artists some other some painters will just do it and they're just so good at it they'll make it look wonderful and um i know my limitations and you're not here to see me well maybe not maybe you are here to see me do it wrong so i can show you how to fix it but um i want to encourage you not to not make you laugh too much okay so i'm going to put another pool there and then i think i might leave that as it is quick look in the camera looks wet yeah it's okay right now the sky um before i sign off here and you if you're a follower of me you'll have seen this before this is quite a nice effect i won't overdo it on this one because um i don't think it needs it i mean i've got i've got my version of a slightly turner-esque sky but what i want to do is just have a little think have a little think of davis what should we do let's let's intensify the light just in here so i'm going to hint that the light is over there behind the clouds possibly so i'll just add a little bit of light in that sort of area not too much just a little if i can make it look intense i will turner used to paint uh if you wanted the sun he just paint an orange spot or a white spot or a red spot he he just went for it and um i've never been someone who wants to particularly paint the sun i like to paint the effect the sun will give when it's poking out behind a cloud but to actually try and paint the sun is i don't think it's the way to go really because you can't it's so bright you can't look at it so why paint it because it'll know you'll never match that kind of brightness so i would just go for something you know this is personal to me not everyone will do it um just to give the appearance of um there's a bit of light in there somewhere you know it's come from somewhere if you do paint the sun or the moon you can get away with the moon much easier and get away with the sun it must be complete and i emphasize it completely round uh if it isn't if it's oval or just slightly off it people will see it and they'll think that's a bit nice um just gonna just do that there okay so it doesn't look like much at the moment hopefully it'll look like something in a moment in a few seconds so get some of this paint off my hands uh and back to this the sky brush now this is clean i hope it's clean it's clean enough and all i'm going to do is this just a few back and forth now a few more in a second when i've cleaned this a little bit more okay so i recommend you look at some turner paintings you will you'll have a if you don't know his work um you'll have a better understanding of why i've made the sky this color sometimes in his paintings he would have quite a light sky with just dark clouds and he would just paint literally spots and um but he did it with such panache they just look right there we are i think i think i might stop almost there there's oh somebody asked me um i could have answered this somebody said um how do you know when a painting is finished and there are some uh interesting answers to that question there's quite a famous artist who came up with something oh maybe it was leonardo da vinci it might have been him someone someone as famous as that anyway and the the comment was um a painting is never finished it's abandoned and i can understand that totally there are paintings that i've done when i just walked away and i thought i've just had enough i've got to do something else like skydiving or something because you just get to the point where you think yeah what can i do nothing if i do any more to it i'll ruin it and you've got to know when to stop and i think i'm almost at that point with this one because i'm um i just get the nervous tick under my left eye that says back off davis go and do something else so there we are there's a bit of sky and i hope it's slightly ternary obviously i'm never going to match him the great man himself uh but it's sort of interesting anyway so there's a there's a quick seas well hopefully it's not too long but reasonably quick seascape i don't know how long it's been i won't know until i actually get it on my um video editor and see what it says about the time i'm going to just do one thing with this brush and that is to use the tip and i'm going to soften that a bit there not much just a touch okay i'd like to do more to the cliff uh but um that either will be it for this i don't know whether there'll be a part two maybe i'll i'll do a roundup of paintings later in the year and um maybe this will be one of those and i'll show you what it's like you know this stage and also what it's like when i um tormented it a bit more so i think we're there what else can i do i could tickle do you know i could tickle it for hours but i mustn't so i'm just going to add a few streaks of light just here i think just need something in there a few lumps on bumps what do we think i think that'll do okay well thank you very much for being here it means a lot to me um i'd hate to think i was standing here talking to myself uh i don't know how well none of us do nobody knows what's going to happen this year i'm glad last year is finished and i think this year if i'm teaching at all it may all be online now i've got this thing coming up i'm doing skype lessons starting on the 23rd of january i have one on the 23rd and i think one on the 28th i'll put all the details below anyway and if you want to be in a skype group um feel free to go for it it'll be interesting i think i don't think it matters how many people are attending these skype things for some reason i had in my head that 25 would be a good number but it doesn't really matter because um well it just doesn't matter so if you're interested in doing that there'll be a link below if you are one of my patrons on patreon um and you are contributing more than ten dollars you'll get the lessons free now that's for a limited time it will be it'll be changing um i don't know what the change will be yet but at the moment uh it'll be you know free lessons i think the normal price is going to be 25 and you get me for an hour uh no 90 minutes you get me for 90 minutes uh and you also get um we do a question and answer thing so you can ask me stuff and i promise to be polite um a few more marks just in there i think so that could be interesting so but you never know maybe the world will um suddenly get over this virus and everything will go back to normal if it does then maybe i'll have some teaching venues i'm not sure yet i really don't know i something tells me that the skype lessons could be quite interesting um the good thing about it from your point of view is that um you may see uh you know skype is notorious people use their webcam and skype basically you know the image is a bit chunky but this the camera that i'm teaching to at the moment which is this stonking great thing um will be the webcam so i think i hope the sort of detail you're seeing here hopefully will be almost the same on skype who knows we'll see but i i certainly didn't want to do it with an ordinary webcam because the whole point of teaching online is that you need to actually see clearly what i'm telling you and what i'm showing you so i was thinking to myself am i happy no because i'm a miserable stone so sometimes and i'm not happy so what is it that's making me not happy it's this there's not enough drama in that cliff now i know it's all dark and it looks so it's made out of something like carbon fiber or coal or something but it just hasn't got the right presence uh and i think it's just i don't know it's just too so anyway i can explain it so i'm gonna just sort of um make it a little bit more um a little bit more lord of the rings i think so i wanna i want to try and do something with this just to make that less um less of a sort of swoop like a swoop you know and um just put a little bit of a bump in it there and i also want to take this up to something a little bit more a bit more um i don't know just a little bit more presence i suppose how's that i've got a bit of presents i guess it has and i want to also um do something with the sky i want i got light over here uh and i think that works reasonably well it's sort of turner-esque but i think i want to bring a little bit of so the brush is quite dry i've really pushed the brush to get the paint off it here if i if i use the brush lightly up there i can darken this down i want a little bit more of a threatening sort of sky up there with just a hint of a hint of light there in in reviewing the um video on my video editor i've noticed um that i do get in the way a lot and some people say they don't care um well i do it's a it's a habit i'm trying to break i get uh too involved and uh i start out thinking well i'm over the i'm out of the way here you know but i'm not after a while because i just drift back in front of it and um one day i'll get the hang of it so anyway i wondered okay so apologies for that i i just think i want to darken the sky up here i want a little bit more i don't know what you call it apart from drama i hate to overuse that word but it's uh it's the thing that i like to get in my paintings so i'm thinking let's just darken it right down up here right into the actual mountain itself almost so that sometimes this is like possibly a fog that's covering parts of the cliff just make it a little bit a little bit more vague yeah sort of okay and i think even i've been a bit more darkness down there just a touch a tad okay this is just a little afterthought that i put in at the end i made i may put a few a little bit more little bits of um contrast actually in the cliff that light patch there i think it's too light i'm just going to tone it down a bit it only takes a touch of the brush to do that but it probably it may mean that i just need to get more structure in there you know a little bit more um yeah structure so let's have some dark bits here so what do we think it's a little bit more slightly bit more interesting even more darkness in the sky so i'm using um basically here um payne's gray pretty well straight from the tube have a nice bit of gloom up there it may find you may think oh my god he's a miserable so-and-so he always wants gloom in his pictures and darkness but i'm actually not i am i'm actually an optimistic sort of person it's just uh it's just my taste in paintings that's all yeah that's looking a little bit more a bit more mysterious i think there we go well i guess it's up to the um up to the individual i'm sure there'll be people out there who really don't like this sort of thing but hey ho a bit more structure there not a lot just a bit and i may even do a bit more over on this um in the next day or so yep so that's it for now so um hope you've enjoyed it and i'll see you on the next video bye for now again you

Channel: Stuart Davies

Views: 32,631

Rating: 4.9291553 out of 5

Keywords: How to paint, how to paint with oils, oil painting made easy, how to paint skies, how to paint sky, trees painting, landscape, landscape painting, joy, of painting, bob ross, volgov, stuart davies, art, william turner, constable, painting tutorial, voice, easy, instructions, simple, artist, clouds, grandpa, ufo, teaching, learn to paint, tonalist, tonalism, traditional, old master, how to paint trees, painting holiday, paint in France, Stuart Davies oil painting

Id: nRrltmYTSLc

Length: 69min 30sec (4170 seconds)

Published: Sat Jan 09 2021