As requested by one of our Painting Companions - this boxed-set - TopicsExpress

As requested by one of our Painting Companions - this boxed-set available from #artworkshopwithpaul on #vimeo - Acrylics using Watercolour Technique - ‘Out and About with Paul’ - Big Burn Walks – Part 2 See also this complete boxed-set ‘Learn to Enjoy Painting in Acrylics with Paul Taggart [Series 1] – click here - vimeo/ondemand/artworkshopwithpaulacrylics1 TECHNIQUE & MEDIUM - in this start-to-finish tutorial, filmed in real-time, Artist and Author Paul Taggart demonstrates watercolour techniques exploited for use in acrylics. AS SUCH THIS TUTORIAL WOULD THEREFORE PROVE SUITABLE FOR WATERCOLOURS. As with all of Paul Taggart’s tutorials, this DEDICATED STEP-BY-STEP IS FILMED IN REAL-TIME – no editing, no time-lapse – PACKED FULL OF HANDY HINTS, TIPS, TECHNIQUES and so MUCH MORE ………… Part 2 and Paul Taggart now revisits the rocky cliffs of the gorge – with its ever-changing light throughout the day, the view has now taken on a quite different colour and Paul’s colour mixes are now altered to compensate for this. Continuing to work wet-on-dry, Paul switches to working on small areas to portray structure, movement and depth in the rockface – exploiting the techniques of ‘losing edges’ and ‘softening’ with blended brush-strokes to achieve the desired effect. Swiftly applied strokes help him to overcome any temptation to work in minute detail and fuss over the subject. AGAIN COUNTERCHANGE COMES INTO PLAY TO EFFECTIVELY ENHANCE THE BRIDGE As the layering technique used in this composition is one of working from light to dark – the typical watercolour technique – colour mixes become stronger as do linear qualities – BUT NEVERTHELESS Paul takes care not to become too strong too quickly – he is WORKING GRADUALLY THROUGH THE LIGHTS AND DARKS. As the afternoon draws on Paul is keen to start work on the rocks and stones that litter the riverbed before the sun disappears from view behind the steep sides of the rocky gorge. Reluctantly, Paul concludes that nothing more can be done on this particular day and as he has absolutely no wish to mar the painting, simply to complete it in situ; the decision is made to pack up his kit and continue the painting in the studio. THIS IS AN OBJECT LESSON IN THE IMPORTANCE OF MAKING THUMBNAILS and TAKING REFERENCE PHOTOGRAPHS – invaluable in working to complete this painting; which continues in the second half of this episode. As the layering technique used here is one of working from light to dark – the typical watercolour technique – colour mixes become stronger as do linear qualities – BUT NEVERTHELESS Paul takes care not to become too strong too quickly – he is WORKING GRADUALLY THROUGH THE LIGHTS AND DARKS. In the second half of this tutorial you join Paul settled down at his easel in the studio to work up the next layer on the foreground rocks, both above and below the waterline of the riverbed, along with the foreground pools and surface reflections; before moving onto enhancing the structure of the main boulders and rocks, finally rendering the emerald green mosses that blanket them. Here you will see Paul exploiting both restricted wet-on-wet and wet-on-dry to effect the required soft and harder strokes – learning as you go how to scuff and scumble, ‘lose’ edges and maximise directional brush-strokes. Watch as surface colour mixing comes into play. Having satisfied himself with the overall balance of the composition, Paul moves back up to the top of the painting, in effect working from back to front. Now he turns his attention to introducing more drama, more contrast to the steep rock walls of the gorge – this is achieved through adding more darks and accents. We hope you enjoy the vagaries of painting and filming this ‘Out and About with Paul’ – as both Eileen and Paul are stopped by passing visitors, who were intrigued to discover our presence, whilst enjoying their visit to this most popular of places to see on any tourist trip to the Northern Highlands of Scotland. SUBJECT – chosen for its compositional content of ROCKFACES/STONES/BOULDERS, MOVING WATER, REFLECTIVE SURFACES, one of many BRIDGES that span the ‘big burn’ and the SCULPTURAL QUALITIES OF COLOURFUL VEGETATION AND LICHENS/MOSSES; not to mention the FAST-CHANGING LIGHT CONDITIONS, STRONG DARKS AND LIGHTS, PERSPECTIVE AND VANISHING POINTS; Paul set up his easel at the bottom of a gorge in the Eastern Highlands of Scotland, known as the Big Burn Walks, outside the Sutherland village of Golspie.