The latest boxed-set from our video-on-demand account #artworkshopwithpaul on #vimeo - this six-video Masterclass was one of those requested by our wonderful supporters. Masterclass with Paul Taggart [Series 1] – Session 4 Subject : Reflecting on Longhope Sound from Paul Taggarts Awash with the RNLI Collection Medium : Oil Painting on Gesso Panel Size : 18½ x 10 (470mm x 254mm) Materials Used OIL PAINTS IN TUBES - Core Colour Palette of six primary colours - red-purple [Rp] : red-orange [Ro] : yellow-orange [Yo] : yellow-green [yg] : blue-green [Bg] : blue-purple [Bp] : plus Titanium White [Tw] : Underpainting White {Uw] : Zinc White [Zw] MEDIUMS – Alkyd Medium : Alkyd Gel Medium : Odourless Thinner : Household Turpentine BRUSHES – Oil Painters Bristle Round Brushes (various sizes) : Sable Round Brushes (various sizes) PALETTE – Oil Painters Wood MISC – Painting Knife SURFACE – WOODEN PANEL prepared with Acrylic Medium and Acrylic Gesso Primer AT EVERY STAGE WHERE PAUL IS FILMED WORKING AT HIS EASEL, you will see this in real-time. You will see every brush-stroke, every colour mix, every technique and pick up a multitude of hint, tips and methods; for Paul holds nothing back in his running commentary. You will learn much about Paul’s traditional oil painting technique of working from dark to light, using lean to fat paint mixes, featuring techniques such as tonking, glazing, tinting and more. If you are new to Paul’s tutorials you will soon come to understand that he holds nothing back, you are not excluded from the painting process, no secrets are hidden – this is your chance to properly share in a wealth of techniques, offered by someone who has been a professional artist, author and presenter for over forty years. STEP 8 – Second Overpainting Layer – Tints and Glazes With structure (impasto texture) and drawing complete, the painting is now quite naturally sharply in focus and flat in colour. Up to this point, depth has been sacrificed for modelling. It is now time to exploit tints to soften focus, with glazes manipulated to enrich the surface with colour and texture. Firstly, working as always from the top downwards, the distant landscape is extensively tinted from the sky down to the most distant outcrop of rocks. Coloured tints (using Zinc white)- colour mixes incorporating blue - are used to add depth over the distant buildings and around the boat. On the right hand side of the composition, purple and orange tints are used to obscure detail, whilst suggesting light caught in the moist atmosphere of the sea. Halfway down the painting, tints are replaced with glazes -- unlike tints, these do not have Zinc white added -- which mean the colour mixes are totally transparent and rich in colour. On the areas of weed and rocks that are dry glazes are applied deeply; being allowed to flow into the lower valleys of the deep impasto texture. On the smoother central pool of water they are worked into the surface. Overall, these glazes add warmth to this section, drawing the foreground towards us. With the tints previously laid causing the upper section to recede and the glazes of the lower section pulling the foreground towards us, the viewer is now drawn into the depth of the overall composition. STEP 9 (Sky & Distant Buildings) – Third Overpainting Layer The previously laid tints and glazes provide a versatile surface of colour and texture on which to develop more detailed layering of opaque colour. It is essential that this surface should not be overwhelmed with paint. Thus the final layers are applied as semi-transparent colour mixes; either through the addition of alkyd painting medium, or by thinning the layer in other ways, such as scuffing, scumbling, dry tinting and dry glazing. Working first on the sky -- semi-transparent pinks and blues are laid and blended, softening the cloud edge and adding contrast to sections of the horizon. Moving onto the distant buildings in the top left of the painting -- these are d=redrawn with a fluid blue-grey before scuffs in the shadows and across highlights are used to create the effect of sunlight. It is essential to continue with fluid brush-strokes throughout these top layers. Applied colour can also be adjusted on the painting surface through the use of various techniques such as tonking, as this enables one to create unexpected colour mixes and textures that are not achievable through brushwork alone.
Posted on: Tue, 23 Sep 2014 21:25:40 +0000
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