Were delighted to release our latest video-on-demand, six-video boxed-set - as requested - now available via our #artworkshopwithpaul account on #Vimeo - Masterclass with Paul Taggart [Series 1] – Session 6 Painting is my passion and sharing that passion gives me enormous pleasure. Although I work in all media, most particularly in my tutorials; nowadays my Masterworks produced for Private Collectors is primarily in oils, with watercolours, acrylics and pastels being used when specifically commissioned. Viewers of my artworks are fascinated to understand the process that I work through to arrive at the finished painting and for this reason we started to produce filmed reveals of some of my Masterworks, such as ‘Reflecting on Longhope Sound’ and Lone Piper etc. Water and light are the two elements in our world that excite me most as an artist, which form the basis of my choice of subject for my selling collections. Water – for its luminescent and reflective properties, its movement and mysterious depths, its chameleon-like qualities in taking on the colours of its surroundings – a source of constant change in any composition. Light – for its effect on our surroundings, its ability to deceive the eye and how forms seem to alter with the change in direction of falling light as the sun arcs through from sunrise to sunset, its creation of the deepest and richest of shadows – a source of continual change in any subject; one that requires the artist in us to observe and analyse what we see before us. TRADITIONAL TECHNIQUES FORM THE CORNERSTONE OF MY WORK – which require time and deliberation. This considered approach means that oil paintings take many weeks, if not months and in some cases years, to produce. Followers of my tutorials are equally fascinated to get to grips with the traditional techniques, to have a greater understanding of them and so it is we film a selected number of Masterclasses, focussing on one particular painting at a time. However, to film each and every stroke as I paint would involve a monumental amount of filming and viewing time – which is why in these Masterclasses we focus on one particular section (perhaps one other), so that you can watch that develop from start to finish. We do hope you enjoy these films and pick up additional hints and tips from my method of working”. 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) 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 11 – Finishing Off Firstly, the painting was subtly adjusted through the selective use of tints and glazes. TINTS to soften detail and increase perceived depth -- these can be seen behind the boat and along the shadow face of the headland; which strengthen the recessive feel of these areas and create a moist, light-filled atmosphere. While purple tints are used here, the rocks in the distance are treated to green tints in their shadows. Pink tints are applied around the brightly lit water reflections, all the way down the right hand side of the painting. Thus, gentle colour mixes (with Zinc white) are diffused into the glow of backlit areas. GLAZES on the other hand, create richness of colour and enhance textures. Gentle glazes are used on the distant headland; while across the foreground they are used to darken and accent the weed, so that upcoming highlights will have sufficient contrast to make them sparkle. Following this stage – final lights, highlights and super-highlights are applied to the foreground; the purpose of which is to pull the weed and rockpools forward. Weed above the water line, which to this point has been regarded as dry, is in fact wet, as it is exposed by the receding tide and as such requires a scattering of highlights to catch the viewers eye. These applied highlights are greatly enhanced by previously established impasto layers. At this stage brushstrokes are scuffed, laid, dabbed or dripped over the uneven surface. This scattering of light is naturally irregular and the brushstrokes left unblended. Finally....................................pure white super-highlights are judiciously applied.
Posted on: Tue, 23 Sep 2014 21:11:20 +0000
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