Part of our fund-raising project in aid of RNLI Scotland Awash With the RNLI - this Masterclass follows the creation of Reflecting on Longhope Sound - a six-part boxed-set, now available via our #artworkshopwithpaul account in #vimeo - Masterclass with Paul Taggart [Series 1] – Session 3 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. TRADITIONAL TECHNIQUES FORM THE CORNERSTONE OF MY WORK AS A PROFESSIONAL ARTIST – which mean that my Masterworks oil paintings take many weeks, if not months and in some cases years, to complete. Followers of my tutorials are fascinated to get to grips with these traditional techniques 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 we focus on one particular section (perhaps one other), so that you can watch that develop from start to finish. 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) STEP 7 (Section) - First Overpainting Layer - Sky Once the impasto layers created by brush and knife had dried, I was able to proceed -- working in either fluid or stiff colour mixes, applied as a thin layer, so that I could immediately apply further layers of colour. Working progressively from the top of the painting downwards, I now start with the sky. Firstly, a graduated wash of fluid blue is applied to the top right of the sky. Underlying colours appear now, either through this thin wash, or between individual brush-strokes. The cool blue and warm colours beneath interact and excite each other by being so closely juxtaposed. To the left of the sky, a similarly fluid, semi-transparent graduated blue mix is applied to the base of the cloud. Its top edge, caught by the sunlight, is scuffed with warm whites, using tube consistency colours. Its lower edge is blended to give volume to the cloud edge. STEP 7 (Section) – First Overpainting Layer – Foreground Seaweed Having established the overall composition, completed the underpainting complementary layer and subsequently the textured underpainting this is the time to start the first stages of the overpainting layers. Firstly the sky, followed by the middle-ground and now the foreground, before working on the central area of submerged stones and details. Fluid and stiff colour mixes are applied in this layer, then layered again into the still-wet layer, gradually building to the highlights. The completed colours are now closer to those which we will see in the final painting. However my priority is to ensure that brush-strokes remain fluid and fresh. Focus and focal points are brought to the fore through redrawing and detailing; although the colour does become gradually chalkier, as white is gradually added to each of the colour mixes to achieve the move towards highlights. This is however ignored for the time being, while I focus on the building of values, knowing that glazes, yet to be applied, will be used to recover any loss of intensity in the colours applied. The painting is not yet balanced in respect of depth and aerial perspective. Distant details are a little dark, due to redrawing. Once again, this will be redressed in coming layers, as I vigorously pursue the drawing in of details and masses. Weed above water possesses the greatest range of values between bright highlights and dark accents. Brush-stroke edges in this instance are left sharp and focussed. Beneath the water surface, the value range is reduced and edges are softened throughout by exploiting the effects of blending.
Posted on: Tue, 23 Sep 2014 21:31:57 +0000
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