We are delighted to release our latest video-on-demand, boxed-set - now available via #artworkshopwithpaul on #Vimeo - Masterclass with Paul Taggart [Series 1] – Session 2 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 5 - Second Layer Impasto (continuation) Layers of stiff, tube consistency colour mixes are built first from dark, then through the mid-values to, finally, the lights. In this layer I concentrate throughout on texture. This is achieved visually by using dark colours as a thin layer, building to deeper layers for the lighter colours. Colours applied in this layer slowly begin to resemble the colours that will ultimately exist in the finished work. Directional brushstrokes help develop the structure of the painting, on which all of the paint layers to follow will depend. While objects slowly become more identifiable, I still avoid becoming too detailed. Focal points such as the houses, boat house, boat, rocks etc. begin to develop. STEP 6 – Exploiting a Counterfoil to Stengthen the Textural Underpainting Having established the textural structure, the brush-applied impasto layer was left to dry before moving on to this stage. Although this complex surface could itself provide an inspiring base on which to build the painting layers; I am still not satisfied with the underpainting. The more varied the texture over which to subsequently apply paint, the more successful the finished result will be in holding the viewers attention. Which is why I now proceed to explore how best to exploit a textural counterfoil. Applying paint with a palette knife provides a quite different impasto effect. Using semi-transparent, or semi-opaque colour mixes, created with the addition of Alkyd Resin Gel Medium, the surface can be disturbed and enclosed in a shell of colour. Like an insect embedded in Amber, the paint surface is taken on an imaginable diversity of levels. In some cases the brush-applied impasto textures rise out of a sea of semi-transparent colour. Elsewhere they are seen deeply embedded in rich transparent glazes. Not only does the execution of this stage inspire me, but I am hoping that when dry, the resultant surface will spur my imagination further. Although the surface must be respected, I am also eager that it offers me an infinite variety of possibilities for overpainting. 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)
Posted on: Tue, 23 Sep 2014 21:35:18 +0000
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