You join Artist & Author Paul Taggart as he embarks on an element in this painting which at first may appear bland an uninteresting, the foreground window shelf. However it is not, for it is actually filled with myriad colours, affected as it is by many different sources of light – sunlight from the late afternoon sun that cuts a swathe through the exterior landscape and through the window; lamplight from the table lamp; reflected ‘local coloured’ lights from surrounding elements and reflective glass.
Watch the effects of surface mixing as the camera pulls back from close-up filming, required to show you the creator/painter how to subtly achieve the bigger picture that is ultimately seen by the viewer.
You will hear Paul say time and again, not to hurry the process, for the work that is required here will serve to enrich and balance painting – at one point imploring you “….don’t be panicked into spoiling this surface….”.
This is a lesson about discovering colour and light, about reading the subject and interpreting what you see.
What is more, this lesson will serve you well if ever you should work on a still-life, for the surface on which the still-life resides within this composition is no different than any other surface on which a still-life is set and is of crucial importance.
Without the work that you will now be putting into this element, your painting will appear flat, shadows will be dismal, structure and form of what is, in effect, a miniature still-life, will appear dead and lifeless.
You will learn how ‘negative’ painting of objects and their shadows is finessed through painting this window shelf. You will learn how to exploit and maximise blending, losing strokes/edges and working restricted wet-into-wet.
Now you will appreciate the importance of the dark underpainting, as it is integrated into your working through from dark to light, using transparent mixes and occasional ticks of opaque light.
Having worked through to the point at which the slabs of light need to be introduced, Paul turns to the wire base of the table lamp. Again, this needs to be worked through gradually so that it is appears deceptively simple to the viewer, but in reality without the work you will now be undertaking, it will look insubstantial; for as Paul says in his running commentary, although your are painting a metal object, this is nevertheless “… an object in light and space…”.
Your careful work will render it three-dimensional, as you introduce structure and form through blending and softening of brush-strokes, the introduction of warm and cool lights, with final ticks of highlights drawing the eye.
SUBJECT – you can either follow along using the same reference photographs as Paul, or you are welcome to decide on your own ‘View Through My Window’ – the decision is entirely up to you.
MORE DETAILED & INFORMATIVE Acrylic Painting with Paul Taggart tutorials
‘Painting Equipment Focus for Acrylics with Paul Taggart’ – https://vimeo.com/ondemand/awwptacrylicsequipment
‘[Series 1] Learn to Enjoy Painting in Acrylics with Paul Taggart’ – https://vimeo.com/ondemand/artworkshopwithpaulacryl
‘[Series 1] Painting Topical Techniques for Acrylics with Paul Taggart’ – https://vimeo.com/ondemand/awwptacrylictechniques
‘[Series 2] Learn to Enjoy Painting in Acrylics with Paul Taggart’ – https://vimeo.com/ondemand/paintinginacrylics2
‘[Series 2] Panting Topical Techniques for Acrylics with Paul Taggart’ – https://vimeo.com/ondemand/acrylictechniques02
‘[Series 3] Learn to Enjoy Painting in Acrylics with Paul Taggart’ – https://vimeo.com/ondemand/paintinginacrylics3
‘[Series 3] Panting Topical Techniques for Acrylics with Paul Taggart’ – https://vimeo.com/ondemand/acrylictechniques3
PLUS various other WORKSHOPS, Out and About with Paul box-sets, Portraits and Figures – simply use the Search button on Paul Taggart’s On Demand page within Paul Taggart’s official Vimeo account – type in Acrylics and all will be revealed.