As always FILMED IN REAL-TIME, so that you can see every stroke, every colour mix, every blend, every aspect of the method being used – you will miss nothing, you will be privy to everything that Artist & Author Paul Taggart carries out – seeing his every action, all accompanied by his detailed running commentary.
WORK CONTINUES ON THE MAIN COMPOSITION – a painting within a painting – a landscape within a still-life – which follows lesson by lesson until the final touches.
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.
LESSON 6 and work continues on one specific area – not as you would come to expect, working from the top of the painting down to the bottom (usually the distant background to the foreground); but, uniquely in this case, from the true distance in this painting, which is the exterior view of the tree and forest, framed within the interior view.
Having ended the last lesson with the first layers being applied to the tree and distant forest/bushes and shrubs; you now continue work on this ‘landscape’ element of the composition.
First to get worked on is that all-important sky, in which ‘negative’ painting comes into its own – watch as Paul “nibbles” into the tree, thus giving the sky a more interesting shape as well as revealing a more dynamic silhouette.
Then Paul turns to the focal point of this landscape, the structural tree – firstly working on the leaf platforms; using graduated colour mixes to work through to the ‘blue’ reflected lights and ‘yellow’ sunlit patches. Although he does hold back on going as far as highlights and super-highlights; after all, this is a distant landscape framed by the window and foreground still-life and as such is subject to aerial perspective.
The branches and trunk are worked up in the same manner, finished off with delicate slices of golden light from the setting sun.
Finally, the first laying down of lights and darks to effect the undulating surface of the grazed field.
You will discover that scuffs and dry paint strokes provide useful techniques for effecting visual texture throughout this area. You will comme to appreciate how varying brush-strokes and directional brush-strokes can be exploited, using one round brush, to depict slabs of colour, ticks of colour, slices of colour, the thinnest of strokes – no need for a raft of different brushes, when a single round brush can offer such versatility.
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.