1. Impasto - ‘Painting Topical Technique in Oils with Paul Taggart’ VOD

    01:43:49

    from artworkshopwithpaul / Added

    PAUL TAGGART core oil painting kit and how to use each element – CLICK HERE - https://vimeo.com/ondemand/awwptoilequipment LEARN TO ENJOY PAINTING IN OILS with Paul Taggart [Series 1] – CLICK HERE - https://vimeo.com/ondemand/artworkshopwithpauloils1 A complete workshop, filmed in real-time from start-to-finish, with no editing – fully described in detail with running commentary throughout. One of a suite of three videos dedicated to each of the principal layers which are utilised when working in the traditional technique of oil painting – when working from Lean-to-Fat and Dark-to-Light. ALTHOUGH describing the second layer in this traditional technique – the ‘Impasto’ layer – Paul has worked this through as a complete oil painting study in its own right; BECAUSE many artists use this textured impasto method of painting as their principal technique. The choice is yours – to get a feel for working with tube consistency paint as an ‘Impasto’ layer; or to fully exploit thick paint in its natural form as a technique for your complete painting needs. The purpose of this Topical Technique is not to complete a work of art, it is to use this study as a comprehensive exercise. You will pick up a raft of tips and hints, not to mention get a better understanding of the way that oil paint can be exploited to maximise its beauty as a medium. YOU WILL LEARN ABOUT gradual build of colour, hints on palette mixing, colour mixing, brushwork, blending, a better understanding of the balance of paint mixes to the wet surface, the versatility of working with one brush, creating volume and depth, the power of complementary colours, accents and highlights, reflections and shadows and so much more. 'Painting Topical Techniques with Paul Taggart’ is a dedicated series that not only stands alone, but will also help you with the various Painting Tutorial Projects, Learn To Enjoy Painting episodes and so on. Each episode concentrates on a particular aspect within a technique - in which Artist and Author Paul Taggart carries out a detailed demonstration, whilst also providing a running commentary. "I believe that anyone can learn to paint or draw providing they are given as much guidance as possible and shown the techniques with which to develop. My tuition is based on sharing knowledge and passing on techniques without which I would never have been able to develop as a Professional Artist and Author." Let this Artist and Author of fourteen books and Presenter of a growing index of over three hundred tutorial videos show you how to expand your horizons.

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    • Lesson 1 - 'Learn to Enjoy Painting' in Oils with Paul Taggart - [Series 2] VOD

      01:41:22

      from artworkshopwithpaul / Added

      See also 'Learn to Enjoy Painting in Oils with Paul Taggart [Series 1] - https://vimeo.com/ondemand/artworkshopwithpauloils1 THE PURPOSE OF LESSON 1 is to now prepare you for the coming start-to-finish streetscape painting, by working through a simple landscape study. THE PURPOSE OF THIS STUDY is to once again, concentrate on your paint mixes, bush-loading, controlling brush-strokes, getting a feel for the layering technique of painting with thinners. LET PAUL TAGGART GUIDE YOU THROUGH THIS AND YOU WILL LEARN HOW TO CONTROL YOUR PAINT MIXES rather than working on a hit and miss basis. YOU WILL LEARN HOW TO EXPLOIT BRISTLE BRUSHES and SOFT BRUSHES to achieve varying brush-strokes; to achieve fluid linework, descriptive lines and textures, washes and textural qualities and so much more. YOU WILL LEARN HOW TO MAXIMISE DIRECTIONAL BRUSH-STROKES and MANIPULATE PRESSURES WHEN APPLYING THOSE BRUSH-STROKES to achieve form, volume and depth. YOU WILL LEARN THE FUNDAMENTAL LAYERING TECHNIQUE OF WORKING WITH OILS – that of working from dark to light. As with all of Paul’s tutorials this is packed full of handy hints and tips, filmed in real-time, this tutorial reflects Paul Taggart’s philosophy – which is to reveal all, explain all and withhold nothing; so that you can develop and enjoy your experience of working in oils. YOU CAN WATCH FREE-TO-VIEW the Topical Technique Exercise and the Topical Technique on the basics of Painting wth Thinners to decide whether or not this topic is for you. THEN IF YOU WISH TO GO FURTHER IN THIS COURSE AS IT UNFOLDS, YOU SIMPLY PAY-AS-YOU-GO for each lesson from Lesson 1 onwards at $1 to rent for a week, or Download it to Own It at the cost of $1.99. YOU CAN OPT OUT AT ANY TIME – FOR WE DO NOT WANT YOU TO BE DISAPPOINTED, JUST AS WE DO NOT WANT YOU TO FEEL ‘LOCKED IN’ TO PAYING IN ADVANCE FOR SOMETHING THAT DOESN’T SUIT YOU. Best wishes for your painting, from Eileen and Paul WHAT PARTICIPATING IN THIS COURSE AS IT UNFOLDS MEANS FOR YOU – ADDED EXTRA FREE-TO-VIEW TUTORIALS : INTERACTIVE EVENT : PROBLEM SOLVERS [1] FREE-TO-VIEW EXTRA TUTORIAL – ‘Painting Topical Tip – Painting with Thinners (the basics)’ – NOTE this is viewable here in Vimeo and once the course is complete will be transferred to a complete box-set for rent or purchase. [2] FREE-TO-VIEW EXTRA TUTORIAL – ‘Painting Topical Tip – Painting with Thinners Exercise’ – a simple study for you to practice the basics – NOTE this is viewable here in Vimeo and once the course is complete will be added to a complete box-set for rent or purchase. [3] LESSON 1 – the first stage in your step-by-step regular online course ‘Learn to Enjoy Painting in Waterolours [Series 2] Painting with Thinners – PAY AS YOU GO – rent this lesson for one week $1.00 or BUY IT TO OWN IT $1.99 [4] LESSON 2 onwards – follow along with Paul on your start-to-finish step-by-step main composition through the regular online course – PAY AS YOU GO – rent each lesson for one week $1.00 or BUY IT TO OWN IT $1.99 [5] PROBLEM SOLVERS – SHARE YOUR STAGES WITH US exclusively in our On-line Interactive Event ‘Learn to Enjoy Painting in Oils with Paul Taggart [Series 2]’ - created specifically for this course in our Art Workshop With Paul Taggart Painting Companions group on Facebook. SHARE YOUR PROBLEM SO THAT WE CAN HELP YOU FURTHER either through a dedicated ‘Problem Solvers with Paul Taggart’ video, or under your shared post. THESE ‘Problem Solvers with Paul Taggart’ VIDEOS WILL BE FREE-TO-VIEW FOR THE PERIOD BETWEEN LESSONS AS NOTIFIED – after which each will be added to the growing set of lessons for rent or purchase. NOT ALREADY A PAINTING COMPANION IN FACEBOOK? – NO WORRIES – simply seek us out and request an invitation to join the group and the Event – http://www.facebook.com/groups/paultaggartpaintingcompanions/ PAUL TAGGART core oil painting kit and how to use each element – https://vimeo.com/ondemand/awwptoilequipment MORE OIL TECHNIQUES [Series1] – https://vimeo.com/ondemand/awwptoiltechniques01

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      • ‘Learn To Enjoy Colour Mixing – Brass, Gold & Yellow Metals’ with Paul Taggart [for Acrylics & Oils] VOD

        01:31:59

        from artworkshopwithpaul / Added

        ALTHOUGH DEMONSTRATED HERE IN ACRYLICS, THIS LAYERING TECHNIQUE CAN ALSO BE EXPLOITED TO MAXIMISE THE POTENTIAL IN ANY OPAQUE MEDIUM, PARTICULARLY SO IN OIL PAINTING. In this 'Learn To Enjoy Colour Mixing' stand-alone workshop you are guided clearly and simply through the process of achieving ‘yellow’ metal objects – such as those in brass and gold. This series of Metal Mixes in the ‘Learn to Enjoy Colour Mixing’ strand was prompted by the following problem posted in the Art Clinic section of Paul’s main website by Ray from Canada – “I work in acrylics and would like to paint a chrome effect but have no idea how to do this. Can you help me?” Work along with Paul as he demonstrates in real-time how to paint a brass pestle & mortar from start-to-finish. Through his accompanying running commentary you will learn how to analyze the colours reflected on its surface, influenced by its surroundings. ALSO SEE HOW PAUL SPOTS A PROBLEM EARLY ON AND USES THIS AS AN OPPORTUNITY TO SHARE WITH YOU HOW TO GO ABOUT CORRECTING SUCH A PROBLEM EARLIER ON, RATHER THAN DEALING WITH IT AT A MUCH LATER STAGE. THIS IS NOT MERELY A TUTORIAL IN COLOUR MIXING – AS WITH ALL OF PAUL’S TUTORIALS, IT COMES PACKED WITH HINTS AND TIPS, not to mention A PLETHORA OF TECHNIQUES THAT WILL PROVE INVALUABLE IN YOUR DAY-TO-DAY PAINTING – all relayed in Paul’s accompanying RUNNING COMMENTARY. You will learn how the traditional technique of layering from dark to light brings richness and depth to your subject. The art of painting silver coloured metals, such as silver, chrome and pewter is covered in another dedicated tutorial; as is the art of painting red coloured metals, such as copper. "Every artist develops their own palette of preferred colours, but to arrive at this selection requires knowledge of not only the available colours, but how colours work with each other to produce successful mixes. Colour Mixing is every bit as important in making a composition work as thumbnails and perspective. With colour control you can communicate with your viewer, tell a story or evoke a mood - hence the phrase 'to paint a picture'. You would not be alone in thinking that colour mixing is a daunting prospect; every artist has been through this at some point - even professional artists such as myself. I guarantee however that it needn't be so - for colour mixing is actually about some basic and simple principles.” Paul Taggart shows how from a core palette of six colours, a limitless array of colour mixes can be achieved through exploiting primary, secondary, and complementary colour mixing. Let Paul guide you through the basics and help you discover the delight in achieving ninety-five percent of the colours you will ever need from A CORE PALETTE OF SIX COLOURS.

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        • Lean Layer using Thinners - ‘Painting Topical Technique in Oils with Paul Taggart’ VOD

          01:29:28

          from artworkshopwithpaul / Added

          PAUL TAGGART core oil painting kit and how to use each element – CLICK HERE - https://vimeo.com/ondemand/awwptoilequipment LEARN TO ENJOY PAINTING IN OILS with Paul Taggart [Series 1] – CLICK HERE - https://vimeo.com/ondemand/artworkshopwithpauloils1 A complete workshop, filmed in real-time from start-to-finish, with no editing – fully described in detail with running commentary throughout. One of a suite of three videos dedicated to each of the principal layers which are utilised when working in the traditional technique of oil painting – when working from Lean-to-Fat and Dark-to-Light. ALTHOUGH describing the first layer in this traditional technique – the ‘Lean’ layer – Paul has worked this through as a complete oil painting study in its own right; BECAUSE many artists use this thinned down method of painting as their principal technique. The choice is yours – to get a feel for working with thinned down paint as a ‘Lean’ layer; or to fully exploit thinned down paint as a technique for your complete painting needs. The purpose of this Topical Technique is not to complete a work of art, it is to use this study as a comprehensive exercise. You will pick up a raft of tips and hints, not to mention get a better understanding of the way that oil paint can be exploited to maximise its beauty as a medium. YOU WILL LEARN ABOUT gradual build of colour, hints on palette mixing, colour mixing, brushwork, blending, a better understanding of the balance of paint mixes to the wet surface, the versatility of working with one brush, creating volume and depth, the power of complementary colours, accents and highlights, reflections and shadows and so much more. As always Paul’s running commentary includes a raft of hints, tips and nuggets of information. 'Painting Topical Techniques with Paul Taggart’ is a dedicated series that not only stands alone, but will also help you with the various Painting Tutorial Projects, Learn To Enjoy Painting episodes and so on. Each episode concentrates on a particular aspect within a technique - in which the Artist and Author Paul Taggart carries out a detailed demonstration, whilst also providing a running commentary. "I believe that anyone can learn to paint or draw providing they are given as much guidance as possible and shown the techniques with which to develop. My tuition is based on sharing knowledge and passing on techniques without which I would never have been able to develop as a Professional Artist and Author." Let this Artist and Author of fourteen books and Presenter of a growing index of over three hundred tutorial videos show you how to expand your horizons.

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          • Oil Painting On-the-Spot Sketches - ‘Out and About with Paul’ – in Oban with Paul Taggart – Part 2 VOD

            01:21:14

            from artworkshopwithpaul / Added

            See also this complete boxed-set ‘Learn to Enjoy Painting in Oils with Paul Taggart [Series 1] – click here - https://vimeo.com/ondemand/artworkshopwithpauloils1 Follow along as Artist & Author Paul Taggart continues on this detailed and comprehensive start-to-finish tutorial; filmed in real-time and presented here as a step-by-step guide in situ overlooking Oban harbour. Here you will learn much about exploiting brushes and maximising brush-strokes, Colour Mixing, Working out of Door, Negative Painting, Judicious Blending, Applying Paint as Scuffs and Scumbles, creating Form and Structure, working Wet-on-Wet in oils – to name but a few of the raft of techniques, hints and tips that are revealed in Paul’s running commentary. IN PART 2 – Paul turns his attention to the tidal waters of the sea that flow into the bay of this West coast harbour in Scotland - in this painting produced in the simplest of layering techniques, working wet-into-wet in order to complete the painting in its entirety whilst in Oban. Having completed the sky and distant hills in Part 1, along with the tree-cloaked promontory and architectural features of buildings, pier and boats, Paul Taggart now moves onto the sunlit water, weeds and foreshore. Follow along with Paul as he shows how to bring the ebbing waters of the sea to life, how to create form on the wavelets, through the use of warm colour mixes to pick out the sunlit tops and cool mixes to render their shadowed underbelly. You will learn how to differentiate between weeds drying out on the surface of the water and those sodden masses that float underneath in tangled strands. Sadly, due to overstraining of the camera batteries on this searingly hot day we were not able to complete this painting on the same day – so the first segment of this film draws to a close with the intention of returning two days later to complete it in situ. But between now and then we were to be guests of the Oban Lifeboat Station at their Open Day where Paul would be pitching his easel to complete an on-the-spot watercolour montage and Eileen would be filming sections to offer here as a work-along exercise. PICK UP AGAIN IN THE SECOND SEGMENT and follow along as Paul continues through to the conclusion of this step-by-step oil painting tutorial after an enforced halt to the painting a couple of days earlier. Although the light conditions were quite different, Paul had enough memory of the afternoon sunlight and shadows from the earlier stages. Paul first directs his attention to those aspects with which is unhappy – showing how you can correct aspects, with particular techniques, in this case he uses ‘negative painting’ to great effect. As you will see some of the elements had changed and one in particular proved more attractive to the overall composition – allowing Paul to demonstrate how to alter things that require amending. Then Paul turns his attention to the dark accents, present in the pier, buildings and boats. Follow along as he now works right across the entire composition – working through from the previously laid mid-values to the bright lights and super-highlights. ‘AWASH WITH THE RNLI – PAUL TAGGART’S FUND-RAISING PROJECT’ – OBAN LIFEBOAT STATION Join Paul Taggart as he lands in Oban for his reference gathering trip and to celebrate the 40th Anniversary Open Day of the Oban Lifeboat Station on the West Coast of Scotland. The painting featured in this set of films was presented to the Oban Lifeboat Station to use as they see fit in raising funds. This on-the-spot painting is one element in a wide-ranging Fund-Raising Project in aid of RNLI Scotland – https://www.rnli.org.uk The open-ended project is centred on a series of Master Oil Paintings by Paul Taggart, to be produced over many years - each painting will be published by Paul Taggart as a Fund-Raising Limited Edition Print. The subject for each of these paintings being chosen for its history and iconic representation of an area closely associated with selected RNLI Lifeboat Stations around the shores of Scotland. Although a relative youngster in terms of having been founded a mere 40 years ago; Oban Lifeboat Station is now the busiest of the Scottish lifeboat stations. Not to mention the fact that is one of the busiest All-Weather Lifeboats in the UK. The crew of the RNLB Mora Edith MacDonald are all volunteers, excepting the Coxswain and cover an astonishing area of some 471 miles of coastline, which includes some of the fiercest and most notorious tidal waters in the UK. FOR MORE INFORMATION ABOUT OBAN LIFEBOAT STATION - https://www.obanlifeboat.co.uk

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            • Acrylics using Watercolour Technique - ‘Out and About with Paul’ - Big Burn Walks – Part 3 VOD

              01:17:46

              from artworkshopwithpaul / Added

              TECHNIQUE & MEDIUM - in this start-to-finish tutorial, filmed in real-time, Artist and Author Paul Taggart demonstrates watercolour techniques exploited for use in acrylics. AS SUCH THIS TUTORIAL WOULD THEREFORE PROVE SUITABLE FOR WATERCOLOURS. As with all of Paul Taggart’s tutorials, this DEDICATED STEP-BY-STEP IS FILMED IN REAL-TIME – no editing, no time-lapse – PACKED FULL OF HANDY HINTS, TIPS, TECHNIQUES and so MUCH MORE ………… As the layering technique used here is one of working from light to dark – the typical watercolour technique – colour mixes become stronger as do linear qualities – BUT NEVERTHELESS Paul takes care not to become too strong too quickly – he is WORKING GRADUALLY THROUGH THE LIGHTS AND DARKS. Part 3 – Paul continues to work on the painting at his easel in the studio; firstly turning his attention once more to the rocks that are strewn across the floor of the gorge; where he is keen to strengthen the qualities of lights and darks, for as you will hear Paul say “… to create light, you have to have darks…” These rocks are dealt with individually and in clumps so that Paul can apply the colour and then swiftly ‘lose’ appropriate strokes to effect the light and shade, along with volume and form. THIS IS AN OBJECT LESSON IN PAINTING ROCKS and the BENEFITS OF SURFACE COLOUR MIXING. Being satisfied that he has strengthened this section up to act as a foil against which the water will sparkle, when worked on again, Paul now moves back up to the top of the painting (in effect the distant reaches of the composition). The effect of strong sunlight is now introduced into this forested area, where it not only strikes through the tree canopies, but also where it shines through translucent leaves. Bright greens and dark accents play their part – as do brush-strokes, scuffs and scumbles – exploitation of brush and colour mixes coming into their own; as Paul brings this section to life. FINALLY Paul completes the first half of this episode by turning his attention to the distant rocks that edge the river – an invaluable boundary that draws the viewer's eye onwards and out of the picture. FOR THE SECOND HALF OF THIS EPISODE – YOU WILL SEE THE RIVER SPARKLE INTO LIFE as reflections into its surface and depths are brought into play. Firstly Paul deals with the reflected trees, those bright green clumps glistening in the sunlight and the darker forested areas – now you will see ripples across the water’s surface come to life. The first hints of stones and rocks submerged beneath the river surface come into view, as do the reflections of boulders and rocks sitting out of the water YOU WILL LEARN ABOUT mixing coloured greys and specific colours; directional brushstrokes and the art of losing edges; exploiting differing pressures on your brush to achieve a variety of strokes and densities of applied colour; working with thin mixes in acrylics; achieving sunlight in a landscape and much, much more – for as with all of Paul’s demonstrations and running commentaries, nothing is withheld. THIS ‘Out and About’ IS AN OBJECT LESSON IN THE IMPORTANCE OF MAKING THUMBNAILS and TAKING REFERENCE PHOTOGRAPHS whilst painting in situ – crucial in enabling the completion of this painting in the studio. SUBJECT – chosen for its compositional content of ROCKFACES/STONES/BOULDERS, MOVING WATER, REFLECTIVE SURFACES, one of many BRIDGES that span the ‘big burn’ and the SCULPTURAL QUALITIES OF COLOURFUL VEGETATION AND LICHENS/MOSSES; not to mention the FAST-CHANGING LIGHT CONDITIONS, STRONG DARKS AND LIGHTS, PERSPECTIVE AND VANISHING POINTS; Paul set up his easel at the bottom of a gorge in the Eastern Highlands of Scotland, known as the Big Burn Walks, outside the Sutherland village of Golspie. We hope you enjoy the vagaries of painting and filming this ‘Out and About with Paul’ in its early stages (Parts 1 & 2) – as both Eileen and Paul were stopped by passing visitors, who were intrigued to discover our presence, whilst enjoying their visit to this most popular of places to see on any tourist trip to the Northern Highlands of Scotland. See also this complete boxed-set ‘Learn to Enjoy Painting in Acrylics with Paul Taggart [Series 1] – click here - http://www.vimeo.com/ondemand/artworkshopwithpaulacrylics1

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              • Masterclass with Paul Taggart [Series 1] – Session 4 VOD

                01:13:27

                from artworkshopwithpaul / Added

                Subject : "Reflecting on Longhope Sound" from Paul Taggart's 'Awash with the RNLI' Collection Medium : Oil Painting on Gesso Panel Size : 18½ " x 10" (470mm x 254mm) Materials Used OIL PAINTS IN TUBES - Core Colour Palette of six primary colours - red-purple [Rp] : red-orange [Ro] : yellow-orange [Yo] : yellow-green [yg] : blue-green [Bg] : blue-purple [Bp] : plus Titanium White [Tw] : Underpainting White {Uw] : Zinc White [Zw] MEDIUMS – Alkyd Medium : Alkyd Gel Medium : Odourless Thinner : Household Turpentine BRUSHES – Oil Painters Bristle Round Brushes (various sizes) : Sable Round Brushes (various sizes) PALETTE – Oil Painters Wood MISC – Painting Knife SURFACE – WOODEN PANEL prepared with Acrylic Medium and Acrylic Gesso Primer 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 8 – Second Overpainting Layer – Tints and Glazes With structure (impasto texture) and 'drawing' complete, the painting is now quite naturally sharply in focus and flat in colour. Up to this point, depth has been sacrificed for modelling. It is now time to exploit tints to soften focus, with glazes manipulated to enrich the surface with colour and texture. Firstly, working as always from the top downwards, the distant 'landscape' is extensively tinted from the sky down to the most distant outcrop of rocks. Coloured tints (using Zinc white)- colour mixes incorporating blue - are used to add depth over the distant buildings and around the boat. On the right hand side of the composition, purple and orange tints are used to obscure detail, whilst suggesting light caught in the moist atmosphere of the sea. Halfway down the painting, tints are replaced with glazes -- unlike tints, these do not have Zinc white added -- which mean the colour mixes are totally transparent and rich in colour. On the areas of weed and rocks that are dry glazes are applied deeply; being allowed to flow into the lower valleys of the deep impasto texture. On the smoother central pool of water they are worked into the surface. Overall, these glazes add warmth to this section, drawing the foreground towards us. With the tints previously laid causing the upper section to recede and the glazes of the lower section pulling the foreground towards us, the viewer is now drawn into the depth of the overall composition. STEP 9 (Sky & Distant Buildings) – Third Overpainting Layer The previously laid tints and glazes provide a versatile surface of colour and texture on which to develop more detailed layering of opaque colour. It is essential that this surface should not be overwhelmed with paint. Thus the final layers are applied as semi-transparent colour mixes; either through the addition of alkyd painting medium, or by thinning the layer in other ways, such as scuffing, scumbling, dry tinting and dry glazing. Working first on the sky -- semi-transparent pinks and blues are laid and blended, softening the cloud edge and adding contrast to sections of the horizon. Moving onto the distant buildings in the top left of the painting -- these are d=redrawn with a fluid blue-grey before scuffs in the shadows and across highlights are used to create the effect of sunlight. It is essential to continue with fluid brush-strokes throughout these top layers. Applied colour can also be adjusted on the painting surface through the use of various techniques such as tonking, as this enables one to create unexpected colour mixes and textures that are not achievable through brushwork alone.

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                • ‘Learn To Enjoy Colour Mixing - Copper & Red Metals’ with Paul Taggart [for Acrylics & Oils] VOD

                  01:13:17

                  from artworkshopwithpaul / Added

                  ALTHOUGH DEMONSTRATED HERE IN ACRYLICS, THIS LAYERING TECHNIQUE CAN ALSO BE EXPLOITED TO MAXIMISE THE POTENTIAL IN ANY OPAQUE MEDIUM, PARTICULARLY SO IN OIL PAINTING. In this 'Learn To Enjoy Colour Mixing' stand-alone workshop you are guided clearly and simply through the process of achieving ‘red’ metal objects – such as those in copper. This series of Metal Mixes in the ‘Learn to Enjoy Colour Mixing’ strand was prompted by the following problem posted in the Art Clinic section of Paul’s main website by Ray from Canada – “I work in acrylics and would like to paint a chrome effect but have no idea how to do this. Can you help me?” Work along with Paul as he demonstrates in real-time how to paint a copper fish mould from start-to-finish. Through his accompanying running commentary you will learn how to analyze the colours reflected on its surface, influenced by its surroundings. ALSO SEE PAUL DEMONSTRATE HOW TO ACCURATELY ACHIEVE THE FORESHORTENING OF AN OBJECT - SOMETHING THAT CONFUSES MANY PEOPLE. THIS IS NOT MERELY A TUTORIAL IN COLOUR MIXING – AS WITH ALL OF PAUL’S TUTORIALS, IT COMES PACKED WITH HINTS AND TIPS, not to mention A PLETHORA OF TECHNIQUES THAT WILL PROVE INVALUABLE IN YOUR DAY-TO-DAY PAINTING – all relayed in Paul’s accompanying RUNNING COMMENTARY. You will learn how the traditional technique of layering from dark to light brings richness and depth to your subject. The art of painting silver coloured metals, such as silver, chrome and pewter is covered in another dedicated tutorial; as is the art of painting yellow coloured metals, such as gold and brass. "Every artist develops their own palette of preferred colours, but to arrive at this selection requires knowledge of not only the available colours, but how colours work with each other to produce successful mixes. Colour Mixing is every bit as important in making a composition work as thumbnails and perspective. With colour control you can communicate with your viewer, tell a story or evoke a mood - hence the phrase 'to paint a picture'. You would not be alone in thinking that colour mixing is a daunting prospect; every artist has been through this at some point - even professional artists such as myself. I guarantee however that it needn't be so - for colour mixing is actually about some basic and simple principles.” Paul Taggart shows how from a core palette of six colours, a limitless array of colour mixes can be achieved through exploiting primary, secondary, and complementary colour mixing. Let Paul guide you through the basics and help you discover the delight in achieving ninety-five percent of the colours you will ever need from A CORE PALETTE OF SIX COLOURS.

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                  • Part 2 [Set 1] - 'Out and about with Paul' Watercolours with Paul Taggart - Combination Technique VOD

                    01:12:18

                    from artworkshopwithpaul / Added

                    See also ‘Learn to Enjoy Painting in Watercolours with Paul Taggart [Series 1] – CLICK HERE –https://vimeo.com/ondemand/artworkshopwithpaulwc1 See also ‘Learn to Enjoy Painting in Watercolours with Paul Taggart [Series 2] – CLICK HERE – https://vimeo.com/ondemand/artworkshopwithpaulwc2 Follow along as Artist and Author Paul Taggart embarks on this detailed and comprehensive start-to-finish tutorial; filmed in real-time and presented here in a pair of videos. TECHNIQUE - referred to by Paul as his three-layers ‘combination’ technique – where he completes the first and second layers in wet-on-wet, with the third detailed layer being executed in wet-on-dry. SUBJECT – Foulis Castle and Daffodil Garden – a full composition completed in-situ during a fund-raising event hosted by the Munro family, on behalf of RNLI Invergordon Lifeboat Station. PART 2 – Firstly, Paul completes his second layer of wet-on-wet, working on the foreground grassy areas and the defining the pathway that cuts a swathe through the daffodils. Then Paul prepares for the third layer for which he switches to the Wet on Dry technique – firstly he removes the masking fluid. Having exposed the masked areas, Paul carefully softens any unwanted harder edges using lift-off and losing edges. NOW FOR THE WET-ON-DRY LAYER – where he turns his attention back to the background trees on the right hand side, the roof and walls of the building and then the trees in front of the building. This is where creating the wet-on-wet background comes into its own as a counterfoil to the wet-on-dry strokes, which create focus, defining shape and movement/rhythms. This is where the rhythm, direction and nature of brush-strokes matter. This three-layer technique works from light to dark and from top to bottom (in other words the back of the composition to the front) all of which is explained in detail. Now Paul returns to the tree on the left – creating depth by exploiting the Wet on Dry technique to contrast focus against the softer wet-on-wet strokes. Brush-strokes are applied, following the movement and rhythms of the branches to carry the eye across the painting. Coloured-grey mixes come into their own here to pick out the lichens and mosses that drape the trees. Moving to the foreground daffodils Paul now works from the front to the back to achieve aerial perspective through the simple device of applying paint mixes at their thickest to the front – progressively thinning them down with water as he moves backwards, to lighten the colours. Added to which he works with yellow-biased mixes for the front progressively working towards blue-biased mixes for the background distant and shadow areas. FINAL TOUCHES which appear detailed, but are in reality quite suggestive, include – shadow areas on the grassy path, flower stems and leaves, and architectural features (such as accents in the windows). Watch out for how Paul exploits ‘negative painting’ to bring those garden seats in focus ………………. This three-layer technique works from light to dark and from top to bottom (in other words the back of the composition to the front) all of which is explained in detail. Follow along and you will learn much about Colour Mixing, using a Hake brush, the techniques of Wet-on-Wet and Wet-on-Dry painting in Watercolours, Lift-Off and corrections, Scuffs and Scumbling, Restricted wet-on-wet, softening and ‘losing’ edges – to name but a few of the raft of techniques, hints and tips that are revealed in Paul’s running commentary. MORE HELPFUL BOX-SETS ‘Painting Topical Techniques for Watercolours with Paul Taggart’ - https://vimeo.com/ondemand/awwptwatercolourtechs01 ‘Painting Equipment Focus for Watercolours with Paul Taggart’ - https://vimeo.com/ondemand/awwptwatercolourequip ‘AWASH WITH THE RNLI’ – by Paul Taggart These on-the-spot paintings are elements in a wide-ranging Fund-Raising Project in aid of RNLI Scotland – https://www.rnli.org.uk The open-ended project is centred on a series of Master Oil Paintings by Paul Taggart, to be produced over many years - each painting will be published by Paul Taggart as a Fund-Raising Limited Edition Print. SUCH AS THIS ‘Masterworks in Oils with Paul Taggart [Series 1’ – Reflecting on Longhope Sound - https://vimeo.com/ondemand/artworkshopwithpaulmaste The subject for each of these paintings being chosen for its history and iconic representation of an area closely associated with selected RNLI Lifeboat Stations around the shores of Scotland. THANKYOU Paul Taggart and Eileen Tunnell would like to thank Invergordon Lifeboat Station for welcoming them to this fund-raising Daffodil Tea at Foulis Castle, Evanton, Highlands of Scotland. FOR MORE INFORMATION ABOUT INVERGORDON LIFEBOAT STATION https://www.invergordonlifeboat.org

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                    • Part 2 - ‘Learn To Enjoy Painting’ in Acrylics with Paul Taggart [Series 1] VOD

                      01:11:58

                      from artworkshopwithpaul / Added

                      PART 2 - KNOWING WHERE TO BEGIN ON THE ‘CANVAS’ CAN PROVE A PROBLEM – where to start without running out of surface, or starting off and finding your subject ‘floating’ in space are common cries of despair. Simplifying these processes is key to Paul Taggart’s approach to tutoring and this aspect is no exception. Here you will learn a simple, fail-safe method, which avoids the need for a complicated grid - again, another stand-alone lesson that will help you with all future painting projects. Having successfully transferred the skeleton of the compositional elements, you now follow Paul as he uses a thin paint mix to draw in the main elements of the subject – simplification is once again the principal purpose of this stage; to avoid fiddling and detailed drawing before applying your first layer of paint. However, there is another step and that is to ‘block in’ the main masses of these elements, so that you have the first building blocks of colour – all applied as thin washes – the purpose again being to prevent you become fussy and restrictive. IF YOU HAVE CONCERNS ABOUT INTRODUCING FIGURES INTO YOUR LANDSCAPE PAINTING – this should help you overcome those concerns as you are guided through the gradual process from these early stages. Including figures is not about detail, it is about observation, the interplay of lights and darks, how to balance the figures within their surroundings. NOW YOU BEGIN THE PROCESS OF WORKING FROM DARK-TO-LIGHT – you are encouraged to look beyond what you can immediately see, to look through to the underlying darkest colours – because these are essential as the foils for subsequently applied and ever-lightening colours – the secret of layering being to gradually work through from the darkest darks to the lightest super-highlights. Paul explains how important it is to consider what you will be doing in future layers, how the ripples on the water will be achieved, how aerial perspective will come into play, how the misty elements of the waterfall contrast against the structural elements such as rocks and trees. Having completed the first dark, brushy layer Paul then switches to achieving the FIRST SOFT LAYER OF THE MIST-SHROUDED WATERFALL – this is where the Wet on Wet technique comes into play, You will learn about working with fluid mixes into a wet surface, about blending and losing edges and so much more as you work through from the top of the painting down to the middle-distance – in other words, the back of the composition to the middle-ground rocks and figures that are silhouetted against the backdrop of the waterfall. AGAIN THIS VIDEO IS A STAND-ALONE TUTORIAL in its own right and what you will learn here will stand you in good stead, not only when painting in acrylics, but also in understanding how to analyse the subject, how to simplify it into principal elements and how to avoid pitfalls of becoming overly detailed at such an early stage. As with all of Paul’s tutorials, this is a highly detailed lesson; nothing is left out, as you not only get to see every brush-stroke, every colour mix, every blend, all of Paul’s actions – but you also get to listen to his accompanying running commentary in which Paul shares his thought processes, his reasoning and the purpose of his actions. The subject is inspired by Indian photographer Nishith Gupta, whose work was brought to Paul's attention through a painting friend. Nishith Gupta has kindly granted permission to us to use his photographs of stunning Indian waterscape as references for this painting tutorial.

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