Paul Talbot-Greaves acrylic exercises in The Artist - part two

Hang on Studio Wall

Posted on

Paul Talbot-Greaves acrylic exercises in The Artist - part two

Paul Talbot-Greaves acrylic exercises in The Artist - part two

Readers' have responded fantastically to the second of the acrylic exercises set by Paul Talbot-Greaves in the February issue of The Artist. Well over 30 readers have sent in their versions of Shadows on a Path.

From the paintings (all of which can be seen here) Paul selected Carolyn Siddall's version (see below) for appraisal this month, saying 'Wow, what a great selection of paintings this month everyone. Very many thanks once again for taking up the challenge and It has been touching to read so many lovely comments and to see how everybody is making their own mark on the supplied pictures. It is tough picking one painting so do please keep on tackling the projects, and don’t forget to read everybody’s comments alongside their work. There are some great tips to pick up!'


Paul's appraisal

Content continues after advertisements

I selected your painting Carolyn because there is so much variety and interest in there! The burnt sienna and yellow ochre under painting works well and really warms up the scene. It is also nice to see that some slivers of this colour can be seen in the finished piece. It’s not easy to achieve, especially if you have to over paint a lot, and I noticed a number of entries had started with a colour but this had become lost in the end. Try and work on your softening techniques so that you can blend some edges, and lose others here and there. You’ll find some great tips for this in part three. In terms of composition, I like the way you brought the focus closer, which makes more of the trees and in turn, they put more emphasis on the shadows and light. Just one point about the gate. This is the centre of interest so it needs to be sharp and straight. You used a credit card for the longer grasses and you could do the same for the gate, essentially bringing in a little finesse by painting it in a series of stamped lines.

I hope you find this useful and that you have a go at some of the future challenges

Happy Painting!


Look out for more of Paul's exercises over the coming months (we already have some great 'Moorland Views' from the March issue) and send in your versions to [email protected] for inclusion in the gallery and the chance of a critique from Paul.

Comments

No comments