The first few minutes of any instructional film are important. It’s the time when you decide whether you like the style of presentation and, indeed, the presenter themselves. This one starts well, with some neat establishing shots that tell us we’re in Porlock Weir in Somerset and present it as the attractive location it is. You may think that making an art DVD is just a matter of pointing a camera at the demonstrator and recording what they say and do. It isn’t, it’s highly skilled, requiring not just technical expertise to make sure that the exposure is right (nothing’s worse than a painting you can’t see) and that the shots hold details long enough for the viewer to see what’s going on, but change with sufficient frequency to keep the rest of the brain interested. It’s not even enough just to turn the camera on when the painting starts and off when it finishes. Watching an artist from start to finish can be as exciting as watching paint dry and a good editor will know exactly what needs to stay in and what can safely end up on the cutting room floor.
The long-established houses such as APV and Townhouse have the process down pat. They’ve been doing it for years and even have backgrounds in the general industry. Lune Ltd, who make this, are new to me and, when I followed up the website, I was amazed to get to a photo retoucher. Whatever, this is a thoroughly professional production and the people behind it (I assume Paul Weaver is only part of a team) know their stuff. I’ve seen painting films produced by people whose background is more in commercial or wedding photography and they don’t quite get the requirements of art. This is absolutely top quality and even has some neat tricks up its sleeve that don’t grate – editing the superfluous details that Paul is going to leave out of the painting from the video image adds a dimension I haven’t seen before. It must be the retouching background.
Well, here we are, nearly as long as some reviews and I haven’t even mentioned the paintings yet! There’s a reason for that, because I wanted to make the point that I felt well-disposed before we got properly started.
The film itself includes four demonstrations, three on location at Porlock Weir in differing lights and a final one in the studio which allows Paul to spend more time on a sketch he made earlier.
Paul’s main stock in trades are sketching and simplification. He makes the point that, by walking around the subject it and making sketches, you get to understand it – how it’s made up, the form, tone and perspective. Even in the studio, he prefers to work from a sketch rather than a photograph due to the personal element the former brings. Once you’re familiar with the area, the initial question of what to paint should make itself apparent and the next step is to decide what to include and what to leave out. Boats are rarely neatly arranged and the variety of shapes, angles and ancillaries, such as ropes, add a level of complication that make it difficult for the viewer to interpret the final painting. “Not copying the scene exactly … taking the essence of it.” At the same time, it’s important to keep the work balanced, so some elements may even have to be moved to avoid empty areas. Although Paul seems to have an instinctive ability to do this, he’s also very good at explaining what he’s doing and, above all, why he’s doing it.
I have a final list in my notes where I’ve summed up Paul’s painting process. It says:
Mood and atmosphere
I don’t think I can do better than reproduce it exactly as I wrote it, because it sums up the message, the presentation and the presenter. This is a thoroughly enjoyable film you’ll want to watch, by a skilled and entertaining presenter.
Available from www.paulweaverart.co.uk