DVD en anglais
En cours
Pour commander les
DVD ou K7 sur la technique de la peinture, aller sur le site anglais
http://www.apvfilms.com
Inspired by Light: Painting in Oils: Ken Howard DVD K7 PAL Durée : 60 Minutes
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Mon avis : DVD captivant dans lequel nous voyons Ken Howard peindre 3 toiles de A à Z ( deux nus et une marine). Très intéressant même si n'y comprenez rien à l'anglais. Un top !!!! ------ Leurs avis : Ken's work has a very special quality and with his strong sense of tone and use of light we see him paint some of his favourite subjects |
A Vision of Venice in Oils. Ken Howard
DVD K7 PAL Durée : 60 Minutes
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Mon avis : Même remarques que pour le DVD précédent, mais cette fois ci au menu nous trouverons 3 vues de Venise à l'huile. ------ Leurs avis : In this most recent film, Ken once again is inspired by the light, architecture and atmosphere of Venice, this time to paint in oils. |
A Vision of Venice in Watercolour: Ken Howard
DVD K7 PAL Durée : 60 Minutes
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Mon avis : Même remarques que pour les DVD précédents, mais cette fois ci les aquarellistes seront ravis : au menu nous trouverons 3 vues de Venise à l'aquarelle. ------ Leurs avis : Venice, with its architecture, earth colours, figures and atmospheric light has had a great effect on Ken's work for over 30 years. |
Painting with Oils . Tom Coates
DVD K7 PAL Durée : 60 Minutes
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Mon avis : Très bon DVD durant lequel nous observons Tom Coates réaliser 4 petites pochades à l'huile. En plus ce titre existe en français. ------ Leurs avis : In this second in a trilogy of films, Tom paints in oils, producing wonderfully observed landscapes in a loose, impressionist manner |
DVD K7 PAL Durée : 60 Minutes
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Mon avis : J'aime bien les cieux de Fred Cuming mais je trouve ce DVD pas terrible. ------ Leurs avis : Painting in oils, Fred's wonderfully subtle use of colour and tone is portrayed to the full. He sketches and paints in Rye Harbour and on Camber San |
Landscapes in Oils Jane Corsellis
DVD K7 PAL Durée : 60 Minutes
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Mon avis : Un style impressionniste, un bon coup de patte mais, bien que l'on y apprenne des petites choses, je ne suis pas emballé par ce DVD. Il existe une version française qui reprend 2 ou 3 des exemples de ce DVD ------ Leurs avis : Jane has a wonderful sense of colour and composition that she uses with great subtlety to describe the very essence and character of her subjects, uncovering the hidden shapes and patterns |
A Light Touch: Landscapes in Oils David Curtis
DVD K7 PAL Durée : 60 Minutes
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Mon avis : David Curtis est un bon peintre de paysages mais n'a, a mon avis, pas de grain de folie comme l'a Ken Howard, c'est une peinture trop 'sérieuse' à mon goût. J'ai tout de même appris beaucoup de choses en visualisant ce DVD. ------ Leurs avis : David's unique approach to oil painting enables him to capture the mood and atmosphere of his subjects |
Light in the Landscape David Curtis
DVD K7 PAL Durée : 80 Minutes
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Mon avis : Mêmes remarques que le DVD précédent. ------ Leurs avis : The effect of light is all important in David’s work and in this film he once again paints in oils |
Artist: Tom Coates APV TC2 DVD
DVD K7 PAL Durée : 80 Minutes
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Mon avis : Mêmes remarques que le DVD précédent. ------ Leurs avis : THE ARTIST - April 2004 Tom's method of working is fascinating to watch. "Go for the shapes" is his advice, and interestingly he uses soft brushes for much of the painting. "You can flick about with these," he says. "The colour won't lift and it's easier to work paint into the surface of the board or canvas." There is a wealth of tips and advice and plenty to inspire the reluctant plein-air oil painter.THE ARTIST- December 2004
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APV TC3 DVD
Tom Coates
DVD K7 PAL Durée : 80 Minutes
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Mon avis : ------ Leurs avis : LEISURE PAINTER - April 2006 In his film, Simplifying Watercolour, he tackles various landscape subjects opening with a couple of views of a very English meadow. He shows how he starts without any underdrawing, sketching out his compositions with a rigger brush, and loosely washing in larger areas with a mop. Once the larger shapes are established he indicates smaller details such as sheep and figures to create a sense of scale. Unusually he uses chalk rather than masking fluid to retain highlights which he finds works most of the time! The venue then moves to France where he works on medium-scale paintings, whilst simultaneously jotting down small studies in a pocket sketchbook for future reference. The first is a wide beach scene at Pen Guen, where, conveniently, a horse and rider come into view and meander through the gently breaking waves. Further interest is added in the form of people with metal detectors and children playing on the sand. Later sketches include compositions of boats and figures along another stretch of coast. A rural scene painted from the balcony of his lodgings in Jugon les Lacs, offers an interesting juxtaposition of shapes – rooftops, roads, walkways, a lake; all intersecting and dropping away to create an unusual sense of perspective. He returns to this later to redefine the contrasts and add smaller details. Coates has a relaxed style that is fascinating to watch. His compositions evolve unexpectedly and always retain a fresh quality however much he works into them. His method encourages the viewer to break from traditional approaches, and to simply enjoy the process of capturing the essence of what is before them.
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APV PIK1 DVD
Durée : 120 Minutes
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Mon avis : ------ Leurs avis :
Richard has a great love and awareness of the landscape and the effects of light and weather. This understanding has established him as a great painter of light and in this film his inspiration comes from the coastline around his home in Dorset. Working outdoors with a small pochade, he draws and paints small studies in and around the harbour at Lyme Regis as well as on the shore at Charmouth and on Eggardon Hill. Working in his studio, he uses much of this material to work up large canvases of Lyme Regis. |
APV TC3 DVD
Artist: Herman Pekel
DVD K7 PAL Durée : 80 Minutes
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Mon avis : ------ Leurs avis :
LEISURE PAINTER - March 2010 With a passion Herman Pekel handles paint with impressive confidence which, combined with his enthusiastic and engaging personality, makes his film, A Passion for Paint, highly enjoyable to watch. Believing it is important to have a connection with the subjects you paint, his first two canvases focus on the area he grew up in, north east of Melbourne, Australia. Pekel begins by mapping in key lines, and then washes colour over the canvas to start defining the form. He demonstrates his empathy with the landscape as he quickly builds a sense of depth, layering transparent darks, and creating rhythmic, fluid lines. He then moves in with a credit card, wielding it like a palette knife, pushing the thick paint around sculpturally, creating areas of foreground texture that bring life to the composition. Highlights in the trees are added with subtlety, and the lightest points are reserved until the very end. For the third painting, Pekel moves down to St Kilda on an absolutely beautiful day. He sets up his canvas to paint a view of the beachfront, starting with the same impressionistic approach. He washes in the foundation colours broadly, before using a square- ended brush to define the shape of the buildings, along with his trusty credit card for texture on the sand. Staying with water, he goes towards the mouth of the River Yarra, settling on an industrial view of the harbour, with harsh metal structures against a muted view of the city rising beyond. As he nears the end of the painting, a huge ship sails through, tempting Pekel to include it. He is never afraid to experiment, but once added, he decides not to keep it, enabling him to demonstrate how he can remove an item as fast as it was painted, scraping it off, and then overpainting and blending until no evidence is left. Finally, tired after the two previous paintings, he goes down to Williamstown, reducing a varnished paper ground to a narrow landscape format. Despite battling with his easel wobbling in the wind, Pekel masterfully maps in the features of the buildings. This is an excellent film. Pekel is so clearly enjoying himself as he paints, that his exuberance is infectious. He inspires viewers to capture the atmosphere of a place without getting hung up on rules. |
APV FC2 DVD Artist: Fred Cuming RA
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Mon avis : ------ Leurs avis :
LEISURE PAINTER - March 2010 With a passion Herman Pekel handles paint with impressive confidence which, combined with his enthusiastic and engaging personality, makes his film, A Passion for Paint, highly enjoyable to watch. Believing it is important to have a connection with the subjects you paint, his first two canvases focus on the area he grew up in, north east of Melbourne, Australia. Pekel begins by mapping in key lines, and then washes colour over the canvas to start defining the form. He demonstrates his empathy with the landscape as he quickly builds a sense of depth, layering transparent darks, and creating rhythmic, fluid lines. He then moves in with a credit card, wielding it like a palette knife, pushing the thick paint around sculpturally, creating areas of foreground texture that bring life to the composition. Highlights in the trees are added with subtlety, and the lightest points are reserved until the very end. For the third painting, Pekel moves down to St Kilda on an absolutely beautiful day. He sets up his canvas to paint a view of the beachfront, starting with the same impressionistic approach. He washes in the foundation colours broadly, before using a square- ended brush to define the shape of the buildings, along with his trusty credit card for texture on the sand. Staying with water, he goes towards the mouth of the River Yarra, settling on an industrial view of the harbour, with harsh metal structures against a muted view of the city rising beyond. As he nears the end of the painting, a huge ship sails through, tempting Pekel to include it. He is never afraid to experiment, but once added, he decides not to keep it, enabling him to demonstrate how he can remove an item as fast as it was painted, scraping it off, and then overpainting and blending until no evidence is left. Finally, tired after the two previous paintings, he goes down to Williamstown, reducing a varnished paper ground to a narrow landscape format. Despite battling with his easel wobbling in the wind, Pekel masterfully maps in the features of the buildings. This is an excellent film. Pekel is so clearly enjoying himself as he paints, that his exuberance is infectious. He inspires viewers to capture the atmosphere of a place without getting hung up on rules.
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