How to Catch the Light en Plein Air
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- Опубликовано: 10 сен 2024
- You've probably heard the expression "don't chase the light". This week I talk about the two things I do so I am not chasing the light. This week's painting is 11" x 14".
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I don't know why I have to constantly be reminded that I DON'T have to paint the house exactly as it appears. Moving windows and roof lines is so easy and yet I continue to struggle with architectural details that I can simply remove. Thank you Ian!
The perspective thing has to be sound but after that there's a lot of room to simplify the details. You are welcome.
Nothing beats painting naked eyed.
Happiness is sharing the light when we captured it.
Always good to hear your thoughts about the decisions made. Thank you.
Glad you are enjoying the videos Ken. I like that "happiness is .....when we capture it"
It is a lovely painting, and reminds me of one of my favourite painters Edward Hopper! The shapes, the sunlight, shadows and peacefulness! (I do hope you take it positively! I went to the States, to Whitney museum with joy in my heart - just to find out that all Hoppers paintings were on display in Europe, 2011 or 2012. In spring 2019 he was on exhibition in Basel, but the virus turned up....- unfortunately no luck there! Hopefully one day....)
Well, sorry for long text. Very helpful video! Lovely painting and paintings! Gives me a lot of inspiration and help!
🌹
Great demo: scouting out a location at different time of the day, simplifying the scene and reimforming the scene with temperature and shape.
Glad it was helpful Lorraine.
This video prompted me to look at some works by Edward Hopper. I see the same strong elements of composition at work in this painting. I'm amazed at how little detail is needed to make it work. I really like how the lighter lines on the gutter edges of the roofs enhances the sense of bright sunlight.
Someone in a comment above had the same thought about Hopper and it's true he painted a lot of buildings with that strong sense of light hitting them. All the best.
Ian: I enjoy, and look forward to your weekly tutorials. I appreciate you sharing your thought process and methodology for approaching and determining the subjects that you paint. Your compositions, while appearing simple and ordinary, are quite interesting and appealing. The attention to the details of time of day, lighting, shadows, and in particular your editing and modifying the scene, really enhance and demonstrate how masterful you are as a painter. It is important to be reminded that as an artist, the intent of the composition, especially when painting Plein aire, is to capture the essence and impression of the scene, at that moment in time, and not an exact copy!
You are an amazing artist and teacher……thank you!
I appreciate your letting me know you are finding the videos helpful Ann Marie. I appreciate it. Thank you.
All useful, particularly the distraction with a bit of red and changed green on the other bush- good to be reminded that you don't have to keep repainting to achieve it, thank you Ian!
Glad it was helpful!
Your videos are a real treasure, learnt soo much from you.
Delighted you are enjoying them.
It is a enlightening video about capturing the essence of the view and light .Thank you Ian sir!
You are welcome Meena.
Thank you Ian, you just removed my indecisiveness. I have a house across from my house which I love to watch for changing light during the day. With deep shadows and big Sylvester Palm in front. I always think Oh I want to paint it! But I didn’t know what to do with all the architectural details and silly ornaments on it. You just showed me the way to do it! Thank you again. You are very inspirational. Too bad we cannot post our works after you videos
I have the same thing all the time. Something that attracts me but has problems. And in the end if the image is worth it you just have to start stripping away the stuff that doesn't work. Good luck with the one across the street. Glad you are enjoying the videos. Interesting idea of having a place to post work.
This is a valuable video! An important message: generously omit what you don't like and add what you think will enhance the painting. And how about always taking a photo of the moment that best suits what you want the painting to be? That would make the wandering shadows less of a problem. Your camera - your friend and helper.
Glad you found it helpful Rudolf. Best wishes.
Great tips for plein air painting Ian, thank you. The painting was beautiful.
I to have walked around our little downtown city and took some pictures of back alleys that I found interesting in arcitecture, some with fire escapes and steel stair cases, power lines, and good shadows but as you know most of us have more projects to get done first but I'm looking forward to trying them. Thanks for the tips you provide.
I love your choices for minimising and color choices. Always beautiful.
Thank you so much Candace.
Yes!! TUESDAY's PAINT instruction with Ian is wonderful.. re: the green hedge against the house....I think I would have made it thinner so that the sidewalk line isn't stopped by that green.
Glad you liked it. That hedge grew almost half way over the sidewalk. I actually really liked the way it pushed its way in.
A great note regarding edges. I have been painting close by (thanks to your lead), my backyard at 7 AM where one golden yellow strip of light lies in front of the dark dark deep grays/green in shadow and scrubby woods behind, and this week my West fence Hedge with the sun directly overhead. Thanks for the prompt.
Hi Gerald, glad that inspired some ideas. I painted my backyard this week for next Tuesday video. All the best.
Thanks for taking the time to do this, Ian. Take care from Ottawa! 🍁🍁🍁🍁
You are welcome Penny.
I'm learning a lot from your vidéos !! Thank you for sharing 👍👏👏
Thanks for tips!! Any and all are welcome. Advance reconnaissance sounds really helpful!!
Glad it was helpful Marlene.
I loved your finished painting of the home. I thought the way the shadows fell on the house surfaces and created the different shades of green made it really worth capturing too. Thank you as always for the valuable lessons.
Thank you so much Lyn.
Thank you Ian Roberts for the tips to paint during the sunlight and shadows.
You are welcome Usha. Best wishes.
it's really helpful to have 'permission' to change things! Also the contrast is always such a help to make a painting special.
It's good to know you're the "boss" of your own painting. Glad you found it helpful.
See you next Tuesday. Can't wait. Thanks
See you on Tuesday. Glad you are enjoying the videos. Best wishes.
Thank you.
In my limited plein air experience, I always try to get a photo or two of what I'm trying to capture. That way, if I get interupted or cannot finish for whatever reason, I can at least look at what attracted me to to scene in the first place. But then, I'm real new to the outside deal.
It's true all kinds of things can come up. Clouds for one. So if you are forced to pack up you still have reference. I often take photos too in case I want to do a larger painting and might need more information.
Always informative and helpful these videos!!!
Glad you find them helpful Paresh. All the best.
@@IanRobertsMasteringComposition thanks 🙏
Thank you, Ian. Good video! Take care. g
Another fabulous painting!!!
Thanks so much Megan. Appreciate your letting me know you liked it.
I love it! Great painting.
Thank you, Ian.
This is great! Thank you so much.
Very helpful in showing how to subtly move the viewers eye -- deemphasize, emphasize. The DVD with your book Mastering Composition also shows how subtle changes move the eye where you want it. Thank you!
There’s a DVD?
@@bcarithers22 When I purchased it about 7 years ago it included a DVD in a pocket in the back.
The book now has an online link to the same video.
Thanks Ralph. That to me seemed the big teaching moment of the video so glad you caught that.
And even for us photographers, it gives us ideas, thanks.
Hi Iain, It's true so many similar issues to bring to the image itself. All the best
@@IanRobertsMasteringComposition It was the bit about changing the red to pull your eyes away from that bush, rather than changing the bush. Eureka moment.
Thanks, Ian! You take an ordinary scene and make it art, and then tell us how you do it. Many thanks.
You are welcome Annmarie. All the best.
wonderful little painting, a bit of a Hopper scent !!!
Thank you Flo. I didn't think of it at the time but it's true he did lots of buildings in that kind of light.
Thanks again for this incredibly helpful video. Seeing how you simplify what you see when painting it, points out to me that I must try and not get overwhelmed by all the many details I am tempted to reproduce. I loved that little purple tree though, and the fact that you had it going the opposite way. I wonder what made you decided to get rid of it.
Seeing how you did the grass will help me solve a problem I had with one particular area of my colour-blocking containing a zillion colours. Feeling relieved!
Also, gorgeous greens you have in there!
Hi Lynn, that tree was maybe dead and grey but I loved the way the light hit it against the shadow of the wall. But I turned it pink and against the green it just pulled too much attention and ... well, it didn't make the cut. Sorry. Glad you found it helpful.
This could not have come at a better time. I usually paint in the studio but am planning a trip of plein air painting, and your tip about doing the recon ahead of time is simple but brilliant!! Love this painting, too. The geometry of the light and shadows on the house are just so striking and gorgeous!
Hi Donna, glad you liked it and have fun on the plein air painting trip. Post some images when you're back. All the best.
Thanks a lot. Very helpful demo of painting process.
Glad it was helpful Reza. Best wishes.
I am so lucky i found this chanel🤩💃
I'm glad you're here Lucille.
Brilliant! I love this approach!
Glad you like it Sally.
Thank you so much Ian! You explain and show the tips in a way I find very useful. Your lessons are encouraging. I need practice.
Glad you find them helpful Selma. Of course practice is what puts it into gear.
Genius. Thank you Ian ❤️
Glad you liked it Sonica.
Really great advice, Ian. Love it! Love that you just remove objects and make the painting the way you, the artist feel it best. I'm also just amazed you can paint with all these cars going by. Would drive me bonkers, haha. Thank you for all your wonderful content! 💖
Glad you found it helpful. I have to admit that was a pretty busy street.
Great painting ! I like the way you eliminate obstacles in order to smooth the way for it . Thank you Ian
Yes Christine that's it. Get rid of all the things that will bog me down.
Personally I would keep that triangle of light on that front wall but over all this reminds me of Diebenkorn.
It's true, Diebenkorn used a lot of angles like that to create this paintings. All the best.
Thanks again, Ian. Amazing how you can turn something quite ordinary into something quite lovely.
Thanks Francesca.
Thank you Ian for your tips and how important it is to know when and how to catch the light en plein air. I’m always looking forward to your Tuesday videos. Have a great week.
Thanks for letting me know Marie. Glad you are enjoying them.
That was so helpful - some brilliant nuggets of instruction. Thank you for the ongoing inspiration.
Hi Marina, so nice to hear from you. Glad you are enjoying the videos. My very best wishes to you.
I was so happy to see what your painting selection was for today. I just started a painting of a house like structure and this is most helpful to see how you simplified and edited the shapes. Thanks again for sharing.
Glad that was helpful and timely Joyce. Best wishes.
@@IanRobertsMasteringComposition I am curious about the size of that painting?
Thankfully ⚘😊🌹🖐🏻⚘
I'm looking forward to seeing how you paint a figure. I have added figures to several of my paintings but have no idea whether they are enhancing the painting or taking the focus off the painting. I love the way you show, once again, how to make the light come alive in your painting and changing out things you did not care for.
Figures usually demand a lot of attention so they have to look pretty much right AND they need to sit in the composition right where you need it otherwise it becomes a really strong pull perhaps away from where you what us to look. Next week's video has a figure I think sitting right on the sweet spot of the image.
Wonderfully informative and inspirational
Glad you enjoyed it
Thank you. This is gorgeous. Love the brush strokes and the simplicity. Actually liked the dominant bush as well because it seemed to lead me to the door. But I do enjoy the 'finished' painting too. Not sure what 'finished' means in art but I will use that word here to match your explanations. Thanks Ian, very instructive.
Glad it was helpful Sandi.
So intelligent, always helpful! Thank you for so much generosity!
You are so welcome Joanne.
Very helpful as always, thank you so much Ian for sharing your expertise with us!! I'm learning something new in each and every one of your videos. And you convey your message with such clarity every time, it's just a pleasure to watch and learn.
So glad you are enjoying them and finding them helpful Nadine.
Love the tones, very Edward Hopper.
There's a couple of people that made the same comment about Hopper. I didn't think about it but you're right he painted and drew lots of buildings in strong light. Best wishes.
Hi Ian. I just love your weekly videos and your teaching style. I see that you studied in Toronto at OCAD. I live north of Toronto in Stouffville. Do you ever come out to this area to teach or to give workshops? The border is “S-L-O-W-L-Y” opening up so I am hopeful that by July 21st, 2021 we are free to cross the border.
Hi Sue, delighted you are enjoying the videos. My workshops may be done. I did it for 25 years and I think have moved online.
So good! So inspiring
Thank you.
When you said that squarish bush was a problem I was in despair thinking you were going to change it’s shape but then when you said the brighter red makes it work I was so upset I didn’t discover that before you said it or would have known to do that. Oh well… one thing at a time…..
If I had said before I want the attention here and then showed you the image then you probably would have seen the problem. I had an intention of what I wanted to have happen. I didn't share that before for you to know. If I had you'd probably have got it I think.
Thank you for sharing your knowledge with us
You are welcome Elizabeth.
Hi Ian.. I really am loving your lessons.. I find them very to the point and extremely useful. Would it be possible to number your lectures? Often you mention the session before or in the next few weeks you'll be discussing and my list of videos only mentions if it's recent or a few years back. I'm never sure which lesson leads in to the next one. I know they are stand alone but it would be useful to follow in sequence. Thanks. Please continue your great info
Hi Janet, I'm delighted you are enjoying the videos. I number for my reference, week 85, etc. and I can see, although until this last month (painting the neighborhood) I referred to other videos less I think, how it would be helpful to have them numbered. I think you can go into RUclips and select the video by date. So if you see the date of a current video and I say last weeks then type in the date of last Tuesday. More to your point though I should some time find someone to help me organize all of them by some kind of subject. Whew. Someday. All the best.
Thank you!
You're welcome.
Great lesson.
Thanks Virginia.
Hi Ian, so helpful as always!! Your simplification of the house and the light/shadow shapes was gold. I tend to get so caught up in the details. I loved that corner window (as something I'd like in my own house) so never would have thought of removing it to improve the composition but it worked beautifully, as did your other modifications. The result was a beautiful, soothing, relaxing, welcoming ambiance that really invites you in as opposed to a study in architecture. I too would love it you'd come to Ontario to do a workshop!
Hi Julie, glad you found the video helpful. I like those corner windows too but I did not want to have to paint it! All the best.
good lesson as always
Glad you liked it Joseph.
This was great! Thank you! -- KateColors
Glad you liked it Kate.
Many thanks, Ian, and take care from Moscow, Russia!
You are welcome and nice to hear from you in Russia.
Thank you
You are welcome.
I like the sound of a recce that leaves little to chance, not just thumbnail sketches, but timing a before shot too.
Hi Jonathan, once you are in the painting process so much is going on, so many little decisions being made that the more you can nail down in advance the better I find. All the best.
Planning ahead, great suggestion! Plein air painting in late afternoon as opposed to morning can lessen the feelings of being rushed. Sometimes doing a thumbnail sketch helps remind me where the shadows were when the shadows have all but disappeared. When I have been painting plein air lately, I struggle with dappled light. Any suggestions? Thank you!!!
Susan, it's true in the morning the shadows are retreating so the scene usually is getting less interesting while in the afternoon the shadows are getting longer and the scene is usually improving. As you say, less a feeling of rushing because it is disappearing. A couple of weeks ago I showed that ellipse thing with shadows. Unless you are looking right down on the light you have to start making the dappled light shapes very narrow, thin, or they look like they are standing up. Also you can just use half a dozen to give the impression of a lot of dappled shapes. Hope that helps.
I really enjoyed this, Ian. Thank you. g
Glad you liked it Gayle. All the best to you.
Try adding more brown-red to the shadows of trees and bushes (leaves). It will be much more realistic.
When the hedge was too bold, you made color brighter on the chimney to pull the eye, which I understand. But instead of doing that, why not pull the edge back more by painting more of the door in the spot?
That’s so helpful. Thanks 🙏
Glad it was helpful Laura.
Do you have a recommendation or a mahl stick? I can see how it could be really handy!
Thank you, it is inspiring. I could have a question. How do you deal with light, when the weather is grey, and there are no light/shadows, no contrasts ? Do you have a video dealing with that kind of situation ? merci :)
Looks like you're painting on a smooth surface, or a canvas with the weave filled in with primer? I like the final surface you achieve because it's not dominated by the weave texture. Most of my paintings need four or five layers of paint to get the same look. Any thoughts on this?
Hi Rodman, when I paint on panels I use RayMar Claessens linen #15. They are smooth and oil primed. I love the surface. If you have canvas with too much weave you can put gesso on it and smooth it out with an old credit card and the surface is easier to paint on. I don't like struggling with the weave either.
Really love the explanation of your process and the reason behind it! Do you have the vision( composition and colors...) before you start to paint or you develop in the process? What should I do to help me form the vision? Thank you!
This weekend I’m being asked to paint in some gardens from 10am - 2pm. To my mind, the worst time of day because of the lack of shadows! (Not to mention baking in the sun for 4 hours.) Do you have any advice on how to handle garden painting in mid-day light?
Big umbrella maybe. You might also try getting in closer to the shadows under large trees and do something more intimate. Or see if there is a design of interesting value masses being caused by the different values of the trees. Dark evergreens against lighter shrubs maybe. Good luck.
Hello Ian,
Would you mind sharing what kind of medium you use? Your brush doesn’t seem particularly loaded, yet you manage to spread the paint easily and loosely.
It would be really helpful to see the brush as it lifts the colour off the palette.
Your films and paintings are immensely interesting. Thank you.
Penelope
Hi Penelope, when I do small plein air paintings, like 10 x 12, I don't normally use any medium. I think part of it is I use oil primed smooth linen which accepts the paint well. And there's probably more paint on the brush than it appears. On a larger painting say 20 x 20 I'll use a little mineral spirits to thin the paint if I'm painting a large area in the initial block in. And for a while back a year ago I used to film the palette and the painting and switch back and forth but it was so time consuming to edit it that way I had to stop. I am glad you are enjoying the videos. Best wishes.
Thanks for your thoughtful reply Ian. I totally understand about wanting to keep the videos as straightforward as possible. The amount of information you do convey is fantastic. Your posts have become a welcome and regular part of my practice.
Thanks, Ian Sir pls also teach about the portrait. Take care from India
Hi Anjan, I've got a weeks of content planned out but will do a portrait one week. All the best from LA to India.
I loved the corner window you deleted. Pity
Nice painting. The colors are well balanced. Really joyful looking at.. I never painted plein air. Fells unconfortable about people watching or aproaching to talk, judging and distracting me. How do you deal with unconfortable situations like those?
Plein air is a good teacher because you really have to look at nature first hand. Depending where you are people sometimes stop and ask a question or two. But I just say gotta get back to work and they move on. I never find it a problem.
@@IanRobertsMasteringComposition Tks. You are very attentive, politly answering everybody. Ill try plein air someday. 👍
Chasing the Light, Ken Duncan.
Now a photographer can chase the light. But a painter will always get left in the dust.
@@IanRobertsMasteringComposition Mostly, I use what God gave me, or wait for Him to change his mind. I don't chase it.
Ken's good at what he does, but he's a bit extreme on the limited post processing side of photography. Pep Ventosa would be the other side, look him up.
Love it! I get lost in the details of a scene so often, I forget there are other, maybe more important things that bring the scene together!! That painting is wonderful! Do you also have an online store for these paintings?
HI Anaam, that's the artistic thing I guess, what do you include and what isn't necessary. I am working on getting a site up with the images from the weekly videos so they can be purchased. But if there is one that you'd like just let me know.
Luv It... btw- that much remodeling may require a contractors license...
I sort of made a point of not talking to the building inspector first figuring I'd be out of there before he noticed.
Now or never just paint quick!
That pretty much sizes up plein air.
I think the final image is out of balance. The left part is almost absent
Imagine living in that house and seeing some stranger paint your house
So you also knew they would leave for work within 45 minutes so the car would be gone? 🙂
I was really surprised at how busy the street is with cars constantly whizzing by while Ian is painting. Judging by the photo, it looks so quiet.
The weird thing was there were hardly ever any cars in front of that building until the day I decided to paint it.
It was pretty busy. It wasn't a relaxing scene being with nature really. I didn't think about that before I started. But hey it's the city.
@@IanRobertsMasteringComposition
The calm of the alleys is calling.
O
You are definitely loose with the truth!
Davind Dixon, photographer, RUclipsr thought to go and photograph Turner's scenes. Turner too, he discovered, is loose with the truth.
Me, I just hide, disguise and try to mislead. I almost never remove something, or add stuff either. But, that could change.
I'd say there is a difference between the truth of what you see and artistic truth.
@@IanRobertsMasteringComposition Or just telling an interesting story. I'm sure you'd get very little criticism over a pink sky. I expect I'd get a lot.
I found James Morrison recently.