The Best Way to Use Thumbnails.
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- Опубликовано: 3 фев 2020
- We're often told to do them, but what really is their function. I suggest we use the word "roadmap" instead. I do a short demonstration of how I'd create a roadmap before I start to paint so I know my structure, where the emphasis will be and I'll also know if I loosing my way. Because I have a map. Most painters are so excited to start painting, they don't plan out their structure enough. It seems fine at the start but just become more and more apparent they without a map you can get lost in the woods.
I went to 'art school' and learnt nothing. In fact I'd say I lost knowledge and gained insecurity about my ability as an artist. I've learnt and understand more after just watching 6 of your videos with your clear concise explanations than I did in 2 years as a full time student. Thank you from the bottom of my heart.
Hi Ian. I am finding your videos to be very educational and really appreciate the time you are taking to help other artists find their way. This one was especially helpful. Thank you.
Glad you enjoyed it.
I confess, I am one of the hungry, impatient, ones.
What I found interesting here is that your thumbnail, too my eye, is both a thumbnail and a bit of a value study combined. I absolutely understand the advantages of doing them in this manner.
Again, thank you for these lessons!
I use value, as you say, but just to make sure I am understanding in advance where and what the emphasis will be.
I always do thumbnails but from this tutorial I’ve learnt that the stronger values should be at the focus point. Always something new to learn. Very grateful to you.
Thank you, these videos are very helpful, in reviewing the principles of art. How I use thumbnails, on the same sheet of paper, make 4 or 5 different shaped formats, rectangle(vertical and horizontal), square, elongated horizontal, etc., then draw the landscape, composing within these shapes. It helps to slow things down and make good observations. Thanks again.
What a useful seven minutes! I frequently do small drawing before starting a larger attempt of a subject but I would tend to think if these as descriptive. Having seen the film with its clear explanation of the two different objectives of a thumbnail and a sketch - I can see such preparatory drawings need to be analytical. As the right question and the right answers flow. I had not thought of using white chalk in the process! You are giving us the skills and the grammar - all too often in oil painting classes the need to do preparatory composition and drawing is dismissed - why bother when you can sketch out on the canvas on the day! Here we learn that more haste can mean less speed!
Thanks for the comment Ian.
I get what you're saying about creating a strategy for a painting. However, I would just add that thumbnails are a form of sketching, or more broadly, drawing and there needs to be times, places, moments, occasions for just exploring ideas without a preconceived goal. Else there is no occasion for pure exploration. Thumbnail sketches are one such chance to follow your visual intuition -- to put down lines and forms -- or evocative smudges or whatever -- for discovery. Think of Rembrandt's drawings -- how utterly unplanned they are, how evocative, how different from description or plan. I like the student drawings used here a lot. The first, particularly, is very evocative -- beautiful in the use of emotive line and light-dark patterning. It has some of the randomness that one experiences in nature with foliage. Many such drawings done very quickly without even thinking -- just drawing -- can become source materials for intuitive/perceptual response to the scene. This is especially true in plein air where the conditions are continually subject to change -- or when drawing transient things like clouds.
I like your way of working with t humbnails/ roadmaps the very structured way you work with a "roadmap" - really strong way of getting a focused feeling of the total composition - but I also love the a much more improvised process - a going into the unknown - working with a feeling of total involvement in a live performative receive and give - not knowing what I do untill I do it - for me a way of open involvement in the Living now - being very present in the process - maybe the key point s " to empty the mind" - and just be present and nonjudgmental in the process - giving and receiving openminded - moving into the unknown - and discover what is
I loved that you put an exercise at the end of the video. Helps to put what your teaching immediately into practice'
I enjoy the process of doing thumbnails before starting a painting, but with this video, you have made them much simpler for me. Calling it a roadmap is actually a good verbal trigger to clarify the purpose of the sketch. Thank you so much for these short instructional videos! I love the clear focus of each!!
Hi Dorena, thanks for letting me know you are enjoying them. With best wishes, Ian
I'm so glad I recently came across your channel. Your way of drawing and teaching fascinates me, and makes me wanna progress my drawing skills. Thank you so much for your helpful content! 😄
Gosh this was so useful. I'm planning a painting of Scotney Castle ruin and this will really help.
Great Video on shadows Ian, so useful, thank you so much for all this knowledge of yours, so appreciated.
I much appreciate your teaching with clear focus,examples and explanation.You are both great artist and a fine teacher.Thank you for both.
Thank you very much!
I need to go back to doing more thumbnail sketches. Lately, I’ve settled on doing just one and then heading into my painting. I am now getting the feeling I need to do at least two or more just to get a better composition and value study. My sketch book is going to fill up faster than it has for some time now. I enjoy watching your videos and listening to your teaching. I am learning from what you provide. Thank you. PS - I am subscribing.
third video watched, found this channel tonight. I've already learned exponentially!!
Fantastic. Love to hear it Lahonna.
Thank you Ian! These videos are great. Very clear and to the point.
Hi Frances. Glad you are getting a chance to watch them. All the very best, Ian.
This is me, always looking to get to the end, this has taught me to slow down and enjoy the process..
Thankyou.
Thank you so much. Brilliant presentation and so much wisdom.
it was great having the challenge of the photo to try it right away.
That was a nice art lessen in where the important elements are. Thank you very much.
What a Great lesson!! Thank you!
Thank you again for this wonderful lesson. The difficult thing is to find and to define where will be the main focus, what story I want to tell the viewer. If we make this clear it must be easier to create the roadmap, the way trough the woods. You explained this very clearly. I did make a thumbnail of the second photo in the video. Very encouraging and motivating.
I'm glad you find it useful. I think often there's the feeling like I'm a painter, I express myself. I think the amount of thought that goes into the process before beginning to paint is not usually emphasized.
great sympathic teacher
Im another one of the lazy ones...it really helped to see your concise definition and example of what and why. I will use this and I am excited about making my paintings more dynamic. I have enjoyed every one of your videos and look forward to each with its little snippet of practical inspiration.
Delighted you are enjoying the videos. All the best.
Great information can’t wait till next week ...
Thanks Yvonne. I'm enjoying making them.
Thanks, Ian!
Hi Nancy. Had a nice long talk with Elizabeth the other day catching up about her move and all. Best wishes, Ian.
I wish I had teachers like you in my art school
Thanks again
Wow thankyou this has been so helpful...it is making sense at last🤪
Cecilee, I will answer the once to your many appreciated comments. Thank you. I'm delighted you are finding them helpful. Thank you for letting me know. With best wishes, Ian
I would love to hear you talk about how you apply these things in abstract painting!
Sharon, I"ll try and talk about that one week. It would be a good topic. Thanks for watching.
I tried to draw the suggested photo. It turned out badly (2 attempts), but thanks for the reason to shake off the rust.
7.14 Haha.
Exactly.
Thank you Ian
This really demonstrated how to translate a photograph into a painting with a clear path for the eye and resolution of the focal point. Its all too easy to have competing focal points, which is distracting.
However I wonder if there is more. How does one reconcile visual tension, which can be exciting, with one single focal area or point? One focal area ,when it is good, is resolved and successful, but sometimes it can feel static and contrived. How do we keep our paintings dynamic?
Hi Stéphanie, You can of course orchestrate the whole image to one place and as you say that might be static. But you can create secondary and tertiary loops through the image as well. It's just that it needs to be clear, at least in my view, what the main focus is meant to be. Because otherwise you get, not tension, but confusion. That's really what you just said isn't it? Glad you are enjoying the videos. Best, Ian.
@@IanRobertsMasteringComposition Thank you, look forward to a video on that!
When you do a thumbnail are you choosing the focus point or does the landscape make its own? Could you have chosen a focus point to be something else or is it inexorably that spot because of the leading lines and contrast apparent in the scene? Thanks!
Thanks very much. This was very helpful . What do you use in the field to make your sketches? pencil, ink or marker?
I always use pencil. It is so forgiving and soft. I find markers and ink not fluid enough for that stage. If you want to crop off a inch on the left and add more on the right, with ink you're stuck.
@@IanRobertsMasteringComposition Thank you for your prompt response
i've always called my thumbnails roadmaps!!!!!! but they are rushed and sometimes chaotic!
That's the thing I find with so many thumbnails. It's a kind of shoulda, coulda, but really most of the attention is already impatient to get brush to canvas.