The Challenges of a Large Painting
HTML-код
- Опубликовано: 30 авг 2021
- This week I painted a 40" x 40" painting and show the challenges a large panting holds compared to say a 10" x 12".
Link to join my email list so you receive these videos weekly to your inbox:
masteringcomposition.com/free...
The colors on my palette:
Titanium White
Cadmium Yellow Lemon
Cadmium Yellow Medium
Yellow Ochre
Cadmium Orange
Cadmium Red Light
Alizarin Permanent
Dioxazine Purple
Ultramarine Blue
Chrome Oxide Green
Phthalo Green
Link to some recent paintings by Ian Roberts for Sale:
masteringcomposition.com/prod...
To purchase Mastering Compositon click this link: www.amazon.com/Mastering-Comp...
To purchase Creative Authenticity click this link: www.amazon.com/Creative-Authe...
My website: www.ianroberts.com/
Facebook page: / ianrobertsartist
Instagram @ianrobertsartist: / ianrobertsartist 
Хобби
When you open up and tell us that you struggled with a particular segment of your painting, it makes us feel less intimidated when we encounter our own particular hurdles. That is a great thing, Ian.
Thank you.
This is a great painting. It's so helpful to see how you continually problem-solve, checking to see what's working and what's not working, making subtle adjustments right up till you finish.
Thank you Karen. I am delighted you enjoyed it
I find that the older I get, the more I dread "the ugly stage" as in this shrubbery stealing the attention. I really appreciate that you let us see into your process of how to work through! Looking forward to the studio tour! Thanks so much, Ian!
You are so welcome Terri! Thanks for watching
Terri, can you explain it in a easy different way. Im german and dont know what dread, shrubbery and ugly stage means.. :)
@@sebastiangaia5865 it means it looks awful until finished
Very useful demo to show how to integrate the different parts to a great work.
Ian, you emerged victorious over the stubborn foreground! It really has a nice rhythm and doesn't trump the Church ! Thanks!
Thanks so well. I emerged victorious!
Very refreshing to hear you explain how you approached the painting.
Always love how fast you block in the canvas. Enjoying your guidance to the focal point. Here we go again, the importance of planning!
Yes, planning, can't say it enough.
Love the photo, and the painting! Lovely colours - v interesting to watch you. Thanks, Ian. Jane
Thanks so much Jane. Glad you enjoyed it
Ian, as each video goes by I am even more blown away by your talent which is really awesome but maybe more awesome is your ability to take that talent and somehow make what you are doing accessible and coherent to us in a video lasting less than 10 minutes! I am totally hooked. The finished painting is superb. Thank you again as always.
Delighted you enjoyed it. Thanks for the kind words too Dearbhla
Beautiful. And YES, a studio tour would be great!
Just videoing the studio tour now.
@@IanRobertsMasteringComposition Looking forward to it :-)
The highlights coming up from below on the white building are amazing. You can almost feel the heat rising from the veranda.
Nice. Thank you Lisa.
its like netflix. I bingewatch all day
I appreciate your channel and how you show the direct painting work and challenges it presents. I was interested , on this episode because I really felt the painting was at its best at 7:10 into the video. The final painting was overworked, dulled, and lost the excitement and bravery of that first complete coverage. The intense saturated bush left of the church really pulled your focus to the buildings and was a joy.
As I sat lingering over my coffee, trying to eke it out until 9am, waiting in anticipation of Ian’s Tuesday video….. I was not disappointed. I like seeing how the progress of the detail in the focal area really does ‘bring it into focus.’ And also seeing how to ‘subordinate’ that big foreground area, while maintaining just the right level of interest, and eye movement, is also very helpful.
Had to laugh at your self-reflection, Linda. Almost looked back to see if you were there with me while I was sipping on a cup of black unsweetened coffee, something I never drink straight black, and yet was enjoying more and more with each sip as Ian brought more clarity to the scene. More is the operative word here.
My first thoughts were how I would approach this and modify the foreground here and there, and voila those exact changes appeared under my hand, lol. Now I'm wondering if my reluctance to spend more time painting isn't because the subjects and scope I prefer working with are too big for my limited knowledge, talents and experience, but rather they haven't been big enough to release the inner artist. My easel can easily handle a 48" backer. Now to hunt down a local supplier of samples in various larger sizes. Maybe bigger is better.
Glad you liked it Linda. Nice image of your waiting until 9 for the video with coffee in hand.
HI Andrew, it is worth a try. I'd go for it. All the best.
@@andrewzanas9387 sometimes I find a large painting doesn’t take me much longer than a smaller painting - as long as I don’t get too caught up in the details. Bigger brushes, looser strokes etc. You should definitely ‘give it a go.’
@@LinDiaVio I'm going to try watercolor on gesso. Supposedly if done right it will produce interesting chalky colors. I have the choice of gessoing canvas or paper. I'm choosing paper to start. The paint has to be worked wet on wet, but not too wet and especially not too dry, otherwise the pigments will run and collect in low points and along edges once the gesso dries. Okay! Let's go for it!
Love this video, it is always encouraging when an artist shares their problems or errors . Thank you. When my granddaughter was 3 I showed her the video of Richard Symons painting a full sized Bull Elephant , “ you could do that Granda” was her response. I told her I couldn’t get the canvas into my house. “ You could do a baby one” she replied. She was right , I painted a baby elephant on a 48 x 48 inch canvas which later won the “People’s Choice” award at my Society show. I later painted a pair on a 60 x 60 canvas but the demands of space dictates smaller pictures ever since.
Well first congratulations on the award. But I'm with you unless you've got lots of storage space big canvases start to pile up.
Wow! What a great lesson in art! 🙏🎨🙏
Thanks so much Franco!
Loved your commentary about how the foreground was bothering you up until the end. The buildings are lovely and fine, and the sky, too, just beautiful. It is always interesting for me to see artists paint in the first layer. You seem to have a direction in your value map, very controlled, so today's marvelous painting was fascinating to see how you worked through your battle with the foreground. And in the end, it was as beautiful as the buildings and sky, and yet, played a supportive role. Thanks so much for sharing this!
Thanks so much Sheila. Glad you enjoyed the process as I tried to pull it together.
What a great composition! And such a positive, peaceful feeling from this painting... One challenge of a large painting is the need for a larger room to be able to step back and evaluate the painting from a distance :-)
Thank you. And yes if you can't stand back it makes it hard to know what's going on.
I live in Ontario...Im 77 and started painting 2 years ago...COVID-19 isolation!...and discovered it is my passion...then I discovered Ian..and I am so grateful...I have both your books..beautifully written...I want to thank you Ian for sharing your passion, your skills and for your kindness in sharing them..it means a great deal to me.
I am so thrilled that someone older than me just took up painting and is so happy they did. I am 67 and have been learning this skill for about 4 years. I think ian is wonderful. I am learning so much. Happy painting.
@@debbiepollock8458 Hey Debbie..Im older than everyone!!....so much to learn, so much to paint..no matter, as you say,makes me happy
Who knew we would be having this much fun in our senior years. When I am not painting I think about art and painting. When I am painting I can sit for hours.
Thank you Lynne and Debbie. I think I can join the seniors’ club and yes, there is still so much to learn and so much to paint.
You are so welcome Lynne. I am delighted you are painting, and enjoying the videos. Best of luck.
Thank you! I'm only really commenting to help the algorithm but certainly to let you know that your videos inspire me.
Awesome! Thank you Mr Random
I am always amazed how every form and every color comes so well together at the end of your process. Thank you again for your time. Your explaining help us to improve. A great gift for everyone who tries to understand the basics of painting.
Delighted you are enjoying the videos Joanne.
Great pace of the video and always straight to the point with no gilding. You are certainly good with greens. Much appreciate your honesty.
thanks so much.
The week seemed to go by so slowly while looking forward to your next tutorial. Tuesday morning is my favorite time of the week! I agree with the other comments ; beautiful painting, fabulous composition and problem solving information. In the end the palm was integrated so well with a simple solution.👍 One problem for me when sizing up a painting while being used to working small, is not mixing enough paint. Thanks again for sharing.
So glad you enjoyed it Joyce.
Great painting, as always 😁 I look forward to your Tuesday videos.
Thanks so much!
Today I find that I am not just watching someone paint a great painting and wondering, in awe, how he got there, I am with you at each stage, evaluating what you have done. Now, THAT is great teaching 👏🏼👏🏼👏🏼 (And a fab painting, too 😊)
Jackie that is really nice to hear. I like that idea that my own complications were revealing. Thanks for letting me know.
V helpful to see the decisions you are making and how you are changing things to work best for the final picture. Thank you
I enjoy your lessons each week. thank you so much for sharing your talent with us.
You are so welcome Grace.
That was very helpful. I especially find it helpful when you called out what you did in the foreground, mid ground and sky to bring attention to the focal area. Thank you so much for another very helpful video.
You are welcome. Glad I could help
Ian, thank you for another awesome video! Watching your process and listening to you explain that process is like attending a lecture in a master class!
You are so welcome Joanne. Thanks so much!
I am just amazed how the painting looks so so so much better than the photo. Didn't know what you were going to do with that jumble of mess in the front
The final result is amazing Ian. Thank you!
Glad you liked it Lucas.
This is going to be sooo useful. A photo I took of St Paul near Nice in the south of France has nearly the same profile - a slope leading up to a hilltop village of pastel stone capped by a church steeple. Thank you.
Wonderful. Glad I could help!
Loved the painting and your process!
Thanks so much. Glad you enjoyed it Karl
Was painting some natural scenery recently and it dawned on me how much greenery (not including Fall foliage) is actually more yellow than green. That's what I enjoy about art. It really forces you too see things.
That is so true George. Painting really makes you pay attention and see things.
I really enjoyed seeing your process with this painting. Its the kind of photo I might pick to work from, exotic buildings, etc...so I appreciated the subject. I also am starting on a larger canvas at the moment so it's a boost to my momentum. Very fascinating to see how you solved your forground problem. Here I go....see you Saturday!
Hi Ramona, good luck with your larger painting. And yes see you the 18th. All the best.
Really nice painting, Ian. Thank you for the video. Take care. g
You are so welcome Gayle. All the best
i struggle with foregrounds the most... i am really trying hard to overcome this. recently i started painting small so a bit relief... large paintings and huge foregrounds perfect recipe for a failed painting for me... thank you so much for sharing this.
Your tutorials are always the highlight of the week for me. Thank you so much for this. Love your painting style immensely!
That is great Johan. Glad you are enjoying the videos
Thank you Ian for another great lesson. I’m always waiting impatiently for your video on Tuesday morning. So much to learn from every brush stroke and from every explanation you give us while painting your scene. Merci.
Delighted you enjoyed it. Thanks so much Marie
Even to a watercolorist your advice is invaluable.BTW , with oil medium, I am forever blue gray green with envy to be able to "correct" your mistakes..thanks a million for your posts.
Delighted you enjoyed it.
Hi. I've been taking in all of your videos. Powerful good instruction, Ian. I'm a long way from 40" x 40" but this video is KEY for me getting there. Many thanks!
Glad you liked it Daryl. Thanks for watching and all the best
Thanks for this. I really like large format paintings. I found it really interesting to see how you took the rectangle and formatted into a square.
Glad it was helpful Virginia. That reformatting of course is what caused all the problems in the foreground because it made it bigger.
I always use acrylic due to the toxic affects I get from the fumes of oil paint. I am painting a large 36x24 painting of the Brooklyn Bridge. I appreciate your tips and way of teaching. I am 77 and it takes me a long time to finish a painting. Working with shapes is a great way to move it along, thanks.
Glad I could help. Painting has no age or time limits. Thanks for watching
This is just a great painting
Thank you for sharing
Waiting for long demos from start to finish 👍
Long demo next week.
Fascinating video! I am not yet confident in my skill set to attempt a piece this large! It is way out of my comfort zone.
I am intrigued by changing the format of a reference material from, in this case, a rectangular to a square. My first inclination would have been to increase the amount of sky, while still maintaining the focal point of the church, or tower building.
It would be interesting to see your thumbnails of the different versions, explaining and demonstrating what needs to be considered when you take this approach. For as you stated, altering your major, large mass shapes can evoke a different mood, response and interpretation of your composition’s design…..all the result of changing size, color, and value……definitely revealing unintended and and unforeseen challenges!
There clearly is a strong presence of the colors of green in the foreground! But in your fine tuning and detailing of the piece, masterfully, you are able to lead the viewer into the landscape, beyond the foreground bushes to the mid-ground buildings. Just as in the sky, your use of values, light and shadow, your use of hard and soft edges communicate your vision, intent, and focal point.
It is amazing to realize how something as simple as the blurring or sharpening of an edge, not just contrast of color or value, can have such an impact and add interest to an otherwise, modest composition.
Thanks, again!
Hi Ann Marie, I wanted a square because I had intended to perhaps use this painting to replace the one in our house now. I just made it square without perhaps enough attention to the problems it was going to create by elongating the foreground. That I think had a lot to do with the challenge. Not enough planning. From me, the guy who is supposed to be about planning composition before you start. I did do any thumbnails either for this one. Pretty unusual for me. Would have helped. Glad you enjoyed it.
As always, beautiful painting! This is yet another video that I’m sure to revisit many times. It is so helpful to compare the progression in form and thought for how you worked the foreground from being the center of attention back to a subtle and pleasing accent to the town above. Your videos are excellent and I revisit them often. Thank you!
Glad to hear it Lisa. Thanks for much for watching and the support
So helpful color is so important and currently a challenge for me. I continue to learn from your videos. Thank you!
Really amazing, Ian!
Thanks so much Joani!
Thanknyou Ian, another very interesting painting especially the way that you described the size difference and showed it in relation, very interesting,thank you.
Most welcome Neil.
Ian thank you so much. I look forward to these opportunities to learn from you. It is so powerful to hear your process, how you identify the problem and then resolve it. It makes me keenly aware of how much more I need to learn. I am so grateful thank you!
Makes me really happy to hear it. Thank you Sally
I'm interested in how you get the beautiful sense of texture in the wide sections of green. You are inspiring me to use more colors. Already your short videos are helping my art improve.
Hi Leslie, it's a big area of green so I had to break it up with a lot of modulated color. The trick is to not shift the color too much, enough to create nuance but not so much that it gets jumpy.
Absolutely love this and all thinking process with it. Thank you!
Fantastic! These are wonderful gems. It's so enlightening to hear you go through your thought process as you're working through the painting process. And you're so calm and encouraging. And you break things down into such easily digestible parts. I'm a few years into painting seriously and studying with an accomplished artist/teacher and these little gems you put out each week just pull it all together for me. Many thanks!
Delighted to hear it. Thanks so much for watching and glad you are enjoying them Veronica
Thank you, Ian. You've inspired me and a group of friends/pastel artists in the Southwest. Your Tuesday lessons for this past year have been so helpful in reminding me how important composition and design is.
I'm delighted it hear it Denali.
The tiny bit of light that hits the church makes the whole painting worthwhile.
Did it ever cross your mind to omit the palm entirely?
Or in other words what made you keep it as you have shown us numerous times that you easily drop stuff if need be...
In any case it turned out to be a very nice painting.
Hi Klaus, I made a comment above that the reason I didn't get rid of that palm is that made me think that the place was part of paradise and I just wanted it there. I can tell you, I thought about getting rid of it lots of times but knew I needed it. For me. Not for the painting's sake.
I thought the same thing about the palm.
Beautiful painting Ian! I was attracted to the title of your video because I was interested to learn what would you say about going from a small image to a large painting. That is, how to fool the eye when you're facing a change of scale but (I guess) I'll have to wait for the next large painting. Thank you!
Hi Alberto, well part of what I was saying is it is easier to fool the eye on a small scale, a touch of paint that represents a tree, that is now 6 inches high in the large painting and you have to actually articulate it more. So I'll be doing another large painting I'm sure in the future so I hope I answer it more fully next time. All the best.
@@IanRobertsMasteringComposition Thank you.
A beautiful painting Ian! Love the way you worked the clouds. Looking forward to your studio tour but please let is get a closer look at your drawings. I pause the video so I can focus on them. They are exquisite!
That is kind of you to say. Thank you and I'm delighted you are enjoying the videos
Beautiful results.
That was a really helpful demonstration. I was curious to see how you were going to handle that huge foreground space so that it wouldn't distract from the focal point. That was really instructive. Thanks.
Glad it was helpful Douglas. Thanks for watching
@@IanRobertsMasteringComposition What I failed to say was how beautifully I think you solved that foreground problem. Your mastery of color is truly impressive, and your sensibility of how to integrate them into a cohesive painting. Impressive to say the least.
Thanks Ian....this definitely raised my confidence to start working on a comparatively larger canvas lying in the corner of my room for a couple of months because it was a bit intimidating.
Just go for it Paresh!
Once again a great topic and excellent demonstration. Your teachings are so useful, and clear. The real-time demonstration really helps me 'get it' Thanks so much Ian!
Glad it was helpful!
Great explanation for large painting! I paint this size and one has to really integrate to get to one center of interest focused!
A lovely painting! Thank you ☺️🌺
My pleasure
great Ian. Id like to see more vids and info...about what happens after that initial blockin... and finishing paintings :)
Hi Greg, it's like when I did the demo sequences for the book Mastering Composition. The block in takes up 5 photos and then the final image. But the block in only takes say an hour and you can see the changes from one to another. After the block in the steps are so much slower and incremental that it's hard to see from one image to the next what changed. So video would be the same. Way too long for not much change perhaps.
Beautiful!!!!
Beautiful painting ! And yet a difficult one by the number of details: thank you so much Ian
Thanks Christine. It was a challenge.
You are a awesome teacher
Beautiful painting...one of our destinations will be Sardinia
I think the village is Cargèse with two different churches, one catholic and the other one greek. I admire your way of painting. You make me want to paint one of my photo from Cargèse with your method. Corinne from south of France
Hi Connie, thanks again for letting me know the name of the village. If you've got a good photo why not give it a try. With best wishes.
I appreciate you taking us through your paint thoughts step by step! Your finished painting really works! Thanks!
This is so good Ian 👌🏻. The painting is more beautiful than the picture itself.
Very satisfying video
Thank you so much Abu
Great painting, Ian! I look forward to your studio tour! Take care from Ottawa.🍁
Thanks so much Penny!
This was so helpful.
This is a superb tutorial about a great painting -- thanks for always sharing your insights so clearly!
You are so welcome Rafael!
loved it. thanks
Glad you enjoyed it!
Thank you for sharing I have just started watching your videos and learning so much
thanks for the tutorial!
You are so welcome Mark
Thank yoy Ian
Fabulous as usual, of course!
Thank you so much! Glad you liked it
This was a great demonstration Ian, thank you! :)
Glad it was helpful!
Such valuable information. Thank you
You are so welcome Abi
Thank you
Amazing!
Thanks so much!
Thx Ian!
You're welcome Don.
That is so beautiful
Thanks so much Kim
Really a lovely painting Ian! A great scene and it was cool to see you both tackle something so large as well as walk us through the thought process. very cool. The final piece is really awesome!
Thanks so much Danny.
Très beau
I feel so inspired and learn so much from all your videos. They’re extremely interesting and thought provoking. Always waiting for the next one! Thank you so much!
Glad you like them Trevor. Best wishes
Grazie Ian! Molto interessante come sempre 😊
Thanks so much Emma!
I really like this painting and it's so interesting watching and listening to how you got there.
Glad you enjoyed it Nicholas.
Well done Ian.
Thank you Colette!
You are a genius! I'm learning a lot from your videos. Thanks a lot!
Glad you like them Moda.
Always good and honest presentation.
I appreciate that!
Fantastic work! so informative!
Thanks so much!
Thank you so much sir
Very nice demonstration..!💕🎉👌
Most welcome Mohan.
Thank you! This is very informative.
Thank you Sandy!
Really great to see the progression of this. Your comments regarding the challenges and specifically the compositional and chroma and edge decisions you thought through to draw the eye to your center of interest were extremely beneficial..
Glad to hear it Diane. Thank you
Beautiful painting
Thanks so much Louise
Great video and wow that finished painting is stunning! I have a 36x36 canvas waiting for me but I’ve been intimidated to start as I usually paint 8x10 and smaller. Now I feel more confident.
Glad I could help Meredith!
Super-amazing! I am about to attempt a landscape painting and this video couldn't come at a more opportune moment. Thank you! If I could achieve a fraction of what you have done here, I'd be very happy lol
Wonderful! Good luck with the paintings.
I LOVE IT
Thanks so much Martha