Crafting Dramatic Engagement in Your Paintings
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- Опубликовано: 2 июл 2024
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The colors on my palette:
Titanium White
Cadmium Yellow Lemon
Cadmium Yellow Medium
Yellow Ochre
Cadmium Orange
Cadmium Red Light
Alizarin Permanent
Quinacridone Magenta
Dioxazine Purple
Ultramarine Blue
Chrome Oxide Green
Phthalo Green
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My website: www.ianroberts.com/
Facebook page: / ianrobertsartist
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Хобби
What a great gift for us all to open and find this amazing information so generously given by you, Ian. So inspiring. Thank you so much!
Thanks so much for letting me know you enjoyed it Mary Ann.
Thanks for this, Ian . Many teachers who suggest painting outside are critical of using photos, but it is hard to capture light and it's one of the things I'm interested in capturing. They teach perspective and foreground etc, but mastering composition has taken it so much further for me. Love this painting. Colours are lovely.
Cropping finished work is a useful tool.
Hi Pat, actually I've taught plein air workshops where students take photos of what they are painting while they are outside with the scene in from of them. I tell them not to as well. The camera sees the world so much differently than our eyes. But to take a photo first thing when the light is changing a mile a minute for reference so you do'n't forget, that is a different thing. Glad you enjoyed the video. All the best.
Your demos and coaching are better than ever. Love your editing message and benefit of a good crop - amazing transformation! Thank you always, Deb
Hey Deb, good to hear from you. Glad you enjoyed it and hope all is well with you.
This is a seriously lovely piece and a wonderful tutorial…..my own work tends to be somewhat overdone and I’m always inspired by such work, Thank you so much for this!
This makes me very happy to hear. Thank you and I am delighted you like my videos. All the best, Ian.
This particular video (once again) has come at just the right time. The landscape I wanted to begin a couple of weeks ago I've barely gotten started because I was prepping an old canvas. I got more great tips to apply to this painting, hopefully it will help me end up with a success. I'm just not as comfortable painting landscapes as I am figures, but the image I'm using truly 'captured' me.
I so appreciate your taking the time to help all of us viewers--young and old--in my opinion an artist can always learn something new.
Good luck with the landscape Evan. All the best.
I always learn something from your videos, just a beginner here, so many thanks to you!!!
Happy to hear that. Thanks so much for watching and have fun with the painting process
Thank you, Sir! 😃
I appreciate you sharing your wisdom and your skills. 🙂
It’s a bit miraculous how your ‘just shapes’ fall together at a certain point and yes….you do say…..oh it’s a reflection….or whatever. Fabulous , and VERY helpful.
Deepest thanks, Ian.. for your generosity and heart. Another lovely painting ! 🩵
My pleasure. Thanks so much Julie
Ahhhhh . . . so wonderful!
I love your lessons. Thank you so much.
It looked so good at all stages
Thank you Ian Roberts
you're very welcome Nick. All the best.
SUCH excellent advice, Ian. Wow. ☺☺☺
Thank you Ian, always learning from you. Editing before starting the painting is so important. That is where your thumbnails come in.
Yes the thumbnails are a great tool to think about the structure before you start. All the best.
"...honing in and refining your narrative but paintings form like a tight, engaging dramatic whole - that's pretty much the definition of a good composition." Amen.
Yes glad you agree.
Thank you, Ian!
you're very welcome. All the best.
Thank you and many blessings.
You're very welcome. All the best.
Another great video lesson, thanks Ian! -MBZ
thanks so much. Delighted to hear that.
Love this video. Great advice. I did one time cropped a painting saving the “the good part” I thought to myself that I needed to be more careful next time. For a time I was stuk trying to avoid mistakes. Seen this video is zo inspiring and positive. Thank you for teaching as the secrets of enjoy painting. 😊😊
Loved that crop…. I paint mostly in water media on paper, I get out my white L-s… then the scissors….
Yes much easier with watercolors. All the best.
Very many thanks Ian 👍
you're very welcome Kevin. All the best.
Thank you for once again giving your experience and expertise so freely. I'm really enjoying these tutorials.
Happy you are finding them helpful. Thanks so much for letting me know. Best wishes.
So good!!!👏🏻
Ian,
As always,thank you very much!!!❤❤❤
You are most welcome Denise.
Such generous tips and so appreciate your teachings !
You are so welcome Tracy. All the very best
Thank you Ian! Love all the wonderful information in your vlogs! Lovely painting!
Thanks so much Jean. All the best.
Thank you so much Ian, another great lesson. Always look forward to your helpful tips.
Glad you enjoyed it Kamlesh. Thank you for watching, as always
Thank you. Your a wonderful teacher.
You're very welcome. All the best.
I really enjoy your lessons!
The light makes such a difference + and I agree with the cropping.
Thank you so much. I am delighted you like the video
love it!
thanks so much
Thanks Ian. This is very beautiful
Glad you like it Mary. All the best.
Thank you, Ian. I just finished reading your book and loved it!
Delighted you enjoyed the book. Thanks for letting me know. All the best.
Brilliant! So helpful as usual.
thank you so much. Best, Ian.
Great points you're making, especially about editing even after the painting is "finished," a step that's rarely mentioned by others. Your teaching is so thorough.
Thanks Molly. Hope is well in Mexico. When are you coming back up. My very best wishes.
Problem solving, practical and inspiring...thank you Ian!
Glad it was helpful Richard. Thanks so much
This was tremendously helpful. Thanks!
Delighted you found it helpful Valentino. All the best.
Thanks for the important compositional information , knowing what to leave out is so important !
It can make a huge difference in the success of a painting. Glad you liked the video
Thanks for another beautiful demo Ian. I have been learning so many things thanks to your videos!!!
My pleasure Paresh. Delighted you liked it. All the best.
Fabulous lesson. Thank you!
You're very welcome!
I always feel so encouraged after watching a demonstration; lovely & inspirational! Thank you Ian!!
Makes me happy to hear it. All the best.
Thanks I have resisted editing by cropping. I just got freed up with this lesson. 😊
Excellent. Have fun with it. It can make powerful results.
I find your videos very helpful. Thank you for sharing your knowledge generously. Beautiful works!
You are so welcome! All the very best.
Thanks for this, your videos are most helpful!!
Glad you like them. Thanks so much
I never thought about cropping.. thank you
you're welcome. Have fun with it!
Always helpful and inspiring.
thank you so much
Grazie dei suoi preziosi suggerimenti! 😊
you are very welcome. Thank you - Ian.
Solid lesson - thank you.
Glad you liked it. Thank you
Excellent lesson! Thank you, this is very valuable.
You're very welcome Christine. All the best.
Another stunning masterclass from the Master of Composition. Watching these videos is like being given new eyes with which to see better!
Thank you so much. It is great when you you start seeing things differently for better composition.
I have learnt so much from you! Thank you 😊
you're so welcome Tracey. Thank you
Thank you Ian. As ever a great tutorial. In just a few minutes there is always something to take away, be it inspiration or technique. Your contribution to my painting life is much enjoyed and appreciated.
that is very kind of you to say Henry. Thank you for the comment and delighted you liked the video.
I am jealous of how much fun you must have had painting this beauty.
Hi Dennis, It was such a beautiful day. When you've weather like that and a scene like that nothing beats plein air.
I know what you mean. Thank you for your reply. @@IanRobertsMasteringComposition
Good stuff Ian. something I'll be paying closer attention to.
Thank you Mark. All the best.
Thank you so much Mr. Ian, this basic fundamental knowledge help me so much in digital painting, please keep sharing with us.
You are so welcome. Thank you for watching
I thought the foreground was good, before cropping. That space allows the viewer a place to rest, or begin, before being drawn in.
Many big retailers do the same thing. That is, give you that space, that entry way to decompress and get your bearings for what lies ahead. Is that a valid assessment, Ian? But I think the composition worked well with the foreground left as it was.
This is great information. This tutorial has really helped me alit. Thank you so much!! 🎨❤️
I'm so glad. Have fun with it. All the best.
Wonderful painting Ian. I love it! Thank you so much for a great lesson - Helena Johnston
Helena, so nice to hear from you. And you are most welcome. All the best.
Thank you for your informative videos! I learn so much each time 🎨🖌️🖼‼️👏
I'm so glad. All the very best.
thnx, as always, your examples help me a lot
that makes me very happy to hear. Thank you
great lesson, Ian, thanks for sharing your wisdom! Loved seeing you on location slinging paint!
HI Alain, thanks for letting me know. We'd planned on painting up in the mountains (Sierra Nevadas) but in fact I liked it better down on the flats. With those rivers and canals. All the best
those leading lines are fantastic @@IanRobertsMasteringComposition !
Thank you for this comparison with stories. I'm starting to realise why painting landscapes was so frustrating for me for so long.
Hoping this helps in your landscape journey. All the best
Thank you sir, I always learn so much from watching these videos.
Glad to hear that Kate. Thank you so much for watching
Another excellent video with valuable information! Take care! g
Thanks so much Gayle. My best wishes to you.
Excellent video! You make it look so easy, but I know there are 10,000 hrs of painting leading up to this one. So appreciate you sharing!
I am glad you liked it Ann. All the best.
Great lesson... often found the problem of losing drama because of extra space... lovely demo😊
Glad it was helpful. Cropping can be a great tool. All the very best.
Nothing like cutting a panel!
Well I don't like having to rely on it Christian. But nice to know it's an option. Best wishes.
Beautiful work ❤
thanks so much
THANK YOU IAN, ALWAYS GOOD, INFORMATIVE, USEFUL VIDEOS!! ~:)
Thanks so much. Glad you liked it
so informative-thanks
thank you so much. Glad you think so
Boy! You really reworked that scene. In this painting, you certainly are God's designer. Better than what was given by a country mile. I sometimes cherry pick. If the impatiens are beautiful, or the fields are lovely, good enough for me. But you took a problematic scene and made it compelling. Good story telling.
Thanks Christian.
Ian,
Again, I am in the minority but I liked the painting before all the cropping. I am a sucker for the mountains in the distance. Good painting no doubt. Thanks for the tutorial.
Thanks Harry. I think for me not to have cropped it I would have needed to add something over on the right and bottom to pull the viewer around and into those sections. As they were to my mind they were just too inert. Could have been solved in a different way of course. All the best.
I don’t know why but I used to think that artists know exactly what the painting is going to become at the end, and they know it from the beginning. And I must say I found that very stressing because I never know where my painting is going. So thank you for this refreshing content see you next time.❤
I try to figure out the structure in advance. I try and figure out the foundation I want to build the painting on before I start (the composition). But stuff happens. Things change. Some things work, some don't. So you stay flexible , and not get rigid, to the initial plan.
hello ian, thanks
you're very welcome!
great
thanks so much
I'm currently working on a painting and, if I had seen this video before, it would have turned out a totally different painting.
The question is I guess is it worth doing again? I do that all the time if something doesn't work. All the best.
Hi Ian, love your video’s and very happy with your book on composition!
What happened to the weekly 5 minutes video’s, I don’t receive any. Only the monthly ones. Thanks a lot for sharing your experience.
Delighted you like my book. Thank you for the comment. I used to post weekly to RUclips, however, with the business of my online courses, I now post new videos monthly to RUclips - the first Tuesday of the month. I hope you are enjoying them. All the best, Ian.
For years, I have been toying with taking a painting off of the stretcher bars and cropping it down. Because I absolutely love 2/3 of the painting but I do not like the foreground. I think I might now have the nerve to do it after watching this.
Depending on the size, may I suggest you scan and print the painting and crop that. Live with that cropped image for a few days/weeks and "chew it around a little". Then you can reduce the risk 'cause once the original is cut, its cut! I do similar with WC paintings I experiment on copies, like adding ink. If I like what I have done then I go back to my original and add it. (I sometimes envy digital artists who can roll back and forwards and create variations without destroying their work) - Best wishes - Mike
or make a mask 🙂
I think Mike's suggestion is a good one. But if you think it is better cut then there's freedom in that. All the best.
Good suggestion Mike.
Thank you Ian.
Fascinating! Thank you! Ian, I thought you were a guy who never met a telephone pole you didn't like, but in this painting you left them out. I assume it is because you had such a strong vertical that you didn't need the poles, which were small and at the edges of the painting anyway. Great job teaching us composition! What was the location of this painting?
HI Ralph, Anne and I were up in Bishop in the Sierra Nevadas. And you are right the telephone poles were way over and out of the image and the verticals of the canal were strong. All the best.
Ian, you make it sound all so simple! Like when you point out what is the essential part of the painting that you just now used to demonstrate the concept. Some of us wouldn't know that for sure.
And hence we struggle with trying to decide what to cut out. Is there any way to decide what is the core of a composition? I know it is aesthetics and a gut feelilng whether "something seems right" or "it just doesn't add up". With your insights and experience, would you give sort of guidance on these aspects?
I guess my main idea is that I want a structure, a underlying foundation, clear in my mind before I begin. If I hold to that as I paint then usually things turn out alright. Or as in this example it turns out fine but needs some cropping. It is hard to put into a single simple idea. But I think it is really a right brain kind of seeing the whole idea in your mind's eye at the start. I know that is not very helpful. But if you were to just paint small in black and white (say 10 x 12 inches) and just think in terms of the big shapes of light and dark. That would be one way to think about it. I'll see if I can address it sometime in a video. Good luck and all the best.
When is your next class?
I love to join !
Hi there. The next Mastering Composition course starts in January. You can go to my website ianroberts.com and add your email address to my email list (only 1 email a month) and then you will be sure to get a notice of when we are starting again. I’d be delighted if you could join us. All the best until then. Ian
can you describe how you use the split comp.? How did you decide what color scheme to use?
Hi Coco, I don't think about color theory much when I'm painting. Just matching colors to what I am seeing. Ideas like split complementaries never cross my mind. I know what they mean theoretically. But I don't use ideas like that in practice. I just look at what is in front of me and respond to it with the best color I can find to what I see.
Hello Ian,
Can you tell me the main brush you are using for this painting ? Thank you so much BTW. I’m learning so much!
Thank you again! I was about to order Chromium O. Green when I noticed a red marking on the list right next to it! Why are you not wearing gloves!
I love Chrome Oxide Green for landscape. Not sure what you mean by the red marking. I figure there are so many environmental pollutants a bit of mineral spirits probably wont' kill me (I hope). I am not worried about ingesting the pigment through my skins contact with it, Except for lead white I do not thing it is an issue. At least from my reading.
I have an older painting in the garage that I have walked by lately and thought, “I really like the corner of this and how could I cut it?” Thanks for the info. What kind of glue would you use to glue it to a panel? It’s on canvas right now.
Hi Laura, there's a certain freedom to it. Find the gems within the clunkers. I mean it's better to plan it out so it isn't a clunker. But if it is....
💕💯🎨🎨🎨
thank you for watching
@@IanRobertsMasteringComposition YOU are very very welcome Ian 🙏🙏😊thank You so much for teaching
Dear sir
I do drift while painting
But your instructions zero us in again
Thanks
That's why I talk about having a structure before you start. Like having a road map. Less chance of getting lost. Not impossible. Just increase the odds in your favor. All the best
….*a lot*😊
No problem. Thank you!
HI Ian great content and videos. i have a question Bouguereau quote he mention that subtle accents against large planes is what every artist should strives for .i dont understand what he means by that? this quote happened when he looked at the parthenon scultures and a veil fell off his eyes
I'm not familiar with the quote but I would imagine what he means is looking at the sculptures he saw, really saw, that the big masses of the forms where the most important things. Then the details that embellished them just added to the power of those big masses. The gesture, and flow and power of the shapes. So it is the same with paintings. A few big value masses carry the painting - the thing you see from across the room. Then all the details, and nuance and embellishments support that. The point being that it is easy to get distracted by details and busy bits and pieces. But the painting will be more successful if it has an underlying structure and strenght relying on those few big shapes (masses). I am having to interpret what he is saying but my guess is that is what hit him. Hope that helps.
@@IanRobertsMasteringComposition YES Thank you. i like this explaination
you're very welcome. All the very best. @@williambo5989
The bank on the righthand side of the painting appears higher than the bank of the river on the left side. As seen in the photograph, that is not the case. Is it simply an optical illusion to me, or was it painted with that purpose in mind?
Honestly I didn't really notice. I felt when I did it , when I think back, that the grasses on the left were shorter and road obviously would be lover because there was no grass. And i was thinking of the right side as taller grass and the trees. Denser over there. But you are right they in fact are the same height.
Would you consider yourself a value painter?
☀️🌹🌹🌹🌹👍👍🥰💖
thanks for watching