A Tonal Landscape Demonstration
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- Опубликовано: 7 сен 2024
- Taking the ideas from this week's video I apply how I use the Rule of Thirds in a landscape. Then show with that structure in mind how to build up, shape by shape, a painting that feels like an integrated whole. See the first video here: • The Rule of Thirds vs ...
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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
Dioxazine Purple
Ultramarine Blue
Chrome Oxide Green
Phthalo Green
Link to some recent paintings by Ian Roberts for Sale:
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#ianroberts #masteringcomposition #tonallandscapedemo
First off, a huge thanks for your generous instruction. Most artists give this level of tutelage only to paying subscribers, so your generosity is so welcome! Especially now.
On a personal level, I am so grateful to have a LEFTY instructor finally! You are the first one to demonstrate pencil drawings that start on the right side of the page to prevent smearing. I’m practicing that now and a big difference for me. Thank you!
You have taught so many ‘seemingly small’ but important things along with composition. Things like: details on the edges help the transition and give the illusion of more detail; Painting the sky holes in later instead of getting into the details of the trunks or branches; modulating the color to lead the eye to the center of interest, etc.
Well Maggie, thank you for you kind comments. I'm delighted you are enjoying the videos and finding lots of useful information in them. Thanks for letting me know.
Your voice is so relaxing when you do the voice over. Thank you for sharing these valuable demos
You are so welcome Shaw
I used to watch Helen Van Wyk. She could just make a few simple strokes here and there, and an image would appear, almost as if by magic. You, sir, have that same talent. I could paint a thousand years and never achieve this. I enjoy watching you immensely. But you have never offered to teach us how to make soup.
I use to watch her too. You should take Ian's course if you haven't already. I'm still learning and still reviewing these tutorials.
I just love love love the way you explain everything! Big work! Love everything! Big hug!
Thanks a lot for you generosity ‼️ you are a wonderful teacher, the pity is my English I can not undertand 💯 but the demo videos are so helpfull and gorgeous. Only can a I say you my heartfelt thanks Ian👌👌👌👏👏⭐⭐⭐⭐⭐😍
It just makes so much sense. Great, Ian.
Wonderful Martha. Thanks for watching
wow this is so simple yet brilliant!!!
Glad you like it Paresh! Thanks for watching
Thank's a lot that was very helpful
Greetings from Jordan and peace be upon you
Thanks so much. So glad you are enjoying it
Color Harmony you have is wonderful
Glad you like it Anthony. Thanks.
Thanks, Ian. Terrific demonstration.
Glad it was helpful Philna. Thanks so much
Yep that junkyard kills me lol. It's not a painting about anything in particular to my mind, but the composition just floors me. I've been wanting to comment again on it. Some people seem to have instinctive composition skills, but I don't think I'm one of them :). It's something I have to learn.
Honesstly Englehard I think it is a more right brain way of looking at things. And that really is a matter of practice.
Watching you paint and talk about your thoughts is mesmerizing. A gift. Thank you.
Your tutorials are really lovely - seeing your process, nice and slow, and really explaining what's going on in your mind is really valuable information to younger artists. Thanks!
Your “block in” preliminary painting could hold up on its own as a good abstract painting. Also I noticed how you slightly changed the curve of the green hill into a diagonal pulling the eye back to the black lock. I really enjoy watching your process.
Thanks Summer. I liked that simple block in as well.
Wonderfully generous of you to show us how you achieve these marvellous paintings. It is fascinating to see you design the best composition of your subject.
Thanks Priscilla.
Beautiful painting!
Thanks so much
So generous with information, and such a calming voice !
Thank you so much!
Incredible artist and teacher! I love these classes.
Really appreciate your telling me Sherry.
Really helpful as always!! Thanks
Glad to hear it Trevor.
Best lessons on youtube definitly! Thank you!
Well that makes my day! Thanks Lantana.
Like magic. Thanks Ian.
Glad you enjoyed it Thomas
Thanks for your reply. I love the painting. By the way, I just looked up your wife, Anne Ward’s website. Her work and ideas really speak to me. What a talented, special couple you two are!
It's always great to see what she comes up with. All the best.
Ian, I love your videos and paintings. You're an inspiration. Thank you!
You are very welcome Walter. Delighted you are enjoying the videos
For someone like me who is quite a beginner to painting, this was very helpful. For that reason, though, seeing you execute the final details would have been helpful. Thanks for this useful lesson!
Another master lesson! Thank you so much for sharing with us each week. Learning so much!
You are so welcome Joanne.
I loved this lesson! So much great information! Always interesting to see what actually ends up in the painting and why it was edited out😁
Glad you liked it Meredith.
A mesmerising painting.
Very helpful! I’m a watercolorist so I’m interested in seeing how you solve these same problems in watercolor!
Thank you very much Ian, what tou share is gold !
May I ask you if you have already hear of Patreon ? And if you have, have you already planned to integrate it ?
Thank you again Ian. Regards
Beautiful!
Thanks Ralph.
Ian, I enjoyed watching this tutorial and learnt valuable lessons from you.
Thank you.
Thanks, Ian (from Amsterdam). Love your video’s and watch them more than once.
You are the teacher I was looking for.... Love your depth (The Muses) and the Craft.
Thank you.
Thanks for showing a tonal painting does not have to be dark and void of color. I love the final painting, but for me the cool green bush on the right mid way back grabs my attention not the dark mass.
Interesting. That bush seems to lead the eye down to the reflection in the water which leads to the black lock and then up and to the right ... back to that bush, and round and round we go.
Fabulous Ian! For me, the light grasses you put in that just overlap the lock door are the winner in this painting. Great work making something difficult seem easy. Also great to see and hear the thought process on the reddish grassy/ leafy slope.
Really glad you liked it Mike.
Thank you so much. Your demos are very helpful and motivating. I am really happy I came across your channel and thank you once again for sharing this with us!
You are so welcome Rajashri.
Wow! That’s another great lesson. Thank you!
You are so welcome Marie
I loved this, thank you. I know next to nothing about locks, so it made me appreciate how they are designed. Everything is in place for a reason from an engineering perspective. If It were me, I could not have left those stairs out. Firstly, if the painting was to be sold to lock lovers, it would annoy them not having the stairs. Secondly, I could not live with it myself if I painted the stairs out, as I would know the lock could not be a correctly functioning one for ease of access without the stairs. A bit like portraying a car driving down the road with only 2 wheels and magically, it still works!
Of course, this is my hang-up and I must remember what someone posted the other week about painting being an interpretation of the world, not a record.....
PS I am not an engineer and have little aptitude in that field, but as a tinkerer in things, I tend to question how things work.
I had those stairs in. I'd painted them in. But it was just getting too crowed over on the left hand edge and for the sake of the painting, not your sense of symmetry and well-being. Of course had I known...All the best.
@@IanRobertsMasteringComposition Haa, ha! A lack of symmetry never bothers me. It was the eternal question your painting will now provoke.......How does foot traffic on that side of the river access the top/bottom of the lock.....? It will remain a mystery for evermore. I f you are lucky, it may even be spoken of in art circles in years hence!!
You’re such a generous teacher.
Thanks so much.
I enjoyed this so much! The progression and adjustments are effective, the colour mixing is wonderful. Sometimes I like to sit down and mix colours to see what happens. I am learning so much, thank you!
Glad you enjoyed it!
Truly enjoyed this! Please do it again😊
Thank you Ian. Great explanation, love the adjustments of color to focus on lock.
Glad it was helpful Kate.
So much information! Just watching you mix color! Thank you so much.
You are so welcome Kathy
You keep it so simple, Ian. Thank you. I’m looking forward to next Tuesday.
You are very welcome Dianne.
Thank you for the studio info. Helpful to me. I did find myself looking at the book background. I would appreciate a breeze through some of your favorite/most helpful books, in case you have not already done this. Thanks again
Hi Kathi, you are not the first person to ask about the books and have me suggest some. Most of the ones I would recommend are either out of print or are small run gallery books that would not be readily available. Then it seems a bit of a tease. If I can get permission to use a dozen images from each, that would make a great RUclips video one week. So that is what I have in mind. Some day. Great suggestion. All the best, Ian.
Another great lesson! Can’t wait till next week.
Thanks for letting me know.
Cant wait for Tuesdays to learn something new each week. Thank you!
Thanks for telling me. Good motivator.
Thanks much Ian!
My pleasure Lance
Thanks greatly Ian for your enjoyable video inspiring and calmly explained how you've achieve detail depth and colour, appreciated stay safe and healthy
You are most welcome Philip.
Great lesson. Well done, sir.
Glad you liked it Robert.
So grateful for your lessons, Ian. Thank you. My first reaction after this video was Wow! Looking forward to your studio tour next week. Also, I follow your wife Anne Ward on Instagram - such an amazing artist, too. We are all so blessed by you both.
Thanks so much Maryann. All the best.
Another great video. Thank you Ian.
Very welcome Odile!
What an amazing teacher!
Thank you Diana.
Special Thanks for the "way to Red" block of color and then the how to 'fix' that block later. I find that I have to do a good deal of 'back end fixing' regardless of my planning. But I am getting more at ease with just Gessoing over the misses and trying again.
Hi Gerald, well obviously I get colors in that don't work (for a particular painting) too. I just try and make sure there aren't too many all at once! But to your point, if it doesn't work as you say gesso over and try another.
That was a fabulous lesson! Great painting too!
Thanks so much Parker
Nice, thank you
Super helpful, thank you.
You're welcome Sylvie.
I learned so much with this one video! Thank you so much!! 😊👍
You are most welcome Aurora.
Thank you!
I could watch you paint all day! Very nice. g
Thanks again Gayle.
Thank you so much Ian for such a wonderfull demonstration!!!
You are most welcome Mariana.
You really make painting so simple...good teacher...😍
Thank you. Glad you enjoyed it
Excellent.
Many thanks Dennis.
Thank you, Ian! I think this demo is one of my faves, so extremely helpful and supportive of our painting struggles. Also very motivating...I'm heading out right now to paint. Cheers!
Great to hear from you Mary. Glad it got you out the door.
Very good video
Wonderful job Ian, interesting mixing
Thanks so much Collette.
Interesting demonstration, I think I’ll integrate that practice of extreme simplification into my preliminary sketch paintings. I was struck by how much this scene and how you treated it made me think of early Munch and Mondrian works.
Glad you found it useful Jef.
Thank yuo so much😊🖐🏻⚘⚘
You are so welcome
Thank you for the hard work ✅✅✅ great vid
Very intriguing and helpful
Delighted you enjoyed it Saurabh
Thanks Ian, for the great video.
Glad you enjoyed it Kamlesh!
fantastic painting proces. Has echoes of Van Gogh.
Thank you very much!
Hi Ian, Thank you for your weekly videos. I wondered why you left out the person with the red coat in the centre of interest?
HI Esther, it isn't a person. It is a sign. I felt because of the way I designed the painting, it didn't need more pull to that area. Glad you are enjoying the videos.
Just wondering why you chose that bright green for the bush on the right side. Thanks for the long demo, wonderful to watch you paint.
Glad you like it Joyce. I knew I want all the dynamism of the composition pulling us way over to the left. So I thought an extra hit of intensity in the green way over on the right was a good counter point.
Very interesting and helpful video, thanks!
Glad it was helpful!
Thank you
You're welcome Win!
Thanks, Ian. I love how much information you give in your lessons. I saw the rule Of thirds on the canvas, but the final painting looked like the golden ratio. Maybe I’m seeing something that’s not there?
Hi Linda, glad you enjoyed the video. I was painting against the rule of thirds, meaning going out beyond it. In the other video I did last week (Rule of Thirds and Golden Ratio) I showed where the golden ration falls on the image. Pretty much down the middle of that stained wall of concrete just to the right of the lock. I didn't think it was playing any role in the painting as far as I could see. The line of the water is in fact pretty close to the golden ratio in a horizontal division. But I only discovered that after I'd painted it. Wasn't planned.
Liked it a lot but confused as to how to use in terms of planning my painting. Are you saying that rather than a focal point you think more in terms of a focal area??
Hi Barbara, well when you say a focal point, do you mean something that is the size of a pea, or a quarter, or what. I mean you want to pull out attention to one specific area, that may well have a specific contrast that absolutely is the biggest contrast. So it could be a point. But really it is about orchestrating all the shapes on the picture plane towards one area. Which might have a real hit, a point, to cap it. But focal area and focal point are really the same thing.
Beautiful. I’ve been working with more greens lately and find that I’m questioning when to paint what I see viruses when to put my interpretation. For example, I’m looking at a large bluff near the ocean that is fairly close in proximity . It is morning light, and slightly overcast. (A deal breaker) There are a few trees towards the ridge line on top (silhouetted). The trees are dark so of course I want to hold the value I see and use a colder blue green, with AC or magenta leaning towards blue side. Here is the question….when would you use a lighter value in this instance? I’m thinking it has to do with atmosphere. Since the trees are higher up and not that far away, I would keep them darker, right?
I’m looking forward to seeing your studio and lighting. Can you talk about how you are able to film top down as well as your easel and software you use for diagram marking etc? Hope I’m ok asking these things.
Thanks always for your videos.
HI Candace. It's hard, despite the detail you've provided to answer your question. Because it depends on so many other things. But I'd say if you make the trees too dark, and they are against the sky (so high contrast) and you want us to look somewhere else, then that contrast is going to grip our attention and we won't visually move easily to where you want us to. Then you would have to adjust the value of the trees lighter so the whole painting was working independent of the actual value shift you see. I film with an iPhone. I have a thing I made that I can hang from the rafter and the phone attaches to the bottom right the perfect height either for the palette or for the table for drawing.. Easel is an Italian Cappelletto. And the diagrams I do on on iPad using procreate while I am screen sharing to editing software Screenflow. Hope that helps.
👍🏻👍🏻👍🏻
Thanks.
Theres a Veronese green and a Robert green. 👍😉
Two classic colors!
@@IanRobertsMasteringComposition True. I can recognize your work by the green tone
Great lesson, thank you! Do you use paint diretly from tubes and don't add any medium?
Delighted you liked the video. For large paintings I'll often do a block in using a small amount of mineral spirits. But on smaller panels 10 x 12 say I just use paint. No medium. But I paint on smooth oil primed linen which isn't absorbent so that is part of why the paint goes on more easily
@@IanRobertsMasteringComposition Thank you so much for sharing that information. You are a clear and inspriing teacher and the generosity with which you share techinques and insights is truly admirable. Your episode on Hilma Af Clint by far has been the most moving and powerful for me at many levels. Thank you.
Great video as usual. Do you mostly paint in acrylic in your video demonstrations?
Hi Pierre, glad you liked the video. I always paint in oils.
Thank you for this very useful tutorial! I am curious though, why did you paint the bush on the upper right side of the painting such a bright green? Thanks.
HI Jan, glad you liked the video. I increased the intensity of the green on that bush on the right because I had so much dynamism pulling us way over the left I wanted something to counter weight it. Not a lot but some.
Ian, out of interest what do you draw your initial drawing of your paintings in with please ?….. thanks in advance.
HI Neil, small painting say 10 x 12 just a pencil. Larger say 24 x 30 I'll use a piece of charcoal.
what program can one use to apply a grid on to a computer generated photo image?
PBS should give you a show.
Thank you George. Nice thought.
I know the video is a year old, not sure you still read comments - how long did that take to complete?
Thank you
You're welcome!