I’m 64 been trying to paint all my life, took lessons, took classes in college and never could get it. I’m on the first lesson of Mr. Albala’s Book and have learned more in one painting than all my life. The way he articulates reductionism and shape and then shows us how to put it to practical use is unique, to say the least. Thank you
Wow, that’s quite the review! I really appreciate it. Carry-on, and I hope the forthcoming lessons in the book are as powerful for you as those in the first chapter. BTW, do you mind if I use your quote on the book page on my website? - Mitchell
Mitch, so glad to see you back on youtube. I loved this interview. When I saw the length, i made a tea (and then wine) and settled in and got my notebook out. I have an extensive collection of art books and yours is by far my favourite. Thank you so much to both you and Nick, for giving us this awesome opportunity to learn from you. I'm so grateful. I feel like Christmas came early. Always chocolate! Thanks for the inspiration.
Thanks for the kind words. Glad you liked both the video and the book! Check out my blog blog.mitchalbala.com -- where you can find articles on mnay of the topics I discussed in the video like color grouping.
I just love this dialoque - so nuanced and I admit I adore the understanding of abstraction, the understanding of color, composition and especially subtle vibrational effect of working with soft contrasts - and the play of warm-cool vibration of any subject 🎶🧡🎵
So excited to find your channel- I bought your Landscape painter’s workbook earlier this year, and have been blown away by the work that’s been featured within it- so great to have as a reference! I returned to painting during lockdown, after abandoning my 2d practices to pursue a career as a jeweler in ‘98 (after a terrifying health scare, I felt the need to have a conventional skill … and quit pursuing a somewhat lost line of painting that I’d cultivated for the previous decade.) I’ve found so much encouragement from videos, so I’m always happy to find other fonts of knowledge to connect with/learn from. Thank you for your generosity in your teaching- I hope to take a class from you someday (currently enjoying Ian Roberts classes after finding his channel on RUclips…learning so much that my ‘80’s art school education missed) I’m a lifelong student, so I will definitely keep my eyes open for future classes/workshops- always more to learn
“Art & Fear: Observations on the Perils (and Rewards) of Art Making” by David Bayles and Ted Orland is a GREAT book exploring the vulnerability and fear that artists must overcome in order to make their work that you explore at the end of this excellent ‘conversation’ / interview.
I don’t have a list that I can post here in the comments, but I can suggest this: there are dozens of articles at my blog which discuss composition and address many of these questions. mitchAlbala.com/blog. Also in my new book, The Landscape Painters Workbook, there are three chapters on composition, each with a set of questions at the end. More on the book at my website.
I’m watching this video years after you asked how to get a list of the questions asked. You’ll have moved on to solving other problems, and might have found this answer already, but in case not . . . Check the transcript. You’ll find it below video where the info and links are listed. Transcripts are time-stamped which is really helpful in skipping back and forward to key points you might want to rewatch.
You can’t paint with oil on raw, unprimed (non-gessoed) paper. It isn’t archival. When you gesso you create an archival barrier between the paper and the paint, making it safe to apply oil. Of course, this wouldn’t be necessary if you were working with watercolor or pastel. Gessoing is only something you need to do if you want to paint with oil. Why would you want to do that? It’s a lightweight surface and portable, and the texture of the paper is very nice.
Inspirational interview! Lots to think about, I know I will listen to this interview again and again. I keep Mitchell’s superb “Landscape Painting” book by the side of my bed where I can easily look up and review helpful information for the next day’s painting. Yesterday I preordered his workbook coming out in November 2021. I’m wondering if Mitchell will have any workshops in the near future. He is a masterful and generous teacher. Thanks Nicholas Wilton
I haven’t tried that, but I think any exercise that gets you to open up more and shifts your thinking would be well worth trying. It’s different for everyone.
I’m 64 been trying to paint all my life, took lessons, took classes in college and never could get it. I’m on the first lesson of Mr. Albala’s Book and have learned more in one painting than all my life.
The way he articulates reductionism and shape and then shows us how to put it to practical use is unique, to say the least.
Thank you
Wow, that’s quite the review! I really appreciate it. Carry-on, and I hope the forthcoming lessons in the book are as powerful for you as those in the first chapter. BTW, do you mind if I use your quote on the book page on my website? - Mitchell
Mitch, so glad to see you back on youtube. I loved this interview. When I saw the length, i made a tea (and then wine) and settled in and got my notebook out. I have an extensive collection of art books and yours is by far my favourite. Thank you so much to both you and Nick, for giving us this awesome opportunity to learn from you. I'm so grateful. I feel like Christmas came early. Always chocolate! Thanks for the inspiration.
Thanks for the kind words. Glad you liked both the video and the book! Check out my blog blog.mitchalbala.com -- where you can find articles on mnay of the topics I discussed in the video like color grouping.
I just love this dialoque - so nuanced and I admit I adore the understanding of abstraction, the understanding of color, composition and especially subtle vibrational effect of working with soft contrasts - and the play of warm-cool vibration of any subject 🎶🧡🎵
So excited to find your channel- I bought your Landscape painter’s workbook earlier this year, and have been blown away by the work that’s been featured within it- so great to have as a reference!
I returned to painting during lockdown, after abandoning my 2d practices to pursue a career as a jeweler in ‘98 (after a terrifying health scare, I felt the need to have a conventional skill … and quit pursuing a somewhat lost line of painting that I’d cultivated for the previous decade.) I’ve found so much encouragement from videos, so I’m always happy to find other fonts of knowledge to connect with/learn from.
Thank you for your generosity in your teaching- I hope to take a class from you someday (currently enjoying Ian Roberts classes after finding his channel on RUclips…learning so much that my ‘80’s art school education missed) I’m a lifelong student, so I will definitely keep my eyes open for future classes/workshops- always more to learn
@@FluxyMiniscus Glad to be of service. Paint on!
I am so happy to find you again on youtube and I truly am a great admiror of your sensitivity to tone and color 🧡🌸💗🦋
I love your concept ofabstract impressionism - because to me you seem to catch the very vibration of the songs of experience
“Art & Fear: Observations on the Perils (and Rewards) of Art Making” by David Bayles and Ted Orland is a GREAT book exploring the vulnerability and fear that artists must overcome in order to make their work that you explore at the end of this excellent ‘conversation’ / interview.
Thanks Donna. I like the "Art & Fear" book, as well. Also check out Elizabeth Gilbert's "Big Magic," which I enjoyed even more.
How can I get a copy of the questions you talk about?
Write them down.
I don’t have a list that I can post here in the comments, but I can suggest this: there are dozens of articles at my blog which discuss composition and address many of these questions. mitchAlbala.com/blog. Also in my new book, The Landscape Painters Workbook, there are three chapters on composition, each with a set of questions at the end. More on the book at my website.
@@MitchAlbala thank you! I will take a look at your blog.
I’m watching this video years after you asked how to get a list of the questions asked. You’ll have moved on to solving other problems, and might have found this answer already, but in case not . . .
Check the transcript. You’ll find it below video where the info and links are listed.
Transcripts are time-stamped which is really helpful in skipping back and forward to key points you might want to rewatch.
what is the purpose of gesso watercolor paper?
You can’t paint with oil on raw, unprimed (non-gessoed) paper. It isn’t archival. When you gesso you create an archival barrier between the paper and the paint, making it safe to apply oil. Of course, this wouldn’t be necessary if you were working with watercolor or pastel. Gessoing is only something you need to do if you want to paint with oil. Why would you want to do that? It’s a lightweight surface and portable, and the texture of the paper is very nice.
I would've liked to have had you as my painting professor in college (oh so many years ago).
Yes, if the advice and guidance isn't practical, then it really isn't very useful.
Inspirational interview! Lots to think about, I know I will listen to this interview again and again. I keep Mitchell’s superb “Landscape Painting” book by the side of my bed where I can easily look up and review helpful information for the next day’s painting. Yesterday I preordered his workbook coming out in November 2021. I’m wondering if Mitchell will have any workshops in the near future. He is a masterful and generous teacher. Thanks Nicholas Wilton
What do you think about playing with paint and painting like a child to teach you who you are as a painter?
I haven’t tried that, but I think any exercise that gets you to open up more and shifts your thinking would be well worth trying. It’s different for everyone.