Not sure I understand this question, if you mean for a color key or gamut I tend to decide how I want the colors desaturated or greyed out...using earth pigments for a low key or compliments for a middle-higher key.
Great demo! My technique for mixing has been to start with the darkest blob of a certain color and lighten it to a mid and then light value, so I have a long streak of the color in about three values if needed. Also do that with temperature changes like you mentioned that blacks can go more red or green, red or blue,. I seem to need my values and temp changes already somewhat mixed on palette before starting.
Well I have watched people add colors as they paint. I try to choose a color scheme beforehand, so I can get color harmany and maybe change up the scene. But i still need practice with color harmony and scemes
This is fabulous! Your example of the posts was great. I also really love how well you show the importance of sumple shapes, especially during the block in. It is very helpful in showing us all how to avoid or trim away the unnecessary clutter. Thanks so much for sharing. Ive enjoyed, and found each of your videos to be very helpful.
This was great! Really enjoyed the discussion of the whole process: reference, cropping, what to leave out, etc. to the finished piece. I love these reminders that just because it's in the photo doesn't mean it needs to be in the painting.
Hi Robin, plein air painting really forces that stripping away otherwise you just get buried. But the drawing before hand often tells you when you are trying to get something to look right, say like that log on the beach this week, and you're like why am I working so hard to get this right when I don't even need it.
I really loved the underpainting. I've been really inspired and helped by these videos and I'm so grateful for your generosity. Three years of art school and a $40k degree and I learned truly nothing of real value. And here you are giving away such value for free on RUclips. I met some cool and interesting kids at art school so I guess there's value in that.
I am enthusiastic about your channel! Your demonstrations are absolutely to the point and inspiring. Thank you for sharing your knowledge and skills with the world!
Thanks Ian, going through the cropping process and what to leave in and take out was most helpful - And yes! I was shocked you took the boat out, thanks for explaining why. Will definitely help me with my compositions.
Well, you'd think in a painting of Maine you'd need a boat. But who says? As it happens, in this small arena of life, I am the boss. And if I don't want the boat, there is no boat.
I have moved on to experimenting with non-rep. art and have had some success. Now, after watching your videos looks like I have to dig out some new slides, etc. and get to back where I started and see what happens. Just love your approach, presentation and-of course the work! Best wishes, Carry on!
My wife has bought me your book Ian " Mastering Composition " for Christmas. She asked what I would like. I didn't even get a chance to havf a sneak peek as she whisked it away ! So I have to wait. But I can watch your videos here thankfully :-) !
Thank you so much Ian for the opportunity to attend your painting course live meeting, with clear and concise explanations, I also really appreciate the numerous examples of the painting techniques referring to various painters and their work.
That was amazing!! I love your palette ... and watching you mix the colors ... and just so amazing to watch how your painting takes shape!! Your painting is gorgeous!!
Okay- you do a great job of demo-ing! Voice overs are the way to go. Having the photo up- during the demo would help me- to see what you're seeing. Wow- I would have cropped it very differently. The focal point would have changed- of course. I ask my students: "What is it about this image you have chosen to share? What is it specifically that really draws your eye? That's your focal point." It varies...so in our group, feedback sessions we have energized discussions about this- "What's the Hero or where's the conflict, or what emotions are you communicating?" It's visual storytelling for me. I'm going to look at your original photo- and see how I'd crop it. For me- the building wasn't the focal point.... So interesting!
I loved this video. Perfect and clear, from the cropping, choosing to eliminate details, the big shapes, the mixing of the colors, the details. Gorgeous and so is the final painting. Thank you !
Love the painting and all the tips! Thanks Ian. The palette is so muted yet dramatic. You're so generous with your information. Learned chromatic black (fantastic and will use that). I paint in acrylics so am often leary of dulling my colours with straight up black. To my great surprise & delight I learned too that black + cad yellow makes an excellent green. Yes it does. See you next week.
Hi Karen, glad you are enjoying the videos. A lot of good color mixing is learning to get the hits of color playing off neutrals. And it is true black and yellow do make nice greens.
Great video, thank you!! 👍 I really appreciate your composition tutorials. I have just read your book of creative authenticity. It opened up sooo many possibilities for me. Thank you!!!
Thank you Ian for another good demonstration , I am still not entirely confident about cropping but hope the more I watch you cropping the better l will become . Many thanks you have given me lots to think about to improve how I paint .
That was really fantastic Ian. It was great to see how you mixed each color in the centre, incorporating the previous color. Watching you paint the posts and reflection was also illuminating, and so interesting to see the close up details. I love the nuanced colors. And the voice over - all really helpful - thank you.
Very helpful. I liked your explanation of what you were leaving out and why. I also enjoyed the voice over and viewing the mixing on the palette. Excellent video.
This was very helpful. I find deciding what to keep and leave out very difficult (and often don't realize that I should have left something out until very late in my painting). Palette mixing was also helpful - and voice over makes it all very easy to understand. Thanks very much!!!
Hi Debbie, glad you liked it. I think the drawing process before painting is useful. Imagine a 4 x 6 drawing and trying to draw the boat, or that log, and you'd be struggling to get them to work and then you, might, realize, well why am I putting this thing in anyway?
@@IanRobertsMasteringComposition Agreed. More on this topic would be great! Also, closely related, more on the use of value/massing sketches as a tool for testing/designing dynamic compositions inspired by reference photos - but not a slave to them. Ditto for plein air. You covered this during the plein air workshop I attended in the Texas Hill Country in 2011, and it made a big impact on me. Thanks!
wonderful, loved to hear your thoughts as to why all the way thru, and of course it's interesting to see you push the paint around too. Being a former sailor I have to admit would have swapped in a dinghy or something...:) Sometimes I find that while a photo looks exciting once cropping starts sometimes the image loses it's appeal. I chalk that up to "ok this is better as a photo" and move on to the next victim.
Hi Liese, well I could have imagined, now, a dingy, floating in the water in front of the posts. Pulled into the composition there. But not out in the bay. And cropping is like goldy locks sometimes. Too tight, too broad, just right.
Great demo, loved the voice over, the reasoning for eliminating each detail and the cropping. Showing the pallet and mixing was interesting but since I am a watercolorist, not too helpful. You are a great instructor!
Glad you liked the video Rhonda. My favorite brand of brush Manet sadly went out of business recently. I am still searching for the perfect replacement. I'll let you know when I find it.
May be the best one yet! What is the size of your painting? You loaded your brush and had great visible strokes. Are you using a medium? Thank you for teaching and being so generous with your time. Susan Rogers
There’s an older article that Ian wrote with a fantastic demonstration example of design driven simplifying. Here is the link, and if you scroll to very bottom (West to Carombe) there’s a sketch in just two values and then the wonderful composed painting-very strong design that’s simplified from a lot of detail- along with another painting of what his students often do INSTEAD of simplifying and focusing on design. Link. www.artistsnetwork.com/art-mediums/drawing/use-design-to-create-a-powerful-painting-by-ian-roberts/
Hi Jamie, Offer two courses. One on drawing as the foundation for understanding a composition before you start to paint. Then a brushwork and vibrant color course. If you are on my email list (meaning you get the tuesday videos as an email on tuesday morning) then the next time I offer them, probably February, you'll find out. If you're not you just click on the link below the video for my website.
Would it be a bad thing if you had a shot with the finished painting and the original photograph and your sketch side-by-side? I am 'hopping' back and fro in order to see what you did and didn't do. Places I see on the photo where I think: 'Gosh, how did he fix that?' and then I skip to the end of the video to see the finished result and then 'O, that was a beautiful way of solving it' or 'that's the way the seaweed and rocks were made vibrant'. Once again, txs so much!
Hi Patricia, that's a good idea although they might get small if they are all on the screen at the same time. But perhaps a few seconds of each at the end so the progression or transformation in clearer.
Sorry, this is one of those bland questions but what brand of oil paint do you use? Also I noticed you must add a little turps to the first layer but I don’t see you using any linseed oil or medium for the next layers? Or is it off camera? Or do you go with the pure paint with no medium? If so do you just use the turps to wash out the brush between colours, or linseed and a rag?
HI Meg, I mainly use Utrecht or Gamblin oils. I don't use a medium when I paint. Unless I do an initial block in where I will use some mineral spirits to thin the paint to put some thick washes in which are usually dry the next day. I use mineral spirits to clean the brushes as I paint. Think that got all the questions.
I battle with myself to eliminate too much detail. Otherwise, I get caught up 'tickling' a painting to death and wind up with a mess. The late singer/songwriter Harry Nilsson put out a concept album in the 70s called "The Point". A character in one segment said, "A point in every direction is no point at all." Same with detail.
I think sometimes I may get into the painting and start to mumble. Maybe that's it. Keeping the left and right brain both functioning at the same time!
Love this demo, but it would be good Ian, if you could show the photo, perhaps to the right of the screen, so we could see how you are interpretating what you are seeing! John
Hi John, it's funny I got requests, could you show the palette. Ok, here's the palette. Then but we need a voice over. OK, voice over. I thought I had nailed it this week. But you are right, the photo would be useful. It means making the painting image smaller so that the photo is not too small. But next time I do a demo I'll see if I can get it in. Thanks for the suggestion.
What armature of composition would you say this is. Portrait? O? The house seems to be right in the middle. I am asking because I really struggle with this aspect of composition in my landscapes
Hi Catherine, I'd say that composition last week was more a series of verticals and horizontals. If you look at the simple washed block-in at the very start of the demo you will see a series of line (horizontal and vertical) dividing up the space. That was the structure with the intention of pulling the eye to the right hand side with the series of posts. I don't mind so much that the building is in the middle. Something will have to be in the middle of a painting, But I think I pull the eye off to the right more strongly than your attention gets held by the building. Hope that helps.
All the values or all the colors? I don't know what color I'll need until I have them on the canvas and see the next color in relation to what is there.
What is your technique for mixing colors on a color palette?
Not sure I understand this question, if you mean for a color key or gamut I tend to decide how I want the colors desaturated or greyed out...using earth pigments for a low key or compliments for a middle-higher key.
Great demo! My technique for mixing has been to start with the darkest blob of a certain color and lighten it to a mid and then light value, so I have a long streak of the color in about three values if needed. Also do that with temperature changes
like you mentioned that blacks can go more red or green, red or blue,. I seem to need my values and temp changes already somewhat mixed on palette before starting.
Well I have watched people add colors as they paint. I try to choose a color scheme beforehand, so I can get color harmany and maybe change up the scene. But i still need practice with color harmony and scemes
Technique? Well... I see colour, like the colour, apply the colour. I have a so-called anti-technique. Help needed!!!
This is fabulous! Your example of the posts was great. I also really love how well you show the importance of sumple shapes, especially during the block in. It is very helpful in showing us all how to avoid or trim away the unnecessary clutter. Thanks so much for sharing. Ive enjoyed, and found each of your videos to be very helpful.
Catchow!! That’s how I want to paint. Thanks again!
Delighted that you found it helpful.
This was great! Really enjoyed the discussion of the whole process: reference, cropping, what to leave out, etc. to the finished piece. I love these reminders that just because it's in the photo doesn't mean it needs to be in the painting.
Hi Robin, plein air painting really forces that stripping away otherwise you just get buried. But the drawing before hand often tells you when you are trying to get something to look right, say like that log on the beach this week, and you're like why am I working so hard to get this right when I don't even need it.
I really loved the underpainting. I've been really inspired and helped by these videos and I'm so grateful for your generosity. Three years of art school and a $40k degree and I learned truly nothing of real value. And here you are giving away such value for free on RUclips. I met some cool and interesting kids at art school so I guess there's value in that.
This was so great to see the color mixing and how you blended in the colors. I get so much out of your videos. Thank you so much
I am enthusiastic about your channel! Your demonstrations are absolutely to the point and inspiring. Thank you for sharing your knowledge and skills with the world!
Thanks Ian, going through the cropping process and what to leave in and take out was most helpful - And yes! I was shocked you took the boat out, thanks for explaining why. Will definitely help me with my compositions.
Well, you'd think in a painting of Maine you'd need a boat. But who says? As it happens, in this small arena of life, I am the boss. And if I don't want the boat, there is no boat.
Love this painting. Thanks for sharing your talent and instruction!
I have moved on to experimenting with non-rep. art and have had some success. Now, after watching your videos looks like I have to dig out some new slides, etc. and get to back where I started and see what happens. Just love your approach, presentation and-of course the work! Best wishes, Carry on!
Motivational and Inspirational video!!
Thank You MUCH.
Again, very useful. Many thanks.
My wife has bought me your book Ian " Mastering Composition " for Christmas. She asked what I would like. I didn't even get a chance to havf a sneak peek as she whisked it away ! So I have to wait. But I can watch your videos here thankfully :-) !
Thank you so much for the demo. REALLY liked the demo on simplifying the photo and eliminating what is distracting from the essentials.
Glad you enjoyed it Marie.
Nice demo! Amazing work!
Thanks a lot Sharon.
Thank you so much Ian for the opportunity to attend your painting course live meeting, with clear and concise explanations, I also really appreciate the numerous examples of the painting techniques referring to various painters and their work.
Hi Francoise, hope the commission is going well. Or finished. Glad you are enjoying the videos.
Your paintings are amazing!!!
Totally in love with that painting.
That was amazing!! I love your palette ... and watching you mix the colors ... and just so amazing to watch how your painting takes shape!! Your painting is gorgeous!!
Glad you liked the video. And that you are ranging around the various videos from the past months. Makes me happy.
Okay- you do a great job of demo-ing!
Voice overs are the way to go.
Having the photo up- during the demo would help me- to see what you're seeing.
Wow- I would have cropped it very differently. The focal point would have changed- of course.
I ask my students: "What is it about this image you have chosen to share? What is it specifically that really draws your eye? That's your focal point." It varies...so in our group, feedback sessions we have energized discussions about this- "What's the Hero or where's the conflict, or what emotions are you communicating?" It's visual storytelling for me. I'm going to look at your original photo- and see how I'd crop it. For me- the building wasn't the focal point....
So interesting!
Love your technique and that your painting is sooo much more beautiful then the photo. Thank you again for your generosity and all you share.
This was an excellent demo. The suggestion to show the palette missing with the painting process was great- so helpful. Thanks, Ian.
Hi Scott, yes I thought with the palette and the voice over I was upping my game this week.
Beautiful thank you so much!
Greatly inspiring. Thanks so much! Love the composition, colors and the light is spot on.
Thanks Patricia. Happy you found it inspiring.
I loved this video. Perfect and clear, from the cropping, choosing to eliminate details, the big shapes, the mixing of the colors, the details. Gorgeous and so is the final painting. Thank you !
Thanks so much Hannah. Delighted you enjoyed it, and the painting.
Love the painting and all the tips! Thanks Ian. The palette is so muted yet dramatic. You're so generous with your information. Learned chromatic black (fantastic and will use that). I paint in acrylics so am often leary of dulling my colours with straight up black. To my great surprise & delight I learned too that black + cad yellow makes an excellent green. Yes it does. See you next week.
Hi Karen, glad you are enjoying the videos. A lot of good color mixing is learning to get the hits of color playing off neutrals. And it is true black and yellow do make nice greens.
Thank you for making us better artists. Appreciate you sharing your knowledge in such an amazing manner!
I'm glad you find the videos helpful Maria. Thanks for letting me know.
Great video, thank you!! 👍
I really appreciate your composition tutorials. I have just read your book of creative authenticity. It opened up sooo many possibilities for me. Thank you!!!
Glad you like them Bibi.
beautiful paint ! thank you
Thank you Ian for another good demonstration , I am still not entirely confident about cropping but hope the more I watch you cropping the better l will become . Many thanks you have given me lots to think about to improve how I paint .
Maybe one week I'll just take half a dozen photos and show how I'd crop them. Just focus on that. And why.
Yes please Ian I would like you to do that it would I am sure be a great help to me , Many thanks in advance .
I am fascinated by the way you mix color! Please go over that some time?
I love your written mottoes pinned to the pinboard!
Yes, like "first pants, then shoes".
That was really fantastic Ian. It was great to see how you mixed each color in the centre, incorporating the previous color. Watching you paint the posts and reflection was also illuminating, and so interesting to see the close up details. I love the nuanced colors. And the voice over - all really helpful - thank you.
Thanks Lana. All relevant to what we're doing. Or at least soon.
Very helpful. I liked your explanation of what you were leaving out and why. I also enjoyed the voice over and viewing the mixing on the palette. Excellent video.
Thanks Doug.
This was very helpful. I find deciding what to keep and leave out very difficult (and often don't realize that I should have left something out until very late in my painting). Palette mixing was also helpful - and voice over makes it all very easy to understand. Thanks very much!!!
Hi Debbie, glad you liked it. I think the drawing process before painting is useful. Imagine a 4 x 6 drawing and trying to draw the boat, or that log, and you'd be struggling to get them to work and then you, might, realize, well why am I putting this thing in anyway?
Seeing the entire process was very informative. Appreciate all the effort. Thank you.
Thanks Brenda.
Thanks Ian. This video and the others that touch on cropping and editing are super helpful!
Hi Dale, it's true that finding the kernel of a good composition in our own photos usually takes more cropping and eliminating than we realize.
@@IanRobertsMasteringComposition Agreed. More on this topic would be great! Also, closely related, more on the use of value/massing sketches as a tool for testing/designing dynamic compositions inspired by reference photos - but not a slave to them. Ditto for plein air. You covered this during the plein air workshop I attended in the Texas Hill Country in 2011, and it made a big impact on me. Thanks!
Very helpful in seeing what you include and exclude -- and why! Thank you!
You are welcome Ralph.
Hi Ian , I knew exactly what you would eliminate before starting the painting ! Great !
Hi Christine. That's great.
I found this fascinating to watch and learned a lot I can put into practice in my next painting. Thank you.
That is great Eddie. Delighted to hear it.
Thanks. I appreciated both the palette and the voice over!
As I said in a comment above I thought I had upped my game with that this week.
@@IanRobertsMasteringComposition Yes! Thanks.
Sooo helpful,thank you so much,your videos are amazing with all the info...much appreciated...take care
You are welcome Veronica. Glad you are enjoying them.
Loved this demo. Really inspiring. Thank you so much.
Hi Sallly, glad you liked it. Best wishes.
Nice painting. Thank you, Ian.
Glad you enjoyed it Gayle.
wonderful, loved to hear your thoughts as to why all the way thru, and of course it's interesting to see you push the paint around too. Being a former sailor I have to admit would have swapped in a dinghy or something...:) Sometimes I find that while a photo looks exciting once cropping starts sometimes the image loses it's appeal. I chalk that up to "ok this is better as a photo" and move on to the next victim.
Hi Liese, well I could have imagined, now, a dingy, floating in the water in front of the posts. Pulled into the composition there. But not out in the bay. And cropping is like goldy locks sometimes. Too tight, too broad, just right.
Thanks again.
great lesson. thanks so much
You're very welcome Katherine.
Great video thanks
Thank you
Great demo, loved the voice over, the reasoning for eliminating each detail and the cropping. Showing the pallet and mixing was interesting but since I am a watercolorist, not too helpful. You are a great instructor!
Thank you Ronnie. Glad you enjoyed it. All the best.
This was a great video. Thanks. I am wondering as you have been painting for a long time what your suggestion of brushes would be?
Glad you liked the video Rhonda. My favorite brand of brush Manet sadly went out of business recently. I am still searching for the perfect replacement. I'll let you know when I find it.
May be the best one yet! What is the size of your painting? You loaded your brush and had great visible strokes. Are you using a medium? Thank you for teaching and being so generous with your time. Susan Rogers
Hi Craig, the painting was 18 x 24. No medium. I like the viscous feeling of just paint. Delighted you enjoyed it. Best wishes, Ian.
Ian, I am learning a lot from watching your videos. It seems you use one brush consistently. What is it? Thanks!
There’s an older article that Ian wrote with a fantastic demonstration example of design driven simplifying.
Here is the link, and if you scroll to very bottom (West to Carombe) there’s a sketch in just two values and then the wonderful composed painting-very strong design that’s simplified from a lot of detail- along with another painting of what his students often do INSTEAD of simplifying and focusing on design.
Link. www.artistsnetwork.com/art-mediums/drawing/use-design-to-create-a-powerful-painting-by-ian-roberts/
So, nice and painterly. I'm trying to paint more simply too. Do you offer any tutorials? Thank you Ian.
Hi Jamie, Offer two courses. One on drawing as the foundation for understanding a composition before you start to paint. Then a brushwork and vibrant color course. If you are on my email list (meaning you get the tuesday videos as an email on tuesday morning) then the next time I offer them, probably February, you'll find out. If you're not you just click on the link below the video for my website.
Delar Ian, what colours do you have on your palette? Some of the darker ones, I cannot find out.
Thank you in advance!/ Marie.
Would it be a bad thing if you had a shot with the finished painting and the original photograph and your sketch side-by-side? I am 'hopping' back and fro in order to see what you did and didn't do. Places I see on the photo where I think: 'Gosh, how did he fix that?' and then I skip to the end of the video to see the finished result and then 'O, that was a beautiful way of solving it' or 'that's the way the seaweed and rocks were made vibrant'. Once again, txs so much!
And you simplified the building to one block! It's funny that a painter almost may play God as he/she may change everything he/she wants. Liberating.
Hi Patricia, that's a good idea although they might get small if they are all on the screen at the same time. But perhaps a few seconds of each at the end so the progression or transformation in clearer.
Sorry, this is one of those bland questions but what brand of oil paint do you use? Also I noticed you must add a little turps to the first layer but I don’t see you using any linseed oil or medium for the next layers? Or is it off camera? Or do you go with the pure paint with no medium? If so do you just use the turps to wash out the brush between colours, or linseed and a rag?
HI Meg, I mainly use Utrecht or Gamblin oils. I don't use a medium when I paint. Unless I do an initial block in where I will use some mineral spirits to thin the paint to put some thick washes in which are usually dry the next day. I use mineral spirits to clean the brushes as I paint. Think that got all the questions.
@@IanRobertsMasteringComposition Thank you. 😊
What type of brushes are you using at first ? They look softer than bristle brushes yet the close up shows lots of texture.
Hi David, I use hogs hair filberts. I in fact don't clean them that well, just mineral spirits, not soap and water, so they are in fact a bit stiffer.
Do eliminate detail, or tend to put it all in?
I tend to put it all.
I battle with myself to eliminate too much detail. Otherwise, I get caught up 'tickling' a painting to death and wind up with a mess. The late singer/songwriter Harry Nilsson put out a concept album in the 70s called "The Point". A character in one segment said, "A point in every direction is no point at all." Same with detail.
Thank you for your demos they are very instructive, sometimes your voice fades away from your microphone though, anyway I like the way you paint
I think sometimes I may get into the painting and start to mumble. Maybe that's it. Keeping the left and right brain both functioning at the same time!
Love this demo, but it would be good Ian, if you could show the photo, perhaps to the right of the screen, so we could see how you are interpretating what you are seeing! John
Hi John, it's funny I got requests, could you show the palette. Ok, here's the palette. Then but we need a voice over. OK, voice over. I thought I had nailed it this week. But you are right, the photo would be useful. It means making the painting image smaller so that the photo is not too small. But next time I do a demo I'll see if I can get it in. Thanks for the suggestion.
What color was the ground underpainting?
What armature of composition would you say this is. Portrait? O? The house seems to be right in the middle. I am asking because I really struggle with this aspect of composition in my landscapes
Hi Catherine, I'd say that composition last week was more a series of verticals and horizontals. If you look at the simple washed block-in at the very start of the demo you will see a series of line (horizontal and vertical) dividing up the space. That was the structure with the intention of pulling the eye to the right hand side with the series of posts. I don't mind so much that the building is in the middle. Something will have to be in the middle of a painting, But I think I pull the eye off to the right more strongly than your attention gets held by the building. Hope that helps.
Thank you. This helps in my understanding. Lots to think about!
Hi! I mix all the values first.
All the values or all the colors? I don't know what color I'll need until I have them on the canvas and see the next color in relation to what is there.
What is your ground made of?
I use Gamblin oil prime on canvas.