If I never see another TouTube video that starts with someone yelling at me "HEY GUYS WELCOME TO MY VIDEO!" then continues to harangue me for what seems forever, it will be too soon. They get switched off immediately. This video is the complete opposite, Mr Roberts gets his message across quietly and measuredly; Bravo, I wish there more like you.
Not everyone is a teacher and not everyone knows how to present and market themselves. Doesn’t mean that all their content is crap )).. try to be patient
Same here. I've gotten to the point where, even if it's subject matter I'm really interested in, if they have a slick video with theme music I have to endure first, I'm gone. I can't take "me me me." I just discovered Ian Roberts and I'll be here a lot.
They do that because of a TH-cam lesson that teaches creators that you have to be loud and command the attention of the audience immediately. I hate it too.
Design, for some reason, is seen by the majority, as secondary to detail. My heirarchy is: Emotion, Design and Detail. And theres’s a finer line between between the first two as they serve one another. This was an excellent lesson. Thank you!
This guy is excellent. I have watched a few other videos on composition but I an is the first person who really speaks to me about art in a way I can really understand and get with.
It's really interesting how this composition rule can be used and applied for other mediums. Comics, for example, understand this rule and actively break it, using it to their advantage, guiding the reader along through the panels.
Are they actually breaking it though? Sure, each panel may break it, but the whole strip or book is the “canvas” artwork.. so they do not break it because this rule is to keep a viewer engaged within the artwork piece, comics just have a multi-frame piece. The goal of this rule is to guide the viewer thru the piece and keep them engaged within it… no matter the scope or medium… single frame or multiple frames… I would challenge you to actually analyze HOW the comics “break” the rule in single frame and you will see how they are guiding you from one frame to another and then on the the next page… it isn’t a broken rule… it’s just expanded in scope….
This should be titled, the #1 Composition Rule That Is Hard to Break Effectively. The two works that he shows are in a book, so they create a movement that suggests the viewer to turn the page. Which keeps the viewer engaged with the book. Translating that in to a gallery show may be helpful if you want the works to be telling some kind of story. If it is a singular piece it would be more difficult, but if you break that you can also potentially bring the viewer back in other ways. It is more difficult to walk past a large work that does this, so it may not be as successful in digital format.
Yes. Summed up, it is a tool, and one that you need to know when you are using and do so with intention. If it’s used unintentionally, you will have unintentional results.
It's still not pulling you out of the art though. It's pulling you away from that one page, but the entire book is the "plane" in this case, so the composition is set up to navigate you through this piece of art in the way the artist intended. I have seen this style of composition in galleries too, where the artist wanted to tell a story through pictures and had a very specific way of setting the paintings up, one leading to the next, leading to the next. Though each painting was of a different subject, at a different location, they sort of "pointed" to each other through the composition. The gallery guests were not given a single arrow or a single word of how to navigate this story, yet almost everyone walked an unmarked path as the artist had planned. That is why this rule is so important. It will affect you, even if you know zero about art. And it will affect you, even if you already know it is there.
Agree with you 100%. Just perfect. I always tell my students, "no matter what you paint, your only job is to make the eyes of your viewer STAY in your painting." =One Love= -A
You all prolly dont care but does anyone know a method to log back into an instagram account..? I was stupid lost my login password. I would love any tips you can give me!
@Fox Chaim I really appreciate your reply. I got to the site thru google and im trying it out now. I see it takes quite some time so I will reply here later with my results.
As a person with no artistic background getting my own animated work going, I find videos like this to be really informative and helpful since I find I have to create a ton of background artwork to go with my animations. Something I never thought much about until I had to do it. I'm crap at it but I like to think I can get better over time.
I'm always amazed in recent animated films how good the backgrounds are. And how astonishingly good the effects are now with water and so on. It is a little like looking at a painting and admiring how lifelike it is. Which is one arena to look at. The other is how visually original it is. Which is a different arena.
I've been showing my students the importance of Figure/Ground as "Number One Rule", but I like your more sophisticated explanation; especially the potential movement off the picture plane. There's always more to learn, Thanks.
I found this extremely helpful. Gives me a better understanding of why I personally like certain pieces. I’ve always been drawn to works that make me want to climb in and explore the scene deeper into the painting and now I can see how each artist has manipulated the composition to achieve that feel. Thank you
But i preferred the ones where the composition sent you out of the frame. I liked how it suggested something bigger. I once wrote a children’s book called “What’s Around the Corner?” that was created to make the reader curious about what might be on the next page. It forced the artist to compose pictures leading the eye to the right out of frame. Worked well and sold well and was even translated.
yeah, it is super useful but when this is purposeful. often it can be dertimental to holding someone's attention. but def very good for things like this picturebook example or comics where you wish for the reader to jump from panel to panel fast, to give the scene portrayed great momentum, anticipation, curiosity or anxiety.
It's like the rule in writing saying that you should describe what something is, not what something isn't, and then Douglas Adams comes along and describes spaceships as "hanging in the air in the same way that bricks don't": On the face of it, it breaks that rule, looking a bit deeper, it doesn't, because it describes the spaceships as appearing irreal, unbelievable, in a visceral way that just would not be possible without employing a negative, sending the reader "out of the reality frame". Which is exactly what was intended, and what you intended with those illustrations. So maybe a better design rule would be "make it do what you want", but then people are completely lost. "Break the rule only once you understand its purpose" seems to be a better didactic approach: Rules are a list of things to pay attention to, nothing more, nothing less.
I think with your book perhaps you arent breaking the true rule here. I think the concept really is that you have to create a piece that leads attention where you want it to be. In 99% of cases, that means you want attention to be on your painting. In your case, you intentionally wanted to lead elsewhere, accomplished that, and the fact that it worked means you were successful.
Honestly, what I saw here is the difference between a composition directed towards dynamism and another directed towards balance. I guess as a painter one might like a balanced one better, but as an ilustrator/graphic designer/storyteller both are equally useful.
I've been a painter all my life; first an illustrator for almost 30 years, and now I paint for several galleries. As I look at the paintings shown here, I wonder at what point in my painting life I no longer labored over composition, if I ever did. I have two large paintings going out to a client today, and as I watched this video, I sat here looking over at an Italian street scene on my wall. The client wanted more people, plants and "stuff" going on, and as I added all this, I realized that I could include elements almost endlessly, and the strength of the composition wouldn't change. I very much enjoyed this video for addressing composition in a way that's too often overlooked by artists.
When I went back to art school as a mature student , I re-studied things I had paid scant attention to the first time around . In particular the ' private vs public ' work .Botticelli's Birth of Venus and Primavera , were both commissioned works for the same client , both had content input from a veritable committee and neither was originally intended for mass viewing . Primavera suffers a little from having so much stuffed into it , whereas Venus is a gorgeous composition that says as much with a lot less . As you observe , a strong composition can handle detail upon detail without becoming cluttered .
@@weehudyy Back in the days of Botticelli and for a long time after, all artworks were commissions, both public and private. I've done many commissions, and the process is still the same. The client has an idea they want you to bring to reality. To do that successfully, the artist has to live in the client's head. This is why so many artists decline commissions. I regard my galleries as "clients". Much of our creative discussions are about content and direction as it's your gallery's job to keep you informed to how your work is received. This is how they cultivate a following of buyers for your work. And true, a painting with a solid design can hold almost infinite details, but my experience is that, however tempting, the painting will tell you when to stop. Kudos to you for going back to school!
(The husband, Harry Gray) Excellent timing for me to fall upon this video. Love the book illustration to increase the desire to turn the page. But for me I have been working with a painting that was based on a plein air study that I drew several times and kept building the composition with a few directional clues. For whatever reason I never fully completed the very bottom and to my amazement I am there to complete it.... but I am stumped as I had not solved the bottom. I then realized all attempts WERE sending the eye off the page. A simple solution... Keep it simple. Which was the second video I watched of yours. So in combination of the #1 rule and simplifying I think in the morning I just might have the solution. Thank you and I look forward to checking out more of your info. Blessings to all!
Happened to be looking for interesting videos that will help me progress in my newly found art journey, and luckily came across this! Art classes in High School in the 70's and now back into art, missing it all these years while life got in the way. Love how you teach, and getting back to basics to hopefully make my work better. Signed up for weekly videos and look forward to going back and viewing all previous ones! Thanks so much!
This was, honestly, one of the first rules I was taught as an art major, and the one which has stuck with me. I always appreciate a reminder, so thank you!
This short lesson was extremely helpful for a self taught artist like myself. I've been painting birds in in watercolor and am ready to explore landscape painting in the same medium. I'm looking forward to receiving your weekly email. Thank you for sharing! Simone
Interesting. In many of the examples that you gave, my eye was drawn in the opposite direction that you indicated. In the picture book, my eye went back to the men, or to the trees and the horizon line. Even in your modified, darkened version of the picture of the house with the fence, the contrasting paleness of the other fences, not just their distance from us as viewers, made them more interesting to me. In the still life with fruit, I noticed the cutting board on the left. In all cases it was a draw to wish to examine what might be happening further away from the viewer, out of our reach. I would say that this is a good analysis, but that not all eyes will take these scenes in the same way.
Yes. I looked at the men, too. For several reasons the eye (ie my eye) is attracted to that image rather than the strong pathway out of the picture, which to me gives a huge sensation of motion, but it doesn’t take me with it. For this principle to be “the one unbreakable rule” is a bit heavy, I think; certainly it’s an excellent guideline for traditional art, but I think following all the guidelines can easily result in rather dull pictures, and we are so saturated with images these days that an artist who wants to grab the attention almost needs to break a few guidelines.
You are so right about the lack of rules, lack of skill, skill even to be shunned or laughed at, l see a big resurgence and appreciation of skill and warmth, in the light of a new dawn.
I used to ask my kids _ "What do you see when you look". You have given me a new 'perspective' on conscious seeing and creation and the 'why' of interest. Tonal centered perspective and lead lines even though they may be unintentional visual erratics.
Mr. Robert’s….I have followed your teachings for years…..you are no doubt the best at conveying your teachings so well. Some people are good teachers but not great artist…..some are great artist but not good teachers……you are both! Thank you for taking the time out of your studio to share and teach us.
Just started my masters in illustration and this has been great supplemental material! I can see that those paintings that break your rule are doing so with purpose, since the intent is to lead the reader into turning the page, vs a single painting whose purpose is to interest the viewer for as long as possible. I still struggle with composition so I'm very excited to have discovered your videos. ^^ Thank you so much for uploading them for free.
It is a great treasure that this videos suddenly appeared to me, it is the first time I have seen them and I am delighted with how wonderful you explains, providing us with very clear examples. Thank you very much for sharing your knowledge with us.
VERY helpful. I'd never thought about Rule #1. I'm hurrying back to my easel as soon as I'm done with this comment. I want to apply this to my work. Thanks again
I found this so helpful! I just began painting this spring and have much to learn, but you've just explained what I did wrong in my last painting, why it feels unbalanced.
I've started reading and viewing about art to try and add greater meaning to my photography and found this an interesting and well presented tutorial. Thank you.
I am a decent photographer but have struggled a lot with drawing and painting. Your insights are so very helpful. I have renewed hope and motivation due to your guidance.
This is by far the most informative 8+ minutes I’ve had on TH-cam in a while. Wait actually more like 24+ minutes bc i watched it 3 times. I just can’t stop watching it. Thank you, 🙏🏼 Thank you.
Your videos are excellent. There's a lot to learn, and the alternative is to proceed by trial and error which can be difficult. Over the years as I've observed the world around me, I've learned to look at the world (depending on the subject) as if I were going to take a photograph of it. A couple of my own 'rules': "Not every 'good idea' will necessarily make a good painting." and "If you don't know how to proceed, then don't."
I hate how whatever spot of the painting I was looking in he immediately drew red circle around, and that's when I realized how absolutely correct he was
this is simply brilliant! and this video got recommended to me exactly at the time when i'd been struggling with an illustration due to not knowing of this! Now I know which part to emphasise and how, ah! safed me so much trial and error and agonising over this decision. also, I very very much appreciate how many examples you'd given! and that the changes you did had been quite subtle actually, yet having a profound effect on how the piece affects the viewer. i think showing this in this subtle manner conveys how crucial it is way better than drastic changes. this is kind of rare among art tutorials online actually, so i appreciate you doing so a lot.
Thank you! This was extremely helpful. As a new artist, and self-taught, perspective is my next step in learning. But you also gave me this new great tip of engaging the viewer and how to be objective about the painting.
Glad you liked it Sophronia. I'm not sure I meant you want the eye looking at the center. But just not getting pulled out beyond the edge of the painting. Best wishes.
as a complete noob to the world of painting 'art', Thank you for this explanation and for keeping it simple. now, thinking back on some of my paintings, I think I may understand some of what was off about them and why others were engaging.
Thank you! Great reminder on a key point of emphasis. I especially like the helpful tip at the end about using a mirror and or turning the image upside down. Forgot about those tips. Thanks!
I wish I could share this painting I just saw with you. I would not have known why it drew me in so much if I hadn’t seen this video. My eyes couldn’t escape this painting, and now I know why!
Your transition at seamless. Each time you make your point, the fade in of the contrast subtly guides the viewer. Leading our eyes to the answer just before you even state the claim. Truly eloquent! Great video.
Eloquent is indeed the most appropriate word! And finally someone who REALLY demonstrated the BIG difference a SLIGHT detail, like an increased color intensity, can make.
This is brilliant. Subscribed. I wasn't allowed to take art classes in college because they were only for art majors. I feel like this channel might be my "university art class" that I never got to take. Thank you!!!
I am learning so much from you, now giving thought to an amazing landscape photo I took ,beginning to feel braver about painting. Appreciate your guidance.
Short, sweet and very helpful. I feel stuck. Here I have all this time being sequestered for a year and on long term disability that I don’t have much art to show for it. I love watercolors and pen and ink and want to dabble in pastels too plus crafts like paper mache and beadwork and card making. How about a video about lighting a flame under your derrière to get working on your art? 🥰🦋🐝🐞🌱
Art is an expression, a fleeting moment captured by the artist's inner being and immortalised with whatever medium is chosen Rules are arbitrary and are nearly always "broken " by artists 🎨 rules constraints free spirit.
As with music , one has to understand conventions and rules in order to break them ... There is a reason Pharaoh Sanders sounds better than a toddler picking up a horn and making a noise , there are similar reasons why Picasso's latter squiggles and scrawls carry much more meaning than a monkey frolicking with a tube of Windsor and Newton's finest
Yes. Yes I did find your lesson helpful! It was engaging for me because of the visual examples from the children's book. I have now added this detail of noticing if I'm captivated to stay inside or if I'm being drawn off the edge of a painting. I like the this extra layer of art understanding!
Your videos have been really helpful. I am self taught so learning some new tips has been so great for my work. Thanks for taking the time to create and share
Great lessons. The arrows in the frame really hit home. I don't know yet but I hope you have a lesson on fear of failure - fear of getting started. I am thinking composition may solve it. Note; I am over 70, I have been an Infantryman, volunteer Firefighter, a truck driver for 30 years in St. Louis and E. St. Louis local delivery. Never had a problem. To start a painting and then finish it breaks me out in a stress sweat. Crazy huh?
Bravo ! This advice is pure gold. I no longer have the patience to draw, and have for many years taken the route of amateur photography. All that is said here applies equally to photography. Many thanks for the insight Sir.
Digital Artist here, watching this video for creating environments for VR. Thank you so much. All this helps even when making video games environments.
This is so cool. I found the examples of breaking the rule in the children's book absolutely fascinating though and now I want to play around with breaking this rule on purpose! I love art it's so interesting.
This was so cool. I always thought about art as static. "It is what it is." This video amazed me to find that the flat art work can guide your eyes/mind to travel outside the painting. I can see that this would be very important in picture books to keep the suspense going - ie keep the reader interested.
The darkened fence balances the mass of the house and creates a more pleasing effect. You could say that the fence, as it is, keeps me attached to the house but, I feel ill at ease - I won't stay. I will stay with interest and balance. Your change makes the fence and house frame that beautiful barn which is what really engages me.
That was brilliant!!!!!!!!!!!! As a rank amateur who has had no formal art training, I can manage to get paint on a canvas to look like something, but THIS is something I never considered. But I WILL NOW!!! Your explanation and subtle changes to the works made it so clear how this can happen. Thank you!
Very interesting. The 3:22 example was by far my favorite piece out of all of them. To me, that really flows. And ironically, THAT is what keeps me in the painting. I actively try to create a visual path both into the art, flowing through, and then out. But I definitely will digest what you just said.
Wow, very powerful piece of knowledge, thanks! It is so primitively simple in its essence, but I couldn't have fully realized it without being told about it.
I just discovered you. You are a brilliant teacher. Watching just two of your videos, I’m already working with my composition and tonal values before I dive in. Thank you so much!
Thank you Ian, very engaging, very interesting. I am also a musician as well as a visual artist and have always lived by the fact that you need to understand the rules so that if you do deliberately break them you get a well orchestrated result. I have also just purchased your book, hopefully it will arrive soon. Cheers Jenny
If I never see another TouTube video that starts with someone yelling at me "HEY GUYS WELCOME TO MY VIDEO!" then continues to harangue me for what seems forever, it will be too soon. They get switched off immediately. This video is the complete opposite, Mr Roberts gets his message across quietly and measuredly; Bravo, I wish there more like you.
Not everyone is a teacher and not everyone knows how to present and market themselves. Doesn’t mean that all their content is crap )).. try to be patient
I'm always very grateful. If I don't feel I learn I just prefer to watch other people. Horses for courses
Same here. I've gotten to the point where, even if it's subject matter I'm really interested in, if they have a slick video with theme music I have to endure first, I'm gone. I can't take "me me me." I just discovered Ian Roberts and I'll be here a lot.
They do that because of a TH-cam lesson that teaches creators that you have to be loud and command the attention of the audience immediately. I hate it too.
TouTube
Design, for some reason, is seen by the majority, as secondary to detail. My heirarchy is: Emotion, Design and Detail. And theres’s a finer line between between the first two as they serve one another. This was an excellent lesson. Thank you!
I appreciate your letting me know Bob. Best wishes.
@@antrygrevok6440 I agree. Design is what makes Art emotional
This guy is excellent. I have watched a few other videos on composition but I an is the first person who really speaks to me about art in a way I can really understand and get with.
Well Andrew that makes me happy. Best wishes.
It's really interesting how this composition rule can be used and applied for other mediums. Comics, for example, understand this rule and actively break it, using it to their advantage, guiding the reader along through the panels.
Exactly what I thought of
dragon ball.
Yes great idea 🎉
Are they actually breaking it though? Sure, each panel may break it, but the whole strip or book is the “canvas” artwork.. so they do not break it because this rule is to keep a viewer engaged within the artwork piece, comics just have a multi-frame piece. The goal of this rule is to guide the viewer thru the piece and keep them engaged within it… no matter the scope or medium… single frame or multiple frames… I would challenge you to actually analyze HOW the comics “break” the rule in single frame and you will see how they are guiding you from one frame to another and then on the the next page… it isn’t a broken rule… it’s just expanded in scope….
This should be titled, the #1 Composition Rule That Is Hard to Break Effectively. The two works that he shows are in a book, so they create a movement that suggests the viewer to turn the page. Which keeps the viewer engaged with the book. Translating that in to a gallery show may be helpful if you want the works to be telling some kind of story. If it is a singular piece it would be more difficult, but if you break that you can also potentially bring the viewer back in other ways. It is more difficult to walk past a large work that does this, so it may not be as successful in digital format.
Also panelling in comics.
Yes. Summed up, it is a tool, and one that you need to know when you are using and do so with intention. If it’s used unintentionally, you will have unintentional results.
Hi pals! I get what you guys talking about. I guess he's talking about #1 Composition Rule in Painting
It's still not pulling you out of the art though. It's pulling you away from that one page, but the entire book is the "plane" in this case, so the composition is set up to navigate you through this piece of art in the way the artist intended.
I have seen this style of composition in galleries too, where the artist wanted to tell a story through pictures and had a very specific way of setting the paintings up, one leading to the next, leading to the next. Though each painting was of a different subject, at a different location, they sort of "pointed" to each other through the composition.
The gallery guests were not given a single arrow or a single word of how to navigate this story, yet almost everyone walked an unmarked path as the artist had planned.
That is why this rule is so important. It will affect you, even if you know zero about art. And it will affect you, even if you already know it is there.
I think ur missing the whole point. His sharing is a gift.
In eight minutes I gained more useful knowledge than in my two years as an art major at UMass Amherst.
That’s the strength of TH-cam
Agree with you 100%. Just perfect. I always tell my students, "no matter what you paint, your only job is to make the eyes of your viewer STAY in your painting."
=One Love=
-A
Great video. I had no idea saturation and contrast could guide a viewer so much. Thank you so much for all your hard work.
I instantly think back to my work. Some of it naturally holds the viewer, others drag them right off the canvas. This was a great vid.
I am thrilled to have found these quietly masterful lessons.
You all prolly dont care but does anyone know a method to log back into an instagram account..?
I was stupid lost my login password. I would love any tips you can give me!
@Nash Forrest instablaster ;)
@Fox Chaim I really appreciate your reply. I got to the site thru google and im trying it out now.
I see it takes quite some time so I will reply here later with my results.
@Fox Chaim It did the trick and I actually got access to my account again. I'm so happy!
Thanks so much, you saved my account :D
@Nash Forrest glad I could help :)
As a person with no artistic background getting my own animated work going, I find videos like this to be really informative and helpful since I find I have to create a ton of background artwork to go with my animations. Something I never thought much about until I had to do it. I'm crap at it but I like to think I can get better over time.
I'm always amazed in recent animated films how good the backgrounds are. And how astonishingly good the effects are now with water and so on. It is a little like looking at a painting and admiring how lifelike it is. Which is one arena to look at. The other is how visually original it is. Which is a different arena.
I also suggest Ethan Becker if you haven't found him already. He's got some solid tips for drawing/composition and a hilarious sense of humor 😁
This is one of the most powerful things I’ve ever seen. I will never think about composition the same way again thank you so much for this.
I've been showing my students the importance of Figure/Ground as "Number One Rule", but I like your more sophisticated explanation; especially the potential movement off the picture plane. There's always more to learn, Thanks.
I found this extremely helpful. Gives me a better understanding of why I personally like certain pieces. I’ve always been drawn to works that make me want to climb in and explore the scene deeper into the painting and now I can see how each artist has manipulated the composition to achieve that feel. Thank you
This borders on poetry: so subtle and observant. Thank you.
What a beautiful perception .
You are so right !! I teach the same to my students !! First catch the eye of the viewer and then keep it in !!!
But i preferred the ones where the composition sent you out of the frame. I liked how it suggested something bigger. I once wrote a children’s book called “What’s Around the Corner?” that was created to make the reader curious about what might be on the next page. It forced the artist to compose pictures leading the eye to the right out of frame. Worked well and sold well and was even translated.
yeah, it is super useful but when this is purposeful. often it can be dertimental to holding someone's attention. but def very good for things like this picturebook example or comics where you wish for the reader to jump from panel to panel fast, to give the scene portrayed great momentum, anticipation, curiosity or anxiety.
I guess like most rules, they can be broken with success, if done well ans with forethought.
It's like the rule in writing saying that you should describe what something is, not what something isn't, and then Douglas Adams comes along and describes spaceships as "hanging in the air in the same way that bricks don't": On the face of it, it breaks that rule, looking a bit deeper, it doesn't, because it describes the spaceships as appearing irreal, unbelievable, in a visceral way that just would not be possible without employing a negative, sending the reader "out of the reality frame".
Which is exactly what was intended, and what you intended with those illustrations.
So maybe a better design rule would be "make it do what you want", but then people are completely lost. "Break the rule only once you understand its purpose" seems to be a better didactic approach: Rules are a list of things to pay attention to, nothing more, nothing less.
I think with your book perhaps you arent breaking the true rule here. I think the concept really is that you have to create a piece that leads attention where you want it to be. In 99% of cases, that means you want attention to be on your painting. In your case, you intentionally wanted to lead elsewhere, accomplished that, and the fact that it worked means you were successful.
Honestly, what I saw here is the difference between a composition directed towards dynamism and another directed towards balance. I guess as a painter one might like a balanced one better, but as an ilustrator/graphic designer/storyteller both are equally useful.
Instinctively I take my art work to the mirror to see it from a distance. I thought I was crazy, now I know I am not!!! Thank you!!! Great video!!!
Same, I also try squinting until my picture becomes simply blocks of colors.
You are still crazy
-_The Voices_
Me too, then I’ll see for the first time some image in the clouds I don’t like, like a big fish!
I've been a painter all my life; first an illustrator for almost 30 years, and now I paint for several galleries. As I look at the paintings shown here, I wonder at what point in my painting life I no longer labored over composition, if I ever did. I have two large paintings going out to a client today, and as I watched this video, I sat here looking over at an Italian street scene on my wall. The client wanted more people, plants and "stuff" going on, and as I added all this, I realized that I could include elements almost endlessly, and the strength of the composition wouldn't change. I very much enjoyed this video for addressing composition in a way that's too often overlooked by artists.
When I went back to art school as a mature student , I re-studied things I had paid scant attention to the first time around . In particular the ' private vs public ' work .Botticelli's Birth of Venus and Primavera , were both commissioned works for the same client , both had content input from a veritable committee and neither was originally intended for mass viewing . Primavera suffers a little from having so much stuffed into it , whereas Venus is a gorgeous composition that says as much with a lot less . As you observe , a strong composition can handle detail upon detail without becoming cluttered .
@@weehudyy Back in the days of Botticelli and for a long time after, all artworks were commissions, both public and private. I've done many commissions, and the process is still the same. The client has an idea they want you to bring to reality. To do that successfully, the artist has to live in the client's head. This is why so many artists decline commissions. I regard my galleries as "clients". Much of our creative discussions are about content and direction as it's your gallery's job to keep you informed to how your work is received. This is how they cultivate a following of buyers for your work. And true, a painting with a solid design can hold almost infinite details, but my experience is that, however tempting, the painting will tell you when to stop. Kudos to you for going back to school!
So glad I randomly sumbled upon your channel. These videos are expanding the way I think about drawing in a serious way. Thank you.
(The husband, Harry Gray) Excellent timing for me to fall upon this video. Love the book illustration to increase the desire to turn the page. But for me I have been working with a painting that was based on a plein air study that I drew several times and kept building the composition with a few directional clues. For whatever reason I never fully completed the very bottom and to my amazement I am there to complete it.... but I am stumped as I had not solved the bottom. I then realized all attempts WERE sending the eye off the page. A simple solution... Keep it simple. Which was the second video I watched of yours. So in combination of the #1 rule and simplifying I think in the morning I just might have the solution. Thank you and I look forward to checking out more of your info. Blessings to all!
Happened to be looking for interesting videos that will help me progress in my newly found art journey, and luckily came across this! Art classes in High School in the 70's and now back into art, missing it all these years while life got in the way. Love how you teach, and getting back to basics to hopefully make my work better. Signed up for weekly videos and look forward to going back and viewing all previous ones! Thanks so much!
This was, honestly, one of the first rules I was taught as an art major, and the one which has stuck with me. I always appreciate a reminder, so thank you!
My eyes didn’t always follow the way you showed. But it’s something that I will definitely keep in mind for my compositions. Thank you 😊
This short lesson was extremely helpful for a self taught artist like myself. I've been painting birds in in watercolor and am ready to explore landscape painting in the same medium. I'm looking forward to receiving your weekly email. Thank you for sharing! Simone
Another nugget of gold in such a short video. Thankyou especially for the examples! Your're an excellent teacher.
I'm delighted you found it helpful
Interesting. In many of the examples that you gave, my eye was drawn in the opposite direction that you indicated. In the picture book, my eye went back to the men, or to the trees and the horizon line. Even in your modified, darkened version of the picture of the house with the fence, the contrasting paleness of the other fences, not just their distance from us as viewers, made them more interesting to me. In the still life with fruit, I noticed the cutting board on the left. In all cases it was a draw to wish to examine what might be happening further away from the viewer, out of our reach. I would say that this is a good analysis, but that not all eyes will take these scenes in the same way.
This. Thiiissss. Yes. Thank you for saying this.
Yes. I looked at the men, too. For several reasons the eye (ie my eye) is attracted to that image rather than the strong pathway out of the picture, which to me gives a huge sensation of motion, but it doesn’t take me with it. For this principle to be “the one unbreakable rule” is a bit heavy, I think; certainly it’s an excellent guideline for traditional art, but I think following all the guidelines can easily result in rather dull pictures, and we are so saturated with images these days that an artist who wants to grab the attention almost needs to break a few guidelines.
You are so right about the lack of rules, lack of skill, skill even to be shunned or laughed at, l see a big resurgence and appreciation of skill and warmth, in the light of a new dawn.
I love your channel. I'm a photographer, not a painter, but your tutorials teach me to see scenes in so many different ways. Thank you. :)
I used to ask my kids _ "What do you see when you look". You have given me a new 'perspective' on conscious seeing and creation and the 'why' of interest. Tonal centered perspective and lead lines even though they may be unintentional visual erratics.
Thanks for this video. I have problems falling asleep but one minute of your gibberish and i sleep like a baby. Well done.
Thank you so much for this. I loved teaching my children to study/analyze children's book illustrations. I love your gentle, expert manner.
Also just discovered the videos from Ian Roberts - fantastic lessons in easily digestible portions - thank you!!!
Mr. Robert’s….I have followed your teachings for years…..you are no doubt the best at conveying your teachings so well. Some people are good teachers but not great artist…..some are great artist but not good teachers……you are both! Thank you for taking the time out of your studio to share and teach us.
This info has helped me tremendously. Turning the painting upside down is brilliant. Thank you
Just started my masters in illustration and this has been great supplemental material! I can see that those paintings that break your rule are doing so with purpose, since the intent is to lead the reader into turning the page, vs a single painting whose purpose is to interest the viewer for as long as possible.
I still struggle with composition so I'm very excited to have discovered your videos. ^^ Thank you so much for uploading them for free.
It is a great treasure that this videos suddenly appeared to me, it is the first time I have seen them and I am delighted with how wonderful you explains, providing us with very clear examples. Thank you very much for sharing your knowledge with us.
I followed the exact routes he drew. He's right.
VERY helpful. I'd never thought about Rule #1. I'm hurrying back to my easel as soon as I'm done with this comment. I want to apply this to my work. Thanks again
I found this so helpful! I just began painting this spring and have much to learn, but you've just explained what I did wrong in my last painting, why it feels unbalanced.
I've started reading and viewing about art to try and add greater meaning to my photography and found this an interesting and well presented tutorial. Thank you.
I am a decent photographer but have struggled a lot with drawing and painting. Your insights are so very helpful. I have renewed hope and motivation due to your guidance.
What an incredible educator! I can’t wait to watch every one.
This is by far the most informative 8+ minutes I’ve had on TH-cam in a while. Wait actually more like 24+ minutes bc i watched it 3 times. I just can’t stop watching it. Thank you, 🙏🏼 Thank you.
Your videos are excellent. There's a lot to learn, and the alternative is to proceed by trial and error which can be difficult. Over the years as I've observed the world around me, I've learned to look at the world (depending on the subject) as if I were going to take a photograph of it. A couple of my own 'rules': "Not every 'good idea' will necessarily make a good painting." and "If you don't know how to proceed, then don't."
I amazed that I found your site. I can't believe I didn't see it before. So wonderful of you to share.!
I hate how whatever spot of the painting I was looking in he immediately drew red circle around, and that's when I realized how absolutely correct he was
correct - yes / absolutely - NO!
Refreshing style of teaching. Glad to have found you online.
this is simply brilliant! and this video got recommended to me exactly at the time when i'd been struggling with an illustration due to not knowing of this! Now I know which part to emphasise and how, ah! safed me so much trial and error and agonising over this decision. also, I very very much appreciate how many examples you'd given! and that the changes you did had been quite subtle actually, yet having a profound effect on how the piece affects the viewer. i think showing this in this subtle manner conveys how crucial it is way better than drastic changes. this is kind of rare among art tutorials online actually, so i appreciate you doing so a lot.
Thank you! This was extremely helpful. As a new artist, and self-taught, perspective is my next step in learning. But you also gave me this new great tip of engaging the viewer and how to be objective about the painting.
Wow. I will be aware of this from now on. Thanks for the tips on how to keep the eye looking at the center.
Glad you liked it Sophronia. I'm not sure I meant you want the eye looking at the center. But just not getting pulled out beyond the edge of the painting. Best wishes.
as a complete noob to the world of painting 'art', Thank you for this explanation and for keeping it simple.
now, thinking back on some of my paintings, I think I may understand some of what was off about them and why others were engaging.
Thank you! Great reminder on a key point of emphasis. I especially like the helpful tip at the end about using a mirror and or turning the image upside down. Forgot about those tips. Thanks!
You bring such clarity to the matters you speak to....thank you! Excellent teaching.
I wish I could share this painting I just saw with you. I would not have known why it drew me in so much if I hadn’t seen this video. My eyes couldn’t escape this painting, and now I know why!
Ian, I sent you a picture of the painting I’m talking about on Instagram. Would love to hear what you think.
Your transition at seamless. Each time you make your point, the fade in of the contrast subtly guides the viewer. Leading our eyes to the answer just before you even state the claim. Truly eloquent! Great video.
Eloquent is indeed the most appropriate word! And finally someone who REALLY demonstrated the BIG difference a SLIGHT detail, like an increased color intensity, can make.
Great Brad, glad you liked the content and the transitions.
Your explanations are fantastic. You are a very talented teacher. Thank you!
I always turn my work as I paint. Great examples! Glad I found your channel Ian!
You are an excellent teacher... I'm learning so much from your videos. Thank you!
So very well explained. Thanks so much. I was amazed at how little it took to pull the eye away.
Very thought provoking! These points will stay with me every time I imagine a composition!
I'm so glad you found it helpful.
This was fantastic thank you
i have started watercolor. I really enjoyed your video. I am learning how to mix colors. Thank you for this great introduction
I literally only logged in to subscribe so I don’t lose your channel- which I never do. You’re a very good teacher. Thank you
Thank you so much for this entire series. They have all been helpful and so informative. This was very generous of you.
You are welcome Maire. I am glad you are enjoying them, and for letting me know. Best, Ian.
I drank this talk in as wine. So elated to find someone who speaks to what I'm interested in, thank you Ian.
This is brilliant. Subscribed. I wasn't allowed to take art classes in college because they were only for art majors. I feel like this channel might be my "university art class" that I never got to take. Thank you!!!
Welcome Heather.
I am learning so much from you, now giving thought to an amazing landscape
photo I took ,beginning to feel braver about painting. Appreciate your guidance.
Short, sweet and very helpful. I feel stuck. Here I have all this time being sequestered for a year and on long term disability that I don’t have much art to show for it. I love watercolors and pen and ink and want to dabble in pastels too plus crafts like paper mache and beadwork and card making. How about a video about lighting a flame under your derrière to get working on your art? 🥰🦋🐝🐞🌱
I like how focused and succinct your guidance is. Very helpful and clear. Thank you
Thank you Bev.
Art is an expression, a fleeting moment captured by the artist's inner being and immortalised with whatever medium is chosen Rules are arbitrary and are nearly always "broken " by artists 🎨 rules constraints free spirit.
As with music , one has to understand conventions and rules in order to break them ... There is a reason Pharaoh Sanders sounds better than a toddler picking up a horn and making a noise , there are similar reasons why Picasso's latter squiggles and scrawls carry much more meaning than a monkey frolicking with a tube of Windsor and Newton's finest
Wow. I never knew this. All these years..... hmmm. Thank you so much for this video.
Accessible explanation. A lot of my thought process in composition is dedicated to rerouting and bending the culturally established focal path
Yes, Please provide instruction monthly. Thank you for providing great instruction.
I was looking for this to give my work some maturity
Yes. Yes I did find your lesson helpful! It was engaging for me because of the visual examples from the children's book. I have now added this detail of noticing if I'm captivated to stay inside or if I'm being drawn off the edge of a painting. I like the this extra layer of art understanding!
This was very helpful - for my amateur/ semi professional photography, and digital art distractions. Thank you!
Very insightful Ian and your example reinforces understanding about this rule. Many thanks for sharing your expert thoughts.
Your videos have been really helpful. I am self taught so learning some new tips has been so great for my work. Thanks for taking the time to create and share
Great lessons. The arrows in the frame really hit home. I don't know yet but I hope you have a lesson on fear of failure - fear of getting started. I am thinking composition may solve it. Note; I am over 70, I have been an Infantryman, volunteer Firefighter, a truck driver for 30 years in St. Louis and E. St. Louis local delivery. Never had a problem. To start a painting and then finish it breaks me out in a stress sweat. Crazy huh?
You are incredible! Just love every single video of yours! Big hug!
Bravo ! This advice is pure gold. I no longer have the patience to draw, and have for many years taken the route of amateur photography. All that is said here applies equally to photography. Many thanks for the insight Sir.
That is very true. Same principles. Best wishes.
I am heading for a big mirror with several of my pieces
right now! So helpful.
Digital Artist here, watching this video for creating environments for VR. Thank you so much. All this helps even when making video games environments.
You had me subscribed in less than two minutes. “Dramatically abstracted from the world”. I love that.
I wish I had longer to live..there is so much I could have learned from you
I don't know how much time you have left, but it's never to late to try! It just takes a day to dabble and try things.
beautifull to see. brings back the memories of our own visit to the grand canyon, I saw the quick changes in the light!
Even though we might have learned this previously, it still is a good reminder, to go back to basics! Thank you!
This is so cool. I found the examples of breaking the rule in the children's book absolutely fascinating though and now I want to play around with breaking this rule on purpose! I love art it's so interesting.
This was so cool. I always thought about art as static. "It is what it is." This video amazed me to find that the flat art work can guide your eyes/mind to travel outside the painting. I can see that this would be very important in picture books to keep the suspense going - ie keep the reader interested.
I'm so glad you found it helpful. All the best.
The darkened fence balances the mass of the house and creates a more pleasing effect. You could say that the fence, as it is, keeps me attached to the house but, I feel ill at ease - I won't stay. I will stay with interest and balance. Your change makes the fence and house frame that beautiful barn which is what really engages me.
That was brilliant!!!!!!!!!!!! As a rank amateur who has had no formal art training, I can manage to get paint on a canvas to look like something, but THIS is something I never considered. But I WILL NOW!!! Your explanation and subtle changes to the works made it so clear how this can happen. Thank you!
You are most welcome Maggie. Glad you found it helpful.
Very interesting. The 3:22 example was by far my favorite piece out of all of them. To me, that really flows. And ironically, THAT is what keeps me in the painting. I actively try to create a visual path both into the art, flowing through, and then out. But I definitely will digest what you just said.
Wow, very powerful piece of knowledge, thanks!
It is so primitively simple in its essence, but I couldn't have fully realized it without being told about it.
I just discovered you. You are a brilliant teacher. Watching just two of your videos, I’m already working with my composition and tonal values before I dive in. Thank you so much!
Thank you for the lesson. Turning the painting upside down is something I am going to try.
Thank you Ian, very engaging, very interesting. I am also a musician as well as a visual artist and have always lived by the fact that you need to understand the rules so that if you do deliberately break them you get a well orchestrated result. I have also just purchased your book, hopefully it will arrive soon.
Cheers
Jenny
"Sell your cleverness and buy bewilderment." - Rumi 🕊
Thank You, Ian Roberts. . .
I just drove to S Cal and was near your studio so,hi today is beautiful for beach RV stay. Thanks for sharing your methods. C.
This brought A LOT of value to my (brand new) creative practice ... 🙏🏽🙏🏽🙏🏽