I bought Mastering Composition when it first was published, and I also have 2 copies of Creative Authenticity. I don't think I understood a lot of Mastering Composition but have learned enough over the years to understand better. I can over-complicate anything when just starting out, possibly too literal. Love this series of short and sweet nuggets of gold.
Hi Linda, I'm delighted you are enjoying the weekly videos. It's an interesting comment you make about over-complicating things. I sort of think we do that with almost everything don't we? Best wishes.
Your book Mastering Composition has been a game changer for my painting. I am grateful to have found your TH-cam channel few days ago. I used to struggle at Plein Air workshops and was disappointed with my studies. Now, while other students are jumping right into painting, I spend time with a view finder, thumbnail sketches, and small value studies with gray markers before I begin painting. My road map. My painting studies have been much more successful.
Hi Jane, that's the thing about teaching workshops. How to get students to slow down and plan and think a bit before getting brush to canvas. Glad the book has been helpful and that you found the youtube videos.
@@IanRobertsMasteringComposition now I am creating drawings from my reference photos as you recommend. I tend to get bogged down in the unnecessary detail/clutter when painting directly from photos which detracts from the design. I will then do color studies from the drawing. I remember an instructor once saying that you lose the spontaneity if you do studies. I disagree. I have many unsuccessful "spontaneous" paintings, where the values, proportion, color, and perspective are off because I did not plan the structure first. To me the spontaneity comes out when you are working from a plan. Not getting frustrated and making corrections in your final painting because you are working it out as you go along. Thank you again for your helpful instructions.
You’re a Godsend. Thank you for your dedication to teaching and sharing your incredible skills and talent. I’m learning so much! Just received your two books I ordered. Can’t wait to delve in!
I love the Monet painting you used - its the perfect example of being both abstract and yet representational and I loved to watch your painting process withthe broad brush - painting shapes and values trying to make it simpel - and the your scraping to avoid some of the overpainting
I can't seem to get unstuck. I just ordered your 'Creative Authenticity' and looking forward to reading the insights. Your videos are always such an inspiration to me Ian. I'm going to log off now and go do some sketches of photos I want to paint. Thanks for all you do for us. Know how much it's appreciated!
Hi Ian, thank you so much for the content you’re sharing. I have both of your books. I bought the first book back in 2002 on composition. I ran across your TH-cam content recently and pulled the book out of my collection again and it seems even more relevant now than it did back then. I had notes or something underlined on every page. It is especially helpful having your TH-cam content to complement the book.
YES!! a timely video for me. I always do thumbnail sketches before I start painting when outdoors. Now I'm making a very large abstract from a smaller 12x16" oil I had done years ago...trying to keep it loose but tend to revert back to tightness....making more abstracted sketches helps a lot to loosen up....thank you Ian!!
I recently pulled out Mastering Composition which I had owned a few years and didn't begin because I thought it might be too complicated. I was so very wrong! There are too many good things to say here, but I am especially motivated by some wonderful exercises contained in this book! Now being totally engaged and curious, I bought Creative Authenticity. While it has sound on point and practical information, it also really spoke to my soul! Thank you Ian.
Thank you thank you for simplyfing this. I usually am most comfortable with painting what as I see! I struggle making it looser.my work is usually détail détail .. 😔and I oh so want to break out and be not so detailed all the time And this .. is an excellent step forward for me. Not so scary for a détail person. 🙏🏽
Hi Bea, it's the whole idea of each step away from the world is a new layer of abstraction. So working from the drawing you've left so much detail behind you can't refer to it. So at first you might not get the most important things in on the drawing but over time you learn to see the big picture so you have all the information you need for the painting. It's not like it's cheating or anything if you have to clarify something on the photo, but basically you've left it behind.
Thank you again for your videos. I just received my copy of Mastering Composition and am really glad I ordered it. Its such a well-put together book and I will always refer to it I can tell. :)
Thank you for these wonderful lectures! I’m a figurative artist and have been working toward abstraction for some time. Your explanations of the process of abstraction fill in so many conceptual holes for me! Maybe I’ll even try some landscapes.
I've borrowed Mastering Composition from the library last week and am working my way slowly through it. I'll watch the accompanying dvd when I'm done reading. They did not have Creative Authenticity, but I'm glad both are back in print! Working from a drawing is interesting. Been working from found photos, but have started photoing some still lifes at home. Could you please talk about painting reflected light and highlights on shiny objects and/or water in a future video?
HI Sharon, I'm glad you are enjoying MC. That's a good suggestion about highlights and reflected lights. I will get to that one week. Thanks for the idea.
I just received my copy of Mastering Composition. Doing a read through first then going through it again with drawing and paint supplies to put it in practice
How do you remember where the colours go when you paint from the pencil drawing ? Do you make side note ? Also, I am reading your first book, Creative Authenticity and it is excellent!
HI Lyne, glad you are enjoying CA. I think I get the colors "right" from hundreds of plein air paintings. I just have a sense of what will work from that I think. But if you have a look at the photo to check a color it's not like anyone is watching. But the drawing gets you away from having your nose in the photo the whole time.
Painting from the drawing exclusively? That's a great idea that might help me for a couple reasons....I tend to get bogged down in details that don't really add to the feel of the composition. Plus...I'm always striving to paint more loosely. Anxious to give it a go. Thanks!
Hi Patrick, that is sort of the point, you get the information you really need, big value masses and so on, and then leave the rest behind. Leave a lot of the detail reference behind. Almost by definition it forces you to paint more simply, that in time gets to more loosely I'd say. Trying for loose can sometimes just get sloppy. Going for simple allows you to realize oh, I can just paint this whole tihng in as one big shape, quickly. Anyway delighted you are finding it helpful.
@@IanRobertsMasteringComposition "Leaving the rest behind" is easier said than done...with me. By painting from only what's in the drawing, the rest isn't referenced. Got it. Again, thanks.
Hi Ian, I was looking at this previous post of yours. I always have to "beef up" my color and I noticed you started out with a VERY, to me, saturated blue sky. I would have immediately toned it down some because of the stark contrast of that color note with your toned canvas. By the time you added the adjacent green I could see it wasn't so extraordinarily bright after all. It seems obvious the solution to my initial problem, but if you have any suggestions or comments to add I'd love to hear how someone like myself can right judge those early color notes. Thank you!
While painting from a drawing, do you refer back frequently to the drawing, to the point of actively comparing it to the evolving painting, or do you put it aside, considering the mental work basically done through the act of drawing alone?
Hi Michele, I refer to the drawing at the beginning a lot to make sure the big shapes are the same on the canvas, and the structure is in place. Then in many ways, as you suggest, doing the drawing has embedded the rest in my mind. I mean if you're uncertain about something and it seems important, like which shape is in front of which you might even go look at the photo for reference. But the point is you've put the photo aside for on-going reference.
@@IanRobertsMasteringComposition Thanks very much Ian. That discipline of painting fully and checking less on the "map" once it's drawn must help keep creative energy where it needs to be.
After watching Jill Poyerd videos on the history of brushstrokes, Il became more interested by this aspect of painting. Although your videos are essentially about composition, I would be curious to know more about how you came to develop your bold style brushstrokes.
Hi Daniel, honestly I think it is more about seeing in bigger, simpler shapes and the bold brushwork is a byproduct of that rather than that the bold brushwork sort of happens the big shapes appear because of it. You see what I mean, seeing the shapes comes first, the brushwork follows that.
Id like to suggest you a book focusing in a great amount of exercices. Something like a year program when someone can do daily activities with goals like composition, abstracting, coloring etc. As I told, your book give me precious hints that improve my work and made me thing about weak aspects of my process. But II wanted more, like a long term program that could help stablish habits and incorporating it in painting routine. Since you have a gift for teaching, maybe you could figure out about this book program wich would complemment your Mastering Composition. I would love to buy it. Have a nice week
Hi and thank you for the idea. It is a good one. Mastering Composition took two years. Pretty much full time. I'm not sure I've got it in me to do that again. But I grant you the idea makes a lot of sense. So maybe it'll just mull around in my brain and then one day I"ll do it. Best wishes.
@@IanRobertsMasteringComposition Two years full time. I must say the book resemble this dedication. Before buying it, I made a lot of research and you book and work caught my atention exactly for reflecting internal structure, good analisys of themes and maturity, besides offering something that goes beyond words, based on experience. Im pretty sure lot of people feels the same about it. Would enjoy having another one. Think about. It will be a work left for another generations. Have a nice life
sometimes when I watch you paint I see bits of the canvas/panel poking through. .Do you leave these bits as they are, or do you search them out later and paint over them? Thank you for another enlightening lesson.
If the little bits are too big they actually shine pretty brightly when you photograph the image and pop. So in cases like that I might dab a bit of paint into them. But most are tiny and really are not that noticeable. I won't paint over them because hopefully I like the brushwork when I'm finished and wouldn't want to cover it up. Usually it isn't an issue for me.
may I ask: why did you staple canvas to a board? Is there some particular advantage or ease this gives versus working on a readymade canvas? I'm guessing budget was not the deciding factor ;)
I knew I wanted the painting about 20" wide and I had a piece of canvas 22" wide, too narrow to stretch it so I stapled it on the board and now I can glue it to a panel. Not because I like it more or less. Just I can't buy a 12 x 20 stretched canvas, I'd have to stretch it myself and the canvas was sitting there. Expedient I guess.
I did a quick pencil sketch, before I continued with the film. Then I compared It with yours. Now I am going to paint it in watercolor. But before I do, I am buying your two book to share with my watercolor students. Once they see the books I know they will want them. I'm having a great day! How about you?
Hi Ian. Any chance you could speak a little about your canvas choices. I noticed you work on canvas boards too. I'd get alot out of your recommendations before I started purchasing things. Thank you so much for everything 🖌️🙏💜
Hi Sam, I"ll do a studio tour one week of materials and stuff. But for smaller oils 10 x 12 I use Raymar oil primed linen panels. And larger I buy prestretched canvas from Dick Blick acrylic primed and then I give them an additional coat of Gamblin oil prime. Hope that helps for now.
Hi Ian - Thanks so much for your analytical approach to composition, and your engaging method of explanation. You've given my work a purpose beyond the emotional reaction to inspiring scenes. Until you demonstrated the impact of simplicity in painting, I was caught up in every little detail . . . distracted really, by "looking in" and missing the bigger picture. Frank Benson repeatedly said, "Design is everything." As far as your hand gestures are concerned, please don't get self conscious about them. "Grasping" gestures show how tangible these thoughts are in your mind, as if the idea is something three dimensional you can hold and sculpt for the viewer. If anything, your hands create punctuation for what you're saying . . . immersing the viewer even deeper into the subject.
HI Rodman, I'm delighted you are enjoying the videos and that quote by Benson is perfect. And you are right, it really does feel that my hands help me articulate the structural ideas in my mind. So thank for that.
It might just be me, Ian, but I feel let down (a rarity) with this week's installment. I was expecting something more from you - a brief but deeper dive into the essence of abstraction within this short video format. I feel that you broad-brushed over the significance, the meaningfulness, the core purpose for reductive abstraction. Your painting demo was also less than remarkable (another rarity). I look forward to your uncommon excellence next week.
I feel the same. I am grateful for every video including this one but as a long time admirer of abstraction and and non representational art I feel this is just a simplified scene, lacking energy and surprises, almost like a colourful notan.
I wasn't making the point that I"m making a great abstract painting. I just paint the way I paint. But I was making the point that no matter how you paint it is abstract. And that helps shift your attention away from getting caught up in details and trying to make your painting look "real". So however you paint it is more about shapes and design. How far each person pushes that is their own journey.
I bought Mastering Composition when it first was published, and I also have 2 copies of Creative Authenticity. I don't think I understood a lot of Mastering Composition but have learned enough over the years to understand better. I can over-complicate anything when just starting out, possibly too literal. Love this series of short and sweet nuggets of gold.
Hi Linda, I'm delighted you are enjoying the weekly videos. It's an interesting comment you make about over-complicating things. I sort of think we do that with almost everything don't we? Best wishes.
Your book Mastering Composition has been a game changer for my painting. I am grateful to have found your TH-cam channel few days ago.
I used to struggle at Plein Air workshops and was disappointed with my studies. Now, while other students are jumping right into painting, I spend time with a view finder, thumbnail sketches, and small value studies with gray markers before I begin painting. My road map. My painting studies have been much more successful.
Hi Jane, that's the thing about teaching workshops. How to get students to slow down and plan and think a bit before getting brush to canvas. Glad the book has been helpful and that you found the youtube videos.
@@IanRobertsMasteringComposition now I am creating drawings from my reference photos as you recommend. I tend to get bogged down in the unnecessary detail/clutter when painting directly from photos which detracts from the design. I will then do color studies from the drawing. I remember an instructor once saying that you lose the spontaneity if you do studies. I disagree. I have many unsuccessful "spontaneous" paintings, where the values, proportion, color, and perspective are off because I did not plan the structure first. To me the spontaneity comes out when you are working from a plan. Not getting frustrated and making corrections in your final painting because you are working it out as you go along. Thank you again for your helpful instructions.
I bought Mastering Composition several years ago and I refer back to it all the time. Great book. I highly recommend
Me too!
That makes me happy Tamara. Thanks for telling me.
I bought " Mastering Composition " many years ago. Sadly, I was unable to paint for a few years.
I am happy I found your short videos. From Cape Town.
enjoyed the demo heaps and my book arrived on composition so now winter is here I will enjoy a read.
You’re a Godsend. Thank you for your dedication to teaching and sharing your incredible skills and talent. I’m learning so much! Just received your two books I ordered. Can’t wait to delve in!
Thats great Maryann. I think you'll find a lot of good material in both. Best wishes.
I love the Monet painting you used - its the perfect example of being both abstract and yet representational and I loved to watch your painting process withthe broad brush - painting shapes and values trying to make it simpel - and the your scraping to avoid some of the overpainting
I can't seem to get unstuck. I just ordered your 'Creative Authenticity' and looking forward to reading the insights. Your videos are always such an inspiration to me Ian. I'm going to log off now and go do some sketches of photos I want to paint. Thanks for all you do for us. Know how much it's appreciated!
Thank you. I have bought your book Mastering Composition... it is wonderful.. really enjoying it
Hi Ian, thank you so much for the content you’re sharing. I have both of your books. I bought the first book back in 2002 on composition. I ran across your TH-cam content recently and pulled the book out of my collection again and it seems even more relevant now than it did back then. I had notes or something underlined on every page. It is especially helpful having your TH-cam content to complement the book.
Thanks so much for telling me Kathleen. I appreciate it. Best wishes.
A very interesting and useful exercise. Great example of abstraction comparing Monet and Seurat.
YES!! a timely video for me. I always do thumbnail sketches before I start painting when outdoors. Now I'm making a very large abstract from a smaller 12x16" oil I had done years ago...trying to keep it loose but tend to revert back to tightness....making more abstracted sketches helps a lot to loosen up....thank you Ian!!
Really glad it is helpful.. Best wishes.
The idea of making a drawing, and then painting from the drawing, intrigues me. I’m going to try that with my next painting. Thank you, Ian.
Hi Helen, nice to hear from you. Let me know how it goes. With best wishes.
Interesting and Effective!!
Thank You.
I recently pulled out Mastering Composition which I had owned a few years and didn't begin because I thought it might be too complicated. I was so very wrong! There are too many good things to say here, but I am especially motivated by some wonderful exercises contained in this book! Now being totally engaged and curious, I bought Creative Authenticity. While it has sound on point and practical information, it also really spoke to my soul! Thank you Ian.
That makes me really happy that both books are helpful to you now. Thanks for letting me know. All the best.
Your work looks so simple and realistic when you are painting.🙏🏾Thank you for sharing the ideas .
Glad you like it Usha. Thank you.
That was amazing to watch! I just bought your composition book and it’s like taking a great course.
I love that painting!!!!!
I only recently discovered your Mastering Composition videos and I really feel they help me in my journey as a watercolor artist. Thank you.
That's great Pamela. Thanks for letting me know.
This makes me happy and super inspired!
Really great video Ian. You just get better and better!
Thank you so much Diana. I appreciate your telling. Nice to hear from you. All the very best.
Thanks Ian.
Just ordered Mastering Composition.
Great. I think you'll like it.
Fabulous demo, Ian. Thank you.
Thanks Jane. Really nice to hear from you. Best wishes.
Always on point, and always with some new information that is refreshing. Thank you for sharing!
You are most welcome. Thank you.
Yes, I have both of the books mentioned. I particularly liked the reflection in your latest painting in your video.
Hi Jane, delighted you have both books. And that reflection, the big dark shape, is really what I like too.
Thank you thank you for simplyfing this. I usually am most comfortable with painting what as I see! I struggle making it looser.my work is usually détail détail .. 😔and I oh so want to break out and be not so detailed all the time
And this .. is an excellent step forward for me. Not so scary for a détail person. 🙏🏽
Hi Bea, it's the whole idea of each step away from the world is a new layer of abstraction. So working from the drawing you've left so much detail behind you can't refer to it. So at first you might not get the most important things in on the drawing but over time you learn to see the big picture so you have all the information you need for the painting. It's not like it's cheating or anything if you have to clarify something on the photo, but basically you've left it behind.
I love this book! Learning so much.
That's great Josephine. Best wishes.
Thank you again for your videos. I just received my copy of Mastering Composition and am really glad I ordered it. Its such a well-put together book and I will always refer to it I can tell. :)
Thanks for telling me Maureen. Best wishes.
I have both books and thoroughly recommend them. I really enjoyed watching your process and hearing your rationale for the painting
Thanks so much Eddie. I appreciate your letting me know. All the best.
Just finished reading creative authenticity. Great book.
Really glad you liked it Andrew. Best wishes.
Thank you for these wonderful lectures! I’m a figurative artist and have been working toward abstraction for some time. Your explanations of the process of abstraction fill in so many conceptual holes for me! Maybe I’ll even try some landscapes.
Delighted to hear it. Best wishes.
A beautiful painting and a great book! Wish I could get it on Kindle, though. If I try to fit one more book into my bookcase, it will explode.
I think it's available on Kindle. Certainly some kind of digital version. Best wishes.
Interesting video, thanks for sharing. Art is about taking risks as well. At least for me.
I read my copy of Creative Authenticity years ago. Have re-read it many times!
Hi Marilyn , makes me happy to hear you say it. Thanks.
I've borrowed Mastering Composition from the library last week and am working my way slowly through it. I'll watch the accompanying dvd when I'm done reading. They did not have Creative Authenticity, but I'm glad both are back in print! Working from a drawing is interesting. Been working from found photos, but have started photoing some still lifes at home. Could you please talk about painting reflected light and highlights on shiny objects and/or water in a future video?
HI Sharon, I'm glad you are enjoying MC. That's a good suggestion about highlights and reflected lights. I will get to that one week. Thanks for the idea.
Had been meaning to look into picking up your book for a while - thanks for reminding me! Just ordered both. :) Loving the videos, Ian.
Glad you are finding the videos helpful and hope you find the book so as well.
I just received my copy of Mastering Composition. Doing a read through first then going through it again with drawing and paint supplies to put it in practice
Hi Connie, it is actually pretty readable if I may say so myself. Sounds like a good plan.
How do you remember where the colours go when you paint from the pencil drawing ? Do you make side note ?
Also, I am reading your first book, Creative Authenticity and it is excellent!
HI Lyne, glad you are enjoying CA. I think I get the colors "right" from hundreds of plein air paintings. I just have a sense of what will work from that I think. But if you have a look at the photo to check a color it's not like anyone is watching. But the drawing gets you away from having your nose in the photo the whole time.
Painting from the drawing exclusively? That's a great idea that might help me for a couple reasons....I tend to get bogged down in details that don't really add to the feel of the composition. Plus...I'm always striving to paint more loosely. Anxious to give it a go. Thanks!
Hi Patrick, that is sort of the point, you get the information you really need, big value masses and so on, and then leave the rest behind. Leave a lot of the detail reference behind. Almost by definition it forces you to paint more simply, that in time gets to more loosely I'd say. Trying for loose can sometimes just get sloppy. Going for simple allows you to realize oh, I can just paint this whole tihng in as one big shape, quickly. Anyway delighted you are finding it helpful.
@@IanRobertsMasteringComposition "Leaving the rest behind" is easier said than done...with me. By painting from only what's in the drawing, the rest isn't referenced. Got it. Again, thanks.
Ooo 😊 I bought this book in March, am still waiting to come... darn corona...
I can't wait to read it!!!!
I know you'll enjoy it Bibi. Best wishes.
Just got it today!!! Lalalaaaa did already the first 'homework' 😃👍
Have your composition book. Busy rereading. An original copy. Thanks!
Hi Ian, I was looking at this previous post of yours. I always have to "beef up" my color and I noticed you started out with a VERY, to me, saturated blue sky. I would have immediately toned it down some because of the stark contrast of that color note with your toned canvas. By the time you added the adjacent green I could see it wasn't so extraordinarily bright after all. It seems obvious the solution to my initial problem, but if you have any suggestions or comments to add I'd love to hear how someone like myself can right judge those early color notes. Thank you!
While painting from a drawing, do you refer back frequently to the drawing, to the point of actively comparing it to the evolving painting, or do you put it aside, considering the mental work basically done through the act of drawing alone?
Hi Michele, I refer to the drawing at the beginning a lot to make sure the big shapes are the same on the canvas, and the structure is in place. Then in many ways, as you suggest, doing the drawing has embedded the rest in my mind. I mean if you're uncertain about something and it seems important, like which shape is in front of which you might even go look at the photo for reference. But the point is you've put the photo aside for on-going reference.
@@IanRobertsMasteringComposition Thanks very much Ian. That discipline of painting fully and checking less on the "map" once it's drawn must help keep creative energy where it needs to be.
Both books are good and in my library. I also recommend them.
Thank you.
What brand of drawing pencils do you use? You gave the colors black and the white. I can’t find them.
After watching Jill Poyerd videos on the history of brushstrokes, Il became more interested by this aspect of painting. Although your videos are essentially about composition, I would be curious to know more about how you came to develop your bold style brushstrokes.
Hi Daniel, honestly I think it is more about seeing in bigger, simpler shapes and the bold brushwork is a byproduct of that rather than that the bold brushwork sort of happens the big shapes appear because of it. You see what I mean, seeing the shapes comes first, the brushwork follows that.
@@IanRobertsMasteringComposition I understand. I learn a lot watching your tutorials and I love your paintings.
Id like to suggest you a book focusing in a great amount of exercices. Something like a year program when someone can do daily activities with goals like composition, abstracting, coloring etc. As I told, your book give me precious hints that improve my work and made me thing about weak aspects of my process. But II wanted more, like a long term program that could help stablish habits and incorporating it in painting routine. Since you have a gift for teaching, maybe you could figure out about this book program wich would complemment your Mastering Composition. I would love to buy it. Have a nice week
Hi and thank you for the idea. It is a good one. Mastering Composition took two years. Pretty much full time. I'm not sure I've got it in me to do that again. But I grant you the idea makes a lot of sense. So maybe it'll just mull around in my brain and then one day I"ll do it. Best wishes.
@@IanRobertsMasteringComposition Two years full time. I must say the book resemble this dedication. Before buying it, I made a lot of research and you book and work caught my atention exactly for reflecting internal structure, good analisys of themes and maturity, besides offering something that goes beyond words, based on experience. Im pretty sure lot of people feels the same about it. Would enjoy having another one. Think about. It will be a work left for another generations. Have a nice life
Very nice, Ian. Thank you. Gayle
Hi Gayle. Nice to hear from you. All the best.
sometimes when I watch you paint I see bits of the canvas/panel poking through. .Do you leave these bits as they are, or do you search them out later and paint over them? Thank you for another enlightening lesson.
If the little bits are too big they actually shine pretty brightly when you photograph the image and pop. So in cases like that I might dab a bit of paint into them. But most are tiny and really are not that noticeable. I won't paint over them because hopefully I like the brushwork when I'm finished and wouldn't want to cover it up. Usually it isn't an issue for me.
may I ask: why did you staple canvas to a board? Is there some particular advantage or ease this gives versus working on a readymade canvas? I'm guessing budget was not the deciding factor ;)
I knew I wanted the painting about 20" wide and I had a piece of canvas 22" wide, too narrow to stretch it so I stapled it on the board and now I can glue it to a panel. Not because I like it more or less. Just I can't buy a 12 x 20 stretched canvas, I'd have to stretch it myself and the canvas was sitting there. Expedient I guess.
I did a quick pencil sketch, before I continued with the film. Then I compared It with yours. Now I am going to paint it in watercolor. But before I do, I am buying your two book to share with my watercolor students. Once they see the books I know they will want them. I'm having a great day! How about you?
HI Sally, hope the painting goes well and thank you in advance for recommending my books to your students.
Hi Ian. Any chance you could speak a little about your canvas choices. I noticed you work on canvas boards too. I'd get alot out of your recommendations before I started purchasing things. Thank you so much for everything 🖌️🙏💜
Hi Sam, I"ll do a studio tour one week of materials and stuff. But for smaller oils 10 x 12 I use Raymar oil primed linen panels. And larger I buy prestretched canvas from Dick Blick acrylic primed and then I give them an additional coat of Gamblin oil prime. Hope that helps for now.
@@IanRobertsMasteringComposition thanks so much for that. Very helpful!
Thank you ❤️
You’re welcome 😊
Hi Ian - Thanks so much for your analytical approach to composition, and your engaging method of explanation. You've given my work a purpose beyond the emotional reaction to inspiring scenes. Until you demonstrated the impact of simplicity in painting, I was caught up in every little detail . . . distracted really, by "looking in" and missing the bigger picture. Frank Benson repeatedly said, "Design is everything."
As far as your hand gestures are concerned, please don't get self conscious about them. "Grasping" gestures show how tangible these thoughts are in your mind, as if the idea is something three dimensional you can hold and sculpt for the viewer. If anything, your hands create punctuation for what you're saying . . . immersing the viewer even deeper into the subject.
HI Rodman, I'm delighted you are enjoying the videos and that quote by Benson is perfect. And you are right, it really does feel that my hands help me articulate the structural ideas in my mind. So thank for that.
I see your background has some portrait drawings. Could you give some advise on portrait paintings and composition? Thank you!
I will get around to it. Eventually. It is of course a great topic to cover.
Damn, that's nice.
Thank you Thomas.
Great painting.
When is a painting finished? When someone has paid me for it :)
So next week I'll be talking about it but I think I like your answer best!
It might just be me, Ian, but I feel let down (a rarity) with this week's installment. I was expecting something more from you - a brief but deeper dive into the essence of abstraction within this short video format. I feel that you broad-brushed over the significance, the meaningfulness, the core purpose for reductive abstraction. Your painting demo was also less than remarkable (another rarity). I look forward to your uncommon excellence next week.
I feel the same. I am grateful for every video including this one but as a long time admirer of abstraction and and non representational art I feel this is just a simplified scene, lacking energy and surprises, almost like a colourful notan.
I wasn't making the point that I"m making a great abstract painting. I just paint the way I paint. But I was making the point that no matter how you paint it is abstract. And that helps shift your attention away from getting caught up in details and trying to make your painting look "real". So however you paint it is more about shapes and design. How far each person pushes that is their own journey.
@@IanRobertsMasteringComposition that makes sense, Ian, thanks.