it's so easy to get caught up in detail, still trying to do the underpainting first then work on detail, and light is another one, paying attention to where it's coming from, another one is depth of field, getting it right in your drawing before starting the painting process. also like you said in a video, simplifying the painting, often times without thinking I find myself putting everything in the painting when it's not necessary and like you said, distracting. a lot to think about before even starting. thanks for some very informative videos.
Great, wonderfull paintings. Congratulations Teacher Ian Roberts. You go straight to the point, to the great ART, no detour. My regards, from Brazil. Davi Lima de Araújo.
Wonderful series, Ian. You have significantly helped me in my painting process and I will be eternally grateful. I hope you and your lovely wife are having a fantastic time, although how that can be living in L.A. is beyond me😁. I lived in El Segundo for several years a lifetime ago. The only part I miss is that the town was "up and open" 24 hours a day, seven days a week.
Thank you so much , I need to listen and see it to become better artist, thank you for giving me this beautiful message from the video.yes I will try out in my painting .
Hi Usha, it really helps to see in simple design-driven shapes and not to just be rendering stuff. It takes some practice but is really a shift in perception.
I'm not sure how to explain this. The video's. It's not just the content. I feel i am living an experience, a revelation of some sort. Hope it doesn't sound to weird, but thats the best way i can explain it. Tks.
Hi Ian, I am looking at your painting “Evening at Tomales Bay” and would like to know how you got such electric colors. Which pigments are you using? I also admire the colors of Richard Mayhew and can’t figure out how to get the same effect.
Exactly what I’m looking for thank you so much Can you also do some on buildings, I keep trying to draw buildings but I can’t make it make sense detail-wise
Aw, shucks, Ian, I was enjoying the shaggy artist's locks! ; ). The first photo looked like it might be in our neck of the woods, Mono? The subject of this video was an excellent message on several levels- thank you!
It was getting pretty bad. I don't go out much so shave every few days. My wife says I look more homeless than LA cool. That photo is Priceville Glad you liked it. My best to you both, Ian
I'd love to try this but I am struggling for a simple photo similar to this, can anyone point me in the right direction or tell me what to search please?
Very helpful in understanding how to simplify. Based on this, when doing the underpainting do you recommend first laying out the dark and light shapes and then delineate where the various shapes within them go?
Hi Debbie, in many respects when I have laid in the light and dark shapes the painting is 90% finished. I might lay in some really loose darks and let it dry. But mainly it was just the light shapes and dark shapes. Perhaps the next day I'd notice something here or there that needed to be adjusted. But the main simplification was just those shapes.
Jane, I'm afraid I'd have to say, that depends. Sometimes it's clear what I want to do and I plan it out and then do it. Other times an image needs nuance and I'll do an underpainting. Pretty quickly, and then build color relationships off the initial blocked in color. That would be the main reason I would use underpainting, to build a more nuanced set of color relationships. Hope that (sort of) answers your question. Best, Ian
It helps so much to see the photograph and then how you translate that into those beautiful light filled compositions. Amazing.
Thanks Robin. It is an interesting shift away from all the stuff of the world and into the main design elements. Glad you enjoyed the video.
Thank you Ian! I just watched all four videos in prep for going out painting today. Brilliant reminders, much appreciated!
" most of the details we think of happens on edge between light and dark". AMAZING !
Perhaps it would be more correct to say that is the place you can say the most with the least. Does that make sense?
@@IanRobertsMasteringComposition that is correct. Both sayings are important for better painting.
it's so easy to get caught up in detail, still trying to do the underpainting first then work on detail, and light is another one, paying attention to where it's coming from, another one is depth of field, getting it right in your drawing before starting the painting process. also like you said in a video, simplifying the painting, often times without thinking I find myself putting everything in the painting when it's not necessary and like you said, distracting. a lot to think about before even starting. thanks for some very informative videos.
Very helpful-explanations that get right to the point with solid examples. Thank you Ian!!
Great, wonderfull paintings. Congratulations Teacher Ian Roberts. You go straight to the point, to the great ART, no detour. My regards, from Brazil. Davi Lima de Araújo.
Hi Davi, so nice of you to say so. I appreciate it. Best, Ian.
Great tuition, thanks so much! Just what I find so difficult!
Wonderful series, Ian. You have significantly helped me in my painting process and I will be eternally grateful. I hope you and your lovely wife are having a fantastic time, although how that can be living in L.A. is beyond me😁. I lived in El Segundo for several years a lifetime ago. The only part I miss is that the town was "up and open" 24 hours a day, seven days a week.
This is exactly the type of information I was looking for - thank you!
Thank you Ian.
Thank you very much for the explanation! Like
Greetings from Brazil
I will try that today and send it to you 😊
Great 🎉
That is very useful. Respect from Egypt.
Thank you so much , I need to listen and see it to become better artist, thank you for giving me this beautiful message from the video.yes I will try out in my painting .
Hi Usha, it really helps to see in simple design-driven shapes and not to just be rendering stuff. It takes some practice but is really a shift in perception.
Nice haircut and precious knowledge that you shared !
Thanks Ngoc.
Thanks for a simple lesson! Where can we see the painting you did of the last one of the vineyard?
This is really helpful, thank you!
It always interesting to see how you deliver your knowledge.Thank you Ian.I just found your channel few weeks ago☺️
I'm not sure how to explain this. The video's. It's not just the content. I feel i am living an experience, a revelation of some sort. Hope it doesn't sound to weird, but thats the best way i can explain it. Tks.
Very nice explanation of the transformation to a painting from a photo
Hi Frances, thank you. Hope all is well with you.
very helpful, gorgeous paintings. thank you
Thank you Loretta. Glad you are enjoying the videos, and the paintings.
Hi Ian, I am looking at your painting “Evening at Tomales Bay” and would like to know how you got such electric colors. Which pigments are you using? I also admire the colors of Richard Mayhew and can’t figure out how to get the same effect.
Thank you :), you have a artistic pedagogic :)
Thank you.
Hi Ian. Your work shows so well how simplifying can make such a dramatic effect. Thank you for these Tuesday videos. P.S. Nice haircut!
Hi Gayle, thank you. I mean for saying you enjoy the videos. Not for the comment on the haircut. But thanks for that too.
Super helpful, thank you so much!
You are welcome!
Exactly what I’m looking for thank you so much
Can you also do some on buildings, I keep trying to draw buildings but I can’t make it make sense detail-wise
Aw, shucks, Ian, I was enjoying the shaggy artist's locks! ; ). The first photo looked like it might be in our neck of the woods, Mono? The subject of this video was an excellent message on several levels- thank you!
It was getting pretty bad. I don't go out much so shave every few days. My wife says I look more homeless than LA cool. That photo is Priceville Glad you liked it. My best to you both, Ian
I'd love to try this but I am struggling for a simple photo similar to this, can anyone point me in the right direction or tell me what to search please?
I enjoyed your video, as usual. Could you consider doing a video on how to create a larger studio painting from a plein air?
Yes I will do that. It's a good idea. I'll need to hunt around a bit and find some good examples. Thanks for the suggestion.
@@IanRobertsMasteringComposition Thanks. That would be great. I can't seem to find anything of the sort on the internet.
Is this “painting on a photograph....or “painting from a photograph.??
If it’s ON......I want to know HOW....what’s the medium?
Painting from a photo. Not on. all the best.
Very helpful in understanding how to simplify. Based on this, when doing the underpainting do you recommend first laying out the dark and light shapes and then delineate where the various shapes within them go?
Hi Debbie, in many respects when I have laid in the light and dark shapes the painting is 90% finished. I might lay in some really loose darks and let it dry. But mainly it was just the light shapes and dark shapes. Perhaps the next day I'd notice something here or there that needed to be adjusted. But the main simplification was just those shapes.
@@IanRobertsMasteringComposition Thanks, that's helpful to know.
Thanks, Ian! Baseman says hi!
Send photos when the deck is done. Then I know he'll be enjoying a beer with his feet up.
Do you use underpainting?
Jane, I'm afraid I'd have to say, that depends. Sometimes it's clear what I want to do and I plan it out and then do it. Other times an image needs nuance and I'll do an underpainting. Pretty quickly, and then build color relationships off the initial blocked in color. That would be the main reason I would use underpainting, to build a more nuanced set of color relationships. Hope that (sort of) answers your question. Best, Ian
how to simplify portraits sir?
"Simplicity is the ultimate sophistication". Leonardo da Vinci.
Bingo! I love that.